>168 \n \n Leonard stands above Jimmy's body, examining the picture he","\t\t\t\tLEONARD \n \t\tJimmy? \n \n \t\t\t\tJIMMY \n \t\tWhat the fuck are you doing here? \n \n \t\t\t\tLEONARD \n \t\tDo you remember me?","then SHOOTS at Leonard, SHATTERING the driver's side window, \n triggering the CAR ALARM. \n \n Dodd climbs through the window and takes off after him. \n"],["\t\tCondition? \n \n \t\t\t\tLEONARD \n \t\tI have no memory. \n \n \t\t\t\tBURT \n \t\tAmnesia? \n \n \t\t\t\tLEONARD","Natalie leans in close, studying Leonard, looking him over. \n \n \t\t\t\tNATALIE \n \t\tWhat's the last thing you remember? \n \t\tLeonard looks at her. \n \n CUT TO FLASHBACK:","\t\t\t\tLEONARD(V.O.) \n \t\tThe doctors find some possible damaqe to \n \t\tthe hippocampus, nothing conclusive. But \n \t\tSammy can't remember anything for more","\t\t\t\tNATALIE (cont'd) \n \t\tI read about your problem. You know what \n \t\tone of the causes of short term memory \n \t\tloss is? \n \n Leonard fumes. \n","\t\t\t\tLEONARD (cont'd) \n \t\tThere had to be a second man. I was \n \t\tstruck from behind, I remember. It's \n \t\tabout the last thing I do remember. But\t\t\t*","\t\tremember stuff, who'd forget how he got \n \t\there or where he was going. I told him we \n \t\tget a lot of guys like that in here. \n \n Leonard does not find this funny. \n","\t\t\t\tLEONARD (cont'd) \n \t\tNo, really. Memory's not perfect. It's \n \t\tnot even that good. Ask the police, \n \t\teyewitness testimony is unreliable. The","Leonard slips into the seat opposite her. Natalie is pretty, \n but has bruising around one eye, and a mark on her lip. \n \n \t\t\t\tNATALIE \n \t\tYou don't remember me. \n","\t\t\t\tLEONARD \n \t\tHe took away the woman I love and he took \n \t\taway my memory. He destroyed everything; \n \t\tmy life and my ability to live. \n \n \t\t\t\tTEDDY","\t\tThis is Leonard. Thanks. Bye. \n \n Leonard hangs up. He looks around the room. He slips the \n HANDGUN into the bedside drawer, resting it on the GIDEON","Leonard is surprised. \n \n \t\t\t\tLEONARD \n \t\tIt is tough. Almost impossible. I'm sorry \n \t\tI can't remember you. It's not personal. \n \n Natalie's smile fades. \n","understand, either. Backwards amnesia. That's what the sign says. CRS \n disease. Your guess is as good as mine. \n \n Maybe you can't understand what happened to you. But you do remember","\t\t\t\tLEONARD \n \t\tWhy? \n \n Natalie turns to him, ENRAGED. \n \n \t\t\t\tNATALIE \n \t\tBecause of you, you fucking idiot!","studying his face. Leonard has a JACK HANDLE in his hand. \n \n \t\t\t JIMMY (cont'd) \n \t\tWell? \n \n \t\t\t\t\t\t\tFLASHBACK TO: \n","\t\t\t\tLEONARD \n \t\tChronic alcoholism ~ one cause of short \n \t\tterm memory loss. \n \n \t\t\t\tNATALIE \n \t\tAre you Teddy? \n","\t\tinjury, I just can't make any new \n \t\tmemories. \n \t\t (listens) \n \n Leonard pulls his shirt off. There is a BANDAGE on his LEFT","\t\t\t\t\t\t\t\t4. \n \n 4 CONTINUED: (2)\t\t\t\t\t\t4 \n \n \t\t\t\tLEONARD \n \t\tI'm Leonard Shelby, I'm from San","\t\t\t\tLEONARD (V.0.) \n \t\tHe's been in a home ever since. He \n \t\tdoesn't even know his wife is dead. \n","Leonard is RUNNING FURIOUSLY, arms pumping. \n \n \t\t\t\tLEONARD (V.O.) \n \t\tWhat the fuck am I doing? \n \n Leonard glances to his right, and through a GAP between two","HITTING Dodd square in the face with the empty vodka bottle, \n which does not break. \n \n Dodd lies still on the floor, bleeding, his hand still in his \n inside jacket pocket. Leonard stands above him, naked,"],["\t\t\t\tLEONARD (V.0.) \n \t\tI never said he was faking. Just that \n \t\this condition was mental, not physical. \n \t\tShe seemed satisfied, she just said","\t\tThis is Leonard. Thanks. Bye. \n \n Leonard hangs up. He looks around the room. He slips the \n HANDGUN into the bedside drawer, resting it on the GIDEON","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","SCRATCHING his cheek. Leonard tips his head back and \n increases his efforts. Jimmy STOPS struggling. Leonard keeps \n his hands around Jimmy's throat until he is confident that he \n is DEAD. \n","Leonard HITS Jimmy around the head with the jack handle. \n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \n into the dark hallway. Leonard bends over the groaning Jimmy, \n frisking him, finding nothing. \n","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","Leonard lies on the bed (in boxers, bandaged arm) talking on * \n the phone. He wipes the excess shaving foam from his thigh, \n and feels the SMOOTHNESS of the clean-shaven skin. \n","Leonard enters and SCANS the room. Burt picks his nails in \n the doorway. Leonard moves to the unmade bed. There is a pile \n of BLOODSTAINED TISSUES. On the bedside table is an ICE","\t\t\t\tLEONARD (cont'd) \n \t\tThere had to be a second man. I was \n \t\tstruck from behind, I remember. It's \n \t\tabout the last thing I do remember. But\t\t\t*","Natalie leans in close, studying Leonard, looking him over. \n \n \t\t\t\tNATALIE \n \t\tWhat's the last thing you remember? \n \t\tLeonard looks at her. \n \n CUT TO FLASHBACK:","\t\t\t\tLEONARD (cont'd) \n \t\tConditioning didn't work for Sammy, so \n \t\the became helpless. But it works for me. \n \t\tI live the way Sammy couldn't. Habit and","Dodd uses Leonard to pull himself off the floor then PUNCHES \n the side of his head and pushes him HARD, Leonard FLAILING \n wildly, GRABBING THE EMPTY VODKA BOTTLE from by the sink as","The point of light GOES OUT. Leonard KICKS the door in, \n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \n \n Leonard stands over him, looking down. The man is","pistol-whipping him furiously as he shouts: \n \n \t\t\t\tLEONARD \n \t\tYOU PAY FOR WHAT YOU DID! YOU BEG \n \t\tFORGIVENESS, THEN YOU PAY! \n","The Polaroid camera is lowered, revealing the sweaty, heavy- \n breathing face of LEONARD (mid-30's). There are droplets of \n blood across his face. Leonard stares, satisfied, at","142 CONTINUED: (2)\t\t\t\t\t\t\t 142 \n \n \t\t\t\tLEONARD (V.0.) (CONT'D) \n \t\tShe went into a coma and never","Leonard is RUNNING FURIOUSLY, arms pumping. \n \n \t\t\t\tLEONARD (V.O.) \n \t\tWhat the fuck am I doing? \n \n Leonard glances to his right, and through a GAP between two","HITTING Dodd square in the face with the empty vodka bottle, \n which does not break. \n \n Dodd lies still on the floor, bleeding, his hand still in his \n inside jacket pocket. Leonard stands above him, naked,","With his left hand, Leonard opens the door. He rolls out, \n SLAMMING the door in Dodd's face, and hitting the central \n locking on his car keys. \n \n Leonard TAKES OFF across the asphalt. Dodd tries the doors,","studying his face. Leonard has a JACK HANDLE in his hand. \n \n \t\t\t JIMMY (cont'd) \n \t\tWell? \n \n \t\t\t\t\t\t\tFLASHBACK TO: \n"],["He PUNCHES her in the mouth then pushes her to the floor. He \n stands over her, furious with himself as much as her. \n \n \n \n \t\t\t\t\t\t\t(CONTINUED)","himself over a chain link fence, dropping down on the other \n side and SCRAMBLING through some bushes. He RACES full tilt \n into a parking lot, looking around, desperate. He can hear a","weeping a little. They run from just behind the strap of Earl's watch \n all the way to the inside of his elbow. Earl blinks at the message and \n reads it again. It says, in careful little capitals, I RAPED AND","\t\t\t\tLEONARD (cont'd) \n \t\tThere had to be a second man. I was \n \t\tstruck from behind, I remember. It's \n \t\tabout the last thing I do remember. But\t\t\t*","ceiling and the sign taped to it. The sign reads, GET UP, GET OUT \n RIGHT NOW. THESE PEOPLE ARE TRYING TO KILL YOU. \n \n Earl closes his eyes. \n \n *** \n","10:30. He presses the watch to his ear and listens. He gives the watch \n a wind or two and sets it to match the alarm clock. \n \n According to the schedule, the entire block from 8:00 to 8:30 has been","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","then SHOOTS at Leonard, SHATTERING the driver's side window, \n triggering the CAR ALARM. \n \n Dodd climbs through the window and takes off after him. \n","HITTING Dodd square in the face with the empty vodka bottle, \n which does not break. \n \n Dodd lies still on the floor, bleeding, his hand still in his \n inside jacket pocket. Leonard stands above him, naked,","window. The desk is bare except for the blaring alarm clock. Earl \n probably notices, at this point, that he is fully clothed. He even has \n his shoes on under the sheets. He extracts himself from the bed and","He THRUSTS the barrel of his gun into Teddy's mouth and WE \n ARE AT THE SHOT FROM THE END OF THE OPENING SEQUENCE. Teddy \n panics, shaking his head, trying to talk around the metal,","window, he can see a full moon shining on carefully manicured grass. \n \n Earl slaps the snooze button on the alarm clock and stares a moment at \n the two keys taped to the back of his hand. He picks at the tape while","Maybe then he notices the scar. It begins just beneath the ear, jagged \n and thick, and disappears abruptly into his hairline. Earl turns his \n head and stares out of the corner of his eye to follow the scar's","of the man's head. \n \n The noise and the pain are both coming from a gun in the man's hand-a \n gun with a needle where the barrel should be. The needle is digging","has just taken, nodding to himself, catching his breath. \n \n \n \n \t\t\t\t\t\t\t(CONTINUED) \n \t\t\t\t\t\t\t108. \n","\t\tFUCK! He's chasing me. \n \n Leonard SKIDS to a halt and turns around. A BULLET hits the \n dirt by his feet. He clears the end of the trailer and THROWS","\t\t\t\tLEONARD (cont'd) \n \t\tI told them what I remembered. I was \n \t\tasleep, something woke me up... \n \n CUT TO FLASHBACK <<COLOUR SEQUENCE>> \n","nattering away at each other. Earl lies back down and is surprised to \n see himself, older now, tanned, the hair pulling away from his head \n like solar flares. The mirror on the ceiling is cracked, the silver","sifting through the papers on the desk when he hears a car\t * \n door SLAM. He looks out of the window to see Natalie getting * \n out of her car. She turns to walk toward the house. Her face \n is swollen and bloody. \n","Still staring, he crouches down and pulls a BODY off the \n floor by the wet hair of its BLOODY HEAD. He slowly inserts \n the barrel of the gun into the bloody mess where the mouth \n should be. \n"],["starts knocking BITS OF BROKEN WINDOW GLASS out of the \n driver's side window with his elbow then pulling photos and \n pieces of paper out of his pockets as he drives. \n \n Leonard finds a NOTE that gives a description of Dodd, along","\t\t\t\tLEONARD (cont'd) \n \t\tThere had to be a second man. I was \n \t\tstruck from behind, I remember. It's \n \t\tabout the last thing I do remember. But\t\t\t*","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","\t\t\t\tLEONARD (cont'd) \n \t\tNo, really. Memory's not perfect. It's \n \t\tnot even that good. Ask the police, \n \t\teyewitness testimony is unreliable. The","SCRATCHING his cheek. Leonard tips his head back and \n increases his efforts. Jimmy STOPS struggling. Leonard keeps \n his hands around Jimmy's throat until he is confident that he \n is DEAD. \n","Leonard HITS Jimmy around the head with the jack handle. \n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \n into the dark hallway. Leonard bends over the groaning Jimmy, \n frisking him, finding nothing. \n","\t\t\t\tLEONARD (cont'd) \n \t\tThe police report mentioned the drugs \n \t\tfound in the car outside my house. The \n \t\tcar was stolen, but his prints were all","Leonard BREATHES as he stands up. He nods to himself with \n satisfaction. He looks around for his POLAROID CAMERA. He \n snaps a FLASH picture of Jimmy's body, and stares intently at","\t\tThis is Leonard. Thanks. Bye. \n \n Leonard hangs up. He looks around the room. He slips the \n HANDGUN into the bedside drawer, resting it on the GIDEON","\t\t\t\tLEONARD (cont'd) \n \t\tHere we go. \n \n The Polaroid shows Dodd sitting on the bed, BOUND, GAGGED and \n BLEEDING. The name Dodd is written below the picture. Leonard","Leonard examines it, PUZZLED. All that is visible is AN ARM, * \n lying on a floor. Leonard reaches into the other pocket and\t* \n pulls out his POLAROIDS, flicking through them until he finds","Leonard stuffs the Polaroids back into his pocket, reaches \n around to the back of his waistband and draws a HANDGUN, \n keeping it out of Teddy's line of sight. Teddy enters, wary. \n","him on the edge of the bed. Leonard takes a POLAROID \n PHOTOGRAPH of the bloody, taped-up Dodd. \n \n Leonard shoves Dodd into the closet, takes out a NOTE and","With his left hand, Leonard opens the door. He rolls out, \n SLAMMING the door in Dodd's face, and hitting the central \n locking on his car keys. \n \n Leonard TAKES OFF across the asphalt. Dodd tries the doors,","studying his face. Leonard has a JACK HANDLE in his hand. \n \n \t\t\t JIMMY (cont'd) \n \t\tWell? \n \n \t\t\t\t\t\t\tFLASHBACK TO: \n","Dodd uses Leonard to pull himself off the floor then PUNCHES \n the side of his head and pushes him HARD, Leonard FLAILING \n wildly, GRABBING THE EMPTY VODKA BOTTLE from by the sink as","then SHOOTS at Leonard, SHATTERING the driver's side window, \n triggering the CAR ALARM. \n \n Dodd climbs through the window and takes off after him. \n","The point of light GOES OUT. Leonard KICKS the door in, \n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \n \n Leonard stands over him, looking down. The man is","Leonard opens the door of the pickup and searches the \n interior. On the dirty vinyl of the passenger seat he finds\t* \n six BULLETS. Leonard picks two of them up and studies them.\t*","Leonard gets Polaroids out of his pocket. The first one is of \n the Discount Inn. He STICKS it onto an already-squashed lump * \n of blue tack at the end of an ARROW drawn from a location on \n the outskirts of town."],["\t\t\t\tMRS. JANKIS \n \t\tSammy, it's time for my shot. \n \n Sammy looks up, smiling, glad to help. He goes into the \n kitchen and comes back with a bottle of insulin, a syringe","\t\tcame across Sammy. Mr Samuel R. Jankis - \n \t\tstrangest case ever. Guy's 58, semi- \n \t\tretired accountant. He and his wife had","Sammy injects her in the stomach. \n \n \t\t\t\t\t\t\t DISSOLVE TO: \n \n Mrs. Jankis, unconscious in her chair. Sammy glances over from \n watching T.V. commercials, wondering. \n","\t\tso she found a way to test him. \n \n Sammy injects the insulin, then withdraws the needle, smiles \n reassuringly at his wife and goes back into the kitchen. \n \n Mrs. Jankis watches Sammy flipping through the channels,","\t\t\t\tMRS. JANKIS (cont'd) \n \t\tSammy, it's time for my shot. \n \n Sammy looks over from the T.V., smiling, glad to be able to \n help. \n","then moves to the sink and starts washing his hands. He \n notices a MESSAGE written on the back of his hand. \n \n \"REMEMBER SAMMY JANKIS\" \n \n He stares at the message for a second, thoughtful, then tries","\t\tSo I can't remember talking to you. What \n \t\tdid we talk about? \n \t\t (nods) \n \t\tSammy Jankis. Yeah, I guess I tell \n \t\tpeople about Sammy to help them","\t\t... and as long as he kept his mind on \n \t\twhat he was doing. \n \n Sammy wipes a spot on Mrs. Jankis' arm with a swab, then","\t\twho'll listen. \"Remember Sammy Jankis, \n \t\tremember Sammy Jankis\". Great story. Gets \n \t\tbetter every time you tell it. So you \n \t\tlie to yourself to be happy. Nothing","\t\twhat had happened. \n \n Sammy strokes Mrs. Jankis' cheek, crying. \n \n 143 INT. CROWDED DAY ROOM OF A NURSING HOME - DAY ##BLACK AND 143","Sammy rolls a small GLASS BOTTLE between the palms of his \n hands. Mrs. Jankis rolls up her sleeve. Leonard watches as \n Sammy takes a SYRINGE and pushes the needle through the","\t\tMrs. Jankis, the company's position \n \t\tisn't that Sammy is \"faking\" anything, \n \t\tjust that his condition can't be shown - \n \n \t\t\t\tMRS. JANKIS","Sammy looks up, smiling, glad to be able to help. He goes \n into the kitchen and comes back with the bottle of insulin, \n the syringe and a new cotton swab. \n \n He carefully prepares the injection and Mrs. Jankis offers","desk to shake hands with Mrs. Jankis. They talk, Leonard \n nodding as he listens. Mrs. Jankis is crying. \n \n \t\t\t\tLEONARD (V.O.) \n \t\tShe told me about life with Sammy, how","Mrs. Jankis comes into the room. Sammy is seated, watching \n T.V. He looks up at her with a smile. She smiles back, tense. \n \n \t\t\t\tLEONARD (V.0.)","\t\tfor people to understand. I mean look at \n \t\tSammy Jankis. His own wife couldn't deal \n \t\twith it. \n \t\t\t\t(MORE)","him her other arm. Sammy injects the insulin, then looks up \n at her and smiles. \n \n Sammy watches T.V. Mrs. Jankis sets her watch back by fifteen \n minutes. \n","\t\t\t\tMRS. JANKIS \n \t\tMr. Shelby, you know all about Sammy and \n \t\tyou decided that he was faking - \n \n \t\t\t\tLEONARD","Mrs. Jankis offers Sammy her leg, and he gives her another \n shot of insulin, smiling. \n \n \t\t\t\tLEONARD (V.O.) \n \t\tShe really thought she would call his \n \t\tbluff... \n","He leafs through a couple off pages, then DROPS the Bible back \n into the drawer and shuts it. He notices a MESSAGE written on \n the back off his hand: \n \n \"REMEMBER SAMMY JANKIS\" \n"],["Leonard is getting frustrated. \n \n \t\t\t\tLEONARD \n \t\tNeither do I. \n \n \t\t\t\tNATALIE \n \t\tDon't protect him. \n \n \t\t\t\tLEONARD","Leonard drops a tidy blob of spit into the beer, shakes his \n head, revolted. Natalie places the mug on the bar in front of \n the stool next to Leonard's. She takes a long-handled spoon","Leonard bends his head around to see if Natalie is awake. She \n closes her eyes. Leonard gingerly slides from underneath her \n and moves silently out of the bedroom. \n","\t\t\t\tNATALIE (cont'd) \n \t\tBar bet. \n \n Leonard shakes his head and looks down. He hears a snort and \n glances over again. The Drunk is pushing his finger against","\t\t\t\tLEONARD \n \t\tWhy? \n \n Natalie turns to him, ENRAGED. \n \n \t\t\t\tNATALIE \n \t\tBecause of you, you fucking idiot!","Leonard opens the door for her. \n \n \t\t\t\tLEONARD \n \t\tWhat happened? \n \n Natalie, intensely AGITATED, FUMBLES with things in her \n purse. \n","DRUNK with shaky hands sits at the bar. Natalie (without \n bruises) is working behind the bar. She tops up a silver \n tankard with beer, brings it over and sets it in front of \n Leonard, smiling. \n","Leonard leans right over her to get a look at her face. It is \n NATALIE. The BRUISE on her eye and the MARK on her lip are \n worse than before. \n \n She OPENS her eyes and is startled by the sight of Leonard's","LATER: \n \n Leonard hears a hocking sound and looks over to see the \n filthy Drunk spitting a blob of sticky phlegm into a silver \n tankard which Natalie holds across the bar. Natalie smiles. \n","\t\tYou sad freak, you won't remember any of \n \t\twhat I've said, and we'll be best \n \t\tfriends, or even lovers. \n \n Leonard spins around, BACKHANDING Natalie on the cheek. \n","\t\tLenny, as a buddy, let me inform you. \n \t\tYour business here is very much finished. \n \t\tYou're still here because of Natalie. \n \n \t\t\t\tLEONARD","134 INT. FERDY'S BAR - DAY <<COLOUR SEQUENCE>>\t\t\t 134 \n \n BACK TO LEONARD IN BAR: \n \n Leonard looks at Natalie. \n","Leonard nods and stands awkwardly. \n \n \t\t\t\tNATALIE (cont'd) \n \t\tUh, take a seat. \n \n Leonard smiles and sits down in a chair. Natalie clears","\t\t\t\tNATALIE (cont'd) \n \t\tHe beat the shit out of me. \n \n \t\t\t\tLEONARD \n \t\tWho? \n \n \t\t\t NATALIE","\t\t\t\tLEONARD \n \t\tShut the fuck up! \n \n Natalie gets right in his face, grinning. \n \n \t\t\t\tNATALIE","Leonard. Her face is bloody but she smiles. \n \n \t\t\t\tNATALIE (cont'd) \n \t\tSee you soon. \n \n Natalie exits. Leonard watches her walk out to her car and","nothing. Leonard walks past. She sighs and grabs the back of \n his jacket as he passes. Leonard spins around. \n \n \t\t\t\tLEONARD \n \t\tNatalie. \n","Leonard turns away, body tensed, ready to snap. Natalie \n reaches out to gently brush the hair above his ear with her \n fingers. \n \n \t\t\t\tNATALIE (cont'd)","\t\tDon't say another fucking word! \n \n \t\t\t\tNATALIE \n \t\tAbout your whore of a wife? \n \n Leonard slaps Natalie. She smiles, then speaks softly. \n","from a filthy, toothless Drunk. Natalie (without bruises) \n appears in front of him. Leonard looks up at Natalie without \n recognition. She eyes him coldly, staring at his clothes. \n \n \t\t\t\tLEONARD"],["approaches a large, clearly abandoned DERELICT BUILDING. \n Leonard is driving. He wears a BEIGE SUIT and BLUE SHIRT (no \n blood). Next to him is TEDDY. Leonard stops the car next to a","The point of light GOES OUT. Leonard KICKS the door in, \n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \n \n Leonard stands over him, looking down. The man is","Leonard HITS Jimmy around the head with the jack handle. \n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \n into the dark hallway. Leonard bends over the groaning Jimmy, \n frisking him, finding nothing. \n","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","then SHOOTS at Leonard, SHATTERING the driver's side window, \n triggering the CAR ALARM. \n \n Dodd climbs through the window and takes off after him. \n","stands in the doorway, smoking gun in hand. He is HIT HARD \n from behind by an UNSEEN ASSAILANT who GRABS Leonard by the \n HAIR and THROWS his HEAD into the MIRROR, SHATTERING IT.","SCRATCHING his cheek. Leonard tips his head back and \n increases his efforts. Jimmy STOPS struggling. Leonard keeps \n his hands around Jimmy's throat until he is confident that he \n is DEAD. \n","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","Leonard. Her face is bloody but she smiles. \n \n \t\t\t\tNATALIE (cont'd) \n \t\tSee you soon. \n \n Natalie exits. Leonard watches her walk out to her car and","HITTING Dodd square in the face with the empty vodka bottle, \n which does not break. \n \n Dodd lies still on the floor, bleeding, his hand still in his \n inside jacket pocket. Leonard stands above him, naked,","With his left hand, Leonard opens the door. He rolls out, \n SLAMMING the door in Dodd's face, and hitting the central \n locking on his car keys. \n \n Leonard TAKES OFF across the asphalt. Dodd tries the doors,","\t\tFUCK! He's chasing me. \n \n Leonard SKIDS to a halt and turns around. A BULLET hits the \n dirt by his feet. He clears the end of the trailer and THROWS","The pickup truck bumps across the railroad tracks, then pulls \n up in front of the LARGE DERELICT BUILDING. Leonard gets out \n of the pickup, looking around. \n","Leonard enters and SCANS the room. Burt picks his nails in \n the doorway. Leonard moves to the unmade bed. There is a pile \n of BLOODSTAINED TISSUES. On the bedside table is an ICE","Leonard BREATHES as he stands up. He nods to himself with \n satisfaction. He looks around for his POLAROID CAMERA. He \n snaps a FLASH picture of Jimmy's body, and stares intently at","\t\tThis is Leonard. Thanks. Bye. \n \n Leonard hangs up. He looks around the room. He slips the \n HANDGUN into the bedside drawer, resting it on the GIDEON","but GAGS just as Leonard pulls the trigger. A SHOT rings out \n as we - \n \n \t\t\t\t\t\t\tCUT TO: \n","Leonard stuffs the Polaroids back into his pocket, reaches \n around to the back of his waistband and draws a HANDGUN, \n keeping it out of Teddy's line of sight. Teddy enters, wary. \n","The Polaroid camera is lowered, revealing the sweaty, heavy- \n breathing face of LEONARD (mid-30's). There are droplets of \n blood across his face. Leonard stares, satisfied, at"],["of Teddy, then picks up the phone and dials Teddy's number. \n The phone is answered: \n \n \n \n \n \t\t\t\t\t\t\t(CONTINUED) \n","Teddy is now wearing his big grin, rubbing his neck. \n \t\t\t\t\t\t\t \n \n \t\t\t\t\t\t\t(CONTINUED) \n \t\t\t\t\t\t\t66. \n","\t\t\t\t\t\t\t111. \n \n 174 CONTINUED:\t\t\t\t\t\t\t 174 \n \n \t\t\t\tTEDDY (cont'd)\t\t\t\t\t\t*","178 CONTINUED: (3)\t\t\t\t\t\t\t 178 \n \n \t\t\t\tTEDDY (cont'd)\t\t\t\t\t\t*","\t\t\t\t\t\t\t68. \n \n 115 CONTINUED: (3)\t\t\t\t\t\t\t 115 \n \n \t\t\t\tTEDDY \n \t\t (grins)","\t\tWho did he go to meet? \n \n Natalie studies Leonard. \n \n \t\t\t\tNATALIE \n \t\tA guy called Teddy. \n \n Leonard does not react to the name. \n","Teddy APPROACHING the glass door of the office. Leonard \n watches carefully as Teddy shambles up to the office door. A \n BELL CHIIIES as Teddy enters and breaks into his shit-eating \n grin. Leonard slips the photo into his pocket.","\t\t\t\tTEDDY \n \t\tJimmy's a drug dealer. This cop wanted to \n \t\tknow all about how he sets up deals, shit \n \t\tlike that. He's got some score in mind\t\t\t *","115 CONTINUED: (2)\t\t\t\t\t\t\t 115 \n \n \t\t\t\tTEDDY (cont'd) \n \t\tYou can't stay with her. Let me give you","\t\tTeddy! \n \n \t\t\t\t\t\t\t(CONTINUED) \n \n MEMENTO Pink Revisions - 9/7/99 \n \t\t\t\t\t\t\t\t3A. \n","affects a casual air, shrugging dismissively, \n \n \t\t\t\tTEDDY (cont'd) \n \t\tFuck this. \n \n Teddy turns and heads for the door. Leonard LEAPS on him,","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","\t\t\t\t\t\t\t47. \n \n 69 CONTINUED: (3)\t\t\t\t\t\t\t 69 \n \t\t\t\t\t\t\t \n \t\t\t\tTEDDY","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","Leonard finds a photo showing Teddy with a shit-eating grin \n standing in front of the pickup truck. On the broad white \n strip beneath the photo is handwritten: \n","178 CONTINUED:\t\t\t\t\t\t\t 178 \n \n \t\t\t\tTEDDY \n \t\t (chuckles) \n \t\tWhat difference does it make whether he\t\t\t*","\t\t\t TEDDY \n \t Sammy was a con man. A faker. \n \n \t\t\t LEONARD \n \t I never said he was faking! I never said \n \t that! \n","178 CONTINUED: (4)\t\t\t\t\t\t\t 178 \n \n \t\t\t\tTEDDY (cont'd) \n \t\tHey, where are you going? You know what\t\t\t*","\t\tThis guy told me his name was Teddy. \n \n He turns the photo over and examines the white stop on the \n back. It says only: \n \n \"DON'T BELIEVE HIS LIES\" \n \n \n","\t\t\t\tTEDDY \n \t\tNatalie who? \n \n Leonard ignores him and gets into his Jaguar. \n"],["\t\t\t\tLEONARD \n \t\tYou're using me! \n \n Teddy looks at him, offended. \n \n \t\t\t\tTEDDY \n \t\tNo! \n \t\t (beat)","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","Teddy APPROACHING the glass door of the office. Leonard \n watches carefully as Teddy shambles up to the office door. A \n BELL CHIIIES as Teddy enters and breaks into his shit-eating \n grin. Leonard slips the photo into his pocket.","Leonard cranks it down. Teddy looks at Leonard with something \n like fatherly affection. \n \n \t\t\t\tTEDDY (cont'd) \n \t\tMake him beg. \n","Leonard stuffs the Polaroids back into his pocket, reaches \n around to the back of his waistband and draws a HANDGUN, \n keeping it out of Teddy's line of sight. Teddy enters, wary. \n","\t\tIt's been fun, Lenny. \n \n Teddy walks off. Leonard pulls his Polaroids out of his \n pocket and finds the one of Teddy. He places it on the dash,","Teddy gestures towards the basement door, in pain, but \n enjoying Leonard's growing anxiety. \n \n \t\t\t\tTEDDY (cont'd) \n \t\t (intimate)","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","\t\t\t\tLEONARD (V.O.)(cont'd) \n \t\tIn your case, Teddy... yes, I will. \n \n \n \t\t\t\t\t\t\t(CONTINUED) \n","Leonard finds a photo showing Teddy with a shit-eating grin \n standing in front of the pickup truck. On the broad white \n strip beneath the photo is handwritten: \n","Leonard starts the engine. Through the rear-view mirror, \n Leonard stares at Teddy's retreating form. Thinking. Leonard \n PULLS OUT onto the road. \n","\t\t\t\tTEDDY \n \t\tShe's gonna use you. To protect herself. \n \n \t\t\t\tLEONARD \n \t\tFrom who? \n \n \t\t\t\tTEDDY","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","Teddy leans over slightly so that he can see his reflection \n in the rear view mirror. Leonard smiles. Teddy sees him. \n \n \t\t\t\tTEDDY \n \t\tFuck you. We shoulda taken his car. \n","Leonard sticks the photo of Teddy BETWEEN HIS TEETH as he \n holds his HANDGUN up and checks that it is loaded. He sticks \n the GUN in the back of his waistband. \n","\t\t\t\tTEDDY (cont'd) \n \t\tGreat shot, Lenny. \n \n Teddy flips the photo over. There is nothing on the back. \n Teddy hands it back to Leonard. \n","\t\t\t\tTEDDY (cont'd) \n \t\tLeonard, you need to be very careful. \n \n \t\t\t\tLEONARD \n \t\tWhy? \n \n \t\t\t\tTEDDY","\t\t\t\tLEONARD \n \t\tWhat happened? \n \n \t\t\t\tNATALIE \n \t\tWhat happened is that Jimmy went to meet \n \t\ta guy called Teddy. He took a lot of","Leonard looks coldly at Teddy's smiling image. \n \n \t\t\t\tLEONARD (cont'd) \n \t\tI found you, you fuck. \n \n Leonard turns the photo face down, takes a pen and writes: \n","Teddy reaches out to Leonard's lapel, and gently opens his \n jacket to reveal the label. \n \n \t\t\t\tTEDDY (cont'd) \n \t\tPut it this way. Were you wearing"],["\t\t\t TEDDY \n \t Sammy was a con man. A faker. \n \n \t\t\t LEONARD \n \t I never said he was faking! I never said \n \t that! \n","\t\tabout Sammy?\t\t\t\t\t\t\t * \n \n \t\t\t\tTEDDY \n \t\t (chuckles) \n \t\tYou tell everyone about Sammy. Everyone","\t\tunderstand. Sammy's story helps me \n \t\tunderstand my own situation. \n \n Leonard touches the tattoo on the back of his hand. \n \n \t\t\t\tLEONARD (cont'd)","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","\t\tI was wrong! That's the whole point! \n \t\tSammy's wife came to me and - \n \n \t\t\t\tTEDDY \n \t\tSammy didn't have a wife. \n","Teddy APPROACHING the glass door of the office. Leonard \n watches carefully as Teddy shambles up to the office door. A \n BELL CHIIIES as Teddy enters and breaks into his shit-eating \n grin. Leonard slips the photo into his pocket.","Leonard cranks it down. Teddy looks at Leonard with something \n like fatherly affection. \n \n \t\t\t\tTEDDY (cont'd) \n \t\tMake him beg. \n","\t\t\t\tLEONARD (V.O.)(cont'd) \n \t\tIn your case, Teddy... yes, I will. \n \n \n \t\t\t\t\t\t\t(CONTINUED) \n","\t\tThat's Sammy, not me! I told you about \n \t\tSammy - \n \n \t\t\t TEDDY \n \t\tLike you've told yourself. Over and over. \n \t\tConditioning yourself to believe.","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","affects a casual air, shrugging dismissively, \n \n \t\t\t\tTEDDY (cont'd) \n \t\tFuck this. \n \n Teddy turns and heads for the door. Leonard LEAPS on him,","\t\t\t\tLEONARD \n \t\tWhat happened? \n \n \t\t\t\tNATALIE \n \t\tWhat happened is that Jimmy went to meet \n \t\ta guy called Teddy. He took a lot of","He flips Teddy's picture over, like a croupier turning a card \n at blackjack. On the back it says: \n \n \"DON'T BELIEVE HIS LIES\" \n \n Leonard purses his lips in surprised frustration. He grabs","Leonard stuffs the Polaroids back into his pocket, reaches \n around to the back of his waistband and draws a HANDGUN, \n keeping it out of Teddy's line of sight. Teddy enters, wary. \n","\t\tIt's been fun, Lenny. \n \n Teddy walks off. Leonard pulls his Polaroids out of his \n pocket and finds the one of Teddy. He places it on the dash,","\t\twork for for thirty seconds, and tell me \n \t\tif you really think that Sammy is faking \n \t\this condition. \n \n Leonard plays with his letter opener, thinking. \n","\t\t\t\tTEDDY (cont'd) \n \t\tGreat shot, Lenny. \n \n Teddy flips the photo over. There is nothing on the back. \n Teddy hands it back to Leonard. \n","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","\t\t\t\tLEONARD (cont'd)\t\t\t\t\t * \n \t\tSammy's brain didn't respond to\t\t\t\t * \n \t\tconditioning, but he was no con man.\t\t\t *","\t\t\t\tTEDDY \n \t\t'Cos he fucking told me. He thinks it's \n \t\tfunny. He's laughing at you. \n \n \t\t\t\tLEONARD"],["Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","Leonard stuffs the Polaroids back into his pocket, reaches \n around to the back of his waistband and draws a HANDGUN, \n keeping it out of Teddy's line of sight. Teddy enters, wary. \n","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","\t\t'cos this guy's dead. \n \n Leonard CRACKS Teddy over the head with the FLOORBOARD.\t * \n \n \t\t\t\tTEDDY (cont'd)\t\t\t\t\t\t*","Leonard, startled, GRABS Teddy by the throat. \n \n \t\t\t\t\t\t\tCUT TO: \n","Leonard sticks the photo of Teddy BETWEEN HIS TEETH as he \n holds his HANDGUN up and checks that it is loaded. He sticks \n the GUN in the back of his waistband. \n","Leonard looks coldly at Teddy's smiling image. \n \n \t\t\t\tLEONARD (cont'd) \n \t\tI found you, you fuck. \n \n Leonard turns the photo face down, takes a pen and writes: \n","Leonard starts the engine. Through the rear-view mirror, \n Leonard stares at Teddy's retreating form. Thinking. Leonard \n PULLS OUT onto the road. \n","Leonard cranks it down. Teddy looks at Leonard with something \n like fatherly affection. \n \n \t\t\t\tTEDDY (cont'd) \n \t\tMake him beg. \n","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","Teddy APPROACHING the glass door of the office. Leonard \n watches carefully as Teddy shambles up to the office door. A \n BELL CHIIIES as Teddy enters and breaks into his shit-eating \n grin. Leonard slips the photo into his pocket.","\t\tYou did. \n \n Leonard replaces the gag and SHUTS the closet. \n \n \t\t\t\tTEDDY \n \t\tI'm not gonna help you kill this guy, if \n \t\tthat's what -","Leonard TOSSES the GUN into the trunk. It lands on PILES OF \n BANKNOTES STUFFED IN THE TRUNK. Teddy REACTS to the sight of \n the money. Leonard glances at Teddy, then the money, shakes","him on the edge of the bed. Leonard takes a POLAROID \n PHOTOGRAPH of the bloody, taped-up Dodd. \n \n Leonard shoves Dodd into the closet, takes out a NOTE and","\t\tIt's been fun, Lenny. \n \n Teddy walks off. Leonard pulls his Polaroids out of his \n pocket and finds the one of Teddy. He places it on the dash,","Teddy gestures towards the basement door, in pain, but \n enjoying Leonard's growing anxiety. \n \n \t\t\t\tTEDDY (cont'd) \n \t\t (intimate)","\t\thim to look for a guy called Teddy. \n \n \t\t\t\tNATALIE \n \t\tHe'll kill you, Lenny. \n \n \t\t\t\tLEONARD \n \t\t (smiling)","Teddy leans over slightly so that he can see his reflection \n in the rear view mirror. Leonard smiles. Teddy sees him. \n \n \t\t\t\tTEDDY \n \t\tFuck you. We shoulda taken his car. \n","Leonard SEARCHES Teddy's pockets, still holding the gun on\t * \n Teddy. Leonard finds Teddy's CAR KEYS. He gets off Teddy and * \n moves towards the light.\t\t\t\t\t\t\t* \n \n","The point of light GOES OUT. Leonard KICKS the door in, \n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \n \n Leonard stands over him, looking down. The man is"],["Leonard hears a CAR APPROACHING. He slips into the kitchen \n and looks out the dirty, broken front windows. \n","\t\t\t\tLEONARD (cont'd) \n \t\tConditioning didn't work for Sammy, so \n \t\the became helpless. But it works for me. \n \t\tI live the way Sammy couldn't. Habit and","\t\tThis is Leonard. Thanks. Bye. \n \n Leonard hangs up. He looks around the room. He slips the \n HANDGUN into the bedside drawer, resting it on the GIDEON","The Polaroid camera is lowered, revealing the sweaty, heavy- \n breathing face of LEONARD (mid-30's). There are droplets of \n blood across his face. Leonard stares, satisfied, at","\t\t\t\tLEONARD (V.0.) \n \t\tI never said he was faking. Just that \n \t\this condition was mental, not physical. \n \t\tShe seemed satisfied, she just said","Leonard lies on the bed (in boxers, bandaged arm) talking on * \n the phone. He wipes the excess shaving foam from his thigh, \n and feels the SMOOTHNESS of the clean-shaven skin. \n","\t\t\t\tLEONARD \n \t\tI don't know. See, I have this condition. \n \n \t\t\t\tTEDDY \n \t\tWell, I hope it's not as serious as his,","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","Leonard is RUNNING FURIOUSLY, arms pumping. \n \n \t\t\t\tLEONARD (V.O.) \n \t\tWhat the fuck am I doing? \n \n Leonard glances to his right, and through a GAP between two","Leonard enters and SCANS the room. Burt picks his nails in \n the doorway. Leonard moves to the unmade bed. There is a pile \n of BLOODSTAINED TISSUES. On the bedside table is an ICE","\t\t\t\tLEONARD (V.0.) \n \t\tHe's been in a home ever since. He \n \t\tdoesn't even know his wife is dead. \n","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","\t\t\t\t\t\t\t65. \n \n 114 CONTINUED:\t\t\t\t\t\t\t 114 \n \n \t\t\t\tLEONARD (cont'd) \n \t\t (listens)","at Leonard, blinking in the sudden bright light, TERRIFIED. \n \n Leonard SHUTS the closet door, CONFUSED. The Man in the \n closet starts GRUNTING and BUMPING the closet door. \n","Leonard is WOKEN by the sound of a door SHUTTING FIRMLY. He \n turns his head to see a glow from under the bathroom door. \n \n In the dim light he can see a well-worn, COVERLESS PAPERBACK","\t\t\t\tLEONARD \n \t\tWhy? \n \n \t\t\t\tBURT \n \t\tBusiness is slow. I told my boss about \n \t\tYou, about your condition. He told me to","studying his face. Leonard has a JACK HANDLE in his hand. \n \n \t\t\t JIMMY (cont'd) \n \t\tWell? \n \n \t\t\t\t\t\t\tFLASHBACK TO: \n","pistol-whipping him furiously as he shouts: \n \n \t\t\t\tLEONARD \n \t\tYOU PAY FOR WHAT YOU DID! YOU BEG \n \t\tFORGIVENESS, THEN YOU PAY! \n","Leonard starts the engine. Through the rear-view mirror, \n Leonard stares at Teddy's retreating form. Thinking. Leonard \n PULLS OUT onto the road. \n","With his left hand, Leonard opens the door. He rolls out, \n SLAMMING the door in Dodd's face, and hitting the central \n locking on his car keys. \n \n Leonard TAKES OFF across the asphalt. Dodd tries the doors,"],["\t\t\t\tLEONARD (cont'd) \n \t\tYour name. \n \n \t\t\t\tMAN \n \t\tDodd. \n \n \t\t\t\tLEONARD \n \t\tWho did this to you? \n","pistol-whipping him furiously as he shouts: \n \n \t\t\t\tLEONARD \n \t\tYOU PAY FOR WHAT YOU DID! YOU BEG \n \t\tFORGIVENESS, THEN YOU PAY! \n","Leonard HITS Jimmy around the head with the jack handle. \n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \n into the dark hallway. Leonard bends over the groaning Jimmy, \n frisking him, finding nothing. \n","\t\t\t\tLEONARD (cont'd) \n \t\tHere we go. \n \n The Polaroid shows Dodd sitting on the bed, BOUND, GAGGED and \n BLEEDING. The name Dodd is written below the picture. Leonard","SCRATCHING his cheek. Leonard tips his head back and \n increases his efforts. Jimmy STOPS struggling. Leonard keeps \n his hands around Jimmy's throat until he is confident that he \n is DEAD. \n","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","\t\t\t\tLEONARD (cont'd) \n \t\tThere had to be a second man. I was \n \t\tstruck from behind, I remember. It's \n \t\tabout the last thing I do remember. But\t\t\t*","The point of light GOES OUT. Leonard KICKS the door in, \n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \n \n Leonard stands over him, looking down. The man is","\t\tThis is Leonard. Thanks. Bye. \n \n Leonard hangs up. He looks around the room. He slips the \n HANDGUN into the bedside drawer, resting it on the GIDEON","\t\t\t\tLEONARD (V.O.) \n \t\tHe seems to know me. \n \n The Landcruiser PULLS ALONGSIDE the Jaguar. Leonard looks","\t\t\t\tLEONARD \n \t\tSo who are you saying he was?\t\t\t\t\t* \n \n \t\t\t\tTEDDY \n \t\tJust some guy. Does it even matter who? I","\t\t\t\tJIMMY (cont'd) \n \t\tYou fucking retard, you can't get away \n \t\twith this - \n \n Leonard holds the jack handle above him. \n","Leonard leans right over her to get a look at her face. It is \n NATALIE. The BRUISE on her eye and the MARK on her lip are \n worse than before. \n \n She OPENS her eyes and is startled by the sight of Leonard's","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","\t\t\t\tLEONARD (cont'd) \n \t\tNo, really. Memory's not perfect. It's \n \t\tnot even that good. Ask the police, \n \t\teyewitness testimony is unreliable. The","\t\tCalls himself Dodd. \n \n \t\t\t\tLEONARD \n \t\tWhat does he want? \n \n \t\t\t\tNATALIE \n \t\tWants to know what happened to Jimmy. And","Leonard fishes photographs out of his pocket, examining them. \n The Landcruiser ACCELERATES until it is uncomfortably close. \n Leonard slows, turning into a PARKING LOT. The Landcruiser \n follows. \n","With his left hand, Leonard opens the door. He rolls out, \n SLAMMING the door in Dodd's face, and hitting the central \n locking on his car keys. \n \n Leonard TAKES OFF across the asphalt. Dodd tries the doors,","\t\tLeonard, you don't have a clue what's \n \t\tgoing on. You don't even know my name. \n \n \t\t\t\tLEONARD \n \t\t\t (triumphant smile)","then SHOOTS at Leonard, SHATTERING the driver's side window, \n triggering the CAR ALARM. \n \n Dodd climbs through the window and takes off after him. \n"],["\t\tHis wife has to do everything. Sammy can \n \t\tonly do simple stuff. He couldn't pick \n \t\tup any new skills at all, and that's how \n \t\tI got him. \n","\t\twhat had happened. \n \n Sammy strokes Mrs. Jankis' cheek, crying. \n \n 143 INT. CROWDED DAY ROOM OF A NURSING HOME - DAY ##BLACK AND 143","\t\tI never said that Sammy was faking. Just \n \t\tthat his problem was mental, not \n \t\tphysical. But she... she couldn't \n \t\tunderstand. She looks into his eyes and","\t\tI was wrong! That's the whole point! \n \t\tSammy's wife came to me and - \n \n \t\t\t\tTEDDY \n \t\tSammy didn't have a wife. \n","Sammy injects her in the stomach. \n \n \t\t\t\t\t\t\t DISSOLVE TO: \n \n Mrs. Jankis, unconscious in her chair. Sammy glances over from \n watching T.V. commercials, wondering. \n","desk to shake hands with Mrs. Jankis. They talk, Leonard \n nodding as he listens. Mrs. Jankis is crying. \n \n \t\t\t\tLEONARD (V.O.) \n \t\tShe told me about life with Sammy, how","\t\t\t\tLEONARD \n \t\tSammy's wife was crippled by the cost of \n \t\tsupporting him and fighting the \n \t\tcompany's decision - but it wasn't the","\t\t\t\tMRS. JANKIS \n \t\tSammy, it's time for my shot. \n \n Sammy looks up, smiling, glad to help. He goes into the \n kitchen and comes back with a bottle of insulin, a syringe","\t\t... and as long as he kept his mind on \n \t\twhat he was doing. \n \n Sammy wipes a spot on Mrs. Jankis' arm with a swab, then","him her other arm. Sammy injects the insulin, then looks up \n at her and smiles. \n \n Sammy watches T.V. Mrs. Jankis sets her watch back by fifteen \n minutes. \n","\t\t\t\tMRS. JANKIS (cont'd) \n \t\tSammy, it's time for my shot. \n \n Sammy looks over from the T.V., smiling, glad to be able to \n help. \n","\t\t\"thanks\" and got up to leave. I found \n \t\tout later that she went home and gave \n \t\tSammy his final exam. \n","Mrs. Jankis comes into the room. Sammy is seated, watching \n T.V. He looks up at her with a smile. She smiles back, tense. \n \n \t\t\t\tLEONARD (V.0.)","in her hands, SOBBING. Sammy wipes his face on his sleeve. \n \n BACK TO LEONARD IN MOTEL ROOM: \n","\t\tso she found a way to test him. \n \n Sammy injects the insulin, then withdraws the needle, smiles \n reassuringly at his wife and goes back into the kitchen. \n \n Mrs. Jankis watches Sammy flipping through the channels,","\t\t\t\tLEONARD (V.0.) (CONT'D) \n \t\t... he should just... snap out of it. \n \n Sammy's Wife THROWS her drink in Sammy's face, puts her head","Your wife always used to say you'd be late for your own funeral. \n Remember that? Her little joke because you were such a slob-always \n late, always forgetting stuff, even before the incident. \n","\t\tshe'd treated him. It had got to the \n \t\tpoint where she'd get Sammy to hide food \n \t\tall around the house, then stop feeding \n \t\thim to see if his hunger would make him","\t\tWhen his wife looked into his eyes she\t\t\t * \n \t\tthought he could be the same as he ever\t\t\t* \n \t\twas. When I looked into Sammy's eyes, I\t\t\t*","Sammy looks up, smiling, glad to be able to help. He goes \n into the kitchen and comes back with the bottle of insulin, \n the syringe and a new cotton swab. \n \n He carefully prepares the injection and Mrs. Jankis offers"],["\t\tIt's been fun, Lenny. \n \n Teddy walks off. Leonard pulls his Polaroids out of his \n pocket and finds the one of Teddy. He places it on the dash,","of Teddy, then picks up the phone and dials Teddy's number. \n The phone is answered: \n \n \n \n \n \t\t\t\t\t\t\t(CONTINUED) \n","\t\t'cos this guy's dead. \n \n Leonard CRACKS Teddy over the head with the FLOORBOARD.\t * \n \n \t\t\t\tTEDDY (cont'd)\t\t\t\t\t\t*","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","\t\t\t\t\t\t\t111. \n \n 174 CONTINUED:\t\t\t\t\t\t\t 174 \n \n \t\t\t\tTEDDY (cont'd)\t\t\t\t\t\t*","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","Teddy is now wearing his big grin, rubbing his neck. \n \t\t\t\t\t\t\t \n \n \t\t\t\t\t\t\t(CONTINUED) \n \t\t\t\t\t\t\t66. \n","178 CONTINUED: (3)\t\t\t\t\t\t\t 178 \n \n \t\t\t\tTEDDY (cont'd)\t\t\t\t\t\t*","He THRUSTS the barrel of his gun into Teddy's mouth and WE \n ARE AT THE SHOT FROM THE END OF THE OPENING SEQUENCE. Teddy \n panics, shaking his head, trying to talk around the metal,","Leonard, startled, GRABS Teddy by the throat. \n \n \t\t\t\t\t\t\tCUT TO: \n","affects a casual air, shrugging dismissively, \n \n \t\t\t\tTEDDY (cont'd) \n \t\tFuck this. \n \n Teddy turns and heads for the door. Leonard LEAPS on him,","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","Teddy APPROACHING the glass door of the office. Leonard \n watches carefully as Teddy shambles up to the office door. A \n BELL CHIIIES as Teddy enters and breaks into his shit-eating \n grin. Leonard slips the photo into his pocket.","\t\t\t\t\t\t\t68. \n \n 115 CONTINUED: (3)\t\t\t\t\t\t\t 115 \n \n \t\t\t\tTEDDY \n \t\t (grins)","\t\t\t\tTEDDY \n \t\t (off look) \n \t\tYou know, when we found your guy and\t\t\t * \n \t\tkilled him. \n \t\t (off look)","\t\t\t\t\t\t\t47. \n \n 69 CONTINUED: (3)\t\t\t\t\t\t\t 69 \n \t\t\t\t\t\t\t \n \t\t\t\tTEDDY","178 CONTINUED:\t\t\t\t\t\t\t 178 \n \n \t\t\t\tTEDDY \n \t\t (chuckles) \n \t\tWhat difference does it make whether he\t\t\t*","Leonard starts the engine. Through the rear-view mirror, \n Leonard stares at Teddy's retreating form. Thinking. Leonard \n PULLS OUT onto the road. \n","Leonard FLINCHES. A DEAFENING ROAR as wet red leaps off his \n face and suit and head, with a SPASM, reassembles itself \n into the face of TEDDY (40's, moustache) and we- \n","\t\tTeddy! \n \n \t\t\t\t\t\t\t(CONTINUED) \n \n MEMENTO Pink Revisions - 9/7/99 \n \t\t\t\t\t\t\t\t3A. \n"],["The Polaroid camera is lowered, revealing the sweaty, heavy- \n breathing face of LEONARD (mid-30's). There are droplets of \n blood across his face. Leonard stares, satisfied, at","\t\t\t\tLEONARD \n \t\tSomething to remember you by. \n \n Leonard lowers the camera and takes out a pen, resting the \n picture against the truck, about to write on the white strip \n beneath the developing picture. \n","Leonard BREATHES as he stands up. He nods to himself with \n satisfaction. He looks around for his POLAROID CAMERA. He \n snaps a FLASH picture of Jimmy's body, and stares intently at","\t\t\t\tLEONARD (cont'd) \n \t\tNo, really. Memory's not perfect. It's \n \t\tnot even that good. Ask the police, \n \t\teyewitness testimony is unreliable. The","camera. He lowers the camera and smiles. \n \n \t\t\t\tLEONARD (cont'd) \n \t\tSomething to remember you by. \n \n Natalie smiles unconvincingly, perturbed, and exits. Leonard","\t\t\t\tLEONARD \n \t\tNo. No, just let me think for a minute. \n \n Leonard moves to the dresser and starts methodically emptying \n his pockets. He pulls a Polaroid out of his inside jacket \n pocket. \n","Leonard stands in the dimly-lit, decaying former hallway. He \n pulls a stack of POLAROID PHOTOGRAPHS out of his pocket and \n leafs through them as Teddy starts walking towards him. \n","Leonard drops the plastic bag and takes his jacket off. He \n feels something in the pocket, sticks his hand in and pulls\t* \n out a charred Polaroid photograph.\t\t\t\t\t\t* \n","Leonard pulls out his Polaroids and flips through them. He \n pauses at the one of Natalie. Teddy SWIPES it out of his \n hands to get a better look at the blurred image of Natalie \n turning in a doorway. \n","starts knocking BITS OF BROKEN WINDOW GLASS out of the \n driver's side window with his elbow then pulling photos and \n pieces of paper out of his pockets as he drives. \n \n Leonard finds a NOTE that gives a description of Dodd, along","Leonard stuffs the Polaroids back into his pocket, reaches \n around to the back of his waistband and draws a HANDGUN, \n keeping it out of Teddy's line of sight. Teddy enters, wary. \n","Leonard examines it, PUZZLED. All that is visible is AN ARM, * \n lying on a floor. Leonard reaches into the other pocket and\t* \n pulls out his POLAROIDS, flicking through them until he finds","through his Polaroids. He finds one of a PICKUP TRUCK, spots \n it in the lot, and walks over to it. He turns around and \n points his camera at Teddy. Teddy grins wider. Leonard snaps \n the picture. \n","Natalie leans in close, studying Leonard, looking him over. \n \n \t\t\t\tNATALIE \n \t\tWhat's the last thing you remember? \n \t\tLeonard looks at her. \n \n CUT TO FLASHBACK:","him on the edge of the bed. Leonard takes a POLAROID \n PHOTOGRAPH of the bloody, taped-up Dodd. \n \n Leonard shoves Dodd into the closet, takes out a NOTE and","Leonard looks at the house. Teddy motions towards Leonard's \n pockets. \n \n \t\t\t\tTEDDY (cont'd) \n \t\tTake a look at your pictures, I bet you \n \t\tgot one of her. \n","Leonard gets Polaroids out of his pocket. The first one is of \n the Discount Inn. He STICKS it onto an already-squashed lump * \n of blue tack at the end of an ARROW drawn from a location on \n the outskirts of town.","Leonard sticks the photo of Teddy BETWEEN HIS TEETH as he \n holds his HANDGUN up and checks that it is loaded. He sticks \n the GUN in the back of his waistband. \n","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","Leonard fishes photographs out of his pocket, examining them. \n The Landcruiser ACCELERATES until it is uncomfortably close. \n Leonard slows, turning into a PARKING LOT. The Landcruiser \n follows. \n"],["\t\tYour name's Teddy. \n \n \t\t\t\tTEDDY \n \t\t (chuckles) \n \t\tMy mother calls me Teddy. I'm John Edward","of Teddy, then picks up the phone and dials Teddy's number. \n The phone is answered: \n \n \n \n \n \t\t\t\t\t\t\t(CONTINUED) \n","\t\tThis guy told me his name was Teddy. \n \n He turns the photo over and examines the white stop on the \n back. It says only: \n \n \"DON'T BELIEVE HIS LIES\" \n \n \n","Teddy is now wearing his big grin, rubbing his neck. \n \t\t\t\t\t\t\t \n \n \t\t\t\t\t\t\t(CONTINUED) \n \t\t\t\t\t\t\t66. \n","\t\t\t\t\t\t\t111. \n \n 174 CONTINUED:\t\t\t\t\t\t\t 174 \n \n \t\t\t\tTEDDY (cont'd)\t\t\t\t\t\t*","\t\tWho did he go to meet? \n \n Natalie studies Leonard. \n \n \t\t\t\tNATALIE \n \t\tA guy called Teddy. \n \n Leonard does not react to the name. \n","\t\t\t\tTEDDY \n \t\tJust Teddy. Don't write Gammell please. \n \n Leonard raises his eyebrows. \n \n \t\t\t\tTEDDY (cont'd)","\t\tTeddy! \n \n \t\t\t\t\t\t\t(CONTINUED) \n \n MEMENTO Pink Revisions - 9/7/99 \n \t\t\t\t\t\t\t\t3A. \n","178 CONTINUED: (3)\t\t\t\t\t\t\t 178 \n \n \t\t\t\tTEDDY (cont'd)\t\t\t\t\t\t*","Teddy pretends to think hard. \n \n \t\t\t\tTEDDY \n \t\tDid you? I musta forgot. I'm Teddy.\t\t\t * \n \n \t\t\t\tLEONARD","Leonard FLINCHES. A DEAFENING ROAR as wet red leaps off his \n face and suit and head, with a SPASM, reassembles itself \n into the face of TEDDY (40's, moustache) and we- \n","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","\t\tThings change. \n \n \t\t\t\tTEDDY \n \t\tSo I see. It's good to see you. My name's \n \t\tTeddy. \n \n \t\t\t\tLEONARD","\t\t\t\tTEDDY \n \t\tJimmy's a drug dealer. This cop wanted to \n \t\tknow all about how he sets up deals, shit \n \t\tlike that. He's got some score in mind\t\t\t *","\t\t\t\t\t\t\t68. \n \n 115 CONTINUED: (3)\t\t\t\t\t\t\t 115 \n \n \t\t\t\tTEDDY \n \t\t (grins)","\t\tthe name of a motel. \n \n Teddy starts looking for a piece of paper. \n \n \t\t\t\tTEDDY (cont'd) \n \t\tGood thing I found you. She's bad news. \n","178 CONTINUED:\t\t\t\t\t\t\t 178 \n \n \t\t\t\tTEDDY \n \t\t (chuckles) \n \t\tWhat difference does it make whether he\t\t\t*","\t\t\t TEDDY \n \t Sammy was a con man. A faker. \n \n \t\t\t LEONARD \n \t I never said he was faking! I never said \n \t that! \n","\t\t\t\t\t\t\t47. \n \n 69 CONTINUED: (3)\t\t\t\t\t\t\t 69 \n \t\t\t\t\t\t\t \n \t\t\t\tTEDDY","\t\t\t\tTEDDY \n \t\tHis name's James F. Grantz, John G. Check\t\t * \n \t\tyour tattoos.\t\t\t\t\t\t\t * \n \n \t\t\t\tLEONARD"],["DOWN, some BACKWARDS. Leonard examines his tattoos, \n methodically. From Leonard's POV, the most striking is an \n upside-down tattoo on his BELLY which says: \n","Leonard (boxers, bandaged arm) TATTOOS HIMSELF as he talks on * \n the phone. So far he has tattooed: \n \n \"FACT 5.\" \n \n \t\t\t\tLEONARD","end of Leonard's tattoos.\t\t\t\t \n \n \t\t\t\tNATALIE (cont'd) \n \t\tYou don't seem the type. \n \n She pushes back the sleeve, trying to read the tattoo.","Leonard lies on the bed, in jeans, topless. He reaches for the \n ringing phone with his left arm. As his hand reaches the \n receiver Leonard reads the tattoo on his arm which says:\t * \n \n \"NEVER ANSWER THE PHONE\" \n","ARM. He looks do at the TATTOOS ALL OVER HIS CHEST, STOMACH\t* \n AND ARMS. \n \n \t\t\t\tLEONARD (cont'd)","Leonard looks at the INK-COVERED NEEDLE. Leonard consults the \n FILE CARD. It has a HANDWRITTEN MESSAGE: \n \n \"TATTOO: ACCESS TO DRUGS\" \n","The photo of himself, bare-chested, tattooed and grinning\t * \n maniacally, pointing to the bare area of skin above his\t * \n heart. Leonard stares at it, disturbed. Underneath the photo *","Extreme close-up of the tattooing needle finishing an \"F\". \n \n Wider shows us Leonard sitting with his suit trousers around \n his ankles in a curtained cubicle. Next to him on the floor","LEONARD REMOVES THE BANDAGE FROM HIS LEFT ARM, REVEALING A\t * \n CRUDE TATTOO WHICH SAYS: \n \n \"NEVER ANSWER THE PHONE\" \n \n Leonard looks up.","Leonard takes out the REGISTRATION DOCUMENT and examines it. \n Holding the photo of Teddy and the registration document, \n Leonard checks off his TATTOOED FACTS: \n \n \t\t\t\tLEONARD (cont'd)","Leonard takes his pen and alters his FILE CARD to read: \n \n \"TATTOO: FACT 5. DRUG DEALER\" \n \n Leonard picks up the NEEDLE/PEN and continues his tattoo. \n","Leonard (beige suit) enters. A TATTOOIST is sitting with a \n magazine, smoking. \n \n \t\t\t\tLEONARD \n \t\tDidn't know this town had a parlor. \n","is his sports bag of notes and papers. The tattooist is\t * \n tattooing his thigh, Leonard is reading a file, fascinated. \n \n The curtain is thrust open and Teddy pokes his head in. \n \n \t\t\t\tTEDDY","\t\t\t\tLEONARD \n \t\tIt'll be alright for a minute. \n \n Teddy shrugs. The tattooist looks up at him. \n \n \t\t\t\tTATTOOIST \n \t\tWait out there.","The tattooist looks to Leaonard. Leonard shrugs.\t\t\t * \n \n \t\t\t\tLEONARD \n \t\tHow'd you know I was in here? \n \n \t\t\t\tTEDDY","looks at the sedan, then reaches into his sports bag for a \n PEN and a FILE CARD. He writes on the file card: \n \n \"TATTOO: I'VE DONE IT\" \n \n Leonard looks from the card to Teddy's sedan.","to scrub the writing off his skin. To his surprise, it is \n INDELIBLE. Leonard looks at it, quizzical, then notices some \n markings on his wrist, pulling his sleeve back to get a \n better look. He can read the start of a message:","The arrow points to a sentence tattooed along Earl's inner arm. Earl \n reads the sentence once, maybe twice. Another arrow picks up at the \n beginning of the sentence, points farther up Earl's arm, disappearing","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","Leonard writes on the file card: \n \n \"TATTOO: FACT 6. CAR LICENSE NUMBER\" \n \n \t\t\t\tLEONARD (V.O.)(cont'd)"],["SCRATCHING his cheek. Leonard tips his head back and \n increases his efforts. Jimmy STOPS struggling. Leonard keeps \n his hands around Jimmy's throat until he is confident that he \n is DEAD. \n","Leonard HITS Jimmy around the head with the jack handle. \n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \n into the dark hallway. Leonard bends over the groaning Jimmy, \n frisking him, finding nothing. \n","approaches a large, clearly abandoned DERELICT BUILDING. \n Leonard is driving. He wears a BEIGE SUIT and BLUE SHIRT (no \n blood). Next to him is TEDDY. Leonard stops the car next to a","again, misses. Leonard GRABS him, taking him down. The two of \n them STRUGGLE on the floor. Leonard gets ON TOP of Jimmy, \n CHOKING him. Jimmy tries to speak, but can only make GURGLING","The point of light GOES OUT. Leonard KICKS the door in, \n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \n \n Leonard stands over him, looking down. The man is","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","167\t INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE## \n 167 \n \n Jimmy's arms THRASH, his hands catching Leonard's face,","having destroyed the entire image but for an arm resting on a \n floor. Leonard sticks the remnants into his jacket pocket. He \n looks in the rear-view mirror at Teddy, who scrabbles around \n in the bushes. \n","Leonard, startled, GRABS Teddy by the throat. \n \n \t\t\t\t\t\t\tCUT TO: \n","Leonard. Her face is bloody but she smiles. \n \n \t\t\t\tNATALIE (cont'd) \n \t\tSee you soon. \n \n Natalie exits. Leonard watches her walk out to her car and","HITTING Dodd square in the face with the empty vodka bottle, \n which does not break. \n \n Dodd lies still on the floor, bleeding, his hand still in his \n inside jacket pocket. Leonard stands above him, naked,","Dodd uses Leonard to pull himself off the floor then PUNCHES \n the side of his head and pushes him HARD, Leonard FLAILING \n wildly, GRABBING THE EMPTY VODKA BOTTLE from by the sink as","Leonard's wife THRASHES her head from side to side, \n STRUGGLING to breathe though the clear plastic shower \n curtain. \n \n BACK TO SCENE: \n","then SHOOTS at Leonard, SHATTERING the driver's side window, \n triggering the CAR ALARM. \n \n Dodd climbs through the window and takes off after him. \n","With his left hand, Leonard opens the door. He rolls out, \n SLAMMING the door in Dodd's face, and hitting the central \n locking on his car keys. \n \n Leonard TAKES OFF across the asphalt. Dodd tries the doors,","stands in the doorway, smoking gun in hand. He is HIT HARD \n from behind by an UNSEEN ASSAILANT who GRABS Leonard by the \n HAIR and THROWS his HEAD into the MIRROR, SHATTERING IT.","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","The Polaroid camera is lowered, revealing the sweaty, heavy- \n breathing face of LEONARD (mid-30's). There are droplets of \n blood across his face. Leonard stares, satisfied, at","Leonard BREATHES as he stands up. He nods to himself with \n satisfaction. He looks around for his POLAROID CAMERA. He \n snaps a FLASH picture of Jimmy's body, and stares intently at","Leonard enters and SCANS the room. Burt picks his nails in \n the doorway. Leonard moves to the unmade bed. There is a pile \n of BLOODSTAINED TISSUES. On the bedside table is an ICE"],["\t\t\t\tNATALIE (cont'd) \n \t\tWell, it seems like Jimmy knows you. He \n \t\ttold me about you. Said you were staying","\t\t\t\t\t\t\t74. \n \n 120 CONTINUED:\t\t\t\t\t\t\t 120 \n \n \t\t\t\tNATALIE (cont'd)","\t\t\t\t\t\t\t81. \n \n 123 CONTINUED: (4)\t\t\t\t\t\t\t 123 \n \n Natalie gets to her feet, and goes to the door. She turns to","Natalie showed him on top of some papers on a desk in the \n corner. He holds it in a shaft of light from the streetlamp \n outside, studying the photo of Natalie and Jimmy. \n","\t\t\t\tNATALIE \n \t\tI gotta be someplace. \n \n She gets out of bed, wearing pajamas. Leonard swings his legs \n out of the bed and realizes that he is wearing trousers and","DRUNK with shaky hands sits at the bar. Natalie (without \n bruises) is working behind the bar. She tops up a silver \n tankard with beer, brings it over and sets it in front of \n Leonard, smiling. \n","Leonard opens the door for her. \n \n \t\t\t\tLEONARD \n \t\tWhat happened? \n \n Natalie, intensely AGITATED, FUMBLES with things in her \n purse. \n","\t\t\t\tNATALIE \n \t\tI wrote an address in there, too. Might \n \t\tbe useful. It's this abandoned place \n \t\toutside of town. I guy I know used to use","sits down on the couch and writes \"Natalie\" on the white \n strip under her photo as it develops into the blurred image \n of Natalie which we have seen before. He takes out his other \n Polaroids, flipping through them. \n","Leonard bends his head around to see if Natalie is awake. She \n closes her eyes. Leonard gingerly slides from underneath her \n and moves silently out of the bedroom. \n","\t\tLenny, as a buddy, let me inform you. \n \t\tYour business here is very much finished. \n \t\tYou're still here because of Natalie. \n \n \t\t\t\tLEONARD","pulls out his Polaroids, flips through them: a Jaguar, the \n Discount Inn, Natalie. He flips Natalie's picture over and \n looks at the back. There are two messages, but the first one","\t\t\t\t\t\t\t85. \n \n 130 CONTINUED:\t\t\t\t\t\t\t 130 \n \n \t\t\t\tNATALIE","\t\tShe's gone and the present is trivia, \n \t\twhich I can scribble down as notes. \n \n Natalie stares at Leonard, thinking. \n \n \n \n \n","Leonard slips into the seat opposite her. Natalie is pretty, \n but has bruising around one eye, and a mark on her lip. \n \n \t\t\t\tNATALIE \n \t\tYou don't remember me. \n","\t\t\t\tNATALIE \n \t\tI'm sorry. \n \n She takes a BROWN ENVELOPE out of her handbag. \n \n \t\t\t\tNATALIE (cont'd)","Natalie waves the Polaroid at him. \n \n \n \n \n \n \t\t\t\t\t\t\t(CONTINUED) \n \t\t\t\t\t\t\t38. \n","\"CITY GRILL, MAIN ST. THURSDAY, 1.OOPM MEET NATALIE FOR INFO\" \n \n He sticks the note in his pocket and pulls out his Polaroid \n photographs. He flips through them until he finds Natalie's.","Natalie hands him a note. It says: \n \n \n \t\t\t\t\t\t\t(CONTINUED) \n \n MEMENTO Pink Revisions - 9/7/99 \n \t\t\t\t\t\t\t76. \n","Leonard OPENS the door for her. She RUSHES past him.\t\t * \n \n \t\t\t\tLEONARD \n \t\tWhat happened? \n \n Natalie, intensely AGITATED, FUMBLES with things in her purse."],["\t\t\t TEDDY \n \t Sammy was a con man. A faker. \n \n \t\t\t LEONARD \n \t I never said he was faking! I never said \n \t that! \n","\t\tabout Sammy?\t\t\t\t\t\t\t * \n \n \t\t\t\tTEDDY \n \t\t (chuckles) \n \t\tYou tell everyone about Sammy. Everyone","Leonard writes another message beneath these two: \n \n \"KILL HIM\" \n \n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \n his HANDGUN up and checks that it is loaded. He sticks the","Teddy APPROACHING the glass door of the office. Leonard \n watches carefully as Teddy shambles up to the office door. A \n BELL CHIIIES as Teddy enters and breaks into his shit-eating \n grin. Leonard slips the photo into his pocket.","Teddy reaches out to Leonard's lapel, and gently opens his \n jacket to reveal the label. \n \n \t\t\t\tTEDDY (cont'd) \n \t\tPut it this way. Were you wearing","Leonard stuffs the Polaroids back into his pocket, reaches \n around to the back of his waistband and draws a HANDGUN, \n keeping it out of Teddy's line of sight. Teddy enters, wary. \n","\t\t\t\tTEDDY (cont'd) \n \t\tGreat shot, Lenny. \n \n Teddy flips the photo over. There is nothing on the back. \n Teddy hands it back to Leonard. \n","\t\t\t\tLEONARD \n \t\tWhat happened? \n \n \t\t\t\tNATALIE \n \t\tWhat happened is that Jimmy went to meet \n \t\ta guy called Teddy. He took a lot of","Leonard cranks it down. Teddy looks at Leonard with something \n like fatherly affection. \n \n \t\t\t\tTEDDY (cont'd) \n \t\tMake him beg. \n","Teddy is down. Leonard DRAGS him back, deeper into the dark \n house. Leonard is in a frenzy. He dumps Teddy at the end of \n the hall and stands over him. Teddy SPITS BLOOD. \n","\t\t (gasping) \n \t\tTeddy. Your buddy. \n \n \t\t\t\tLEONARD \n \t\tProve it. \n \n \t\t\t\tTEDDY \n \t\t (gasping)","He flips Teddy's picture over, like a croupier turning a card \n at blackjack. On the back it says: \n \n \"DON'T BELIEVE HIS LIES\" \n \n Leonard purses his lips in surprised frustration. He grabs","\t\tIt's been fun, Lenny. \n \n Teddy walks off. Leonard pulls his Polaroids out of his \n pocket and finds the one of Teddy. He places it on the dash,","\t\tunderstand. Sammy's story helps me \n \t\tunderstand my own situation. \n \n Leonard touches the tattoo on the back of his hand. \n \n \t\t\t\tLEONARD (cont'd)","Leonard looks coldly at Teddy's smiling image. \n \n \t\t\t\tLEONARD (cont'd) \n \t\tI found you, you fuck. \n \n Leonard turns the photo face down, takes a pen and writes: \n","\t\tI was wrong! That's the whole point! \n \t\tSammy's wife came to me and - \n \n \t\t\t\tTEDDY \n \t\tSammy didn't have a wife. \n","\t\tSammy... remember Sammy... \n \n Leonard is SHOCKED. Jimmy is silent. The sound of a CAR \n outside. Leonard JUMPS to his feet. \n","\t\tC'mon, Lenny - we'll take a look down \n \t\tthere together. Then you'll know. You'll \n \t\tknow what you really are. \n \n Leonard glances fearfully at the door, then looks at Teddy.","Leonard TOSSES the GUN into the trunk. It lands on PILES OF \n BANKNOTES STUFFED IN THE TRUNK. Teddy REACTS to the sight of \n the money. Leonard glances at Teddy, then the money, shakes","Leonard finds a photo showing Teddy with a shit-eating grin \n standing in front of the pickup truck. On the broad white \n strip beneath the photo is handwritten: \n"]],"string":"[\n [\n \"\\t\\t\\t\\t\\t\\t\\t\\t4. \\n \\n 4 CONTINUED: (2)\\t\\t\\t\\t\\t\\t4 \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tI'm Leonard Shelby, I'm from San\",\n \"\\t\\tthe incident. I'm Leonard Shelby, I'm \\n \\t\\tfrom San Fran - \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tThat's who you were, Lenny. You don't\",\n \"65 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 65 \\n \\n \\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tSo good old Leonard Shelby from the \\n \\t\\tinsurance company gives her the seed of\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tNo, really. Memory's not perfect. It's \\n \\t\\tnot even that good. Ask the police, \\n \\t\\teyewitness testimony is unreliable. The\",\n \"The Polaroid camera is lowered, revealing the sweaty, heavy- \\n breathing face of LEONARD (mid-30's). There are droplets of \\n blood across his face. Leonard stares, satisfied, at\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tYeah? \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Blue Revisions - 8/27/99\",\n \"\\t\\tThis is Leonard. Thanks. Bye. \\n \\n Leonard hangs up. He looks around the room. He slips the \\n HANDGUN into the bedside drawer, resting it on the GIDEON\",\n \"Burt tries to SHEPHERD Leonard out of the room. \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Blue Revisions - 8/27/99\",\n \"MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t41. \\n \\n 58 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 58 \\n \\n \\t\\t\\t\\tLEONARD\",\n \"starts knocking BITS OF BROKEN WINDOW GLASS out of the \\n driver's side window with his elbow then pulling photos and \\n pieces of paper out of his pockets as he drives. \\n \\n Leonard finds a NOTE that gives a description of Dodd, along\",\n \"\\t\\tremember stuff, who'd forget how he got \\n \\t\\there or where he was going. I told him we \\n \\t\\tget a lot of guys like that in here. \\n \\n Leonard does not find this funny. \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tThank you. \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n MEMENTO Pink Revisions - 9/7/99\",\n \"CUT BACK TO LEONARD IN MOTEL ROOM: \\n \\n \\n MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t28. \\n\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tHere we go. \\n \\n The Polaroid shows Dodd sitting on the bed, BOUND, GAGGED and \\n BLEEDING. The name Dodd is written below the picture. Leonard\",\n \"\\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tSo you're in some motel room... \\n \\n He gets up, surveys the room as if for the first time. He\",\n \"Natalie leans in close, studying Leonard, looking him over. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat's the last thing you remember? \\n \\t\\tLeonard looks at her. \\n \\n CUT TO FLASHBACK:\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tSomething to remember you by. \\n \\n Leonard lowers the camera and takes out a pen, resting the \\n picture against the truck, about to write on the white strip \\n beneath the developing picture. \\n\",\n \"Leonard sits, studying his Polaroids. A metallic howl makes\\t* \\n him glance up and he sees the lid of a dumpster BANG SHUT. He * \\n puts his Polaroids in his pocket and examines the beer mat\\t *\",\n \"Leonard fishes photographs out of his pocket, examining them. \\n The Landcruiser ACCELERATES until it is uncomfortably close. \\n Leonard slows, turning into a PARKING LOT. The Landcruiser \\n follows. \\n\",\n \"Leonard fishes a piece of paper out of his pocket. There is a \\n message on it which he reads. It says: \\n \\n \\\"CITY GRILL, MAIN ST. THURSDAY, 1:00PM MEET NATALIE FOR \\n INFO\\\" \\n\"\n ],\n [\n \"\\t\\t\\t\\tMRS. JANKIS \\n \\t\\tSammy, it's time for my shot. \\n \\n Sammy looks up, smiling, glad to help. He goes into the \\n kitchen and comes back with a bottle of insulin, a syringe\",\n \"\\t\\tcame across Sammy. Mr Samuel R. Jankis - \\n \\t\\tstrangest case ever. Guy's 58, semi- \\n \\t\\tretired accountant. He and his wife had\",\n \"Sammy injects her in the stomach. \\n \\n \\t\\t\\t\\t\\t\\t\\t DISSOLVE TO: \\n \\n Mrs. Jankis, unconscious in her chair. Sammy glances over from \\n watching T.V. commercials, wondering. \\n\",\n \"\\t\\twhat had happened. \\n \\n Sammy strokes Mrs. Jankis' cheek, crying. \\n \\n 143 INT. CROWDED DAY ROOM OF A NURSING HOME - DAY ##BLACK AND 143\",\n \"\\t\\t\\t\\tMRS. JANKIS (cont'd) \\n \\t\\tSammy, it's time for my shot. \\n \\n Sammy looks over from the T.V., smiling, glad to be able to \\n help. \\n\",\n \"\\t\\t... and as long as he kept his mind on \\n \\t\\twhat he was doing. \\n \\n Sammy wipes a spot on Mrs. Jankis' arm with a swab, then\",\n \"Mrs. Jankis comes into the room. Sammy is seated, watching \\n T.V. He looks up at her with a smile. She smiles back, tense. \\n \\n \\t\\t\\t\\tLEONARD (V.0.)\",\n \"desk to shake hands with Mrs. Jankis. They talk, Leonard \\n nodding as he listens. Mrs. Jankis is crying. \\n \\n \\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tShe told me about life with Sammy, how\",\n \"\\t\\tso she found a way to test him. \\n \\n Sammy injects the insulin, then withdraws the needle, smiles \\n reassuringly at his wife and goes back into the kitchen. \\n \\n Mrs. Jankis watches Sammy flipping through the channels,\",\n \"\\t\\t\\t\\tMRS. JANKIS \\n \\t\\tMr. Shelby, you know all about Sammy and \\n \\t\\tyou decided that he was faking - \\n \\n \\t\\t\\t\\tLEONARD\",\n \"then moves to the sink and starts washing his hands. He \\n notices a MESSAGE written on the back of his hand. \\n \\n \\\"REMEMBER SAMMY JANKIS\\\" \\n \\n He stares at the message for a second, thoughtful, then tries\",\n \"Mrs. Jankis offers Sammy her leg, and he gives her another \\n shot of insulin, smiling. \\n \\n \\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tShe really thought she would call his \\n \\t\\tbluff... \\n\",\n \"him her other arm. Sammy injects the insulin, then looks up \\n at her and smiles. \\n \\n Sammy watches T.V. Mrs. Jankis sets her watch back by fifteen \\n minutes. \\n\",\n \"\\t\\tMrs. Jankis, the company's position \\n \\t\\tisn't that Sammy is \\\"faking\\\" anything, \\n \\t\\tjust that his condition can't be shown - \\n \\n \\t\\t\\t\\tMRS. JANKIS\",\n \"Sammy rolls a small GLASS BOTTLE between the palms of his \\n hands. Mrs. Jankis rolls up her sleeve. Leonard watches as \\n Sammy takes a SYRINGE and pushes the needle through the\",\n \"\\t\\tremember where he'd hidden the stuff. \\n \\t\\tShe wasn't a cruel person, she just \\n \\t\\twanted her old Sammy back. \\n \\n The tearful Mrs. Jankis gives Leonard a determined look. \\n\",\n \"Sammy looks up, smiling, glad to be able to help. He goes \\n into the kitchen and comes back with the bottle of insulin, \\n the syringe and a new cotton swab. \\n \\n He carefully prepares the injection and Mrs. Jankis offers\",\n \"\\t\\twho'll listen. \\\"Remember Sammy Jankis, \\n \\t\\tremember Sammy Jankis\\\". Great story. Gets \\n \\t\\tbetter every time you tell it. So you \\n \\t\\tlie to yourself to be happy. Nothing\",\n \"\\t\\tSo I can't remember talking to you. What \\n \\t\\tdid we talk about? \\n \\t\\t (nods) \\n \\t\\tSammy Jankis. Yeah, I guess I tell \\n \\t\\tpeople about Sammy to help them\",\n \"\\t\\tI believe that Sammy should be \\n \\t\\tphysically capable of making new \\n \\t\\tmemories. \\n \\n \\t\\t\\t\\tMRS. JANKIS \\n \\t\\tThank you. \\n\"\n ],\n [\n \"\\t\\t\\t\\t\\t\\t\\t74. \\n \\n 120 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 120 \\n \\n \\t\\t\\t\\tNATALIE (cont'd)\",\n \"\\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tWell, it seems like Jimmy knows you. He \\n \\t\\ttold me about you. Said you were staying\",\n \"\\t\\t\\t\\t\\t\\t\\t81. \\n \\n 123 CONTINUED: (4)\\t\\t\\t\\t\\t\\t\\t 123 \\n \\n Natalie gets to her feet, and goes to the door. She turns to\",\n \"Natalie showed him on top of some papers on a desk in the \\n corner. He holds it in a shaft of light from the streetlamp \\n outside, studying the photo of Natalie and Jimmy. \\n\",\n \"\\t\\t\\t\\tNATALIE \\n \\t\\tI gotta be someplace. \\n \\n She gets out of bed, wearing pajamas. Leonard swings his legs \\n out of the bed and realizes that he is wearing trousers and\",\n \"\\t\\t\\t\\t\\t\\t\\t85. \\n \\n 130 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 130 \\n \\n \\t\\t\\t\\tNATALIE\",\n \"Leonard opens the door for her. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n Natalie, intensely AGITATED, FUMBLES with things in her \\n purse. \\n\",\n \"DRUNK with shaky hands sits at the bar. Natalie (without \\n bruises) is working behind the bar. She tops up a silver \\n tankard with beer, brings it over and sets it in front of \\n Leonard, smiling. \\n\",\n \"\\t\\tShe's gone and the present is trivia, \\n \\t\\twhich I can scribble down as notes. \\n \\n Natalie stares at Leonard, thinking. \\n \\n \\n \\n \\n\",\n \"Natalie waves the Polaroid at him. \\n \\n \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\t\\t\\t\\t\\t\\t\\t38. \\n\",\n \"Leonard bends his head around to see if Natalie is awake. She \\n closes her eyes. Leonard gingerly slides from underneath her \\n and moves silently out of the bedroom. \\n\",\n \"132 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 132 \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tYour condition, I mean. \\n \\n\",\n \"sits down on the couch and writes \\\"Natalie\\\" on the white \\n strip under her photo as it develops into the blurred image \\n of Natalie which we have seen before. He takes out his other \\n Polaroids, flipping through them. \\n\",\n \"Leonard slips into the seat opposite her. Natalie is pretty, \\n but has bruising around one eye, and a mark on her lip. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tYou don't remember me. \\n\",\n \"pulls out his Polaroids, flips through them: a Jaguar, the \\n Discount Inn, Natalie. He flips Natalie's picture over and \\n looks at the back. There are two messages, but the first one\",\n \"\\\"CITY GRILL, MAIN ST. THURSDAY, 1.OOPM MEET NATALIE FOR INFO\\\" \\n \\n He sticks the note in his pocket and pulls out his Polaroid \\n photographs. He flips through them until he finds Natalie's.\",\n \"\\t\\tLenny, as a buddy, let me inform you. \\n \\t\\tYour business here is very much finished. \\n \\t\\tYou're still here because of Natalie. \\n \\n \\t\\t\\t\\tLEONARD\",\n \"Natalie hands him a note. It says: \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t76. \\n\",\n \"\\t\\tDon't say another fucking word! \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tAbout your whore of a wife? \\n \\n Leonard slaps Natalie. She smiles, then speaks softly. \\n\",\n \"\\t\\t\\t\\tNATALIE \\n \\t\\tI wrote an address in there, too. Might \\n \\t\\tbe useful. It's this abandoned place \\n \\t\\toutside of town. I guy I know used to use\"\n ],\n [\n \"Leonard opens the door for her. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n Natalie, intensely AGITATED, FUMBLES with things in her \\n purse. \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhy? \\n \\n Natalie turns to him, ENRAGED. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tBecause of you, you fucking idiot!\",\n \"Leonard leans right over her to get a look at her face. It is \\n NATALIE. The BRUISE on her eye and the MARK on her lip are \\n worse than before. \\n \\n She OPENS her eyes and is startled by the sight of Leonard's\",\n \"Leonard is getting frustrated. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tNeither do I. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tDon't protect him. \\n \\n \\t\\t\\t\\tLEONARD\",\n \"Leonard bends his head around to see if Natalie is awake. She \\n closes her eyes. Leonard gingerly slides from underneath her \\n and moves silently out of the bedroom. \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhat's this all about? \\n \\n Natalie looks at him bitterly. \\n \\n \\t\\t\\t\\tNATALIE\",\n \"Leonard slips into the seat opposite her. Natalie is pretty, \\n but has bruising around one eye, and a mark on her lip. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tYou don't remember me. \\n\",\n \"Leonard nods and stands awkwardly. \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tUh, take a seat. \\n \\n Leonard smiles and sits down in a chair. Natalie clears\",\n \"Leonard pulls up in his Jaguar, gets out, rings the front \\n doorbell. It is opened by Natalie. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tNatalie, right? \\n\",\n \"Leonard turns away, body tensed, ready to snap. Natalie \\n reaches out to gently brush the hair above his ear with her \\n fingers. \\n \\n \\t\\t\\t\\tNATALIE (cont'd)\",\n \"Natalie leans in close, studying Leonard, looking him over. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat's the last thing you remember? \\n \\t\\tLeonard looks at her. \\n \\n CUT TO FLASHBACK:\",\n \"Leonard. Her face is bloody but she smiles. \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tSee you soon. \\n \\n Natalie exits. Leonard watches her walk out to her car and\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tShut the fuck up! \\n \\n Natalie gets right in his face, grinning. \\n \\n \\t\\t\\t\\tNATALIE\",\n \"Leonard fishes a piece of paper out of his pocket. There is a \\n message on it which he reads. It says: \\n \\n \\\"CITY GRILL, MAIN ST. THURSDAY, 1:00PM MEET NATALIE FOR \\n INFO\\\" \\n\",\n \"nothing. Leonard walks past. She sighs and grabs the back of \\n his jacket as he passes. Leonard spins around. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tNatalie. \\n\",\n \"Leonard OPENS the door for her. She RUSHES past him.\\t\\t * \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n Natalie, intensely AGITATED, FUMBLES with things in her purse.\",\n \"\\t\\tWho?! Fuck, Leonard! Dodd! Dodd beat the \\n \\t\\tshit out of me. \\n \\n Natalie FLINGS her purse to the ground in frustration. She \\n does not know what to do with her hands. \\n\",\n \"\\t\\tLenny, as a buddy, let me inform you. \\n \\t\\tYour business here is very much finished. \\n \\t\\tYou're still here because of Natalie. \\n \\n \\t\\t\\t\\tLEONARD\",\n \"\\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tHe beat the shit out of me. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWho? \\n \\n \\t\\t\\t NATALIE\",\n \"Natalie starts to HIT Leonard. He takes her arms. \\n \\n \\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\t (softly) \\n \\t\\tTake it easy. You're safe now. You're\"\n ],\n [\n \"\\t\\tYour name's Teddy. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tMy mother calls me Teddy. I'm John Edward\",\n \"of Teddy, then picks up the phone and dials Teddy's number. \\n The phone is answered: \\n \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n\",\n \"Teddy is now wearing his big grin, rubbing his neck. \\n \\t\\t\\t\\t\\t\\t\\t \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\t\\t\\t\\t\\t\\t\\t66. \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t111. \\n \\n 174 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 174 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"178 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"\\t\\tThis guy told me his name was Teddy. \\n \\n He turns the photo over and examines the white stop on the \\n back. It says only: \\n \\n \\\"DON'T BELIEVE HIS LIES\\\" \\n \\n \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t68. \\n \\n 115 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 115 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (grins)\",\n \"\\t\\tTeddy! \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t\\t3A. \\n\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\tJust Teddy. Don't write Gammell please. \\n \\n Leonard raises his eyebrows. \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\",\n \"\\t\\t\\t\\t\\t\\t\\t47. \\n \\n 69 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 69 \\n \\t\\t\\t\\t\\t\\t\\t \\n \\t\\t\\t\\tTEDDY\",\n \"\\t\\tWho did he go to meet? \\n \\n Natalie studies Leonard. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tA guy called Teddy. \\n \\n Leonard does not react to the name. \\n\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"178 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tWhat difference does it make whether he\\t\\t\\t*\",\n \"Teddy APPROACHING the glass door of the office. Leonard \\n watches carefully as Teddy shambles up to the office door. A \\n BELL CHIIIES as Teddy enters and breaks into his shit-eating \\n grin. Leonard slips the photo into his pocket.\",\n \"115 CONTINUED: (2)\\t\\t\\t\\t\\t\\t\\t 115 \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tYou can't stay with her. Let me give you\",\n \"Leonard FLINCHES. A DEAFENING ROAR as wet red leaps off his \\n face and suit and head, with a SPASM, reassembles itself \\n into the face of TEDDY (40's, moustache) and we- \\n\",\n \"Leonard finds a photo showing Teddy with a shit-eating grin \\n standing in front of the pickup truck. On the broad white \\n strip beneath the photo is handwritten: \\n\",\n \"\\t\\tThings change. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tSo I see. It's good to see you. My name's \\n \\t\\tTeddy. \\n \\n \\t\\t\\t\\tLEONARD\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"affects a casual air, shrugging dismissively, \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tFuck this. \\n \\n Teddy turns and heads for the door. Leonard LEAPS on him,\"\n ],\n [\n \"of Teddy, then picks up the phone and dials Teddy's number. \\n The phone is answered: \\n \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n\",\n \"Teddy is now wearing his big grin, rubbing his neck. \\n \\t\\t\\t\\t\\t\\t\\t \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\t\\t\\t\\t\\t\\t\\t66. \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t111. \\n \\n 174 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 174 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\tJimmy's a drug dealer. This cop wanted to \\n \\t\\tknow all about how he sets up deals, shit \\n \\t\\tlike that. He's got some score in mind\\t\\t\\t *\",\n \"Teddy APPROACHING the glass door of the office. Leonard \\n watches carefully as Teddy shambles up to the office door. A \\n BELL CHIIIES as Teddy enters and breaks into his shit-eating \\n grin. Leonard slips the photo into his pocket.\",\n \"178 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"\\t\\t\\t\\t\\t\\t\\t68. \\n \\n 115 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 115 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (grins)\",\n \"Leonard finds a photo showing Teddy with a shit-eating grin \\n standing in front of the pickup truck. On the broad white \\n strip beneath the photo is handwritten: \\n\",\n \"affects a casual air, shrugging dismissively, \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tFuck this. \\n \\n Teddy turns and heads for the door. Leonard LEAPS on him,\",\n \"Leonard FLINCHES. A DEAFENING ROAR as wet red leaps off his \\n face and suit and head, with a SPASM, reassembles itself \\n into the face of TEDDY (40's, moustache) and we- \\n\",\n \"\\t\\tThis guy told me his name was Teddy. \\n \\n He turns the photo over and examines the white stop on the \\n back. It says only: \\n \\n \\\"DON'T BELIEVE HIS LIES\\\" \\n \\n \\n\",\n \"115 CONTINUED: (2)\\t\\t\\t\\t\\t\\t\\t 115 \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tYou can't stay with her. Let me give you\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t47. \\n \\n 69 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 69 \\n \\t\\t\\t\\t\\t\\t\\t \\n \\t\\t\\t\\tTEDDY\",\n \"178 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tWhat difference does it make whether he\\t\\t\\t*\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"\\t\\tGuess I've told you about my condition. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (grins) \\n \\t\\tOnly every time I see ya! Come on, I'll\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"\\t\\tTeddy! \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t\\t3A. \\n\",\n \"Teddy opens the GLOVE COMPARTMENT, finding a STACK OF BEER \\n MATS from a local bar called FERDY'S.\\t\\t\\t\\t\\t * \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\"\n ],\n [\n \"DOWN, some BACKWARDS. Leonard examines his tattoos, \\n methodically. From Leonard's POV, the most striking is an \\n upside-down tattoo on his BELLY which says: \\n\",\n \"Leonard (boxers, bandaged arm) TATTOOS HIMSELF as he talks on * \\n the phone. So far he has tattooed: \\n \\n \\\"FACT 5.\\\" \\n \\n \\t\\t\\t\\tLEONARD\",\n \"end of Leonard's tattoos.\\t\\t\\t\\t \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tYou don't seem the type. \\n \\n She pushes back the sleeve, trying to read the tattoo.\",\n \"Leonard looks at the INK-COVERED NEEDLE. Leonard consults the \\n FILE CARD. It has a HANDWRITTEN MESSAGE: \\n \\n \\\"TATTOO: ACCESS TO DRUGS\\\" \\n\",\n \"Extreme close-up of the tattooing needle finishing an \\\"F\\\". \\n \\n Wider shows us Leonard sitting with his suit trousers around \\n his ankles in a curtained cubicle. Next to him on the floor\",\n \"The photo of himself, bare-chested, tattooed and grinning\\t * \\n maniacally, pointing to the bare area of skin above his\\t * \\n heart. Leonard stares at it, disturbed. Underneath the photo *\",\n \"Leonard lies on the bed, in jeans, topless. He reaches for the \\n ringing phone with his left arm. As his hand reaches the \\n receiver Leonard reads the tattoo on his arm which says:\\t * \\n \\n \\\"NEVER ANSWER THE PHONE\\\" \\n\",\n \"LEONARD REMOVES THE BANDAGE FROM HIS LEFT ARM, REVEALING A\\t * \\n CRUDE TATTOO WHICH SAYS: \\n \\n \\\"NEVER ANSWER THE PHONE\\\" \\n \\n Leonard looks up.\",\n \"Leonard takes out the REGISTRATION DOCUMENT and examines it. \\n Holding the photo of Teddy and the registration document, \\n Leonard checks off his TATTOOED FACTS: \\n \\n \\t\\t\\t\\tLEONARD (cont'd)\",\n \"Leonard takes his pen and alters his FILE CARD to read: \\n \\n \\\"TATTOO: FACT 5. DRUG DEALER\\\" \\n \\n Leonard picks up the NEEDLE/PEN and continues his tattoo. \\n\",\n \"looks at the sedan, then reaches into his sports bag for a \\n PEN and a FILE CARD. He writes on the file card: \\n \\n \\\"TATTOO: I'VE DONE IT\\\" \\n \\n Leonard looks from the card to Teddy's sedan.\",\n \"Leonard (beige suit) enters. A TATTOOIST is sitting with a \\n magazine, smoking. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tDidn't know this town had a parlor. \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tIt'll be alright for a minute. \\n \\n Teddy shrugs. The tattooist looks up at him. \\n \\n \\t\\t\\t\\tTATTOOIST \\n \\t\\tWait out there.\",\n \"ARM. He looks do at the TATTOOS ALL OVER HIS CHEST, STOMACH\\t* \\n AND ARMS. \\n \\n \\t\\t\\t\\tLEONARD (cont'd)\",\n \"The tattooist looks to Leaonard. Leonard shrugs.\\t\\t\\t * \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tHow'd you know I was in here? \\n \\n \\t\\t\\t\\tTEDDY\",\n \"The arrow points to a sentence tattooed along Earl's inner arm. Earl \\n reads the sentence once, maybe twice. Another arrow picks up at the \\n beginning of the sentence, points farther up Earl's arm, disappearing\",\n \"is his sports bag of notes and papers. The tattooist is\\t * \\n tattooing his thigh, Leonard is reading a file, fascinated. \\n \\n The curtain is thrust open and Teddy pokes his head in. \\n \\n \\t\\t\\t\\tTEDDY\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"\\t\\tunderstand. Sammy's story helps me \\n \\t\\tunderstand my own situation. \\n \\n Leonard touches the tattoo on the back of his hand. \\n \\n \\t\\t\\t\\tLEONARD (cont'd)\",\n \"Leonard writes on the file card: \\n \\n \\\"TATTOO: FACT 6. CAR LICENSE NUMBER\\\" \\n \\n \\t\\t\\t\\tLEONARD (V.O.)(cont'd)\"\n ],\n [\n \"SCRATCHING his cheek. Leonard tips his head back and \\n increases his efforts. Jimmy STOPS struggling. Leonard keeps \\n his hands around Jimmy's throat until he is confident that he \\n is DEAD. \\n\",\n \"Leonard HITS Jimmy around the head with the jack handle. \\n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \\n into the dark hallway. Leonard bends over the groaning Jimmy, \\n frisking him, finding nothing. \\n\",\n \"Leonard BREATHES as he stands up. He nods to himself with \\n satisfaction. He looks around for his POLAROID CAMERA. He \\n snaps a FLASH picture of Jimmy's body, and stares intently at\",\n \"\\t\\t\\t\\tJIMMY (cont'd) \\n \\t\\tYou fucking retard, you can't get away \\n \\t\\twith this - \\n \\n Leonard holds the jack handle above him. \\n\",\n \"again, misses. Leonard GRABS him, taking him down. The two of \\n them STRUGGLE on the floor. Leonard gets ON TOP of Jimmy, \\n CHOKING him. Jimmy tries to speak, but can only make GURGLING\",\n \"Leonard BACKS DOWN the stairs, dragging Jimmy's BODY, head \\n BUMPING down each step. In the middle of the room, Leonard \\n DROPS the legs. Moving fast, Leonard pulls the BEIGE SUIT\\t *\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"The point of light GOES OUT. Leonard KICKS the door in, \\n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \\n \\n Leonard stands over him, looking down. The man is\",\n \"167\\t INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE## \\n 167 \\n \\n Jimmy's arms THRASH, his hands catching Leonard's face,\",\n \"studying his face. Leonard has a JACK HANDLE in his hand. \\n \\n \\t\\t\\t JIMMY (cont'd) \\n \\t\\tWell? \\n \\n \\t\\t\\t\\t\\t\\t\\tFLASHBACK TO: \\n\",\n \"168 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 168 \\n \\n Leonard grabs Jimmy' s body by the legs, DRAGGING him back\\t * \\n towards the basement. He opens the door and BACKS down into\",\n \"clothes onto Jimmy's body. A faint RASPING comes from Jimmy's * \\n throat. Leonard, frightened, bends down to listen. \\n \\n \\t\\t\\t\\tJIMMY \\n \\t\\t (barely and audible rasp)\",\n \"HITTING Dodd square in the face with the empty vodka bottle, \\n which does not break. \\n \\n Dodd lies still on the floor, bleeding, his hand still in his \\n inside jacket pocket. Leonard stands above him, naked,\",\n \"\\t\\tSammy... remember Sammy... \\n \\n Leonard is SHOCKED. Jimmy is silent. The sound of a CAR \\n outside. Leonard JUMPS to his feet. \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat happened is that Jimmy went to meet \\n \\t\\ta guy called Teddy. He took a lot of\",\n \"stands in the doorway, smoking gun in hand. He is HIT HARD \\n from behind by an UNSEEN ASSAILANT who GRABS Leonard by the \\n HAIR and THROWS his HEAD into the MIRROR, SHATTERING IT.\",\n \"\\t\\tThis is Leonard. Thanks. Bye. \\n \\n Leonard hangs up. He looks around the room. He slips the \\n HANDGUN into the bedside drawer, resting it on the GIDEON\",\n \"168 INT. DAY - DERELICT BUILDING - CONTINUOUS <<COLOUR SEQUENCE>>168 \\n \\n Leonard stands above Jimmy's body, examining the picture he\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tJimmy? \\n \\n \\t\\t\\t\\tJIMMY \\n \\t\\tWhat the fuck are you doing here? \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tDo you remember me?\",\n \"then SHOOTS at Leonard, SHATTERING the driver's side window, \\n triggering the CAR ALARM. \\n \\n Dodd climbs through the window and takes off after him. \\n\"\n ],\n [\n \"\\t\\tCondition? \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tI have no memory. \\n \\n \\t\\t\\t\\tBURT \\n \\t\\tAmnesia? \\n \\n \\t\\t\\t\\tLEONARD\",\n \"Natalie leans in close, studying Leonard, looking him over. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat's the last thing you remember? \\n \\t\\tLeonard looks at her. \\n \\n CUT TO FLASHBACK:\",\n \"\\t\\t\\t\\tLEONARD(V.O.) \\n \\t\\tThe doctors find some possible damaqe to \\n \\t\\tthe hippocampus, nothing conclusive. But \\n \\t\\tSammy can't remember anything for more\",\n \"\\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tI read about your problem. You know what \\n \\t\\tone of the causes of short term memory \\n \\t\\tloss is? \\n \\n Leonard fumes. \\n\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tThere had to be a second man. I was \\n \\t\\tstruck from behind, I remember. It's \\n \\t\\tabout the last thing I do remember. But\\t\\t\\t*\",\n \"\\t\\tremember stuff, who'd forget how he got \\n \\t\\there or where he was going. I told him we \\n \\t\\tget a lot of guys like that in here. \\n \\n Leonard does not find this funny. \\n\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tNo, really. Memory's not perfect. It's \\n \\t\\tnot even that good. Ask the police, \\n \\t\\teyewitness testimony is unreliable. The\",\n \"Leonard slips into the seat opposite her. Natalie is pretty, \\n but has bruising around one eye, and a mark on her lip. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tYou don't remember me. \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tHe took away the woman I love and he took \\n \\t\\taway my memory. He destroyed everything; \\n \\t\\tmy life and my ability to live. \\n \\n \\t\\t\\t\\tTEDDY\",\n \"\\t\\tThis is Leonard. Thanks. Bye. \\n \\n Leonard hangs up. He looks around the room. He slips the \\n HANDGUN into the bedside drawer, resting it on the GIDEON\",\n \"Leonard is surprised. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tIt is tough. Almost impossible. I'm sorry \\n \\t\\tI can't remember you. It's not personal. \\n \\n Natalie's smile fades. \\n\",\n \"understand, either. Backwards amnesia. That's what the sign says. CRS \\n disease. Your guess is as good as mine. \\n \\n Maybe you can't understand what happened to you. But you do remember\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhy? \\n \\n Natalie turns to him, ENRAGED. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tBecause of you, you fucking idiot!\",\n \"studying his face. Leonard has a JACK HANDLE in his hand. \\n \\n \\t\\t\\t JIMMY (cont'd) \\n \\t\\tWell? \\n \\n \\t\\t\\t\\t\\t\\t\\tFLASHBACK TO: \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tChronic alcoholism ~ one cause of short \\n \\t\\tterm memory loss. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tAre you Teddy? \\n\",\n \"\\t\\tinjury, I just can't make any new \\n \\t\\tmemories. \\n \\t\\t (listens) \\n \\n Leonard pulls his shirt off. There is a BANDAGE on his LEFT\",\n \"\\t\\t\\t\\t\\t\\t\\t\\t4. \\n \\n 4 CONTINUED: (2)\\t\\t\\t\\t\\t\\t4 \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tI'm Leonard Shelby, I'm from San\",\n \"\\t\\t\\t\\tLEONARD (V.0.) \\n \\t\\tHe's been in a home ever since. He \\n \\t\\tdoesn't even know his wife is dead. \\n\",\n \"Leonard is RUNNING FURIOUSLY, arms pumping. \\n \\n \\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tWhat the fuck am I doing? \\n \\n Leonard glances to his right, and through a GAP between two\",\n \"HITTING Dodd square in the face with the empty vodka bottle, \\n which does not break. \\n \\n Dodd lies still on the floor, bleeding, his hand still in his \\n inside jacket pocket. Leonard stands above him, naked,\"\n ],\n [\n \"\\t\\t\\t\\tLEONARD (V.0.) \\n \\t\\tI never said he was faking. Just that \\n \\t\\this condition was mental, not physical. \\n \\t\\tShe seemed satisfied, she just said\",\n \"\\t\\tThis is Leonard. Thanks. Bye. \\n \\n Leonard hangs up. He looks around the room. He slips the \\n HANDGUN into the bedside drawer, resting it on the GIDEON\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"SCRATCHING his cheek. Leonard tips his head back and \\n increases his efforts. Jimmy STOPS struggling. Leonard keeps \\n his hands around Jimmy's throat until he is confident that he \\n is DEAD. \\n\",\n \"Leonard HITS Jimmy around the head with the jack handle. \\n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \\n into the dark hallway. Leonard bends over the groaning Jimmy, \\n frisking him, finding nothing. \\n\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"Leonard lies on the bed (in boxers, bandaged arm) talking on * \\n the phone. He wipes the excess shaving foam from his thigh, \\n and feels the SMOOTHNESS of the clean-shaven skin. \\n\",\n \"Leonard enters and SCANS the room. Burt picks his nails in \\n the doorway. Leonard moves to the unmade bed. There is a pile \\n of BLOODSTAINED TISSUES. On the bedside table is an ICE\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tThere had to be a second man. I was \\n \\t\\tstruck from behind, I remember. It's \\n \\t\\tabout the last thing I do remember. But\\t\\t\\t*\",\n \"Natalie leans in close, studying Leonard, looking him over. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat's the last thing you remember? \\n \\t\\tLeonard looks at her. \\n \\n CUT TO FLASHBACK:\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tConditioning didn't work for Sammy, so \\n \\t\\the became helpless. But it works for me. \\n \\t\\tI live the way Sammy couldn't. Habit and\",\n \"Dodd uses Leonard to pull himself off the floor then PUNCHES \\n the side of his head and pushes him HARD, Leonard FLAILING \\n wildly, GRABBING THE EMPTY VODKA BOTTLE from by the sink as\",\n \"The point of light GOES OUT. Leonard KICKS the door in, \\n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \\n \\n Leonard stands over him, looking down. The man is\",\n \"pistol-whipping him furiously as he shouts: \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tYOU PAY FOR WHAT YOU DID! YOU BEG \\n \\t\\tFORGIVENESS, THEN YOU PAY! \\n\",\n \"The Polaroid camera is lowered, revealing the sweaty, heavy- \\n breathing face of LEONARD (mid-30's). There are droplets of \\n blood across his face. Leonard stares, satisfied, at\",\n \"142 CONTINUED: (2)\\t\\t\\t\\t\\t\\t\\t 142 \\n \\n \\t\\t\\t\\tLEONARD (V.0.) (CONT'D) \\n \\t\\tShe went into a coma and never\",\n \"Leonard is RUNNING FURIOUSLY, arms pumping. \\n \\n \\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tWhat the fuck am I doing? \\n \\n Leonard glances to his right, and through a GAP between two\",\n \"HITTING Dodd square in the face with the empty vodka bottle, \\n which does not break. \\n \\n Dodd lies still on the floor, bleeding, his hand still in his \\n inside jacket pocket. Leonard stands above him, naked,\",\n \"With his left hand, Leonard opens the door. He rolls out, \\n SLAMMING the door in Dodd's face, and hitting the central \\n locking on his car keys. \\n \\n Leonard TAKES OFF across the asphalt. Dodd tries the doors,\",\n \"studying his face. Leonard has a JACK HANDLE in his hand. \\n \\n \\t\\t\\t JIMMY (cont'd) \\n \\t\\tWell? \\n \\n \\t\\t\\t\\t\\t\\t\\tFLASHBACK TO: \\n\"\n ],\n [\n \"He PUNCHES her in the mouth then pushes her to the floor. He \\n stands over her, furious with himself as much as her. \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED)\",\n \"himself over a chain link fence, dropping down on the other \\n side and SCRAMBLING through some bushes. He RACES full tilt \\n into a parking lot, looking around, desperate. He can hear a\",\n \"weeping a little. They run from just behind the strap of Earl's watch \\n all the way to the inside of his elbow. Earl blinks at the message and \\n reads it again. It says, in careful little capitals, I RAPED AND\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tThere had to be a second man. I was \\n \\t\\tstruck from behind, I remember. It's \\n \\t\\tabout the last thing I do remember. But\\t\\t\\t*\",\n \"ceiling and the sign taped to it. The sign reads, GET UP, GET OUT \\n RIGHT NOW. THESE PEOPLE ARE TRYING TO KILL YOU. \\n \\n Earl closes his eyes. \\n \\n *** \\n\",\n \"10:30. He presses the watch to his ear and listens. He gives the watch \\n a wind or two and sets it to match the alarm clock. \\n \\n According to the schedule, the entire block from 8:00 to 8:30 has been\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"then SHOOTS at Leonard, SHATTERING the driver's side window, \\n triggering the CAR ALARM. \\n \\n Dodd climbs through the window and takes off after him. \\n\",\n \"HITTING Dodd square in the face with the empty vodka bottle, \\n which does not break. \\n \\n Dodd lies still on the floor, bleeding, his hand still in his \\n inside jacket pocket. Leonard stands above him, naked,\",\n \"window. The desk is bare except for the blaring alarm clock. Earl \\n probably notices, at this point, that he is fully clothed. He even has \\n his shoes on under the sheets. He extracts himself from the bed and\",\n \"He THRUSTS the barrel of his gun into Teddy's mouth and WE \\n ARE AT THE SHOT FROM THE END OF THE OPENING SEQUENCE. Teddy \\n panics, shaking his head, trying to talk around the metal,\",\n \"window, he can see a full moon shining on carefully manicured grass. \\n \\n Earl slaps the snooze button on the alarm clock and stares a moment at \\n the two keys taped to the back of his hand. He picks at the tape while\",\n \"Maybe then he notices the scar. It begins just beneath the ear, jagged \\n and thick, and disappears abruptly into his hairline. Earl turns his \\n head and stares out of the corner of his eye to follow the scar's\",\n \"of the man's head. \\n \\n The noise and the pain are both coming from a gun in the man's hand-a \\n gun with a needle where the barrel should be. The needle is digging\",\n \"has just taken, nodding to himself, catching his breath. \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\t\\t\\t\\t\\t\\t\\t108. \\n\",\n \"\\t\\tFUCK! He's chasing me. \\n \\n Leonard SKIDS to a halt and turns around. A BULLET hits the \\n dirt by his feet. He clears the end of the trailer and THROWS\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tI told them what I remembered. I was \\n \\t\\tasleep, something woke me up... \\n \\n CUT TO FLASHBACK <<COLOUR SEQUENCE>> \\n\",\n \"nattering away at each other. Earl lies back down and is surprised to \\n see himself, older now, tanned, the hair pulling away from his head \\n like solar flares. The mirror on the ceiling is cracked, the silver\",\n \"sifting through the papers on the desk when he hears a car\\t * \\n door SLAM. He looks out of the window to see Natalie getting * \\n out of her car. She turns to walk toward the house. Her face \\n is swollen and bloody. \\n\",\n \"Still staring, he crouches down and pulls a BODY off the \\n floor by the wet hair of its BLOODY HEAD. He slowly inserts \\n the barrel of the gun into the bloody mess where the mouth \\n should be. \\n\"\n ],\n [\n \"starts knocking BITS OF BROKEN WINDOW GLASS out of the \\n driver's side window with his elbow then pulling photos and \\n pieces of paper out of his pockets as he drives. \\n \\n Leonard finds a NOTE that gives a description of Dodd, along\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tThere had to be a second man. I was \\n \\t\\tstruck from behind, I remember. It's \\n \\t\\tabout the last thing I do remember. But\\t\\t\\t*\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tNo, really. Memory's not perfect. It's \\n \\t\\tnot even that good. Ask the police, \\n \\t\\teyewitness testimony is unreliable. The\",\n \"SCRATCHING his cheek. Leonard tips his head back and \\n increases his efforts. Jimmy STOPS struggling. Leonard keeps \\n his hands around Jimmy's throat until he is confident that he \\n is DEAD. \\n\",\n \"Leonard HITS Jimmy around the head with the jack handle. \\n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \\n into the dark hallway. Leonard bends over the groaning Jimmy, \\n frisking him, finding nothing. \\n\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tThe police report mentioned the drugs \\n \\t\\tfound in the car outside my house. The \\n \\t\\tcar was stolen, but his prints were all\",\n \"Leonard BREATHES as he stands up. He nods to himself with \\n satisfaction. He looks around for his POLAROID CAMERA. He \\n snaps a FLASH picture of Jimmy's body, and stares intently at\",\n \"\\t\\tThis is Leonard. Thanks. Bye. \\n \\n Leonard hangs up. He looks around the room. He slips the \\n HANDGUN into the bedside drawer, resting it on the GIDEON\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tHere we go. \\n \\n The Polaroid shows Dodd sitting on the bed, BOUND, GAGGED and \\n BLEEDING. The name Dodd is written below the picture. Leonard\",\n \"Leonard examines it, PUZZLED. All that is visible is AN ARM, * \\n lying on a floor. Leonard reaches into the other pocket and\\t* \\n pulls out his POLAROIDS, flicking through them until he finds\",\n \"Leonard stuffs the Polaroids back into his pocket, reaches \\n around to the back of his waistband and draws a HANDGUN, \\n keeping it out of Teddy's line of sight. Teddy enters, wary. \\n\",\n \"him on the edge of the bed. Leonard takes a POLAROID \\n PHOTOGRAPH of the bloody, taped-up Dodd. \\n \\n Leonard shoves Dodd into the closet, takes out a NOTE and\",\n \"With his left hand, Leonard opens the door. He rolls out, \\n SLAMMING the door in Dodd's face, and hitting the central \\n locking on his car keys. \\n \\n Leonard TAKES OFF across the asphalt. Dodd tries the doors,\",\n \"studying his face. Leonard has a JACK HANDLE in his hand. \\n \\n \\t\\t\\t JIMMY (cont'd) \\n \\t\\tWell? \\n \\n \\t\\t\\t\\t\\t\\t\\tFLASHBACK TO: \\n\",\n \"Dodd uses Leonard to pull himself off the floor then PUNCHES \\n the side of his head and pushes him HARD, Leonard FLAILING \\n wildly, GRABBING THE EMPTY VODKA BOTTLE from by the sink as\",\n \"then SHOOTS at Leonard, SHATTERING the driver's side window, \\n triggering the CAR ALARM. \\n \\n Dodd climbs through the window and takes off after him. \\n\",\n \"The point of light GOES OUT. Leonard KICKS the door in, \\n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \\n \\n Leonard stands over him, looking down. The man is\",\n \"Leonard opens the door of the pickup and searches the \\n interior. On the dirty vinyl of the passenger seat he finds\\t* \\n six BULLETS. Leonard picks two of them up and studies them.\\t*\",\n \"Leonard gets Polaroids out of his pocket. The first one is of \\n the Discount Inn. He STICKS it onto an already-squashed lump * \\n of blue tack at the end of an ARROW drawn from a location on \\n the outskirts of town.\"\n ],\n [\n \"\\t\\t\\t\\tMRS. JANKIS \\n \\t\\tSammy, it's time for my shot. \\n \\n Sammy looks up, smiling, glad to help. He goes into the \\n kitchen and comes back with a bottle of insulin, a syringe\",\n \"\\t\\tcame across Sammy. Mr Samuel R. Jankis - \\n \\t\\tstrangest case ever. Guy's 58, semi- \\n \\t\\tretired accountant. He and his wife had\",\n \"Sammy injects her in the stomach. \\n \\n \\t\\t\\t\\t\\t\\t\\t DISSOLVE TO: \\n \\n Mrs. Jankis, unconscious in her chair. Sammy glances over from \\n watching T.V. commercials, wondering. \\n\",\n \"\\t\\tso she found a way to test him. \\n \\n Sammy injects the insulin, then withdraws the needle, smiles \\n reassuringly at his wife and goes back into the kitchen. \\n \\n Mrs. Jankis watches Sammy flipping through the channels,\",\n \"\\t\\t\\t\\tMRS. JANKIS (cont'd) \\n \\t\\tSammy, it's time for my shot. \\n \\n Sammy looks over from the T.V., smiling, glad to be able to \\n help. \\n\",\n \"then moves to the sink and starts washing his hands. He \\n notices a MESSAGE written on the back of his hand. \\n \\n \\\"REMEMBER SAMMY JANKIS\\\" \\n \\n He stares at the message for a second, thoughtful, then tries\",\n \"\\t\\tSo I can't remember talking to you. What \\n \\t\\tdid we talk about? \\n \\t\\t (nods) \\n \\t\\tSammy Jankis. Yeah, I guess I tell \\n \\t\\tpeople about Sammy to help them\",\n \"\\t\\t... and as long as he kept his mind on \\n \\t\\twhat he was doing. \\n \\n Sammy wipes a spot on Mrs. Jankis' arm with a swab, then\",\n \"\\t\\twho'll listen. \\\"Remember Sammy Jankis, \\n \\t\\tremember Sammy Jankis\\\". Great story. Gets \\n \\t\\tbetter every time you tell it. So you \\n \\t\\tlie to yourself to be happy. Nothing\",\n \"\\t\\twhat had happened. \\n \\n Sammy strokes Mrs. Jankis' cheek, crying. \\n \\n 143 INT. CROWDED DAY ROOM OF A NURSING HOME - DAY ##BLACK AND 143\",\n \"Sammy rolls a small GLASS BOTTLE between the palms of his \\n hands. Mrs. Jankis rolls up her sleeve. Leonard watches as \\n Sammy takes a SYRINGE and pushes the needle through the\",\n \"\\t\\tMrs. Jankis, the company's position \\n \\t\\tisn't that Sammy is \\\"faking\\\" anything, \\n \\t\\tjust that his condition can't be shown - \\n \\n \\t\\t\\t\\tMRS. JANKIS\",\n \"Sammy looks up, smiling, glad to be able to help. He goes \\n into the kitchen and comes back with the bottle of insulin, \\n the syringe and a new cotton swab. \\n \\n He carefully prepares the injection and Mrs. Jankis offers\",\n \"desk to shake hands with Mrs. Jankis. They talk, Leonard \\n nodding as he listens. Mrs. Jankis is crying. \\n \\n \\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tShe told me about life with Sammy, how\",\n \"Mrs. Jankis comes into the room. Sammy is seated, watching \\n T.V. He looks up at her with a smile. She smiles back, tense. \\n \\n \\t\\t\\t\\tLEONARD (V.0.)\",\n \"\\t\\tfor people to understand. I mean look at \\n \\t\\tSammy Jankis. His own wife couldn't deal \\n \\t\\twith it. \\n \\t\\t\\t\\t(MORE)\",\n \"him her other arm. Sammy injects the insulin, then looks up \\n at her and smiles. \\n \\n Sammy watches T.V. Mrs. Jankis sets her watch back by fifteen \\n minutes. \\n\",\n \"\\t\\t\\t\\tMRS. JANKIS \\n \\t\\tMr. Shelby, you know all about Sammy and \\n \\t\\tyou decided that he was faking - \\n \\n \\t\\t\\t\\tLEONARD\",\n \"Mrs. Jankis offers Sammy her leg, and he gives her another \\n shot of insulin, smiling. \\n \\n \\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tShe really thought she would call his \\n \\t\\tbluff... \\n\",\n \"He leafs through a couple off pages, then DROPS the Bible back \\n into the drawer and shuts it. He notices a MESSAGE written on \\n the back off his hand: \\n \\n \\\"REMEMBER SAMMY JANKIS\\\" \\n\"\n ],\n [\n \"Leonard is getting frustrated. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tNeither do I. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tDon't protect him. \\n \\n \\t\\t\\t\\tLEONARD\",\n \"Leonard drops a tidy blob of spit into the beer, shakes his \\n head, revolted. Natalie places the mug on the bar in front of \\n the stool next to Leonard's. She takes a long-handled spoon\",\n \"Leonard bends his head around to see if Natalie is awake. She \\n closes her eyes. Leonard gingerly slides from underneath her \\n and moves silently out of the bedroom. \\n\",\n \"\\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tBar bet. \\n \\n Leonard shakes his head and looks down. He hears a snort and \\n glances over again. The Drunk is pushing his finger against\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhy? \\n \\n Natalie turns to him, ENRAGED. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tBecause of you, you fucking idiot!\",\n \"Leonard opens the door for her. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n Natalie, intensely AGITATED, FUMBLES with things in her \\n purse. \\n\",\n \"DRUNK with shaky hands sits at the bar. Natalie (without \\n bruises) is working behind the bar. She tops up a silver \\n tankard with beer, brings it over and sets it in front of \\n Leonard, smiling. \\n\",\n \"Leonard leans right over her to get a look at her face. It is \\n NATALIE. The BRUISE on her eye and the MARK on her lip are \\n worse than before. \\n \\n She OPENS her eyes and is startled by the sight of Leonard's\",\n \"LATER: \\n \\n Leonard hears a hocking sound and looks over to see the \\n filthy Drunk spitting a blob of sticky phlegm into a silver \\n tankard which Natalie holds across the bar. Natalie smiles. \\n\",\n \"\\t\\tYou sad freak, you won't remember any of \\n \\t\\twhat I've said, and we'll be best \\n \\t\\tfriends, or even lovers. \\n \\n Leonard spins around, BACKHANDING Natalie on the cheek. \\n\",\n \"\\t\\tLenny, as a buddy, let me inform you. \\n \\t\\tYour business here is very much finished. \\n \\t\\tYou're still here because of Natalie. \\n \\n \\t\\t\\t\\tLEONARD\",\n \"134 INT. FERDY'S BAR - DAY <<COLOUR SEQUENCE>>\\t\\t\\t 134 \\n \\n BACK TO LEONARD IN BAR: \\n \\n Leonard looks at Natalie. \\n\",\n \"Leonard nods and stands awkwardly. \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tUh, take a seat. \\n \\n Leonard smiles and sits down in a chair. Natalie clears\",\n \"\\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tHe beat the shit out of me. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWho? \\n \\n \\t\\t\\t NATALIE\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tShut the fuck up! \\n \\n Natalie gets right in his face, grinning. \\n \\n \\t\\t\\t\\tNATALIE\",\n \"Leonard. Her face is bloody but she smiles. \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tSee you soon. \\n \\n Natalie exits. Leonard watches her walk out to her car and\",\n \"nothing. Leonard walks past. She sighs and grabs the back of \\n his jacket as he passes. Leonard spins around. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tNatalie. \\n\",\n \"Leonard turns away, body tensed, ready to snap. Natalie \\n reaches out to gently brush the hair above his ear with her \\n fingers. \\n \\n \\t\\t\\t\\tNATALIE (cont'd)\",\n \"\\t\\tDon't say another fucking word! \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tAbout your whore of a wife? \\n \\n Leonard slaps Natalie. She smiles, then speaks softly. \\n\",\n \"from a filthy, toothless Drunk. Natalie (without bruises) \\n appears in front of him. Leonard looks up at Natalie without \\n recognition. She eyes him coldly, staring at his clothes. \\n \\n \\t\\t\\t\\tLEONARD\"\n ],\n [\n \"approaches a large, clearly abandoned DERELICT BUILDING. \\n Leonard is driving. He wears a BEIGE SUIT and BLUE SHIRT (no \\n blood). Next to him is TEDDY. Leonard stops the car next to a\",\n \"The point of light GOES OUT. Leonard KICKS the door in, \\n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \\n \\n Leonard stands over him, looking down. The man is\",\n \"Leonard HITS Jimmy around the head with the jack handle. \\n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \\n into the dark hallway. Leonard bends over the groaning Jimmy, \\n frisking him, finding nothing. \\n\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"then SHOOTS at Leonard, SHATTERING the driver's side window, \\n triggering the CAR ALARM. \\n \\n Dodd climbs through the window and takes off after him. \\n\",\n \"stands in the doorway, smoking gun in hand. He is HIT HARD \\n from behind by an UNSEEN ASSAILANT who GRABS Leonard by the \\n HAIR and THROWS his HEAD into the MIRROR, SHATTERING IT.\",\n \"SCRATCHING his cheek. Leonard tips his head back and \\n increases his efforts. Jimmy STOPS struggling. Leonard keeps \\n his hands around Jimmy's throat until he is confident that he \\n is DEAD. \\n\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"Leonard. Her face is bloody but she smiles. \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tSee you soon. \\n \\n Natalie exits. Leonard watches her walk out to her car and\",\n \"HITTING Dodd square in the face with the empty vodka bottle, \\n which does not break. \\n \\n Dodd lies still on the floor, bleeding, his hand still in his \\n inside jacket pocket. Leonard stands above him, naked,\",\n \"With his left hand, Leonard opens the door. He rolls out, \\n SLAMMING the door in Dodd's face, and hitting the central \\n locking on his car keys. \\n \\n Leonard TAKES OFF across the asphalt. Dodd tries the doors,\",\n \"\\t\\tFUCK! He's chasing me. \\n \\n Leonard SKIDS to a halt and turns around. A BULLET hits the \\n dirt by his feet. He clears the end of the trailer and THROWS\",\n \"The pickup truck bumps across the railroad tracks, then pulls \\n up in front of the LARGE DERELICT BUILDING. Leonard gets out \\n of the pickup, looking around. \\n\",\n \"Leonard enters and SCANS the room. Burt picks his nails in \\n the doorway. Leonard moves to the unmade bed. There is a pile \\n of BLOODSTAINED TISSUES. On the bedside table is an ICE\",\n \"Leonard BREATHES as he stands up. He nods to himself with \\n satisfaction. He looks around for his POLAROID CAMERA. He \\n snaps a FLASH picture of Jimmy's body, and stares intently at\",\n \"\\t\\tThis is Leonard. Thanks. Bye. \\n \\n Leonard hangs up. He looks around the room. He slips the \\n HANDGUN into the bedside drawer, resting it on the GIDEON\",\n \"but GAGS just as Leonard pulls the trigger. A SHOT rings out \\n as we - \\n \\n \\t\\t\\t\\t\\t\\t\\tCUT TO: \\n\",\n \"Leonard stuffs the Polaroids back into his pocket, reaches \\n around to the back of his waistband and draws a HANDGUN, \\n keeping it out of Teddy's line of sight. Teddy enters, wary. \\n\",\n \"The Polaroid camera is lowered, revealing the sweaty, heavy- \\n breathing face of LEONARD (mid-30's). There are droplets of \\n blood across his face. Leonard stares, satisfied, at\"\n ],\n [\n \"of Teddy, then picks up the phone and dials Teddy's number. \\n The phone is answered: \\n \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n\",\n \"Teddy is now wearing his big grin, rubbing his neck. \\n \\t\\t\\t\\t\\t\\t\\t \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\t\\t\\t\\t\\t\\t\\t66. \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t111. \\n \\n 174 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 174 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"178 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"\\t\\t\\t\\t\\t\\t\\t68. \\n \\n 115 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 115 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (grins)\",\n \"\\t\\tWho did he go to meet? \\n \\n Natalie studies Leonard. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tA guy called Teddy. \\n \\n Leonard does not react to the name. \\n\",\n \"Teddy APPROACHING the glass door of the office. Leonard \\n watches carefully as Teddy shambles up to the office door. A \\n BELL CHIIIES as Teddy enters and breaks into his shit-eating \\n grin. Leonard slips the photo into his pocket.\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\tJimmy's a drug dealer. This cop wanted to \\n \\t\\tknow all about how he sets up deals, shit \\n \\t\\tlike that. He's got some score in mind\\t\\t\\t *\",\n \"115 CONTINUED: (2)\\t\\t\\t\\t\\t\\t\\t 115 \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tYou can't stay with her. Let me give you\",\n \"\\t\\tTeddy! \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t\\t3A. \\n\",\n \"affects a casual air, shrugging dismissively, \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tFuck this. \\n \\n Teddy turns and heads for the door. Leonard LEAPS on him,\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t47. \\n \\n 69 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 69 \\n \\t\\t\\t\\t\\t\\t\\t \\n \\t\\t\\t\\tTEDDY\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"Leonard finds a photo showing Teddy with a shit-eating grin \\n standing in front of the pickup truck. On the broad white \\n strip beneath the photo is handwritten: \\n\",\n \"178 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tWhat difference does it make whether he\\t\\t\\t*\",\n \"\\t\\t\\t TEDDY \\n \\t Sammy was a con man. A faker. \\n \\n \\t\\t\\t LEONARD \\n \\t I never said he was faking! I never said \\n \\t that! \\n\",\n \"178 CONTINUED: (4)\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tHey, where are you going? You know what\\t\\t\\t*\",\n \"\\t\\tThis guy told me his name was Teddy. \\n \\n He turns the photo over and examines the white stop on the \\n back. It says only: \\n \\n \\\"DON'T BELIEVE HIS LIES\\\" \\n \\n \\n\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\tNatalie who? \\n \\n Leonard ignores him and gets into his Jaguar. \\n\"\n ],\n [\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tYou're using me! \\n \\n Teddy looks at him, offended. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tNo! \\n \\t\\t (beat)\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"Teddy APPROACHING the glass door of the office. Leonard \\n watches carefully as Teddy shambles up to the office door. A \\n BELL CHIIIES as Teddy enters and breaks into his shit-eating \\n grin. Leonard slips the photo into his pocket.\",\n \"Leonard cranks it down. Teddy looks at Leonard with something \\n like fatherly affection. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tMake him beg. \\n\",\n \"Leonard stuffs the Polaroids back into his pocket, reaches \\n around to the back of his waistband and draws a HANDGUN, \\n keeping it out of Teddy's line of sight. Teddy enters, wary. \\n\",\n \"\\t\\tIt's been fun, Lenny. \\n \\n Teddy walks off. Leonard pulls his Polaroids out of his \\n pocket and finds the one of Teddy. He places it on the dash,\",\n \"Teddy gestures towards the basement door, in pain, but \\n enjoying Leonard's growing anxiety. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\t (intimate)\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"\\t\\t\\t\\tLEONARD (V.O.)(cont'd) \\n \\t\\tIn your case, Teddy... yes, I will. \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n\",\n \"Leonard finds a photo showing Teddy with a shit-eating grin \\n standing in front of the pickup truck. On the broad white \\n strip beneath the photo is handwritten: \\n\",\n \"Leonard starts the engine. Through the rear-view mirror, \\n Leonard stares at Teddy's retreating form. Thinking. Leonard \\n PULLS OUT onto the road. \\n\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\tShe's gonna use you. To protect herself. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tFrom who? \\n \\n \\t\\t\\t\\tTEDDY\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"Teddy leans over slightly so that he can see his reflection \\n in the rear view mirror. Leonard smiles. Teddy sees him. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tFuck you. We shoulda taken his car. \\n\",\n \"Leonard sticks the photo of Teddy BETWEEN HIS TEETH as he \\n holds his HANDGUN up and checks that it is loaded. He sticks \\n the GUN in the back of his waistband. \\n\",\n \"\\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tGreat shot, Lenny. \\n \\n Teddy flips the photo over. There is nothing on the back. \\n Teddy hands it back to Leonard. \\n\",\n \"\\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tLeonard, you need to be very careful. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWhy? \\n \\n \\t\\t\\t\\tTEDDY\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat happened is that Jimmy went to meet \\n \\t\\ta guy called Teddy. He took a lot of\",\n \"Leonard looks coldly at Teddy's smiling image. \\n \\n \\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tI found you, you fuck. \\n \\n Leonard turns the photo face down, takes a pen and writes: \\n\",\n \"Teddy reaches out to Leonard's lapel, and gently opens his \\n jacket to reveal the label. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tPut it this way. Were you wearing\"\n ],\n [\n \"\\t\\t\\t TEDDY \\n \\t Sammy was a con man. A faker. \\n \\n \\t\\t\\t LEONARD \\n \\t I never said he was faking! I never said \\n \\t that! \\n\",\n \"\\t\\tabout Sammy?\\t\\t\\t\\t\\t\\t\\t * \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tYou tell everyone about Sammy. Everyone\",\n \"\\t\\tunderstand. Sammy's story helps me \\n \\t\\tunderstand my own situation. \\n \\n Leonard touches the tattoo on the back of his hand. \\n \\n \\t\\t\\t\\tLEONARD (cont'd)\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"\\t\\tI was wrong! That's the whole point! \\n \\t\\tSammy's wife came to me and - \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tSammy didn't have a wife. \\n\",\n \"Teddy APPROACHING the glass door of the office. Leonard \\n watches carefully as Teddy shambles up to the office door. A \\n BELL CHIIIES as Teddy enters and breaks into his shit-eating \\n grin. Leonard slips the photo into his pocket.\",\n \"Leonard cranks it down. Teddy looks at Leonard with something \\n like fatherly affection. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tMake him beg. \\n\",\n \"\\t\\t\\t\\tLEONARD (V.O.)(cont'd) \\n \\t\\tIn your case, Teddy... yes, I will. \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n\",\n \"\\t\\tThat's Sammy, not me! I told you about \\n \\t\\tSammy - \\n \\n \\t\\t\\t TEDDY \\n \\t\\tLike you've told yourself. Over and over. \\n \\t\\tConditioning yourself to believe.\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"affects a casual air, shrugging dismissively, \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tFuck this. \\n \\n Teddy turns and heads for the door. Leonard LEAPS on him,\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat happened is that Jimmy went to meet \\n \\t\\ta guy called Teddy. He took a lot of\",\n \"He flips Teddy's picture over, like a croupier turning a card \\n at blackjack. On the back it says: \\n \\n \\\"DON'T BELIEVE HIS LIES\\\" \\n \\n Leonard purses his lips in surprised frustration. He grabs\",\n \"Leonard stuffs the Polaroids back into his pocket, reaches \\n around to the back of his waistband and draws a HANDGUN, \\n keeping it out of Teddy's line of sight. Teddy enters, wary. \\n\",\n \"\\t\\tIt's been fun, Lenny. \\n \\n Teddy walks off. Leonard pulls his Polaroids out of his \\n pocket and finds the one of Teddy. He places it on the dash,\",\n \"\\t\\twork for for thirty seconds, and tell me \\n \\t\\tif you really think that Sammy is faking \\n \\t\\this condition. \\n \\n Leonard plays with his letter opener, thinking. \\n\",\n \"\\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tGreat shot, Lenny. \\n \\n Teddy flips the photo over. There is nothing on the back. \\n Teddy hands it back to Leonard. \\n\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"\\t\\t\\t\\tLEONARD (cont'd)\\t\\t\\t\\t\\t * \\n \\t\\tSammy's brain didn't respond to\\t\\t\\t\\t * \\n \\t\\tconditioning, but he was no con man.\\t\\t\\t *\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\t'Cos he fucking told me. He thinks it's \\n \\t\\tfunny. He's laughing at you. \\n \\n \\t\\t\\t\\tLEONARD\"\n ],\n [\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"Leonard stuffs the Polaroids back into his pocket, reaches \\n around to the back of his waistband and draws a HANDGUN, \\n keeping it out of Teddy's line of sight. Teddy enters, wary. \\n\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"\\t\\t'cos this guy's dead. \\n \\n Leonard CRACKS Teddy over the head with the FLOORBOARD.\\t * \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"Leonard, startled, GRABS Teddy by the throat. \\n \\n \\t\\t\\t\\t\\t\\t\\tCUT TO: \\n\",\n \"Leonard sticks the photo of Teddy BETWEEN HIS TEETH as he \\n holds his HANDGUN up and checks that it is loaded. He sticks \\n the GUN in the back of his waistband. \\n\",\n \"Leonard looks coldly at Teddy's smiling image. \\n \\n \\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tI found you, you fuck. \\n \\n Leonard turns the photo face down, takes a pen and writes: \\n\",\n \"Leonard starts the engine. Through the rear-view mirror, \\n Leonard stares at Teddy's retreating form. Thinking. Leonard \\n PULLS OUT onto the road. \\n\",\n \"Leonard cranks it down. Teddy looks at Leonard with something \\n like fatherly affection. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tMake him beg. \\n\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"Teddy APPROACHING the glass door of the office. Leonard \\n watches carefully as Teddy shambles up to the office door. A \\n BELL CHIIIES as Teddy enters and breaks into his shit-eating \\n grin. Leonard slips the photo into his pocket.\",\n \"\\t\\tYou did. \\n \\n Leonard replaces the gag and SHUTS the closet. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tI'm not gonna help you kill this guy, if \\n \\t\\tthat's what -\",\n \"Leonard TOSSES the GUN into the trunk. It lands on PILES OF \\n BANKNOTES STUFFED IN THE TRUNK. Teddy REACTS to the sight of \\n the money. Leonard glances at Teddy, then the money, shakes\",\n \"him on the edge of the bed. Leonard takes a POLAROID \\n PHOTOGRAPH of the bloody, taped-up Dodd. \\n \\n Leonard shoves Dodd into the closet, takes out a NOTE and\",\n \"\\t\\tIt's been fun, Lenny. \\n \\n Teddy walks off. Leonard pulls his Polaroids out of his \\n pocket and finds the one of Teddy. He places it on the dash,\",\n \"Teddy gestures towards the basement door, in pain, but \\n enjoying Leonard's growing anxiety. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\t (intimate)\",\n \"\\t\\thim to look for a guy called Teddy. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tHe'll kill you, Lenny. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\t (smiling)\",\n \"Teddy leans over slightly so that he can see his reflection \\n in the rear view mirror. Leonard smiles. Teddy sees him. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tFuck you. We shoulda taken his car. \\n\",\n \"Leonard SEARCHES Teddy's pockets, still holding the gun on\\t * \\n Teddy. Leonard finds Teddy's CAR KEYS. He gets off Teddy and * \\n moves towards the light.\\t\\t\\t\\t\\t\\t\\t* \\n \\n\",\n \"The point of light GOES OUT. Leonard KICKS the door in, \\n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \\n \\n Leonard stands over him, looking down. The man is\"\n ],\n [\n \"Leonard hears a CAR APPROACHING. He slips into the kitchen \\n and looks out the dirty, broken front windows. \\n\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tConditioning didn't work for Sammy, so \\n \\t\\the became helpless. But it works for me. \\n \\t\\tI live the way Sammy couldn't. Habit and\",\n \"\\t\\tThis is Leonard. Thanks. Bye. \\n \\n Leonard hangs up. He looks around the room. He slips the \\n HANDGUN into the bedside drawer, resting it on the GIDEON\",\n \"The Polaroid camera is lowered, revealing the sweaty, heavy- \\n breathing face of LEONARD (mid-30's). There are droplets of \\n blood across his face. Leonard stares, satisfied, at\",\n \"\\t\\t\\t\\tLEONARD (V.0.) \\n \\t\\tI never said he was faking. Just that \\n \\t\\this condition was mental, not physical. \\n \\t\\tShe seemed satisfied, she just said\",\n \"Leonard lies on the bed (in boxers, bandaged arm) talking on * \\n the phone. He wipes the excess shaving foam from his thigh, \\n and feels the SMOOTHNESS of the clean-shaven skin. \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tI don't know. See, I have this condition. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tWell, I hope it's not as serious as his,\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"Leonard is RUNNING FURIOUSLY, arms pumping. \\n \\n \\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tWhat the fuck am I doing? \\n \\n Leonard glances to his right, and through a GAP between two\",\n \"Leonard enters and SCANS the room. Burt picks his nails in \\n the doorway. Leonard moves to the unmade bed. There is a pile \\n of BLOODSTAINED TISSUES. On the bedside table is an ICE\",\n \"\\t\\t\\t\\tLEONARD (V.0.) \\n \\t\\tHe's been in a home ever since. He \\n \\t\\tdoesn't even know his wife is dead. \\n\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t65. \\n \\n 114 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 114 \\n \\n \\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\t (listens)\",\n \"at Leonard, blinking in the sudden bright light, TERRIFIED. \\n \\n Leonard SHUTS the closet door, CONFUSED. The Man in the \\n closet starts GRUNTING and BUMPING the closet door. \\n\",\n \"Leonard is WOKEN by the sound of a door SHUTTING FIRMLY. He \\n turns his head to see a glow from under the bathroom door. \\n \\n In the dim light he can see a well-worn, COVERLESS PAPERBACK\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhy? \\n \\n \\t\\t\\t\\tBURT \\n \\t\\tBusiness is slow. I told my boss about \\n \\t\\tYou, about your condition. He told me to\",\n \"studying his face. Leonard has a JACK HANDLE in his hand. \\n \\n \\t\\t\\t JIMMY (cont'd) \\n \\t\\tWell? \\n \\n \\t\\t\\t\\t\\t\\t\\tFLASHBACK TO: \\n\",\n \"pistol-whipping him furiously as he shouts: \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tYOU PAY FOR WHAT YOU DID! YOU BEG \\n \\t\\tFORGIVENESS, THEN YOU PAY! \\n\",\n \"Leonard starts the engine. Through the rear-view mirror, \\n Leonard stares at Teddy's retreating form. Thinking. Leonard \\n PULLS OUT onto the road. \\n\",\n \"With his left hand, Leonard opens the door. He rolls out, \\n SLAMMING the door in Dodd's face, and hitting the central \\n locking on his car keys. \\n \\n Leonard TAKES OFF across the asphalt. Dodd tries the doors,\"\n ],\n [\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tYour name. \\n \\n \\t\\t\\t\\tMAN \\n \\t\\tDodd. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWho did this to you? \\n\",\n \"pistol-whipping him furiously as he shouts: \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tYOU PAY FOR WHAT YOU DID! YOU BEG \\n \\t\\tFORGIVENESS, THEN YOU PAY! \\n\",\n \"Leonard HITS Jimmy around the head with the jack handle. \\n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \\n into the dark hallway. Leonard bends over the groaning Jimmy, \\n frisking him, finding nothing. \\n\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tHere we go. \\n \\n The Polaroid shows Dodd sitting on the bed, BOUND, GAGGED and \\n BLEEDING. The name Dodd is written below the picture. Leonard\",\n \"SCRATCHING his cheek. Leonard tips his head back and \\n increases his efforts. Jimmy STOPS struggling. Leonard keeps \\n his hands around Jimmy's throat until he is confident that he \\n is DEAD. \\n\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tThere had to be a second man. I was \\n \\t\\tstruck from behind, I remember. It's \\n \\t\\tabout the last thing I do remember. But\\t\\t\\t*\",\n \"The point of light GOES OUT. Leonard KICKS the door in, \\n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \\n \\n Leonard stands over him, looking down. The man is\",\n \"\\t\\tThis is Leonard. Thanks. Bye. \\n \\n Leonard hangs up. He looks around the room. He slips the \\n HANDGUN into the bedside drawer, resting it on the GIDEON\",\n \"\\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tHe seems to know me. \\n \\n The Landcruiser PULLS ALONGSIDE the Jaguar. Leonard looks\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tSo who are you saying he was?\\t\\t\\t\\t\\t* \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tJust some guy. Does it even matter who? I\",\n \"\\t\\t\\t\\tJIMMY (cont'd) \\n \\t\\tYou fucking retard, you can't get away \\n \\t\\twith this - \\n \\n Leonard holds the jack handle above him. \\n\",\n \"Leonard leans right over her to get a look at her face. It is \\n NATALIE. The BRUISE on her eye and the MARK on her lip are \\n worse than before. \\n \\n She OPENS her eyes and is startled by the sight of Leonard's\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tNo, really. Memory's not perfect. It's \\n \\t\\tnot even that good. Ask the police, \\n \\t\\teyewitness testimony is unreliable. The\",\n \"\\t\\tCalls himself Dodd. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWhat does he want? \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWants to know what happened to Jimmy. And\",\n \"Leonard fishes photographs out of his pocket, examining them. \\n The Landcruiser ACCELERATES until it is uncomfortably close. \\n Leonard slows, turning into a PARKING LOT. The Landcruiser \\n follows. \\n\",\n \"With his left hand, Leonard opens the door. He rolls out, \\n SLAMMING the door in Dodd's face, and hitting the central \\n locking on his car keys. \\n \\n Leonard TAKES OFF across the asphalt. Dodd tries the doors,\",\n \"\\t\\tLeonard, you don't have a clue what's \\n \\t\\tgoing on. You don't even know my name. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\t\\t (triumphant smile)\",\n \"then SHOOTS at Leonard, SHATTERING the driver's side window, \\n triggering the CAR ALARM. \\n \\n Dodd climbs through the window and takes off after him. \\n\"\n ],\n [\n \"\\t\\tHis wife has to do everything. Sammy can \\n \\t\\tonly do simple stuff. He couldn't pick \\n \\t\\tup any new skills at all, and that's how \\n \\t\\tI got him. \\n\",\n \"\\t\\twhat had happened. \\n \\n Sammy strokes Mrs. Jankis' cheek, crying. \\n \\n 143 INT. CROWDED DAY ROOM OF A NURSING HOME - DAY ##BLACK AND 143\",\n \"\\t\\tI never said that Sammy was faking. Just \\n \\t\\tthat his problem was mental, not \\n \\t\\tphysical. But she... she couldn't \\n \\t\\tunderstand. She looks into his eyes and\",\n \"\\t\\tI was wrong! That's the whole point! \\n \\t\\tSammy's wife came to me and - \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tSammy didn't have a wife. \\n\",\n \"Sammy injects her in the stomach. \\n \\n \\t\\t\\t\\t\\t\\t\\t DISSOLVE TO: \\n \\n Mrs. Jankis, unconscious in her chair. Sammy glances over from \\n watching T.V. commercials, wondering. \\n\",\n \"desk to shake hands with Mrs. Jankis. They talk, Leonard \\n nodding as he listens. Mrs. Jankis is crying. \\n \\n \\t\\t\\t\\tLEONARD (V.O.) \\n \\t\\tShe told me about life with Sammy, how\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tSammy's wife was crippled by the cost of \\n \\t\\tsupporting him and fighting the \\n \\t\\tcompany's decision - but it wasn't the\",\n \"\\t\\t\\t\\tMRS. JANKIS \\n \\t\\tSammy, it's time for my shot. \\n \\n Sammy looks up, smiling, glad to help. He goes into the \\n kitchen and comes back with a bottle of insulin, a syringe\",\n \"\\t\\t... and as long as he kept his mind on \\n \\t\\twhat he was doing. \\n \\n Sammy wipes a spot on Mrs. Jankis' arm with a swab, then\",\n \"him her other arm. Sammy injects the insulin, then looks up \\n at her and smiles. \\n \\n Sammy watches T.V. Mrs. Jankis sets her watch back by fifteen \\n minutes. \\n\",\n \"\\t\\t\\t\\tMRS. JANKIS (cont'd) \\n \\t\\tSammy, it's time for my shot. \\n \\n Sammy looks over from the T.V., smiling, glad to be able to \\n help. \\n\",\n \"\\t\\t\\\"thanks\\\" and got up to leave. I found \\n \\t\\tout later that she went home and gave \\n \\t\\tSammy his final exam. \\n\",\n \"Mrs. Jankis comes into the room. Sammy is seated, watching \\n T.V. He looks up at her with a smile. She smiles back, tense. \\n \\n \\t\\t\\t\\tLEONARD (V.0.)\",\n \"in her hands, SOBBING. Sammy wipes his face on his sleeve. \\n \\n BACK TO LEONARD IN MOTEL ROOM: \\n\",\n \"\\t\\tso she found a way to test him. \\n \\n Sammy injects the insulin, then withdraws the needle, smiles \\n reassuringly at his wife and goes back into the kitchen. \\n \\n Mrs. Jankis watches Sammy flipping through the channels,\",\n \"\\t\\t\\t\\tLEONARD (V.0.) (CONT'D) \\n \\t\\t... he should just... snap out of it. \\n \\n Sammy's Wife THROWS her drink in Sammy's face, puts her head\",\n \"Your wife always used to say you'd be late for your own funeral. \\n Remember that? Her little joke because you were such a slob-always \\n late, always forgetting stuff, even before the incident. \\n\",\n \"\\t\\tshe'd treated him. It had got to the \\n \\t\\tpoint where she'd get Sammy to hide food \\n \\t\\tall around the house, then stop feeding \\n \\t\\thim to see if his hunger would make him\",\n \"\\t\\tWhen his wife looked into his eyes she\\t\\t\\t * \\n \\t\\tthought he could be the same as he ever\\t\\t\\t* \\n \\t\\twas. When I looked into Sammy's eyes, I\\t\\t\\t*\",\n \"Sammy looks up, smiling, glad to be able to help. He goes \\n into the kitchen and comes back with the bottle of insulin, \\n the syringe and a new cotton swab. \\n \\n He carefully prepares the injection and Mrs. Jankis offers\"\n ],\n [\n \"\\t\\tIt's been fun, Lenny. \\n \\n Teddy walks off. Leonard pulls his Polaroids out of his \\n pocket and finds the one of Teddy. He places it on the dash,\",\n \"of Teddy, then picks up the phone and dials Teddy's number. \\n The phone is answered: \\n \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n\",\n \"\\t\\t'cos this guy's dead. \\n \\n Leonard CRACKS Teddy over the head with the FLOORBOARD.\\t * \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t111. \\n \\n 174 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 174 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"Teddy is now wearing his big grin, rubbing his neck. \\n \\t\\t\\t\\t\\t\\t\\t \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\t\\t\\t\\t\\t\\t\\t66. \\n\",\n \"178 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"He THRUSTS the barrel of his gun into Teddy's mouth and WE \\n ARE AT THE SHOT FROM THE END OF THE OPENING SEQUENCE. Teddy \\n panics, shaking his head, trying to talk around the metal,\",\n \"Leonard, startled, GRABS Teddy by the throat. \\n \\n \\t\\t\\t\\t\\t\\t\\tCUT TO: \\n\",\n \"affects a casual air, shrugging dismissively, \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tFuck this. \\n \\n Teddy turns and heads for the door. Leonard LEAPS on him,\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"Teddy APPROACHING the glass door of the office. Leonard \\n watches carefully as Teddy shambles up to the office door. A \\n BELL CHIIIES as Teddy enters and breaks into his shit-eating \\n grin. Leonard slips the photo into his pocket.\",\n \"\\t\\t\\t\\t\\t\\t\\t68. \\n \\n 115 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 115 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (grins)\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\t (off look) \\n \\t\\tYou know, when we found your guy and\\t\\t\\t * \\n \\t\\tkilled him. \\n \\t\\t (off look)\",\n \"\\t\\t\\t\\t\\t\\t\\t47. \\n \\n 69 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 69 \\n \\t\\t\\t\\t\\t\\t\\t \\n \\t\\t\\t\\tTEDDY\",\n \"178 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tWhat difference does it make whether he\\t\\t\\t*\",\n \"Leonard starts the engine. Through the rear-view mirror, \\n Leonard stares at Teddy's retreating form. Thinking. Leonard \\n PULLS OUT onto the road. \\n\",\n \"Leonard FLINCHES. A DEAFENING ROAR as wet red leaps off his \\n face and suit and head, with a SPASM, reassembles itself \\n into the face of TEDDY (40's, moustache) and we- \\n\",\n \"\\t\\tTeddy! \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t\\t3A. \\n\"\n ],\n [\n \"The Polaroid camera is lowered, revealing the sweaty, heavy- \\n breathing face of LEONARD (mid-30's). There are droplets of \\n blood across his face. Leonard stares, satisfied, at\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tSomething to remember you by. \\n \\n Leonard lowers the camera and takes out a pen, resting the \\n picture against the truck, about to write on the white strip \\n beneath the developing picture. \\n\",\n \"Leonard BREATHES as he stands up. He nods to himself with \\n satisfaction. He looks around for his POLAROID CAMERA. He \\n snaps a FLASH picture of Jimmy's body, and stares intently at\",\n \"\\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tNo, really. Memory's not perfect. It's \\n \\t\\tnot even that good. Ask the police, \\n \\t\\teyewitness testimony is unreliable. The\",\n \"camera. He lowers the camera and smiles. \\n \\n \\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tSomething to remember you by. \\n \\n Natalie smiles unconvincingly, perturbed, and exits. Leonard\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tNo. No, just let me think for a minute. \\n \\n Leonard moves to the dresser and starts methodically emptying \\n his pockets. He pulls a Polaroid out of his inside jacket \\n pocket. \\n\",\n \"Leonard stands in the dimly-lit, decaying former hallway. He \\n pulls a stack of POLAROID PHOTOGRAPHS out of his pocket and \\n leafs through them as Teddy starts walking towards him. \\n\",\n \"Leonard drops the plastic bag and takes his jacket off. He \\n feels something in the pocket, sticks his hand in and pulls\\t* \\n out a charred Polaroid photograph.\\t\\t\\t\\t\\t\\t* \\n\",\n \"Leonard pulls out his Polaroids and flips through them. He \\n pauses at the one of Natalie. Teddy SWIPES it out of his \\n hands to get a better look at the blurred image of Natalie \\n turning in a doorway. \\n\",\n \"starts knocking BITS OF BROKEN WINDOW GLASS out of the \\n driver's side window with his elbow then pulling photos and \\n pieces of paper out of his pockets as he drives. \\n \\n Leonard finds a NOTE that gives a description of Dodd, along\",\n \"Leonard stuffs the Polaroids back into his pocket, reaches \\n around to the back of his waistband and draws a HANDGUN, \\n keeping it out of Teddy's line of sight. Teddy enters, wary. \\n\",\n \"Leonard examines it, PUZZLED. All that is visible is AN ARM, * \\n lying on a floor. Leonard reaches into the other pocket and\\t* \\n pulls out his POLAROIDS, flicking through them until he finds\",\n \"through his Polaroids. He finds one of a PICKUP TRUCK, spots \\n it in the lot, and walks over to it. He turns around and \\n points his camera at Teddy. Teddy grins wider. Leonard snaps \\n the picture. \\n\",\n \"Natalie leans in close, studying Leonard, looking him over. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat's the last thing you remember? \\n \\t\\tLeonard looks at her. \\n \\n CUT TO FLASHBACK:\",\n \"him on the edge of the bed. Leonard takes a POLAROID \\n PHOTOGRAPH of the bloody, taped-up Dodd. \\n \\n Leonard shoves Dodd into the closet, takes out a NOTE and\",\n \"Leonard looks at the house. Teddy motions towards Leonard's \\n pockets. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tTake a look at your pictures, I bet you \\n \\t\\tgot one of her. \\n\",\n \"Leonard gets Polaroids out of his pocket. The first one is of \\n the Discount Inn. He STICKS it onto an already-squashed lump * \\n of blue tack at the end of an ARROW drawn from a location on \\n the outskirts of town.\",\n \"Leonard sticks the photo of Teddy BETWEEN HIS TEETH as he \\n holds his HANDGUN up and checks that it is loaded. He sticks \\n the GUN in the back of his waistband. \\n\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"Leonard fishes photographs out of his pocket, examining them. \\n The Landcruiser ACCELERATES until it is uncomfortably close. \\n Leonard slows, turning into a PARKING LOT. The Landcruiser \\n follows. \\n\"\n ],\n [\n \"\\t\\tYour name's Teddy. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tMy mother calls me Teddy. I'm John Edward\",\n \"of Teddy, then picks up the phone and dials Teddy's number. \\n The phone is answered: \\n \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n\",\n \"\\t\\tThis guy told me his name was Teddy. \\n \\n He turns the photo over and examines the white stop on the \\n back. It says only: \\n \\n \\\"DON'T BELIEVE HIS LIES\\\" \\n \\n \\n\",\n \"Teddy is now wearing his big grin, rubbing his neck. \\n \\t\\t\\t\\t\\t\\t\\t \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\t\\t\\t\\t\\t\\t\\t66. \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t111. \\n \\n 174 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 174 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"\\t\\tWho did he go to meet? \\n \\n Natalie studies Leonard. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tA guy called Teddy. \\n \\n Leonard does not react to the name. \\n\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\tJust Teddy. Don't write Gammell please. \\n \\n Leonard raises his eyebrows. \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\",\n \"\\t\\tTeddy! \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t\\t3A. \\n\",\n \"178 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY (cont'd)\\t\\t\\t\\t\\t\\t*\",\n \"Teddy pretends to think hard. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tDid you? I musta forgot. I'm Teddy.\\t\\t\\t * \\n \\n \\t\\t\\t\\tLEONARD\",\n \"Leonard FLINCHES. A DEAFENING ROAR as wet red leaps off his \\n face and suit and head, with a SPASM, reassembles itself \\n into the face of TEDDY (40's, moustache) and we- \\n\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"\\t\\tThings change. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tSo I see. It's good to see you. My name's \\n \\t\\tTeddy. \\n \\n \\t\\t\\t\\tLEONARD\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\tJimmy's a drug dealer. This cop wanted to \\n \\t\\tknow all about how he sets up deals, shit \\n \\t\\tlike that. He's got some score in mind\\t\\t\\t *\",\n \"\\t\\t\\t\\t\\t\\t\\t68. \\n \\n 115 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 115 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (grins)\",\n \"\\t\\tthe name of a motel. \\n \\n Teddy starts looking for a piece of paper. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tGood thing I found you. She's bad news. \\n\",\n \"178 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 178 \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tWhat difference does it make whether he\\t\\t\\t*\",\n \"\\t\\t\\t TEDDY \\n \\t Sammy was a con man. A faker. \\n \\n \\t\\t\\t LEONARD \\n \\t I never said he was faking! I never said \\n \\t that! \\n\",\n \"\\t\\t\\t\\t\\t\\t\\t47. \\n \\n 69 CONTINUED: (3)\\t\\t\\t\\t\\t\\t\\t 69 \\n \\t\\t\\t\\t\\t\\t\\t \\n \\t\\t\\t\\tTEDDY\",\n \"\\t\\t\\t\\tTEDDY \\n \\t\\tHis name's James F. Grantz, John G. Check\\t\\t * \\n \\t\\tyour tattoos.\\t\\t\\t\\t\\t\\t\\t * \\n \\n \\t\\t\\t\\tLEONARD\"\n ],\n [\n \"DOWN, some BACKWARDS. Leonard examines his tattoos, \\n methodically. From Leonard's POV, the most striking is an \\n upside-down tattoo on his BELLY which says: \\n\",\n \"Leonard (boxers, bandaged arm) TATTOOS HIMSELF as he talks on * \\n the phone. So far he has tattooed: \\n \\n \\\"FACT 5.\\\" \\n \\n \\t\\t\\t\\tLEONARD\",\n \"end of Leonard's tattoos.\\t\\t\\t\\t \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tYou don't seem the type. \\n \\n She pushes back the sleeve, trying to read the tattoo.\",\n \"Leonard lies on the bed, in jeans, topless. He reaches for the \\n ringing phone with his left arm. As his hand reaches the \\n receiver Leonard reads the tattoo on his arm which says:\\t * \\n \\n \\\"NEVER ANSWER THE PHONE\\\" \\n\",\n \"ARM. He looks do at the TATTOOS ALL OVER HIS CHEST, STOMACH\\t* \\n AND ARMS. \\n \\n \\t\\t\\t\\tLEONARD (cont'd)\",\n \"Leonard looks at the INK-COVERED NEEDLE. Leonard consults the \\n FILE CARD. It has a HANDWRITTEN MESSAGE: \\n \\n \\\"TATTOO: ACCESS TO DRUGS\\\" \\n\",\n \"The photo of himself, bare-chested, tattooed and grinning\\t * \\n maniacally, pointing to the bare area of skin above his\\t * \\n heart. Leonard stares at it, disturbed. Underneath the photo *\",\n \"Extreme close-up of the tattooing needle finishing an \\\"F\\\". \\n \\n Wider shows us Leonard sitting with his suit trousers around \\n his ankles in a curtained cubicle. Next to him on the floor\",\n \"LEONARD REMOVES THE BANDAGE FROM HIS LEFT ARM, REVEALING A\\t * \\n CRUDE TATTOO WHICH SAYS: \\n \\n \\\"NEVER ANSWER THE PHONE\\\" \\n \\n Leonard looks up.\",\n \"Leonard takes out the REGISTRATION DOCUMENT and examines it. \\n Holding the photo of Teddy and the registration document, \\n Leonard checks off his TATTOOED FACTS: \\n \\n \\t\\t\\t\\tLEONARD (cont'd)\",\n \"Leonard takes his pen and alters his FILE CARD to read: \\n \\n \\\"TATTOO: FACT 5. DRUG DEALER\\\" \\n \\n Leonard picks up the NEEDLE/PEN and continues his tattoo. \\n\",\n \"Leonard (beige suit) enters. A TATTOOIST is sitting with a \\n magazine, smoking. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tDidn't know this town had a parlor. \\n\",\n \"is his sports bag of notes and papers. The tattooist is\\t * \\n tattooing his thigh, Leonard is reading a file, fascinated. \\n \\n The curtain is thrust open and Teddy pokes his head in. \\n \\n \\t\\t\\t\\tTEDDY\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tIt'll be alright for a minute. \\n \\n Teddy shrugs. The tattooist looks up at him. \\n \\n \\t\\t\\t\\tTATTOOIST \\n \\t\\tWait out there.\",\n \"The tattooist looks to Leaonard. Leonard shrugs.\\t\\t\\t * \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tHow'd you know I was in here? \\n \\n \\t\\t\\t\\tTEDDY\",\n \"looks at the sedan, then reaches into his sports bag for a \\n PEN and a FILE CARD. He writes on the file card: \\n \\n \\\"TATTOO: I'VE DONE IT\\\" \\n \\n Leonard looks from the card to Teddy's sedan.\",\n \"to scrub the writing off his skin. To his surprise, it is \\n INDELIBLE. Leonard looks at it, quizzical, then notices some \\n markings on his wrist, pulling his sleeve back to get a \\n better look. He can read the start of a message:\",\n \"The arrow points to a sentence tattooed along Earl's inner arm. Earl \\n reads the sentence once, maybe twice. Another arrow picks up at the \\n beginning of the sentence, points farther up Earl's arm, disappearing\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"Leonard writes on the file card: \\n \\n \\\"TATTOO: FACT 6. CAR LICENSE NUMBER\\\" \\n \\n \\t\\t\\t\\tLEONARD (V.O.)(cont'd)\"\n ],\n [\n \"SCRATCHING his cheek. Leonard tips his head back and \\n increases his efforts. Jimmy STOPS struggling. Leonard keeps \\n his hands around Jimmy's throat until he is confident that he \\n is DEAD. \\n\",\n \"Leonard HITS Jimmy around the head with the jack handle. \\n Jimmy goes down, but STRUGGLES as Leonard drags him deeper \\n into the dark hallway. Leonard bends over the groaning Jimmy, \\n frisking him, finding nothing. \\n\",\n \"approaches a large, clearly abandoned DERELICT BUILDING. \\n Leonard is driving. He wears a BEIGE SUIT and BLUE SHIRT (no \\n blood). Next to him is TEDDY. Leonard stops the car next to a\",\n \"again, misses. Leonard GRABS him, taking him down. The two of \\n them STRUGGLE on the floor. Leonard gets ON TOP of Jimmy, \\n CHOKING him. Jimmy tries to speak, but can only make GURGLING\",\n \"The point of light GOES OUT. Leonard KICKS the door in, \\n SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM. \\n \\n Leonard stands over him, looking down. The man is\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"167\\t INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE## \\n 167 \\n \\n Jimmy's arms THRASH, his hands catching Leonard's face,\",\n \"having destroyed the entire image but for an arm resting on a \\n floor. Leonard sticks the remnants into his jacket pocket. He \\n looks in the rear-view mirror at Teddy, who scrabbles around \\n in the bushes. \\n\",\n \"Leonard, startled, GRABS Teddy by the throat. \\n \\n \\t\\t\\t\\t\\t\\t\\tCUT TO: \\n\",\n \"Leonard. Her face is bloody but she smiles. \\n \\n \\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tSee you soon. \\n \\n Natalie exits. Leonard watches her walk out to her car and\",\n \"HITTING Dodd square in the face with the empty vodka bottle, \\n which does not break. \\n \\n Dodd lies still on the floor, bleeding, his hand still in his \\n inside jacket pocket. Leonard stands above him, naked,\",\n \"Dodd uses Leonard to pull himself off the floor then PUNCHES \\n the side of his head and pushes him HARD, Leonard FLAILING \\n wildly, GRABBING THE EMPTY VODKA BOTTLE from by the sink as\",\n \"Leonard's wife THRASHES her head from side to side, \\n STRUGGLING to breathe though the clear plastic shower \\n curtain. \\n \\n BACK TO SCENE: \\n\",\n \"then SHOOTS at Leonard, SHATTERING the driver's side window, \\n triggering the CAR ALARM. \\n \\n Dodd climbs through the window and takes off after him. \\n\",\n \"With his left hand, Leonard opens the door. He rolls out, \\n SLAMMING the door in Dodd's face, and hitting the central \\n locking on his car keys. \\n \\n Leonard TAKES OFF across the asphalt. Dodd tries the doors,\",\n \"stands in the doorway, smoking gun in hand. He is HIT HARD \\n from behind by an UNSEEN ASSAILANT who GRABS Leonard by the \\n HAIR and THROWS his HEAD into the MIRROR, SHATTERING IT.\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"The Polaroid camera is lowered, revealing the sweaty, heavy- \\n breathing face of LEONARD (mid-30's). There are droplets of \\n blood across his face. Leonard stares, satisfied, at\",\n \"Leonard BREATHES as he stands up. He nods to himself with \\n satisfaction. He looks around for his POLAROID CAMERA. He \\n snaps a FLASH picture of Jimmy's body, and stares intently at\",\n \"Leonard enters and SCANS the room. Burt picks his nails in \\n the doorway. Leonard moves to the unmade bed. There is a pile \\n of BLOODSTAINED TISSUES. On the bedside table is an ICE\"\n ],\n [\n \"\\t\\t\\t\\tNATALIE (cont'd) \\n \\t\\tWell, it seems like Jimmy knows you. He \\n \\t\\ttold me about you. Said you were staying\",\n \"\\t\\t\\t\\t\\t\\t\\t74. \\n \\n 120 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 120 \\n \\n \\t\\t\\t\\tNATALIE (cont'd)\",\n \"\\t\\t\\t\\t\\t\\t\\t81. \\n \\n 123 CONTINUED: (4)\\t\\t\\t\\t\\t\\t\\t 123 \\n \\n Natalie gets to her feet, and goes to the door. She turns to\",\n \"Natalie showed him on top of some papers on a desk in the \\n corner. He holds it in a shaft of light from the streetlamp \\n outside, studying the photo of Natalie and Jimmy. \\n\",\n \"\\t\\t\\t\\tNATALIE \\n \\t\\tI gotta be someplace. \\n \\n She gets out of bed, wearing pajamas. Leonard swings his legs \\n out of the bed and realizes that he is wearing trousers and\",\n \"DRUNK with shaky hands sits at the bar. Natalie (without \\n bruises) is working behind the bar. She tops up a silver \\n tankard with beer, brings it over and sets it in front of \\n Leonard, smiling. \\n\",\n \"Leonard opens the door for her. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n Natalie, intensely AGITATED, FUMBLES with things in her \\n purse. \\n\",\n \"\\t\\t\\t\\tNATALIE \\n \\t\\tI wrote an address in there, too. Might \\n \\t\\tbe useful. It's this abandoned place \\n \\t\\toutside of town. I guy I know used to use\",\n \"sits down on the couch and writes \\\"Natalie\\\" on the white \\n strip under her photo as it develops into the blurred image \\n of Natalie which we have seen before. He takes out his other \\n Polaroids, flipping through them. \\n\",\n \"Leonard bends his head around to see if Natalie is awake. She \\n closes her eyes. Leonard gingerly slides from underneath her \\n and moves silently out of the bedroom. \\n\",\n \"\\t\\tLenny, as a buddy, let me inform you. \\n \\t\\tYour business here is very much finished. \\n \\t\\tYou're still here because of Natalie. \\n \\n \\t\\t\\t\\tLEONARD\",\n \"pulls out his Polaroids, flips through them: a Jaguar, the \\n Discount Inn, Natalie. He flips Natalie's picture over and \\n looks at the back. There are two messages, but the first one\",\n \"\\t\\t\\t\\t\\t\\t\\t85. \\n \\n 130 CONTINUED:\\t\\t\\t\\t\\t\\t\\t 130 \\n \\n \\t\\t\\t\\tNATALIE\",\n \"\\t\\tShe's gone and the present is trivia, \\n \\t\\twhich I can scribble down as notes. \\n \\n Natalie stares at Leonard, thinking. \\n \\n \\n \\n \\n\",\n \"Leonard slips into the seat opposite her. Natalie is pretty, \\n but has bruising around one eye, and a mark on her lip. \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tYou don't remember me. \\n\",\n \"\\t\\t\\t\\tNATALIE \\n \\t\\tI'm sorry. \\n \\n She takes a BROWN ENVELOPE out of her handbag. \\n \\n \\t\\t\\t\\tNATALIE (cont'd)\",\n \"Natalie waves the Polaroid at him. \\n \\n \\n \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\t\\t\\t\\t\\t\\t\\t38. \\n\",\n \"\\\"CITY GRILL, MAIN ST. THURSDAY, 1.OOPM MEET NATALIE FOR INFO\\\" \\n \\n He sticks the note in his pocket and pulls out his Polaroid \\n photographs. He flips through them until he finds Natalie's.\",\n \"Natalie hands him a note. It says: \\n \\n \\n \\t\\t\\t\\t\\t\\t\\t(CONTINUED) \\n \\n MEMENTO Pink Revisions - 9/7/99 \\n \\t\\t\\t\\t\\t\\t\\t76. \\n\",\n \"Leonard OPENS the door for her. She RUSHES past him.\\t\\t * \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n Natalie, intensely AGITATED, FUMBLES with things in her purse.\"\n ],\n [\n \"\\t\\t\\t TEDDY \\n \\t Sammy was a con man. A faker. \\n \\n \\t\\t\\t LEONARD \\n \\t I never said he was faking! I never said \\n \\t that! \\n\",\n \"\\t\\tabout Sammy?\\t\\t\\t\\t\\t\\t\\t * \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (chuckles) \\n \\t\\tYou tell everyone about Sammy. Everyone\",\n \"Leonard writes another message beneath these two: \\n \\n \\\"KILL HIM\\\" \\n \\n He sticks the photo of Teddy BETWEEN HIS TEETH as he holds \\n his HANDGUN up and checks that it is loaded. He sticks the\",\n \"Teddy APPROACHING the glass door of the office. Leonard \\n watches carefully as Teddy shambles up to the office door. A \\n BELL CHIIIES as Teddy enters and breaks into his shit-eating \\n grin. Leonard slips the photo into his pocket.\",\n \"Teddy reaches out to Leonard's lapel, and gently opens his \\n jacket to reveal the label. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tPut it this way. Were you wearing\",\n \"Leonard stuffs the Polaroids back into his pocket, reaches \\n around to the back of his waistband and draws a HANDGUN, \\n keeping it out of Teddy's line of sight. Teddy enters, wary. \\n\",\n \"\\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tGreat shot, Lenny. \\n \\n Teddy flips the photo over. There is nothing on the back. \\n Teddy hands it back to Leonard. \\n\",\n \"\\t\\t\\t\\tLEONARD \\n \\t\\tWhat happened? \\n \\n \\t\\t\\t\\tNATALIE \\n \\t\\tWhat happened is that Jimmy went to meet \\n \\t\\ta guy called Teddy. He took a lot of\",\n \"Leonard cranks it down. Teddy looks at Leonard with something \\n like fatherly affection. \\n \\n \\t\\t\\t\\tTEDDY (cont'd) \\n \\t\\tMake him beg. \\n\",\n \"Teddy is down. Leonard DRAGS him back, deeper into the dark \\n house. Leonard is in a frenzy. He dumps Teddy at the end of \\n the hall and stands over him. Teddy SPITS BLOOD. \\n\",\n \"\\t\\t (gasping) \\n \\t\\tTeddy. Your buddy. \\n \\n \\t\\t\\t\\tLEONARD \\n \\t\\tProve it. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\t (gasping)\",\n \"He flips Teddy's picture over, like a croupier turning a card \\n at blackjack. On the back it says: \\n \\n \\\"DON'T BELIEVE HIS LIES\\\" \\n \\n Leonard purses his lips in surprised frustration. He grabs\",\n \"\\t\\tIt's been fun, Lenny. \\n \\n Teddy walks off. Leonard pulls his Polaroids out of his \\n pocket and finds the one of Teddy. He places it on the dash,\",\n \"\\t\\tunderstand. Sammy's story helps me \\n \\t\\tunderstand my own situation. \\n \\n Leonard touches the tattoo on the back of his hand. \\n \\n \\t\\t\\t\\tLEONARD (cont'd)\",\n \"Leonard looks coldly at Teddy's smiling image. \\n \\n \\t\\t\\t\\tLEONARD (cont'd) \\n \\t\\tI found you, you fuck. \\n \\n Leonard turns the photo face down, takes a pen and writes: \\n\",\n \"\\t\\tI was wrong! That's the whole point! \\n \\t\\tSammy's wife came to me and - \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tSammy didn't have a wife. \\n\",\n \"\\t\\tSammy... remember Sammy... \\n \\n Leonard is SHOCKED. Jimmy is silent. The sound of a CAR \\n outside. Leonard JUMPS to his feet. \\n\",\n \"\\t\\tC'mon, Lenny - we'll take a look down \\n \\t\\tthere together. Then you'll know. You'll \\n \\t\\tknow what you really are. \\n \\n Leonard glances fearfully at the door, then looks at Teddy.\",\n \"Leonard TOSSES the GUN into the trunk. It lands on PILES OF \\n BANKNOTES STUFFED IN THE TRUNK. Teddy REACTS to the sight of \\n the money. Leonard glances at Teddy, then the money, shakes\",\n \"Leonard finds a photo showing Teddy with a shit-eating grin \\n standing in front of the pickup truck. On the broad white \\n strip beneath the photo is handwritten: \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["What is Leonard Shelby's profession?","How did Sammy Jankis' wife die?","What is Natalie's profession?","Why does Natalie resent Leonard when they meet?","What is Teddy's full name?","What is Teddy's profession?","What is Leonard's tattoo of?","How does Leonard kill Jimmy?","What is the cause of Leonard's amnesia?","What is Leonard diagnosed with after his attack?","What happened during the attack at the beginning of the story?","What does Leonard use to help him in his investigation to find the second attacker?","Why did Sammy Jankis kill his wife?","Why does the bartender Natalie dislike Leonard?","Who does Leonard kill in an abandoned building?","Who is Teddy?","How has Teddy been using Leonard for his own personal benefit?","What does Teddy tell Leonard about Sammy's story?","How does Leonard plan on killing Teddy?","What does Leornard suffer from?","What does Leonard believe his attackers name is?","How does Sammy's wife die?","How does Teddy die?","What type of camera does Leonard use to help with his memory?","What is Teddy's real name?","What does Leonard have tattoed on his body?","Who does Leonard strangle in the abandoned building?","What does Natalie work as?","What does Teddy reveal to Leonard about Sammy?"],"string":"[\n \"What is Leonard Shelby's profession?\",\n \"How did Sammy Jankis' wife die?\",\n \"What is Natalie's profession?\",\n \"Why does Natalie resent Leonard when they meet?\",\n \"What is Teddy's full name?\",\n \"What is Teddy's profession?\",\n \"What is Leonard's tattoo of?\",\n \"How does Leonard kill Jimmy?\",\n \"What is the cause of Leonard's amnesia?\",\n \"What is Leonard diagnosed with after his attack?\",\n \"What happened during the attack at the beginning of the story?\",\n \"What does Leonard use to help him in his investigation to find the second attacker?\",\n \"Why did Sammy Jankis kill his wife?\",\n \"Why does the bartender Natalie dislike Leonard?\",\n \"Who does Leonard kill in an abandoned building?\",\n \"Who is Teddy?\",\n \"How has Teddy been using Leonard for his own personal benefit?\",\n \"What does Teddy tell Leonard about Sammy's story?\",\n \"How does Leonard plan on killing Teddy?\",\n \"What does Leornard suffer from?\",\n \"What does Leonard believe his attackers name is?\",\n \"How does Sammy's wife die?\",\n \"How does Teddy die?\",\n \"What type of camera does Leonard use to help with his memory?\",\n \"What is Teddy's real name?\",\n \"What does Leonard have tattoed on his body?\",\n \"Who does Leonard strangle in the abandoned building?\",\n \"What does Natalie work as?\",\n \"What does Teddy reveal to Leonard about Sammy?\"\n]"},"answers":{"kind":"list like","value":[["He is an insurance investigator.","insurance investigator"],["An overdose of insulin injections.","Overdose."],["She is a bartender.","A bartender"],["Because Leonard is driving the car and wearing the clothes of her boyfriend. ","Because he wears the clothes and drives the car of Jimmy, her boyfriend."],["John Edward Gammell.","John Edward Gammell"],["He is an undercover officer.","Undercover officer"],["John G's license plate number.","John G's license plate."],["Leonard strangles Jimmy.","Strangulation."],["Leonard is clubbed by the second of two attackers who raped and killed his wife.","attacked by two men"],["Anterograde amnesia.","Anterograde amnesia."],["Leonard's wife was raped and murdered and one of the attackers escaped.","Leonard gets amnesia"],["Notes, Polaroids, and tattoos.","He gets Teddy's license plate number tattooed on himself"],["He suffers from the same condition as Leonard and did it accidentally. ","He had amnesia and didn't remember giving her insulin already."],["He drives her boyfriends car and wears his clothes.","He has the same clothes and car as her boyfriend."],["Natalie's boyfriend Jimmy.","He kills Teddy."],["An undercover officer who was trying to help find out name of the second attacker.","An undercover police officer. "],["He's been having Leonard kill different people for over a year.","So Leonard would kill troublesome people."],["That Leonard is actually Sammy.","It's actually Leonard's story"],["By tattooing his license plate number on his arm to convince himself that he is the second attacker.","Shooting him"],["Anterograde amnesia.","Amnesia."],["John or James","John G."],["She overdoses on insulin.","She overdoses on insulin."],["Leonard kills him.","Leonard kills him"],["Polaroid.","Polaroid"],["John Edward Gammell.","John Edward Gammell"],["Teddy's drives licence number.","Teddy's license plate number."],["Jimmy.","Jimmy"],["Bartender.","A bartender"],["That Leonard is Sammy and he repressed the memory to escape his guilt.","Sammy is Leonard"]],"string":"[\n [\n \"He is an insurance investigator.\",\n \"insurance investigator\"\n ],\n [\n \"An overdose of insulin injections.\",\n \"Overdose.\"\n ],\n [\n \"She is a bartender.\",\n \"A bartender\"\n ],\n [\n \"Because Leonard is driving the car and wearing the clothes of her boyfriend. \",\n \"Because he wears the clothes and drives the car of Jimmy, her boyfriend.\"\n ],\n [\n \"John Edward Gammell.\",\n \"John Edward Gammell\"\n ],\n [\n \"He is an undercover officer.\",\n \"Undercover officer\"\n ],\n [\n \"John G's license plate number.\",\n \"John G's license plate.\"\n ],\n [\n \"Leonard strangles Jimmy.\",\n \"Strangulation.\"\n ],\n [\n \"Leonard is clubbed by the second of two attackers who raped and killed his wife.\",\n \"attacked by two men\"\n ],\n [\n \"Anterograde amnesia.\",\n \"Anterograde amnesia.\"\n ],\n [\n \"Leonard's wife was raped and murdered and one of the attackers escaped.\",\n \"Leonard gets amnesia\"\n ],\n [\n \"Notes, Polaroids, and tattoos.\",\n \"He gets Teddy's license plate number tattooed on himself\"\n ],\n [\n \"He suffers from the same condition as Leonard and did it accidentally. \",\n \"He had amnesia and didn't remember giving her insulin already.\"\n ],\n [\n \"He drives her boyfriends car and wears his clothes.\",\n \"He has the same clothes and car as her boyfriend.\"\n ],\n [\n \"Natalie's boyfriend Jimmy.\",\n \"He kills Teddy.\"\n ],\n [\n \"An undercover officer who was trying to help find out name of the second attacker.\",\n \"An undercover police officer. \"\n ],\n [\n \"He's been having Leonard kill different people for over a year.\",\n \"So Leonard would kill troublesome people.\"\n ],\n [\n \"That Leonard is actually Sammy.\",\n \"It's actually Leonard's story\"\n ],\n [\n \"By tattooing his license plate number on his arm to convince himself that he is the second attacker.\",\n \"Shooting him\"\n ],\n [\n \"Anterograde amnesia.\",\n \"Amnesia.\"\n ],\n [\n \"John or James\",\n \"John G.\"\n ],\n [\n \"She overdoses on insulin.\",\n \"She overdoses on insulin.\"\n ],\n [\n \"Leonard kills him.\",\n \"Leonard kills him\"\n ],\n [\n \"Polaroid.\",\n \"Polaroid\"\n ],\n [\n \"John Edward Gammell.\",\n \"John Edward Gammell\"\n ],\n [\n \"Teddy's drives licence number.\",\n \"Teddy's license plate number.\"\n ],\n [\n \"Jimmy.\",\n \"Jimmy\"\n ],\n [\n \"Bartender.\",\n \"A bartender\"\n ],\n [\n \"That Leonard is Sammy and he repressed the memory to escape his guilt.\",\n \"Sammy is Leonard\"\n ]\n]"},"document_id":{"kind":"string","value":"bf438dd002b209fa4550cd56752c6549428fc4bc"},"split":{"kind":"string","value":"train"}}},{"rowIdx":51,"cells":{"text":{"kind":"list like","value":[[" Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," There sat auld Nick, in shape o' beast; \n A towzie tyke, black, grim, and large, \n To gie them music was his charge; \n He screw'd the pipes and gart them skirl,"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"],[" In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," (Auld Ayr wham ne'er a town surpasses \n For honest men and bonny lasses). \n \n O Tam! hadst thou but been sae wise, \n As ta'en thy ain wife Kate's advice!"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Lowping an' flinging on a crummock, \n I wonder didna turn thy stomach. \n \n But Tam kend what was what fu' brawlie, \n There was ae winsome wench and walie,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," \"The landlady and Tam grew gracious\" 13 \n \n \"Well mounted on his grey mare, Meg\" 19 \n \n \"The dancers quick and quicker flew\" 27 \n \n \n \n"],[" That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," Wi' mony an eldritch skreech and hollow. \n \n Ah, Tam! Ah, Tam! thou'll get thy fairin! \n In hell they'll roast thee like a herrin!"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Lowping an' flinging on a crummock, \n I wonder didna turn thy stomach. \n \n But Tam kend what was what fu' brawlie, \n There was ae winsome wench and walie,"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"],[" In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," (Auld Ayr wham ne'er a town surpasses \n For honest men and bonny lasses). \n \n O Tam! hadst thou but been sae wise, \n As ta'en thy ain wife Kate's advice!"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," She tauld thee weel thou was a skellum, \n A blethering, blustering, drunken blellum; \n That frae November till October, \n Ae market-day thou was nae sober;"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;","produced from images generously made available by The \n Internet Archive/Canadian Libraries) \n \n \n \n \n \n \n \n \n \n [Illustration: She tauld thee well thou was a skellum.] \n \n"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"],[" To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Lowping an' flinging on a crummock, \n I wonder didna turn thy stomach. \n \n But Tam kend what was what fu' brawlie, \n There was ae winsome wench and walie,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," Even Satan glowr'd, and fidg'd fu' fain, \n And hotch'd and blew wi' might and main: \n Till first ae caper, syne anither,"," Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"],[" And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;"," Whene'er to drink you are inclin'd, \n Or cutty-sarks run in your mind, \n Think, ye may buy the joys o'er dear, \n Remember Tam o' Shanter's mare. \n"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," \"The landlady and Tam grew gracious\" 13 \n \n \"Well mounted on his grey mare, Meg\" 19 \n \n \"The dancers quick and quicker flew\" 27 \n \n \n \n"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," That lika melder, wi' the miller, \n Thou sat as lang as thou had siller; \n That ev'ry naig was ca'd a shoe on, \n The smith and thee gat roaring fou on;"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," There sat auld Nick, in shape o' beast; \n A towzie tyke, black, grim, and large, \n To gie them music was his charge; \n He screw'd the pipes and gart them skirl,"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Whom his ain son o' life bereft, \n The gray hairs yet stack to the heft: \n Wi' mair o' horrible and awfu', \n Which ev'n to name wad be unlawfu'. \n"," The carlin claught her by the rump, \n And left poor Maggie scarce a stump. \n \n Now, wha this tale o' truth shall read, \n Ilk man and mother's son, take heed;"],[" And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,","TAM O' SHANTER \n \n BY \n \n ROBERT BURNS \n \n \n \n \n Tam o' Shanter. \n \n A Tale. \n \n \n WHEN chapman billies leave the street,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," The rattling show'rs rose on the blast; \n The speedy gleams the darkness swallow'd; \n Loud, deep, and lang the thunder bellowed: \n That night, a child might understand,"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"],[" To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," \"The landlady and Tam grew gracious\" 13 \n \n \"Well mounted on his grey mare, Meg\" 19 \n \n \"The dancers quick and quicker flew\" 27 \n \n \n \n"," Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"," Lowping an' flinging on a crummock, \n I wonder didna turn thy stomach. \n \n But Tam kend what was what fu' brawlie, \n There was ae winsome wench and walie,"],[" When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;","[Footnote A: It is a well-known fact that witches, or any evil \n spirits, have no power to follow a poor wight any farther than \n the middle of the next running stream.--It may be proper"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,","TAM O' SHANTER \n \n BY \n \n ROBERT BURNS \n \n \n \n \n Tam o' Shanter. \n \n A Tale. \n \n \n WHEN chapman billies leave the street,"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"],[" Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," Ah, gentle dames! it gars me greet, \n To think how mony counsels sweet, \n How mony lengthen'd sage advices, \n The husband frae the wife despises! \n"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," (Auld Ayr wham ne'er a town surpasses \n For honest men and bonny lasses). \n \n O Tam! hadst thou but been sae wise, \n As ta'en thy ain wife Kate's advice!"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"],[" In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," (Auld Ayr wham ne'er a town surpasses \n For honest men and bonny lasses). \n \n O Tam! hadst thou but been sae wise, \n As ta'en thy ain wife Kate's advice!"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," She tauld thee weel thou was a skellum, \n A blethering, blustering, drunken blellum; \n That frae November till October, \n Ae market-day thou was nae sober;"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;","produced from images generously made available by The \n Internet Archive/Canadian Libraries) \n \n \n \n \n \n \n \n \n \n [Illustration: She tauld thee well thou was a skellum.] \n \n"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"],[" In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," \"The landlady and Tam grew gracious\" 13 \n \n \"Well mounted on his grey mare, Meg\" 19 \n \n \"The dancers quick and quicker flew\" 27 \n \n \n \n"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," The carlin claught her by the rump, \n And left poor Maggie scarce a stump. \n \n Now, wha this tale o' truth shall read, \n Ilk man and mother's son, take heed;"," And past the birks and meikie stane, \n Whare drunken Charlie brak's neck-bane; \n And thro' the whins, and by the cairn,"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"],[" There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,","[Footnote A: It is a well-known fact that witches, or any evil \n spirits, have no power to follow a poor wight any farther than \n the middle of the next running stream.--It may be proper"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Kirk-Alloway was drawing nigh, \n Whare ghaists and houlets nightly cry.-- \n \n By this time he was cross the ford, \n Whare in the snaw the chapman smoor'd;"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Even Satan glowr'd, and fidg'd fu' fain, \n And hotch'd and blew wi' might and main: \n Till first ae caper, syne anither,"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;"],[" Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;","[Footnote A: It is a well-known fact that witches, or any evil \n spirits, have no power to follow a poor wight any farther than \n the middle of the next running stream.--It may be proper"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," Wi' mony an eldritch skreech and hollow. \n \n Ah, Tam! Ah, Tam! thou'll get thy fairin! \n In hell they'll roast thee like a herrin!"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," Even Satan glowr'd, and fidg'd fu' fain, \n And hotch'd and blew wi' might and main: \n Till first ae caper, syne anither,","TAM O' SHANTER \n \n BY \n \n ROBERT BURNS \n \n \n \n \n Tam o' Shanter. \n \n A Tale. \n \n \n WHEN chapman billies leave the street,"," GUTENBERG EBOOK TAM O'SHANTER *** \n \n \n \n \n Produced by Tamise Totterdell and the Online Distributed \n Proofreading Team at http://www.pgdp.net (This file was"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,","likewise to mention to the benighted traveller, that when he \n falls in with _bogles_, whatever danger may be in his going \n forward, there is much more hazard in turning back.] \n \n \n Finis. \n \n","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"],[" Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," The carlin claught her by the rump, \n And left poor Maggie scarce a stump. \n \n Now, wha this tale o' truth shall read, \n Ilk man and mother's son, take heed;"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," \"The landlady and Tam grew gracious\" 13 \n \n \"Well mounted on his grey mare, Meg\" 19 \n \n \"The dancers quick and quicker flew\" 27 \n \n \n \n"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," There sat auld Nick, in shape o' beast; \n A towzie tyke, black, grim, and large, \n To gie them music was his charge; \n He screw'd the pipes and gart them skirl,"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Been snaw-white seventeen hunder linen! \n Thir breeks o' mine, my only pair, \n That ance were plush, o' gude blue hair, \n I wad hae gi'en them off my hurdies,"],[" Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," The carlin claught her by the rump, \n And left poor Maggie scarce a stump. \n \n Now, wha this tale o' truth shall read, \n Ilk man and mother's son, take heed;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," O'er a' the ills o' life victorious! \n \n But pleasures are like poppies spread, \n You seize the flow'r, its bloom is shed; \n Or like the snow-falls in the river,"," Whiles holding fast his gude blue bonnet; \n Whiles crooning o'er some auld Scots sonnet; \n Whiles glow'ring round wi' prudent cares, \n Lest bogles catch him unawares:"," Whene'er to drink you are inclin'd, \n Or cutty-sarks run in your mind, \n Think, ye may buy the joys o'er dear, \n Remember Tam o' Shanter's mare. \n"," What dangers thou canst make us scorn; \n Wi' tippenny, we fear nae evil; \n Wi' usquabae we'll face the devil!--"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,"," The rattling show'rs rose on the blast; \n The speedy gleams the darkness swallow'd; \n Loud, deep, and lang the thunder bellowed: \n That night, a child might understand,","likewise to mention to the benighted traveller, that when he \n falls in with _bogles_, whatever danger may be in his going \n forward, there is much more hazard in turning back.] \n \n \n Finis. \n \n"," The doubling storm roars thro' the woods; \n The lightnings flash from pole to pole; \n Near and more near the thunders roll: \n When, glimmering thro' the groaning trees,"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," +-------------------------------------------+ \n |Transcriber's Note: | \n | | \n |The use of \"vow\" and the stanza breaks | \n |have been retained as in the original book.|"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Wi' mony an eldritch skreech and hollow. \n \n Ah, Tam! Ah, Tam! thou'll get thy fairin! \n In hell they'll roast thee like a herrin!"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"],[" Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;","TAM O' SHANTER \n \n BY \n \n ROBERT BURNS \n \n \n \n \n Tam o' Shanter. \n \n A Tale. \n \n \n WHEN chapman billies leave the street,"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," We think na on the lang Scots miles, \n The mosses, waters, slaps, and styles, \n That lie between us and our hame, \n Whar sits our sulky sullen dame,","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Whiles holding fast his gude blue bonnet; \n Whiles crooning o'er some auld Scots sonnet; \n Whiles glow'ring round wi' prudent cares, \n Lest bogles catch him unawares:"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"],[" To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," The carlin claught her by the rump, \n And left poor Maggie scarce a stump. \n \n Now, wha this tale o' truth shall read, \n Ilk man and mother's son, take heed;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," \"The landlady and Tam grew gracious\" 13 \n \n \"Well mounted on his grey mare, Meg\" 19 \n \n \"The dancers quick and quicker flew\" 27 \n \n \n \n"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"],[" Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," Whene'er to drink you are inclin'd, \n Or cutty-sarks run in your mind, \n Think, ye may buy the joys o'er dear, \n Remember Tam o' Shanter's mare. \n"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," There sat auld Nick, in shape o' beast; \n A towzie tyke, black, grim, and large, \n To gie them music was his charge; \n He screw'd the pipes and gart them skirl,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," The carlin claught her by the rump, \n And left poor Maggie scarce a stump. \n \n Now, wha this tale o' truth shall read, \n Ilk man and mother's son, take heed;"," Twa span-lang, wee, unchristen'd bairns; \n A thief, new-cutted frae a rape, \n Wi' his last gasp his gab did gape;"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"],[" And drouthy neebors, neebors meet, \n As market-days are wearing late, \n An' folk begin to tak the gate; \n While we sit bousing at the nappy, \n An' getting fou and unco happy,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," She tauld thee weel thou was a skellum, \n A blethering, blustering, drunken blellum; \n That frae November till October, \n Ae market-day thou was nae sober;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," Kirk-Alloway seem'd in a bleeze; \n Thro' ilka bore the beams were glancing; \n And loud resounded mirth and dancing.-- \n \n Inspiring bold John Barleycorn!"," That lika melder, wi' the miller, \n Thou sat as lang as thou had siller; \n That ev'ry naig was ca'd a shoe on, \n The smith and thee gat roaring fou on;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," And past the birks and meikie stane, \n Whare drunken Charlie brak's neck-bane; \n And thro' the whins, and by the cairn,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," What dangers thou canst make us scorn; \n Wi' tippenny, we fear nae evil; \n Wi' usquabae we'll face the devil!--"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," Kirk-Alloway was drawing nigh, \n Whare ghaists and houlets nightly cry.-- \n \n By this time he was cross the ford, \n Whare in the snaw the chapman smoor'd;"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"],[" And drouthy neebors, neebors meet, \n As market-days are wearing late, \n An' folk begin to tak the gate; \n While we sit bousing at the nappy, \n An' getting fou and unco happy,"," We think na on the lang Scots miles, \n The mosses, waters, slaps, and styles, \n That lie between us and our hame, \n Whar sits our sulky sullen dame,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Whiles holding fast his gude blue bonnet; \n Whiles crooning o'er some auld Scots sonnet; \n Whiles glow'ring round wi' prudent cares, \n Lest bogles catch him unawares:"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," That lika melder, wi' the miller, \n Thou sat as lang as thou had siller; \n That ev'ry naig was ca'd a shoe on, \n The smith and thee gat roaring fou on;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," The rattling show'rs rose on the blast; \n The speedy gleams the darkness swallow'd; \n Loud, deep, and lang the thunder bellowed: \n That night, a child might understand,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," The doubling storm roars thro' the woods; \n The lightnings flash from pole to pole; \n Near and more near the thunders roll: \n When, glimmering thro' the groaning trees,"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," Kirk-Alloway seem'd in a bleeze; \n Thro' ilka bore the beams were glancing; \n And loud resounded mirth and dancing.-- \n \n Inspiring bold John Barleycorn!"," Even Satan glowr'd, and fidg'd fu' fain, \n And hotch'd and blew wi' might and main: \n Till first ae caper, syne anither,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," What dangers thou canst make us scorn; \n Wi' tippenny, we fear nae evil; \n Wi' usquabae we'll face the devil!--"],[" And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," There sat auld Nick, in shape o' beast; \n A towzie tyke, black, grim, and large, \n To gie them music was his charge; \n He screw'd the pipes and gart them skirl,"," We think na on the lang Scots miles, \n The mosses, waters, slaps, and styles, \n That lie between us and our hame, \n Whar sits our sulky sullen dame,"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Even Satan glowr'd, and fidg'd fu' fain, \n And hotch'd and blew wi' might and main: \n Till first ae caper, syne anither,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," That lika melder, wi' the miller, \n Thou sat as lang as thou had siller; \n That ev'ry naig was ca'd a shoe on, \n The smith and thee gat roaring fou on;"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," Whom his ain son o' life bereft, \n The gray hairs yet stack to the heft: \n Wi' mair o' horrible and awfu', \n Which ev'n to name wad be unlawfu'. \n"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,"],[" When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," There sat auld Nick, in shape o' beast; \n A towzie tyke, black, grim, and large, \n To gie them music was his charge; \n He screw'd the pipes and gart them skirl,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," Five tomahawks, wi' blude red-rusted; \n Five scymitars, wi' murder crusted; \n A garter, which a babe had strangled; \n A knife, a father's throat had mangled,","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"],[" Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," There sat auld Nick, in shape o' beast; \n A towzie tyke, black, grim, and large, \n To gie them music was his charge; \n He screw'd the pipes and gart them skirl,","[Footnote A: It is a well-known fact that witches, or any evil \n spirits, have no power to follow a poor wight any farther than \n the middle of the next running stream.--It may be proper"," Even Satan glowr'd, and fidg'd fu' fain, \n And hotch'd and blew wi' might and main: \n Till first ae caper, syne anither,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," Five tomahawks, wi' blude red-rusted; \n Five scymitars, wi' murder crusted; \n A garter, which a babe had strangled; \n A knife, a father's throat had mangled,"," Kirk-Alloway was drawing nigh, \n Whare ghaists and houlets nightly cry.-- \n \n By this time he was cross the ford, \n Whare in the snaw the chapman smoor'd;"," The rattling show'rs rose on the blast; \n The speedy gleams the darkness swallow'd; \n Loud, deep, and lang the thunder bellowed: \n That night, a child might understand,"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;"],[" Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," Ah, gentle dames! it gars me greet, \n To think how mony counsels sweet, \n How mony lengthen'd sage advices, \n The husband frae the wife despises! \n"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," (Auld Ayr wham ne'er a town surpasses \n For honest men and bonny lasses). \n \n O Tam! hadst thou but been sae wise, \n As ta'en thy ain wife Kate's advice!"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"],[" In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," Gathering her brows like gathering storm, \n Nursing her wrath to keep it warm. \n \n This truth fand honest Tam o' Shanter, \n As he frae Ayr ae night did canter"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," (Auld Ayr wham ne'er a town surpasses \n For honest men and bonny lasses). \n \n O Tam! hadst thou but been sae wise, \n As ta'en thy ain wife Kate's advice!"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," She tauld thee weel thou was a skellum, \n A blethering, blustering, drunken blellum; \n That frae November till October, \n Ae market-day thou was nae sober;"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;","produced from images generously made available by The \n Internet Archive/Canadian Libraries) \n \n \n \n \n \n \n \n \n \n [Illustration: She tauld thee well thou was a skellum.] \n \n"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"],[" And ay the ale was growing better: \n The landlady and Tam grew gracious, \n Wi' favors, secret, sweet, and precious: \n The Souter tauld his queerest stories;"," But to our tale: Ae market night, \n Tam had got planted unco right; \n Fast by an ingle, bleezing finely, \n Wi' reaming swats, that drank divinely; \n And at his elbow, Souter Johnny,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," His ancient, trusty, drouthy crony; \n Tam lo'ed him like a vera brither; \n They had been fou for weeks thegither. \n The night drave on wi' sangs an' clatter;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Lowping an' flinging on a crummock, \n I wonder didna turn thy stomach. \n \n But Tam kend what was what fu' brawlie, \n There was ae winsome wench and walie,"," E'en drown'd himself amang the nappy, \n As bees flee hame wi' lades o' treasure, \n The minutes wing'd their way wi' pleasure: \n Kings may be blest, but Tam was glorious,","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," Or catch'd wi' warlocks in the mirk, \n By Alloway's auld haunted kirk. \n \n [Illustration: The landlady and Tam grew gracious.] \n"," That at the L--d's house, ev'n on Sunday, \n Thou drank wi' Kirton Jean till Monday. \n She prophesy'd that late or soon, \n Thou would be found deep drown'd in Doon;"," Each in its cauld hand held a light.-- \n By which heroic Tam was able \n To note upon the haly table, \n A murderer's banes in gibbet airns;"," And drouthy neebors, neebors meet, \n As market-days are wearing late, \n An' folk begin to tak the gate; \n While we sit bousing at the nappy, \n An' getting fou and unco happy,"," The landlord's laugh was ready chorus: \n The storm without might rair and rustle, \n Tam did na mind the storm a whistle. \n \n Care, mad to see a man sae happy,"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,","TAM O' SHANTER \n \n BY \n \n ROBERT BURNS \n \n \n \n \n Tam o' Shanter. \n \n A Tale. \n \n \n WHEN chapman billies leave the street,"],[" It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," And linket at it in her sark! \n Now Tam, O Tam! had thae been queans \n A' plump and strapping, in their teens: \n Their sarks, instead o' creeshie flannen,"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," Been snaw-white seventeen hunder linen! \n Thir breeks o' mine, my only pair, \n That ance were plush, o' gude blue hair, \n I wad hae gi'en them off my hurdies,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," \"The landlady and Tam grew gracious\" 13 \n \n \"Well mounted on his grey mare, Meg\" 19 \n \n \"The dancers quick and quicker flew\" 27 \n \n \n \n"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," Five tomahawks, wi' blude red-rusted; \n Five scymitars, wi' murder crusted; \n A garter, which a babe had strangled; \n A knife, a father's throat had mangled,"," That lika melder, wi' the miller, \n Thou sat as lang as thou had siller; \n That ev'ry naig was ca'd a shoe on, \n The smith and thee gat roaring fou on;"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;","[Illustration: The dancers quick and quicker flew.] \n \n As Tammie glowr'd, amaz'd, and curious, \n The mirth and fun grew fast and furious: \n The piper loud and louder blew:"," The carlin claught her by the rump, \n And left poor Maggie scarce a stump. \n \n Now, wha this tale o' truth shall read, \n Ilk man and mother's son, take heed;"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," Till, by the heel and hand admonish'd, \n She ventur'd forward on the light: \n And, vow! Tam saw an unco sight! \n Warlocks and witches in a dance;"],[" There at them thou thy tail may toss, \n A running stream they dare na cross. \n But ere the key-stane she could make, \n The fient a tail she had to shake! \n For Nannie, far before the rest,"," And sic a night he taks the road in; \n As ne'er poor sinner was abroad in. \n \n [Illustration: Well mounted on his grey mare, Meg.] \n \n The wind blew as 'twad blawn its last;"," Hard upon noble Maggie prest, \n And flew at Tam wi' furious ettle; \n But little wist she Maggie's mettle-- \n Ae spring brought off her master hale, \n But left behind her ain gray tail:"," To sing how Nannie lap and flang \n (A souple jade she was and strang), \n And how Tam stood like ane bewitch'd, \n And thought his very een enrich'd;"," It was her best, and she was vauntie.-- \n Ah! little kend thy reverend grannie, \n That sark she coft for her wee Nannie,"," When, pop! she starts before their nose; \n As eager runs the market-crowd, \n When \"Catch the thief!\" resounds aloud; \n So Maggie runs, the witches follow,"," The swats sae ream'd in Tammie's noddle, \n Fair play, he car'd na deils a boddle. \n But Maggie stood right sair astonish'd,"," Nae man can tether time or tide; \n The hour approaches Tam maun ride; \n That hour, o' night's black arch the key-stane, \n That dreary hour he mounts his beast in,"," And kept the country-side in fear), \n Her cutty sark, o' Paisley harn, \n That while a lassie she had worn, \n In longitude tho' sorely scanty,"," The deil had business on his hand. \n \n Weel mounted on his grey mare, Meg, \n A better never lifted leg, \n Tam skelpit on thro' dub and mire, \n Despising wind, and rain, and fire;"," Whare hunters fand the murder'd bairn; \n And near the thorn, aboon the well, \n Whare Mungo's mither hang'd hersel.-- \n Before him Doon pours all his floods;"," Till roof and rafters a' did dirl.-- \n Coffins stood round, like open presses, \n That shaw'd the dead in their last dresses; \n And by some devilish cantrip slight,"," Tam tint his reason a' thegither, \n And roars out, \"Weel done, Cutty-sark!\" \n And in an instant all was dark; \n And scarcely had he Maggie rallied,"," Five tomahawks, wi' blude red-rusted; \n Five scymitars, wi' murder crusted; \n A garter, which a babe had strangled; \n A knife, a father's throat had mangled,"," The carlin claught her by the rump, \n And left poor Maggie scarce a stump. \n \n Now, wha this tale o' truth shall read, \n Ilk man and mother's son, take heed;"," \"The landlady and Tam grew gracious\" 13 \n \n \"Well mounted on his grey mare, Meg\" 19 \n \n \"The dancers quick and quicker flew\" 27 \n \n \n \n"," In vain thy Kate awaits thy coming! \n Kate soon will be a woefu' woman! \n Now, do thy speedy utmost, Meg, \n An win the key-stane[A] of the brig;"," The dancers quick and quicker flew; \n They reel'd, they set, they cross'd, they cleekit, \n Till ilka carlin swat and reekit, \n And coost her duddies to the wark,"," When out the hellish legion sallied. \n \n As bees bizz out wi' angry fyke, \n When plundering herds assail their byke; \n As open pussie's mortal foes,","[Footnote A: It is a well-known fact that witches, or any evil \n spirits, have no power to follow a poor wight any farther than \n the middle of the next running stream.--It may be proper"]],"string":"[\n [\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" There sat auld Nick, in shape o' beast; \\n A towzie tyke, black, grim, and large, \\n To gie them music was his charge; \\n He screw'd the pipes and gart them skirl,\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\"\n ],\n [\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" (Auld Ayr wham ne'er a town surpasses \\n For honest men and bonny lasses). \\n \\n O Tam! hadst thou but been sae wise, \\n As ta'en thy ain wife Kate's advice!\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Lowping an' flinging on a crummock, \\n I wonder didna turn thy stomach. \\n \\n But Tam kend what was what fu' brawlie, \\n There was ae winsome wench and walie,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" \\\"The landlady and Tam grew gracious\\\" 13 \\n \\n \\\"Well mounted on his grey mare, Meg\\\" 19 \\n \\n \\\"The dancers quick and quicker flew\\\" 27 \\n \\n \\n \\n\"\n ],\n [\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" Wi' mony an eldritch skreech and hollow. \\n \\n Ah, Tam! Ah, Tam! thou'll get thy fairin! \\n In hell they'll roast thee like a herrin!\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Lowping an' flinging on a crummock, \\n I wonder didna turn thy stomach. \\n \\n But Tam kend what was what fu' brawlie, \\n There was ae winsome wench and walie,\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\"\n ],\n [\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" (Auld Ayr wham ne'er a town surpasses \\n For honest men and bonny lasses). \\n \\n O Tam! hadst thou but been sae wise, \\n As ta'en thy ain wife Kate's advice!\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" She tauld thee weel thou was a skellum, \\n A blethering, blustering, drunken blellum; \\n That frae November till October, \\n Ae market-day thou was nae sober;\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \"produced from images generously made available by The \\n Internet Archive/Canadian Libraries) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n [Illustration: She tauld thee well thou was a skellum.] \\n \\n\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\"\n ],\n [\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Lowping an' flinging on a crummock, \\n I wonder didna turn thy stomach. \\n \\n But Tam kend what was what fu' brawlie, \\n There was ae winsome wench and walie,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" Even Satan glowr'd, and fidg'd fu' fain, \\n And hotch'd and blew wi' might and main: \\n Till first ae caper, syne anither,\",\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\"\n ],\n [\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\",\n \" Whene'er to drink you are inclin'd, \\n Or cutty-sarks run in your mind, \\n Think, ye may buy the joys o'er dear, \\n Remember Tam o' Shanter's mare. \\n\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" \\\"The landlady and Tam grew gracious\\\" 13 \\n \\n \\\"Well mounted on his grey mare, Meg\\\" 19 \\n \\n \\\"The dancers quick and quicker flew\\\" 27 \\n \\n \\n \\n\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" That lika melder, wi' the miller, \\n Thou sat as lang as thou had siller; \\n That ev'ry naig was ca'd a shoe on, \\n The smith and thee gat roaring fou on;\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" There sat auld Nick, in shape o' beast; \\n A towzie tyke, black, grim, and large, \\n To gie them music was his charge; \\n He screw'd the pipes and gart them skirl,\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Whom his ain son o' life bereft, \\n The gray hairs yet stack to the heft: \\n Wi' mair o' horrible and awfu', \\n Which ev'n to name wad be unlawfu'. \\n\",\n \" The carlin claught her by the rump, \\n And left poor Maggie scarce a stump. \\n \\n Now, wha this tale o' truth shall read, \\n Ilk man and mother's son, take heed;\"\n ],\n [\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \"TAM O' SHANTER \\n \\n BY \\n \\n ROBERT BURNS \\n \\n \\n \\n \\n Tam o' Shanter. \\n \\n A Tale. \\n \\n \\n WHEN chapman billies leave the street,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" The rattling show'rs rose on the blast; \\n The speedy gleams the darkness swallow'd; \\n Loud, deep, and lang the thunder bellowed: \\n That night, a child might understand,\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\"\n ],\n [\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" \\\"The landlady and Tam grew gracious\\\" 13 \\n \\n \\\"Well mounted on his grey mare, Meg\\\" 19 \\n \\n \\\"The dancers quick and quicker flew\\\" 27 \\n \\n \\n \\n\",\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\",\n \" Lowping an' flinging on a crummock, \\n I wonder didna turn thy stomach. \\n \\n But Tam kend what was what fu' brawlie, \\n There was ae winsome wench and walie,\"\n ],\n [\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \"[Footnote A: It is a well-known fact that witches, or any evil \\n spirits, have no power to follow a poor wight any farther than \\n the middle of the next running stream.--It may be proper\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \"TAM O' SHANTER \\n \\n BY \\n \\n ROBERT BURNS \\n \\n \\n \\n \\n Tam o' Shanter. \\n \\n A Tale. \\n \\n \\n WHEN chapman billies leave the street,\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\"\n ],\n [\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" Ah, gentle dames! it gars me greet, \\n To think how mony counsels sweet, \\n How mony lengthen'd sage advices, \\n The husband frae the wife despises! \\n\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" (Auld Ayr wham ne'er a town surpasses \\n For honest men and bonny lasses). \\n \\n O Tam! hadst thou but been sae wise, \\n As ta'en thy ain wife Kate's advice!\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\"\n ],\n [\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" (Auld Ayr wham ne'er a town surpasses \\n For honest men and bonny lasses). \\n \\n O Tam! hadst thou but been sae wise, \\n As ta'en thy ain wife Kate's advice!\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" She tauld thee weel thou was a skellum, \\n A blethering, blustering, drunken blellum; \\n That frae November till October, \\n Ae market-day thou was nae sober;\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \"produced from images generously made available by The \\n Internet Archive/Canadian Libraries) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n [Illustration: She tauld thee well thou was a skellum.] \\n \\n\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\"\n ],\n [\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" \\\"The landlady and Tam grew gracious\\\" 13 \\n \\n \\\"Well mounted on his grey mare, Meg\\\" 19 \\n \\n \\\"The dancers quick and quicker flew\\\" 27 \\n \\n \\n \\n\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" The carlin claught her by the rump, \\n And left poor Maggie scarce a stump. \\n \\n Now, wha this tale o' truth shall read, \\n Ilk man and mother's son, take heed;\",\n \" And past the birks and meikie stane, \\n Whare drunken Charlie brak's neck-bane; \\n And thro' the whins, and by the cairn,\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\"\n ],\n [\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \"[Footnote A: It is a well-known fact that witches, or any evil \\n spirits, have no power to follow a poor wight any farther than \\n the middle of the next running stream.--It may be proper\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Kirk-Alloway was drawing nigh, \\n Whare ghaists and houlets nightly cry.-- \\n \\n By this time he was cross the ford, \\n Whare in the snaw the chapman smoor'd;\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Even Satan glowr'd, and fidg'd fu' fain, \\n And hotch'd and blew wi' might and main: \\n Till first ae caper, syne anither,\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\"\n ],\n [\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \"[Footnote A: It is a well-known fact that witches, or any evil \\n spirits, have no power to follow a poor wight any farther than \\n the middle of the next running stream.--It may be proper\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" Wi' mony an eldritch skreech and hollow. \\n \\n Ah, Tam! Ah, Tam! thou'll get thy fairin! \\n In hell they'll roast thee like a herrin!\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" Even Satan glowr'd, and fidg'd fu' fain, \\n And hotch'd and blew wi' might and main: \\n Till first ae caper, syne anither,\",\n \"TAM O' SHANTER \\n \\n BY \\n \\n ROBERT BURNS \\n \\n \\n \\n \\n Tam o' Shanter. \\n \\n A Tale. \\n \\n \\n WHEN chapman billies leave the street,\",\n \" GUTENBERG EBOOK TAM O'SHANTER *** \\n \\n \\n \\n \\n Produced by Tamise Totterdell and the Online Distributed \\n Proofreading Team at http://www.pgdp.net (This file was\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \"likewise to mention to the benighted traveller, that when he \\n falls in with _bogles_, whatever danger may be in his going \\n forward, there is much more hazard in turning back.] \\n \\n \\n Finis. \\n \\n\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\"\n ],\n [\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" The carlin claught her by the rump, \\n And left poor Maggie scarce a stump. \\n \\n Now, wha this tale o' truth shall read, \\n Ilk man and mother's son, take heed;\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" \\\"The landlady and Tam grew gracious\\\" 13 \\n \\n \\\"Well mounted on his grey mare, Meg\\\" 19 \\n \\n \\\"The dancers quick and quicker flew\\\" 27 \\n \\n \\n \\n\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" There sat auld Nick, in shape o' beast; \\n A towzie tyke, black, grim, and large, \\n To gie them music was his charge; \\n He screw'd the pipes and gart them skirl,\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Been snaw-white seventeen hunder linen! \\n Thir breeks o' mine, my only pair, \\n That ance were plush, o' gude blue hair, \\n I wad hae gi'en them off my hurdies,\"\n ],\n [\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" The carlin claught her by the rump, \\n And left poor Maggie scarce a stump. \\n \\n Now, wha this tale o' truth shall read, \\n Ilk man and mother's son, take heed;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" O'er a' the ills o' life victorious! \\n \\n But pleasures are like poppies spread, \\n You seize the flow'r, its bloom is shed; \\n Or like the snow-falls in the river,\",\n \" Whiles holding fast his gude blue bonnet; \\n Whiles crooning o'er some auld Scots sonnet; \\n Whiles glow'ring round wi' prudent cares, \\n Lest bogles catch him unawares:\",\n \" Whene'er to drink you are inclin'd, \\n Or cutty-sarks run in your mind, \\n Think, ye may buy the joys o'er dear, \\n Remember Tam o' Shanter's mare. \\n\",\n \" What dangers thou canst make us scorn; \\n Wi' tippenny, we fear nae evil; \\n Wi' usquabae we'll face the devil!--\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\",\n \" The rattling show'rs rose on the blast; \\n The speedy gleams the darkness swallow'd; \\n Loud, deep, and lang the thunder bellowed: \\n That night, a child might understand,\",\n \"likewise to mention to the benighted traveller, that when he \\n falls in with _bogles_, whatever danger may be in his going \\n forward, there is much more hazard in turning back.] \\n \\n \\n Finis. \\n \\n\",\n \" The doubling storm roars thro' the woods; \\n The lightnings flash from pole to pole; \\n Near and more near the thunders roll: \\n When, glimmering thro' the groaning trees,\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" +-------------------------------------------+ \\n |Transcriber's Note: | \\n | | \\n |The use of \\\"vow\\\" and the stanza breaks | \\n |have been retained as in the original book.|\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Wi' mony an eldritch skreech and hollow. \\n \\n Ah, Tam! Ah, Tam! thou'll get thy fairin! \\n In hell they'll roast thee like a herrin!\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\"\n ],\n [\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \"TAM O' SHANTER \\n \\n BY \\n \\n ROBERT BURNS \\n \\n \\n \\n \\n Tam o' Shanter. \\n \\n A Tale. \\n \\n \\n WHEN chapman billies leave the street,\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" We think na on the lang Scots miles, \\n The mosses, waters, slaps, and styles, \\n That lie between us and our hame, \\n Whar sits our sulky sullen dame,\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Whiles holding fast his gude blue bonnet; \\n Whiles crooning o'er some auld Scots sonnet; \\n Whiles glow'ring round wi' prudent cares, \\n Lest bogles catch him unawares:\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\"\n ],\n [\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" The carlin claught her by the rump, \\n And left poor Maggie scarce a stump. \\n \\n Now, wha this tale o' truth shall read, \\n Ilk man and mother's son, take heed;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" \\\"The landlady and Tam grew gracious\\\" 13 \\n \\n \\\"Well mounted on his grey mare, Meg\\\" 19 \\n \\n \\\"The dancers quick and quicker flew\\\" 27 \\n \\n \\n \\n\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\"\n ],\n [\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" Whene'er to drink you are inclin'd, \\n Or cutty-sarks run in your mind, \\n Think, ye may buy the joys o'er dear, \\n Remember Tam o' Shanter's mare. \\n\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" There sat auld Nick, in shape o' beast; \\n A towzie tyke, black, grim, and large, \\n To gie them music was his charge; \\n He screw'd the pipes and gart them skirl,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" The carlin claught her by the rump, \\n And left poor Maggie scarce a stump. \\n \\n Now, wha this tale o' truth shall read, \\n Ilk man and mother's son, take heed;\",\n \" Twa span-lang, wee, unchristen'd bairns; \\n A thief, new-cutted frae a rape, \\n Wi' his last gasp his gab did gape;\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\"\n ],\n [\n \" And drouthy neebors, neebors meet, \\n As market-days are wearing late, \\n An' folk begin to tak the gate; \\n While we sit bousing at the nappy, \\n An' getting fou and unco happy,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" She tauld thee weel thou was a skellum, \\n A blethering, blustering, drunken blellum; \\n That frae November till October, \\n Ae market-day thou was nae sober;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" Kirk-Alloway seem'd in a bleeze; \\n Thro' ilka bore the beams were glancing; \\n And loud resounded mirth and dancing.-- \\n \\n Inspiring bold John Barleycorn!\",\n \" That lika melder, wi' the miller, \\n Thou sat as lang as thou had siller; \\n That ev'ry naig was ca'd a shoe on, \\n The smith and thee gat roaring fou on;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" And past the birks and meikie stane, \\n Whare drunken Charlie brak's neck-bane; \\n And thro' the whins, and by the cairn,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" What dangers thou canst make us scorn; \\n Wi' tippenny, we fear nae evil; \\n Wi' usquabae we'll face the devil!--\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" Kirk-Alloway was drawing nigh, \\n Whare ghaists and houlets nightly cry.-- \\n \\n By this time he was cross the ford, \\n Whare in the snaw the chapman smoor'd;\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\"\n ],\n [\n \" And drouthy neebors, neebors meet, \\n As market-days are wearing late, \\n An' folk begin to tak the gate; \\n While we sit bousing at the nappy, \\n An' getting fou and unco happy,\",\n \" We think na on the lang Scots miles, \\n The mosses, waters, slaps, and styles, \\n That lie between us and our hame, \\n Whar sits our sulky sullen dame,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Whiles holding fast his gude blue bonnet; \\n Whiles crooning o'er some auld Scots sonnet; \\n Whiles glow'ring round wi' prudent cares, \\n Lest bogles catch him unawares:\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" That lika melder, wi' the miller, \\n Thou sat as lang as thou had siller; \\n That ev'ry naig was ca'd a shoe on, \\n The smith and thee gat roaring fou on;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" The rattling show'rs rose on the blast; \\n The speedy gleams the darkness swallow'd; \\n Loud, deep, and lang the thunder bellowed: \\n That night, a child might understand,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" The doubling storm roars thro' the woods; \\n The lightnings flash from pole to pole; \\n Near and more near the thunders roll: \\n When, glimmering thro' the groaning trees,\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" Kirk-Alloway seem'd in a bleeze; \\n Thro' ilka bore the beams were glancing; \\n And loud resounded mirth and dancing.-- \\n \\n Inspiring bold John Barleycorn!\",\n \" Even Satan glowr'd, and fidg'd fu' fain, \\n And hotch'd and blew wi' might and main: \\n Till first ae caper, syne anither,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" What dangers thou canst make us scorn; \\n Wi' tippenny, we fear nae evil; \\n Wi' usquabae we'll face the devil!--\"\n ],\n [\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" There sat auld Nick, in shape o' beast; \\n A towzie tyke, black, grim, and large, \\n To gie them music was his charge; \\n He screw'd the pipes and gart them skirl,\",\n \" We think na on the lang Scots miles, \\n The mosses, waters, slaps, and styles, \\n That lie between us and our hame, \\n Whar sits our sulky sullen dame,\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Even Satan glowr'd, and fidg'd fu' fain, \\n And hotch'd and blew wi' might and main: \\n Till first ae caper, syne anither,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" That lika melder, wi' the miller, \\n Thou sat as lang as thou had siller; \\n That ev'ry naig was ca'd a shoe on, \\n The smith and thee gat roaring fou on;\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" Whom his ain son o' life bereft, \\n The gray hairs yet stack to the heft: \\n Wi' mair o' horrible and awfu', \\n Which ev'n to name wad be unlawfu'. \\n\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\"\n ],\n [\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" There sat auld Nick, in shape o' beast; \\n A towzie tyke, black, grim, and large, \\n To gie them music was his charge; \\n He screw'd the pipes and gart them skirl,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" Five tomahawks, wi' blude red-rusted; \\n Five scymitars, wi' murder crusted; \\n A garter, which a babe had strangled; \\n A knife, a father's throat had mangled,\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\"\n ],\n [\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" There sat auld Nick, in shape o' beast; \\n A towzie tyke, black, grim, and large, \\n To gie them music was his charge; \\n He screw'd the pipes and gart them skirl,\",\n \"[Footnote A: It is a well-known fact that witches, or any evil \\n spirits, have no power to follow a poor wight any farther than \\n the middle of the next running stream.--It may be proper\",\n \" Even Satan glowr'd, and fidg'd fu' fain, \\n And hotch'd and blew wi' might and main: \\n Till first ae caper, syne anither,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" Five tomahawks, wi' blude red-rusted; \\n Five scymitars, wi' murder crusted; \\n A garter, which a babe had strangled; \\n A knife, a father's throat had mangled,\",\n \" Kirk-Alloway was drawing nigh, \\n Whare ghaists and houlets nightly cry.-- \\n \\n By this time he was cross the ford, \\n Whare in the snaw the chapman smoor'd;\",\n \" The rattling show'rs rose on the blast; \\n The speedy gleams the darkness swallow'd; \\n Loud, deep, and lang the thunder bellowed: \\n That night, a child might understand,\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\"\n ],\n [\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" Ah, gentle dames! it gars me greet, \\n To think how mony counsels sweet, \\n How mony lengthen'd sage advices, \\n The husband frae the wife despises! \\n\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" (Auld Ayr wham ne'er a town surpasses \\n For honest men and bonny lasses). \\n \\n O Tam! hadst thou but been sae wise, \\n As ta'en thy ain wife Kate's advice!\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\"\n ],\n [\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" Gathering her brows like gathering storm, \\n Nursing her wrath to keep it warm. \\n \\n This truth fand honest Tam o' Shanter, \\n As he frae Ayr ae night did canter\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" (Auld Ayr wham ne'er a town surpasses \\n For honest men and bonny lasses). \\n \\n O Tam! hadst thou but been sae wise, \\n As ta'en thy ain wife Kate's advice!\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" She tauld thee weel thou was a skellum, \\n A blethering, blustering, drunken blellum; \\n That frae November till October, \\n Ae market-day thou was nae sober;\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \"produced from images generously made available by The \\n Internet Archive/Canadian Libraries) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n [Illustration: She tauld thee well thou was a skellum.] \\n \\n\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\"\n ],\n [\n \" And ay the ale was growing better: \\n The landlady and Tam grew gracious, \\n Wi' favors, secret, sweet, and precious: \\n The Souter tauld his queerest stories;\",\n \" But to our tale: Ae market night, \\n Tam had got planted unco right; \\n Fast by an ingle, bleezing finely, \\n Wi' reaming swats, that drank divinely; \\n And at his elbow, Souter Johnny,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" His ancient, trusty, drouthy crony; \\n Tam lo'ed him like a vera brither; \\n They had been fou for weeks thegither. \\n The night drave on wi' sangs an' clatter;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Lowping an' flinging on a crummock, \\n I wonder didna turn thy stomach. \\n \\n But Tam kend what was what fu' brawlie, \\n There was ae winsome wench and walie,\",\n \" E'en drown'd himself amang the nappy, \\n As bees flee hame wi' lades o' treasure, \\n The minutes wing'd their way wi' pleasure: \\n Kings may be blest, but Tam was glorious,\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" Or catch'd wi' warlocks in the mirk, \\n By Alloway's auld haunted kirk. \\n \\n [Illustration: The landlady and Tam grew gracious.] \\n\",\n \" That at the L--d's house, ev'n on Sunday, \\n Thou drank wi' Kirton Jean till Monday. \\n She prophesy'd that late or soon, \\n Thou would be found deep drown'd in Doon;\",\n \" Each in its cauld hand held a light.-- \\n By which heroic Tam was able \\n To note upon the haly table, \\n A murderer's banes in gibbet airns;\",\n \" And drouthy neebors, neebors meet, \\n As market-days are wearing late, \\n An' folk begin to tak the gate; \\n While we sit bousing at the nappy, \\n An' getting fou and unco happy,\",\n \" The landlord's laugh was ready chorus: \\n The storm without might rair and rustle, \\n Tam did na mind the storm a whistle. \\n \\n Care, mad to see a man sae happy,\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \"TAM O' SHANTER \\n \\n BY \\n \\n ROBERT BURNS \\n \\n \\n \\n \\n Tam o' Shanter. \\n \\n A Tale. \\n \\n \\n WHEN chapman billies leave the street,\"\n ],\n [\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" And linket at it in her sark! \\n Now Tam, O Tam! had thae been queans \\n A' plump and strapping, in their teens: \\n Their sarks, instead o' creeshie flannen,\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" Been snaw-white seventeen hunder linen! \\n Thir breeks o' mine, my only pair, \\n That ance were plush, o' gude blue hair, \\n I wad hae gi'en them off my hurdies,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" \\\"The landlady and Tam grew gracious\\\" 13 \\n \\n \\\"Well mounted on his grey mare, Meg\\\" 19 \\n \\n \\\"The dancers quick and quicker flew\\\" 27 \\n \\n \\n \\n\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" Five tomahawks, wi' blude red-rusted; \\n Five scymitars, wi' murder crusted; \\n A garter, which a babe had strangled; \\n A knife, a father's throat had mangled,\",\n \" That lika melder, wi' the miller, \\n Thou sat as lang as thou had siller; \\n That ev'ry naig was ca'd a shoe on, \\n The smith and thee gat roaring fou on;\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \"[Illustration: The dancers quick and quicker flew.] \\n \\n As Tammie glowr'd, amaz'd, and curious, \\n The mirth and fun grew fast and furious: \\n The piper loud and louder blew:\",\n \" The carlin claught her by the rump, \\n And left poor Maggie scarce a stump. \\n \\n Now, wha this tale o' truth shall read, \\n Ilk man and mother's son, take heed;\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" Till, by the heel and hand admonish'd, \\n She ventur'd forward on the light: \\n And, vow! Tam saw an unco sight! \\n Warlocks and witches in a dance;\"\n ],\n [\n \" There at them thou thy tail may toss, \\n A running stream they dare na cross. \\n But ere the key-stane she could make, \\n The fient a tail she had to shake! \\n For Nannie, far before the rest,\",\n \" And sic a night he taks the road in; \\n As ne'er poor sinner was abroad in. \\n \\n [Illustration: Well mounted on his grey mare, Meg.] \\n \\n The wind blew as 'twad blawn its last;\",\n \" Hard upon noble Maggie prest, \\n And flew at Tam wi' furious ettle; \\n But little wist she Maggie's mettle-- \\n Ae spring brought off her master hale, \\n But left behind her ain gray tail:\",\n \" To sing how Nannie lap and flang \\n (A souple jade she was and strang), \\n And how Tam stood like ane bewitch'd, \\n And thought his very een enrich'd;\",\n \" It was her best, and she was vauntie.-- \\n Ah! little kend thy reverend grannie, \\n That sark she coft for her wee Nannie,\",\n \" When, pop! she starts before their nose; \\n As eager runs the market-crowd, \\n When \\\"Catch the thief!\\\" resounds aloud; \\n So Maggie runs, the witches follow,\",\n \" The swats sae ream'd in Tammie's noddle, \\n Fair play, he car'd na deils a boddle. \\n But Maggie stood right sair astonish'd,\",\n \" Nae man can tether time or tide; \\n The hour approaches Tam maun ride; \\n That hour, o' night's black arch the key-stane, \\n That dreary hour he mounts his beast in,\",\n \" And kept the country-side in fear), \\n Her cutty sark, o' Paisley harn, \\n That while a lassie she had worn, \\n In longitude tho' sorely scanty,\",\n \" The deil had business on his hand. \\n \\n Weel mounted on his grey mare, Meg, \\n A better never lifted leg, \\n Tam skelpit on thro' dub and mire, \\n Despising wind, and rain, and fire;\",\n \" Whare hunters fand the murder'd bairn; \\n And near the thorn, aboon the well, \\n Whare Mungo's mither hang'd hersel.-- \\n Before him Doon pours all his floods;\",\n \" Till roof and rafters a' did dirl.-- \\n Coffins stood round, like open presses, \\n That shaw'd the dead in their last dresses; \\n And by some devilish cantrip slight,\",\n \" Tam tint his reason a' thegither, \\n And roars out, \\\"Weel done, Cutty-sark!\\\" \\n And in an instant all was dark; \\n And scarcely had he Maggie rallied,\",\n \" Five tomahawks, wi' blude red-rusted; \\n Five scymitars, wi' murder crusted; \\n A garter, which a babe had strangled; \\n A knife, a father's throat had mangled,\",\n \" The carlin claught her by the rump, \\n And left poor Maggie scarce a stump. \\n \\n Now, wha this tale o' truth shall read, \\n Ilk man and mother's son, take heed;\",\n \" \\\"The landlady and Tam grew gracious\\\" 13 \\n \\n \\\"Well mounted on his grey mare, Meg\\\" 19 \\n \\n \\\"The dancers quick and quicker flew\\\" 27 \\n \\n \\n \\n\",\n \" In vain thy Kate awaits thy coming! \\n Kate soon will be a woefu' woman! \\n Now, do thy speedy utmost, Meg, \\n An win the key-stane[A] of the brig;\",\n \" The dancers quick and quicker flew; \\n They reel'd, they set, they cross'd, they cleekit, \\n Till ilka carlin swat and reekit, \\n And coost her duddies to the wark,\",\n \" When out the hellish legion sallied. \\n \\n As bees bizz out wi' angry fyke, \\n When plundering herds assail their byke; \\n As open pussie's mortal foes,\",\n \"[Footnote A: It is a well-known fact that witches, or any evil \\n spirits, have no power to follow a poor wight any farther than \\n the middle of the next running stream.--It may be proper\"\n ]\n]"},"questions":{"kind":"list like","value":["What is Tam doing when the dark prophecy of Kate comes to play?","What is Kate's and Tam's relationship?","What is the prophecy of Tam's wife?","How is Kate portrayed?","Who does Tam flirt with?","What is his mare's name?","What does Tam see on his ride home?","Why is Tam drawn to Nannie?","Who follows Tam?","Who is Tam's wife?","How is Kate portrayed?","Who is Meg? ","Who followed Tam but was thwarted by water?","What stopped the devil and witches from following Tam?","What happened to Meg's tail?","What does the poem warn you against?","What sort of state is Tam in when he starts his ride home?","Who is Nannie?","To whom is Cutty-sark a nickname for?","Who are the drouthy people that meet?","What are we bousing at while we sit?","Who sits sulky and sullen?","What is the dame nursing to keep it warm?","Where were the warlocks?","Who is Tam's wife?","How is Kate portrayed?","Who does Tam flirt with at the pub?","Whats wrong with Nannie's shirt?","What does Nannie pull off the horse?"],"string":"[\n \"What is Tam doing when the dark prophecy of Kate comes to play?\",\n \"What is Kate's and Tam's relationship?\",\n \"What is the prophecy of Tam's wife?\",\n \"How is Kate portrayed?\",\n \"Who does Tam flirt with?\",\n \"What is his mare's name?\",\n \"What does Tam see on his ride home?\",\n \"Why is Tam drawn to Nannie?\",\n \"Who follows Tam?\",\n \"Who is Tam's wife?\",\n \"How is Kate portrayed?\",\n \"Who is Meg? \",\n \"Who followed Tam but was thwarted by water?\",\n \"What stopped the devil and witches from following Tam?\",\n \"What happened to Meg's tail?\",\n \"What does the poem warn you against?\",\n \"What sort of state is Tam in when he starts his ride home?\",\n \"Who is Nannie?\",\n \"To whom is Cutty-sark a nickname for?\",\n \"Who are the drouthy people that meet?\",\n \"What are we bousing at while we sit?\",\n \"Who sits sulky and sullen?\",\n \"What is the dame nursing to keep it warm?\",\n \"Where were the warlocks?\",\n \"Who is Tam's wife?\",\n \"How is Kate portrayed?\",\n \"Who does Tam flirt with at the pub?\",\n \"Whats wrong with Nannie's shirt?\",\n \"What does Nannie pull off the horse?\"\n]"},"answers":{"kind":"list like","value":[["Drinking with his friends.","drinking"],["Husband and wife.","They are married."],["Drowned in Doon or caught with warlocks in the mirk","That sooner or later you will drown in a doon or with warlock's in the mirk."],["An authority to be feared.","As someone to be feared."],["The Landlady of the pub.","The landlady of the pub. "],["Meg","Meg"],["Alloway Kirk and a dance with witches and warlocks","Ayshire"],["Her shirt is too small for her.","She was wearing a too-short shirt."],["The devil","Nannie"],["Kate.","Kate"],["As in charge and to be feared.","As a feared authority."],["Tam's horse.","Tam's horse "],["The devil, witches and warlocks.","The devil. "],["Running water.","His horse"],["It got pulled off.","it is pulled off"],["Drinking.","The wrath of Tam's wife"],["Drunk","Drunk. "],["A sexy female witch.","She is a witch that Tam has taken a liking to."],["Nannie","Nannie."],["The neibors.","Neighbors "],["The nappy.","The nappy."],["A dame.","Kate"],["Her wrath.","her wrath"],["In the mirk.","Alloway Kirk"],["Kate.","Kate"],["As someone to be feared.","prophiser"],["The landlady.","The landlady."],["It's too small.","Its too small for her "],["Her tail.","The horse's tail."]],"string":"[\n [\n \"Drinking with his friends.\",\n \"drinking\"\n ],\n [\n \"Husband and wife.\",\n \"They are married.\"\n ],\n [\n \"Drowned in Doon or caught with warlocks in the mirk\",\n \"That sooner or later you will drown in a doon or with warlock's in the mirk.\"\n ],\n [\n \"An authority to be feared.\",\n \"As someone to be feared.\"\n ],\n [\n \"The Landlady of the pub.\",\n \"The landlady of the pub. \"\n ],\n [\n \"Meg\",\n \"Meg\"\n ],\n [\n \"Alloway Kirk and a dance with witches and warlocks\",\n \"Ayshire\"\n ],\n [\n \"Her shirt is too small for her.\",\n \"She was wearing a too-short shirt.\"\n ],\n [\n \"The devil\",\n \"Nannie\"\n ],\n [\n \"Kate.\",\n \"Kate\"\n ],\n [\n \"As in charge and to be feared.\",\n \"As a feared authority.\"\n ],\n [\n \"Tam's horse.\",\n \"Tam's horse \"\n ],\n [\n \"The devil, witches and warlocks.\",\n \"The devil. \"\n ],\n [\n \"Running water.\",\n \"His horse\"\n ],\n [\n \"It got pulled off.\",\n \"it is pulled off\"\n ],\n [\n \"Drinking.\",\n \"The wrath of Tam's wife\"\n ],\n [\n \"Drunk\",\n \"Drunk. \"\n ],\n [\n \"A sexy female witch.\",\n \"She is a witch that Tam has taken a liking to.\"\n ],\n [\n \"Nannie\",\n \"Nannie.\"\n ],\n [\n \"The neibors.\",\n \"Neighbors \"\n ],\n [\n \"The nappy.\",\n \"The nappy.\"\n ],\n [\n \"A dame.\",\n \"Kate\"\n ],\n [\n \"Her wrath.\",\n \"her wrath\"\n ],\n [\n \"In the mirk.\",\n \"Alloway Kirk\"\n ],\n [\n \"Kate.\",\n \"Kate\"\n ],\n [\n \"As someone to be feared.\",\n \"prophiser\"\n ],\n [\n \"The landlady.\",\n \"The landlady.\"\n ],\n [\n \"It's too small.\",\n \"Its too small for her \"\n ],\n [\n \"Her tail.\",\n \"The horse's tail.\"\n ]\n]"},"document_id":{"kind":"string","value":"c2193fc3815805a7d95a72d4f28b02133a7db6de"},"split":{"kind":"string","value":"train"}}},{"rowIdx":52,"cells":{"text":{"kind":"list like","value":[[" Tigress bows deeply. The others follow. \n \n FURIOUS FIVE \n Master. \n \n PO \n (modest) \n Master? \n (then, remembering)"," you... Tigress! Viper! Crane! \n Monkey! Mantis! The Furious Five! \n \n The Five jump into the middle of the ring. \n \n PO \n The Furious Five!"," of the Five are with him. Po takes notice. \n \n PO (CONT'D) \n Hey, guys. \n \n TIGRESS \n Master. \n "," of China, the Furious Five, bowed \n in respect to this great master. \n \n MONKEY \n We should hang out. \n \n WARRIOR \n Agreed. \n "," shooting toward Tai Lung. The rope whips Tai Lung in the face \n and he gets tangled up. The Five see their chance. \n \n TIGRESS (CONT'D) \n Now! \n "," With a crash, he suddenly appears behind the Five. \n \n TAI LUNG \n Shifu taught you well... \n \n Tai Lung jabs a finger at Monkey, who instantly freezes. \n "," \n The Five race toward a rope bridge stretched between mountain \n peaks. \n \n 64. \n \n \n Tai Lung appears at the other end of the bridge. He ROARS and"," Tigress, you need more ferocity. \n Monkey, greater speed. \n \n Each of the Five bows respectfully as their name is \n mentioned. \n \n 8. \n \n "," Behind him, the Five approach and bow. \n \n TIGRESS \n Forgive us, Master. We have failed \n you. \n \n Shifu spins around. \n \n SHIFU"," INT. TRAINING HALL \n \n The doors open, revealing Po nursing his wounded finger. \n Shifu steps out of the way and Po's face goes into shock. The \n Five are performing death-defying kung fu moves in the"," matters. And that's-- \n \n In mid air, the Five talk to the warrior in a strange voice. \n \n MONKEY \n Po! Get up! \n \n TIGRESS"," Working as a team, the Five kick Tai Lung's butt every which \n way. Tigress finally slashes the last rope holding up Tai \n Lung. He plummets down... down... disappearing into the mist."," 30. \n \n \n PO \n Whoa. The Furious Five. You're so \n much bigger than your action \n figures -- except for you, Mantis."," Shifu enters the hallway of the bunkhouse. The Five burst out \n of their rooms and land, ready for inspection. \n \n FURIOUS FIVE \n Good morning master! \n \n One door remains closed. \n "," Five grab support ropes and hold on for dear life. \n \n TAI LUNG \n Where's the Dragon Warrior? \n \n TIGRESS \n How do you know you're not looking"," As the rest of the Five laugh, Tigress sneaks a moment to \n smell Po's soup. Leaning towards the bowl, she suddenly looks \n up and stops. The Five also look up and stop laughing. \n "," \n TIGRESS \n Viper, gather the southern farmers. \n Mantis, the north. Crane, light the \n way. \n \n They split up and begin helping the villagers evacuate. Po is"," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," races toward them. \n \n TIGRESS \n Cut it! \n \n The others slash at the ropes securing the bridge to the \n mountain. Tai Lung is almost upon them when Tigress cuts the"," Shifu and the Five stare at Po, perplexed. \n \n SHIFU \n Would you hit it! \n \n PO \n Alright...alright. \n "],[" SHIFU (CONT'D) \n Is something wrong? \n \n Reveal Master Oogway... a wise, old tortoise. \n \n OOGWAY \n Why must something be wrong for me"," Oogway was thinking. The poor guy's \n just gonna get himself killed. \n \n CRANE \n (mocking) \n He is so mighty! The Dragon Warrior"," He tries to shuffle his butt out of there, mumbling \n apologies. \n \n OOGWAY \n How interesting. \n \n TIGRESS \n Master, are you pointing at...me? \n "," \n 14. \n \n \n SHIFU \n Yes, Master Oogway. \n \n OOGWAY \n Now know this, old friend. Whomever"," Shifu turns away, contemplative. What can this mean? \n \n PO \n Okay. So like, Oogway was just a \n crazy old turtle after all? \n \n SHIFU"," \n Oogway looks into the water of the moon pool. \n \n OOGWAY \n Your mind is like this water, my \n friend. When it is agitated, it \n becomes difficult to see. But if"," OOGWAY \n Him. \n \n PO \n Who--? \n \n Po tries moving out of the way of Oogway's finger, but it \n keeps following him. \n "," SHIFU \n What... what are you..? \n \n Oogway backs away into the swirling fog. \n \n SHIFU (CONT'D) \n Master, you can't leave me! \n "," The petals surround Oogway as he approaches the cliff's edge. \n \n OOGWAY \n You must believe. \n \n SHIFU \n Master! \n "," Shifu looks up, concerned. Oogway opens his mouth... and \n blows out a candle. And another candle. And another. \n \n 9. \n \n "," OOGWAY \n You. \n \n PO \n Me? \n \n Oogway grabs Po's hand and holds it up for all to see. \n \n OOGWAY"," an accident! \n \n OOGWAY \n There are no accidents. \n \n Oogway smiles benignly as we hear an off-screen CRASH! \n "," rushes in, emerging from the mist, extremely agitated. \n \n SHIFU \n Master! Master! \n \n OOGWAY \n Hmmm? \n \n SHIFU"," PO POV: He sees the Five looking down at him, appalled. Po \n comes round slowly, getting his bearings. He looks around and \n sees Oogway. Strangely, the old turtle is smiling. \n \n PO"," It is an historic day, isn't it, \n Master Oogway? \n \n OOGWAY \n Yes, and one I feared I would not \n live to see. Are your students \n ready?"," Aah! It's Master Oogway. He wants \n to see you. \n \n Shifu looks up, concerned. \n \n \n INT. HALLWAY \n "," Master Oogway, wait! That flabby \n panda can't possibly be the answer \n to... our problem. You were about \n to point at Tigress. That thing \n fell in front of her. That was just"," you allow it to settle, the answer \n becomes clear. \n \n Shifu and Oogway stare into the pool. Oogway settles the \n water, revealing the reflection of an intricately carved"," (out of breath) \n I have-- it's-- it's very bad news. \n \n OOGWAY \n Ah, Shifu. There is just news. \n There is no good or bad. \n "," palace pig hits a tiny gong. This gets Po's attention. He \n rushes up to the poster. \n \n PO (CONT'D) \n What?! Master Oogway's choosing the \n Dragon Warrior! Today!"],[" Po falls flat on his face on the kitchen floor. A panda- \n shaped shadow looms over Po. \n \n PO \n Sorry, Dad. \n \n PO'S DAD"," EXT. JADE PALACE - DAY \n \n SLAM ZOOM in towards Palace. \n \n End next to palace on an old red panda (SHIFU) playing a"," The sun beats down on Po, but he presses forward. Climbing. \n Climbing. \n \n DISSOLVE TO: \n \n \n EXT. VALLEY SQUARE - LATER"," Po is being lifted with great effort on the palanquin. He is \n carried off. Shifu elbows his way urgently through the \n thronging crowd to get to Oogway. \n \n SHIFU (CONT'D)"," EXT. FIELD - LATER \n \n Po's training unfolds -- deep breathing exercises, balance \n tests, push ups, sit ups, climbing, etc. Through it all, he"," \n SHIFU (CONT'D) \n Where'd he go? \n \n Shifu throws up his hands in frustration and heads after Po. \n \n CUT TO: \n \n "," 40. \n \n \n SHIFU \n Panda! Panda, wake up! \n \n He slides open Po's door. The room is empty. \n "," watering flowers stares at Po. Po tries to play it cool and \n then quickly ducks out of sight. \n \n PO'S DAD (O.S.) \n Po! Let's go! You're late for work!"," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," Po begins to pat his armpits with water. \n \n SHIFU \n Panda, we do not wash our pits in \n The Pool of Sacred Tears. \n \n Po quickly stops. Realizing."," \n SHIFU \n After you, panda. \n \n Po stops short, suspicious. \n \n PO \n Just like that? No situps? No ten \n mile hike? \n "," Po bounces off a nearby pillar and slams back into Tai Lung, \n sending him flying into a column. Po puts on a brave face and \n strikes a pose as Tai Lung recovers and charges. Po turns to \n run. \n "," A squad of burly pigs rushes in and hoists Po, the palanquin, \n and the Geese onto their shoulders, and they head off for the \n Jade Palace. Stunned, Shifu watches them go. \n "," strikes back, using an unorthodox panda-style technique, even \n getting Tai Lung to chomp down on his own tail. Po gives Tai \n Lung a butt bump that sends him crashing into a building. Tai"," and into a nearby wok shop. The scroll rolls to a stop in the \n street. \n \n As Tai Lung makes his move on the scroll, Po turns the array \n of overturned woks into a shell game, sliding the woks around"," (to Shifu) \n He's a panda. \n (back to Po) \n You're a panda. What are you gonna \n do, big guy? Sit on me? \n "," You have done well, Panda. \n \n PO \n Done well? Done well?! I've done \n awesome! \n \n He swings his belly around and knocks Shifu off balance. \n "," \n INT. JADE PALACE - HALLWAY \n \n The palace doors open to reveal Po on the palanquin, hundreds \n of villagers behind him. \n \n CROWD \n (chanting)"," means. They are saddened by the news. \n \n SHIFU (CONT'D) \n Our only hope is the Dragon \n Warrior. \n \n TIGRESS \n The panda?"," which see-saws Po into the air. In mid-air, Po slurps the \n noodle. \n \n Up and over the rooftops, Po lands in a grove of bamboo trees"],[" Po stirs. \n \n PO \n It's okay. I didn't get it the \n first time either. \n \n TAI LUNG \n (disbelief) \n What?"," Shifu loved Tai Lung like he'd \n never loved anyone before... \n \n Young Tigress in the training hall strikes the dummy in the \n same manner as Tai Lung. Shifu corrects her form. Nothing"," \n \n Tigress enters. \n \n TIGRESS \n Before Tai Lung. \n \n Crane's shadow is silhouetted on the wall. \n \n CRANE"," They approach TAI LUNG, a giant, muscular snow leopard bound \n in a giant piece of tortoise shell armor and chains. He \n barely registers signs of life. The commander walks right up \n to him. \n "," One way in, one way out, one \n thousand guards, and one prisoner. \n \n ZENG \n Yes, except that prisoner is Tai \n Lung... \n \n "," TAI LUNG (CONT'D) \n NOTHING! \n \n Shifu takes a Kung Fu stance. \n \n SHIFU \n You were not meant to be the Dragon"," \n SHIFU \n This is no longer your home. And I \n am no longer your master. \n \n TAI LUNG \n Yes. You have a new favorite. So"," at her? \n \n Tai Lung laughs. It echoes off the mountain walls. \n \n TAI LUNG \n You think I'm a fool? I know you're"," Tigress charges at him. The battle begins. Tigress punches \n Tai Lung as he hangs from the bridge. But Tai Lung counters \n with a maneuver that sends Tigress slamming backwards through"," \n TAI LUNG (CONT'D) \n Give me the scroll! \n \n SHIFU \n I would rather die. \n \n They struggle for a beat until finally, the staff splinters"," throws them at Shifu. \n \n TAI LUNG (CONT'D) \n WHO FILLED MY HEAD WITH DREAMS?! \n WHO DROVE ME TO TRAIN UNTIL MY"," raised him as a son. \n \n Baby Tai Lung pulls on Shifu's whiskers. \n \n 47. \n \n \n TIGRESS (V.O.) (CONT'D)"," Obeying your master is not \n weakness! \n \n TAI LUNG \n You knew I was the Dragon Warrior! \n You always knew... \n \n Dissolve to FLASHBACK."," not the Dragon Warrior. None of \n you! \n \n The Five exchange quick, worried looks. \n \n TAI LUNG (CONT'D) \n (nodding confidently)"," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," manages to catch her. Viper punches Tai Lung repeatedly with \n his own fist. Tai Lung manages to get a paw around Viper's \n \"throat\". \n \n VIPER \n Monkey!"," \n PO \n Buddy, I am the Dragon Warrior. \n (exhales hard) \n Huhhh... \n \n TAI LUNG \n You?! Him?!"," \n SHIFU \n Yes, the panda! \n \n TIGRESS \n Master, please. Let us stop Tai \n Lung. This is what you've trained \n us for. \n "," ...Shifu trained him. \n \n Shifu teaches Baby Tai Lung how to punch. \n \n TIGRESS (V.O.) (CONT'D) \n He believed in him. He told him he"," With a crash, he suddenly appears behind the Five. \n \n TAI LUNG \n Shifu taught you well... \n \n Tai Lung jabs a finger at Monkey, who instantly freezes. \n "],[" \n Po struggles with something, his back turned to us. Reveal he \n has tied a load of fireworks to a chair. He hops on and \n lights the fuse. \n \n PO'S DAD (O.S.)"," The sun beats down on Po, but he presses forward. Climbing. \n Climbing. \n \n DISSOLVE TO: \n \n \n EXT. VALLEY SQUARE - LATER"," Po stirs. \n \n PO \n It's okay. I didn't get it the \n first time either. \n \n TAI LUNG \n (disbelief) \n What?"," Po laughs. He picks up his bowl and takes a giant gulp. When \n he lowers the bowl, we see a noodle hanging from his face -- \n it looks like a moustache. Mantis snickers. \n "," Po looks down at the Valley, then turns back to Shifu. \n \n PO (CONT'D) \n I stayed because I thought if \n anyone could change me, could make \n me... not me, it was you. The"," \n 4. \n \n \n PO \n Uh, nothing! \n \n Po hops to his feet, imitating his Kung Fu action figures. \n "," Wait a second! Hello? Uh...I think \n there's been a slight mistake. \n Everyone seems to think that I'm, \n uh... \n \n Po finally realizes where he is. \n "," watering flowers stares at Po. Po tries to play it cool and \n then quickly ducks out of sight. \n \n PO'S DAD (O.S.) \n Po! Let's go! You're late for work!"," Po turns back to the vase. \n \n PO (CONT'D) \n (to vase) \n Now how do you get five thousand-- \n (cutting himself off) \n Master Shifu!"," Po is being lifted with great effort on the palanquin. He is \n carried off. Shifu elbows his way urgently through the \n thronging crowd to get to Oogway. \n \n SHIFU (CONT'D)"," Seeing Po, Po's Dad hurries over and wraps his arms around \n his son. Po bends down to reciprocate the hug, as Po's dad \n pulls away, having fastened an apron around Po's waist. \n "," He's about to say something, but he stops himself. He fidgets \n for a beat, then can't control himself any longer. \n \n PO \n Want to get something to eat? \n \n SHIFU"," \n PO'S DAD \n Uh huh? \n \n Po wants to say something to his dad, but he loses his nerve. \n \n PO \n ...Could also sell the bean buns."," Dad gets a wistful look in his eyes. \n \n PO'S DAD (CONT'D) \n I thought about running away and \n learning how to make tofu. \n \n PO"," the Scroll. \n \n For a moment, Po stares at his reflection on the scroll, then \n he smiles serenely. He gets it now. \n \n 74. \n \n \n PO"," \n PO \n Huh? Oh no! Wait! \n \n He sees the fireworks and has an idea. \n \n PO (CONT'D) \n Yeah! \n \n "," EXT. FIELD - LATER \n \n Po's training unfolds -- deep breathing exercises, balance \n tests, push ups, sit ups, climbing, etc. Through it all, he"," \n PO \n (to vase) \n Sorry. I should've come to see you \n first. \n \n SHIFU \n My patience is wearing thin. \n \n PO"," Me too! \n \n Where's Po? \n \n PAN DOWN a long, long, long, long flight of stairs. Po stands \n at the bottom with his noodle cart, looking up at the"," \n He attempts to kick himself to his feet but alas, his belly \n is too worthy a foe. \n \n PO'S DAD (O.S.) (CONT'D) \n Po! What are you doing up there?"],[" \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," Po is being lifted with great effort on the palanquin. He is \n carried off. Shifu elbows his way urgently through the \n thronging crowd to get to Oogway. \n \n SHIFU (CONT'D)"," The sun beats down on Po, but he presses forward. Climbing. \n Climbing. \n \n DISSOLVE TO: \n \n \n EXT. VALLEY SQUARE - LATER"," Po looks down at the Valley, then turns back to Shifu. \n \n PO (CONT'D) \n I stayed because I thought if \n anyone could change me, could make \n me... not me, it was you. The"," Po bounces off a nearby pillar and slams back into Tai Lung, \n sending him flying into a column. Po puts on a brave face and \n strikes a pose as Tai Lung recovers and charges. Po turns to \n run. \n "," Shifu whips Po around again. \n \n SHIFU \n To take his strength and use it \n against him. \n \n Again, this time Shifu holds Po by the nose. \n "," \n Po struggles with something, his back turned to us. Reveal he \n has tied a load of fireworks to a chair. He hops on and \n lights the fuse. \n \n PO'S DAD (O.S.)"," \n 4. \n \n \n PO \n Uh, nothing! \n \n Po hops to his feet, imitating his Kung Fu action figures. \n "," PO \n Uh, it might, I mean, a little. I'm \n pretty scared. \n \n SHIFU \n You can defeat him, panda. \n \n PO"," EXT. FIELD - LATER \n \n Po's training unfolds -- deep breathing exercises, balance \n tests, push ups, sit ups, climbing, etc. Through it all, he"," Po laughs. He picks up his bowl and takes a giant gulp. When \n he lowers the bowl, we see a noodle hanging from his face -- \n it looks like a moustache. Mantis snickers. \n "," He turns and notices that Po hasn't moved. He walks to Po \n sympathetically. \n \n PO'S DAD (CONT'D) \n Po, I'm sorry things didn't work"," rockets ignite, propelling Po into the stadium wall. \n \n PO'S DAD \n Oh! Come back! \n \n Po's rocket chair blasts him into the sky amid a shower of \n fireworks."," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," It was never enough for Tai Lung. \n He wanted the Dragon Scroll. But \n Oogway saw darkness in his heart \n and refused. Outraged, Tai Lung \n laid waste to the valley. He tried"," Po stirs. \n \n PO \n It's okay. I didn't get it the \n first time either. \n \n TAI LUNG \n (disbelief) \n What?"," Po pulls on a rope tied to a tree. \n \n SHIFU (O.S.) (CONT'D) \n And believe me citizens, you have \n not seen anything yet! \n \n PO"," vision, Po effortlessly scales the building. Tai Lung is \n shocked. \n \n TAI LUNG \n The scroll has given him power. \n (then) \n NOOO0!! \n "," As the dust settles, Tai Lung is looming over Po in the \n impact crater. \n \n TAI LUNG (CONT'D) \n (out of breath) \n Finally... oh yes... the power of"," Po! Where are you going? \n \n Po stops dead in his tracks, busted. \n \n PO \n To the...Jade Palace? \n \n 12. \n \n "],[" dragon clutching a SCROLL in its mouth. \n \n SHIFU \n The Dragon Scroll... \n \n OOGWAY \n It is time. \n \n SHIFU"," learned the secret of the Dragon \n Scroll. \n \n He points to a dragon on the ceiling with a single scroll in \n its mouth. \n \n PO \n (in awe)"," Dragon Scroll. The petals loosen the scroll from the dragon's \n mouth and it falls. At the last second, Shifu reaches out \n with the staff to catch the scroll on the end of it. He turns \n to Po, holding it out."," PO \n Don't tempt me. Haha. No. I'm gonna \n use this. You want it? Come and get \n it. \n \n Po shows him the Dragon Scroll. \n "," the Dragon Scroll... is mine! \n \n Tai Lung grabs for the scroll and opens it. His face falls. \n \n TAI LUNG (CONT'D) \n It's NOTHING!! \n "," \n SHIFU (CONT'D) \n Behold. The Dragon Scroll... It is \n yours. \n \n PO \n Wait, what happens when I read it? \n "," scroll flies out of his hand and lands in the mouth of an \n ornamental rooftop dragon. He looks back at Tai Lung, who \n sees where the scroll has landed. Via the magic of cookie-"," Dragon Warrior has taken scroll \n halfway across China by now. You \n will never see that scroll, Tai \n Lung. Never. Never... \n \n 77. \n \n "," the Scroll. \n \n For a moment, Po stares at his reflection on the scroll, then \n he smiles serenely. He gets it now. \n \n 74. \n \n \n PO"," CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \n looks up at the Scroll. Then back at Shifu - \n \n PO \n You really believe I'm ready? \n "," to hide the scroll. \n \n PO \n Lightning! \n \n Tai Lung knocks the woks away and exposes the scroll as Po"," \n TAI LUNG (CONT'D) \n Give me the scroll! \n \n SHIFU \n I would rather die. \n \n They struggle for a beat until finally, the staff splinters"," PO (CONT'D) \n One of the Five is gonna get the \n Dragon Scroll! \n \n Customers rush to finish their food. \n \n PO (CONT'D)"," What? \n \n SHIFU \n He is coming for the Dragon Scroll, \n and you are the only one who can \n stop him. \n "," On Po's face as he finishes opening the scroll. \n \n Then - \n \n PO (CONT'D) \n AAAAAAAAAAAAAAAAAAAAAAAAA! \n \n Shifu looks concerned. The Five look concerned. Po looks"," the `thumbs up.' Po starts to unroll the scroll, the golden \n light bathing his face. Across the scroll we see Shifu, \n excited that he is witness to history... \n "," PO \n Huh? Oh, yeah... yeah. \n \n SHIFU \n Read it, Po, and fulfill your \n destiny. Read it and become... the \n Dragon Warrior! \n "," It was never enough for Tai Lung. \n He wanted the Dragon Scroll. But \n Oogway saw darkness in his heart \n and refused. Outraged, Tai Lung \n laid waste to the valley. He tried"," vision, Po effortlessly scales the building. Tai Lung is \n shocked. \n \n TAI LUNG \n The scroll has given him power. \n (then) \n NOOO0!! \n "," \n TAI LUNG (CONT'D) \n That scroll is mine! \n \n Down the Theater steps, Po and Tai Lung grapple for the \n scroll. Po is oblivious to the effects of crashing down"],[" Dragon Scroll. The petals loosen the scroll from the dragon's \n mouth and it falls. At the last second, Shifu reaches out \n with the staff to catch the scroll on the end of it. He turns \n to Po, holding it out."," dragon clutching a SCROLL in its mouth. \n \n SHIFU \n The Dragon Scroll... \n \n OOGWAY \n It is time. \n \n SHIFU"," \n SHIFU (CONT'D) \n Behold. The Dragon Scroll... It is \n yours. \n \n PO \n Wait, what happens when I read it? \n "," PO \n Don't tempt me. Haha. No. I'm gonna \n use this. You want it? Come and get \n it. \n \n Po shows him the Dragon Scroll. \n "," What? \n \n SHIFU \n He is coming for the Dragon Scroll, \n and you are the only one who can \n stop him. \n "," CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \n looks up at the Scroll. Then back at Shifu - \n \n PO \n You really believe I'm ready? \n "," \n TAI LUNG (CONT'D) \n Give me the scroll! \n \n SHIFU \n I would rather die. \n \n They struggle for a beat until finally, the staff splinters"," Shifu smiles and shakes his head. \n \n SHIFU \n Wrong! You are not the Dragon \n Warrior. You will never be the \n Dragon Warrior until you have"," PO \n Huh? Oh, yeah... yeah. \n \n SHIFU \n Read it, Po, and fulfill your \n destiny. Read it and become... the \n Dragon Warrior! \n "," the `thumbs up.' Po starts to unroll the scroll, the golden \n light bathing his face. Across the scroll we see Shifu, \n excited that he is witness to history... \n "," scroll flies out of his hand and lands in the mouth of an \n ornamental rooftop dragon. He looks back at Tai Lung, who \n sees where the scroll has landed. Via the magic of cookie-"," the Dragon Scroll... is mine! \n \n Tai Lung grabs for the scroll and opens it. His face falls. \n \n TAI LUNG (CONT'D) \n It's NOTHING!! \n "," learned the secret of the Dragon \n Scroll. \n \n He points to a dragon on the ceiling with a single scroll in \n its mouth. \n \n PO \n (in awe)"," On Po's face as he finishes opening the scroll. \n \n Then - \n \n PO (CONT'D) \n AAAAAAAAAAAAAAAAAAAAAAAAA! \n \n Shifu looks concerned. The Five look concerned. Po looks"," PO (CONT'D) \n One of the Five is gonna get the \n Dragon Scroll! \n \n Customers rush to finish their food. \n \n PO (CONT'D)"," Shifu strides purposefully down the hallway, which is lined \n with palace geese. \n \n \n INT. SCROLL ROOM - DAY \n \n Candles, incense, and smoke fill the room. The door bursts"," the Scroll. \n \n For a moment, Po stares at his reflection on the scroll, then \n he smiles serenely. He gets it now. \n \n 74. \n \n \n PO"," Shifu walks with a bit more energy. \n \n VIPER \n What do we do now, Master? With the \n panda gone, who will be the Dragon \n Warrior? \n "," SHIFU \n All we can do is resume our \n training and trust that in time, \n the true Dragon Warrior will be \n revealed. \n \n "," \n 14. \n \n \n SHIFU \n Yes, Master Oogway. \n \n OOGWAY \n Now know this, old friend. Whomever"],[" Working as a team, the Five kick Tai Lung's butt every which \n way. Tigress finally slashes the last rope holding up Tai \n Lung. He plummets down... down... disappearing into the mist."," You... can't defeat me. You're just \n a big, fat panda! \n \n SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. \n \n PO"," \n TAI LUNG (CONT'D) \n Give me the scroll! \n \n SHIFU \n I would rather die. \n \n They struggle for a beat until finally, the staff splinters"," Lung emerges and attempts one more lunge at Po. But Po \n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \n He is launched into the air. Po waits... and waits... until"," finally, Tai Lung appears in the sky and crashes to the \n ground. \n \n Tai Lung is battered, but still defiant. \n \n TAI LUNG \n (heavy breathing)"," Tigress charges at him. The battle begins. Tigress punches \n Tai Lung as he hangs from the bridge. But Tai Lung counters \n with a maneuver that sends Tigress slamming backwards through"," \n Tai Lung leaps for the scroll, but Oogway stops him with \n strikes at his pressure points. He falls to the ground in a \n heap. \n \n TIGRESS (V.O.) (CONT'D)"," \n Tai Lung pulls Oogway's staff from the shrine. \n \n TAI LUNG \n It is now. \n \n They fight. Tai Lung pins Shifu down with the staff."," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," shooting toward Tai Lung. The rope whips Tai Lung in the face \n and he gets tangled up. The Five see their chance. \n \n TIGRESS (CONT'D) \n Now! \n "," strikes back, using an unorthodox panda-style technique, even \n getting Tai Lung to chomp down on his own tail. Po gives Tai \n Lung a butt bump that sends him crashing into a building. Tai"," TAI LUNG (CONT'D) \n NOTHING! \n \n Shifu takes a Kung Fu stance. \n \n SHIFU \n You were not meant to be the Dragon"," come back and strike Tai Lung, sending the leopard crashing \n back into a building. Po looks at his hands, amazed at what \n he just did. \n \n Tai Lung rises from the rubble and runs at Po again. But Po"," So. That is how it's going to be? \n \n SHIFU \n That is how it must be. \n \n They fight. At last. Tai Lung punches Shifu clean through the"," As the dust settles, Tai Lung is looming over Po in the \n impact crater. \n \n TAI LUNG (CONT'D) \n (out of breath) \n Finally... oh yes... the power of"," throws them at Shifu. \n \n TAI LUNG (CONT'D) \n WHO FILLED MY HEAD WITH DREAMS?! \n WHO DROVE ME TO TRAIN UNTIL MY"," TAI LUNG \n RRRAAAH! \n \n PO \n AAAAGGGHH! \n \n Tai Lung attacks Po's nerve points. But Po begins giggling. \n "," manages to catch her. Viper punches Tai Lung repeatedly with \n his own fist. Tai Lung manages to get a paw around Viper's \n \"throat\". \n \n VIPER \n Monkey!"," 78. \n \n \n Po rolls down off a tree and uses the recoil to whip back and \n smash Tai Lung. He briefly skids across the rooftop and comes \n right back at Po."," But how could he? \n \n Seeing only baby Tai Lung running towards him, Shifu pulls \n his kick short. Tai Lung counters with a devastating strike \n and Shifu crashes to the ground holding his broken leg."],[" The sun beats down on Po, but he presses forward. Climbing. \n Climbing. \n \n DISSOLVE TO: \n \n \n EXT. VALLEY SQUARE - LATER"," watering flowers stares at Po. Po tries to play it cool and \n then quickly ducks out of sight. \n \n PO'S DAD (O.S.) \n Po! Let's go! You're late for work!"," \n INT. JADE PALACE - HALLWAY \n \n The palace doors open to reveal Po on the palanquin, hundreds \n of villagers behind him. \n \n CROWD \n (chanting)"," EXT. FIELD - LATER \n \n Po's training unfolds -- deep breathing exercises, balance \n tests, push ups, sit ups, climbing, etc. Through it all, he"," \n Po struggles with something, his back turned to us. Reveal he \n has tied a load of fireworks to a chair. He hops on and \n lights the fuse. \n \n PO'S DAD (O.S.)"," Po laughs. He picks up his bowl and takes a giant gulp. When \n he lowers the bowl, we see a noodle hanging from his face -- \n it looks like a moustache. Mantis snickers. \n "," again. Po comes out the other side battered and bruised and \n finds he is standing on the floor that shoots out bursts of \n flame. We see reflections of fire on the Five and Shifu as Po"," which see-saws Po into the air. In mid-air, Po slurps the \n noodle. \n \n Up and over the rooftops, Po lands in a grove of bamboo trees"," Me too! \n \n Where's Po? \n \n PAN DOWN a long, long, long, long flight of stairs. Po stands \n at the bottom with his noodle cart, looking up at the"," Po launches himself up above the fence, gets a peek at \n Tigress, then falls out of view just as she does her move. \n \n Po lands outside the arena in a fireworks tent. \n \n "," EXT. BUNKHOUSE DAY \n \n Super wide shot as Po runs away from the compound. Closer as \n he continues running. He checks over his shoulder, turns \n back... Shifu lands right in front of him. \n "," Seeing Po, Po's Dad hurries over and wraps his arms around \n his son. Po bends down to reciprocate the hug, as Po's dad \n pulls away, having fastened an apron around Po's waist. \n "," Po! Where are you going? \n \n Po stops dead in his tracks, busted. \n \n PO \n To the...Jade Palace? \n \n 12. \n \n "," Po lands hard on the floor. He tries to clear his head and \n wake up. \n \n PO'S DAD (O.S.) \n Po! Get up! \n "," Po is being lifted with great effort on the palanquin. He is \n carried off. Shifu elbows his way urgently through the \n thronging crowd to get to Oogway. \n \n SHIFU (CONT'D)"," \n Po panics for a beat and then finds a window. He jumps and \n weakly struggles to pull himself up. \n \n Po struggles to peek through the window. \n \n 15. \n "," Po stirs. \n \n PO \n It's okay. I didn't get it the \n first time either. \n \n TAI LUNG \n (disbelief) \n What?"," \n 4. \n \n \n PO \n Uh, nothing! \n \n Po hops to his feet, imitating his Kung Fu action figures. \n "," \n Po is still struggling up the stairs. \n \n PO \n Come on! Come on, ya-- Almost \n there... \n \n He stops, flopping onto his back to catch his breath. \n "," Po runs over to a crack in the wall. \n \n PO \n Peeky-hole! \n \n SHIFU \n Ready for battle! \n "],[" Po's Dad goes back to packing things up. \n \n PO'S DAD \n Let's go Po. So, for our next shop, \n it's time to face it -- the future"," Po falls flat on his face on the kitchen floor. A panda- \n shaped shadow looms over Po. \n \n PO \n Sorry, Dad. \n \n PO'S DAD"," He turns and notices that Po hasn't moved. He walks to Po \n sympathetically. \n \n PO'S DAD (CONT'D) \n Po, I'm sorry things didn't work"," of noodles is dice-cut vegetables, \n no longer slices. \n \n Dad starts to walk off, unaware that Po isn't following. \n \n PO'S DAD (CONT'D)"," PO (CONT'D) \n This is the greatest day in Kung Fu \n history! Don't worry about it, just \n go! \n \n He starts to run. \n \n PO'S DAD"," watering flowers stares at Po. Po tries to play it cool and \n then quickly ducks out of sight. \n \n PO'S DAD (O.S.) \n Po! Let's go! You're late for work!"," Seeing Po, Po's Dad hurries over and wraps his arms around \n his son. Po bends down to reciprocate the hug, as Po's dad \n pulls away, having fastened an apron around Po's waist. \n "," Villagers CHEER the Dragon Warrior. Po's Dad emerges from the \n crowd. \n \n PO'S DAD \n That's my boy. That big, lovely \n kung fu warrior is my son!"," Po lands hard on the floor. He tries to clear his head and \n wake up. \n \n PO'S DAD (O.S.) \n Po! Get up! \n "," PO'S DAD (CONT'D) \n Service with a smile! \n \n A GONG sounds in the distance. Po looks out the window at the \n distant JADE PALACE. \n \n "," \n PO \n Thanks, Dad. \n \n Po hugs his dad. The wok falls off Po's head and rolls on the \n ground until Mantis appears in frame and stops it. The rest"," PO'S DAD \n But you're forgetting your noodle \n cart! The whole valley will be \n there, and you'll sell noodles to \n all of them. \n \n PO"," \n Po struggles with something, his back turned to us. Reveal he \n has tied a load of fireworks to a chair. He hops on and \n lights the fuse. \n \n PO'S DAD (O.S.)"," Look, it's the Dragon Warrior. \n \n Po approaches the Noodle Shop. \n \n PO \n Hey, Dad. \n \n PO'S DAD \n Po! \n "," rockets ignite, propelling Po into the stadium wall. \n \n PO'S DAD \n Oh! Come back! \n \n Po's rocket chair blasts him into the sky amid a shower of \n fireworks."," You don't know how long I have been \n waiting for this moment. \n \n When Dad pulls out of the hug, Po is now wearing a noodle \n apron. \n "," PO'S DAD \n Actually... \n \n Po looks surprised. \n \n PO'S DAD (CONT'D) \n When I was young and crazy... \n "," EXT. FIELD - LATER \n \n Po's training unfolds -- deep breathing exercises, balance \n tests, push ups, sit ups, climbing, etc. Through it all, he"," Oh, happy day! My son, finally \n having the noodle dream! \n \n He throws his arms around Po. \n \n PO'S DAD (CONT'D)"," \n PO'S DAD \n Uh huh? \n \n Po wants to say something to his dad, but he loses his nerve. \n \n PO \n ...Could also sell the bean buns."],[" Tigress bows deeply. The others follow. \n \n FURIOUS FIVE \n Master. \n \n PO \n (modest) \n Master? \n (then, remembering)"," you... Tigress! Viper! Crane! \n Monkey! Mantis! The Furious Five! \n \n The Five jump into the middle of the ring. \n \n PO \n The Furious Five!"," of China, the Furious Five, bowed \n in respect to this great master. \n \n MONKEY \n We should hang out. \n \n WARRIOR \n Agreed. \n "," of the Five are with him. Po takes notice. \n \n PO (CONT'D) \n Hey, guys. \n \n TIGRESS \n Master. \n "," With a crash, he suddenly appears behind the Five. \n \n TAI LUNG \n Shifu taught you well... \n \n Tai Lung jabs a finger at Monkey, who instantly freezes. \n "," Shifu enters the hallway of the bunkhouse. The Five burst out \n of their rooms and land, ready for inspection. \n \n FURIOUS FIVE \n Good morning master! \n \n One door remains closed. \n "," shooting toward Tai Lung. The rope whips Tai Lung in the face \n and he gets tangled up. The Five see their chance. \n \n TIGRESS (CONT'D) \n Now! \n "," Behind him, the Five approach and bow. \n \n TIGRESS \n Forgive us, Master. We have failed \n you. \n \n Shifu spins around. \n \n SHIFU"," 30. \n \n \n PO \n Whoa. The Furious Five. You're so \n much bigger than your action \n figures -- except for you, Mantis."," Shifu and the Five stare at Po, perplexed. \n \n SHIFU \n Would you hit it! \n \n PO \n Alright...alright. \n "," \n The Five race toward a rope bridge stretched between mountain \n peaks. \n \n 64. \n \n \n Tai Lung appears at the other end of the bridge. He ROARS and"," INT. TRAINING HALL \n \n The doors open, revealing Po nursing his wounded finger. \n Shifu steps out of the way and Po's face goes into shock. The \n Five are performing death-defying kung fu moves in the"," Working as a team, the Five kick Tai Lung's butt every which \n way. Tigress finally slashes the last rope holding up Tai \n Lung. He plummets down... down... disappearing into the mist."," Tigress, you need more ferocity. \n Monkey, greater speed. \n \n Each of the Five bows respectfully as their name is \n mentioned. \n \n 8. \n \n "," As the rest of the Five laugh, Tigress sneaks a moment to \n smell Po's soup. Leaning towards the bowl, she suddenly looks \n up and stops. The Five also look up and stop laughing. \n "," PO (CONT'D) \n One of the Five is gonna get the \n Dragon Scroll! \n \n Customers rush to finish their food. \n \n PO (CONT'D)"," matters. And that's-- \n \n In mid air, the Five talk to the warrior in a strange voice. \n \n MONKEY \n Po! Get up! \n \n TIGRESS"," As the Five salute the warrior, he turns to see more bandits \n approaching. The Five strike an attack pose. The warrior \n brandishes a shiny green sword and leaps off the mountain \n into the sea of bandits. \n "," Five grab support ropes and hold on for dear life. \n \n TAI LUNG \n Where's the Dragon Warrior? \n \n TIGRESS \n How do you know you're not looking"," \n Po manages a brief glimpse of the Five before a gust of wind \n knocks Po to the ground and shuts the window. \n \n SHIFU \n Warriors prepare! \n "],[" The sun beats down on Po, but he presses forward. Climbing. \n Climbing. \n \n DISSOLVE TO: \n \n \n EXT. VALLEY SQUARE - LATER"," \n Po struggles with something, his back turned to us. Reveal he \n has tied a load of fireworks to a chair. He hops on and \n lights the fuse. \n \n PO'S DAD (O.S.)"," Po looks down at the Valley, then turns back to Shifu. \n \n PO (CONT'D) \n I stayed because I thought if \n anyone could change me, could make \n me... not me, it was you. The"," Po laughs. He picks up his bowl and takes a giant gulp. When \n he lowers the bowl, we see a noodle hanging from his face -- \n it looks like a moustache. Mantis snickers. \n "," Po stirs. \n \n PO \n It's okay. I didn't get it the \n first time either. \n \n TAI LUNG \n (disbelief) \n What?"," Po turns back to the vase. \n \n PO (CONT'D) \n (to vase) \n Now how do you get five thousand-- \n (cutting himself off) \n Master Shifu!"," EXT. FIELD - LATER \n \n Po's training unfolds -- deep breathing exercises, balance \n tests, push ups, sit ups, climbing, etc. Through it all, he"," \n 4. \n \n \n PO \n Uh, nothing! \n \n Po hops to his feet, imitating his Kung Fu action figures. \n "," Po is being lifted with great effort on the palanquin. He is \n carried off. Shifu elbows his way urgently through the \n thronging crowd to get to Oogway. \n \n SHIFU (CONT'D)"," the Scroll. \n \n For a moment, Po stares at his reflection on the scroll, then \n he smiles serenely. He gets it now. \n \n 74. \n \n \n PO"," Po! Where are you going? \n \n Po stops dead in his tracks, busted. \n \n PO \n To the...Jade Palace? \n \n 12. \n \n "," Seeing Po, Po's Dad hurries over and wraps his arms around \n his son. Po bends down to reciprocate the hug, as Po's dad \n pulls away, having fastened an apron around Po's waist. \n "," He's about to say something, but he stops himself. He fidgets \n for a beat, then can't control himself any longer. \n \n PO \n Want to get something to eat? \n \n SHIFU"," \n PO \n (to vase) \n Sorry. I should've come to see you \n first. \n \n SHIFU \n My patience is wearing thin. \n \n PO"," watering flowers stares at Po. Po tries to play it cool and \n then quickly ducks out of sight. \n \n PO'S DAD (O.S.) \n Po! Let's go! You're late for work!"," He was a student, the first ever to \n master the thousand... \n \n Tigress approaches Po and leans in towards him. \n \n PO (CONT'D) \n (nervously trailing off)"," PO \n Oh great, `cause I'm hungry. \n \n SHIFU \n Good. When you have been trained, \n you may eat. Let us begin. \n \n "," \n Po panics for a beat and then finds a window. He jumps and \n weakly struggles to pull himself up. \n \n Po struggles to peek through the window. \n \n 15. \n "," SHIFU \n Then why didn't you quit? You knew \n I was trying to get rid of you, and \n yet you stayed. \n \n PO \n Yeah, I stayed. I stayed because"," daunting task before him. \n \n Po struggles to pull his noodle cart up the stairs. \n \n 13. \n \n "],[" Shifu smiles and shakes his head. \n \n SHIFU \n Wrong! You are not the Dragon \n Warrior. You will never be the \n Dragon Warrior until you have"," PO \n Huh? Oh, yeah... yeah. \n \n SHIFU \n Read it, Po, and fulfill your \n destiny. Read it and become... the \n Dragon Warrior! \n "," \n PO \n Buddy, I am the Dragon Warrior. \n (exhales hard) \n Huhhh... \n \n TAI LUNG \n You?! Him?!"," 19. \n \n \n PO (CONT'D) \n Oh. Okay. Sorry. I just wanted to \n see who the Dragon Warrior was. \n "," And now he has a chance to make \n things right, to train the true \n Dragon Warrior. And he's stuck with \n you: a big, fat panda who treats it \n like a joke. \n "," Look! The Dragon Warrior. \n \n As he nears, we see that his hat is an upside down wok and \n his scarf is a torn apron. \n "," not the Dragon Warrior. None of \n you! \n \n The Five exchange quick, worried looks. \n \n TAI LUNG (CONT'D) \n (nodding confidently)"," Dragon Warrior! Dragon Warrior! \n \n Po is ushered in and the doors close. He is alone. He runs \n back to the closed palace doors. \n \n PO"," You are the Dragon Warrior. You \n have brought peace to this Valley. \n And to me. Thank you. Thank you, \n Po. Thank you... \n "," ...into the Dragon Warrior? How? \n How? How?! \n \n In frustration, Shifu yells out the answer. \n \n SHIFU \n I don't know!!!"," means. They are saddened by the news. \n \n SHIFU (CONT'D) \n Our only hope is the Dragon \n Warrior. \n \n TIGRESS \n The panda?"," Dragon Warrior has taken scroll \n halfway across China by now. You \n will never see that scroll, Tai \n Lung. Never. Never... \n \n 77. \n \n "," real Dragon Warrior is coming home. \n \n Tai Lung throws the Goose into the air and he flutters off. \n Lightning strikes. \n \n CUT TO: \n \n "," TAI LUNG (CONT'D) \n NOTHING! \n \n Shifu takes a Kung Fu stance. \n \n SHIFU \n You were not meant to be the Dragon"," \n He turns to face Shifu and stares at him, eyebrow raised. \n \n OOGWAY (CONT'D) \n ...If you do not believe that the \n Dragon Warrior can stop him. \n "," Oogway was thinking. The poor guy's \n just gonna get himself killed. \n \n CRANE \n (mocking) \n He is so mighty! The Dragon Warrior"," Shifu walks with a bit more energy. \n \n VIPER \n What do we do now, Master? With the \n panda gone, who will be the Dragon \n Warrior? \n "," Villagers CHEER the Dragon Warrior. Po's Dad emerges from the \n crowd. \n \n PO'S DAD \n That's my boy. That big, lovely \n kung fu warrior is my son!"," INT. TOURNAMENT RING - DAY \n \n Oogway senses something. He raises his hand and the crowd \n hushes. \n \n OOGWAY \n I sense the Dragon Warrior is among"," \n SHIFU \n So you're the legendary Dragon \n Warrior. Hmmm? \n \n PO \n Uh...I guess so? \n "],[" PO POV: He sees the Five looking down at him, appalled. Po \n comes round slowly, getting his bearings. He looks around and \n sees Oogway. Strangely, the old turtle is smiling. \n \n PO"," did it before, he'll do it again. \n \n SHIFU \n Oogway cannot, not anymore. \n \n They notice Shifu holding Oogway's staff. They know what this"," Behind him, the Five approach and bow. \n \n TIGRESS \n Forgive us, Master. We have failed \n you. \n \n Shifu spins around. \n \n SHIFU"," Oogway was thinking. The poor guy's \n just gonna get himself killed. \n \n CRANE \n (mocking) \n He is so mighty! The Dragon Warrior"," Shifu and the Five stare at Po, perplexed. \n \n SHIFU \n Would you hit it! \n \n PO \n Alright...alright. \n "," \n He turns to face Shifu and stares at him, eyebrow raised. \n \n OOGWAY (CONT'D) \n ...If you do not believe that the \n Dragon Warrior can stop him. \n "," thought they were pretty good. \n \n Po looks at the stone-faced Five. Tigress jumps to her feet. \n \n MONKEY \n It's Shifu. \n \n PO"," \n Shifu just stares at him, deadly serious. \n \n PO (CONT'D) \n What? You're serious? And I have to-- \n uh, Master Oogway will stop him! He"," Shifu turns away, contemplative. What can this mean? \n \n PO \n Okay. So like, Oogway was just a \n crazy old turtle after all? \n \n SHIFU"," (out of breath) \n I have-- it's-- it's very bad news. \n \n OOGWAY \n Ah, Shifu. There is just news. \n There is no good or bad. \n "," Finally, Shifu uses his Kung Fu to blow them all out. Oogway \n smiles knowingly. \n \n SHIFU \n You were saying? \n \n OOGWAY"," The petals surround Oogway as he approaches the cliff's edge. \n \n OOGWAY \n You must believe. \n \n SHIFU \n Master! \n "," SHIFU \n Master, your vision...your vision \n was right. Tai Lung has broken out \n of prison. He's on his way! \n \n OOGWAY \n That is bad news..."," SHIFU \n What... what are you..? \n \n Oogway backs away into the swirling fog. \n \n SHIFU (CONT'D) \n Master, you can't leave me! \n "," You did?! \n \n Shifu smiles and shakes his head in disbelief. \n \n SHIFU (CONT'D) \n Wow. It is as Oogway foretold --"," Po is being lifted with great effort on the palanquin. He is \n carried off. Shifu elbows his way urgently through the \n thronging crowd to get to Oogway. \n \n SHIFU (CONT'D)"," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," Shifu. \n \n OOGWAY \n Good. My time has come. You must \n continue your journey without me. \n \n He hands his staff to a confused Shifu. \n "," of the Five are with him. Po takes notice. \n \n PO (CONT'D) \n Hey, guys. \n \n TIGRESS \n Master. \n "," One would think that Master Oogway \n would choose someone who actually \n knew Kung Fu. \n \n CRANE \n Yeah, or could at least touch his \n toes. \n "],[" Po stirs. \n \n PO \n It's okay. I didn't get it the \n first time either. \n \n TAI LUNG \n (disbelief) \n What?"," \n Po struggles with something, his back turned to us. Reveal he \n has tied a load of fireworks to a chair. He hops on and \n lights the fuse. \n \n PO'S DAD (O.S.)"," SHIFU \n Then why didn't you quit? You knew \n I was trying to get rid of you, and \n yet you stayed. \n \n PO \n Yeah, I stayed. I stayed because"," The sun beats down on Po, but he presses forward. Climbing. \n Climbing. \n \n DISSOLVE TO: \n \n \n EXT. VALLEY SQUARE - LATER"," Po is being lifted with great effort on the palanquin. He is \n carried off. Shifu elbows his way urgently through the \n thronging crowd to get to Oogway. \n \n SHIFU (CONT'D)"," Po looks down at the Valley, then turns back to Shifu. \n \n PO (CONT'D) \n I stayed because I thought if \n anyone could change me, could make \n me... not me, it was you. The"," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," Po laughs. He picks up his bowl and takes a giant gulp. When \n he lowers the bowl, we see a noodle hanging from his face -- \n it looks like a moustache. Mantis snickers. \n "," hides it underneath one of the bowls. He uses his chopsticks \n as weapons to smack Po's chopsticks away. He attacks Po with \n his bamboo staff. \n "," Po! Where are you going? \n \n Po stops dead in his tracks, busted. \n \n PO \n To the...Jade Palace? \n \n 12. \n \n "," \n 4. \n \n \n PO \n Uh, nothing! \n \n Po hops to his feet, imitating his Kung Fu action figures. \n "," It was never enough for Tai Lung. \n He wanted the Dragon Scroll. But \n Oogway saw darkness in his heart \n and refused. Outraged, Tai Lung \n laid waste to the valley. He tried"," KG SHAW \n Sorry, Po. \n \n JR SHAW \n We'll bring you back a souvenir. \n \n Po watches as they run up the stairs. His eyes narrow. This"," the Scroll. \n \n For a moment, Po stares at his reflection on the scroll, then \n he smiles serenely. He gets it now. \n \n 74. \n \n \n PO"," (then, resigned) \n I don't know. \n \n PO \n That's what I thought. \n \n Shifu walks away, leaving the path open to Po. \n \n "," PO \n Don't tempt me. Haha. No. I'm gonna \n use this. You want it? Come and get \n it. \n \n Po shows him the Dragon Scroll. \n "," PO POV: He sees the Five looking down at him, appalled. Po \n comes round slowly, getting his bearings. He looks around and \n sees Oogway. Strangely, the old turtle is smiling. \n \n PO"," Shifu whips Po around again. \n \n SHIFU \n To take his strength and use it \n against him. \n \n Again, this time Shifu holds Po by the nose. \n "," He was a student, the first ever to \n master the thousand... \n \n Tigress approaches Po and leans in towards him. \n \n PO (CONT'D) \n (nervously trailing off)"," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."],[" \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," You... can't defeat me. You're just \n a big, fat panda! \n \n SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. \n \n PO"," strikes back, using an unorthodox panda-style technique, even \n getting Tai Lung to chomp down on his own tail. Po gives Tai \n Lung a butt bump that sends him crashing into a building. Tai"," Po bounces off a nearby pillar and slams back into Tai Lung, \n sending him flying into a column. Po puts on a brave face and \n strikes a pose as Tai Lung recovers and charges. Po turns to \n run. \n "," come back and strike Tai Lung, sending the leopard crashing \n back into a building. Po looks at his hands, amazed at what \n he just did. \n \n Tai Lung rises from the rubble and runs at Po again. But Po"," Lung emerges and attempts one more lunge at Po. But Po \n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \n He is launched into the air. Po waits... and waits... until"," finally, Tai Lung appears in the sky and crashes to the \n ground. \n \n Tai Lung is battered, but still defiant. \n \n TAI LUNG \n (heavy breathing)"," 78. \n \n \n Po rolls down off a tree and uses the recoil to whip back and \n smash Tai Lung. He briefly skids across the rooftop and comes \n right back at Po."," shooting toward Tai Lung. The rope whips Tai Lung in the face \n and he gets tangled up. The Five see their chance. \n \n TIGRESS (CONT'D) \n Now! \n "," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," As the dust settles, Tai Lung is looming over Po in the \n impact crater. \n \n TAI LUNG (CONT'D) \n (out of breath) \n Finally... oh yes... the power of"," \n Tai Lung leaps for the scroll, but Oogway stops him with \n strikes at his pressure points. He falls to the ground in a \n heap. \n \n TIGRESS (V.O.) (CONT'D)"," Working as a team, the Five kick Tai Lung's butt every which \n way. Tigress finally slashes the last rope holding up Tai \n Lung. He plummets down... down... disappearing into the mist."," TAI LUNG \n RRRAAAH! \n \n PO \n AAAAGGGHH! \n \n Tai Lung attacks Po's nerve points. But Po begins giggling. \n "," \n PO (CONT'D) \n Come on! How am I supposed to beat \n Tai Lung? I can't even beat you to \n the stairs. \n \n SHIFU"," \n TAI LUNG (CONT'D) \n That scroll is mine! \n \n Down the Theater steps, Po and Tai Lung grapple for the \n scroll. Po is oblivious to the effects of crashing down"," PO (CONT'D) \n Stop! Stop it! I'm gonna pee! \n Don't! Don't! \n \n Tai Lung's nerve attack has no effect on Po. Frustrated, he"," \n Tai Lung pulls Oogway's staff from the shrine. \n \n TAI LUNG \n It is now. \n \n They fight. Tai Lung pins Shifu down with the staff."," Tai Lung quickly catches up and they both sail off the Palace \n steps. \n \n Po clings to the scroll as Tai Lung delivers a kick and sends \n him crashing onto the theater rooftops below. \n "," Po gets thrown into a fireworks booth. As Tai Lung chases \n down the scroll, he turns back to see Po flying through the \n fireworks-filled sky. \n \n Po slams through Tai Lung and crashes into a rock wall. The"],[" learned the secret of the Dragon \n Scroll. \n \n He points to a dragon on the ceiling with a single scroll in \n its mouth. \n \n PO \n (in awe)"," dragon clutching a SCROLL in its mouth. \n \n SHIFU \n The Dragon Scroll... \n \n OOGWAY \n It is time. \n \n SHIFU"," Dragon Scroll. The petals loosen the scroll from the dragon's \n mouth and it falls. At the last second, Shifu reaches out \n with the staff to catch the scroll on the end of it. He turns \n to Po, holding it out."," PO \n Don't tempt me. Haha. No. I'm gonna \n use this. You want it? Come and get \n it. \n \n Po shows him the Dragon Scroll. \n "," the Dragon Scroll... is mine! \n \n Tai Lung grabs for the scroll and opens it. His face falls. \n \n TAI LUNG (CONT'D) \n It's NOTHING!! \n "," scroll flies out of his hand and lands in the mouth of an \n ornamental rooftop dragon. He looks back at Tai Lung, who \n sees where the scroll has landed. Via the magic of cookie-"," Dragon Warrior has taken scroll \n halfway across China by now. You \n will never see that scroll, Tai \n Lung. Never. Never... \n \n 77. \n \n "," \n SHIFU (CONT'D) \n Behold. The Dragon Scroll... It is \n yours. \n \n PO \n Wait, what happens when I read it? \n "," to hide the scroll. \n \n PO \n Lightning! \n \n Tai Lung knocks the woks away and exposes the scroll as Po"," the Scroll. \n \n For a moment, Po stares at his reflection on the scroll, then \n he smiles serenely. He gets it now. \n \n 74. \n \n \n PO"," CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \n looks up at the Scroll. Then back at Shifu - \n \n PO \n You really believe I'm ready? \n "," \n TAI LUNG (CONT'D) \n Give me the scroll! \n \n SHIFU \n I would rather die. \n \n They struggle for a beat until finally, the staff splinters"," It was never enough for Tai Lung. \n He wanted the Dragon Scroll. But \n Oogway saw darkness in his heart \n and refused. Outraged, Tai Lung \n laid waste to the valley. He tried"," the `thumbs up.' Po starts to unroll the scroll, the golden \n light bathing his face. Across the scroll we see Shifu, \n excited that he is witness to history... \n "," PO (CONT'D) \n One of the Five is gonna get the \n Dragon Scroll! \n \n Customers rush to finish their food. \n \n PO (CONT'D)"," On Po's face as he finishes opening the scroll. \n \n Then - \n \n PO (CONT'D) \n AAAAAAAAAAAAAAAAAAAAAAAAA! \n \n Shifu looks concerned. The Five look concerned. Po looks"," \n TAI LUNG (CONT'D) \n That scroll is mine! \n \n Down the Theater steps, Po and Tai Lung grapple for the \n scroll. Po is oblivious to the effects of crashing down"," vision, Po effortlessly scales the building. Tai Lung is \n shocked. \n \n TAI LUNG \n The scroll has given him power. \n (then) \n NOOO0!! \n "," What? \n \n SHIFU \n He is coming for the Dragon Scroll, \n and you are the only one who can \n stop him. \n "," \n Tai Lung leaps for the scroll, but Oogway stops him with \n strikes at his pressure points. He falls to the ground in a \n heap. \n \n TIGRESS (V.O.) (CONT'D)"],[" C'mere! The secret ingredient is... \n nothing! \n \n PO \n Huh? \n \n PO'S DAD \n You heard me. Nothing. There is no"," PO'S DAD \n The secret ingredient of my secret \n ingredient soup! \n \n Po feigns excitement. \n \n PO \n Oh. \n \n PO'S DAD"," secret ingredient! \n \n PO \n Wait wait...it's just plain old \n noodle soup? You don't add some \n kind of special sauce or something? \n "," You should try my dad's secret \n ingredient soup. He actually knows \n the secret ingredient. \n \n VIPER \n What are you talking about? This is \n amazing. \n "," Soup.\" And then you will fulfill \n your destiny and take over the \n restaurant, just as I took it over \n from my father, who took it over \n from his father, who won it from a"," \n PO \n Uh...a sign of what? \n \n PO'S DAD \n You are almost ready to be \n entrusted with the secret \n ingredient of my \"Secret Ingredient"," As the rest of the Five laugh, Tigress sneaks a moment to \n smell Po's soup. Leaning towards the bowl, she suddenly looks \n up and stops. The Five also look up and stop laughing. \n "," There is no secret ingredient... \n \n Po turns back to look at the palace. \n \n CUT TO: \n \n \n EXT. JADE PALACE - DAWN \n "," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," Po laughs. He picks up his bowl and takes a giant gulp. When \n he lowers the bowl, we see a noodle hanging from his face -- \n it looks like a moustache. Mantis snickers. \n "," throwing star is sitting in it. \n \n PO (CONT'D) \n (to customer) \n Careful, that soup is... sharp! \n \n PO'S DAD"," but I thought it... in my mind. \n \n Po flips some bowls and expertly lines them up on his arm. He \n ladles soup into them. \n \n PO (CONT'D)"," PO (CONT'D) \n Noodles. \n \n THOK. Dad stops chopping vegetables. \n \n PO'S DAD \n Noodles. You were really dreaming"," PO'S DAD \n No, it's at tables two, five, \n seven, and twelve. \n \n He loads Po's arms with bowls of soup. \n "," Of course it's Shifu. What do you \n think I'm doing? \n \n He finally notices Shifu standing there, doing a slow burn. \n Embarrassed, he places the soup bowls on his chest like a"," Oh, happy day! My son, finally \n having the noodle dream! \n \n He throws his arms around Po. \n \n PO'S DAD (CONT'D)"," We've been waiting a thousand years \n for this! Just take the bowl! \n \n Other customers are finishing their soup. \n \n One old lady customer slowly counts out coins and puts them \n on the table. \n "," You don't know how long I have been \n waiting for this moment. \n \n When Dad pulls out of the hug, Po is now wearing a noodle \n apron. \n "," learned the secret of the Dragon \n Scroll. \n \n He points to a dragon on the ceiling with a single scroll in \n its mouth. \n \n PO \n (in awe)"," of noodles is dice-cut vegetables, \n no longer slices. \n \n Dad starts to walk off, unaware that Po isn't following. \n \n PO'S DAD (CONT'D)"],[" Po's Dad goes back to packing things up. \n \n PO'S DAD \n Let's go Po. So, for our next shop, \n it's time to face it -- the future"," Seeing Po, Po's Dad hurries over and wraps his arms around \n his son. Po bends down to reciprocate the hug, as Po's dad \n pulls away, having fastened an apron around Po's waist. \n "," He turns and notices that Po hasn't moved. He walks to Po \n sympathetically. \n \n PO'S DAD (CONT'D) \n Po, I'm sorry things didn't work"," Po falls flat on his face on the kitchen floor. A panda- \n shaped shadow looms over Po. \n \n PO \n Sorry, Dad. \n \n PO'S DAD"," of noodles is dice-cut vegetables, \n no longer slices. \n \n Dad starts to walk off, unaware that Po isn't following. \n \n PO'S DAD (CONT'D)"," PO (CONT'D) \n This is the greatest day in Kung Fu \n history! Don't worry about it, just \n go! \n \n He starts to run. \n \n PO'S DAD"," PO'S DAD (CONT'D) \n Service with a smile! \n \n A GONG sounds in the distance. Po looks out the window at the \n distant JADE PALACE. \n \n "," \n Po struggles with something, his back turned to us. Reveal he \n has tied a load of fireworks to a chair. He hops on and \n lights the fuse. \n \n PO'S DAD (O.S.)"," watering flowers stares at Po. Po tries to play it cool and \n then quickly ducks out of sight. \n \n PO'S DAD (O.S.) \n Po! Let's go! You're late for work!"," Po lands hard on the floor. He tries to clear his head and \n wake up. \n \n PO'S DAD (O.S.) \n Po! Get up! \n "," \n PO \n Thanks, Dad. \n \n Po hugs his dad. The wok falls off Po's head and rolls on the \n ground until Mantis appears in frame and stops it. The rest"," Oh, happy day! My son, finally \n having the noodle dream! \n \n He throws his arms around Po. \n \n PO'S DAD (CONT'D)"," Villagers CHEER the Dragon Warrior. Po's Dad emerges from the \n crowd. \n \n PO'S DAD \n That's my boy. That big, lovely \n kung fu warrior is my son!"," Look, it's the Dragon Warrior. \n \n Po approaches the Noodle Shop. \n \n PO \n Hey, Dad. \n \n PO'S DAD \n Po! \n "," EXT. FIELD - LATER \n \n Po's training unfolds -- deep breathing exercises, balance \n tests, push ups, sit ups, climbing, etc. Through it all, he"," hides it underneath one of the bowls. He uses his chopsticks \n as weapons to smack Po's chopsticks away. He attacks Po with \n his bamboo staff. \n "," PO'S DAD \n Actually... \n \n Po looks surprised. \n \n PO'S DAD (CONT'D) \n When I was young and crazy... \n "," rockets ignite, propelling Po into the stadium wall. \n \n PO'S DAD \n Oh! Come back! \n \n Po's rocket chair blasts him into the sky amid a shower of \n fireworks."," You don't know how long I have been \n waiting for this moment. \n \n When Dad pulls out of the hug, Po is now wearing a noodle \n apron. \n "," PO'S DAD \n But you're forgetting your noodle \n cart! The whole valley will be \n there, and you'll sell noodles to \n all of them. \n \n PO"],[" learned the secret of the Dragon \n Scroll. \n \n He points to a dragon on the ceiling with a single scroll in \n its mouth. \n \n PO \n (in awe)"," dragon clutching a SCROLL in its mouth. \n \n SHIFU \n The Dragon Scroll... \n \n OOGWAY \n It is time. \n \n SHIFU"," Dragon Scroll. The petals loosen the scroll from the dragon's \n mouth and it falls. At the last second, Shifu reaches out \n with the staff to catch the scroll on the end of it. He turns \n to Po, holding it out."," PO \n Don't tempt me. Haha. No. I'm gonna \n use this. You want it? Come and get \n it. \n \n Po shows him the Dragon Scroll. \n "," the Dragon Scroll... is mine! \n \n Tai Lung grabs for the scroll and opens it. His face falls. \n \n TAI LUNG (CONT'D) \n It's NOTHING!! \n "," \n SHIFU (CONT'D) \n Behold. The Dragon Scroll... It is \n yours. \n \n PO \n Wait, what happens when I read it? \n "," scroll flies out of his hand and lands in the mouth of an \n ornamental rooftop dragon. He looks back at Tai Lung, who \n sees where the scroll has landed. Via the magic of cookie-"," Dragon Warrior has taken scroll \n halfway across China by now. You \n will never see that scroll, Tai \n Lung. Never. Never... \n \n 77. \n \n "," the Scroll. \n \n For a moment, Po stares at his reflection on the scroll, then \n he smiles serenely. He gets it now. \n \n 74. \n \n \n PO"," CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \n looks up at the Scroll. Then back at Shifu - \n \n PO \n You really believe I'm ready? \n "," to hide the scroll. \n \n PO \n Lightning! \n \n Tai Lung knocks the woks away and exposes the scroll as Po"," What? \n \n SHIFU \n He is coming for the Dragon Scroll, \n and you are the only one who can \n stop him. \n "," PO (CONT'D) \n One of the Five is gonna get the \n Dragon Scroll! \n \n Customers rush to finish their food. \n \n PO (CONT'D)"," It was never enough for Tai Lung. \n He wanted the Dragon Scroll. But \n Oogway saw darkness in his heart \n and refused. Outraged, Tai Lung \n laid waste to the valley. He tried"," \n TAI LUNG (CONT'D) \n Give me the scroll! \n \n SHIFU \n I would rather die. \n \n They struggle for a beat until finally, the staff splinters"," On Po's face as he finishes opening the scroll. \n \n Then - \n \n PO (CONT'D) \n AAAAAAAAAAAAAAAAAAAAAAAAA! \n \n Shifu looks concerned. The Five look concerned. Po looks"," PO \n Huh? Oh, yeah... yeah. \n \n SHIFU \n Read it, Po, and fulfill your \n destiny. Read it and become... the \n Dragon Warrior! \n "," the `thumbs up.' Po starts to unroll the scroll, the golden \n light bathing his face. Across the scroll we see Shifu, \n excited that he is witness to history... \n "," \n TAI LUNG (CONT'D) \n That scroll is mine! \n \n Down the Theater steps, Po and Tai Lung grapple for the \n scroll. Po is oblivious to the effects of crashing down"," utterly terrified. \n \n PO (CONT'D) \n It's blank! \n \n SHIFU \n What? \n \n PO \n Here! Look! \n "],[" Oogway was thinking. The poor guy's \n just gonna get himself killed. \n \n CRANE \n (mocking) \n He is so mighty! The Dragon Warrior"," \n He turns to face Shifu and stares at him, eyebrow raised. \n \n OOGWAY (CONT'D) \n ...If you do not believe that the \n Dragon Warrior can stop him. \n "," INT. TOURNAMENT RING - DAY \n \n Oogway senses something. He raises his hand and the crowd \n hushes. \n \n OOGWAY \n I sense the Dragon Warrior is among"," Master Oogway will now choose... \n the Dragon Warrior! \n \n 17. \n \n \n EXT. TOURNAMENT RING - DAY \n \n Po comes to."," palace pig hits a tiny gong. This gets Po's attention. He \n rushes up to the poster. \n \n PO (CONT'D) \n What?! Master Oogway's choosing the \n Dragon Warrior! Today!"," OOGWAY \n You. \n \n PO \n Me? \n \n Oogway grabs Po's hand and holds it up for all to see. \n \n OOGWAY"," PO \n Huh? Oh, yeah... yeah. \n \n SHIFU \n Read it, Po, and fulfill your \n destiny. Read it and become... the \n Dragon Warrior! \n "," great Oogway was wrong, and you are \n not the Dragon Warrior. \n \n PO \n Oh, okay. Well-- I don't know if I \n can do all of those moves. \n "," \n 14. \n \n \n SHIFU \n Yes, Master Oogway. \n \n OOGWAY \n Now know this, old friend. Whomever"," OOGWAY \n Him. \n \n PO \n Who--? \n \n Po tries moving out of the way of Oogway's finger, but it \n keeps following him. \n "," Shifu smiles and shakes his head. \n \n SHIFU \n Wrong! You are not the Dragon \n Warrior. You will never be the \n Dragon Warrior until you have"," But who? Who is worthy to be \n trusted with the secret to \n limitless power? To become...the \n Dragon Warrior?! \n \n Dramatic music as we push in on Oogway's face. Then..."," \n PO \n Buddy, I am the Dragon Warrior. \n (exhales hard) \n Huhhh... \n \n TAI LUNG \n You?! Him?!"," Now listen closely, panda. Oogway \n may have picked you, but when I'm \n through with you, I promise you, \n you're going to wish he hadn't. Are \n we clear? \n "," You did?! \n \n Shifu smiles and shakes his head in disbelief. \n \n SHIFU (CONT'D) \n Wow. It is as Oogway foretold --"," Po is being lifted with great effort on the palanquin. He is \n carried off. Shifu elbows his way urgently through the \n thronging crowd to get to Oogway. \n \n SHIFU (CONT'D)"," Shifu. \n \n OOGWAY \n Good. My time has come. You must \n continue your journey without me. \n \n He hands his staff to a confused Shifu. \n "," No. Oogway was wiser than us all. \n \n Po sits heavily on the floor, dejected. \n \n PO \n Oh, come on! Face it. He picked me"," It is an historic day, isn't it, \n Master Oogway? \n \n OOGWAY \n Yes, and one I feared I would not \n live to see. Are your students \n ready?"," dragon clutching a SCROLL in its mouth. \n \n SHIFU \n The Dragon Scroll... \n \n OOGWAY \n It is time. \n \n SHIFU"],[" INT. PRISON -- NIGHT \n \n Using the goose's feather to pick the lock, Tai Lung BURSTS \n free from his armor. \n \n An ALARM RINGS OUT! \n "," \n Tai Lung struggles with his shackles. \n \n COMMANDER \n Fire Crossbows! \n \n Tai Lung uses the incoming spears to break his shackles and"," down to the last group of explosives. He leaps across the \n raining debris up to the ceiling of the cavern. \n \n Grabbing a hold of the dynamite, Tai Lung falls and slings it \n ahead of him at the guards."," then manages to kick the spears back up into the walls, \n creating a makeshift staircase. \n \n ZENG \n Tai Lung is free! I must warn \n Shifu! \n "," \n TAI LUNG (CONT'D) \n That scroll is mine! \n \n Down the Theater steps, Po and Tai Lung grapple for the \n scroll. Po is oblivious to the effects of crashing down"," \n Tai Lung pulls Oogway's staff from the shrine. \n \n TAI LUNG \n It is now. \n \n They fight. Tai Lung pins Shifu down with the staff."," the volley of arrows flies down past him. \n \n The guards cut the rope and the elevator crashes back down to \n the bottom of the pit. \n \n Tai Lung swings up from the bottom of the elevator house and"," races toward them. \n \n TIGRESS \n Cut it! \n \n The others slash at the ropes securing the bridge to the \n mountain. Tai Lung is almost upon them when Tigress cuts the"," scroll flies out of his hand and lands in the mouth of an \n ornamental rooftop dragon. He looks back at Tai Lung, who \n sees where the scroll has landed. Via the magic of cookie-"," Tai Lung quickly catches up and they both sail off the Palace \n steps. \n \n Po clings to the scroll as Tai Lung delivers a kick and sends \n him crashing onto the theater rooftops below. \n "," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," Po bounces off a nearby pillar and slams back into Tai Lung, \n sending him flying into a column. Po puts on a brave face and \n strikes a pose as Tai Lung recovers and charges. Po turns to \n run. \n "," strikes back, using an unorthodox panda-style technique, even \n getting Tai Lung to chomp down on his own tail. Po gives Tai \n Lung a butt bump that sends him crashing into a building. Tai"," shooting toward Tai Lung. The rope whips Tai Lung in the face \n and he gets tangled up. The Five see their chance. \n \n TIGRESS (CONT'D) \n Now! \n "," As the dust settles, Tai Lung is looming over Po in the \n impact crater. \n \n TAI LUNG (CONT'D) \n (out of breath) \n Finally... oh yes... the power of"," snatches it away using a noodle lasso. The scroll flies \n towards him and bounces off his head. Tai Lung leaps for it, \n but Po grabs his tail and pulls him back down onto a cart"," come back and strike Tai Lung, sending the leopard crashing \n back into a building. Po looks at his hands, amazed at what \n he just did. \n \n Tai Lung rises from the rubble and runs at Po again. But Po"," 78. \n \n \n Po rolls down off a tree and uses the recoil to whip back and \n smash Tai Lung. He briefly skids across the rooftop and comes \n right back at Po."," prosthetic falls in front of him. \n \n ZENG \n Nuuu... Urggg... \n \n Tai Lung picks up the Goose by the throat. \n \n ZENG (CONT'D)"," COMMANDER \n He won't get far. \n (to guards) \n Archers! \n \n Leaping across the spears, Tai Lung catches the elevator as"],[" Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," \n SHIFU (CONT'D) \n Where'd he go? \n \n Shifu throws up his hands in frustration and heads after Po. \n \n CUT TO: \n \n "," SHIFU (CONT'D) \n Enjoy. \n \n Po raises the dumpling to his mouth. WHOOSH! Shifu snatches \n the dumpling away and eats it himself. \n "," Shifu staggers back, regaining his dignity. \n \n SHIFU \n The mark of a true hero is \n humility! \n \n After a moment's thought, though, he leans toward Po -"," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," Shifu walks around Po - pointing out his weaknesses. \n \n SHIFU \n Yes. Look at you...this fat butt. \n \n Shifu HITS Po on the butt with his staff. \n "," Shifu walks away and Po half-heartedly follows. \n \n SHIFU \n Well, if we don't try, we'll never \n know will we? \n \n PO"," But Po skillfully manages to best Shifu for the final \n dumpling. \n \n Shifu smiles. Po has passed the final test. \n \n But then Po tosses the dumpling into Shifu's open hand."," Shifu whips Po around again. \n \n SHIFU \n To take his strength and use it \n against him. \n \n Again, this time Shifu holds Po by the nose. \n "," Po looks down at the Valley, then turns back to Shifu. \n \n PO (CONT'D) \n I stayed because I thought if \n anyone could change me, could make \n me... not me, it was you. The"," SHIFU \n What are you doing here?! \n \n Reveal Po is in the middle of the floor, his legs spread wide \n apart. Po looks back over his shoulder to see Shifu and the \n Five enter the hall."," SHIFU (CONT'D) \n --until he finally falls, or quits. \n \n Po is totally inspired. \n \n PO \n But a real warrior never quits."," PO \n Master! Shifu! Shifu! Are you okay? \n \n Shifu weakly opens his eyes. \n \n SHIFU \n Po! You're alive!"," SHIFU \n No! It is not your destiny to \n defeat Tai Lung. It is his. \n \n He dramatically points at Po... but Po is gone. \n \n 56. \n "," SHIFU \n There are no accidents. Come with \n me. \n \n \n EXT. MOUNTAINS - DAWN \n \n Shifu leads Po through the mountains. \n \n PO"," Shifu closes his eyes. He is still. Po starts freaking out. \n \n PO \n No! Master! No No No! Don't die, \n Shifu. Please... \n \n SHIFU"," Shifu spar, vying for the dumplings. Until there is only one \n left. \n \n Shifu tries every trick to keep the dumpling away from Po. He"," Po turns back to the vase. \n \n PO (CONT'D) \n (to vase) \n Now how do you get five thousand-- \n (cutting himself off) \n Master Shifu!"," We see a series of shots of Po falling on his face at the \n hands of some invisible opponent, who turns out to be... \n Mantis. \n \n Shifu smiles. Flat on his back, Po manages a salute. Shifu"," INT. PALACE - MOMENTS LATER \n \n Po arrives breathless at the Jade Palace. Shifu is still \n lying in the scroll room, his eyes closed. Po rushes to his \n side. \n "],[" shooting toward Tai Lung. The rope whips Tai Lung in the face \n and he gets tangled up. The Five see their chance. \n \n TIGRESS (CONT'D) \n Now! \n "," With a crash, he suddenly appears behind the Five. \n \n TAI LUNG \n Shifu taught you well... \n \n Tai Lung jabs a finger at Monkey, who instantly freezes. \n "," Working as a team, the Five kick Tai Lung's butt every which \n way. Tigress finally slashes the last rope holding up Tai \n Lung. He plummets down... down... disappearing into the mist."," TAI LUNG \n RRRAAAH! \n \n PO \n AAAAGGGHH! \n \n Tai Lung attacks Po's nerve points. But Po begins giggling. \n "," finally, Tai Lung appears in the sky and crashes to the \n ground. \n \n Tai Lung is battered, but still defiant. \n \n TAI LUNG \n (heavy breathing)"," \n The Five race toward a rope bridge stretched between mountain \n peaks. \n \n 64. \n \n \n Tai Lung appears at the other end of the bridge. He ROARS and"," \n Tai Lung leaps for the scroll, but Oogway stops him with \n strikes at his pressure points. He falls to the ground in a \n heap. \n \n TIGRESS (V.O.) (CONT'D)"," strikes back, using an unorthodox panda-style technique, even \n getting Tai Lung to chomp down on his own tail. Po gives Tai \n Lung a butt bump that sends him crashing into a building. Tai"," \n Tai Lung pulls Oogway's staff from the shrine. \n \n TAI LUNG \n It is now. \n \n They fight. Tai Lung pins Shifu down with the staff."," Tigress charges at him. The battle begins. Tigress punches \n Tai Lung as he hangs from the bridge. But Tai Lung counters \n with a maneuver that sends Tigress slamming backwards through"," \n Tai Lung struggles with his shackles. \n \n COMMANDER \n Fire Crossbows! \n \n Tai Lung uses the incoming spears to break his shackles and"," What's he gonna do about it? I've \n got him completely immobilized. \n \n The Commander stomps on Tai Lung's tail. We hear a crunch."," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," down to the last group of explosives. He leaps across the \n raining debris up to the ceiling of the cavern. \n \n Grabbing a hold of the dynamite, Tai Lung falls and slings it \n ahead of him at the guards."," Lung emerges and attempts one more lunge at Po. But Po \n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \n He is launched into the air. Po waits... and waits... until"," You... can't defeat me. You're just \n a big, fat panda! \n \n SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. \n \n PO"," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," As the dust settles, Tai Lung is looming over Po in the \n impact crater. \n \n TAI LUNG (CONT'D) \n (out of breath) \n Finally... oh yes... the power of"," Behind him, the Five approach and bow. \n \n TIGRESS \n Forgive us, Master. We have failed \n you. \n \n Shifu spins around. \n \n SHIFU"," come back and strike Tai Lung, sending the leopard crashing \n back into a building. Po looks at his hands, amazed at what \n he just did. \n \n Tai Lung rises from the rubble and runs at Po again. But Po"],[" PO'S DAD \n Don't have to. To make something \n special, you just have to believe \n it's special. \n \n Po looks at his father with dawning realization. He picks up"," He turns and notices that Po hasn't moved. He walks to Po \n sympathetically. \n \n PO'S DAD (CONT'D) \n Po, I'm sorry things didn't work"," Po falls flat on his face on the kitchen floor. A panda- \n shaped shadow looms over Po. \n \n PO \n Sorry, Dad. \n \n PO'S DAD"," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," PO (CONT'D) \n This is the greatest day in Kung Fu \n history! Don't worry about it, just \n go! \n \n He starts to run. \n \n PO'S DAD"," Oh, happy day! My son, finally \n having the noodle dream! \n \n He throws his arms around Po. \n \n PO'S DAD (CONT'D)"," \n Po struggles with something, his back turned to us. Reveal he \n has tied a load of fireworks to a chair. He hops on and \n lights the fuse. \n \n PO'S DAD (O.S.)"," of noodles is dice-cut vegetables, \n no longer slices. \n \n Dad starts to walk off, unaware that Po isn't following. \n \n PO'S DAD (CONT'D)"," PO'S DAD \n Actually... \n \n Po looks surprised. \n \n PO'S DAD (CONT'D) \n When I was young and crazy... \n "," out. It just... wasn't meant to be. \n \n Po slumps against the cart. \n \n PO'S DAD (CONT'D) \n Po, forget everything else. Your"," Dad gets a wistful look in his eyes. \n \n PO'S DAD (CONT'D) \n I thought about running away and \n learning how to make tofu. \n \n PO"," EXT. FIELD - LATER \n \n Po's training unfolds -- deep breathing exercises, balance \n tests, push ups, sit ups, climbing, etc. Through it all, he"," Seeing Po, Po's Dad hurries over and wraps his arms around \n his son. Po bends down to reciprocate the hug, as Po's dad \n pulls away, having fastened an apron around Po's waist. \n "," Po lands hard on the floor. He tries to clear his head and \n wake up. \n \n PO'S DAD (O.S.) \n Po! Get up! \n "," PO'S DAD \n But you're forgetting your noodle \n cart! The whole valley will be \n there, and you'll sell noodles to \n all of them. \n \n PO"," Tears of joy well up in Po's eyes. \n \n SHIFU \n Don't cry. \n \n PO \n Okay. \n \n Po sniffs the tears back and smiles."," Villagers CHEER the Dragon Warrior. Po's Dad emerges from the \n crowd. \n \n PO'S DAD \n That's my boy. That big, lovely \n kung fu warrior is my son!"," You don't know how long I have been \n waiting for this moment. \n \n When Dad pulls out of the hug, Po is now wearing a noodle \n apron. \n "," Po's Dad goes back to packing things up. \n \n PO'S DAD \n Let's go Po. So, for our next shop, \n it's time to face it -- the future"," Shifu staggers back, regaining his dignity. \n \n SHIFU \n The mark of a true hero is \n humility! \n \n After a moment's thought, though, he leans toward Po -"],[" learned the secret of the Dragon \n Scroll. \n \n He points to a dragon on the ceiling with a single scroll in \n its mouth. \n \n PO \n (in awe)"," Dragon Scroll. The petals loosen the scroll from the dragon's \n mouth and it falls. At the last second, Shifu reaches out \n with the staff to catch the scroll on the end of it. He turns \n to Po, holding it out."," dragon clutching a SCROLL in its mouth. \n \n SHIFU \n The Dragon Scroll... \n \n OOGWAY \n It is time. \n \n SHIFU"," PO \n Don't tempt me. Haha. No. I'm gonna \n use this. You want it? Come and get \n it. \n \n Po shows him the Dragon Scroll. \n "," the Dragon Scroll... is mine! \n \n Tai Lung grabs for the scroll and opens it. His face falls. \n \n TAI LUNG (CONT'D) \n It's NOTHING!! \n "," scroll flies out of his hand and lands in the mouth of an \n ornamental rooftop dragon. He looks back at Tai Lung, who \n sees where the scroll has landed. Via the magic of cookie-"," to hide the scroll. \n \n PO \n Lightning! \n \n Tai Lung knocks the woks away and exposes the scroll as Po"," Dragon Warrior has taken scroll \n halfway across China by now. You \n will never see that scroll, Tai \n Lung. Never. Never... \n \n 77. \n \n "," \n SHIFU (CONT'D) \n Behold. The Dragon Scroll... It is \n yours. \n \n PO \n Wait, what happens when I read it? \n "," the Scroll. \n \n For a moment, Po stares at his reflection on the scroll, then \n he smiles serenely. He gets it now. \n \n 74. \n \n \n PO"," CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \n looks up at the Scroll. Then back at Shifu - \n \n PO \n You really believe I'm ready? \n "," the `thumbs up.' Po starts to unroll the scroll, the golden \n light bathing his face. Across the scroll we see Shifu, \n excited that he is witness to history... \n "," On Po's face as he finishes opening the scroll. \n \n Then - \n \n PO (CONT'D) \n AAAAAAAAAAAAAAAAAAAAAAAAA! \n \n Shifu looks concerned. The Five look concerned. Po looks"," \n TAI LUNG (CONT'D) \n Give me the scroll! \n \n SHIFU \n I would rather die. \n \n They struggle for a beat until finally, the staff splinters"," It was never enough for Tai Lung. \n He wanted the Dragon Scroll. But \n Oogway saw darkness in his heart \n and refused. Outraged, Tai Lung \n laid waste to the valley. He tried"," vision, Po effortlessly scales the building. Tai Lung is \n shocked. \n \n TAI LUNG \n The scroll has given him power. \n (then) \n NOOO0!! \n "," PO (CONT'D) \n One of the Five is gonna get the \n Dragon Scroll! \n \n Customers rush to finish their food. \n \n PO (CONT'D)"," What? \n \n SHIFU \n He is coming for the Dragon Scroll, \n and you are the only one who can \n stop him. \n "," \n TAI LUNG (CONT'D) \n That scroll is mine! \n \n Down the Theater steps, Po and Tai Lung grapple for the \n scroll. Po is oblivious to the effects of crashing down"," utterly terrified. \n \n PO (CONT'D) \n It's blank! \n \n SHIFU \n What? \n \n PO \n Here! Look! \n "],[" TAI LUNG \n RRRAAAH! \n \n PO \n AAAAGGGHH! \n \n Tai Lung attacks Po's nerve points. But Po begins giggling. \n "," PO (CONT'D) \n Stop! Stop it! I'm gonna pee! \n Don't! Don't! \n \n Tai Lung's nerve attack has no effect on Po. Frustrated, he"," strikes back, using an unorthodox panda-style technique, even \n getting Tai Lung to chomp down on his own tail. Po gives Tai \n Lung a butt bump that sends him crashing into a building. Tai"," Po bounces off a nearby pillar and slams back into Tai Lung, \n sending him flying into a column. Po puts on a brave face and \n strikes a pose as Tai Lung recovers and charges. Po turns to \n run. \n "," come back and strike Tai Lung, sending the leopard crashing \n back into a building. Po looks at his hands, amazed at what \n he just did. \n \n Tai Lung rises from the rubble and runs at Po again. But Po"," \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," 78. \n \n \n Po rolls down off a tree and uses the recoil to whip back and \n smash Tai Lung. He briefly skids across the rooftop and comes \n right back at Po."," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," Lung emerges and attempts one more lunge at Po. But Po \n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \n He is launched into the air. Po waits... and waits... until"," The goose flinches. But Tai Lung does not react. \n \n COMMANDER (CONT'D) \n Awww. Did I step on the witty \n kitty's tail? Awww. \n "," Tai Lung doesn't move. His eyes stare coldly straight ahead. \n \n ZENG \n I'm good. I've seen enough. I'm \n gonna tell Shifu he's got nothing"," Shifu whips Po around again. \n \n SHIFU \n To take his strength and use it \n against him. \n \n Again, this time Shifu holds Po by the nose. \n "," As the dust settles, Tai Lung is looming over Po in the \n impact crater. \n \n TAI LUNG (CONT'D) \n (out of breath) \n Finally... oh yes... the power of"," PO \n C'mon, Tai Lung is on his way here \n right now. And even if it takes him \n a hundred years to get here, how \n are you gonna change this... \n (indicate belly)"," \n TAI LUNG (CONT'D) \n That scroll is mine! \n \n Down the Theater steps, Po and Tai Lung grapple for the \n scroll. Po is oblivious to the effects of crashing down"," \n Tai Lung leaps for the scroll, but Oogway stops him with \n strikes at his pressure points. He falls to the ground in a \n heap. \n \n TIGRESS (V.O.) (CONT'D)"," Mantis pops up and halts Tigress. \n \n MANTIS \n Wait! My fault! I accidentally \n tweaked his facial nerve. \n \n Po falls face first to the floor, revealing his back is"," Mantis pops up from behind Po holding a handful of needles \n and sticks Po again. \n \n MANTIS \n Trust me, it will. It's just not \n easy finding the right nerve points"," Shifu walks around Po - pointing out his weaknesses. \n \n SHIFU \n Yes. Look at you...this fat butt. \n \n Shifu HITS Po on the butt with his staff. \n "," Tigress charges at him. The battle begins. Tigress punches \n Tai Lung as he hangs from the bridge. But Tai Lung counters \n with a maneuver that sends Tigress slamming backwards through"],[" \n Po gets to his feet. \n \n PO \n There is no secret ingredient. It's \n just you. \n \n Tai Lung snarls and lunges at Po. \n "," Lung emerges and attempts one more lunge at Po. But Po \n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \n He is launched into the air. Po waits... and waits... until"," come back and strike Tai Lung, sending the leopard crashing \n back into a building. Po looks at his hands, amazed at what \n he just did. \n \n Tai Lung rises from the rubble and runs at Po again. But Po"," strikes back, using an unorthodox panda-style technique, even \n getting Tai Lung to chomp down on his own tail. Po gives Tai \n Lung a butt bump that sends him crashing into a building. Tai"," You... can't defeat me. You're just \n a big, fat panda! \n \n SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. \n \n PO"," Po bounces off a nearby pillar and slams back into Tai Lung, \n sending him flying into a column. Po puts on a brave face and \n strikes a pose as Tai Lung recovers and charges. Po turns to \n run. \n "," 78. \n \n \n Po rolls down off a tree and uses the recoil to whip back and \n smash Tai Lung. He briefly skids across the rooftop and comes \n right back at Po."," As the dust settles, Tai Lung is looming over Po in the \n impact crater. \n \n TAI LUNG (CONT'D) \n (out of breath) \n Finally... oh yes... the power of"," Tai Lung is furious. He roars, ready to strike Shifu. \n Suddenly... \n \n PO (O.S.) \n Hey! \n \n Tai Lung turns around to find Po standing in the doorway."," TAI LUNG \n RRRAAAH! \n \n PO \n AAAAGGGHH! \n \n Tai Lung attacks Po's nerve points. But Po begins giggling. \n "," \n TAI LUNG (CONT'D) \n That scroll is mine! \n \n Down the Theater steps, Po and Tai Lung grapple for the \n scroll. Po is oblivious to the effects of crashing down"," finally, Tai Lung appears in the sky and crashes to the \n ground. \n \n Tai Lung is battered, but still defiant. \n \n TAI LUNG \n (heavy breathing)"," Tai Lung quickly catches up and they both sail off the Palace \n steps. \n \n Po clings to the scroll as Tai Lung delivers a kick and sends \n him crashing onto the theater rooftops below. \n "," Po gets thrown into a fireworks booth. As Tai Lung chases \n down the scroll, he turns back to see Po flying through the \n fireworks-filled sky. \n \n Po slams through Tai Lung and crashes into a rock wall. The"," uses his bamboo stilts to block Tai Lung. The leopard swipes \n out the stilts and brings Po down on top of him as the scroll \n rolls down the steps towards the river. \n "," \n Tai Lung leaps for the scroll, but Oogway stops him with \n strikes at his pressure points. He falls to the ground in a \n heap. \n \n TIGRESS (V.O.) (CONT'D)"," vision, Po effortlessly scales the building. Tai Lung is \n shocked. \n \n TAI LUNG \n The scroll has given him power. \n (then) \n NOOO0!! \n "," \n Tai Lung pulls Oogway's staff from the shrine. \n \n TAI LUNG \n It is now. \n \n They fight. Tai Lung pins Shifu down with the staff."," Working as a team, the Five kick Tai Lung's butt every which \n way. Tigress finally slashes the last rope holding up Tai \n Lung. He plummets down... down... disappearing into the mist."," SHIFU \n No! It is not your destiny to \n defeat Tai Lung. It is his. \n \n He dramatically points at Po... but Po is gone. \n \n 56. \n "]],"string":"[\n [\n \" Tigress bows deeply. The others follow. \\n \\n FURIOUS FIVE \\n Master. \\n \\n PO \\n (modest) \\n Master? \\n (then, remembering)\",\n \" you... Tigress! Viper! Crane! \\n Monkey! Mantis! The Furious Five! \\n \\n The Five jump into the middle of the ring. \\n \\n PO \\n The Furious Five!\",\n \" of the Five are with him. Po takes notice. \\n \\n PO (CONT'D) \\n Hey, guys. \\n \\n TIGRESS \\n Master. \\n \",\n \" of China, the Furious Five, bowed \\n in respect to this great master. \\n \\n MONKEY \\n We should hang out. \\n \\n WARRIOR \\n Agreed. \\n \",\n \" shooting toward Tai Lung. The rope whips Tai Lung in the face \\n and he gets tangled up. The Five see their chance. \\n \\n TIGRESS (CONT'D) \\n Now! \\n \",\n \" With a crash, he suddenly appears behind the Five. \\n \\n TAI LUNG \\n Shifu taught you well... \\n \\n Tai Lung jabs a finger at Monkey, who instantly freezes. \\n \",\n \" \\n The Five race toward a rope bridge stretched between mountain \\n peaks. \\n \\n 64. \\n \\n \\n Tai Lung appears at the other end of the bridge. He ROARS and\",\n \" Tigress, you need more ferocity. \\n Monkey, greater speed. \\n \\n Each of the Five bows respectfully as their name is \\n mentioned. \\n \\n 8. \\n \\n \",\n \" Behind him, the Five approach and bow. \\n \\n TIGRESS \\n Forgive us, Master. We have failed \\n you. \\n \\n Shifu spins around. \\n \\n SHIFU\",\n \" INT. TRAINING HALL \\n \\n The doors open, revealing Po nursing his wounded finger. \\n Shifu steps out of the way and Po's face goes into shock. The \\n Five are performing death-defying kung fu moves in the\",\n \" matters. And that's-- \\n \\n In mid air, the Five talk to the warrior in a strange voice. \\n \\n MONKEY \\n Po! Get up! \\n \\n TIGRESS\",\n \" Working as a team, the Five kick Tai Lung's butt every which \\n way. Tigress finally slashes the last rope holding up Tai \\n Lung. He plummets down... down... disappearing into the mist.\",\n \" 30. \\n \\n \\n PO \\n Whoa. The Furious Five. You're so \\n much bigger than your action \\n figures -- except for you, Mantis.\",\n \" Shifu enters the hallway of the bunkhouse. The Five burst out \\n of their rooms and land, ready for inspection. \\n \\n FURIOUS FIVE \\n Good morning master! \\n \\n One door remains closed. \\n \",\n \" Five grab support ropes and hold on for dear life. \\n \\n TAI LUNG \\n Where's the Dragon Warrior? \\n \\n TIGRESS \\n How do you know you're not looking\",\n \" As the rest of the Five laugh, Tigress sneaks a moment to \\n smell Po's soup. Leaning towards the bowl, she suddenly looks \\n up and stops. The Five also look up and stop laughing. \\n \",\n \" \\n TIGRESS \\n Viper, gather the southern farmers. \\n Mantis, the north. Crane, light the \\n way. \\n \\n They split up and begin helping the villagers evacuate. Po is\",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" races toward them. \\n \\n TIGRESS \\n Cut it! \\n \\n The others slash at the ropes securing the bridge to the \\n mountain. Tai Lung is almost upon them when Tigress cuts the\",\n \" Shifu and the Five stare at Po, perplexed. \\n \\n SHIFU \\n Would you hit it! \\n \\n PO \\n Alright...alright. \\n \"\n ],\n [\n \" SHIFU (CONT'D) \\n Is something wrong? \\n \\n Reveal Master Oogway... a wise, old tortoise. \\n \\n OOGWAY \\n Why must something be wrong for me\",\n \" Oogway was thinking. The poor guy's \\n just gonna get himself killed. \\n \\n CRANE \\n (mocking) \\n He is so mighty! The Dragon Warrior\",\n \" He tries to shuffle his butt out of there, mumbling \\n apologies. \\n \\n OOGWAY \\n How interesting. \\n \\n TIGRESS \\n Master, are you pointing at...me? \\n \",\n \" \\n 14. \\n \\n \\n SHIFU \\n Yes, Master Oogway. \\n \\n OOGWAY \\n Now know this, old friend. Whomever\",\n \" Shifu turns away, contemplative. What can this mean? \\n \\n PO \\n Okay. So like, Oogway was just a \\n crazy old turtle after all? \\n \\n SHIFU\",\n \" \\n Oogway looks into the water of the moon pool. \\n \\n OOGWAY \\n Your mind is like this water, my \\n friend. When it is agitated, it \\n becomes difficult to see. But if\",\n \" OOGWAY \\n Him. \\n \\n PO \\n Who--? \\n \\n Po tries moving out of the way of Oogway's finger, but it \\n keeps following him. \\n \",\n \" SHIFU \\n What... what are you..? \\n \\n Oogway backs away into the swirling fog. \\n \\n SHIFU (CONT'D) \\n Master, you can't leave me! \\n \",\n \" The petals surround Oogway as he approaches the cliff's edge. \\n \\n OOGWAY \\n You must believe. \\n \\n SHIFU \\n Master! \\n \",\n \" Shifu looks up, concerned. Oogway opens his mouth... and \\n blows out a candle. And another candle. And another. \\n \\n 9. \\n \\n \",\n \" OOGWAY \\n You. \\n \\n PO \\n Me? \\n \\n Oogway grabs Po's hand and holds it up for all to see. \\n \\n OOGWAY\",\n \" an accident! \\n \\n OOGWAY \\n There are no accidents. \\n \\n Oogway smiles benignly as we hear an off-screen CRASH! \\n \",\n \" rushes in, emerging from the mist, extremely agitated. \\n \\n SHIFU \\n Master! Master! \\n \\n OOGWAY \\n Hmmm? \\n \\n SHIFU\",\n \" PO POV: He sees the Five looking down at him, appalled. Po \\n comes round slowly, getting his bearings. He looks around and \\n sees Oogway. Strangely, the old turtle is smiling. \\n \\n PO\",\n \" It is an historic day, isn't it, \\n Master Oogway? \\n \\n OOGWAY \\n Yes, and one I feared I would not \\n live to see. Are your students \\n ready?\",\n \" Aah! It's Master Oogway. He wants \\n to see you. \\n \\n Shifu looks up, concerned. \\n \\n \\n INT. HALLWAY \\n \",\n \" Master Oogway, wait! That flabby \\n panda can't possibly be the answer \\n to... our problem. You were about \\n to point at Tigress. That thing \\n fell in front of her. That was just\",\n \" you allow it to settle, the answer \\n becomes clear. \\n \\n Shifu and Oogway stare into the pool. Oogway settles the \\n water, revealing the reflection of an intricately carved\",\n \" (out of breath) \\n I have-- it's-- it's very bad news. \\n \\n OOGWAY \\n Ah, Shifu. There is just news. \\n There is no good or bad. \\n \",\n \" palace pig hits a tiny gong. This gets Po's attention. He \\n rushes up to the poster. \\n \\n PO (CONT'D) \\n What?! Master Oogway's choosing the \\n Dragon Warrior! Today!\"\n ],\n [\n \" Po falls flat on his face on the kitchen floor. A panda- \\n shaped shadow looms over Po. \\n \\n PO \\n Sorry, Dad. \\n \\n PO'S DAD\",\n \" EXT. JADE PALACE - DAY \\n \\n SLAM ZOOM in towards Palace. \\n \\n End next to palace on an old red panda (SHIFU) playing a\",\n \" The sun beats down on Po, but he presses forward. Climbing. \\n Climbing. \\n \\n DISSOLVE TO: \\n \\n \\n EXT. VALLEY SQUARE - LATER\",\n \" Po is being lifted with great effort on the palanquin. He is \\n carried off. Shifu elbows his way urgently through the \\n thronging crowd to get to Oogway. \\n \\n SHIFU (CONT'D)\",\n \" EXT. FIELD - LATER \\n \\n Po's training unfolds -- deep breathing exercises, balance \\n tests, push ups, sit ups, climbing, etc. Through it all, he\",\n \" \\n SHIFU (CONT'D) \\n Where'd he go? \\n \\n Shifu throws up his hands in frustration and heads after Po. \\n \\n CUT TO: \\n \\n \",\n \" 40. \\n \\n \\n SHIFU \\n Panda! Panda, wake up! \\n \\n He slides open Po's door. The room is empty. \\n \",\n \" watering flowers stares at Po. Po tries to play it cool and \\n then quickly ducks out of sight. \\n \\n PO'S DAD (O.S.) \\n Po! Let's go! You're late for work!\",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" Po begins to pat his armpits with water. \\n \\n SHIFU \\n Panda, we do not wash our pits in \\n The Pool of Sacred Tears. \\n \\n Po quickly stops. Realizing.\",\n \" \\n SHIFU \\n After you, panda. \\n \\n Po stops short, suspicious. \\n \\n PO \\n Just like that? No situps? No ten \\n mile hike? \\n \",\n \" Po bounces off a nearby pillar and slams back into Tai Lung, \\n sending him flying into a column. Po puts on a brave face and \\n strikes a pose as Tai Lung recovers and charges. Po turns to \\n run. \\n \",\n \" A squad of burly pigs rushes in and hoists Po, the palanquin, \\n and the Geese onto their shoulders, and they head off for the \\n Jade Palace. Stunned, Shifu watches them go. \\n \",\n \" strikes back, using an unorthodox panda-style technique, even \\n getting Tai Lung to chomp down on his own tail. Po gives Tai \\n Lung a butt bump that sends him crashing into a building. Tai\",\n \" and into a nearby wok shop. The scroll rolls to a stop in the \\n street. \\n \\n As Tai Lung makes his move on the scroll, Po turns the array \\n of overturned woks into a shell game, sliding the woks around\",\n \" (to Shifu) \\n He's a panda. \\n (back to Po) \\n You're a panda. What are you gonna \\n do, big guy? Sit on me? \\n \",\n \" You have done well, Panda. \\n \\n PO \\n Done well? Done well?! I've done \\n awesome! \\n \\n He swings his belly around and knocks Shifu off balance. \\n \",\n \" \\n INT. JADE PALACE - HALLWAY \\n \\n The palace doors open to reveal Po on the palanquin, hundreds \\n of villagers behind him. \\n \\n CROWD \\n (chanting)\",\n \" means. They are saddened by the news. \\n \\n SHIFU (CONT'D) \\n Our only hope is the Dragon \\n Warrior. \\n \\n TIGRESS \\n The panda?\",\n \" which see-saws Po into the air. In mid-air, Po slurps the \\n noodle. \\n \\n Up and over the rooftops, Po lands in a grove of bamboo trees\"\n ],\n [\n \" Po stirs. \\n \\n PO \\n It's okay. I didn't get it the \\n first time either. \\n \\n TAI LUNG \\n (disbelief) \\n What?\",\n \" Shifu loved Tai Lung like he'd \\n never loved anyone before... \\n \\n Young Tigress in the training hall strikes the dummy in the \\n same manner as Tai Lung. Shifu corrects her form. Nothing\",\n \" \\n \\n Tigress enters. \\n \\n TIGRESS \\n Before Tai Lung. \\n \\n Crane's shadow is silhouetted on the wall. \\n \\n CRANE\",\n \" They approach TAI LUNG, a giant, muscular snow leopard bound \\n in a giant piece of tortoise shell armor and chains. He \\n barely registers signs of life. The commander walks right up \\n to him. \\n \",\n \" One way in, one way out, one \\n thousand guards, and one prisoner. \\n \\n ZENG \\n Yes, except that prisoner is Tai \\n Lung... \\n \\n \",\n \" TAI LUNG (CONT'D) \\n NOTHING! \\n \\n Shifu takes a Kung Fu stance. \\n \\n SHIFU \\n You were not meant to be the Dragon\",\n \" \\n SHIFU \\n This is no longer your home. And I \\n am no longer your master. \\n \\n TAI LUNG \\n Yes. You have a new favorite. So\",\n \" at her? \\n \\n Tai Lung laughs. It echoes off the mountain walls. \\n \\n TAI LUNG \\n You think I'm a fool? I know you're\",\n \" Tigress charges at him. The battle begins. Tigress punches \\n Tai Lung as he hangs from the bridge. But Tai Lung counters \\n with a maneuver that sends Tigress slamming backwards through\",\n \" \\n TAI LUNG (CONT'D) \\n Give me the scroll! \\n \\n SHIFU \\n I would rather die. \\n \\n They struggle for a beat until finally, the staff splinters\",\n \" throws them at Shifu. \\n \\n TAI LUNG (CONT'D) \\n WHO FILLED MY HEAD WITH DREAMS?! \\n WHO DROVE ME TO TRAIN UNTIL MY\",\n \" raised him as a son. \\n \\n Baby Tai Lung pulls on Shifu's whiskers. \\n \\n 47. \\n \\n \\n TIGRESS (V.O.) (CONT'D)\",\n \" Obeying your master is not \\n weakness! \\n \\n TAI LUNG \\n You knew I was the Dragon Warrior! \\n You always knew... \\n \\n Dissolve to FLASHBACK.\",\n \" not the Dragon Warrior. None of \\n you! \\n \\n The Five exchange quick, worried looks. \\n \\n TAI LUNG (CONT'D) \\n (nodding confidently)\",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" manages to catch her. Viper punches Tai Lung repeatedly with \\n his own fist. Tai Lung manages to get a paw around Viper's \\n \\\"throat\\\". \\n \\n VIPER \\n Monkey!\",\n \" \\n PO \\n Buddy, I am the Dragon Warrior. \\n (exhales hard) \\n Huhhh... \\n \\n TAI LUNG \\n You?! Him?!\",\n \" \\n SHIFU \\n Yes, the panda! \\n \\n TIGRESS \\n Master, please. Let us stop Tai \\n Lung. This is what you've trained \\n us for. \\n \",\n \" ...Shifu trained him. \\n \\n Shifu teaches Baby Tai Lung how to punch. \\n \\n TIGRESS (V.O.) (CONT'D) \\n He believed in him. He told him he\",\n \" With a crash, he suddenly appears behind the Five. \\n \\n TAI LUNG \\n Shifu taught you well... \\n \\n Tai Lung jabs a finger at Monkey, who instantly freezes. \\n \"\n ],\n [\n \" \\n Po struggles with something, his back turned to us. Reveal he \\n has tied a load of fireworks to a chair. He hops on and \\n lights the fuse. \\n \\n PO'S DAD (O.S.)\",\n \" The sun beats down on Po, but he presses forward. Climbing. \\n Climbing. \\n \\n DISSOLVE TO: \\n \\n \\n EXT. VALLEY SQUARE - LATER\",\n \" Po stirs. \\n \\n PO \\n It's okay. I didn't get it the \\n first time either. \\n \\n TAI LUNG \\n (disbelief) \\n What?\",\n \" Po laughs. He picks up his bowl and takes a giant gulp. When \\n he lowers the bowl, we see a noodle hanging from his face -- \\n it looks like a moustache. Mantis snickers. \\n \",\n \" Po looks down at the Valley, then turns back to Shifu. \\n \\n PO (CONT'D) \\n I stayed because I thought if \\n anyone could change me, could make \\n me... not me, it was you. The\",\n \" \\n 4. \\n \\n \\n PO \\n Uh, nothing! \\n \\n Po hops to his feet, imitating his Kung Fu action figures. \\n \",\n \" Wait a second! Hello? Uh...I think \\n there's been a slight mistake. \\n Everyone seems to think that I'm, \\n uh... \\n \\n Po finally realizes where he is. \\n \",\n \" watering flowers stares at Po. Po tries to play it cool and \\n then quickly ducks out of sight. \\n \\n PO'S DAD (O.S.) \\n Po! Let's go! You're late for work!\",\n \" Po turns back to the vase. \\n \\n PO (CONT'D) \\n (to vase) \\n Now how do you get five thousand-- \\n (cutting himself off) \\n Master Shifu!\",\n \" Po is being lifted with great effort on the palanquin. He is \\n carried off. Shifu elbows his way urgently through the \\n thronging crowd to get to Oogway. \\n \\n SHIFU (CONT'D)\",\n \" Seeing Po, Po's Dad hurries over and wraps his arms around \\n his son. Po bends down to reciprocate the hug, as Po's dad \\n pulls away, having fastened an apron around Po's waist. \\n \",\n \" He's about to say something, but he stops himself. He fidgets \\n for a beat, then can't control himself any longer. \\n \\n PO \\n Want to get something to eat? \\n \\n SHIFU\",\n \" \\n PO'S DAD \\n Uh huh? \\n \\n Po wants to say something to his dad, but he loses his nerve. \\n \\n PO \\n ...Could also sell the bean buns.\",\n \" Dad gets a wistful look in his eyes. \\n \\n PO'S DAD (CONT'D) \\n I thought about running away and \\n learning how to make tofu. \\n \\n PO\",\n \" the Scroll. \\n \\n For a moment, Po stares at his reflection on the scroll, then \\n he smiles serenely. He gets it now. \\n \\n 74. \\n \\n \\n PO\",\n \" \\n PO \\n Huh? Oh no! Wait! \\n \\n He sees the fireworks and has an idea. \\n \\n PO (CONT'D) \\n Yeah! \\n \\n \",\n \" EXT. FIELD - LATER \\n \\n Po's training unfolds -- deep breathing exercises, balance \\n tests, push ups, sit ups, climbing, etc. Through it all, he\",\n \" \\n PO \\n (to vase) \\n Sorry. I should've come to see you \\n first. \\n \\n SHIFU \\n My patience is wearing thin. \\n \\n PO\",\n \" Me too! \\n \\n Where's Po? \\n \\n PAN DOWN a long, long, long, long flight of stairs. Po stands \\n at the bottom with his noodle cart, looking up at the\",\n \" \\n He attempts to kick himself to his feet but alas, his belly \\n is too worthy a foe. \\n \\n PO'S DAD (O.S.) (CONT'D) \\n Po! What are you doing up there?\"\n ],\n [\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" Po is being lifted with great effort on the palanquin. He is \\n carried off. Shifu elbows his way urgently through the \\n thronging crowd to get to Oogway. \\n \\n SHIFU (CONT'D)\",\n \" The sun beats down on Po, but he presses forward. Climbing. \\n Climbing. \\n \\n DISSOLVE TO: \\n \\n \\n EXT. VALLEY SQUARE - LATER\",\n \" Po looks down at the Valley, then turns back to Shifu. \\n \\n PO (CONT'D) \\n I stayed because I thought if \\n anyone could change me, could make \\n me... not me, it was you. The\",\n \" Po bounces off a nearby pillar and slams back into Tai Lung, \\n sending him flying into a column. Po puts on a brave face and \\n strikes a pose as Tai Lung recovers and charges. Po turns to \\n run. \\n \",\n \" Shifu whips Po around again. \\n \\n SHIFU \\n To take his strength and use it \\n against him. \\n \\n Again, this time Shifu holds Po by the nose. \\n \",\n \" \\n Po struggles with something, his back turned to us. Reveal he \\n has tied a load of fireworks to a chair. He hops on and \\n lights the fuse. \\n \\n PO'S DAD (O.S.)\",\n \" \\n 4. \\n \\n \\n PO \\n Uh, nothing! \\n \\n Po hops to his feet, imitating his Kung Fu action figures. \\n \",\n \" PO \\n Uh, it might, I mean, a little. I'm \\n pretty scared. \\n \\n SHIFU \\n You can defeat him, panda. \\n \\n PO\",\n \" EXT. FIELD - LATER \\n \\n Po's training unfolds -- deep breathing exercises, balance \\n tests, push ups, sit ups, climbing, etc. Through it all, he\",\n \" Po laughs. He picks up his bowl and takes a giant gulp. When \\n he lowers the bowl, we see a noodle hanging from his face -- \\n it looks like a moustache. Mantis snickers. \\n \",\n \" He turns and notices that Po hasn't moved. He walks to Po \\n sympathetically. \\n \\n PO'S DAD (CONT'D) \\n Po, I'm sorry things didn't work\",\n \" rockets ignite, propelling Po into the stadium wall. \\n \\n PO'S DAD \\n Oh! Come back! \\n \\n Po's rocket chair blasts him into the sky amid a shower of \\n fireworks.\",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" It was never enough for Tai Lung. \\n He wanted the Dragon Scroll. But \\n Oogway saw darkness in his heart \\n and refused. Outraged, Tai Lung \\n laid waste to the valley. He tried\",\n \" Po stirs. \\n \\n PO \\n It's okay. I didn't get it the \\n first time either. \\n \\n TAI LUNG \\n (disbelief) \\n What?\",\n \" Po pulls on a rope tied to a tree. \\n \\n SHIFU (O.S.) (CONT'D) \\n And believe me citizens, you have \\n not seen anything yet! \\n \\n PO\",\n \" vision, Po effortlessly scales the building. Tai Lung is \\n shocked. \\n \\n TAI LUNG \\n The scroll has given him power. \\n (then) \\n NOOO0!! \\n \",\n \" As the dust settles, Tai Lung is looming over Po in the \\n impact crater. \\n \\n TAI LUNG (CONT'D) \\n (out of breath) \\n Finally... oh yes... the power of\",\n \" Po! Where are you going? \\n \\n Po stops dead in his tracks, busted. \\n \\n PO \\n To the...Jade Palace? \\n \\n 12. \\n \\n \"\n ],\n [\n \" dragon clutching a SCROLL in its mouth. \\n \\n SHIFU \\n The Dragon Scroll... \\n \\n OOGWAY \\n It is time. \\n \\n SHIFU\",\n \" learned the secret of the Dragon \\n Scroll. \\n \\n He points to a dragon on the ceiling with a single scroll in \\n its mouth. \\n \\n PO \\n (in awe)\",\n \" Dragon Scroll. The petals loosen the scroll from the dragon's \\n mouth and it falls. At the last second, Shifu reaches out \\n with the staff to catch the scroll on the end of it. He turns \\n to Po, holding it out.\",\n \" PO \\n Don't tempt me. Haha. No. I'm gonna \\n use this. You want it? Come and get \\n it. \\n \\n Po shows him the Dragon Scroll. \\n \",\n \" the Dragon Scroll... is mine! \\n \\n Tai Lung grabs for the scroll and opens it. His face falls. \\n \\n TAI LUNG (CONT'D) \\n It's NOTHING!! \\n \",\n \" \\n SHIFU (CONT'D) \\n Behold. The Dragon Scroll... It is \\n yours. \\n \\n PO \\n Wait, what happens when I read it? \\n \",\n \" scroll flies out of his hand and lands in the mouth of an \\n ornamental rooftop dragon. He looks back at Tai Lung, who \\n sees where the scroll has landed. Via the magic of cookie-\",\n \" Dragon Warrior has taken scroll \\n halfway across China by now. You \\n will never see that scroll, Tai \\n Lung. Never. Never... \\n \\n 77. \\n \\n \",\n \" the Scroll. \\n \\n For a moment, Po stares at his reflection on the scroll, then \\n he smiles serenely. He gets it now. \\n \\n 74. \\n \\n \\n PO\",\n \" CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \\n looks up at the Scroll. Then back at Shifu - \\n \\n PO \\n You really believe I'm ready? \\n \",\n \" to hide the scroll. \\n \\n PO \\n Lightning! \\n \\n Tai Lung knocks the woks away and exposes the scroll as Po\",\n \" \\n TAI LUNG (CONT'D) \\n Give me the scroll! \\n \\n SHIFU \\n I would rather die. \\n \\n They struggle for a beat until finally, the staff splinters\",\n \" PO (CONT'D) \\n One of the Five is gonna get the \\n Dragon Scroll! \\n \\n Customers rush to finish their food. \\n \\n PO (CONT'D)\",\n \" What? \\n \\n SHIFU \\n He is coming for the Dragon Scroll, \\n and you are the only one who can \\n stop him. \\n \",\n \" On Po's face as he finishes opening the scroll. \\n \\n Then - \\n \\n PO (CONT'D) \\n AAAAAAAAAAAAAAAAAAAAAAAAA! \\n \\n Shifu looks concerned. The Five look concerned. Po looks\",\n \" the `thumbs up.' Po starts to unroll the scroll, the golden \\n light bathing his face. Across the scroll we see Shifu, \\n excited that he is witness to history... \\n \",\n \" PO \\n Huh? Oh, yeah... yeah. \\n \\n SHIFU \\n Read it, Po, and fulfill your \\n destiny. Read it and become... the \\n Dragon Warrior! \\n \",\n \" It was never enough for Tai Lung. \\n He wanted the Dragon Scroll. But \\n Oogway saw darkness in his heart \\n and refused. Outraged, Tai Lung \\n laid waste to the valley. He tried\",\n \" vision, Po effortlessly scales the building. Tai Lung is \\n shocked. \\n \\n TAI LUNG \\n The scroll has given him power. \\n (then) \\n NOOO0!! \\n \",\n \" \\n TAI LUNG (CONT'D) \\n That scroll is mine! \\n \\n Down the Theater steps, Po and Tai Lung grapple for the \\n scroll. Po is oblivious to the effects of crashing down\"\n ],\n [\n \" Dragon Scroll. The petals loosen the scroll from the dragon's \\n mouth and it falls. At the last second, Shifu reaches out \\n with the staff to catch the scroll on the end of it. He turns \\n to Po, holding it out.\",\n \" dragon clutching a SCROLL in its mouth. \\n \\n SHIFU \\n The Dragon Scroll... \\n \\n OOGWAY \\n It is time. \\n \\n SHIFU\",\n \" \\n SHIFU (CONT'D) \\n Behold. The Dragon Scroll... It is \\n yours. \\n \\n PO \\n Wait, what happens when I read it? \\n \",\n \" PO \\n Don't tempt me. Haha. No. I'm gonna \\n use this. You want it? Come and get \\n it. \\n \\n Po shows him the Dragon Scroll. \\n \",\n \" What? \\n \\n SHIFU \\n He is coming for the Dragon Scroll, \\n and you are the only one who can \\n stop him. \\n \",\n \" CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \\n looks up at the Scroll. Then back at Shifu - \\n \\n PO \\n You really believe I'm ready? \\n \",\n \" \\n TAI LUNG (CONT'D) \\n Give me the scroll! \\n \\n SHIFU \\n I would rather die. \\n \\n They struggle for a beat until finally, the staff splinters\",\n \" Shifu smiles and shakes his head. \\n \\n SHIFU \\n Wrong! You are not the Dragon \\n Warrior. You will never be the \\n Dragon Warrior until you have\",\n \" PO \\n Huh? Oh, yeah... yeah. \\n \\n SHIFU \\n Read it, Po, and fulfill your \\n destiny. Read it and become... the \\n Dragon Warrior! \\n \",\n \" the `thumbs up.' Po starts to unroll the scroll, the golden \\n light bathing his face. Across the scroll we see Shifu, \\n excited that he is witness to history... \\n \",\n \" scroll flies out of his hand and lands in the mouth of an \\n ornamental rooftop dragon. He looks back at Tai Lung, who \\n sees where the scroll has landed. Via the magic of cookie-\",\n \" the Dragon Scroll... is mine! \\n \\n Tai Lung grabs for the scroll and opens it. His face falls. \\n \\n TAI LUNG (CONT'D) \\n It's NOTHING!! \\n \",\n \" learned the secret of the Dragon \\n Scroll. \\n \\n He points to a dragon on the ceiling with a single scroll in \\n its mouth. \\n \\n PO \\n (in awe)\",\n \" On Po's face as he finishes opening the scroll. \\n \\n Then - \\n \\n PO (CONT'D) \\n AAAAAAAAAAAAAAAAAAAAAAAAA! \\n \\n Shifu looks concerned. The Five look concerned. Po looks\",\n \" PO (CONT'D) \\n One of the Five is gonna get the \\n Dragon Scroll! \\n \\n Customers rush to finish their food. \\n \\n PO (CONT'D)\",\n \" Shifu strides purposefully down the hallway, which is lined \\n with palace geese. \\n \\n \\n INT. SCROLL ROOM - DAY \\n \\n Candles, incense, and smoke fill the room. The door bursts\",\n \" the Scroll. \\n \\n For a moment, Po stares at his reflection on the scroll, then \\n he smiles serenely. He gets it now. \\n \\n 74. \\n \\n \\n PO\",\n \" Shifu walks with a bit more energy. \\n \\n VIPER \\n What do we do now, Master? With the \\n panda gone, who will be the Dragon \\n Warrior? \\n \",\n \" SHIFU \\n All we can do is resume our \\n training and trust that in time, \\n the true Dragon Warrior will be \\n revealed. \\n \\n \",\n \" \\n 14. \\n \\n \\n SHIFU \\n Yes, Master Oogway. \\n \\n OOGWAY \\n Now know this, old friend. Whomever\"\n ],\n [\n \" Working as a team, the Five kick Tai Lung's butt every which \\n way. Tigress finally slashes the last rope holding up Tai \\n Lung. He plummets down... down... disappearing into the mist.\",\n \" You... can't defeat me. You're just \\n a big, fat panda! \\n \\n SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. \\n \\n PO\",\n \" \\n TAI LUNG (CONT'D) \\n Give me the scroll! \\n \\n SHIFU \\n I would rather die. \\n \\n They struggle for a beat until finally, the staff splinters\",\n \" Lung emerges and attempts one more lunge at Po. But Po \\n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \\n He is launched into the air. Po waits... and waits... until\",\n \" finally, Tai Lung appears in the sky and crashes to the \\n ground. \\n \\n Tai Lung is battered, but still defiant. \\n \\n TAI LUNG \\n (heavy breathing)\",\n \" Tigress charges at him. The battle begins. Tigress punches \\n Tai Lung as he hangs from the bridge. But Tai Lung counters \\n with a maneuver that sends Tigress slamming backwards through\",\n \" \\n Tai Lung leaps for the scroll, but Oogway stops him with \\n strikes at his pressure points. He falls to the ground in a \\n heap. \\n \\n TIGRESS (V.O.) (CONT'D)\",\n \" \\n Tai Lung pulls Oogway's staff from the shrine. \\n \\n TAI LUNG \\n It is now. \\n \\n They fight. Tai Lung pins Shifu down with the staff.\",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" shooting toward Tai Lung. The rope whips Tai Lung in the face \\n and he gets tangled up. The Five see their chance. \\n \\n TIGRESS (CONT'D) \\n Now! \\n \",\n \" strikes back, using an unorthodox panda-style technique, even \\n getting Tai Lung to chomp down on his own tail. Po gives Tai \\n Lung a butt bump that sends him crashing into a building. Tai\",\n \" TAI LUNG (CONT'D) \\n NOTHING! \\n \\n Shifu takes a Kung Fu stance. \\n \\n SHIFU \\n You were not meant to be the Dragon\",\n \" come back and strike Tai Lung, sending the leopard crashing \\n back into a building. Po looks at his hands, amazed at what \\n he just did. \\n \\n Tai Lung rises from the rubble and runs at Po again. But Po\",\n \" So. That is how it's going to be? \\n \\n SHIFU \\n That is how it must be. \\n \\n They fight. At last. Tai Lung punches Shifu clean through the\",\n \" As the dust settles, Tai Lung is looming over Po in the \\n impact crater. \\n \\n TAI LUNG (CONT'D) \\n (out of breath) \\n Finally... oh yes... the power of\",\n \" throws them at Shifu. \\n \\n TAI LUNG (CONT'D) \\n WHO FILLED MY HEAD WITH DREAMS?! \\n WHO DROVE ME TO TRAIN UNTIL MY\",\n \" TAI LUNG \\n RRRAAAH! \\n \\n PO \\n AAAAGGGHH! \\n \\n Tai Lung attacks Po's nerve points. But Po begins giggling. \\n \",\n \" manages to catch her. Viper punches Tai Lung repeatedly with \\n his own fist. Tai Lung manages to get a paw around Viper's \\n \\\"throat\\\". \\n \\n VIPER \\n Monkey!\",\n \" 78. \\n \\n \\n Po rolls down off a tree and uses the recoil to whip back and \\n smash Tai Lung. He briefly skids across the rooftop and comes \\n right back at Po.\",\n \" But how could he? \\n \\n Seeing only baby Tai Lung running towards him, Shifu pulls \\n his kick short. Tai Lung counters with a devastating strike \\n and Shifu crashes to the ground holding his broken leg.\"\n ],\n [\n \" The sun beats down on Po, but he presses forward. Climbing. \\n Climbing. \\n \\n DISSOLVE TO: \\n \\n \\n EXT. VALLEY SQUARE - LATER\",\n \" watering flowers stares at Po. Po tries to play it cool and \\n then quickly ducks out of sight. \\n \\n PO'S DAD (O.S.) \\n Po! Let's go! You're late for work!\",\n \" \\n INT. JADE PALACE - HALLWAY \\n \\n The palace doors open to reveal Po on the palanquin, hundreds \\n of villagers behind him. \\n \\n CROWD \\n (chanting)\",\n \" EXT. FIELD - LATER \\n \\n Po's training unfolds -- deep breathing exercises, balance \\n tests, push ups, sit ups, climbing, etc. Through it all, he\",\n \" \\n Po struggles with something, his back turned to us. Reveal he \\n has tied a load of fireworks to a chair. He hops on and \\n lights the fuse. \\n \\n PO'S DAD (O.S.)\",\n \" Po laughs. He picks up his bowl and takes a giant gulp. When \\n he lowers the bowl, we see a noodle hanging from his face -- \\n it looks like a moustache. Mantis snickers. \\n \",\n \" again. Po comes out the other side battered and bruised and \\n finds he is standing on the floor that shoots out bursts of \\n flame. We see reflections of fire on the Five and Shifu as Po\",\n \" which see-saws Po into the air. In mid-air, Po slurps the \\n noodle. \\n \\n Up and over the rooftops, Po lands in a grove of bamboo trees\",\n \" Me too! \\n \\n Where's Po? \\n \\n PAN DOWN a long, long, long, long flight of stairs. Po stands \\n at the bottom with his noodle cart, looking up at the\",\n \" Po launches himself up above the fence, gets a peek at \\n Tigress, then falls out of view just as she does her move. \\n \\n Po lands outside the arena in a fireworks tent. \\n \\n \",\n \" EXT. BUNKHOUSE DAY \\n \\n Super wide shot as Po runs away from the compound. Closer as \\n he continues running. He checks over his shoulder, turns \\n back... Shifu lands right in front of him. \\n \",\n \" Seeing Po, Po's Dad hurries over and wraps his arms around \\n his son. Po bends down to reciprocate the hug, as Po's dad \\n pulls away, having fastened an apron around Po's waist. \\n \",\n \" Po! Where are you going? \\n \\n Po stops dead in his tracks, busted. \\n \\n PO \\n To the...Jade Palace? \\n \\n 12. \\n \\n \",\n \" Po lands hard on the floor. He tries to clear his head and \\n wake up. \\n \\n PO'S DAD (O.S.) \\n Po! Get up! \\n \",\n \" Po is being lifted with great effort on the palanquin. He is \\n carried off. Shifu elbows his way urgently through the \\n thronging crowd to get to Oogway. \\n \\n SHIFU (CONT'D)\",\n \" \\n Po panics for a beat and then finds a window. He jumps and \\n weakly struggles to pull himself up. \\n \\n Po struggles to peek through the window. \\n \\n 15. \\n \",\n \" Po stirs. \\n \\n PO \\n It's okay. I didn't get it the \\n first time either. \\n \\n TAI LUNG \\n (disbelief) \\n What?\",\n \" \\n 4. \\n \\n \\n PO \\n Uh, nothing! \\n \\n Po hops to his feet, imitating his Kung Fu action figures. \\n \",\n \" \\n Po is still struggling up the stairs. \\n \\n PO \\n Come on! Come on, ya-- Almost \\n there... \\n \\n He stops, flopping onto his back to catch his breath. \\n \",\n \" Po runs over to a crack in the wall. \\n \\n PO \\n Peeky-hole! \\n \\n SHIFU \\n Ready for battle! \\n \"\n ],\n [\n \" Po's Dad goes back to packing things up. \\n \\n PO'S DAD \\n Let's go Po. So, for our next shop, \\n it's time to face it -- the future\",\n \" Po falls flat on his face on the kitchen floor. A panda- \\n shaped shadow looms over Po. \\n \\n PO \\n Sorry, Dad. \\n \\n PO'S DAD\",\n \" He turns and notices that Po hasn't moved. He walks to Po \\n sympathetically. \\n \\n PO'S DAD (CONT'D) \\n Po, I'm sorry things didn't work\",\n \" of noodles is dice-cut vegetables, \\n no longer slices. \\n \\n Dad starts to walk off, unaware that Po isn't following. \\n \\n PO'S DAD (CONT'D)\",\n \" PO (CONT'D) \\n This is the greatest day in Kung Fu \\n history! Don't worry about it, just \\n go! \\n \\n He starts to run. \\n \\n PO'S DAD\",\n \" watering flowers stares at Po. Po tries to play it cool and \\n then quickly ducks out of sight. \\n \\n PO'S DAD (O.S.) \\n Po! Let's go! You're late for work!\",\n \" Seeing Po, Po's Dad hurries over and wraps his arms around \\n his son. Po bends down to reciprocate the hug, as Po's dad \\n pulls away, having fastened an apron around Po's waist. \\n \",\n \" Villagers CHEER the Dragon Warrior. Po's Dad emerges from the \\n crowd. \\n \\n PO'S DAD \\n That's my boy. That big, lovely \\n kung fu warrior is my son!\",\n \" Po lands hard on the floor. He tries to clear his head and \\n wake up. \\n \\n PO'S DAD (O.S.) \\n Po! Get up! \\n \",\n \" PO'S DAD (CONT'D) \\n Service with a smile! \\n \\n A GONG sounds in the distance. Po looks out the window at the \\n distant JADE PALACE. \\n \\n \",\n \" \\n PO \\n Thanks, Dad. \\n \\n Po hugs his dad. The wok falls off Po's head and rolls on the \\n ground until Mantis appears in frame and stops it. The rest\",\n \" PO'S DAD \\n But you're forgetting your noodle \\n cart! The whole valley will be \\n there, and you'll sell noodles to \\n all of them. \\n \\n PO\",\n \" \\n Po struggles with something, his back turned to us. Reveal he \\n has tied a load of fireworks to a chair. He hops on and \\n lights the fuse. \\n \\n PO'S DAD (O.S.)\",\n \" Look, it's the Dragon Warrior. \\n \\n Po approaches the Noodle Shop. \\n \\n PO \\n Hey, Dad. \\n \\n PO'S DAD \\n Po! \\n \",\n \" rockets ignite, propelling Po into the stadium wall. \\n \\n PO'S DAD \\n Oh! Come back! \\n \\n Po's rocket chair blasts him into the sky amid a shower of \\n fireworks.\",\n \" You don't know how long I have been \\n waiting for this moment. \\n \\n When Dad pulls out of the hug, Po is now wearing a noodle \\n apron. \\n \",\n \" PO'S DAD \\n Actually... \\n \\n Po looks surprised. \\n \\n PO'S DAD (CONT'D) \\n When I was young and crazy... \\n \",\n \" EXT. FIELD - LATER \\n \\n Po's training unfolds -- deep breathing exercises, balance \\n tests, push ups, sit ups, climbing, etc. Through it all, he\",\n \" Oh, happy day! My son, finally \\n having the noodle dream! \\n \\n He throws his arms around Po. \\n \\n PO'S DAD (CONT'D)\",\n \" \\n PO'S DAD \\n Uh huh? \\n \\n Po wants to say something to his dad, but he loses his nerve. \\n \\n PO \\n ...Could also sell the bean buns.\"\n ],\n [\n \" Tigress bows deeply. The others follow. \\n \\n FURIOUS FIVE \\n Master. \\n \\n PO \\n (modest) \\n Master? \\n (then, remembering)\",\n \" you... Tigress! Viper! Crane! \\n Monkey! Mantis! The Furious Five! \\n \\n The Five jump into the middle of the ring. \\n \\n PO \\n The Furious Five!\",\n \" of China, the Furious Five, bowed \\n in respect to this great master. \\n \\n MONKEY \\n We should hang out. \\n \\n WARRIOR \\n Agreed. \\n \",\n \" of the Five are with him. Po takes notice. \\n \\n PO (CONT'D) \\n Hey, guys. \\n \\n TIGRESS \\n Master. \\n \",\n \" With a crash, he suddenly appears behind the Five. \\n \\n TAI LUNG \\n Shifu taught you well... \\n \\n Tai Lung jabs a finger at Monkey, who instantly freezes. \\n \",\n \" Shifu enters the hallway of the bunkhouse. The Five burst out \\n of their rooms and land, ready for inspection. \\n \\n FURIOUS FIVE \\n Good morning master! \\n \\n One door remains closed. \\n \",\n \" shooting toward Tai Lung. The rope whips Tai Lung in the face \\n and he gets tangled up. The Five see their chance. \\n \\n TIGRESS (CONT'D) \\n Now! \\n \",\n \" Behind him, the Five approach and bow. \\n \\n TIGRESS \\n Forgive us, Master. We have failed \\n you. \\n \\n Shifu spins around. \\n \\n SHIFU\",\n \" 30. \\n \\n \\n PO \\n Whoa. The Furious Five. You're so \\n much bigger than your action \\n figures -- except for you, Mantis.\",\n \" Shifu and the Five stare at Po, perplexed. \\n \\n SHIFU \\n Would you hit it! \\n \\n PO \\n Alright...alright. \\n \",\n \" \\n The Five race toward a rope bridge stretched between mountain \\n peaks. \\n \\n 64. \\n \\n \\n Tai Lung appears at the other end of the bridge. He ROARS and\",\n \" INT. TRAINING HALL \\n \\n The doors open, revealing Po nursing his wounded finger. \\n Shifu steps out of the way and Po's face goes into shock. The \\n Five are performing death-defying kung fu moves in the\",\n \" Working as a team, the Five kick Tai Lung's butt every which \\n way. Tigress finally slashes the last rope holding up Tai \\n Lung. He plummets down... down... disappearing into the mist.\",\n \" Tigress, you need more ferocity. \\n Monkey, greater speed. \\n \\n Each of the Five bows respectfully as their name is \\n mentioned. \\n \\n 8. \\n \\n \",\n \" As the rest of the Five laugh, Tigress sneaks a moment to \\n smell Po's soup. Leaning towards the bowl, she suddenly looks \\n up and stops. The Five also look up and stop laughing. \\n \",\n \" PO (CONT'D) \\n One of the Five is gonna get the \\n Dragon Scroll! \\n \\n Customers rush to finish their food. \\n \\n PO (CONT'D)\",\n \" matters. And that's-- \\n \\n In mid air, the Five talk to the warrior in a strange voice. \\n \\n MONKEY \\n Po! Get up! \\n \\n TIGRESS\",\n \" As the Five salute the warrior, he turns to see more bandits \\n approaching. The Five strike an attack pose. The warrior \\n brandishes a shiny green sword and leaps off the mountain \\n into the sea of bandits. \\n \",\n \" Five grab support ropes and hold on for dear life. \\n \\n TAI LUNG \\n Where's the Dragon Warrior? \\n \\n TIGRESS \\n How do you know you're not looking\",\n \" \\n Po manages a brief glimpse of the Five before a gust of wind \\n knocks Po to the ground and shuts the window. \\n \\n SHIFU \\n Warriors prepare! \\n \"\n ],\n [\n \" The sun beats down on Po, but he presses forward. Climbing. \\n Climbing. \\n \\n DISSOLVE TO: \\n \\n \\n EXT. VALLEY SQUARE - LATER\",\n \" \\n Po struggles with something, his back turned to us. Reveal he \\n has tied a load of fireworks to a chair. He hops on and \\n lights the fuse. \\n \\n PO'S DAD (O.S.)\",\n \" Po looks down at the Valley, then turns back to Shifu. \\n \\n PO (CONT'D) \\n I stayed because I thought if \\n anyone could change me, could make \\n me... not me, it was you. The\",\n \" Po laughs. He picks up his bowl and takes a giant gulp. When \\n he lowers the bowl, we see a noodle hanging from his face -- \\n it looks like a moustache. Mantis snickers. \\n \",\n \" Po stirs. \\n \\n PO \\n It's okay. I didn't get it the \\n first time either. \\n \\n TAI LUNG \\n (disbelief) \\n What?\",\n \" Po turns back to the vase. \\n \\n PO (CONT'D) \\n (to vase) \\n Now how do you get five thousand-- \\n (cutting himself off) \\n Master Shifu!\",\n \" EXT. FIELD - LATER \\n \\n Po's training unfolds -- deep breathing exercises, balance \\n tests, push ups, sit ups, climbing, etc. Through it all, he\",\n \" \\n 4. \\n \\n \\n PO \\n Uh, nothing! \\n \\n Po hops to his feet, imitating his Kung Fu action figures. \\n \",\n \" Po is being lifted with great effort on the palanquin. He is \\n carried off. Shifu elbows his way urgently through the \\n thronging crowd to get to Oogway. \\n \\n SHIFU (CONT'D)\",\n \" the Scroll. \\n \\n For a moment, Po stares at his reflection on the scroll, then \\n he smiles serenely. He gets it now. \\n \\n 74. \\n \\n \\n PO\",\n \" Po! Where are you going? \\n \\n Po stops dead in his tracks, busted. \\n \\n PO \\n To the...Jade Palace? \\n \\n 12. \\n \\n \",\n \" Seeing Po, Po's Dad hurries over and wraps his arms around \\n his son. Po bends down to reciprocate the hug, as Po's dad \\n pulls away, having fastened an apron around Po's waist. \\n \",\n \" He's about to say something, but he stops himself. He fidgets \\n for a beat, then can't control himself any longer. \\n \\n PO \\n Want to get something to eat? \\n \\n SHIFU\",\n \" \\n PO \\n (to vase) \\n Sorry. I should've come to see you \\n first. \\n \\n SHIFU \\n My patience is wearing thin. \\n \\n PO\",\n \" watering flowers stares at Po. Po tries to play it cool and \\n then quickly ducks out of sight. \\n \\n PO'S DAD (O.S.) \\n Po! Let's go! You're late for work!\",\n \" He was a student, the first ever to \\n master the thousand... \\n \\n Tigress approaches Po and leans in towards him. \\n \\n PO (CONT'D) \\n (nervously trailing off)\",\n \" PO \\n Oh great, `cause I'm hungry. \\n \\n SHIFU \\n Good. When you have been trained, \\n you may eat. Let us begin. \\n \\n \",\n \" \\n Po panics for a beat and then finds a window. He jumps and \\n weakly struggles to pull himself up. \\n \\n Po struggles to peek through the window. \\n \\n 15. \\n \",\n \" SHIFU \\n Then why didn't you quit? You knew \\n I was trying to get rid of you, and \\n yet you stayed. \\n \\n PO \\n Yeah, I stayed. I stayed because\",\n \" daunting task before him. \\n \\n Po struggles to pull his noodle cart up the stairs. \\n \\n 13. \\n \\n \"\n ],\n [\n \" Shifu smiles and shakes his head. \\n \\n SHIFU \\n Wrong! You are not the Dragon \\n Warrior. You will never be the \\n Dragon Warrior until you have\",\n \" PO \\n Huh? Oh, yeah... yeah. \\n \\n SHIFU \\n Read it, Po, and fulfill your \\n destiny. Read it and become... the \\n Dragon Warrior! \\n \",\n \" \\n PO \\n Buddy, I am the Dragon Warrior. \\n (exhales hard) \\n Huhhh... \\n \\n TAI LUNG \\n You?! Him?!\",\n \" 19. \\n \\n \\n PO (CONT'D) \\n Oh. Okay. Sorry. I just wanted to \\n see who the Dragon Warrior was. \\n \",\n \" And now he has a chance to make \\n things right, to train the true \\n Dragon Warrior. And he's stuck with \\n you: a big, fat panda who treats it \\n like a joke. \\n \",\n \" Look! The Dragon Warrior. \\n \\n As he nears, we see that his hat is an upside down wok and \\n his scarf is a torn apron. \\n \",\n \" not the Dragon Warrior. None of \\n you! \\n \\n The Five exchange quick, worried looks. \\n \\n TAI LUNG (CONT'D) \\n (nodding confidently)\",\n \" Dragon Warrior! Dragon Warrior! \\n \\n Po is ushered in and the doors close. He is alone. He runs \\n back to the closed palace doors. \\n \\n PO\",\n \" You are the Dragon Warrior. You \\n have brought peace to this Valley. \\n And to me. Thank you. Thank you, \\n Po. Thank you... \\n \",\n \" ...into the Dragon Warrior? How? \\n How? How?! \\n \\n In frustration, Shifu yells out the answer. \\n \\n SHIFU \\n I don't know!!!\",\n \" means. They are saddened by the news. \\n \\n SHIFU (CONT'D) \\n Our only hope is the Dragon \\n Warrior. \\n \\n TIGRESS \\n The panda?\",\n \" Dragon Warrior has taken scroll \\n halfway across China by now. You \\n will never see that scroll, Tai \\n Lung. Never. Never... \\n \\n 77. \\n \\n \",\n \" real Dragon Warrior is coming home. \\n \\n Tai Lung throws the Goose into the air and he flutters off. \\n Lightning strikes. \\n \\n CUT TO: \\n \\n \",\n \" TAI LUNG (CONT'D) \\n NOTHING! \\n \\n Shifu takes a Kung Fu stance. \\n \\n SHIFU \\n You were not meant to be the Dragon\",\n \" \\n He turns to face Shifu and stares at him, eyebrow raised. \\n \\n OOGWAY (CONT'D) \\n ...If you do not believe that the \\n Dragon Warrior can stop him. \\n \",\n \" Oogway was thinking. The poor guy's \\n just gonna get himself killed. \\n \\n CRANE \\n (mocking) \\n He is so mighty! The Dragon Warrior\",\n \" Shifu walks with a bit more energy. \\n \\n VIPER \\n What do we do now, Master? With the \\n panda gone, who will be the Dragon \\n Warrior? \\n \",\n \" Villagers CHEER the Dragon Warrior. Po's Dad emerges from the \\n crowd. \\n \\n PO'S DAD \\n That's my boy. That big, lovely \\n kung fu warrior is my son!\",\n \" INT. TOURNAMENT RING - DAY \\n \\n Oogway senses something. He raises his hand and the crowd \\n hushes. \\n \\n OOGWAY \\n I sense the Dragon Warrior is among\",\n \" \\n SHIFU \\n So you're the legendary Dragon \\n Warrior. Hmmm? \\n \\n PO \\n Uh...I guess so? \\n \"\n ],\n [\n \" PO POV: He sees the Five looking down at him, appalled. Po \\n comes round slowly, getting his bearings. He looks around and \\n sees Oogway. Strangely, the old turtle is smiling. \\n \\n PO\",\n \" did it before, he'll do it again. \\n \\n SHIFU \\n Oogway cannot, not anymore. \\n \\n They notice Shifu holding Oogway's staff. They know what this\",\n \" Behind him, the Five approach and bow. \\n \\n TIGRESS \\n Forgive us, Master. We have failed \\n you. \\n \\n Shifu spins around. \\n \\n SHIFU\",\n \" Oogway was thinking. The poor guy's \\n just gonna get himself killed. \\n \\n CRANE \\n (mocking) \\n He is so mighty! The Dragon Warrior\",\n \" Shifu and the Five stare at Po, perplexed. \\n \\n SHIFU \\n Would you hit it! \\n \\n PO \\n Alright...alright. \\n \",\n \" \\n He turns to face Shifu and stares at him, eyebrow raised. \\n \\n OOGWAY (CONT'D) \\n ...If you do not believe that the \\n Dragon Warrior can stop him. \\n \",\n \" thought they were pretty good. \\n \\n Po looks at the stone-faced Five. Tigress jumps to her feet. \\n \\n MONKEY \\n It's Shifu. \\n \\n PO\",\n \" \\n Shifu just stares at him, deadly serious. \\n \\n PO (CONT'D) \\n What? You're serious? And I have to-- \\n uh, Master Oogway will stop him! He\",\n \" Shifu turns away, contemplative. What can this mean? \\n \\n PO \\n Okay. So like, Oogway was just a \\n crazy old turtle after all? \\n \\n SHIFU\",\n \" (out of breath) \\n I have-- it's-- it's very bad news. \\n \\n OOGWAY \\n Ah, Shifu. There is just news. \\n There is no good or bad. \\n \",\n \" Finally, Shifu uses his Kung Fu to blow them all out. Oogway \\n smiles knowingly. \\n \\n SHIFU \\n You were saying? \\n \\n OOGWAY\",\n \" The petals surround Oogway as he approaches the cliff's edge. \\n \\n OOGWAY \\n You must believe. \\n \\n SHIFU \\n Master! \\n \",\n \" SHIFU \\n Master, your vision...your vision \\n was right. Tai Lung has broken out \\n of prison. He's on his way! \\n \\n OOGWAY \\n That is bad news...\",\n \" SHIFU \\n What... what are you..? \\n \\n Oogway backs away into the swirling fog. \\n \\n SHIFU (CONT'D) \\n Master, you can't leave me! \\n \",\n \" You did?! \\n \\n Shifu smiles and shakes his head in disbelief. \\n \\n SHIFU (CONT'D) \\n Wow. It is as Oogway foretold --\",\n \" Po is being lifted with great effort on the palanquin. He is \\n carried off. Shifu elbows his way urgently through the \\n thronging crowd to get to Oogway. \\n \\n SHIFU (CONT'D)\",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" Shifu. \\n \\n OOGWAY \\n Good. My time has come. You must \\n continue your journey without me. \\n \\n He hands his staff to a confused Shifu. \\n \",\n \" of the Five are with him. Po takes notice. \\n \\n PO (CONT'D) \\n Hey, guys. \\n \\n TIGRESS \\n Master. \\n \",\n \" One would think that Master Oogway \\n would choose someone who actually \\n knew Kung Fu. \\n \\n CRANE \\n Yeah, or could at least touch his \\n toes. \\n \"\n ],\n [\n \" Po stirs. \\n \\n PO \\n It's okay. I didn't get it the \\n first time either. \\n \\n TAI LUNG \\n (disbelief) \\n What?\",\n \" \\n Po struggles with something, his back turned to us. Reveal he \\n has tied a load of fireworks to a chair. He hops on and \\n lights the fuse. \\n \\n PO'S DAD (O.S.)\",\n \" SHIFU \\n Then why didn't you quit? You knew \\n I was trying to get rid of you, and \\n yet you stayed. \\n \\n PO \\n Yeah, I stayed. I stayed because\",\n \" The sun beats down on Po, but he presses forward. Climbing. \\n Climbing. \\n \\n DISSOLVE TO: \\n \\n \\n EXT. VALLEY SQUARE - LATER\",\n \" Po is being lifted with great effort on the palanquin. He is \\n carried off. Shifu elbows his way urgently through the \\n thronging crowd to get to Oogway. \\n \\n SHIFU (CONT'D)\",\n \" Po looks down at the Valley, then turns back to Shifu. \\n \\n PO (CONT'D) \\n I stayed because I thought if \\n anyone could change me, could make \\n me... not me, it was you. The\",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" Po laughs. He picks up his bowl and takes a giant gulp. When \\n he lowers the bowl, we see a noodle hanging from his face -- \\n it looks like a moustache. Mantis snickers. \\n \",\n \" hides it underneath one of the bowls. He uses his chopsticks \\n as weapons to smack Po's chopsticks away. He attacks Po with \\n his bamboo staff. \\n \",\n \" Po! Where are you going? \\n \\n Po stops dead in his tracks, busted. \\n \\n PO \\n To the...Jade Palace? \\n \\n 12. \\n \\n \",\n \" \\n 4. \\n \\n \\n PO \\n Uh, nothing! \\n \\n Po hops to his feet, imitating his Kung Fu action figures. \\n \",\n \" It was never enough for Tai Lung. \\n He wanted the Dragon Scroll. But \\n Oogway saw darkness in his heart \\n and refused. Outraged, Tai Lung \\n laid waste to the valley. He tried\",\n \" KG SHAW \\n Sorry, Po. \\n \\n JR SHAW \\n We'll bring you back a souvenir. \\n \\n Po watches as they run up the stairs. His eyes narrow. This\",\n \" the Scroll. \\n \\n For a moment, Po stares at his reflection on the scroll, then \\n he smiles serenely. He gets it now. \\n \\n 74. \\n \\n \\n PO\",\n \" (then, resigned) \\n I don't know. \\n \\n PO \\n That's what I thought. \\n \\n Shifu walks away, leaving the path open to Po. \\n \\n \",\n \" PO \\n Don't tempt me. Haha. No. I'm gonna \\n use this. You want it? Come and get \\n it. \\n \\n Po shows him the Dragon Scroll. \\n \",\n \" PO POV: He sees the Five looking down at him, appalled. Po \\n comes round slowly, getting his bearings. He looks around and \\n sees Oogway. Strangely, the old turtle is smiling. \\n \\n PO\",\n \" Shifu whips Po around again. \\n \\n SHIFU \\n To take his strength and use it \\n against him. \\n \\n Again, this time Shifu holds Po by the nose. \\n \",\n \" He was a student, the first ever to \\n master the thousand... \\n \\n Tigress approaches Po and leans in towards him. \\n \\n PO (CONT'D) \\n (nervously trailing off)\",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\"\n ],\n [\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" You... can't defeat me. You're just \\n a big, fat panda! \\n \\n SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. \\n \\n PO\",\n \" strikes back, using an unorthodox panda-style technique, even \\n getting Tai Lung to chomp down on his own tail. Po gives Tai \\n Lung a butt bump that sends him crashing into a building. Tai\",\n \" Po bounces off a nearby pillar and slams back into Tai Lung, \\n sending him flying into a column. Po puts on a brave face and \\n strikes a pose as Tai Lung recovers and charges. Po turns to \\n run. \\n \",\n \" come back and strike Tai Lung, sending the leopard crashing \\n back into a building. Po looks at his hands, amazed at what \\n he just did. \\n \\n Tai Lung rises from the rubble and runs at Po again. But Po\",\n \" Lung emerges and attempts one more lunge at Po. But Po \\n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \\n He is launched into the air. Po waits... and waits... until\",\n \" finally, Tai Lung appears in the sky and crashes to the \\n ground. \\n \\n Tai Lung is battered, but still defiant. \\n \\n TAI LUNG \\n (heavy breathing)\",\n \" 78. \\n \\n \\n Po rolls down off a tree and uses the recoil to whip back and \\n smash Tai Lung. He briefly skids across the rooftop and comes \\n right back at Po.\",\n \" shooting toward Tai Lung. The rope whips Tai Lung in the face \\n and he gets tangled up. The Five see their chance. \\n \\n TIGRESS (CONT'D) \\n Now! \\n \",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" As the dust settles, Tai Lung is looming over Po in the \\n impact crater. \\n \\n TAI LUNG (CONT'D) \\n (out of breath) \\n Finally... oh yes... the power of\",\n \" \\n Tai Lung leaps for the scroll, but Oogway stops him with \\n strikes at his pressure points. He falls to the ground in a \\n heap. \\n \\n TIGRESS (V.O.) (CONT'D)\",\n \" Working as a team, the Five kick Tai Lung's butt every which \\n way. Tigress finally slashes the last rope holding up Tai \\n Lung. He plummets down... down... disappearing into the mist.\",\n \" TAI LUNG \\n RRRAAAH! \\n \\n PO \\n AAAAGGGHH! \\n \\n Tai Lung attacks Po's nerve points. But Po begins giggling. \\n \",\n \" \\n PO (CONT'D) \\n Come on! How am I supposed to beat \\n Tai Lung? I can't even beat you to \\n the stairs. \\n \\n SHIFU\",\n \" \\n TAI LUNG (CONT'D) \\n That scroll is mine! \\n \\n Down the Theater steps, Po and Tai Lung grapple for the \\n scroll. Po is oblivious to the effects of crashing down\",\n \" PO (CONT'D) \\n Stop! Stop it! I'm gonna pee! \\n Don't! Don't! \\n \\n Tai Lung's nerve attack has no effect on Po. Frustrated, he\",\n \" \\n Tai Lung pulls Oogway's staff from the shrine. \\n \\n TAI LUNG \\n It is now. \\n \\n They fight. Tai Lung pins Shifu down with the staff.\",\n \" Tai Lung quickly catches up and they both sail off the Palace \\n steps. \\n \\n Po clings to the scroll as Tai Lung delivers a kick and sends \\n him crashing onto the theater rooftops below. \\n \",\n \" Po gets thrown into a fireworks booth. As Tai Lung chases \\n down the scroll, he turns back to see Po flying through the \\n fireworks-filled sky. \\n \\n Po slams through Tai Lung and crashes into a rock wall. The\"\n ],\n [\n \" learned the secret of the Dragon \\n Scroll. \\n \\n He points to a dragon on the ceiling with a single scroll in \\n its mouth. \\n \\n PO \\n (in awe)\",\n \" dragon clutching a SCROLL in its mouth. \\n \\n SHIFU \\n The Dragon Scroll... \\n \\n OOGWAY \\n It is time. \\n \\n SHIFU\",\n \" Dragon Scroll. The petals loosen the scroll from the dragon's \\n mouth and it falls. At the last second, Shifu reaches out \\n with the staff to catch the scroll on the end of it. He turns \\n to Po, holding it out.\",\n \" PO \\n Don't tempt me. Haha. No. I'm gonna \\n use this. You want it? Come and get \\n it. \\n \\n Po shows him the Dragon Scroll. \\n \",\n \" the Dragon Scroll... is mine! \\n \\n Tai Lung grabs for the scroll and opens it. His face falls. \\n \\n TAI LUNG (CONT'D) \\n It's NOTHING!! \\n \",\n \" scroll flies out of his hand and lands in the mouth of an \\n ornamental rooftop dragon. He looks back at Tai Lung, who \\n sees where the scroll has landed. Via the magic of cookie-\",\n \" Dragon Warrior has taken scroll \\n halfway across China by now. You \\n will never see that scroll, Tai \\n Lung. Never. Never... \\n \\n 77. \\n \\n \",\n \" \\n SHIFU (CONT'D) \\n Behold. The Dragon Scroll... It is \\n yours. \\n \\n PO \\n Wait, what happens when I read it? \\n \",\n \" to hide the scroll. \\n \\n PO \\n Lightning! \\n \\n Tai Lung knocks the woks away and exposes the scroll as Po\",\n \" the Scroll. \\n \\n For a moment, Po stares at his reflection on the scroll, then \\n he smiles serenely. He gets it now. \\n \\n 74. \\n \\n \\n PO\",\n \" CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \\n looks up at the Scroll. Then back at Shifu - \\n \\n PO \\n You really believe I'm ready? \\n \",\n \" \\n TAI LUNG (CONT'D) \\n Give me the scroll! \\n \\n SHIFU \\n I would rather die. \\n \\n They struggle for a beat until finally, the staff splinters\",\n \" It was never enough for Tai Lung. \\n He wanted the Dragon Scroll. But \\n Oogway saw darkness in his heart \\n and refused. Outraged, Tai Lung \\n laid waste to the valley. He tried\",\n \" the `thumbs up.' Po starts to unroll the scroll, the golden \\n light bathing his face. Across the scroll we see Shifu, \\n excited that he is witness to history... \\n \",\n \" PO (CONT'D) \\n One of the Five is gonna get the \\n Dragon Scroll! \\n \\n Customers rush to finish their food. \\n \\n PO (CONT'D)\",\n \" On Po's face as he finishes opening the scroll. \\n \\n Then - \\n \\n PO (CONT'D) \\n AAAAAAAAAAAAAAAAAAAAAAAAA! \\n \\n Shifu looks concerned. The Five look concerned. Po looks\",\n \" \\n TAI LUNG (CONT'D) \\n That scroll is mine! \\n \\n Down the Theater steps, Po and Tai Lung grapple for the \\n scroll. Po is oblivious to the effects of crashing down\",\n \" vision, Po effortlessly scales the building. Tai Lung is \\n shocked. \\n \\n TAI LUNG \\n The scroll has given him power. \\n (then) \\n NOOO0!! \\n \",\n \" What? \\n \\n SHIFU \\n He is coming for the Dragon Scroll, \\n and you are the only one who can \\n stop him. \\n \",\n \" \\n Tai Lung leaps for the scroll, but Oogway stops him with \\n strikes at his pressure points. He falls to the ground in a \\n heap. \\n \\n TIGRESS (V.O.) (CONT'D)\"\n ],\n [\n \" C'mere! The secret ingredient is... \\n nothing! \\n \\n PO \\n Huh? \\n \\n PO'S DAD \\n You heard me. Nothing. There is no\",\n \" PO'S DAD \\n The secret ingredient of my secret \\n ingredient soup! \\n \\n Po feigns excitement. \\n \\n PO \\n Oh. \\n \\n PO'S DAD\",\n \" secret ingredient! \\n \\n PO \\n Wait wait...it's just plain old \\n noodle soup? You don't add some \\n kind of special sauce or something? \\n \",\n \" You should try my dad's secret \\n ingredient soup. He actually knows \\n the secret ingredient. \\n \\n VIPER \\n What are you talking about? This is \\n amazing. \\n \",\n \" Soup.\\\" And then you will fulfill \\n your destiny and take over the \\n restaurant, just as I took it over \\n from my father, who took it over \\n from his father, who won it from a\",\n \" \\n PO \\n Uh...a sign of what? \\n \\n PO'S DAD \\n You are almost ready to be \\n entrusted with the secret \\n ingredient of my \\\"Secret Ingredient\",\n \" As the rest of the Five laugh, Tigress sneaks a moment to \\n smell Po's soup. Leaning towards the bowl, she suddenly looks \\n up and stops. The Five also look up and stop laughing. \\n \",\n \" There is no secret ingredient... \\n \\n Po turns back to look at the palace. \\n \\n CUT TO: \\n \\n \\n EXT. JADE PALACE - DAWN \\n \",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" Po laughs. He picks up his bowl and takes a giant gulp. When \\n he lowers the bowl, we see a noodle hanging from his face -- \\n it looks like a moustache. Mantis snickers. \\n \",\n \" throwing star is sitting in it. \\n \\n PO (CONT'D) \\n (to customer) \\n Careful, that soup is... sharp! \\n \\n PO'S DAD\",\n \" but I thought it... in my mind. \\n \\n Po flips some bowls and expertly lines them up on his arm. He \\n ladles soup into them. \\n \\n PO (CONT'D)\",\n \" PO (CONT'D) \\n Noodles. \\n \\n THOK. Dad stops chopping vegetables. \\n \\n PO'S DAD \\n Noodles. You were really dreaming\",\n \" PO'S DAD \\n No, it's at tables two, five, \\n seven, and twelve. \\n \\n He loads Po's arms with bowls of soup. \\n \",\n \" Of course it's Shifu. What do you \\n think I'm doing? \\n \\n He finally notices Shifu standing there, doing a slow burn. \\n Embarrassed, he places the soup bowls on his chest like a\",\n \" Oh, happy day! My son, finally \\n having the noodle dream! \\n \\n He throws his arms around Po. \\n \\n PO'S DAD (CONT'D)\",\n \" We've been waiting a thousand years \\n for this! Just take the bowl! \\n \\n Other customers are finishing their soup. \\n \\n One old lady customer slowly counts out coins and puts them \\n on the table. \\n \",\n \" You don't know how long I have been \\n waiting for this moment. \\n \\n When Dad pulls out of the hug, Po is now wearing a noodle \\n apron. \\n \",\n \" learned the secret of the Dragon \\n Scroll. \\n \\n He points to a dragon on the ceiling with a single scroll in \\n its mouth. \\n \\n PO \\n (in awe)\",\n \" of noodles is dice-cut vegetables, \\n no longer slices. \\n \\n Dad starts to walk off, unaware that Po isn't following. \\n \\n PO'S DAD (CONT'D)\"\n ],\n [\n \" Po's Dad goes back to packing things up. \\n \\n PO'S DAD \\n Let's go Po. So, for our next shop, \\n it's time to face it -- the future\",\n \" Seeing Po, Po's Dad hurries over and wraps his arms around \\n his son. Po bends down to reciprocate the hug, as Po's dad \\n pulls away, having fastened an apron around Po's waist. \\n \",\n \" He turns and notices that Po hasn't moved. He walks to Po \\n sympathetically. \\n \\n PO'S DAD (CONT'D) \\n Po, I'm sorry things didn't work\",\n \" Po falls flat on his face on the kitchen floor. A panda- \\n shaped shadow looms over Po. \\n \\n PO \\n Sorry, Dad. \\n \\n PO'S DAD\",\n \" of noodles is dice-cut vegetables, \\n no longer slices. \\n \\n Dad starts to walk off, unaware that Po isn't following. \\n \\n PO'S DAD (CONT'D)\",\n \" PO (CONT'D) \\n This is the greatest day in Kung Fu \\n history! Don't worry about it, just \\n go! \\n \\n He starts to run. \\n \\n PO'S DAD\",\n \" PO'S DAD (CONT'D) \\n Service with a smile! \\n \\n A GONG sounds in the distance. Po looks out the window at the \\n distant JADE PALACE. \\n \\n \",\n \" \\n Po struggles with something, his back turned to us. Reveal he \\n has tied a load of fireworks to a chair. He hops on and \\n lights the fuse. \\n \\n PO'S DAD (O.S.)\",\n \" watering flowers stares at Po. Po tries to play it cool and \\n then quickly ducks out of sight. \\n \\n PO'S DAD (O.S.) \\n Po! Let's go! You're late for work!\",\n \" Po lands hard on the floor. He tries to clear his head and \\n wake up. \\n \\n PO'S DAD (O.S.) \\n Po! Get up! \\n \",\n \" \\n PO \\n Thanks, Dad. \\n \\n Po hugs his dad. The wok falls off Po's head and rolls on the \\n ground until Mantis appears in frame and stops it. The rest\",\n \" Oh, happy day! My son, finally \\n having the noodle dream! \\n \\n He throws his arms around Po. \\n \\n PO'S DAD (CONT'D)\",\n \" Villagers CHEER the Dragon Warrior. Po's Dad emerges from the \\n crowd. \\n \\n PO'S DAD \\n That's my boy. That big, lovely \\n kung fu warrior is my son!\",\n \" Look, it's the Dragon Warrior. \\n \\n Po approaches the Noodle Shop. \\n \\n PO \\n Hey, Dad. \\n \\n PO'S DAD \\n Po! \\n \",\n \" EXT. FIELD - LATER \\n \\n Po's training unfolds -- deep breathing exercises, balance \\n tests, push ups, sit ups, climbing, etc. Through it all, he\",\n \" hides it underneath one of the bowls. He uses his chopsticks \\n as weapons to smack Po's chopsticks away. He attacks Po with \\n his bamboo staff. \\n \",\n \" PO'S DAD \\n Actually... \\n \\n Po looks surprised. \\n \\n PO'S DAD (CONT'D) \\n When I was young and crazy... \\n \",\n \" rockets ignite, propelling Po into the stadium wall. \\n \\n PO'S DAD \\n Oh! Come back! \\n \\n Po's rocket chair blasts him into the sky amid a shower of \\n fireworks.\",\n \" You don't know how long I have been \\n waiting for this moment. \\n \\n When Dad pulls out of the hug, Po is now wearing a noodle \\n apron. \\n \",\n \" PO'S DAD \\n But you're forgetting your noodle \\n cart! The whole valley will be \\n there, and you'll sell noodles to \\n all of them. \\n \\n PO\"\n ],\n [\n \" learned the secret of the Dragon \\n Scroll. \\n \\n He points to a dragon on the ceiling with a single scroll in \\n its mouth. \\n \\n PO \\n (in awe)\",\n \" dragon clutching a SCROLL in its mouth. \\n \\n SHIFU \\n The Dragon Scroll... \\n \\n OOGWAY \\n It is time. \\n \\n SHIFU\",\n \" Dragon Scroll. The petals loosen the scroll from the dragon's \\n mouth and it falls. At the last second, Shifu reaches out \\n with the staff to catch the scroll on the end of it. He turns \\n to Po, holding it out.\",\n \" PO \\n Don't tempt me. Haha. No. I'm gonna \\n use this. You want it? Come and get \\n it. \\n \\n Po shows him the Dragon Scroll. \\n \",\n \" the Dragon Scroll... is mine! \\n \\n Tai Lung grabs for the scroll and opens it. His face falls. \\n \\n TAI LUNG (CONT'D) \\n It's NOTHING!! \\n \",\n \" \\n SHIFU (CONT'D) \\n Behold. The Dragon Scroll... It is \\n yours. \\n \\n PO \\n Wait, what happens when I read it? \\n \",\n \" scroll flies out of his hand and lands in the mouth of an \\n ornamental rooftop dragon. He looks back at Tai Lung, who \\n sees where the scroll has landed. Via the magic of cookie-\",\n \" Dragon Warrior has taken scroll \\n halfway across China by now. You \\n will never see that scroll, Tai \\n Lung. Never. Never... \\n \\n 77. \\n \\n \",\n \" the Scroll. \\n \\n For a moment, Po stares at his reflection on the scroll, then \\n he smiles serenely. He gets it now. \\n \\n 74. \\n \\n \\n PO\",\n \" CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \\n looks up at the Scroll. Then back at Shifu - \\n \\n PO \\n You really believe I'm ready? \\n \",\n \" to hide the scroll. \\n \\n PO \\n Lightning! \\n \\n Tai Lung knocks the woks away and exposes the scroll as Po\",\n \" What? \\n \\n SHIFU \\n He is coming for the Dragon Scroll, \\n and you are the only one who can \\n stop him. \\n \",\n \" PO (CONT'D) \\n One of the Five is gonna get the \\n Dragon Scroll! \\n \\n Customers rush to finish their food. \\n \\n PO (CONT'D)\",\n \" It was never enough for Tai Lung. \\n He wanted the Dragon Scroll. But \\n Oogway saw darkness in his heart \\n and refused. Outraged, Tai Lung \\n laid waste to the valley. He tried\",\n \" \\n TAI LUNG (CONT'D) \\n Give me the scroll! \\n \\n SHIFU \\n I would rather die. \\n \\n They struggle for a beat until finally, the staff splinters\",\n \" On Po's face as he finishes opening the scroll. \\n \\n Then - \\n \\n PO (CONT'D) \\n AAAAAAAAAAAAAAAAAAAAAAAAA! \\n \\n Shifu looks concerned. The Five look concerned. Po looks\",\n \" PO \\n Huh? Oh, yeah... yeah. \\n \\n SHIFU \\n Read it, Po, and fulfill your \\n destiny. Read it and become... the \\n Dragon Warrior! \\n \",\n \" the `thumbs up.' Po starts to unroll the scroll, the golden \\n light bathing his face. Across the scroll we see Shifu, \\n excited that he is witness to history... \\n \",\n \" \\n TAI LUNG (CONT'D) \\n That scroll is mine! \\n \\n Down the Theater steps, Po and Tai Lung grapple for the \\n scroll. Po is oblivious to the effects of crashing down\",\n \" utterly terrified. \\n \\n PO (CONT'D) \\n It's blank! \\n \\n SHIFU \\n What? \\n \\n PO \\n Here! Look! \\n \"\n ],\n [\n \" Oogway was thinking. The poor guy's \\n just gonna get himself killed. \\n \\n CRANE \\n (mocking) \\n He is so mighty! The Dragon Warrior\",\n \" \\n He turns to face Shifu and stares at him, eyebrow raised. \\n \\n OOGWAY (CONT'D) \\n ...If you do not believe that the \\n Dragon Warrior can stop him. \\n \",\n \" INT. TOURNAMENT RING - DAY \\n \\n Oogway senses something. He raises his hand and the crowd \\n hushes. \\n \\n OOGWAY \\n I sense the Dragon Warrior is among\",\n \" Master Oogway will now choose... \\n the Dragon Warrior! \\n \\n 17. \\n \\n \\n EXT. TOURNAMENT RING - DAY \\n \\n Po comes to.\",\n \" palace pig hits a tiny gong. This gets Po's attention. He \\n rushes up to the poster. \\n \\n PO (CONT'D) \\n What?! Master Oogway's choosing the \\n Dragon Warrior! Today!\",\n \" OOGWAY \\n You. \\n \\n PO \\n Me? \\n \\n Oogway grabs Po's hand and holds it up for all to see. \\n \\n OOGWAY\",\n \" PO \\n Huh? Oh, yeah... yeah. \\n \\n SHIFU \\n Read it, Po, and fulfill your \\n destiny. Read it and become... the \\n Dragon Warrior! \\n \",\n \" great Oogway was wrong, and you are \\n not the Dragon Warrior. \\n \\n PO \\n Oh, okay. Well-- I don't know if I \\n can do all of those moves. \\n \",\n \" \\n 14. \\n \\n \\n SHIFU \\n Yes, Master Oogway. \\n \\n OOGWAY \\n Now know this, old friend. Whomever\",\n \" OOGWAY \\n Him. \\n \\n PO \\n Who--? \\n \\n Po tries moving out of the way of Oogway's finger, but it \\n keeps following him. \\n \",\n \" Shifu smiles and shakes his head. \\n \\n SHIFU \\n Wrong! You are not the Dragon \\n Warrior. You will never be the \\n Dragon Warrior until you have\",\n \" But who? Who is worthy to be \\n trusted with the secret to \\n limitless power? To become...the \\n Dragon Warrior?! \\n \\n Dramatic music as we push in on Oogway's face. Then...\",\n \" \\n PO \\n Buddy, I am the Dragon Warrior. \\n (exhales hard) \\n Huhhh... \\n \\n TAI LUNG \\n You?! Him?!\",\n \" Now listen closely, panda. Oogway \\n may have picked you, but when I'm \\n through with you, I promise you, \\n you're going to wish he hadn't. Are \\n we clear? \\n \",\n \" You did?! \\n \\n Shifu smiles and shakes his head in disbelief. \\n \\n SHIFU (CONT'D) \\n Wow. It is as Oogway foretold --\",\n \" Po is being lifted with great effort on the palanquin. He is \\n carried off. Shifu elbows his way urgently through the \\n thronging crowd to get to Oogway. \\n \\n SHIFU (CONT'D)\",\n \" Shifu. \\n \\n OOGWAY \\n Good. My time has come. You must \\n continue your journey without me. \\n \\n He hands his staff to a confused Shifu. \\n \",\n \" No. Oogway was wiser than us all. \\n \\n Po sits heavily on the floor, dejected. \\n \\n PO \\n Oh, come on! Face it. He picked me\",\n \" It is an historic day, isn't it, \\n Master Oogway? \\n \\n OOGWAY \\n Yes, and one I feared I would not \\n live to see. Are your students \\n ready?\",\n \" dragon clutching a SCROLL in its mouth. \\n \\n SHIFU \\n The Dragon Scroll... \\n \\n OOGWAY \\n It is time. \\n \\n SHIFU\"\n ],\n [\n \" INT. PRISON -- NIGHT \\n \\n Using the goose's feather to pick the lock, Tai Lung BURSTS \\n free from his armor. \\n \\n An ALARM RINGS OUT! \\n \",\n \" \\n Tai Lung struggles with his shackles. \\n \\n COMMANDER \\n Fire Crossbows! \\n \\n Tai Lung uses the incoming spears to break his shackles and\",\n \" down to the last group of explosives. He leaps across the \\n raining debris up to the ceiling of the cavern. \\n \\n Grabbing a hold of the dynamite, Tai Lung falls and slings it \\n ahead of him at the guards.\",\n \" then manages to kick the spears back up into the walls, \\n creating a makeshift staircase. \\n \\n ZENG \\n Tai Lung is free! I must warn \\n Shifu! \\n \",\n \" \\n TAI LUNG (CONT'D) \\n That scroll is mine! \\n \\n Down the Theater steps, Po and Tai Lung grapple for the \\n scroll. Po is oblivious to the effects of crashing down\",\n \" \\n Tai Lung pulls Oogway's staff from the shrine. \\n \\n TAI LUNG \\n It is now. \\n \\n They fight. Tai Lung pins Shifu down with the staff.\",\n \" the volley of arrows flies down past him. \\n \\n The guards cut the rope and the elevator crashes back down to \\n the bottom of the pit. \\n \\n Tai Lung swings up from the bottom of the elevator house and\",\n \" races toward them. \\n \\n TIGRESS \\n Cut it! \\n \\n The others slash at the ropes securing the bridge to the \\n mountain. Tai Lung is almost upon them when Tigress cuts the\",\n \" scroll flies out of his hand and lands in the mouth of an \\n ornamental rooftop dragon. He looks back at Tai Lung, who \\n sees where the scroll has landed. Via the magic of cookie-\",\n \" Tai Lung quickly catches up and they both sail off the Palace \\n steps. \\n \\n Po clings to the scroll as Tai Lung delivers a kick and sends \\n him crashing onto the theater rooftops below. \\n \",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" Po bounces off a nearby pillar and slams back into Tai Lung, \\n sending him flying into a column. Po puts on a brave face and \\n strikes a pose as Tai Lung recovers and charges. Po turns to \\n run. \\n \",\n \" strikes back, using an unorthodox panda-style technique, even \\n getting Tai Lung to chomp down on his own tail. Po gives Tai \\n Lung a butt bump that sends him crashing into a building. Tai\",\n \" shooting toward Tai Lung. The rope whips Tai Lung in the face \\n and he gets tangled up. The Five see their chance. \\n \\n TIGRESS (CONT'D) \\n Now! \\n \",\n \" As the dust settles, Tai Lung is looming over Po in the \\n impact crater. \\n \\n TAI LUNG (CONT'D) \\n (out of breath) \\n Finally... oh yes... the power of\",\n \" snatches it away using a noodle lasso. The scroll flies \\n towards him and bounces off his head. Tai Lung leaps for it, \\n but Po grabs his tail and pulls him back down onto a cart\",\n \" come back and strike Tai Lung, sending the leopard crashing \\n back into a building. Po looks at his hands, amazed at what \\n he just did. \\n \\n Tai Lung rises from the rubble and runs at Po again. But Po\",\n \" 78. \\n \\n \\n Po rolls down off a tree and uses the recoil to whip back and \\n smash Tai Lung. He briefly skids across the rooftop and comes \\n right back at Po.\",\n \" prosthetic falls in front of him. \\n \\n ZENG \\n Nuuu... Urggg... \\n \\n Tai Lung picks up the Goose by the throat. \\n \\n ZENG (CONT'D)\",\n \" COMMANDER \\n He won't get far. \\n (to guards) \\n Archers! \\n \\n Leaping across the spears, Tai Lung catches the elevator as\"\n ],\n [\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" \\n SHIFU (CONT'D) \\n Where'd he go? \\n \\n Shifu throws up his hands in frustration and heads after Po. \\n \\n CUT TO: \\n \\n \",\n \" SHIFU (CONT'D) \\n Enjoy. \\n \\n Po raises the dumpling to his mouth. WHOOSH! Shifu snatches \\n the dumpling away and eats it himself. \\n \",\n \" Shifu staggers back, regaining his dignity. \\n \\n SHIFU \\n The mark of a true hero is \\n humility! \\n \\n After a moment's thought, though, he leans toward Po -\",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" Shifu walks around Po - pointing out his weaknesses. \\n \\n SHIFU \\n Yes. Look at you...this fat butt. \\n \\n Shifu HITS Po on the butt with his staff. \\n \",\n \" Shifu walks away and Po half-heartedly follows. \\n \\n SHIFU \\n Well, if we don't try, we'll never \\n know will we? \\n \\n PO\",\n \" But Po skillfully manages to best Shifu for the final \\n dumpling. \\n \\n Shifu smiles. Po has passed the final test. \\n \\n But then Po tosses the dumpling into Shifu's open hand.\",\n \" Shifu whips Po around again. \\n \\n SHIFU \\n To take his strength and use it \\n against him. \\n \\n Again, this time Shifu holds Po by the nose. \\n \",\n \" Po looks down at the Valley, then turns back to Shifu. \\n \\n PO (CONT'D) \\n I stayed because I thought if \\n anyone could change me, could make \\n me... not me, it was you. The\",\n \" SHIFU \\n What are you doing here?! \\n \\n Reveal Po is in the middle of the floor, his legs spread wide \\n apart. Po looks back over his shoulder to see Shifu and the \\n Five enter the hall.\",\n \" SHIFU (CONT'D) \\n --until he finally falls, or quits. \\n \\n Po is totally inspired. \\n \\n PO \\n But a real warrior never quits.\",\n \" PO \\n Master! Shifu! Shifu! Are you okay? \\n \\n Shifu weakly opens his eyes. \\n \\n SHIFU \\n Po! You're alive!\",\n \" SHIFU \\n No! It is not your destiny to \\n defeat Tai Lung. It is his. \\n \\n He dramatically points at Po... but Po is gone. \\n \\n 56. \\n \",\n \" SHIFU \\n There are no accidents. Come with \\n me. \\n \\n \\n EXT. MOUNTAINS - DAWN \\n \\n Shifu leads Po through the mountains. \\n \\n PO\",\n \" Shifu closes his eyes. He is still. Po starts freaking out. \\n \\n PO \\n No! Master! No No No! Don't die, \\n Shifu. Please... \\n \\n SHIFU\",\n \" Shifu spar, vying for the dumplings. Until there is only one \\n left. \\n \\n Shifu tries every trick to keep the dumpling away from Po. He\",\n \" Po turns back to the vase. \\n \\n PO (CONT'D) \\n (to vase) \\n Now how do you get five thousand-- \\n (cutting himself off) \\n Master Shifu!\",\n \" We see a series of shots of Po falling on his face at the \\n hands of some invisible opponent, who turns out to be... \\n Mantis. \\n \\n Shifu smiles. Flat on his back, Po manages a salute. Shifu\",\n \" INT. PALACE - MOMENTS LATER \\n \\n Po arrives breathless at the Jade Palace. Shifu is still \\n lying in the scroll room, his eyes closed. Po rushes to his \\n side. \\n \"\n ],\n [\n \" shooting toward Tai Lung. The rope whips Tai Lung in the face \\n and he gets tangled up. The Five see their chance. \\n \\n TIGRESS (CONT'D) \\n Now! \\n \",\n \" With a crash, he suddenly appears behind the Five. \\n \\n TAI LUNG \\n Shifu taught you well... \\n \\n Tai Lung jabs a finger at Monkey, who instantly freezes. \\n \",\n \" Working as a team, the Five kick Tai Lung's butt every which \\n way. Tigress finally slashes the last rope holding up Tai \\n Lung. He plummets down... down... disappearing into the mist.\",\n \" TAI LUNG \\n RRRAAAH! \\n \\n PO \\n AAAAGGGHH! \\n \\n Tai Lung attacks Po's nerve points. But Po begins giggling. \\n \",\n \" finally, Tai Lung appears in the sky and crashes to the \\n ground. \\n \\n Tai Lung is battered, but still defiant. \\n \\n TAI LUNG \\n (heavy breathing)\",\n \" \\n The Five race toward a rope bridge stretched between mountain \\n peaks. \\n \\n 64. \\n \\n \\n Tai Lung appears at the other end of the bridge. He ROARS and\",\n \" \\n Tai Lung leaps for the scroll, but Oogway stops him with \\n strikes at his pressure points. He falls to the ground in a \\n heap. \\n \\n TIGRESS (V.O.) (CONT'D)\",\n \" strikes back, using an unorthodox panda-style technique, even \\n getting Tai Lung to chomp down on his own tail. Po gives Tai \\n Lung a butt bump that sends him crashing into a building. Tai\",\n \" \\n Tai Lung pulls Oogway's staff from the shrine. \\n \\n TAI LUNG \\n It is now. \\n \\n They fight. Tai Lung pins Shifu down with the staff.\",\n \" Tigress charges at him. The battle begins. Tigress punches \\n Tai Lung as he hangs from the bridge. But Tai Lung counters \\n with a maneuver that sends Tigress slamming backwards through\",\n \" \\n Tai Lung struggles with his shackles. \\n \\n COMMANDER \\n Fire Crossbows! \\n \\n Tai Lung uses the incoming spears to break his shackles and\",\n \" What's he gonna do about it? I've \\n got him completely immobilized. \\n \\n The Commander stomps on Tai Lung's tail. We hear a crunch.\",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" down to the last group of explosives. He leaps across the \\n raining debris up to the ceiling of the cavern. \\n \\n Grabbing a hold of the dynamite, Tai Lung falls and slings it \\n ahead of him at the guards.\",\n \" Lung emerges and attempts one more lunge at Po. But Po \\n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \\n He is launched into the air. Po waits... and waits... until\",\n \" You... can't defeat me. You're just \\n a big, fat panda! \\n \\n SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. \\n \\n PO\",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" As the dust settles, Tai Lung is looming over Po in the \\n impact crater. \\n \\n TAI LUNG (CONT'D) \\n (out of breath) \\n Finally... oh yes... the power of\",\n \" Behind him, the Five approach and bow. \\n \\n TIGRESS \\n Forgive us, Master. We have failed \\n you. \\n \\n Shifu spins around. \\n \\n SHIFU\",\n \" come back and strike Tai Lung, sending the leopard crashing \\n back into a building. Po looks at his hands, amazed at what \\n he just did. \\n \\n Tai Lung rises from the rubble and runs at Po again. But Po\"\n ],\n [\n \" PO'S DAD \\n Don't have to. To make something \\n special, you just have to believe \\n it's special. \\n \\n Po looks at his father with dawning realization. He picks up\",\n \" He turns and notices that Po hasn't moved. He walks to Po \\n sympathetically. \\n \\n PO'S DAD (CONT'D) \\n Po, I'm sorry things didn't work\",\n \" Po falls flat on his face on the kitchen floor. A panda- \\n shaped shadow looms over Po. \\n \\n PO \\n Sorry, Dad. \\n \\n PO'S DAD\",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" PO (CONT'D) \\n This is the greatest day in Kung Fu \\n history! Don't worry about it, just \\n go! \\n \\n He starts to run. \\n \\n PO'S DAD\",\n \" Oh, happy day! My son, finally \\n having the noodle dream! \\n \\n He throws his arms around Po. \\n \\n PO'S DAD (CONT'D)\",\n \" \\n Po struggles with something, his back turned to us. Reveal he \\n has tied a load of fireworks to a chair. He hops on and \\n lights the fuse. \\n \\n PO'S DAD (O.S.)\",\n \" of noodles is dice-cut vegetables, \\n no longer slices. \\n \\n Dad starts to walk off, unaware that Po isn't following. \\n \\n PO'S DAD (CONT'D)\",\n \" PO'S DAD \\n Actually... \\n \\n Po looks surprised. \\n \\n PO'S DAD (CONT'D) \\n When I was young and crazy... \\n \",\n \" out. It just... wasn't meant to be. \\n \\n Po slumps against the cart. \\n \\n PO'S DAD (CONT'D) \\n Po, forget everything else. Your\",\n \" Dad gets a wistful look in his eyes. \\n \\n PO'S DAD (CONT'D) \\n I thought about running away and \\n learning how to make tofu. \\n \\n PO\",\n \" EXT. FIELD - LATER \\n \\n Po's training unfolds -- deep breathing exercises, balance \\n tests, push ups, sit ups, climbing, etc. Through it all, he\",\n \" Seeing Po, Po's Dad hurries over and wraps his arms around \\n his son. Po bends down to reciprocate the hug, as Po's dad \\n pulls away, having fastened an apron around Po's waist. \\n \",\n \" Po lands hard on the floor. He tries to clear his head and \\n wake up. \\n \\n PO'S DAD (O.S.) \\n Po! Get up! \\n \",\n \" PO'S DAD \\n But you're forgetting your noodle \\n cart! The whole valley will be \\n there, and you'll sell noodles to \\n all of them. \\n \\n PO\",\n \" Tears of joy well up in Po's eyes. \\n \\n SHIFU \\n Don't cry. \\n \\n PO \\n Okay. \\n \\n Po sniffs the tears back and smiles.\",\n \" Villagers CHEER the Dragon Warrior. Po's Dad emerges from the \\n crowd. \\n \\n PO'S DAD \\n That's my boy. That big, lovely \\n kung fu warrior is my son!\",\n \" You don't know how long I have been \\n waiting for this moment. \\n \\n When Dad pulls out of the hug, Po is now wearing a noodle \\n apron. \\n \",\n \" Po's Dad goes back to packing things up. \\n \\n PO'S DAD \\n Let's go Po. So, for our next shop, \\n it's time to face it -- the future\",\n \" Shifu staggers back, regaining his dignity. \\n \\n SHIFU \\n The mark of a true hero is \\n humility! \\n \\n After a moment's thought, though, he leans toward Po -\"\n ],\n [\n \" learned the secret of the Dragon \\n Scroll. \\n \\n He points to a dragon on the ceiling with a single scroll in \\n its mouth. \\n \\n PO \\n (in awe)\",\n \" Dragon Scroll. The petals loosen the scroll from the dragon's \\n mouth and it falls. At the last second, Shifu reaches out \\n with the staff to catch the scroll on the end of it. He turns \\n to Po, holding it out.\",\n \" dragon clutching a SCROLL in its mouth. \\n \\n SHIFU \\n The Dragon Scroll... \\n \\n OOGWAY \\n It is time. \\n \\n SHIFU\",\n \" PO \\n Don't tempt me. Haha. No. I'm gonna \\n use this. You want it? Come and get \\n it. \\n \\n Po shows him the Dragon Scroll. \\n \",\n \" the Dragon Scroll... is mine! \\n \\n Tai Lung grabs for the scroll and opens it. His face falls. \\n \\n TAI LUNG (CONT'D) \\n It's NOTHING!! \\n \",\n \" scroll flies out of his hand and lands in the mouth of an \\n ornamental rooftop dragon. He looks back at Tai Lung, who \\n sees where the scroll has landed. Via the magic of cookie-\",\n \" to hide the scroll. \\n \\n PO \\n Lightning! \\n \\n Tai Lung knocks the woks away and exposes the scroll as Po\",\n \" Dragon Warrior has taken scroll \\n halfway across China by now. You \\n will never see that scroll, Tai \\n Lung. Never. Never... \\n \\n 77. \\n \\n \",\n \" \\n SHIFU (CONT'D) \\n Behold. The Dragon Scroll... It is \\n yours. \\n \\n PO \\n Wait, what happens when I read it? \\n \",\n \" the Scroll. \\n \\n For a moment, Po stares at his reflection on the scroll, then \\n he smiles serenely. He gets it now. \\n \\n 74. \\n \\n \\n PO\",\n \" CLOSE-UP of the Dragon Scroll. Po stares at Shifu - then \\n looks up at the Scroll. Then back at Shifu - \\n \\n PO \\n You really believe I'm ready? \\n \",\n \" the `thumbs up.' Po starts to unroll the scroll, the golden \\n light bathing his face. Across the scroll we see Shifu, \\n excited that he is witness to history... \\n \",\n \" On Po's face as he finishes opening the scroll. \\n \\n Then - \\n \\n PO (CONT'D) \\n AAAAAAAAAAAAAAAAAAAAAAAAA! \\n \\n Shifu looks concerned. The Five look concerned. Po looks\",\n \" \\n TAI LUNG (CONT'D) \\n Give me the scroll! \\n \\n SHIFU \\n I would rather die. \\n \\n They struggle for a beat until finally, the staff splinters\",\n \" It was never enough for Tai Lung. \\n He wanted the Dragon Scroll. But \\n Oogway saw darkness in his heart \\n and refused. Outraged, Tai Lung \\n laid waste to the valley. He tried\",\n \" vision, Po effortlessly scales the building. Tai Lung is \\n shocked. \\n \\n TAI LUNG \\n The scroll has given him power. \\n (then) \\n NOOO0!! \\n \",\n \" PO (CONT'D) \\n One of the Five is gonna get the \\n Dragon Scroll! \\n \\n Customers rush to finish their food. \\n \\n PO (CONT'D)\",\n \" What? \\n \\n SHIFU \\n He is coming for the Dragon Scroll, \\n and you are the only one who can \\n stop him. \\n \",\n \" \\n TAI LUNG (CONT'D) \\n That scroll is mine! \\n \\n Down the Theater steps, Po and Tai Lung grapple for the \\n scroll. Po is oblivious to the effects of crashing down\",\n \" utterly terrified. \\n \\n PO (CONT'D) \\n It's blank! \\n \\n SHIFU \\n What? \\n \\n PO \\n Here! Look! \\n \"\n ],\n [\n \" TAI LUNG \\n RRRAAAH! \\n \\n PO \\n AAAAGGGHH! \\n \\n Tai Lung attacks Po's nerve points. But Po begins giggling. \\n \",\n \" PO (CONT'D) \\n Stop! Stop it! I'm gonna pee! \\n Don't! Don't! \\n \\n Tai Lung's nerve attack has no effect on Po. Frustrated, he\",\n \" strikes back, using an unorthodox panda-style technique, even \\n getting Tai Lung to chomp down on his own tail. Po gives Tai \\n Lung a butt bump that sends him crashing into a building. Tai\",\n \" Po bounces off a nearby pillar and slams back into Tai Lung, \\n sending him flying into a column. Po puts on a brave face and \\n strikes a pose as Tai Lung recovers and charges. Po turns to \\n run. \\n \",\n \" come back and strike Tai Lung, sending the leopard crashing \\n back into a building. Po looks at his hands, amazed at what \\n he just did. \\n \\n Tai Lung rises from the rubble and runs at Po again. But Po\",\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" 78. \\n \\n \\n Po rolls down off a tree and uses the recoil to whip back and \\n smash Tai Lung. He briefly skids across the rooftop and comes \\n right back at Po.\",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" Lung emerges and attempts one more lunge at Po. But Po \\n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \\n He is launched into the air. Po waits... and waits... until\",\n \" The goose flinches. But Tai Lung does not react. \\n \\n COMMANDER (CONT'D) \\n Awww. Did I step on the witty \\n kitty's tail? Awww. \\n \",\n \" Tai Lung doesn't move. His eyes stare coldly straight ahead. \\n \\n ZENG \\n I'm good. I've seen enough. I'm \\n gonna tell Shifu he's got nothing\",\n \" Shifu whips Po around again. \\n \\n SHIFU \\n To take his strength and use it \\n against him. \\n \\n Again, this time Shifu holds Po by the nose. \\n \",\n \" As the dust settles, Tai Lung is looming over Po in the \\n impact crater. \\n \\n TAI LUNG (CONT'D) \\n (out of breath) \\n Finally... oh yes... the power of\",\n \" PO \\n C'mon, Tai Lung is on his way here \\n right now. And even if it takes him \\n a hundred years to get here, how \\n are you gonna change this... \\n (indicate belly)\",\n \" \\n TAI LUNG (CONT'D) \\n That scroll is mine! \\n \\n Down the Theater steps, Po and Tai Lung grapple for the \\n scroll. Po is oblivious to the effects of crashing down\",\n \" \\n Tai Lung leaps for the scroll, but Oogway stops him with \\n strikes at his pressure points. He falls to the ground in a \\n heap. \\n \\n TIGRESS (V.O.) (CONT'D)\",\n \" Mantis pops up and halts Tigress. \\n \\n MANTIS \\n Wait! My fault! I accidentally \\n tweaked his facial nerve. \\n \\n Po falls face first to the floor, revealing his back is\",\n \" Mantis pops up from behind Po holding a handful of needles \\n and sticks Po again. \\n \\n MANTIS \\n Trust me, it will. It's just not \\n easy finding the right nerve points\",\n \" Shifu walks around Po - pointing out his weaknesses. \\n \\n SHIFU \\n Yes. Look at you...this fat butt. \\n \\n Shifu HITS Po on the butt with his staff. \\n \",\n \" Tigress charges at him. The battle begins. Tigress punches \\n Tai Lung as he hangs from the bridge. But Tai Lung counters \\n with a maneuver that sends Tigress slamming backwards through\"\n ],\n [\n \" \\n Po gets to his feet. \\n \\n PO \\n There is no secret ingredient. It's \\n just you. \\n \\n Tai Lung snarls and lunges at Po. \\n \",\n \" Lung emerges and attempts one more lunge at Po. But Po \\n prepares... and Tai Lung is swiftly met by Po's IRON BELLY! \\n He is launched into the air. Po waits... and waits... until\",\n \" come back and strike Tai Lung, sending the leopard crashing \\n back into a building. Po looks at his hands, amazed at what \\n he just did. \\n \\n Tai Lung rises from the rubble and runs at Po again. But Po\",\n \" strikes back, using an unorthodox panda-style technique, even \\n getting Tai Lung to chomp down on his own tail. Po gives Tai \\n Lung a butt bump that sends him crashing into a building. Tai\",\n \" You... can't defeat me. You're just \\n a big, fat panda! \\n \\n SCHWING! Po grabs Tai Lung's finger. Tai Lung's eyes go wide. \\n \\n PO\",\n \" Po bounces off a nearby pillar and slams back into Tai Lung, \\n sending him flying into a column. Po puts on a brave face and \\n strikes a pose as Tai Lung recovers and charges. Po turns to \\n run. \\n \",\n \" 78. \\n \\n \\n Po rolls down off a tree and uses the recoil to whip back and \\n smash Tai Lung. He briefly skids across the rooftop and comes \\n right back at Po.\",\n \" As the dust settles, Tai Lung is looming over Po in the \\n impact crater. \\n \\n TAI LUNG (CONT'D) \\n (out of breath) \\n Finally... oh yes... the power of\",\n \" Tai Lung is furious. He roars, ready to strike Shifu. \\n Suddenly... \\n \\n PO (O.S.) \\n Hey! \\n \\n Tai Lung turns around to find Po standing in the doorway.\",\n \" TAI LUNG \\n RRRAAAH! \\n \\n PO \\n AAAAGGGHH! \\n \\n Tai Lung attacks Po's nerve points. But Po begins giggling. \\n \",\n \" \\n TAI LUNG (CONT'D) \\n That scroll is mine! \\n \\n Down the Theater steps, Po and Tai Lung grapple for the \\n scroll. Po is oblivious to the effects of crashing down\",\n \" finally, Tai Lung appears in the sky and crashes to the \\n ground. \\n \\n Tai Lung is battered, but still defiant. \\n \\n TAI LUNG \\n (heavy breathing)\",\n \" Tai Lung quickly catches up and they both sail off the Palace \\n steps. \\n \\n Po clings to the scroll as Tai Lung delivers a kick and sends \\n him crashing onto the theater rooftops below. \\n \",\n \" Po gets thrown into a fireworks booth. As Tai Lung chases \\n down the scroll, he turns back to see Po flying through the \\n fireworks-filled sky. \\n \\n Po slams through Tai Lung and crashes into a rock wall. The\",\n \" uses his bamboo stilts to block Tai Lung. The leopard swipes \\n out the stilts and brings Po down on top of him as the scroll \\n rolls down the steps towards the river. \\n \",\n \" \\n Tai Lung leaps for the scroll, but Oogway stops him with \\n strikes at his pressure points. He falls to the ground in a \\n heap. \\n \\n TIGRESS (V.O.) (CONT'D)\",\n \" vision, Po effortlessly scales the building. Tai Lung is \\n shocked. \\n \\n TAI LUNG \\n The scroll has given him power. \\n (then) \\n NOOO0!! \\n \",\n \" \\n Tai Lung pulls Oogway's staff from the shrine. \\n \\n TAI LUNG \\n It is now. \\n \\n They fight. Tai Lung pins Shifu down with the staff.\",\n \" Working as a team, the Five kick Tai Lung's butt every which \\n way. Tigress finally slashes the last rope holding up Tai \\n Lung. He plummets down... down... disappearing into the mist.\",\n \" SHIFU \\n No! It is not your destiny to \\n defeat Tai Lung. It is his. \\n \\n He dramatically points at Po... but Po is gone. \\n \\n 56. \\n \"\n ]\n]"},"questions":{"kind":"list like","value":["What animals are in the Furious Five?","What type of animal is Grand Master Oogway?","Where does Po the panda work in the beginning of the story?","Who is Tai Ling?","What does Po want to be?","What motivates Po?","What does the Dragon Scroll contain?","Who receives the Dragon Scroll from ShiFu? ","Who defeats Tai Ling in the end?","Where does Po live?","What is The occupation of Po's father?","Who are the furious five? ","What does Po want to become?","Who becomes the dragon warrior?","What did Shifu and the Furious Five believe Oogway's desision to be?","What was Po motivated by?","What did Pouse to defeat Tai Lung?","What was in the dragon scroll?","What is the secret ingredient to the soup?","What does Po's adoptive father own? ","What is the Dragon Scroll supposed to hold? ","Who does Oogway identify as the Dragon Warrior? ","What does Tai Lung use to pick the locks when he escapes?","What does Shifu discover that motivates Po?","What method does Tai Lung use the defeat the Furious Five?","How does Po's father tell him things become special? ","What did the dragon scroll reveal?","Why do Tai Lung's nerve strikes not work on Po? ","What does Po defeat Tai Lung with? "],"string":"[\n \"What animals are in the Furious Five?\",\n \"What type of animal is Grand Master Oogway?\",\n \"Where does Po the panda work in the beginning of the story?\",\n \"Who is Tai Ling?\",\n \"What does Po want to be?\",\n \"What motivates Po?\",\n \"What does the Dragon Scroll contain?\",\n \"Who receives the Dragon Scroll from ShiFu? \",\n \"Who defeats Tai Ling in the end?\",\n \"Where does Po live?\",\n \"What is The occupation of Po's father?\",\n \"Who are the furious five? \",\n \"What does Po want to become?\",\n \"Who becomes the dragon warrior?\",\n \"What did Shifu and the Furious Five believe Oogway's desision to be?\",\n \"What was Po motivated by?\",\n \"What did Pouse to defeat Tai Lung?\",\n \"What was in the dragon scroll?\",\n \"What is the secret ingredient to the soup?\",\n \"What does Po's adoptive father own? \",\n \"What is the Dragon Scroll supposed to hold? \",\n \"Who does Oogway identify as the Dragon Warrior? \",\n \"What does Tai Lung use to pick the locks when he escapes?\",\n \"What does Shifu discover that motivates Po?\",\n \"What method does Tai Lung use the defeat the Furious Five?\",\n \"How does Po's father tell him things become special? \",\n \"What did the dragon scroll reveal?\",\n \"Why do Tai Lung's nerve strikes not work on Po? \",\n \"What does Po defeat Tai Lung with? \"\n]"},"answers":{"kind":"list like","value":[["A tigress, monkey, praying mantis, crane and a viper","Tigress, Monkey, Mantis, Viper, & Crane"],["A tortoise","Tortoise"],["His fathers noodle shop","his father's noodle shop"],["An evil snow leopard","Shifu's adoptive son"],["A kung fu master","kung fu master"],["Food","to become a kung fu master"],["The secret to limitless power","a blank reflective surface"],["Po","Po"],["Po","Po"],["In the valley of peace in china","Valley of Peace"],["He owns a noodle Resturant.","He owns a restaurant. "],["Tigress, monkey, mantis, viper, and crane.","Tigress, Monkey, Mantis, Viper and Crane"],["A Kung fu master.","Kung Fu Master"],["Po","Po"],["A mistake.","a mistake"],["Food","food"],["The Wuxi Finger Hold","Wuxi Finger hold"],["Nothing but a reflective surface.","nothing"],["Nothing.","Nothing"],["A noodle restaurant. ","noodle restaurant"],["The secret to endless power. ","secret to limitless power"],["Po","Po"],["One of Zeng's feathers. ","Feather"],["Food. ","Food"],["Nerve Strkes","nerve strikes"],["If they are believed to be. ","When they are believed in"],["Nothing. ","It was nothing special and things only becomes special if they are believed to be."],["His body fat. ","Because of his body fat"],["The Wuxi Finger Hold.","The Wuxi Finger Hold"]],"string":"[\n [\n \"A tigress, monkey, praying mantis, crane and a viper\",\n \"Tigress, Monkey, Mantis, Viper, & Crane\"\n ],\n [\n \"A tortoise\",\n \"Tortoise\"\n ],\n [\n \"His fathers noodle shop\",\n \"his father's noodle shop\"\n ],\n [\n \"An evil snow leopard\",\n \"Shifu's adoptive son\"\n ],\n [\n \"A kung fu master\",\n \"kung fu master\"\n ],\n [\n \"Food\",\n \"to become a kung fu master\"\n ],\n [\n \"The secret to limitless power\",\n \"a blank reflective surface\"\n ],\n [\n \"Po\",\n \"Po\"\n ],\n [\n \"Po\",\n \"Po\"\n ],\n [\n \"In the valley of peace in china\",\n \"Valley of Peace\"\n ],\n [\n \"He owns a noodle Resturant.\",\n \"He owns a restaurant. \"\n ],\n [\n \"Tigress, monkey, mantis, viper, and crane.\",\n \"Tigress, Monkey, Mantis, Viper and Crane\"\n ],\n [\n \"A Kung fu master.\",\n \"Kung Fu Master\"\n ],\n [\n \"Po\",\n \"Po\"\n ],\n [\n \"A mistake.\",\n \"a mistake\"\n ],\n [\n \"Food\",\n \"food\"\n ],\n [\n \"The Wuxi Finger Hold\",\n \"Wuxi Finger hold\"\n ],\n [\n \"Nothing but a reflective surface.\",\n \"nothing\"\n ],\n [\n \"Nothing.\",\n \"Nothing\"\n ],\n [\n \"A noodle restaurant. \",\n \"noodle restaurant\"\n ],\n [\n \"The secret to endless power. \",\n \"secret to limitless power\"\n ],\n [\n \"Po\",\n \"Po\"\n ],\n [\n \"One of Zeng's feathers. \",\n \"Feather\"\n ],\n [\n \"Food. \",\n \"Food\"\n ],\n [\n \"Nerve Strkes\",\n \"nerve strikes\"\n ],\n [\n \"If they are believed to be. \",\n \"When they are believed in\"\n ],\n [\n \"Nothing. \",\n \"It was nothing special and things only becomes special if they are believed to be.\"\n ],\n [\n \"His body fat. \",\n \"Because of his body fat\"\n ],\n [\n \"The Wuxi Finger Hold.\",\n \"The Wuxi Finger Hold\"\n ]\n]"},"document_id":{"kind":"string","value":"c551edfbb8240501afd55b17495674b9a04060e3"},"split":{"kind":"string","value":"train"}}},{"rowIdx":53,"cells":{"text":{"kind":"list like","value":[[" We're here at the World Center \n Construction Site, where a \n mysterious object was just \n uncovered in a freak accident in \n which one workman suffered minor \n injuries... \n","makes a CLANGING SOUND as it HITS METAL! A baffled look comes \n over him as he stops the jackhammer, brushes away debris.. \n uncovering an ANCIENT IRON PLATE. He gapes at it, too stunned"," In another time, another \n dimension. It was brought here \n long ago by the \"Nathadians\", a \n people who are now all but \n extinct. \n They built an impenetrable stone","We PULL BACK to reveal it's sitting on a table. \n \n Mr Kelman enters, looks it over curiously. He picks it up, \n opens it and sticks his finger inside. \n","Suddenly a PURPLE STEAM POURS from the opening. And now \n something really amazing happens. .. \n \n A menacing STONE CLAW RISES UP, CRADLING A HUGE STONE \n","Mr. Kelman just gives Fred a blank stare. \n \n MR. KELMAN \n Dig... dig... dig... \n \n Suddenly an ARM FALLS ON FRED'S SHOULDER. \n","ENGINE ROARS as it HOISTS THE PLATE UP, revealing a CAVERNOUS \n OPENING. \n \n TWO MORE CONSTRUCTION WORKERS have joined the first, all of \n them look on in amazement. \n","skeletons strewn around it, some of them human, some of them \n alien. \n \n They approach the massive block, stand before it in awe struck \n silence. In the middle of the Monolith there's a large circle","They advance up a slope -- the egg comes into view. \n \n ROCKY (alarmed) \n It looks like it's been opened! \n \n The kids get close to the egg, looking it over with","The SCINTILLATING BEHEMOTHS AWAKE FROM THE DEAD, THEIR EYES AND \n MOUTHS OPENING, THEIR ARMS REACHING UPWARD. The beasts ROAR \n OUT IN THUNDEROUS RAGE.","wreckage in numb silence. \n \n TOMMY (barely audible) \n ... what happened here?... \n \n Adam spots Alpha's arm protruding from a mound of rubble. \n \n ADAM"," cordoned off the area until it \n can be determined whether or not \n the unidentified object poses any \n threat. The injured workman was \n quoted as saying... \n","A PURPLE HAZE OF SMOKE has settled on the construction site. \n Suddenly, mysteriously, SWARMS OF ZOMBIFIED PARENTS emerge from \n the vapors - We see Mr. Kelman amongst them. \n"," HORNITOR! \n (to parents) \n KEEP DIGGING. THE DREADFUL \n SCORPITRON SHOULD BE CLOSE BY. \n (beat)","Zedd and Rita finally notice Ivan, standing with his lips \n apart, revealing jagged teeth, one of which is made of \n GLISTENING SILVER. \n \n He stretches his sinewy arms, releases an enormous YAWN, puts","we can see the outline of the Nathadian Monolith. \n \n DULCEA \n The Monolith is there in the \n distance. \n \n The kids strain to get a better look. \n"," \n We hear a RUMBLING SOUND as the earth starts to SHAKE. The \n Rangers look to each other, horrified. \n \n Then everything falls still and silent... and then a miracle \n happens. \n"," smell what we cannot smell. \n \n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \n blow. \n \n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly","It's total pandemonium. \n \n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \n fists raised.","20 CONTINUED: (2) 20 \n \n They pass a bulldozer, some scaffolding \n \n ADAM \n Hold it... \n \n They come to a stop. \n"],["They advance up a slope -- the egg comes into view. \n \n ROCKY (alarmed) \n It looks like it's been opened! \n \n The kids get close to the egg, looking it over with","staff at the chamber and BURSTS a blast of energy. The egg \n opens up with a wHOOSH of decompressing air. webs of \n ELECTRICITY BRANCH OUT, followed by a SWIRL OF BLACK SMOKE. \n"," Do you have any idea what it's \n like to be cooped up in a rotten \n egg for six thousand years? It's \n BORING! Not to mention I've had \n a Charlie horse since the","Suddenly a PURPLE STEAM POURS from the opening. And now \n something really amazing happens. .. \n \n A menacing STONE CLAW RISES UP, CRADLING A HUGE STONE \n"," Hey bonehead, get off my hoof! \n \n Goldar is oblivious. Zedd, stands reverently before the \n glowing egg shape. \n \n ZEDD \n After two thousand years of","16 EXT. INNER CITY CONSTRUCTION SITE - NIGHT \n \n Barricades and police tape surround the egg. A SECURITY GUARD \n passes his sleeping CO-WORKER, drops into a chair, sips his","We hear a resounding SNAP AS IVAN'S FEET ARE RELEASED FROM THE \n ROOFTOP AND HIS ENTIRE BEING SPURTS INSIDE THE GIANT'S BELLY. \n","shakes his head in wonder. \n \n MORDANT \n Where does he come up with this \n stuff? \n \n The Queen spreads her wings and makes the most HORRENDOUS \n SCREECH imaginable. \n","Zedd and Rita finally notice Ivan, standing with his lips \n apart, revealing jagged teeth, one of which is made of \n GLISTENING SILVER. \n \n He stretches his sinewy arms, releases an enormous YAWN, puts","The SCINTILLATING BEHEMOTHS AWAKE FROM THE DEAD, THEIR EYES AND \n MOUTHS OPENING, THEIR ARMS REACHING UPWARD. The beasts ROAR \n OUT IN THUNDEROUS RAGE.","The embers cast an orange glow on Kimberly's sleeping face \n A SHADOW moves over her and two CRANE LEGS step into frame. \n","his hands on his head, CRACKS it. \n \n IVAN \n Ahhhhhhhh. \n \n Now he SMACKS his lips together, opens his arms theatrically \n and gives his trademark stance. \n","the creature EXPLODES INTO A CLOUD OF FEATHERS! \n \n BILLY \n AIM FOR THEIR BEAKS! \n \n Tommy reaches the top of a rack. He sees a Tengu making a"," LIFE!! Give my creatures LIFE! \n \n Mordant admires Ivan. \n \n MORDANT \n This guy is the King! \n \n Now the most amazing thing of all happens... \n"," BULK \n Be the eagle. Be the eagle. \n \n SKULL \n Be the swallow. Be the \n swallow... \n \n They take deep breaths then CHARGE THE DOOR. \n","on his face. Ivan steps up onto a platform. \n \n IVAN \n Mordant... let the ooze flow! \n \n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE "," About twenty seconds in your \n time. \n \n TOMMY \n And how do we release the power? \n \n DULCEA \n The legend goes that you release \n the power with the power.","We PULL BACK to reveal it's sitting on a table. \n \n Mr Kelman enters, looks it over curiously. He picks it up, \n opens it and sticks his finger inside. \n","Suddenly a CRACKLING ELECTRICAL CURRENT RUNS OVER HIS ENTIRE \n BODY. His face goes blank and his eyes momentarily GLOWS \n PURPLE. Now he strides purposefully out the door. \n","It's total pandemonium. \n \n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \n fists raised."],[" That's right. And then we threw \n one of them off a mountain and \n another one into a raqing river! \n \n IVAN \n So they've been destroyed? \n"," all of us dies... and the force \n of good within the Universe will \n be dealt an irreparable blow. \n \n These words strike deep in the kids. \n","Now Ivan begins to THROW LIGHTNING EVERYWHERE, LAYING \n THE COMMAND CENTER TO WASTE. \n \n Ivan laughs in the b.g. as Alpha continues to spin, \n moving his arms in and out. \n","wreckage in numb silence. \n \n TOMMY (barely audible) \n ... what happened here?... \n \n Adam spots Alpha's arm protruding from a mound of rubble. \n \n ADAM","It's total pandemonium. \n \n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \n fists raised."," ZORDON \n I'm afraid that's impossible... \n The power has been destroyed. \n It's gone... The Zords, the \n weapons... all of it. \n (beat)"," perished. \n \n Dulcea's words hang heavily in the air. \n \n AISHA \n So how can we get to it? \n \n DULCEA \n The only way to obtain the power","22 INT. COMMAND CENTER - NIGHT 22 \n \n The place is trashed -- there's SMOKING debris, ravaged panels, \n exposed wires and mechanisms. The kids move through the","A PURPLE HAZE OF SMOKE has settled on the construction site. \n Suddenly, mysteriously, SWARMS OF ZOMBIFIED PARENTS emerge from \n the vapors - We see Mr. Kelman amongst them. \n","DEMOLISHING AN ENERGY PILLAR. \n \n IVAN \n And now, finally, I have the \n strength to DESTROY your pathetic \n powers FOREVER!! \n","years. \n \n The kids stand over him, forlorn. \n \n AISHA \n ... What's happening to him?' \n \n BILLY \n Outside of his time warp he's"," Well... ALMOST nobody. \n \n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \n IVAN RISES UP. He takes in the state-of-the-art surroundings. \n"," from what it is today. \n \n The kids are overwhelmed by what they're hearing. \n \n ROCKY \n So... what happened? \n \n DULCEA \n Over time our enemies were"," Oh, the things that I have \n missed. The BLACK PLAGUE! \n \n He blows up another PANEL. \n \n IVAN \n \n The SPANISH INQUISITION! \n"," Duke of Destruction. The big man \n on campus! \n (beat) \n And then you came along. You \n locked me into your stuffy little \n hyperlock-chamber and tossed me"," In another time, another \n dimension. It was brought here \n long ago by the \"Nathadians\", a \n people who are now all but \n extinct. \n They built an impenetrable stone"," IVAN \n How could you let them get away?! \n If Dulcea leads them to the Great \n Power, everything will be ruined! \n They must be OBLITERATED! \n","All of them turn their attention to Ivan. \n \n IVAN \n YOU HAVE SERVED YOUR PURPOSE. \n NOW YOU WILL RETURN TO THE \n CONSTRUCTION SITE AND LEAP TO \n YOUR DEMISE! "," smell what we cannot smell. \n \n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \n blow. \n \n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly","The kids approach the dying fire, all of them limping a little. \n \n BILLY \n I can hardly walk... \n \n AISHA \n I've never been this sore in my \n life. \n"],["The Rangers are too stunned to speak. They approach Zordon's \n lifeless form looking absolutely devastated. \n \n KIMBERLY \n ... This can't be... \n"," But we have to find him. Our \n leader Zordon is dying. \n \n FIGURE \n Zordon? \n \n Now the most amazing thing happens. The figure RISES TO FULL"," Rangers... I'm afraid you're too \n late. \n \n AISHA \n What?! \n \n ALPHA 5 \n Zordon... he's gone. \n","Everybody follows Kimberly's gaze, thunderstruck expressions \n coming over them. \n \n Laying on a destroyed bed of crystals is Zordon. He is still a \n SHIMMERING SPECTRAL being, only now he s aged a good fifty"," The Mighty Morphin Power Rangers \n are no more. \n \n The kids are stunned. Kimberly gently takes Zordon's hand. \n \n KIMBERLY \n Zordon... you can't leave us.","They stare at Zordon with gut-wrenching expressions. They're \n utterly defeated. \n \n Eventually, Tommy looks to the others and speaks in a fervent \n voice. \n \n TOMMY \n \"To those who possess the Great"," aging at a vastly acellerated \n rate! \n \n KIMBERLY \n We have to help him! \n \n Zordon opens his eyes. \n \n ZORDON"," within TWO FEET of the Rangers \n coordinates. \n \n ZORDON \n (with difficulty) \n ... I just pray we're not too \n late. \n \n Alpha continues making adjustments.","The Rangers MATERIALIZE in the Command Center with their \n helmets off. \n \n AISHA \n ALPHA?! \n \n Alpha approaches, speaks in an anguished voice. \n \n ALPHA 5"," once... and now I'm afraid he \n has the strength to see his \n scheme through. \n \n Zordon closes his eyes. Tommy puts a hand on Kimberly's","21 EXT. COMMAND CENTER - NIGHT 21 \n \n The Rangers climb a mountain path, all of them looking alarmed. \n Up ahead, there's a PILLAR OF BLACK SMOKE rising from the \n Command Center.","18 EXT. CONSTRUCTION SITE - NIGHT \n \n On cue, the Power Rangers TELEPORT into the construction site. \n \n They're surrounded by rock piles, pools of water and a plethora","Zordon, now barely alive, watches as Alpha makes more \n adjustments to his contraption. \n \n ALPHA 5 \n That should do it. we won't be \n able to hear them, but they"," Rangers were too late! Ivan is \n on his way here! \n \n ALPHA 5 \n Hey, NOBODY enters the Command \n Center without a power coin! \n"," This is why I'm taking you to the \n Nathadian Monolith. That is why \n I'm teaching you the Ninjetti. \n (beat) \n If Zordon dies... then a piece of"," ZORDON \n I'm afraid that's impossible... \n The power has been destroyed. \n It's gone... The Zords, the \n weapons... all of it. \n (beat)"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA","The six Power Rangers, TOMMY, KIMBERLY, BILLY, AISHA, ADAM and \n ROCKY sport sleek sky diving suits, parachute packs and \n helmets. Tommy is strapped into a high-tech airboard."," HE'S ALIVE! HE'S ALIVE! \n \n KIMBERLY \n We thought you... \n \n ZORDON \n It's good to see you again, too. \n","PAST the moon. \n \n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \n standing on the balcony."],["on his face. Ivan steps up onto a platform. \n \n IVAN \n Mordant... let the ooze flow! \n \n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE "," TOMMY \n Huh ... Oh, uh, we re, ah... \n \n Kimberly intervenes. \n \n KIMBERLY \n He was attacked by this horrific \n being -- Ivan Ooze.","IVAN OOZE. \n \n IVAN \n It's TEENAGERS \n \n KIMBERLY \n GroSS! \n \n IVAN \n You're too kind. Allow me to"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA"," You haven't changed, Ooze. \n You're still picking on creatures \n smaller than yourself. \n \n Ivan slowly circles Zordan's column of light, Zordon turns \n with him. \n \n IVAN"," IVAN \n Ladies and Gentlemen... the OOZE \n is back!! \n \n Rita blushes. \n \n RITA \n He's so cute. \n","There's more STATIC, then IVAN APPEARS AS THE WIZARD. \n \n IVAN \n Hi, folks, Ivan Ooze here. \n \n ALPHA 5","All of them turn their attention to Ivan. \n \n IVAN \n YOU HAVE SERVED YOUR PURPOSE. \n NOW YOU WILL RETURN TO THE \n CONSTRUCTION SITE AND LEAP TO \n YOUR DEMISE! "," Finally, a real man. \n \n Goldar hands Ivan a scrap of paper. \n \n GOLDAR \n Here's his address. \n \n IVAN (reading)","We hear a SLITHERING SLURPING SOUND as the substance RISES UP \n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \n \n MORDANT","Scorpitron. \n \n We see a group of parents fastening clear plastic pipes to the \n skeletal feet -- the pipes are attached to the vat of ooze. \n \n Mordant videotapes Ivan as he struts past a giant mechanical","The Tengu fall dead silent. \n \n IVAN \n Tengu Warriors, you will fly to \n Phaedos, find the Power \n Rangers... and TEAR THEM APART! \n","Zedd flashes her an angry look, turns back to Ivan. \n \n ZEDD \n I am Lord Zedd, sworn enemy of \n all that is good and decent. It \n is a supreme honor to finally","Ivan steps forward, followed by Goldar. \n \n IVAN \n Ladies and gentlemen, Simon \n says... STOP! \n \n All the parents stop. \n \n IVAN","There's a BURST OF PURPLE SMOKE -- Ivan, Mordant and Goldar \n appear. Ivan looks out on the city, holds up his arms \n theatrically. \n \n IVAN"," IVAN \n Queen Tengu, lead-your warriors \n to Phaedos, FEAST YOURSELVES UPON \n THE POWER RANGERS AND BRING ME \n DULCEA! \n"," guck... this is the one and only \n Ivan's Ooze! Yesireebob. It's \n ooey, gooey and even kind of \n chewy. But best of all it's"," Well... ALMOST nobody. \n \n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \n IVAN RISES UP. He takes in the state-of-the-art surroundings. \n"," IVAN \n How could you let them get away?! \n If Dulcea leads them to the Great \n Power, everything will be ruined! \n They must be OBLITERATED! \n","Goldar looks up from the telescope. \n \n GOLDAR \n According to the TX Tracker, \n they're headed for Phaedos. \n \n ZEDD"],["Ivan steps forward, followed by Goldar. \n \n IVAN \n Ladies and gentlemen, Simon \n says... STOP! \n \n All the parents stop. \n \n IVAN","on his face. Ivan steps up onto a platform. \n \n IVAN \n Mordant... let the ooze flow! \n \n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE ","IVAN OOZE. \n \n IVAN \n It's TEENAGERS \n \n KIMBERLY \n GroSS! \n \n IVAN \n You're too kind. Allow me to"," IVAN \n Ladies and Gentlemen... the OOZE \n is back!! \n \n Rita blushes. \n \n RITA \n He's so cute. \n"," TOMMY \n Huh ... Oh, uh, we re, ah... \n \n Kimberly intervenes. \n \n KIMBERLY \n He was attacked by this horrific \n being -- Ivan Ooze.","We hear a SLITHERING SLURPING SOUND as the substance RISES UP \n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \n \n MORDANT"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA","There's more STATIC, then IVAN APPEARS AS THE WIZARD. \n \n IVAN \n Hi, folks, Ivan Ooze here. \n \n ALPHA 5"," Not to worry. I'll ever so \n gently lure them in and mold them \n into an army of devils! And what \n better way to entice them ... \n than with a little Ivan's Ooze?!","Scorpitron. \n \n We see a group of parents fastening clear plastic pipes to the \n skeletal feet -- the pipes are attached to the vat of ooze. \n \n Mordant videotapes Ivan as he struts past a giant mechanical","Ivan SNAPS his hand -- a WAD OF OOZE FLIES OUT, SPLATS RITA \n across the mouth, muffling her. \n \n RITA \n Rrgh mmffpprr brghuh!! \n","Ivan approaches an enormous vat, turns a tap -- it BURPS and \n GLOPS as PURPLE OOZE pours out. \n \n GOLDAR \n But boss, what about their \n parents? \n","each other. It's an ooze free-for-all. \n \n IVAN \n Boys and girls, girls and boys, \n gather round and feast your eyes. \n This ain't sludge and this ain't"," guck... this is the one and only \n Ivan's Ooze! Yesireebob. It's \n ooey, gooey and even kind of \n chewy. But best of all it's"," You haven't changed, Ooze. \n You're still picking on creatures \n smaller than yourself. \n \n Ivan slowly circles Zordan's column of light, Zordon turns \n with him. \n \n IVAN"," You've been brainwashed! This \n Ivan is no Wizard. He's some \n kind of DEMON! \n \n KID #4 \n Shut up, squirt. \n"," CROWD \n OOZE! OOZE! OOZE! OOZE! \n \n IVAN \n Thank you! Please! You're too \n kind."," still using a bunch of rug-rats \n to do his dirty work. And \n speaking of rats... \n \n Ivan raises both hands -- ELECTRICITY SHOOTS OUT HIS FINGERS"," Well... ALMOST nobody. \n \n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \n IVAN RISES UP. He takes in the state-of-the-art surroundings. \n","The parents just stand there with blank expressions. \n \n IVAN \n What're you waiting for??... \n \n Goldar taps him on the shoulder and he spins around. \n \n IVAN \n What! \n"],[" centuries. \n \n The Rangers are silent for a moment. \n \n DULCEA \n He was always an inspiration... \n \n Dulcea speaks with grim-visaged intensity. \n \n DULCEA"," DULCEA \n You have been visited by the \n animal spirits... they have given \n you their blessing. \n \n The Rangers continue to admire their symbols in silent wonder. \n"," TOMMY \n Thank you, Dulcea. For \n everything. \n \n Dulcea catches her hand and six Rangers put their hands on top \n of hers. \n \n DULCEA","talking B-U-I-L-T. Meet the Master warrior, DULCEA. \n \n The Rangers stand there with stunned expressions. Dulcea looks \n to Tommy. \n \n DULCEA","Dulcea and the Rangers are gathered around a bird-bath stand \n with FLAMES leaping out of it. \n \n DULCEA \n In the language of the \n Nathadians, \"Nin\" stands for","The Rangers recover and exchange expressions of utter disbelief \n \n KIMBERLY \n Wow! That was amazing for such \n a little dude! \n \n The figure speaks in a HOARSE WHISPER. \n"," What do you know of the Great \n Power? \n \n KIMBERLY \n Only that we need it to defeat \n Ivan Ooze. \n \n Dulcea's eyes move from Ranger to Ranger.","ornate doorway, faces the Rangers. \n \n DULCEA \n Each of you must reach deep \n within and draw upon your natural \n instincts... Only then will you \n know the way of the Ninjetti."," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA"," Rangers, by going after the Great \n Power, all of you knowingly put \n your lives at extreme risk... and \n in so doing you not only saved my \n life, you saved all of Angel"," Tommy, you are the Falcon, Winged \n Lord of the Sky. \n \n Kimberly regards Dulcea with true admiration. \n \n KIMBERLY \n \n How do you know so much about the"," smell what we cannot smell. \n \n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \n blow. \n \n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly","The Rangers crest a hill and Adam, who's in the lead, suddenly \n drops down - the others following suit. \n \n They peer over the ridge -- their eyes wide. \n \n Before them, a tenuous rope bridge leads to a vast rock landing.","Dulcea leads Snoggle and the Rangers up a stone path. They \n approach a bush filled with exotic berries. All of them start \n eating the berries. \n \n TOMMY \n Dulcea... how do you and Zordon"," parents for anything! \n \n 55C EXT. DULCEA'S GARDEN / PHAEDOS - NIGHT 55C \n \n The Rangers are fast asleep. A night wind WHISTLES through the"," DULCEA \n Close. Billy, you are the Wolf, \n cunning and swift. \n \n And now Kimberly. She studies hers for a moment. It looks \n like a bird. \n","34 thru 38 OMITTED \n \n 39 EXT. PHAEDOS JUNGLE - DAY 39 \n \n The Rangers move through foreboding jungle terrain, their ears"," The Rangers share purposeful looks. \n \n TOMMY \n It's our only hope. \n \n Alpha shakes his head, punches in the final codes. \n \n ALPHA \n Safe journey, Rangers!"," Billy is starting to get the hang of it. He hits Dulcea a few \n times, then she CLOBBERS him. \n \n 3. Kimberly balances along the bamboo log again. She does a","The Rangers pull off more SPECTACULAR MANEUVERS \n then swoop TOGETHER, interlocking hands and forming a \n PERFECT CIRCLE \n \n They look to one another and a moment of pure magic passes"],[" TOMMY \n Huh ... Oh, uh, we re, ah... \n \n Kimberly intervenes. \n \n KIMBERLY \n He was attacked by this horrific \n being -- Ivan Ooze."," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA"," IVAN \n My turn. \n \n \n He ZAPS Rita and Zedd, and with a BRILLIANT FLASH, THEY'RE GONE. \n"," You haven't changed, Ooze. \n You're still picking on creatures \n smaller than yourself. \n \n Ivan slowly circles Zordan's column of light, Zordon turns \n with him. \n \n IVAN"," IVAN \n Ladies and Gentlemen... the OOZE \n is back!! \n \n Rita blushes. \n \n RITA \n He's so cute. \n","IVAN OOZE. \n \n IVAN \n It's TEENAGERS \n \n KIMBERLY \n GroSS! \n \n IVAN \n You're too kind. Allow me to","There's more STATIC, then IVAN APPEARS AS THE WIZARD. \n \n IVAN \n Hi, folks, Ivan Ooze here. \n \n ALPHA 5"," would never allow it. \n \n AISHA \n If we don't try, Zordon won't \n survive! \n \n ADAM \n If Ivan Ooze isn't stopped,"," IVAN/COLOSSUS \n NOTHING can defeat the Powers of \n Darkness! \n \n Now Ivan/Colossus goes to town on Megazord. WHOMP! THWACK!","We hear a SLITHERING SLURPING SOUND as the substance RISES UP \n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \n \n MORDANT","The Falcon Zord swoops in and blasts Scorpitron who BLOWS UP \n INTO A BILLION FLAMING PARTICLES! \n \n KIMBERLY (V.O.) \n WE GOT HIM!! \n"," guck... this is the one and only \n Ivan's Ooze! Yesireebob. It's \n ooey, gooey and even kind of \n chewy. But best of all it's","on his face. Ivan steps up onto a platform. \n \n IVAN \n Mordant... let the ooze flow! \n \n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE ","Ivan SNAPS his hand -- a WAD OF OOZE FLIES OUT, SPLATS RITA \n across the mouth, muffling her. \n \n RITA \n Rrgh mmffpprr brghuh!! \n","Zedd flashes her an angry look, turns back to Ivan. \n \n ZEDD \n I am Lord Zedd, sworn enemy of \n all that is good and decent. It \n is a supreme honor to finally"," I will not only destroy him, I \n will OBLITERATE his entire being. \n It will be like Zordon \n of Eltare never EXISTED! \n \n RITA"," Finally, a real man. \n \n Goldar hands Ivan a scrap of paper. \n \n GOLDAR \n Here's his address. \n \n IVAN (reading)","Ivan steps forward, followed by Goldar. \n \n IVAN \n Ladies and gentlemen, Simon \n says... STOP! \n \n All the parents stop. \n \n IVAN"," Danger from what? \n \n ZORDON \n Six thousand years ago a \n morphological being known as Ivan \n Ooze, ruled the world with a \n reign of unparalleled terror."," Well... ALMOST nobody. \n \n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \n IVAN RISES UP. He takes in the state-of-the-art surroundings. \n"],["The Rangers MATERIALIZE in the Command Center with their \n helmets off. \n \n AISHA \n ALPHA?! \n \n Alpha approaches, speaks in an anguished voice. \n \n ALPHA 5","21 EXT. COMMAND CENTER - NIGHT 21 \n \n The Rangers climb a mountain path, all of them looking alarmed. \n Up ahead, there's a PILLAR OF BLACK SMOKE rising from the \n Command Center."," The Rangers share purposeful looks. \n \n TOMMY \n It's our only hope. \n \n Alpha shakes his head, punches in the final codes. \n \n ALPHA \n Safe journey, Rangers!","130 INT. COMMAND CENTER - DAY 130 \n \n The Rangers are gathered around Zordon, holding their helmets \n in their hands. \n \n ZORDON"," within TWO FEET of the Rangers \n coordinates. \n \n ZORDON \n (with difficulty) \n ... I just pray we're not too \n late. \n \n Alpha continues making adjustments.","128 INT. COMMAND CENTER 128 \n \n Alpha LEAPS for joy. \n \n ALPHA 5 \n HOORAY, POWER RANGERS!! \n \n","Zordon grows BRIGHTER and BRIGHTER and then there's a DAZZLING, \n STROBOSCOPIC EXPLOSION. \n \n When the LIGHT FADES WE SEE THE COMMAND CENTER BACK IN ITS","90 INT. COCKPIT 90 \n \n The kids are SHOWERED WITH SPARKS - ELECTRICAL TENTACLES SPLAY \n THROUGHOUT THE COCKPIT. \n \n RANGERS"," ... We must try to communicate \n with them. \n \n Alpha looks out over the decimated Command Center. \n \n ALPHA 5 \n Perhaps if I could locate a \n vertical-deflector then I could"," \n We hear a RUMBLING SOUND as the earth starts to SHAKE. The \n Rangers look to each other, horrified. \n \n Then everything falls still and silent... and then a miracle \n happens. \n","22 INT. COMMAND CENTER - NIGHT 22 \n \n The place is trashed -- there's SMOKING debris, ravaged panels, \n exposed wires and mechanisms. The kids move through the","Rangers watch, stunned, as their COSTUMES DE-MATERIALIZE and \n they appear back in civilian clothes. \n \n KIMBERLY \n What's going on?! \n \n Billy tries his wrist communicator. \n"," Rangers were too late! Ivan is \n on his way here! \n \n ALPHA 5 \n Hey, NOBODY enters the Command \n Center without a power coin! \n"," GO, Rangers! GO, Rangers! GO, \n Rangers! GO! \n \n 83 INT. MEGAZORD COCKPIT 83 \n \n The Rangers are side by side, each of them handling different"," Grove and the world from a reign \n of unthinkable terror. \n \n The Rangers literally beam. Alpha holds up a camera. \n \n ALPHA 5 \n Everybody say cheese. \n","The Rangers recover and exchange expressions of utter disbelief \n \n KIMBERLY \n Wow! That was amazing for such \n a little dude! \n \n The figure speaks in a HOARSE WHISPER. \n","PULL BACK TO REVEAL A CAFE. \n \n The Rangers are at a table -- Tommy is teaching Fred martial arts \n moves. \n \n TOMMY \n It's one smooth move and then","The Rangers crest a hill and Adam, who's in the lead, suddenly \n drops down - the others following suit. \n \n They peer over the ridge -- their eyes wide. \n \n Before them, a tenuous rope bridge leads to a vast rock landing.","19 INT. COMMAND CENTER - NIGHT \n \n SMOKE POURS from various circuit boards, numerous control \n panels VIBRATE. \n \n ZORDON \n Alpha, my sensors tell me the"," Rangers, by going after the Great \n Power, all of you knowingly put \n your lives at extreme risk... and \n in so doing you not only saved my \n life, you saved all of Angel"],["They disperse and yank their rip-cords. The sky BURSTS TO LIFE \n WITH SIX BLOSSOMING PARACHUTES -- white, pink, blue, yellow , \n red and black in color. \n","The six Power Rangers, TOMMY, KIMBERLY, BILLY, AISHA, ADAM and \n ROCKY sport sleek sky diving suits, parachute packs and \n helmets. Tommy is strapped into a high-tech airboard.","A large banner proclaims \"SAVE THE OBSERVATORY.\" We see \n diving teams with labeled uniforms -- the BOWLING TEAM, ANGEL","in bizarre skydiving regalia, topped off by World War II \n leather caps and aviator goggles. \n \n BULK \n The Stealth Eagle is about to \n fly. \n \n SKULL","Now Dulcea does the impossible. She LEAPS OFF THE ROCK, SOARS \n FIFTY FEET through the air, AND LANDS on another protruding \n rock. Tommy is stunned. \n","All of them turn their attention to Ivan. \n \n IVAN \n YOU HAVE SERVED YOUR PURPOSE. \n NOW YOU WILL RETURN TO THE \n CONSTRUCTION SITE AND LEAP TO \n YOUR DEMISE! "," this. You can do this... \n \n He spreads his arms out, LEAPS... and DROPS LIKE A ROCK \n exploding into THE BLACK WATER. \n","they FALL INTO CAMERA, CLINGING TO EACH OTHER DESPERATELY \n \n BULK AND SKULL \n YEAAAAAAHHHHHH!! \n \n 6 EXT. SKY - DAY"," SKULL \n A real shame. \n \n Suddenly Fred appears and shouts out. \n \n FRED \n EVERYBODY, LISTEN UP! \n \n The place falls silent. \n \n FRED"," KIMBERLY \n Catch you on the flipside. \n \n Bulk and Skull watch wide-eyed as she BACK-FLIPS \n out of the plane. \n \n \n 3 EXT. SKY - DAY","REVEALING THE TUMULTUOUS SKIES ABOVE. \n \n IVAN \n Looks like a fine day for raising \n HELL! \n \n Ivan holds his arms up to the heavens. \n","FISHTAILS, POWER DIVES, BACK FLIPS, you name it. \n \n 4 INT. PROP PLANE - DAY 4 \n \n Bulk and Skull psyche themselves up. \n"," And that's one! A perfect \n landing! \n \n Aisha clears, then Billy and Adam land toqether. \n \n MR. KELMAN \n Three for three. Look at `em go! \n ","the construction site. They can see the parents heading toward \n the drop off. \n \n FRED \n There they are! \n \n BULK \n They're heading for the cliff! \n \n SKULL","Everybody watches with dumbfounded expressions as Tommy SAILS \n IN ON HIS AIR BOARD AND SLIDES INTO DEAD CENTER. He spreads \n his arms wide. \n \n TOMMY \n Touch down. \n"," These clowns are a menace to the \n sky \n \n IVAN \n How did you fare? \n \n Mordant waves Ivan off. \n \n MORDANT","Bulk and Skull are in the truck cabin trying to start the \n engine. It turns over but it won't catch. \n \n FRED \n Come on! Come on! \n \n The parents are now five feet from the drop off.","on to the rickety bridge. \n \n The Queen FIRES ANOTHER BLAST. \n \n ROCKY \n LOOK OUT! \n \n Rocky DIVES, knocking Aisha away from the bolt. \n","It's total pandemonium. \n \n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \n fists raised.","32F EXT. JUNGLE CLEARING / PHAEDOS - DAY (OLD SC. 32C) \n \n The Rangers continue scouring the sky as BILLY COMES FLYING. \n"],[" ROCKY \n THERE'S THE COMET! \n \n We see a BRILLIANT COMET BLAZING straight toward us! \n \n BILLY \n IMPACT IN FIFTEEN SECONDS!"," it? \n \n ROCKY \n Two thirty three a.m. \n \n BILLY \n Ryan's Comet!! \n \n KIMBERLY \n What about it? \n"," FRED \n Awesome! Ryan's Comet is passing \n over in two days! \n \n The other Rangers approach. \n \n AISHA \n Who's up for lunch? \n"," I'll be at the Observatory \n Sunday. \n \n ERNIE \n That's right - Ryan's Comet. \n \n ROCKY \n We should throw a little comet","Biily punches information into a keyboard. \n \n BILLY \n It's passing over earth as we \n speak! \n (reading screen) \n Trajectory coordinates are \n 009843.","32B EXT. SPACE 32B \n \n The COLORED STREAKS OF LIGHT SHOOT THROUGH THE COSMOS, \n heading down toward the planet, PHAEDOS. It's emerald"," ADAM \n Billy, that's BRILLIANT! \n \n KIMBERLY \n \n BILLY \n We get Ivan into the Comets PATH-- \n \n AISHA","Bulk and Skull swagger past followed by a GROUP OF KIDS. \n \n BULK \n The earth was hurtling toward us \n at seven hundred miles per hour, \n and we knew at that moment that"," TOMMY \n WE'RE GOING TO IMPLODE! \n \n BILLY \n THREE DEGREES OFF THE COMETS \n TRAJECTORY! \n \n ROCKY"," In another time, another \n dimension. It was brought here \n long ago by the \"Nathadians\", a \n people who are now all but \n extinct. \n They built an impenetrable stone","Megazord WINGS OUT OF THE WAY as the COMET BLASTS STRAIGHT TOWARD \n IVAN/COLOSSUS. \n \n In the last second, he see the HURTLING ORB. \n","23 thru 27 OMITTED \n \n 28 EXT. EARTH - NIGHT 28 \n \n We see the SIX COLORED STREAKS BLAST away from earth and SHOOT","we can see the outline of the Nathadian Monolith. \n \n DULCEA \n The Monolith is there in the \n distance. \n \n The kids strain to get a better look. \n","skeletons strewn around it, some of them human, some of them \n alien. \n \n They approach the massive block, stand before it in awe struck \n silence. In the middle of the Monolith there's a large circle","years. \n \n The kids stand over him, forlorn. \n \n AISHA \n ... What's happening to him?' \n \n BILLY \n Outside of his time warp he's"," something bad will happen. \n \n KIMBERLY \n Like...how bad? \n \n Dulcea gives them a grim look. \n \n DULCEA \n They say the power will throw off"," then strikes out in the blink of \n an eye. \n \n We hear a TRILLING SOUND as Dulcea watches some kind of insect \n dart around her. \n"," Everybody hold on tight. We're \n gonna send this sucker into \n OBLIVION! \n \n 108 EXT. SKY 108 \n \n KAPAOW!!!","110 EXT. OUTER SPACE 110 \n \n The two behemoths HURTLE THROUGH SPACE while POUNDING, SLASHING \n and RIPPING at each other. \n","Zedd and Rita finally notice Ivan, standing with his lips \n apart, revealing jagged teeth, one of which is made of \n GLISTENING SILVER. \n \n He stretches his sinewy arms, releases an enormous YAWN, puts"],["Bulk and Skull swagger to the door and open it - the ground \n is a dizzying distance below. They swallow hard. \n \n SKULL \n Bulk... where'd the earth go? \n \n BILLY"," Five seconds to the target zone! \n \n TOMMY \n Aisha you' re on ! \n \n Bulk and Skull step aside, Aisha LAUNCHES herself. \n","Bulk and Skull swagger past followed by a GROUP OF KIDS. \n \n BULK \n The earth was hurtling toward us \n at seven hundred miles per hour, \n and we knew at that moment that","5 EXT. PROP PLANE - BARREL-ROLLING - DAY \n \n Bulk and Skull rotate into frame. Now, facing straight down --"," BULK \n SKULL!! \n \n SKULL \n BULK!! \n \n They embrace -- Skull practically gets crushed by his burly \n friend. \n \n","He does a ridiculous mock salute. Bulk and Skull repeat it. \n \n BULK AND SKULL \n OOZE RULES ! \n \n Fred rolls his eyes and hurries away. \n ","they FALL INTO CAMERA, CLINGING TO EACH OTHER DESPERATELY \n \n BULK AND SKULL \n YEAAAAAAHHHHHH!! \n \n 6 EXT. SKY - DAY"," got fifteen seconds to make the \n drop. \n \n BULK (0 . S .) \n Step aside, pinheads. \n \n BULK and SKULL push their way through the Rangers, decked","the construction site. They can see the parents heading toward \n the drop off. \n \n FRED \n There they are! \n \n BULK \n They're heading for the cliff! \n \n SKULL","Bulk and Skull are in the truck cabin trying to start the \n engine. It turns over but it won't catch. \n \n FRED \n Come on! Come on! \n \n The parents are now five feet from the drop off.","Skull ducks and Bulk gets SPLATTERED in the face. Bulk glares at \n Skull, wipes some goop off, FLICKS it at Skull. \n \n WIZARD"," KIMBERLY \n Catch you on the flipside. \n \n Bulk and Skull watch wide-eyed as she BACK-FLIPS \n out of the plane. \n \n \n 3 EXT. SKY - DAY"," Bulk... why don't we give Mr. \n Peep here a chance to think it \n over? \n \n BULK \n A stellar idea, Skull. \n \n They start to back away. \n"," danger! If we don't help them \n they're going to be killed! \n \n He hurries off. A few follow him, then a few more... until \n pretty soon everybody joins him. Bulk and Skull share a look.","THE HIGH BRANCHES.past a large tree as Bulk and Skull DROP INTO \n FRAME \n \n SKULL \n Stealth Eagle, huh? The Lame \n Duck is more like it!","Ernie's is packed with crazed kids and teenagers who are \n ripping the place apart. \n \n Bulk and Skull watch while gorging themselves on pizza. \n \n BULK \n There goes the neighborhood. \n"," SKULL \n There's enough for everybody! \n \n Fred approaches. \n \n FRED \n So where'd this guy come from? \n \n Bulk and Skull exchange apprehensive looks. \n","FISHTAILS, POWER DIVES, BACK FLIPS, you name it. \n \n 4 INT. PROP PLANE - DAY 4 \n \n Bulk and Skull psyche themselves up. \n"," we were facing death straight in \n the eye. \n \n SKULL \n We could smell it's breath. \n \n Ernie moves off after Bulk and Skull. Tommy's wrist"," FREE! \n \n Bulk and Skull run a booth. A banner screams \"OOZE RULES\". \n Kids crowd around. \n \n BULK \n Here you go! No pushing! \n"],["the construction site. They can see the parents heading toward \n the drop off. \n \n FRED \n There they are! \n \n BULK \n They're heading for the cliff! \n \n SKULL","59 EXT. INNER CITY CONSTRUCTION SITE - DAY 59 \n \n The bulldozers and earth movers have dug out a twenty foot pit. \n IVAN leads Goldar and Mordant through the site, passing dozens"," BULK \n SKULL!! \n \n SKULL \n BULK!! \n \n They embrace -- Skull practically gets crushed by his burly \n friend. \n \n","Bulk and Skull swagger to the door and open it - the ground \n is a dizzying distance below. They swallow hard. \n \n SKULL \n Bulk... where'd the earth go? \n \n BILLY"," SKULL \n They're at the World Center \n Construction Site. \n \n Fred nods. \n \n FRED \n Uh. OOZE RULES! \n","Bulk and Skull swagger past followed by a GROUP OF KIDS. \n \n BULK \n The earth was hurtling toward us \n at seven hundred miles per hour, \n and we knew at that moment that","He does a ridiculous mock salute. Bulk and Skull repeat it. \n \n BULK AND SKULL \n OOZE RULES ! \n \n Fred rolls his eyes and hurries away. \n "," Bulk... why don't we give Mr. \n Peep here a chance to think it \n over? \n \n BULK \n A stellar idea, Skull. \n \n They start to back away. \n"," SKULL \n There's enough for everybody! \n \n Fred approaches. \n \n FRED \n So where'd this guy come from? \n \n Bulk and Skull exchange apprehensive looks. \n"," SKULL \n Uh... that's classified, top \n secret, confidential, undercover \n information. \n \n BULK \n If we told you -- we'd have to \n kill you."," FREE! \n \n Bulk and Skull run a booth. A banner screams \"OOZE RULES\". \n Kids crowd around. \n \n BULK \n Here you go! No pushing! \n","Bulk and Skull are in the truck cabin trying to start the \n engine. It turns over but it won't catch. \n \n FRED \n Come on! Come on! \n \n The parents are now five feet from the drop off.","Skull ducks and Bulk gets SPLATTERED in the face. Bulk glares at \n Skull, wipes some goop off, FLICKS it at Skull. \n \n WIZARD"," got fifteen seconds to make the \n drop. \n \n BULK (0 . S .) \n Step aside, pinheads. \n \n BULK and SKULL push their way through the Rangers, decked"," rebuilding my empire. \n \n Bulk and Skull enter waving a \"help wanted\" flier. Both \n them are wearing their garish blazers and dark sunglasses. \n \n SKULL"," we were facing death straight in \n the eye. \n \n SKULL \n We could smell it's breath. \n \n Ernie moves off after Bulk and Skull. Tommy's wrist","Ernie's is packed with crazed kids and teenagers who are \n ripping the place apart. \n \n Bulk and Skull watch while gorging themselves on pizza. \n \n BULK \n There goes the neighborhood. \n","they FALL INTO CAMERA, CLINGING TO EACH OTHER DESPERATELY \n \n BULK AND SKULL \n YEAAAAAAHHHHHH!! \n \n 6 EXT. SKY - DAY","5 EXT. PROP PLANE - BARREL-ROLLING - DAY \n \n Bulk and Skull rotate into frame. Now, facing straight down --"," danger! If we don't help them \n they're going to be killed! \n \n He hurries off. A few follow him, then a few more... until \n pretty soon everybody joins him. Bulk and Skull share a look."],["They advance up a slope -- the egg comes into view. \n \n ROCKY (alarmed) \n It looks like it's been opened! \n \n The kids get close to the egg, looking it over with","staff at the chamber and BURSTS a blast of energy. The egg \n opens up with a wHOOSH of decompressing air. webs of \n ELECTRICITY BRANCH OUT, followed by a SWIRL OF BLACK SMOKE. \n"," Hey bonehead, get off my hoof! \n \n Goldar is oblivious. Zedd, stands reverently before the \n glowing egg shape. \n \n ZEDD \n After two thousand years of","Suddenly a PURPLE STEAM POURS from the opening. And now \n something really amazing happens. .. \n \n A menacing STONE CLAW RISES UP, CRADLING A HUGE STONE \n"," Do you have any idea what it's \n like to be cooped up in a rotten \n egg for six thousand years? It's \n BORING! Not to mention I've had \n a Charlie horse since the","shakes his head in wonder. \n \n MORDANT \n Where does he come up with this \n stuff? \n \n The Queen spreads her wings and makes the most HORRENDOUS \n SCREECH imaginable. \n","16 EXT. INNER CITY CONSTRUCTION SITE - NIGHT \n \n Barricades and police tape surround the egg. A SECURITY GUARD \n passes his sleeping CO-WORKER, drops into a chair, sips his","There's a FLURRY OF FLAPPING WINGS as a FALCON SWOOPS DOWN and \n lands on a rock directly above Tommy. The bird fixes on Tommy \n with its piercing eyes. \n"," Put a cork in it \"Z\" . Ten \n minutes out of the egg and I'm \n already listening to one of your \n lectures. \n \n (he explodes furiously) \n "," LIFE!! Give my creatures LIFE! \n \n Mordant admires Ivan. \n \n MORDANT \n This guy is the King! \n \n Now the most amazing thing of all happens... \n"," then strikes out in the blink of \n an eye. \n \n We hear a TRILLING SOUND as Dulcea watches some kind of insect \n dart around her. \n","The embers cast an orange glow on Kimberly's sleeping face \n A SHADOW moves over her and two CRANE LEGS step into frame. \n","the creature EXPLODES INTO A CLOUD OF FEATHERS! \n \n BILLY \n AIM FOR THEIR BEAKS! \n \n Tommy reaches the top of a rack. He sees a Tengu making a","trees, causing the branches to shiver. \n \n After a moment, there's movement in the bushes. Suddenly, \n amazingly, a WOLF emerges -- his mane glistening in the \n","Adam. The frog sits there a moment, it's THROAT THROBBING \n \n Now we hear a DEEP GROWL and a tree SHAKES. Aisha fidgets in"," BULK \n Be the eagle. Be the eagle. \n \n SKULL \n Be the swallow. Be the \n swallow... \n \n They take deep breaths then CHARGE THE DOOR. \n","Dulcea and Tommy are standing on a towering rock rising out of \n a dark lake. \n \n DULCEA \n The falcon never struggles with \n the air, but rather becomes one \n with it. \n"," TOMMY \n It's... an eagle? \n \n DULCEA \n Look closer. \n \n TOMMY \n ... A falcon? \n \n DULCEA","We hear a CAW and the Queen Tengu squints as she spots a falcon \n circling in the sky above. The Queen is perched on top of a 20 \n foot rock face. She looks around hesitantly. \n","We PULL BACK to reveal it's sitting on a table. \n \n Mr Kelman enters, looks it over curiously. He picks it up, \n opens it and sticks his finger inside. \n"],[" ... Alpha, I am deeply concerned \n about the Rangers... \n \n ALPHA 5 \n I told them it was too dangerous, \n but they wouldn't listen. \n \n ZORDON"," TOMMY (into communicator) \n What's up, Alpha? \n \n ALPHA 5 (V.O.) \n Rangers, we need you at the","ALPHA 5 works frantically amidst the array of computer \n banks while ZORDON looks on from his COLUMN OF LIGHT. \n \n The six Rangers MATERIALIZE, Tommy turns to Zordon. \n \n TOMMY","The Rangers MATERIALIZE in the Command Center with their \n helmets off. \n \n AISHA \n ALPHA?! \n \n Alpha approaches, speaks in an anguished voice. \n \n ALPHA 5"," ALPHA 5 \n Ay, yi, yi! The Rangers are \n going to be CRUSHED! \n \n ZORDON \n Don't lose hope yet, Alpha! \n","tube into a make-shift electronic contraption. \n \n ALPHA 5 \n By bouncing ultra-high \n frequencies off one of the \n network satellites, I can send a \n long-range pulsar signal to"," Rangers were too late! Ivan is \n on his way here! \n \n ALPHA 5 \n Hey, NOBODY enters the Command \n Center without a power coin! \n"," ROCKY \n We have to try, Alpha. It's our \n only hope. \n \n Alpha shakes his head. \n \n ALPHA 5 \n It's far too dangerous. Zordon"," Rangers... I'm afraid you're too \n late. \n \n AISHA \n What?! \n \n ALPHA 5 \n Zordon... he's gone. \n"," Grove and the world from a reign \n of unthinkable terror. \n \n The Rangers literally beam. Alpha holds up a camera. \n \n ALPHA 5 \n Everybody say cheese. \n","Goldar looks up from the telescope. \n \n GOLDAR \n According to the TX Tracker, \n they're headed for Phaedos. \n \n ZEDD"," Alpha 5, the noble master sought \n out six extraordinary teenagers \n and gave them the power to \n transform into an unstoppable \n fighting force. In time of great \n need, the young heroes could now"," ... We must try to communicate \n with them. \n \n Alpha looks out over the decimated Command Center. \n \n ALPHA 5 \n Perhaps if I could locate a \n vertical-deflector then I could","54G INT. COMMAND CENTER - NIGHT (OLD SC 54E) 54G \n \n Alpha fusses over Zordon, who is looking a good ten years older. \n \n ZORDON"," Alpha. Is there any way we can \n defeat this monster? Any way at \n all? \n \n ALPHA 5 \n ... Perhaps there is a way... I \n have heard tales of another","Zordon, now barely alive, watches as Alpha makes more \n adjustments to his contraption. \n \n ALPHA 5 \n That should do it. we won't be \n able to hear them, but they","Alpha heaves a SIGH. \n \n ALPHA 5 \n Zordon's going to have my \n orbicular spheroids when he hears \n out about this! \n"," power. \n \n ADAM \n What?! \n \n ALPHA 5 \n ... They say that somewhere \n beyond the Hyperion Constellation \n there exists a mythological power"," within TWO FEET of the Rangers \n coordinates. \n \n ZORDON \n (with difficulty) \n ... I just pray we're not too \n late. \n \n Alpha continues making adjustments.","128 INT. COMMAND CENTER 128 \n \n Alpha LEAPS for joy. \n \n ALPHA 5 \n HOORAY, POWER RANGERS!! \n \n"],["109 INT. SNOW GLOBE / ZEDD'S PALACE 109 \n \n Zedd and Rita are now half-buried in snow, both of them blue in","Zedd waves his arms around in outrage. \n \n ZEDD \n Isn't this just TYPICAL! We \n finally do somebody a good turn \n and just look what happens! \n \n RITA","Mordant moves to a snow-globe on the table, his mouth falling \n open. Zedd and Rita are INSIDE IT!! \n","Zedd and Rita finally notice Ivan, standing with his lips \n apart, revealing jagged teeth, one of which is made of \n GLISTENING SILVER. \n \n He stretches his sinewy arms, releases an enormous YAWN, puts","KAPOW -- Zedd and Rita APPEAR BACK IN ZEDD'S PALACE IN ORIGINAL \n SIZE, both of them still covered in snow. \n"," have you been locked up? ! \n \n ZEDD \n We shall leave you to weave your \n wicked ways. \n \n RITA","129 INT. SNOW GLOBE / ZEDD'S PALACE 129 \n \n Rita and Zedd both look immensely pleased. \n \n ZEDD","PAST the moon. \n \n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \n standing on the balcony."," What... you spent two thousand \n years looking for this tub of \n SNOT! \n \n As if in response, the ooze BOILS AND FROTHS. Zedd and Rita \n are too busy arguing to notice this.","The rats chase after Saba as he heads into a water-slicked \n area. There's a large power cable running across it. Once \n all the rats are in the water, Saba kamikaze dives into the","Rita and Zedd chase Mordant and Goldar around the palac \n BLASTING them with their staffs. \n \n GOLDAR \n What'd we do?! \n \n ZEDD"," ZEDD \n How dare you?! Nobody shuts up \n Rita but me! \n \n IVAN \n Sorry, slick, there's been a \n slight'change of plans.","Zedd and Rita continue watching the battle from the snow globe. \n \n RITA \n I hope those Rangers put that \n lousy lowlife out of his misery! \n \n ZEDD","29 INT. ZEDD'S PALACE - NIGHT 29 \n \n Zedd, Rita and their minions are inside Zedd's dark palace \n Goldar looks through Rita's telescope as Rita rants.","Bulk and Skull are in the truck cabin trying to start the \n engine. It turns over but it won't catch. \n \n FRED \n Come on! Come on! \n \n The parents are now five feet from the drop off.","Zedd and Rita react as they see Ivan/Colossus and Megazord \n shooting out into the stars. \n \n RITA \n It's Ivan and the Megazord!! \n","Ivan SNAPS his hand -- a WAD OF OOZE FLIES OUT, SPLATS RITA \n across the mouth, muffling her. \n \n RITA \n Rrgh mmffpprr brghuh!! \n"," side. He`s just visiting for the \n summer. \n \n RITA \n Well put a muzzle on him! \n \n Mordant GRUMBLES under his breath. Meanwhile, Zedd aims is","and the kids DIVE CLEAR as the bolt ZAPS A THRONG OF RATS. \n \n Now, incredibly, the RATS GROWN INTO GRUNTING, SNARLING MAN \n SIZED RAT-BEASTS. \n","on to the rickety bridge. \n \n The Queen FIRES ANOTHER BLAST. \n \n ROCKY \n LOOK OUT! \n \n Rocky DIVES, knocking Aisha away from the bolt. \n"],[" centuries. \n \n The Rangers are silent for a moment. \n \n DULCEA \n He was always an inspiration... \n \n Dulcea speaks with grim-visaged intensity. \n \n DULCEA"," TOMMY \n Thank you, Dulcea. For \n everything. \n \n Dulcea catches her hand and six Rangers put their hands on top \n of hers. \n \n DULCEA"," DULCEA \n You have been visited by the \n animal spirits... they have given \n you their blessing. \n \n The Rangers continue to admire their symbols in silent wonder. \n","The Rangers crest a hill and Adam, who's in the lead, suddenly \n drops down - the others following suit. \n \n They peer over the ridge -- their eyes wide. \n \n Before them, a tenuous rope bridge leads to a vast rock landing."," DULCEA \n This is as far as I can take you. \n \n The kids are thrown by this. \n \n KIMBERLY \n You're leaving us?! \n \n DULCEA","talking B-U-I-L-T. Meet the Master warrior, DULCEA. \n \n The Rangers stand there with stunned expressions. Dulcea looks \n to Tommy. \n \n DULCEA"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA","Dulcea and the Rangers are gathered around a bird-bath stand \n with FLAMES leaping out of it. \n \n DULCEA \n In the language of the \n Nathadians, \"Nin\" stands for","34 thru 38 OMITTED \n \n 39 EXT. PHAEDOS JUNGLE - DAY 39 \n \n The Rangers move through foreboding jungle terrain, their ears","Now Dulcea does the impossible. She LEAPS OFF THE ROCK, SOARS \n FIFTY FEET through the air, AND LANDS on another protruding \n rock. Tommy is stunned. \n","ornate doorway, faces the Rangers. \n \n DULCEA \n Each of you must reach deep \n within and draw upon your natural \n instincts... Only then will you \n know the way of the Ninjetti.","55A EXT. DULCEA'S GARDEN / PHAEDOS - NIGHT 55A \n \n Dulcea leads the kids through a circular opening in one \n wall, all of them look completely wiped out. She reaches an"," parents for anything! \n \n 55C EXT. DULCEA'S GARDEN / PHAEDOS - NIGHT 55C \n \n The Rangers are fast asleep. A night wind WHISTLES through the","Dulcea leads Snoggle and the Rangers up a stone path. They \n approach a bush filled with exotic berries. All of them start \n eating the berries. \n \n TOMMY \n Dulcea... how do you and Zordon"," smell what we cannot smell. \n \n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \n blow. \n \n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly"," Billy is starting to get the hang of it. He hits Dulcea a few \n times, then she CLOBBERS him. \n \n 3. Kimberly balances along the bamboo log again. She does a","21 EXT. COMMAND CENTER - NIGHT 21 \n \n The Rangers climb a mountain path, all of them looking alarmed. \n Up ahead, there's a PILLAR OF BLACK SMOKE rising from the \n Command Center.","54C EXT. DULCEA'S GARDEN / PHAEDOS - DAY (OLD SC 52) 54C \n \n Aisha watches as Dulcea goes into a bear stance. \n"," What do you know of the Great \n Power? \n \n KIMBERLY \n Only that we need it to defeat \n Ivan Ooze. \n \n Dulcea's eyes move from Ranger to Ranger.","43 EXT. DULCEA'S CAMP / PHAEDOS - DAY 43 \n \n The kids are seated on rocks by a lakeside, all of them"],[" DULCEA \n Rocky, you are the Mighty Ape. \n \n We see each of them DISCOVER THEIR ANIMAL. \n \n BILLY \n I see... a fox \n","Rocky is now up in the scaffolding. He DROPS TEN FEET through \n the air, LANDS ON ONE END OF A BOARD. \n \n There's a beast at the other end and he goes FLIPPING THROUGH"," like a falcon, SOARS THROUGH THE AIR. He gets about ten feet \n then DROPS INTO THE WATER. \n \n 5. Rocky climbs up the oriental pole -- this time he makes it","Dulcea and Rocky are standing at the bottom of a twenty foot pole \n with an exotic oriental carving \n \n DULCEA \n The ape is strong, but more \n importantly it is flexible and \n free.","There's a FLURRY OF FLAPPING WINGS as a FALCON SWOOPS DOWN and \n lands on a rock directly above Tommy. The bird fixes on Tommy \n with its piercing eyes. \n"," I am the bear, stalwart and bold! \n \n ADAM \n I am the frog, quick as \n lightning! \n \n ROCKY \n I am the mighty ape! \n","the beast CRASHES INTO A JOHNNY-ON-THE-SPOT. \n \n Rocky fights another beast and the creature SWINGS \n UP THROUGH SCAFFOLDING with phenomenal dexterity. Rocky goes \n after him."," Stylin'! \n \n Dulcea turns to Rocky. His sand MAGICALLY TAKES ON THE SHAPE \n OF AN APE. \n \n ROCKY \n I see... an Ape. \n"," DULCEA \n Close. Billy, you are the Wolf, \n cunning and swift. \n \n And now Kimberly. She studies hers for a moment. It looks \n like a bird. \n","As Rocky is talking, a flubbery looking SNOUT works it's way \n over Kimberly's shoulder. She hasn't noticed it yet. \n \n DULCEA \n You don't understand. If you do "," DULCEA \n You have been visited by the \n animal spirits... they have given \n you their blessing. \n \n The Rangers continue to admire their symbols in silent wonder. \n","into each other. \n \n Rocky picks up a two-by-four and starts SPARRING with another \n rat. \n \n Billy SHOVES A HUGE WOODEN-SPOOL down a slope and it"," ROCKY \n It's the best thing that's ever \n happened to all of us. \n \n ADAM \n ... He's gonna make it, guys. \n \n The others nod in agreement. \n","with the six animals of the Ninjetti carved into it. \n \n ROCKY \n ... The Nathadian Monolith... \n \n Kimberly looks at all the bones -- instinctively puts her hand \n on her animal symbol. \n","trees, causing the branches to shiver. \n \n After a moment, there's movement in the bushes. Suddenly, \n amazingly, a WOLF emerges -- his mane glistening in the \n"," BILLY \n I am the wolf, cunning and swift! \n \n KIMBERLY \n I am the crane, agile and \n sublime! \n \n AISHA"," Phaedos. \n \n ROCKY \n ... Incredible... \n \n Tommy gives them all an invigorating look. \n \n TOMMY \n Let's see if we can find this"," KIMBERLY \n I think its some kind of bird. \n \n DULCEA \n Kimberly, you are the Crane, \n agile and sublime. \n \n Now Adam. \n"," BILLY \n ... Nothing. \n \n ROCKY \n Release the power with the power. \n \n Rocky steps back, THROWS HIS SHOULDER into the Monolith with a","We hear a CAW and the Queen Tengu squints as she spots a falcon \n circling in the sky above. The Queen is perched on top of a 20 \n foot rock face. She looks around hesitantly. \n"],[" That's right. And then we threw \n one of them off a mountain and \n another one into a raqing river! \n \n IVAN \n So they've been destroyed? \n","The Tengu fall dead silent. \n \n IVAN \n Tengu Warriors, you will fly to \n Phaedos, find the Power \n Rangers... and TEAR THEM APART! \n","Now Ivan begins to THROW LIGHTNING EVERYWHERE, LAYING \n THE COMMAND CENTER TO WASTE. \n \n Ivan laughs in the b.g. as Alpha continues to spin, \n moving his arms in and out. \n","All of them turn their attention to Ivan. \n \n IVAN \n YOU HAVE SERVED YOUR PURPOSE. \n NOW YOU WILL RETURN TO THE \n CONSTRUCTION SITE AND LEAP TO \n YOUR DEMISE! ","Now the Rangers ATTACK, some of them LUNGING OFF ROCKS, others \n BURSTING out of crevices, others coming over the walls. \n \n Billy wields his WHISTLING sticks -- misses several times, then"," IVAN/COLOSSUS \n NOOOOOOOOOOOOUOOOO!!!! \n \n Now we witness the EXPLOSION TO END ALL EXPLOSIONS as"," IVAN/COLOSSUS \n NOTHING can defeat the Powers of \n Darkness! \n \n Now Ivan/Colossus goes to town on Megazord. WHOMP! THWACK!"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA"," IVAN \n How could you let them get away?! \n If Dulcea leads them to the Great \n Power, everything will be ruined! \n They must be OBLITERATED! \n"," IVAN \n My turn. \n \n \n He ZAPS Rita and Zedd, and with a BRILLIANT FLASH, THEY'RE GONE. \n","The Rangers crest a hill and Adam, who's in the lead, suddenly \n drops down - the others following suit. \n \n They peer over the ridge -- their eyes wide. \n \n Before them, a tenuous rope bridge leads to a vast rock landing."," IVAN \n From this moment forth, the world \n as you know it SHALL CEASE TO \n EXIST! \n \n Ivan raises his arms -- thunder CRACKLES and LIGHTNING RIPS \n ACROSS THE SKY. \n"," still using a bunch of rug-rats \n to do his dirty work. And \n speaking of rats... \n \n Ivan raises both hands -- ELECTRICITY SHOOTS OUT HIS FINGERS","and PARRY WITH CATACLYSMIC BURSTS OF SPARKS. \n \n Ivan/Scorpitron takes a swing and the TOWER SMASHES INTO","Zedd and Rita finally notice Ivan, standing with his lips \n apart, revealing jagged teeth, one of which is made of \n GLISTENING SILVER. \n \n He stretches his sinewy arms, releases an enormous YAWN, puts","The Rangers pull off more SPECTACULAR MANEUVERS \n then swoop TOGETHER, interlocking hands and forming a \n PERFECT CIRCLE \n \n They look to one another and a moment of pure magic passes","Ivan/Colossus BASHES the Megazord so hard that the machine does \n MULTIPLE CARTWHEELS through the cosmos. \n \n Ivan/Colossus makes a KAMIKAZE-DIVE straight for Megazord \n","He looks down on the street as the COLUMNS OF LIGHT SHOOT DOWN \n AND THE POWER RANGERS APPEAR. \n \n IVAN \n (outraged) \n POWER RANGERS! \n"," The Rangers share purposeful looks. \n \n TOMMY \n It's our only hope. \n \n Alpha shakes his head, punches in the final codes. \n \n ALPHA \n Safe journey, Rangers!"," Rangers, by going after the Great \n Power, all of you knowingly put \n your lives at extreme risk... and \n in so doing you not only saved my \n life, you saved all of Angel"],[" We're here at the World Center \n Construction Site, where a \n mysterious object was just \n uncovered in a freak accident in \n which one workman suffered minor \n injuries... \n","They survey the construction site for a moment. \n \n AISHA \n Anybody see anything? \n \n TOMMY \n ... Let's take a look over there. \n","59 EXT. INNER CITY CONSTRUCTION SITE - DAY 59 \n \n The bulldozers and earth movers have dug out a twenty foot pit. \n IVAN leads Goldar and Mordant through the site, passing dozens","A PURPLE HAZE OF SMOKE has settled on the construction site. \n Suddenly, mysteriously, SWARMS OF ZOMBIFIED PARENTS emerge from \n the vapors - We see Mr. Kelman amongst them. \n"," AHHHHHHHHH! \n \n \n 11A EXT. CONSTRUCTION SITE - DAY 11A \n \n A T.V. REPORTER is talking into camera. \n \n REPORTER","ENGINE ROARS as it HOISTS THE PLATE UP, revealing a CAVERNOUS \n OPENING. \n \n TWO MORE CONSTRUCTION WORKERS have joined the first, all of \n them look on in amazement. \n","makes a CLANGING SOUND as it HITS METAL! A baffled look comes \n over him as he stops the jackhammer, brushes away debris.. \n uncovering an ANCIENT IRON PLATE. He gapes at it, too stunned","the construction site. They can see the parents heading toward \n the drop off. \n \n FRED \n There they are! \n \n BULK \n They're heading for the cliff! \n \n SKULL","ANGLE ON FRED as he darts through the construction site, taking \n care not to be seen. He hunkers down behind a stack of \n two-by-fours, searches the area. He spots his dad, speaks under \n his breath. \n","MAKE SPECTACULAR LANDINGS on the construction site parking \n structure. \n \n As they shoot across the concrete, the CAMERA PUSHES IN on: \n"," SKULL \n They're at the World Center \n Construction Site. \n \n Fred nods. \n \n FRED \n Uh. OOZE RULES! \n","10 EXT. INNER CITY CONSTtZUCTION SITE - DAY 10 \n \n ... WORKERS operating heavy machinery -- cranes, bulldozer , \n etc., Construction Worker jackhammers solid rock. Drill","to speak. \n \n 11 EXT. CONSTRUCTION SITE - SHORT TIME LATER 11 \n \n A large hook has been fastened to the iron plate -- a crane","20 CONTINUED: (2) 20 \n \n They pass a bulldozer, some scaffolding \n \n ADAM \n Hold it... \n \n They come to a stop. \n","16 EXT. INNER CITY CONSTRUCTION SITE - NIGHT \n \n Barricades and police tape surround the egg. A SECURITY GUARD \n passes his sleeping CO-WORKER, drops into a chair, sips his"," We should get some rest. \n \n They all settle in for the night. \n \n 55B EXT. INNER CITY CONSTRUCTION SITE - NIGHT (OLD SC 47) 55B \n","Mr. Kelman just gives Fred a blank stare. \n \n MR. KELMAN \n Dig... dig... dig... \n \n Suddenly an ARM FALLS ON FRED'S SHOULDER. \n"," CONSTRUCTION WORKER # 1 \n ... I'll be damned. \n \n As though drawn by it's power, he moves to touch it. \n","All of them turn their attention to Ivan. \n \n IVAN \n YOU HAVE SERVED YOUR PURPOSE. \n NOW YOU WILL RETURN TO THE \n CONSTRUCTION SITE AND LEAP TO \n YOUR DEMISE! "," -- and KABOOOM -- he's space \n dust! \n \n 113A EXT. CONSTRUCTION SITE 113A \n \n Fred is standing beside the water truck holding a large hose"],["They advance up a slope -- the egg comes into view. \n \n ROCKY (alarmed) \n It looks like it's been opened! \n \n The kids get close to the egg, looking it over with","staff at the chamber and BURSTS a blast of energy. The egg \n opens up with a wHOOSH of decompressing air. webs of \n ELECTRICITY BRANCH OUT, followed by a SWIRL OF BLACK SMOKE. \n","Suddenly a PURPLE STEAM POURS from the opening. And now \n something really amazing happens. .. \n \n A menacing STONE CLAW RISES UP, CRADLING A HUGE STONE \n"," Do you have any idea what it's \n like to be cooped up in a rotten \n egg for six thousand years? It's \n BORING! Not to mention I've had \n a Charlie horse since the"," Hey bonehead, get off my hoof! \n \n Goldar is oblivious. Zedd, stands reverently before the \n glowing egg shape. \n \n ZEDD \n After two thousand years of","16 EXT. INNER CITY CONSTRUCTION SITE - NIGHT \n \n Barricades and police tape surround the egg. A SECURITY GUARD \n passes his sleeping CO-WORKER, drops into a chair, sips his","shakes his head in wonder. \n \n MORDANT \n Where does he come up with this \n stuff? \n \n The Queen spreads her wings and makes the most HORRENDOUS \n SCREECH imaginable. \n"," BULK \n Be the eagle. Be the eagle. \n \n SKULL \n Be the swallow. Be the \n swallow... \n \n They take deep breaths then CHARGE THE DOOR. \n","We hear a resounding SNAP AS IVAN'S FEET ARE RELEASED FROM THE \n ROOFTOP AND HIS ENTIRE BEING SPURTS INSIDE THE GIANT'S BELLY. \n","the creature EXPLODES INTO A CLOUD OF FEATHERS! \n \n BILLY \n AIM FOR THEIR BEAKS! \n \n Tommy reaches the top of a rack. He sees a Tengu making a"," About twenty seconds in your \n time. \n \n TOMMY \n And how do we release the power? \n \n DULCEA \n The legend goes that you release \n the power with the power.","The embers cast an orange glow on Kimberly's sleeping face \n A SHADOW moves over her and two CRANE LEGS step into frame. \n"," LIFE!! Give my creatures LIFE! \n \n Mordant admires Ivan. \n \n MORDANT \n This guy is the King! \n \n Now the most amazing thing of all happens... \n","The SCINTILLATING BEHEMOTHS AWAKE FROM THE DEAD, THEIR EYES AND \n MOUTHS OPENING, THEIR ARMS REACHING UPWARD. The beasts ROAR \n OUT IN THUNDEROUS RAGE.","his hands on his head, CRACKS it. \n \n IVAN \n Ahhhhhhhh. \n \n Now he SMACKS his lips together, opens his arms theatrically \n and gives his trademark stance. \n","We PULL BACK to reveal it's sitting on a table. \n \n Mr Kelman enters, looks it over curiously. He picks it up, \n opens it and sticks his finger inside. \n","on his face. Ivan steps up onto a platform. \n \n IVAN \n Mordant... let the ooze flow! \n \n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE ","Instantly, the remaining Tengu retreat, SQUAWKING and CAWWING in \n rage. The kids turn to eaeh other, sharing in a moment of triumph. \n \n ADAM \n WE DID IT!! \n \n"," SKULL \n A real shame. \n \n Suddenly Fred appears and shouts out. \n \n FRED \n EVERYBODY, LISTEN UP! \n \n The place falls silent. \n \n FRED","It's total pandemonium. \n \n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \n fists raised."],[" TOMMY (into communicator) \n What's up, Alpha? \n \n ALPHA 5 (V.O.) \n Rangers, we need you at the"," ... Alpha, I am deeply concerned \n about the Rangers... \n \n ALPHA 5 \n I told them it was too dangerous, \n but they wouldn't listen. \n \n ZORDON","ALPHA 5 works frantically amidst the array of computer \n banks while ZORDON looks on from his COLUMN OF LIGHT. \n \n The six Rangers MATERIALIZE, Tommy turns to Zordon. \n \n TOMMY","The Rangers MATERIALIZE in the Command Center with their \n helmets off. \n \n AISHA \n ALPHA?! \n \n Alpha approaches, speaks in an anguished voice. \n \n ALPHA 5"," ALPHA 5 \n Ay, yi, yi! The Rangers are \n going to be CRUSHED! \n \n ZORDON \n Don't lose hope yet, Alpha! \n"," Rangers were too late! Ivan is \n on his way here! \n \n ALPHA 5 \n Hey, NOBODY enters the Command \n Center without a power coin! \n"," Rangers... I'm afraid you're too \n late. \n \n AISHA \n What?! \n \n ALPHA 5 \n Zordon... he's gone. \n"," Alpha 5, the noble master sought \n out six extraordinary teenagers \n and gave them the power to \n transform into an unstoppable \n fighting force. In time of great \n need, the young heroes could now","Zordon, now barely alive, watches as Alpha makes more \n adjustments to his contraption. \n \n ALPHA 5 \n That should do it. we won't be \n able to hear them, but they"," What're THOSE?! \n \n We hear Alpha on Tommy's wrist communicator. \n \n ALPHA 5 (V. 0.) \n Rangers, call for your new animal \n Zords! \n"," ROCKY \n We have to try, Alpha. It's our \n only hope. \n \n Alpha shakes his head. \n \n ALPHA 5 \n It's far too dangerous. Zordon"," Grove and the world from a reign \n of unthinkable terror. \n \n The Rangers literally beam. Alpha holds up a camera. \n \n ALPHA 5 \n Everybody say cheese. \n","54G INT. COMMAND CENTER - NIGHT (OLD SC 54E) 54G \n \n Alpha fusses over Zordon, who is looking a good ten years older. \n \n ZORDON","tube into a make-shift electronic contraption. \n \n ALPHA 5 \n By bouncing ultra-high \n frequencies off one of the \n network satellites, I can send a \n long-range pulsar signal to","Alpha heaves a SIGH. \n \n ALPHA 5 \n Zordon's going to have my \n orbicular spheroids when he hears \n out about this! \n"," within TWO FEET of the Rangers \n coordinates. \n \n ZORDON \n (with difficulty) \n ... I just pray we're not too \n late. \n \n Alpha continues making adjustments."," ... We must try to communicate \n with them. \n \n Alpha looks out over the decimated Command Center. \n \n ALPHA 5 \n Perhaps if I could locate a \n vertical-deflector then I could","128 INT. COMMAND CENTER 128 \n \n Alpha LEAPS for joy. \n \n ALPHA 5 \n HOORAY, POWER RANGERS!! \n \n"," GO, Rangers! GO, Rangers! GO, \n Rangers! GO! \n \n 83 INT. MEGAZORD COCKPIT 83 \n \n The Rangers are side by side, each of them handling different","Alpha works frantically hitting buttons and levers. \n \n ALPHA 5 \n Ay, yi, yi, yi! The filamentary \n transistors have malfunctioned! \n"],[" centuries. \n \n The Rangers are silent for a moment. \n \n DULCEA \n He was always an inspiration... \n \n Dulcea speaks with grim-visaged intensity. \n \n DULCEA"," DULCEA \n You have been visited by the \n animal spirits... they have given \n you their blessing. \n \n The Rangers continue to admire their symbols in silent wonder. \n"," TOMMY \n Thank you, Dulcea. For \n everything. \n \n Dulcea catches her hand and six Rangers put their hands on top \n of hers. \n \n DULCEA","talking B-U-I-L-T. Meet the Master warrior, DULCEA. \n \n The Rangers stand there with stunned expressions. Dulcea looks \n to Tommy. \n \n DULCEA"," What do you know of the Great \n Power? \n \n KIMBERLY \n Only that we need it to defeat \n Ivan Ooze. \n \n Dulcea's eyes move from Ranger to Ranger.","Dulcea and the Rangers are gathered around a bird-bath stand \n with FLAMES leaping out of it. \n \n DULCEA \n In the language of the \n Nathadians, \"Nin\" stands for"," smell what we cannot smell. \n \n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \n blow. \n \n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA"," DULCEA \n Close. Billy, you are the Wolf, \n cunning and swift. \n \n And now Kimberly. She studies hers for a moment. It looks \n like a bird. \n","The Rangers recover and exchange expressions of utter disbelief \n \n KIMBERLY \n Wow! That was amazing for such \n a little dude! \n \n The figure speaks in a HOARSE WHISPER. \n"," Tommy, you are the Falcon, Winged \n Lord of the Sky. \n \n Kimberly regards Dulcea with true admiration. \n \n KIMBERLY \n \n How do you know so much about the","ornate doorway, faces the Rangers. \n \n DULCEA \n Each of you must reach deep \n within and draw upon your natural \n instincts... Only then will you \n know the way of the Ninjetti."," Billy is starting to get the hang of it. He hits Dulcea a few \n times, then she CLOBBERS him. \n \n 3. Kimberly balances along the bamboo log again. She does a","Now Dulcea does the impossible. She LEAPS OFF THE ROCK, SOARS \n FIFTY FEET through the air, AND LANDS on another protruding \n rock. Tommy is stunned. \n","Dulcea leads Snoggle and the Rangers up a stone path. They \n approach a bush filled with exotic berries. All of them start \n eating the berries. \n \n TOMMY \n Dulcea... how do you and Zordon"," ROCKY \n What's going on?! \n \n KIMBERLY \n I don't believe it! \n \n Dulcea approaches, a wondrous expression on her face. \n"," DULCEA \n This is as far as I can take you. \n \n The kids are thrown by this. \n \n KIMBERLY \n You're leaving us?! \n \n DULCEA"," parents for anything! \n \n 55C EXT. DULCEA'S GARDEN / PHAEDOS - NIGHT 55C \n \n The Rangers are fast asleep. A night wind WHISTLES through the","Dulcea is blindfolded, Billy isn't. \n \n DULCEA \n The wolf relies on it's enhanced \n senses to guide it... He can \n hear what we cannot hear, he can"," DULCEA \n Rocky, you are the Mighty Ape. \n \n We see each of them DISCOVER THEIR ANIMAL. \n \n BILLY \n I see... a fox \n"],[" centuries. \n \n The Rangers are silent for a moment. \n \n DULCEA \n He was always an inspiration... \n \n Dulcea speaks with grim-visaged intensity. \n \n DULCEA"," DULCEA \n This is as far as I can take you. \n \n The kids are thrown by this. \n \n KIMBERLY \n You're leaving us?! \n \n DULCEA","Now Dulcea does the impossible. She LEAPS OFF THE ROCK, SOARS \n FIFTY FEET through the air, AND LANDS on another protruding \n rock. Tommy is stunned. \n"," ROCKY \n What's going on?! \n \n KIMBERLY \n I don't believe it! \n \n Dulcea approaches, a wondrous expression on her face. \n"," smell what we cannot smell. \n \n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \n blow. \n \n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly"," Tommy, you are the Falcon, Winged \n Lord of the Sky. \n \n Kimberly regards Dulcea with true admiration. \n \n KIMBERLY \n \n How do you know so much about the","Dulcea is blindfolded, Billy isn't. \n \n DULCEA \n The wolf relies on it's enhanced \n senses to guide it... He can \n hear what we cannot hear, he can"," Ninjetti? \n \n Dulcea stands tall and proud. \n \n DULCEA \n I... am the sole living \n descendant of the \"Nathadians\". \n (beat)"," DULCEA \n Close. Billy, you are the Wolf, \n cunning and swift. \n \n And now Kimberly. She studies hers for a moment. It looks \n like a bird. \n","Dulcea and Rocky are standing at the bottom of a twenty foot pole \n with an exotic oriental carving \n \n DULCEA \n The ape is strong, but more \n importantly it is flexible and \n free.","54C EXT. DULCEA'S GARDEN / PHAEDOS - DAY (OLD SC 52) 54C \n \n Aisha watches as Dulcea goes into a bear stance. \n","1. We see Aisha standing on a rock, her whole body flowing in \n a martial art exercise. \n \n 2. Billy and Dulcea continue to fight with whistling sticks.","Dulcea and Tommy are standing on a towering rock rising out of \n a dark lake. \n \n DULCEA \n The falcon never struggles with \n the air, but rather becomes one \n with it. \n"," DULCEA \n The bear is sturdy as a towering \n tree. Nothing can uproot it. \n \n Snoggle CHARGES Dulcea, SLAMS INTO HER. She remains as rooted","talking B-U-I-L-T. Meet the Master warrior, DULCEA. \n \n The Rangers stand there with stunned expressions. Dulcea looks \n to Tommy. \n \n DULCEA","54A EXT. DULCEA'S GARDEN / PHAEDOS - DAY (OLD SC 53) 54A \n \n Dulcea and Billy circle one another, fighting with spinning \n WHISTLING sticks.","He marches to the pole, Dulcea holds him back. \n \n DULCEA \n Snoggle, we don't have time for \n you to show off \n"," DULCEA \n It is said that to those who \n possess the Power... all things \n are possible. \n \n BILLY \n Where did it originate? \n \n DULCEA"," is to achieve the highest state \n of being... \n \n TOMMY \n And how do we do that? \n \n DULCEA \n By learning the ancient art of"," TOMMY \n Thank you, Dulcea. For \n everything. \n \n Dulcea catches her hand and six Rangers put their hands on top \n of hers. \n \n DULCEA"],["Night has fallen on Angel Grove. We PAN ACROSS a quiet, middle- \n class neighborhood, settle on a two story house. \n","A large banner proclaims \"SAVE THE OBSERVATORY.\" We see \n diving teams with labeled uniforms -- the BOWLING TEAM, ANGEL","We see the reporter then a few cuts of GEOLOGISTS combing the \n site with scanning equipment and COPS sealing off the area with \n yellow tape. \n \n REPORTER \n ... Angel Grove Police have","7 EXT. ANGEL GROVE PARK - DAY 7 \n \n FAMILIES eat hot dogs and cotton candy at a huge fundraiser ."," known as Zordon, came to the city \n of Angel Grove to establish a \n vanguard in the never ending \n struggle against evil. with the \n aid of his trusted assistant,"," I'll be at the Observatory \n Sunday. \n \n ERNIE \n That's right - Ryan's Comet. \n \n ROCKY \n We should throw a little comet","PAST the moon. \n \n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \n standing on the balcony."," In a place that came to be known \n as Angel Grove. \n \n ZORDON \n The chamber has been accidently \n UNCOVERED! You must return it to","72 EXT. ANGEL GROVE TOWER - DAY 72 \n \n We're on top of a high tower overlooking the entire city","We see the mass of parents as they march intently down a dark \n city street. \n \n 76A EXT. ANGEL GROVE PARK - ERNIE'S - NIGHT (OLD SC 64) 76A","We see images of PEOPLE SCREAMING THEIR GUTS out as they \n CLAMBER PAST CAMERA. \n \n NEWS REPORTER \n Angel Grove has never before \n known such a crisis and we can"," Looking good up there. \n \n TOMMY \n Thanks, man. \n \n MR. KELMAN \n Congratulations - the \n Observatory's got a new lease on \n life.","29 INT. ZEDD'S PALACE - NIGHT 29 \n \n Zedd, Rita and their minions are inside Zedd's dark palace \n Goldar looks through Rita's telescope as Rita rants."," Grove and the world from a reign \n of unthinkable terror. \n \n The Rangers literally beam. Alpha holds up a camera. \n \n ALPHA 5 \n Everybody say cheese. \n","10. Aisha also does something appropriate. \n \n 55H EXT. ANGEL GROVE PARK - DAY (OLD SC 55F) 55H \n"," BUSINESS!! \n \n They TELEPORT out. \n \n 79 EXT. ANGEL GROVE TOWER - NIGHT 79 \n","\"Angel Grove First National Bank\". The ENTIRE SIDE OF THE \n BUILDING IS DEMOLISHED. \n \n TOMMY (V.O.) \n One more blow like that and we're"," ROCKY \n Look, Zordon doesn't have much \n longer to live. And for all we \n know, Angel Grove could already \n be under attack. We don't have \n TIME for this.","Zedd and Rita react as they see Ivan/Colossus and Megazord \n shooting out into the stars. \n \n RITA \n It's Ivan and the Megazord!! \n","Goldar looks up from the telescope. \n \n GOLDAR \n According to the TX Tracker, \n they're headed for Phaedos. \n \n ZEDD"],["skeletons strewn around it, some of them human, some of them \n alien. \n \n They approach the massive block, stand before it in awe struck \n silence. In the middle of the Monolith there's a large circle"," KIMBERLY \n I guess these guys weren't so \n lucky. \n \n A few of the kids walk around the Monolith, examining it more \n closely. \n \n AISHA","75A EXT. MONOLITH - DAY 75A \n \n The kids climb up on top of the rock bluff -- before them is a \n huge black Monolith. There's all sorts of charred bones and","we can see the outline of the Nathadian Monolith. \n \n DULCEA \n The Monolith is there in the \n distance. \n \n The kids strain to get a better look. \n","34 thru 38 OMITTED \n \n 39 EXT. PHAEDOS JUNGLE - DAY 39 \n \n The Rangers move through foreboding jungle terrain, their ears","75C INT. MONOLITH - DAY 75C \n \n The kids BURST THROUGH A WALL OF LIGHT and come down together \n inside a vast cavern. There's a pyramid shaped steel object in","The Rangers crest a hill and Adam, who's in the lead, suddenly \n drops down - the others following suit. \n \n They peer over the ridge -- their eyes wide. \n \n Before them, a tenuous rope bridge leads to a vast rock landing."," BILLY \n That's the only way to the \n Monolith... \n \n ROCKY \n We can take these guys! \n \n Tommy pulls all of them into a huddle. \n"," The Rangers share purposeful looks. \n \n TOMMY \n It's our only hope. \n \n Alpha shakes his head, punches in the final codes. \n \n ALPHA \n Safe journey, Rangers!"," BILLY \n ... Nothing. \n \n ROCKY \n Release the power with the power. \n \n Rocky steps back, THROWS HIS SHOULDER into the Monolith with a"," \n We hear a RUMBLING SOUND as the earth starts to SHAKE. The \n Rangers look to each other, horrified. \n \n Then everything falls still and silent... and then a miracle \n happens. \n"," Monolith to store the power and \n keep it from their enemies. \n (ominous) \n For thousands of years, beings \n from all over the Universe have \n tried to obtain it... ALL have"," centuries. \n \n The Rangers are silent for a moment. \n \n DULCEA \n He was always an inspiration... \n \n Dulcea speaks with grim-visaged intensity. \n \n DULCEA"," within TWO FEET of the Rangers \n coordinates. \n \n ZORDON \n (with difficulty) \n ... I just pray we're not too \n late. \n \n Alpha continues making adjustments.","21 EXT. COMMAND CENTER - NIGHT 21 \n \n The Rangers climb a mountain path, all of them looking alarmed. \n Up ahead, there's a PILLAR OF BLACK SMOKE rising from the \n Command Center."," not have the Ninjetti, the power \n will destroy you. \n (beat) \n To reach the Monolith we must \n traverse the Neola jungle. We"," DULCEA \n You have been visited by the \n animal spirits... they have given \n you their blessing. \n \n The Rangers continue to admire their symbols in silent wonder. \n","Now the Rangers ATTACK, some of them LUNGING OFF ROCKS, others \n BURSTING out of crevices, others coming over the walls. \n \n Billy wields his WHISTLING sticks -- misses several times, then","The Rangers recover and exchange expressions of utter disbelief \n \n KIMBERLY \n Wow! That was amazing for such \n a little dude! \n \n The figure speaks in a HOARSE WHISPER. \n","32F EXT. JUNGLE CLEARING / PHAEDOS - DAY (OLD SC. 32C) \n \n The Rangers continue scouring the sky as BILLY COMES FLYING. \n"],[" Danger from what? \n \n ZORDON \n Six thousand years ago a \n morphological being known as Ivan \n Ooze, ruled the world with a \n reign of unparalleled terror."," TOMMY \n Huh ... Oh, uh, we re, ah... \n \n Kimberly intervenes. \n \n KIMBERLY \n He was attacked by this horrific \n being -- Ivan Ooze.","IVAN OOZE. \n \n IVAN \n It's TEENAGERS \n \n KIMBERLY \n GroSS! \n \n IVAN \n You're too kind. Allow me to"," You haven't changed, Ooze. \n You're still picking on creatures \n smaller than yourself. \n \n Ivan slowly circles Zordan's column of light, Zordon turns \n with him. \n \n IVAN"," IVAN \n Ladies and Gentlemen... the OOZE \n is back!! \n \n Rita blushes. \n \n RITA \n He's so cute. \n","There's more STATIC, then IVAN APPEARS AS THE WIZARD. \n \n IVAN \n Hi, folks, Ivan Ooze here. \n \n ALPHA 5"," guck... this is the one and only \n Ivan's Ooze! Yesireebob. It's \n ooey, gooey and even kind of \n chewy. But best of all it's"," would never allow it. \n \n AISHA \n If we don't try, Zordon won't \n survive! \n \n ADAM \n If Ivan Ooze isn't stopped,"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA","on his face. Ivan steps up onto a platform. \n \n IVAN \n Mordant... let the ooze flow! \n \n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE "," IVAN \n From this moment forth, the world \n as you know it SHALL CEASE TO \n EXIST! \n \n Ivan raises his arms -- thunder CRACKLES and LIGHTNING RIPS \n ACROSS THE SKY. \n","We hear a SLITHERING SLURPING SOUND as the substance RISES UP \n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \n \n MORDANT","each other. It's an ooze free-for-all. \n \n IVAN \n Boys and girls, girls and boys, \n gather round and feast your eyes. \n This ain't sludge and this ain't"," Well... ALMOST nobody. \n \n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \n IVAN RISES UP. He takes in the state-of-the-art surroundings. \n"," introduce myself. I am the \n infamous, world-reviled, \n universally despised, IVAN OOZE! \n \n ROCKY \n Well, pack your bags cause we're","Zedd flashes her an angry look, turns back to Ivan. \n \n ZEDD \n I am Lord Zedd, sworn enemy of \n all that is good and decent. It \n is a supreme honor to finally","Ivan approaches an enormous vat, turns a tap -- it BURPS and \n GLOPS as PURPLE OOZE pours out. \n \n GOLDAR \n But boss, what about their \n parents? \n"," SKULL \n They're at the World Center \n Construction Site. \n \n Fred nods. \n \n FRED \n Uh. OOZE RULES! \n","There's a BURST OF PURPLE SMOKE -- Ivan, Mordant and Goldar \n appear. Ivan looks out on the city, holds up his arms \n theatrically. \n \n IVAN","59 EXT. INNER CITY CONSTRUCTION SITE - DAY 59 \n \n The bulldozers and earth movers have dug out a twenty foot pit. \n IVAN leads Goldar and Mordant through the site, passing dozens"],[" You haven't changed, Ooze. \n You're still picking on creatures \n smaller than yourself. \n \n Ivan slowly circles Zordan's column of light, Zordon turns \n with him. \n \n IVAN"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA"," would never allow it. \n \n AISHA \n If we don't try, Zordon won't \n survive! \n \n ADAM \n If Ivan Ooze isn't stopped,","There's more STATIC, then IVAN APPEARS AS THE WIZARD. \n \n IVAN \n Hi, folks, Ivan Ooze here. \n \n ALPHA 5"," TOMMY \n Huh ... Oh, uh, we re, ah... \n \n Kimberly intervenes. \n \n KIMBERLY \n He was attacked by this horrific \n being -- Ivan Ooze.","Everybody follows Kimberly's gaze, thunderstruck expressions \n coming over them. \n \n Laying on a destroyed bed of crystals is Zordon. He is still a \n SHIMMERING SPECTRAL being, only now he s aged a good fifty"," once... and now I'm afraid he \n has the strength to see his \n scheme through. \n \n Zordon closes his eyes. Tommy puts a hand on Kimberly's"," ZORDON \n I'm afraid that's impossible... \n The power has been destroyed. \n It's gone... The Zords, the \n weapons... all of it. \n (beat)"," Danger from what? \n \n ZORDON \n Six thousand years ago a \n morphological being known as Ivan \n Ooze, ruled the world with a \n reign of unparalleled terror.","The Rangers are too stunned to speak. They approach Zordon's \n lifeless form looking absolutely devastated. \n \n KIMBERLY \n ... This can't be... \n"," IVAN/COLOSSUS \n NOTHING can defeat the Powers of \n Darkness! \n \n Now Ivan/Colossus goes to town on Megazord. WHOMP! THWACK!","Zordon, now barely alive, watches as Alpha makes more \n adjustments to his contraption. \n \n ALPHA 5 \n That should do it. we won't be \n able to hear them, but they"," IVAN \n My turn. \n \n \n He ZAPS Rita and Zedd, and with a BRILLIANT FLASH, THEY'RE GONE. \n","They stare at Zordon with gut-wrenching expressions. They're \n utterly defeated. \n \n Eventually, Tommy looks to the others and speaks in a fervent \n voice. \n \n TOMMY \n \"To those who possess the Great","Zedd flashes her an angry look, turns back to Ivan. \n \n ZEDD \n I am Lord Zedd, sworn enemy of \n all that is good and decent. It \n is a supreme honor to finally","PAST the moon. \n \n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \n standing on the balcony.","We hear a SLITHERING SLURPING SOUND as the substance RISES UP \n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \n \n MORDANT","SCREECHING METAL and BURSTING VALVES. \n \n 120 INT. COMMAND CENTER 120 \n \n Alpha and Zordon watch as Ivan/Colossus bear hugs Megazord. \n"," IVAN \n Not so fast, greaseballs. \n \n Goldar blocks their way. \n \n IVAN \n You'll have to do. \n"," IVAN \n Ladies and Gentlemen... the OOZE \n is back!! \n \n Rita blushes. \n \n RITA \n He's so cute. \n"],["PAST the moon. \n \n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \n standing on the balcony."," IVAN \n My turn. \n \n \n He ZAPS Rita and Zedd, and with a BRILLIANT FLASH, THEY'RE GONE. \n"," IVAN \n Ladies and Gentlemen... the OOZE \n is back!! \n \n Rita blushes. \n \n RITA \n He's so cute. \n","Zedd flashes her an angry look, turns back to Ivan. \n \n ZEDD \n I am Lord Zedd, sworn enemy of \n all that is good and decent. It \n is a supreme honor to finally"," You haven't changed, Ooze. \n You're still picking on creatures \n smaller than yourself. \n \n Ivan slowly circles Zordan's column of light, Zordon turns \n with him. \n \n IVAN","59 EXT. INNER CITY CONSTRUCTION SITE - DAY 59 \n \n The bulldozers and earth movers have dug out a twenty foot pit. \n IVAN leads Goldar and Mordant through the site, passing dozens"," DULCEA \n Ivan Ooze is free?! We are all \n in mortal danger! \n \n She moves off - the Rangers just stand there staring at each \n other. \n \n DULCEA","29 INT. ZEDD'S PALACE - NIGHT 29 \n \n Zedd, Rita and their minions are inside Zedd's dark palace \n Goldar looks through Rita's telescope as Rita rants.","Ivan SNAPS his hand -- a WAD OF OOZE FLIES OUT, SPLATS RITA \n across the mouth, muffling her. \n \n RITA \n Rrgh mmffpprr brghuh!! \n","Zedd and Rita react as they see Ivan/Colossus and Megazord \n shooting out into the stars. \n \n RITA \n It's Ivan and the Megazord!! \n","Zedd and Rita continue watching the battle from the snow globe. \n \n RITA \n I hope those Rangers put that \n lousy lowlife out of his misery! \n \n ZEDD","We hear a SLITHERING SLURPING SOUND as the substance RISES UP \n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \n \n MORDANT"," TOMMY \n Huh ... Oh, uh, we re, ah... \n \n Kimberly intervenes. \n \n KIMBERLY \n He was attacked by this horrific \n being -- Ivan Ooze."," IVAN \n Not so fast, greaseballs. \n \n Goldar blocks their way. \n \n IVAN \n You'll have to do. \n","Ivan steps forward, followed by Goldar. \n \n IVAN \n Ladies and gentlemen, Simon \n says... STOP! \n \n All the parents stop. \n \n IVAN"," Finally, a real man. \n \n Goldar hands Ivan a scrap of paper. \n \n GOLDAR \n Here's his address. \n \n IVAN (reading)","There's more STATIC, then IVAN APPEARS AS THE WIZARD. \n \n IVAN \n Hi, folks, Ivan Ooze here. \n \n ALPHA 5","Rita and Zedd chase Mordant and Goldar around the palac \n BLASTING them with their staffs. \n \n GOLDAR \n What'd we do?! \n \n ZEDD"," (arms out in trademark stance) \n The \"booger man\" is taking over. \n \n Ivan drops regally into Zedd's chair. \n \n ZEDD \n Nobody double-crosses Lord Zedd"," would never allow it. \n \n AISHA \n If we don't try, Zordon won't \n survive! \n \n ADAM \n If Ivan Ooze isn't stopped,"]],"string":"[\n [\n \" We're here at the World Center \\n Construction Site, where a \\n mysterious object was just \\n uncovered in a freak accident in \\n which one workman suffered minor \\n injuries... \\n\",\n \"makes a CLANGING SOUND as it HITS METAL! A baffled look comes \\n over him as he stops the jackhammer, brushes away debris.. \\n uncovering an ANCIENT IRON PLATE. He gapes at it, too stunned\",\n \" In another time, another \\n dimension. It was brought here \\n long ago by the \\\"Nathadians\\\", a \\n people who are now all but \\n extinct. \\n They built an impenetrable stone\",\n \"We PULL BACK to reveal it's sitting on a table. \\n \\n Mr Kelman enters, looks it over curiously. He picks it up, \\n opens it and sticks his finger inside. \\n\",\n \"Suddenly a PURPLE STEAM POURS from the opening. And now \\n something really amazing happens. .. \\n \\n A menacing STONE CLAW RISES UP, CRADLING A HUGE STONE \\n\",\n \"Mr. Kelman just gives Fred a blank stare. \\n \\n MR. KELMAN \\n Dig... dig... dig... \\n \\n Suddenly an ARM FALLS ON FRED'S SHOULDER. \\n\",\n \"ENGINE ROARS as it HOISTS THE PLATE UP, revealing a CAVERNOUS \\n OPENING. \\n \\n TWO MORE CONSTRUCTION WORKERS have joined the first, all of \\n them look on in amazement. \\n\",\n \"skeletons strewn around it, some of them human, some of them \\n alien. \\n \\n They approach the massive block, stand before it in awe struck \\n silence. In the middle of the Monolith there's a large circle\",\n \"They advance up a slope -- the egg comes into view. \\n \\n ROCKY (alarmed) \\n It looks like it's been opened! \\n \\n The kids get close to the egg, looking it over with\",\n \"The SCINTILLATING BEHEMOTHS AWAKE FROM THE DEAD, THEIR EYES AND \\n MOUTHS OPENING, THEIR ARMS REACHING UPWARD. The beasts ROAR \\n OUT IN THUNDEROUS RAGE.\",\n \"wreckage in numb silence. \\n \\n TOMMY (barely audible) \\n ... what happened here?... \\n \\n Adam spots Alpha's arm protruding from a mound of rubble. \\n \\n ADAM\",\n \" cordoned off the area until it \\n can be determined whether or not \\n the unidentified object poses any \\n threat. The injured workman was \\n quoted as saying... \\n\",\n \"A PURPLE HAZE OF SMOKE has settled on the construction site. \\n Suddenly, mysteriously, SWARMS OF ZOMBIFIED PARENTS emerge from \\n the vapors - We see Mr. Kelman amongst them. \\n\",\n \" HORNITOR! \\n (to parents) \\n KEEP DIGGING. THE DREADFUL \\n SCORPITRON SHOULD BE CLOSE BY. \\n (beat)\",\n \"Zedd and Rita finally notice Ivan, standing with his lips \\n apart, revealing jagged teeth, one of which is made of \\n GLISTENING SILVER. \\n \\n He stretches his sinewy arms, releases an enormous YAWN, puts\",\n \"we can see the outline of the Nathadian Monolith. \\n \\n DULCEA \\n The Monolith is there in the \\n distance. \\n \\n The kids strain to get a better look. \\n\",\n \" \\n We hear a RUMBLING SOUND as the earth starts to SHAKE. The \\n Rangers look to each other, horrified. \\n \\n Then everything falls still and silent... and then a miracle \\n happens. \\n\",\n \" smell what we cannot smell. \\n \\n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \\n blow. \\n \\n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly\",\n \"It's total pandemonium. \\n \\n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \\n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \\n fists raised.\",\n \"20 CONTINUED: (2) 20 \\n \\n They pass a bulldozer, some scaffolding \\n \\n ADAM \\n Hold it... \\n \\n They come to a stop. \\n\"\n ],\n [\n \"They advance up a slope -- the egg comes into view. \\n \\n ROCKY (alarmed) \\n It looks like it's been opened! \\n \\n The kids get close to the egg, looking it over with\",\n \"staff at the chamber and BURSTS a blast of energy. The egg \\n opens up with a wHOOSH of decompressing air. webs of \\n ELECTRICITY BRANCH OUT, followed by a SWIRL OF BLACK SMOKE. \\n\",\n \" Do you have any idea what it's \\n like to be cooped up in a rotten \\n egg for six thousand years? It's \\n BORING! Not to mention I've had \\n a Charlie horse since the\",\n \"Suddenly a PURPLE STEAM POURS from the opening. And now \\n something really amazing happens. .. \\n \\n A menacing STONE CLAW RISES UP, CRADLING A HUGE STONE \\n\",\n \" Hey bonehead, get off my hoof! \\n \\n Goldar is oblivious. Zedd, stands reverently before the \\n glowing egg shape. \\n \\n ZEDD \\n After two thousand years of\",\n \"16 EXT. INNER CITY CONSTRUCTION SITE - NIGHT \\n \\n Barricades and police tape surround the egg. A SECURITY GUARD \\n passes his sleeping CO-WORKER, drops into a chair, sips his\",\n \"We hear a resounding SNAP AS IVAN'S FEET ARE RELEASED FROM THE \\n ROOFTOP AND HIS ENTIRE BEING SPURTS INSIDE THE GIANT'S BELLY. \\n\",\n \"shakes his head in wonder. \\n \\n MORDANT \\n Where does he come up with this \\n stuff? \\n \\n The Queen spreads her wings and makes the most HORRENDOUS \\n SCREECH imaginable. \\n\",\n \"Zedd and Rita finally notice Ivan, standing with his lips \\n apart, revealing jagged teeth, one of which is made of \\n GLISTENING SILVER. \\n \\n He stretches his sinewy arms, releases an enormous YAWN, puts\",\n \"The SCINTILLATING BEHEMOTHS AWAKE FROM THE DEAD, THEIR EYES AND \\n MOUTHS OPENING, THEIR ARMS REACHING UPWARD. The beasts ROAR \\n OUT IN THUNDEROUS RAGE.\",\n \"The embers cast an orange glow on Kimberly's sleeping face \\n A SHADOW moves over her and two CRANE LEGS step into frame. \\n\",\n \"his hands on his head, CRACKS it. \\n \\n IVAN \\n Ahhhhhhhh. \\n \\n Now he SMACKS his lips together, opens his arms theatrically \\n and gives his trademark stance. \\n\",\n \"the creature EXPLODES INTO A CLOUD OF FEATHERS! \\n \\n BILLY \\n AIM FOR THEIR BEAKS! \\n \\n Tommy reaches the top of a rack. He sees a Tengu making a\",\n \" LIFE!! Give my creatures LIFE! \\n \\n Mordant admires Ivan. \\n \\n MORDANT \\n This guy is the King! \\n \\n Now the most amazing thing of all happens... \\n\",\n \" BULK \\n Be the eagle. Be the eagle. \\n \\n SKULL \\n Be the swallow. Be the \\n swallow... \\n \\n They take deep breaths then CHARGE THE DOOR. \\n\",\n \"on his face. Ivan steps up onto a platform. \\n \\n IVAN \\n Mordant... let the ooze flow! \\n \\n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE \",\n \" About twenty seconds in your \\n time. \\n \\n TOMMY \\n And how do we release the power? \\n \\n DULCEA \\n The legend goes that you release \\n the power with the power.\",\n \"We PULL BACK to reveal it's sitting on a table. \\n \\n Mr Kelman enters, looks it over curiously. He picks it up, \\n opens it and sticks his finger inside. \\n\",\n \"Suddenly a CRACKLING ELECTRICAL CURRENT RUNS OVER HIS ENTIRE \\n BODY. His face goes blank and his eyes momentarily GLOWS \\n PURPLE. Now he strides purposefully out the door. \\n\",\n \"It's total pandemonium. \\n \\n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \\n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \\n fists raised.\"\n ],\n [\n \" That's right. And then we threw \\n one of them off a mountain and \\n another one into a raqing river! \\n \\n IVAN \\n So they've been destroyed? \\n\",\n \" all of us dies... and the force \\n of good within the Universe will \\n be dealt an irreparable blow. \\n \\n These words strike deep in the kids. \\n\",\n \"Now Ivan begins to THROW LIGHTNING EVERYWHERE, LAYING \\n THE COMMAND CENTER TO WASTE. \\n \\n Ivan laughs in the b.g. as Alpha continues to spin, \\n moving his arms in and out. \\n\",\n \"wreckage in numb silence. \\n \\n TOMMY (barely audible) \\n ... what happened here?... \\n \\n Adam spots Alpha's arm protruding from a mound of rubble. \\n \\n ADAM\",\n \"It's total pandemonium. \\n \\n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \\n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \\n fists raised.\",\n \" ZORDON \\n I'm afraid that's impossible... \\n The power has been destroyed. \\n It's gone... The Zords, the \\n weapons... all of it. \\n (beat)\",\n \" perished. \\n \\n Dulcea's words hang heavily in the air. \\n \\n AISHA \\n So how can we get to it? \\n \\n DULCEA \\n The only way to obtain the power\",\n \"22 INT. COMMAND CENTER - NIGHT 22 \\n \\n The place is trashed -- there's SMOKING debris, ravaged panels, \\n exposed wires and mechanisms. The kids move through the\",\n \"A PURPLE HAZE OF SMOKE has settled on the construction site. \\n Suddenly, mysteriously, SWARMS OF ZOMBIFIED PARENTS emerge from \\n the vapors - We see Mr. Kelman amongst them. \\n\",\n \"DEMOLISHING AN ENERGY PILLAR. \\n \\n IVAN \\n And now, finally, I have the \\n strength to DESTROY your pathetic \\n powers FOREVER!! \\n\",\n \"years. \\n \\n The kids stand over him, forlorn. \\n \\n AISHA \\n ... What's happening to him?' \\n \\n BILLY \\n Outside of his time warp he's\",\n \" Well... ALMOST nobody. \\n \\n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \\n IVAN RISES UP. He takes in the state-of-the-art surroundings. \\n\",\n \" from what it is today. \\n \\n The kids are overwhelmed by what they're hearing. \\n \\n ROCKY \\n So... what happened? \\n \\n DULCEA \\n Over time our enemies were\",\n \" Oh, the things that I have \\n missed. The BLACK PLAGUE! \\n \\n He blows up another PANEL. \\n \\n IVAN \\n \\n The SPANISH INQUISITION! \\n\",\n \" Duke of Destruction. The big man \\n on campus! \\n (beat) \\n And then you came along. You \\n locked me into your stuffy little \\n hyperlock-chamber and tossed me\",\n \" In another time, another \\n dimension. It was brought here \\n long ago by the \\\"Nathadians\\\", a \\n people who are now all but \\n extinct. \\n They built an impenetrable stone\",\n \" IVAN \\n How could you let them get away?! \\n If Dulcea leads them to the Great \\n Power, everything will be ruined! \\n They must be OBLITERATED! \\n\",\n \"All of them turn their attention to Ivan. \\n \\n IVAN \\n YOU HAVE SERVED YOUR PURPOSE. \\n NOW YOU WILL RETURN TO THE \\n CONSTRUCTION SITE AND LEAP TO \\n YOUR DEMISE! \",\n \" smell what we cannot smell. \\n \\n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \\n blow. \\n \\n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly\",\n \"The kids approach the dying fire, all of them limping a little. \\n \\n BILLY \\n I can hardly walk... \\n \\n AISHA \\n I've never been this sore in my \\n life. \\n\"\n ],\n [\n \"The Rangers are too stunned to speak. They approach Zordon's \\n lifeless form looking absolutely devastated. \\n \\n KIMBERLY \\n ... This can't be... \\n\",\n \" But we have to find him. Our \\n leader Zordon is dying. \\n \\n FIGURE \\n Zordon? \\n \\n Now the most amazing thing happens. The figure RISES TO FULL\",\n \" Rangers... I'm afraid you're too \\n late. \\n \\n AISHA \\n What?! \\n \\n ALPHA 5 \\n Zordon... he's gone. \\n\",\n \"Everybody follows Kimberly's gaze, thunderstruck expressions \\n coming over them. \\n \\n Laying on a destroyed bed of crystals is Zordon. He is still a \\n SHIMMERING SPECTRAL being, only now he s aged a good fifty\",\n \" The Mighty Morphin Power Rangers \\n are no more. \\n \\n The kids are stunned. Kimberly gently takes Zordon's hand. \\n \\n KIMBERLY \\n Zordon... you can't leave us.\",\n \"They stare at Zordon with gut-wrenching expressions. They're \\n utterly defeated. \\n \\n Eventually, Tommy looks to the others and speaks in a fervent \\n voice. \\n \\n TOMMY \\n \\\"To those who possess the Great\",\n \" aging at a vastly acellerated \\n rate! \\n \\n KIMBERLY \\n We have to help him! \\n \\n Zordon opens his eyes. \\n \\n ZORDON\",\n \" within TWO FEET of the Rangers \\n coordinates. \\n \\n ZORDON \\n (with difficulty) \\n ... I just pray we're not too \\n late. \\n \\n Alpha continues making adjustments.\",\n \"The Rangers MATERIALIZE in the Command Center with their \\n helmets off. \\n \\n AISHA \\n ALPHA?! \\n \\n Alpha approaches, speaks in an anguished voice. \\n \\n ALPHA 5\",\n \" once... and now I'm afraid he \\n has the strength to see his \\n scheme through. \\n \\n Zordon closes his eyes. Tommy puts a hand on Kimberly's\",\n \"21 EXT. COMMAND CENTER - NIGHT 21 \\n \\n The Rangers climb a mountain path, all of them looking alarmed. \\n Up ahead, there's a PILLAR OF BLACK SMOKE rising from the \\n Command Center.\",\n \"18 EXT. CONSTRUCTION SITE - NIGHT \\n \\n On cue, the Power Rangers TELEPORT into the construction site. \\n \\n They're surrounded by rock piles, pools of water and a plethora\",\n \"Zordon, now barely alive, watches as Alpha makes more \\n adjustments to his contraption. \\n \\n ALPHA 5 \\n That should do it. we won't be \\n able to hear them, but they\",\n \" Rangers were too late! Ivan is \\n on his way here! \\n \\n ALPHA 5 \\n Hey, NOBODY enters the Command \\n Center without a power coin! \\n\",\n \" This is why I'm taking you to the \\n Nathadian Monolith. That is why \\n I'm teaching you the Ninjetti. \\n (beat) \\n If Zordon dies... then a piece of\",\n \" ZORDON \\n I'm afraid that's impossible... \\n The power has been destroyed. \\n It's gone... The Zords, the \\n weapons... all of it. \\n (beat)\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \"The six Power Rangers, TOMMY, KIMBERLY, BILLY, AISHA, ADAM and \\n ROCKY sport sleek sky diving suits, parachute packs and \\n helmets. Tommy is strapped into a high-tech airboard.\",\n \" HE'S ALIVE! HE'S ALIVE! \\n \\n KIMBERLY \\n We thought you... \\n \\n ZORDON \\n It's good to see you again, too. \\n\",\n \"PAST the moon. \\n \\n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \\n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \\n standing on the balcony.\"\n ],\n [\n \"on his face. Ivan steps up onto a platform. \\n \\n IVAN \\n Mordant... let the ooze flow! \\n \\n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE \",\n \" TOMMY \\n Huh ... Oh, uh, we re, ah... \\n \\n Kimberly intervenes. \\n \\n KIMBERLY \\n He was attacked by this horrific \\n being -- Ivan Ooze.\",\n \"IVAN OOZE. \\n \\n IVAN \\n It's TEENAGERS \\n \\n KIMBERLY \\n GroSS! \\n \\n IVAN \\n You're too kind. Allow me to\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \" You haven't changed, Ooze. \\n You're still picking on creatures \\n smaller than yourself. \\n \\n Ivan slowly circles Zordan's column of light, Zordon turns \\n with him. \\n \\n IVAN\",\n \" IVAN \\n Ladies and Gentlemen... the OOZE \\n is back!! \\n \\n Rita blushes. \\n \\n RITA \\n He's so cute. \\n\",\n \"There's more STATIC, then IVAN APPEARS AS THE WIZARD. \\n \\n IVAN \\n Hi, folks, Ivan Ooze here. \\n \\n ALPHA 5\",\n \"All of them turn their attention to Ivan. \\n \\n IVAN \\n YOU HAVE SERVED YOUR PURPOSE. \\n NOW YOU WILL RETURN TO THE \\n CONSTRUCTION SITE AND LEAP TO \\n YOUR DEMISE! \",\n \" Finally, a real man. \\n \\n Goldar hands Ivan a scrap of paper. \\n \\n GOLDAR \\n Here's his address. \\n \\n IVAN (reading)\",\n \"We hear a SLITHERING SLURPING SOUND as the substance RISES UP \\n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \\n \\n MORDANT\",\n \"Scorpitron. \\n \\n We see a group of parents fastening clear plastic pipes to the \\n skeletal feet -- the pipes are attached to the vat of ooze. \\n \\n Mordant videotapes Ivan as he struts past a giant mechanical\",\n \"The Tengu fall dead silent. \\n \\n IVAN \\n Tengu Warriors, you will fly to \\n Phaedos, find the Power \\n Rangers... and TEAR THEM APART! \\n\",\n \"Zedd flashes her an angry look, turns back to Ivan. \\n \\n ZEDD \\n I am Lord Zedd, sworn enemy of \\n all that is good and decent. It \\n is a supreme honor to finally\",\n \"Ivan steps forward, followed by Goldar. \\n \\n IVAN \\n Ladies and gentlemen, Simon \\n says... STOP! \\n \\n All the parents stop. \\n \\n IVAN\",\n \"There's a BURST OF PURPLE SMOKE -- Ivan, Mordant and Goldar \\n appear. Ivan looks out on the city, holds up his arms \\n theatrically. \\n \\n IVAN\",\n \" IVAN \\n Queen Tengu, lead-your warriors \\n to Phaedos, FEAST YOURSELVES UPON \\n THE POWER RANGERS AND BRING ME \\n DULCEA! \\n\",\n \" guck... this is the one and only \\n Ivan's Ooze! Yesireebob. It's \\n ooey, gooey and even kind of \\n chewy. But best of all it's\",\n \" Well... ALMOST nobody. \\n \\n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \\n IVAN RISES UP. He takes in the state-of-the-art surroundings. \\n\",\n \" IVAN \\n How could you let them get away?! \\n If Dulcea leads them to the Great \\n Power, everything will be ruined! \\n They must be OBLITERATED! \\n\",\n \"Goldar looks up from the telescope. \\n \\n GOLDAR \\n According to the TX Tracker, \\n they're headed for Phaedos. \\n \\n ZEDD\"\n ],\n [\n \"Ivan steps forward, followed by Goldar. \\n \\n IVAN \\n Ladies and gentlemen, Simon \\n says... STOP! \\n \\n All the parents stop. \\n \\n IVAN\",\n \"on his face. Ivan steps up onto a platform. \\n \\n IVAN \\n Mordant... let the ooze flow! \\n \\n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE \",\n \"IVAN OOZE. \\n \\n IVAN \\n It's TEENAGERS \\n \\n KIMBERLY \\n GroSS! \\n \\n IVAN \\n You're too kind. Allow me to\",\n \" IVAN \\n Ladies and Gentlemen... the OOZE \\n is back!! \\n \\n Rita blushes. \\n \\n RITA \\n He's so cute. \\n\",\n \" TOMMY \\n Huh ... Oh, uh, we re, ah... \\n \\n Kimberly intervenes. \\n \\n KIMBERLY \\n He was attacked by this horrific \\n being -- Ivan Ooze.\",\n \"We hear a SLITHERING SLURPING SOUND as the substance RISES UP \\n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \\n \\n MORDANT\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \"There's more STATIC, then IVAN APPEARS AS THE WIZARD. \\n \\n IVAN \\n Hi, folks, Ivan Ooze here. \\n \\n ALPHA 5\",\n \" Not to worry. I'll ever so \\n gently lure them in and mold them \\n into an army of devils! And what \\n better way to entice them ... \\n than with a little Ivan's Ooze?!\",\n \"Scorpitron. \\n \\n We see a group of parents fastening clear plastic pipes to the \\n skeletal feet -- the pipes are attached to the vat of ooze. \\n \\n Mordant videotapes Ivan as he struts past a giant mechanical\",\n \"Ivan SNAPS his hand -- a WAD OF OOZE FLIES OUT, SPLATS RITA \\n across the mouth, muffling her. \\n \\n RITA \\n Rrgh mmffpprr brghuh!! \\n\",\n \"Ivan approaches an enormous vat, turns a tap -- it BURPS and \\n GLOPS as PURPLE OOZE pours out. \\n \\n GOLDAR \\n But boss, what about their \\n parents? \\n\",\n \"each other. It's an ooze free-for-all. \\n \\n IVAN \\n Boys and girls, girls and boys, \\n gather round and feast your eyes. \\n This ain't sludge and this ain't\",\n \" guck... this is the one and only \\n Ivan's Ooze! Yesireebob. It's \\n ooey, gooey and even kind of \\n chewy. But best of all it's\",\n \" You haven't changed, Ooze. \\n You're still picking on creatures \\n smaller than yourself. \\n \\n Ivan slowly circles Zordan's column of light, Zordon turns \\n with him. \\n \\n IVAN\",\n \" You've been brainwashed! This \\n Ivan is no Wizard. He's some \\n kind of DEMON! \\n \\n KID #4 \\n Shut up, squirt. \\n\",\n \" CROWD \\n OOZE! OOZE! OOZE! OOZE! \\n \\n IVAN \\n Thank you! Please! You're too \\n kind.\",\n \" still using a bunch of rug-rats \\n to do his dirty work. And \\n speaking of rats... \\n \\n Ivan raises both hands -- ELECTRICITY SHOOTS OUT HIS FINGERS\",\n \" Well... ALMOST nobody. \\n \\n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \\n IVAN RISES UP. He takes in the state-of-the-art surroundings. \\n\",\n \"The parents just stand there with blank expressions. \\n \\n IVAN \\n What're you waiting for??... \\n \\n Goldar taps him on the shoulder and he spins around. \\n \\n IVAN \\n What! \\n\"\n ],\n [\n \" centuries. \\n \\n The Rangers are silent for a moment. \\n \\n DULCEA \\n He was always an inspiration... \\n \\n Dulcea speaks with grim-visaged intensity. \\n \\n DULCEA\",\n \" DULCEA \\n You have been visited by the \\n animal spirits... they have given \\n you their blessing. \\n \\n The Rangers continue to admire their symbols in silent wonder. \\n\",\n \" TOMMY \\n Thank you, Dulcea. For \\n everything. \\n \\n Dulcea catches her hand and six Rangers put their hands on top \\n of hers. \\n \\n DULCEA\",\n \"talking B-U-I-L-T. Meet the Master warrior, DULCEA. \\n \\n The Rangers stand there with stunned expressions. Dulcea looks \\n to Tommy. \\n \\n DULCEA\",\n \"Dulcea and the Rangers are gathered around a bird-bath stand \\n with FLAMES leaping out of it. \\n \\n DULCEA \\n In the language of the \\n Nathadians, \\\"Nin\\\" stands for\",\n \"The Rangers recover and exchange expressions of utter disbelief \\n \\n KIMBERLY \\n Wow! That was amazing for such \\n a little dude! \\n \\n The figure speaks in a HOARSE WHISPER. \\n\",\n \" What do you know of the Great \\n Power? \\n \\n KIMBERLY \\n Only that we need it to defeat \\n Ivan Ooze. \\n \\n Dulcea's eyes move from Ranger to Ranger.\",\n \"ornate doorway, faces the Rangers. \\n \\n DULCEA \\n Each of you must reach deep \\n within and draw upon your natural \\n instincts... Only then will you \\n know the way of the Ninjetti.\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \" Rangers, by going after the Great \\n Power, all of you knowingly put \\n your lives at extreme risk... and \\n in so doing you not only saved my \\n life, you saved all of Angel\",\n \" Tommy, you are the Falcon, Winged \\n Lord of the Sky. \\n \\n Kimberly regards Dulcea with true admiration. \\n \\n KIMBERLY \\n \\n How do you know so much about the\",\n \" smell what we cannot smell. \\n \\n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \\n blow. \\n \\n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly\",\n \"The Rangers crest a hill and Adam, who's in the lead, suddenly \\n drops down - the others following suit. \\n \\n They peer over the ridge -- their eyes wide. \\n \\n Before them, a tenuous rope bridge leads to a vast rock landing.\",\n \"Dulcea leads Snoggle and the Rangers up a stone path. They \\n approach a bush filled with exotic berries. All of them start \\n eating the berries. \\n \\n TOMMY \\n Dulcea... how do you and Zordon\",\n \" parents for anything! \\n \\n 55C EXT. DULCEA'S GARDEN / PHAEDOS - NIGHT 55C \\n \\n The Rangers are fast asleep. A night wind WHISTLES through the\",\n \" DULCEA \\n Close. Billy, you are the Wolf, \\n cunning and swift. \\n \\n And now Kimberly. She studies hers for a moment. It looks \\n like a bird. \\n\",\n \"34 thru 38 OMITTED \\n \\n 39 EXT. PHAEDOS JUNGLE - DAY 39 \\n \\n The Rangers move through foreboding jungle terrain, their ears\",\n \" The Rangers share purposeful looks. \\n \\n TOMMY \\n It's our only hope. \\n \\n Alpha shakes his head, punches in the final codes. \\n \\n ALPHA \\n Safe journey, Rangers!\",\n \" Billy is starting to get the hang of it. He hits Dulcea a few \\n times, then she CLOBBERS him. \\n \\n 3. Kimberly balances along the bamboo log again. She does a\",\n \"The Rangers pull off more SPECTACULAR MANEUVERS \\n then swoop TOGETHER, interlocking hands and forming a \\n PERFECT CIRCLE \\n \\n They look to one another and a moment of pure magic passes\"\n ],\n [\n \" TOMMY \\n Huh ... Oh, uh, we re, ah... \\n \\n Kimberly intervenes. \\n \\n KIMBERLY \\n He was attacked by this horrific \\n being -- Ivan Ooze.\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \" IVAN \\n My turn. \\n \\n \\n He ZAPS Rita and Zedd, and with a BRILLIANT FLASH, THEY'RE GONE. \\n\",\n \" You haven't changed, Ooze. \\n You're still picking on creatures \\n smaller than yourself. \\n \\n Ivan slowly circles Zordan's column of light, Zordon turns \\n with him. \\n \\n IVAN\",\n \" IVAN \\n Ladies and Gentlemen... the OOZE \\n is back!! \\n \\n Rita blushes. \\n \\n RITA \\n He's so cute. \\n\",\n \"IVAN OOZE. \\n \\n IVAN \\n It's TEENAGERS \\n \\n KIMBERLY \\n GroSS! \\n \\n IVAN \\n You're too kind. Allow me to\",\n \"There's more STATIC, then IVAN APPEARS AS THE WIZARD. \\n \\n IVAN \\n Hi, folks, Ivan Ooze here. \\n \\n ALPHA 5\",\n \" would never allow it. \\n \\n AISHA \\n If we don't try, Zordon won't \\n survive! \\n \\n ADAM \\n If Ivan Ooze isn't stopped,\",\n \" IVAN/COLOSSUS \\n NOTHING can defeat the Powers of \\n Darkness! \\n \\n Now Ivan/Colossus goes to town on Megazord. WHOMP! THWACK!\",\n \"We hear a SLITHERING SLURPING SOUND as the substance RISES UP \\n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \\n \\n MORDANT\",\n \"The Falcon Zord swoops in and blasts Scorpitron who BLOWS UP \\n INTO A BILLION FLAMING PARTICLES! \\n \\n KIMBERLY (V.O.) \\n WE GOT HIM!! \\n\",\n \" guck... this is the one and only \\n Ivan's Ooze! Yesireebob. It's \\n ooey, gooey and even kind of \\n chewy. But best of all it's\",\n \"on his face. Ivan steps up onto a platform. \\n \\n IVAN \\n Mordant... let the ooze flow! \\n \\n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE \",\n \"Ivan SNAPS his hand -- a WAD OF OOZE FLIES OUT, SPLATS RITA \\n across the mouth, muffling her. \\n \\n RITA \\n Rrgh mmffpprr brghuh!! \\n\",\n \"Zedd flashes her an angry look, turns back to Ivan. \\n \\n ZEDD \\n I am Lord Zedd, sworn enemy of \\n all that is good and decent. It \\n is a supreme honor to finally\",\n \" I will not only destroy him, I \\n will OBLITERATE his entire being. \\n It will be like Zordon \\n of Eltare never EXISTED! \\n \\n RITA\",\n \" Finally, a real man. \\n \\n Goldar hands Ivan a scrap of paper. \\n \\n GOLDAR \\n Here's his address. \\n \\n IVAN (reading)\",\n \"Ivan steps forward, followed by Goldar. \\n \\n IVAN \\n Ladies and gentlemen, Simon \\n says... STOP! \\n \\n All the parents stop. \\n \\n IVAN\",\n \" Danger from what? \\n \\n ZORDON \\n Six thousand years ago a \\n morphological being known as Ivan \\n Ooze, ruled the world with a \\n reign of unparalleled terror.\",\n \" Well... ALMOST nobody. \\n \\n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \\n IVAN RISES UP. He takes in the state-of-the-art surroundings. \\n\"\n ],\n [\n \"The Rangers MATERIALIZE in the Command Center with their \\n helmets off. \\n \\n AISHA \\n ALPHA?! \\n \\n Alpha approaches, speaks in an anguished voice. \\n \\n ALPHA 5\",\n \"21 EXT. COMMAND CENTER - NIGHT 21 \\n \\n The Rangers climb a mountain path, all of them looking alarmed. \\n Up ahead, there's a PILLAR OF BLACK SMOKE rising from the \\n Command Center.\",\n \" The Rangers share purposeful looks. \\n \\n TOMMY \\n It's our only hope. \\n \\n Alpha shakes his head, punches in the final codes. \\n \\n ALPHA \\n Safe journey, Rangers!\",\n \"130 INT. COMMAND CENTER - DAY 130 \\n \\n The Rangers are gathered around Zordon, holding their helmets \\n in their hands. \\n \\n ZORDON\",\n \" within TWO FEET of the Rangers \\n coordinates. \\n \\n ZORDON \\n (with difficulty) \\n ... I just pray we're not too \\n late. \\n \\n Alpha continues making adjustments.\",\n \"128 INT. COMMAND CENTER 128 \\n \\n Alpha LEAPS for joy. \\n \\n ALPHA 5 \\n HOORAY, POWER RANGERS!! \\n \\n\",\n \"Zordon grows BRIGHTER and BRIGHTER and then there's a DAZZLING, \\n STROBOSCOPIC EXPLOSION. \\n \\n When the LIGHT FADES WE SEE THE COMMAND CENTER BACK IN ITS\",\n \"90 INT. COCKPIT 90 \\n \\n The kids are SHOWERED WITH SPARKS - ELECTRICAL TENTACLES SPLAY \\n THROUGHOUT THE COCKPIT. \\n \\n RANGERS\",\n \" ... We must try to communicate \\n with them. \\n \\n Alpha looks out over the decimated Command Center. \\n \\n ALPHA 5 \\n Perhaps if I could locate a \\n vertical-deflector then I could\",\n \" \\n We hear a RUMBLING SOUND as the earth starts to SHAKE. The \\n Rangers look to each other, horrified. \\n \\n Then everything falls still and silent... and then a miracle \\n happens. \\n\",\n \"22 INT. COMMAND CENTER - NIGHT 22 \\n \\n The place is trashed -- there's SMOKING debris, ravaged panels, \\n exposed wires and mechanisms. The kids move through the\",\n \"Rangers watch, stunned, as their COSTUMES DE-MATERIALIZE and \\n they appear back in civilian clothes. \\n \\n KIMBERLY \\n What's going on?! \\n \\n Billy tries his wrist communicator. \\n\",\n \" Rangers were too late! Ivan is \\n on his way here! \\n \\n ALPHA 5 \\n Hey, NOBODY enters the Command \\n Center without a power coin! \\n\",\n \" GO, Rangers! GO, Rangers! GO, \\n Rangers! GO! \\n \\n 83 INT. MEGAZORD COCKPIT 83 \\n \\n The Rangers are side by side, each of them handling different\",\n \" Grove and the world from a reign \\n of unthinkable terror. \\n \\n The Rangers literally beam. Alpha holds up a camera. \\n \\n ALPHA 5 \\n Everybody say cheese. \\n\",\n \"The Rangers recover and exchange expressions of utter disbelief \\n \\n KIMBERLY \\n Wow! That was amazing for such \\n a little dude! \\n \\n The figure speaks in a HOARSE WHISPER. \\n\",\n \"PULL BACK TO REVEAL A CAFE. \\n \\n The Rangers are at a table -- Tommy is teaching Fred martial arts \\n moves. \\n \\n TOMMY \\n It's one smooth move and then\",\n \"The Rangers crest a hill and Adam, who's in the lead, suddenly \\n drops down - the others following suit. \\n \\n They peer over the ridge -- their eyes wide. \\n \\n Before them, a tenuous rope bridge leads to a vast rock landing.\",\n \"19 INT. COMMAND CENTER - NIGHT \\n \\n SMOKE POURS from various circuit boards, numerous control \\n panels VIBRATE. \\n \\n ZORDON \\n Alpha, my sensors tell me the\",\n \" Rangers, by going after the Great \\n Power, all of you knowingly put \\n your lives at extreme risk... and \\n in so doing you not only saved my \\n life, you saved all of Angel\"\n ],\n [\n \"They disperse and yank their rip-cords. The sky BURSTS TO LIFE \\n WITH SIX BLOSSOMING PARACHUTES -- white, pink, blue, yellow , \\n red and black in color. \\n\",\n \"The six Power Rangers, TOMMY, KIMBERLY, BILLY, AISHA, ADAM and \\n ROCKY sport sleek sky diving suits, parachute packs and \\n helmets. Tommy is strapped into a high-tech airboard.\",\n \"A large banner proclaims \\\"SAVE THE OBSERVATORY.\\\" We see \\n diving teams with labeled uniforms -- the BOWLING TEAM, ANGEL\",\n \"in bizarre skydiving regalia, topped off by World War II \\n leather caps and aviator goggles. \\n \\n BULK \\n The Stealth Eagle is about to \\n fly. \\n \\n SKULL\",\n \"Now Dulcea does the impossible. She LEAPS OFF THE ROCK, SOARS \\n FIFTY FEET through the air, AND LANDS on another protruding \\n rock. Tommy is stunned. \\n\",\n \"All of them turn their attention to Ivan. \\n \\n IVAN \\n YOU HAVE SERVED YOUR PURPOSE. \\n NOW YOU WILL RETURN TO THE \\n CONSTRUCTION SITE AND LEAP TO \\n YOUR DEMISE! \",\n \" this. You can do this... \\n \\n He spreads his arms out, LEAPS... and DROPS LIKE A ROCK \\n exploding into THE BLACK WATER. \\n\",\n \"they FALL INTO CAMERA, CLINGING TO EACH OTHER DESPERATELY \\n \\n BULK AND SKULL \\n YEAAAAAAHHHHHH!! \\n \\n 6 EXT. SKY - DAY\",\n \" SKULL \\n A real shame. \\n \\n Suddenly Fred appears and shouts out. \\n \\n FRED \\n EVERYBODY, LISTEN UP! \\n \\n The place falls silent. \\n \\n FRED\",\n \" KIMBERLY \\n Catch you on the flipside. \\n \\n Bulk and Skull watch wide-eyed as she BACK-FLIPS \\n out of the plane. \\n \\n \\n 3 EXT. SKY - DAY\",\n \"REVEALING THE TUMULTUOUS SKIES ABOVE. \\n \\n IVAN \\n Looks like a fine day for raising \\n HELL! \\n \\n Ivan holds his arms up to the heavens. \\n\",\n \"FISHTAILS, POWER DIVES, BACK FLIPS, you name it. \\n \\n 4 INT. PROP PLANE - DAY 4 \\n \\n Bulk and Skull psyche themselves up. \\n\",\n \" And that's one! A perfect \\n landing! \\n \\n Aisha clears, then Billy and Adam land toqether. \\n \\n MR. KELMAN \\n Three for three. Look at `em go! \\n \",\n \"the construction site. They can see the parents heading toward \\n the drop off. \\n \\n FRED \\n There they are! \\n \\n BULK \\n They're heading for the cliff! \\n \\n SKULL\",\n \"Everybody watches with dumbfounded expressions as Tommy SAILS \\n IN ON HIS AIR BOARD AND SLIDES INTO DEAD CENTER. He spreads \\n his arms wide. \\n \\n TOMMY \\n Touch down. \\n\",\n \" These clowns are a menace to the \\n sky \\n \\n IVAN \\n How did you fare? \\n \\n Mordant waves Ivan off. \\n \\n MORDANT\",\n \"Bulk and Skull are in the truck cabin trying to start the \\n engine. It turns over but it won't catch. \\n \\n FRED \\n Come on! Come on! \\n \\n The parents are now five feet from the drop off.\",\n \"on to the rickety bridge. \\n \\n The Queen FIRES ANOTHER BLAST. \\n \\n ROCKY \\n LOOK OUT! \\n \\n Rocky DIVES, knocking Aisha away from the bolt. \\n\",\n \"It's total pandemonium. \\n \\n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \\n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \\n fists raised.\",\n \"32F EXT. JUNGLE CLEARING / PHAEDOS - DAY (OLD SC. 32C) \\n \\n The Rangers continue scouring the sky as BILLY COMES FLYING. \\n\"\n ],\n [\n \" ROCKY \\n THERE'S THE COMET! \\n \\n We see a BRILLIANT COMET BLAZING straight toward us! \\n \\n BILLY \\n IMPACT IN FIFTEEN SECONDS!\",\n \" it? \\n \\n ROCKY \\n Two thirty three a.m. \\n \\n BILLY \\n Ryan's Comet!! \\n \\n KIMBERLY \\n What about it? \\n\",\n \" FRED \\n Awesome! Ryan's Comet is passing \\n over in two days! \\n \\n The other Rangers approach. \\n \\n AISHA \\n Who's up for lunch? \\n\",\n \" I'll be at the Observatory \\n Sunday. \\n \\n ERNIE \\n That's right - Ryan's Comet. \\n \\n ROCKY \\n We should throw a little comet\",\n \"Biily punches information into a keyboard. \\n \\n BILLY \\n It's passing over earth as we \\n speak! \\n (reading screen) \\n Trajectory coordinates are \\n 009843.\",\n \"32B EXT. SPACE 32B \\n \\n The COLORED STREAKS OF LIGHT SHOOT THROUGH THE COSMOS, \\n heading down toward the planet, PHAEDOS. It's emerald\",\n \" ADAM \\n Billy, that's BRILLIANT! \\n \\n KIMBERLY \\n \\n BILLY \\n We get Ivan into the Comets PATH-- \\n \\n AISHA\",\n \"Bulk and Skull swagger past followed by a GROUP OF KIDS. \\n \\n BULK \\n The earth was hurtling toward us \\n at seven hundred miles per hour, \\n and we knew at that moment that\",\n \" TOMMY \\n WE'RE GOING TO IMPLODE! \\n \\n BILLY \\n THREE DEGREES OFF THE COMETS \\n TRAJECTORY! \\n \\n ROCKY\",\n \" In another time, another \\n dimension. It was brought here \\n long ago by the \\\"Nathadians\\\", a \\n people who are now all but \\n extinct. \\n They built an impenetrable stone\",\n \"Megazord WINGS OUT OF THE WAY as the COMET BLASTS STRAIGHT TOWARD \\n IVAN/COLOSSUS. \\n \\n In the last second, he see the HURTLING ORB. \\n\",\n \"23 thru 27 OMITTED \\n \\n 28 EXT. EARTH - NIGHT 28 \\n \\n We see the SIX COLORED STREAKS BLAST away from earth and SHOOT\",\n \"we can see the outline of the Nathadian Monolith. \\n \\n DULCEA \\n The Monolith is there in the \\n distance. \\n \\n The kids strain to get a better look. \\n\",\n \"skeletons strewn around it, some of them human, some of them \\n alien. \\n \\n They approach the massive block, stand before it in awe struck \\n silence. In the middle of the Monolith there's a large circle\",\n \"years. \\n \\n The kids stand over him, forlorn. \\n \\n AISHA \\n ... What's happening to him?' \\n \\n BILLY \\n Outside of his time warp he's\",\n \" something bad will happen. \\n \\n KIMBERLY \\n Like...how bad? \\n \\n Dulcea gives them a grim look. \\n \\n DULCEA \\n They say the power will throw off\",\n \" then strikes out in the blink of \\n an eye. \\n \\n We hear a TRILLING SOUND as Dulcea watches some kind of insect \\n dart around her. \\n\",\n \" Everybody hold on tight. We're \\n gonna send this sucker into \\n OBLIVION! \\n \\n 108 EXT. SKY 108 \\n \\n KAPAOW!!!\",\n \"110 EXT. OUTER SPACE 110 \\n \\n The two behemoths HURTLE THROUGH SPACE while POUNDING, SLASHING \\n and RIPPING at each other. \\n\",\n \"Zedd and Rita finally notice Ivan, standing with his lips \\n apart, revealing jagged teeth, one of which is made of \\n GLISTENING SILVER. \\n \\n He stretches his sinewy arms, releases an enormous YAWN, puts\"\n ],\n [\n \"Bulk and Skull swagger to the door and open it - the ground \\n is a dizzying distance below. They swallow hard. \\n \\n SKULL \\n Bulk... where'd the earth go? \\n \\n BILLY\",\n \" Five seconds to the target zone! \\n \\n TOMMY \\n Aisha you' re on ! \\n \\n Bulk and Skull step aside, Aisha LAUNCHES herself. \\n\",\n \"Bulk and Skull swagger past followed by a GROUP OF KIDS. \\n \\n BULK \\n The earth was hurtling toward us \\n at seven hundred miles per hour, \\n and we knew at that moment that\",\n \"5 EXT. PROP PLANE - BARREL-ROLLING - DAY \\n \\n Bulk and Skull rotate into frame. Now, facing straight down --\",\n \" BULK \\n SKULL!! \\n \\n SKULL \\n BULK!! \\n \\n They embrace -- Skull practically gets crushed by his burly \\n friend. \\n \\n\",\n \"He does a ridiculous mock salute. Bulk and Skull repeat it. \\n \\n BULK AND SKULL \\n OOZE RULES ! \\n \\n Fred rolls his eyes and hurries away. \\n \",\n \"they FALL INTO CAMERA, CLINGING TO EACH OTHER DESPERATELY \\n \\n BULK AND SKULL \\n YEAAAAAAHHHHHH!! \\n \\n 6 EXT. SKY - DAY\",\n \" got fifteen seconds to make the \\n drop. \\n \\n BULK (0 . S .) \\n Step aside, pinheads. \\n \\n BULK and SKULL push their way through the Rangers, decked\",\n \"the construction site. They can see the parents heading toward \\n the drop off. \\n \\n FRED \\n There they are! \\n \\n BULK \\n They're heading for the cliff! \\n \\n SKULL\",\n \"Bulk and Skull are in the truck cabin trying to start the \\n engine. It turns over but it won't catch. \\n \\n FRED \\n Come on! Come on! \\n \\n The parents are now five feet from the drop off.\",\n \"Skull ducks and Bulk gets SPLATTERED in the face. Bulk glares at \\n Skull, wipes some goop off, FLICKS it at Skull. \\n \\n WIZARD\",\n \" KIMBERLY \\n Catch you on the flipside. \\n \\n Bulk and Skull watch wide-eyed as she BACK-FLIPS \\n out of the plane. \\n \\n \\n 3 EXT. SKY - DAY\",\n \" Bulk... why don't we give Mr. \\n Peep here a chance to think it \\n over? \\n \\n BULK \\n A stellar idea, Skull. \\n \\n They start to back away. \\n\",\n \" danger! If we don't help them \\n they're going to be killed! \\n \\n He hurries off. A few follow him, then a few more... until \\n pretty soon everybody joins him. Bulk and Skull share a look.\",\n \"THE HIGH BRANCHES.past a large tree as Bulk and Skull DROP INTO \\n FRAME \\n \\n SKULL \\n Stealth Eagle, huh? The Lame \\n Duck is more like it!\",\n \"Ernie's is packed with crazed kids and teenagers who are \\n ripping the place apart. \\n \\n Bulk and Skull watch while gorging themselves on pizza. \\n \\n BULK \\n There goes the neighborhood. \\n\",\n \" SKULL \\n There's enough for everybody! \\n \\n Fred approaches. \\n \\n FRED \\n So where'd this guy come from? \\n \\n Bulk and Skull exchange apprehensive looks. \\n\",\n \"FISHTAILS, POWER DIVES, BACK FLIPS, you name it. \\n \\n 4 INT. PROP PLANE - DAY 4 \\n \\n Bulk and Skull psyche themselves up. \\n\",\n \" we were facing death straight in \\n the eye. \\n \\n SKULL \\n We could smell it's breath. \\n \\n Ernie moves off after Bulk and Skull. Tommy's wrist\",\n \" FREE! \\n \\n Bulk and Skull run a booth. A banner screams \\\"OOZE RULES\\\". \\n Kids crowd around. \\n \\n BULK \\n Here you go! No pushing! \\n\"\n ],\n [\n \"the construction site. They can see the parents heading toward \\n the drop off. \\n \\n FRED \\n There they are! \\n \\n BULK \\n They're heading for the cliff! \\n \\n SKULL\",\n \"59 EXT. INNER CITY CONSTRUCTION SITE - DAY 59 \\n \\n The bulldozers and earth movers have dug out a twenty foot pit. \\n IVAN leads Goldar and Mordant through the site, passing dozens\",\n \" BULK \\n SKULL!! \\n \\n SKULL \\n BULK!! \\n \\n They embrace -- Skull practically gets crushed by his burly \\n friend. \\n \\n\",\n \"Bulk and Skull swagger to the door and open it - the ground \\n is a dizzying distance below. They swallow hard. \\n \\n SKULL \\n Bulk... where'd the earth go? \\n \\n BILLY\",\n \" SKULL \\n They're at the World Center \\n Construction Site. \\n \\n Fred nods. \\n \\n FRED \\n Uh. OOZE RULES! \\n\",\n \"Bulk and Skull swagger past followed by a GROUP OF KIDS. \\n \\n BULK \\n The earth was hurtling toward us \\n at seven hundred miles per hour, \\n and we knew at that moment that\",\n \"He does a ridiculous mock salute. Bulk and Skull repeat it. \\n \\n BULK AND SKULL \\n OOZE RULES ! \\n \\n Fred rolls his eyes and hurries away. \\n \",\n \" Bulk... why don't we give Mr. \\n Peep here a chance to think it \\n over? \\n \\n BULK \\n A stellar idea, Skull. \\n \\n They start to back away. \\n\",\n \" SKULL \\n There's enough for everybody! \\n \\n Fred approaches. \\n \\n FRED \\n So where'd this guy come from? \\n \\n Bulk and Skull exchange apprehensive looks. \\n\",\n \" SKULL \\n Uh... that's classified, top \\n secret, confidential, undercover \\n information. \\n \\n BULK \\n If we told you -- we'd have to \\n kill you.\",\n \" FREE! \\n \\n Bulk and Skull run a booth. A banner screams \\\"OOZE RULES\\\". \\n Kids crowd around. \\n \\n BULK \\n Here you go! No pushing! \\n\",\n \"Bulk and Skull are in the truck cabin trying to start the \\n engine. It turns over but it won't catch. \\n \\n FRED \\n Come on! Come on! \\n \\n The parents are now five feet from the drop off.\",\n \"Skull ducks and Bulk gets SPLATTERED in the face. Bulk glares at \\n Skull, wipes some goop off, FLICKS it at Skull. \\n \\n WIZARD\",\n \" got fifteen seconds to make the \\n drop. \\n \\n BULK (0 . S .) \\n Step aside, pinheads. \\n \\n BULK and SKULL push their way through the Rangers, decked\",\n \" rebuilding my empire. \\n \\n Bulk and Skull enter waving a \\\"help wanted\\\" flier. Both \\n them are wearing their garish blazers and dark sunglasses. \\n \\n SKULL\",\n \" we were facing death straight in \\n the eye. \\n \\n SKULL \\n We could smell it's breath. \\n \\n Ernie moves off after Bulk and Skull. Tommy's wrist\",\n \"Ernie's is packed with crazed kids and teenagers who are \\n ripping the place apart. \\n \\n Bulk and Skull watch while gorging themselves on pizza. \\n \\n BULK \\n There goes the neighborhood. \\n\",\n \"they FALL INTO CAMERA, CLINGING TO EACH OTHER DESPERATELY \\n \\n BULK AND SKULL \\n YEAAAAAAHHHHHH!! \\n \\n 6 EXT. SKY - DAY\",\n \"5 EXT. PROP PLANE - BARREL-ROLLING - DAY \\n \\n Bulk and Skull rotate into frame. Now, facing straight down --\",\n \" danger! If we don't help them \\n they're going to be killed! \\n \\n He hurries off. A few follow him, then a few more... until \\n pretty soon everybody joins him. Bulk and Skull share a look.\"\n ],\n [\n \"They advance up a slope -- the egg comes into view. \\n \\n ROCKY (alarmed) \\n It looks like it's been opened! \\n \\n The kids get close to the egg, looking it over with\",\n \"staff at the chamber and BURSTS a blast of energy. The egg \\n opens up with a wHOOSH of decompressing air. webs of \\n ELECTRICITY BRANCH OUT, followed by a SWIRL OF BLACK SMOKE. \\n\",\n \" Hey bonehead, get off my hoof! \\n \\n Goldar is oblivious. Zedd, stands reverently before the \\n glowing egg shape. \\n \\n ZEDD \\n After two thousand years of\",\n \"Suddenly a PURPLE STEAM POURS from the opening. And now \\n something really amazing happens. .. \\n \\n A menacing STONE CLAW RISES UP, CRADLING A HUGE STONE \\n\",\n \" Do you have any idea what it's \\n like to be cooped up in a rotten \\n egg for six thousand years? It's \\n BORING! Not to mention I've had \\n a Charlie horse since the\",\n \"shakes his head in wonder. \\n \\n MORDANT \\n Where does he come up with this \\n stuff? \\n \\n The Queen spreads her wings and makes the most HORRENDOUS \\n SCREECH imaginable. \\n\",\n \"16 EXT. INNER CITY CONSTRUCTION SITE - NIGHT \\n \\n Barricades and police tape surround the egg. A SECURITY GUARD \\n passes his sleeping CO-WORKER, drops into a chair, sips his\",\n \"There's a FLURRY OF FLAPPING WINGS as a FALCON SWOOPS DOWN and \\n lands on a rock directly above Tommy. The bird fixes on Tommy \\n with its piercing eyes. \\n\",\n \" Put a cork in it \\\"Z\\\" . Ten \\n minutes out of the egg and I'm \\n already listening to one of your \\n lectures. \\n \\n (he explodes furiously) \\n \",\n \" LIFE!! Give my creatures LIFE! \\n \\n Mordant admires Ivan. \\n \\n MORDANT \\n This guy is the King! \\n \\n Now the most amazing thing of all happens... \\n\",\n \" then strikes out in the blink of \\n an eye. \\n \\n We hear a TRILLING SOUND as Dulcea watches some kind of insect \\n dart around her. \\n\",\n \"The embers cast an orange glow on Kimberly's sleeping face \\n A SHADOW moves over her and two CRANE LEGS step into frame. \\n\",\n \"the creature EXPLODES INTO A CLOUD OF FEATHERS! \\n \\n BILLY \\n AIM FOR THEIR BEAKS! \\n \\n Tommy reaches the top of a rack. He sees a Tengu making a\",\n \"trees, causing the branches to shiver. \\n \\n After a moment, there's movement in the bushes. Suddenly, \\n amazingly, a WOLF emerges -- his mane glistening in the \\n\",\n \"Adam. The frog sits there a moment, it's THROAT THROBBING \\n \\n Now we hear a DEEP GROWL and a tree SHAKES. Aisha fidgets in\",\n \" BULK \\n Be the eagle. Be the eagle. \\n \\n SKULL \\n Be the swallow. Be the \\n swallow... \\n \\n They take deep breaths then CHARGE THE DOOR. \\n\",\n \"Dulcea and Tommy are standing on a towering rock rising out of \\n a dark lake. \\n \\n DULCEA \\n The falcon never struggles with \\n the air, but rather becomes one \\n with it. \\n\",\n \" TOMMY \\n It's... an eagle? \\n \\n DULCEA \\n Look closer. \\n \\n TOMMY \\n ... A falcon? \\n \\n DULCEA\",\n \"We hear a CAW and the Queen Tengu squints as she spots a falcon \\n circling in the sky above. The Queen is perched on top of a 20 \\n foot rock face. She looks around hesitantly. \\n\",\n \"We PULL BACK to reveal it's sitting on a table. \\n \\n Mr Kelman enters, looks it over curiously. He picks it up, \\n opens it and sticks his finger inside. \\n\"\n ],\n [\n \" ... Alpha, I am deeply concerned \\n about the Rangers... \\n \\n ALPHA 5 \\n I told them it was too dangerous, \\n but they wouldn't listen. \\n \\n ZORDON\",\n \" TOMMY (into communicator) \\n What's up, Alpha? \\n \\n ALPHA 5 (V.O.) \\n Rangers, we need you at the\",\n \"ALPHA 5 works frantically amidst the array of computer \\n banks while ZORDON looks on from his COLUMN OF LIGHT. \\n \\n The six Rangers MATERIALIZE, Tommy turns to Zordon. \\n \\n TOMMY\",\n \"The Rangers MATERIALIZE in the Command Center with their \\n helmets off. \\n \\n AISHA \\n ALPHA?! \\n \\n Alpha approaches, speaks in an anguished voice. \\n \\n ALPHA 5\",\n \" ALPHA 5 \\n Ay, yi, yi! The Rangers are \\n going to be CRUSHED! \\n \\n ZORDON \\n Don't lose hope yet, Alpha! \\n\",\n \"tube into a make-shift electronic contraption. \\n \\n ALPHA 5 \\n By bouncing ultra-high \\n frequencies off one of the \\n network satellites, I can send a \\n long-range pulsar signal to\",\n \" Rangers were too late! Ivan is \\n on his way here! \\n \\n ALPHA 5 \\n Hey, NOBODY enters the Command \\n Center without a power coin! \\n\",\n \" ROCKY \\n We have to try, Alpha. It's our \\n only hope. \\n \\n Alpha shakes his head. \\n \\n ALPHA 5 \\n It's far too dangerous. Zordon\",\n \" Rangers... I'm afraid you're too \\n late. \\n \\n AISHA \\n What?! \\n \\n ALPHA 5 \\n Zordon... he's gone. \\n\",\n \" Grove and the world from a reign \\n of unthinkable terror. \\n \\n The Rangers literally beam. Alpha holds up a camera. \\n \\n ALPHA 5 \\n Everybody say cheese. \\n\",\n \"Goldar looks up from the telescope. \\n \\n GOLDAR \\n According to the TX Tracker, \\n they're headed for Phaedos. \\n \\n ZEDD\",\n \" Alpha 5, the noble master sought \\n out six extraordinary teenagers \\n and gave them the power to \\n transform into an unstoppable \\n fighting force. In time of great \\n need, the young heroes could now\",\n \" ... We must try to communicate \\n with them. \\n \\n Alpha looks out over the decimated Command Center. \\n \\n ALPHA 5 \\n Perhaps if I could locate a \\n vertical-deflector then I could\",\n \"54G INT. COMMAND CENTER - NIGHT (OLD SC 54E) 54G \\n \\n Alpha fusses over Zordon, who is looking a good ten years older. \\n \\n ZORDON\",\n \" Alpha. Is there any way we can \\n defeat this monster? Any way at \\n all? \\n \\n ALPHA 5 \\n ... Perhaps there is a way... I \\n have heard tales of another\",\n \"Zordon, now barely alive, watches as Alpha makes more \\n adjustments to his contraption. \\n \\n ALPHA 5 \\n That should do it. we won't be \\n able to hear them, but they\",\n \"Alpha heaves a SIGH. \\n \\n ALPHA 5 \\n Zordon's going to have my \\n orbicular spheroids when he hears \\n out about this! \\n\",\n \" power. \\n \\n ADAM \\n What?! \\n \\n ALPHA 5 \\n ... They say that somewhere \\n beyond the Hyperion Constellation \\n there exists a mythological power\",\n \" within TWO FEET of the Rangers \\n coordinates. \\n \\n ZORDON \\n (with difficulty) \\n ... I just pray we're not too \\n late. \\n \\n Alpha continues making adjustments.\",\n \"128 INT. COMMAND CENTER 128 \\n \\n Alpha LEAPS for joy. \\n \\n ALPHA 5 \\n HOORAY, POWER RANGERS!! \\n \\n\"\n ],\n [\n \"109 INT. SNOW GLOBE / ZEDD'S PALACE 109 \\n \\n Zedd and Rita are now half-buried in snow, both of them blue in\",\n \"Zedd waves his arms around in outrage. \\n \\n ZEDD \\n Isn't this just TYPICAL! We \\n finally do somebody a good turn \\n and just look what happens! \\n \\n RITA\",\n \"Mordant moves to a snow-globe on the table, his mouth falling \\n open. Zedd and Rita are INSIDE IT!! \\n\",\n \"Zedd and Rita finally notice Ivan, standing with his lips \\n apart, revealing jagged teeth, one of which is made of \\n GLISTENING SILVER. \\n \\n He stretches his sinewy arms, releases an enormous YAWN, puts\",\n \"KAPOW -- Zedd and Rita APPEAR BACK IN ZEDD'S PALACE IN ORIGINAL \\n SIZE, both of them still covered in snow. \\n\",\n \" have you been locked up? ! \\n \\n ZEDD \\n We shall leave you to weave your \\n wicked ways. \\n \\n RITA\",\n \"129 INT. SNOW GLOBE / ZEDD'S PALACE 129 \\n \\n Rita and Zedd both look immensely pleased. \\n \\n ZEDD\",\n \"PAST the moon. \\n \\n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \\n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \\n standing on the balcony.\",\n \" What... you spent two thousand \\n years looking for this tub of \\n SNOT! \\n \\n As if in response, the ooze BOILS AND FROTHS. Zedd and Rita \\n are too busy arguing to notice this.\",\n \"The rats chase after Saba as he heads into a water-slicked \\n area. There's a large power cable running across it. Once \\n all the rats are in the water, Saba kamikaze dives into the\",\n \"Rita and Zedd chase Mordant and Goldar around the palac \\n BLASTING them with their staffs. \\n \\n GOLDAR \\n What'd we do?! \\n \\n ZEDD\",\n \" ZEDD \\n How dare you?! Nobody shuts up \\n Rita but me! \\n \\n IVAN \\n Sorry, slick, there's been a \\n slight'change of plans.\",\n \"Zedd and Rita continue watching the battle from the snow globe. \\n \\n RITA \\n I hope those Rangers put that \\n lousy lowlife out of his misery! \\n \\n ZEDD\",\n \"29 INT. ZEDD'S PALACE - NIGHT 29 \\n \\n Zedd, Rita and their minions are inside Zedd's dark palace \\n Goldar looks through Rita's telescope as Rita rants.\",\n \"Bulk and Skull are in the truck cabin trying to start the \\n engine. It turns over but it won't catch. \\n \\n FRED \\n Come on! Come on! \\n \\n The parents are now five feet from the drop off.\",\n \"Zedd and Rita react as they see Ivan/Colossus and Megazord \\n shooting out into the stars. \\n \\n RITA \\n It's Ivan and the Megazord!! \\n\",\n \"Ivan SNAPS his hand -- a WAD OF OOZE FLIES OUT, SPLATS RITA \\n across the mouth, muffling her. \\n \\n RITA \\n Rrgh mmffpprr brghuh!! \\n\",\n \" side. He`s just visiting for the \\n summer. \\n \\n RITA \\n Well put a muzzle on him! \\n \\n Mordant GRUMBLES under his breath. Meanwhile, Zedd aims is\",\n \"and the kids DIVE CLEAR as the bolt ZAPS A THRONG OF RATS. \\n \\n Now, incredibly, the RATS GROWN INTO GRUNTING, SNARLING MAN \\n SIZED RAT-BEASTS. \\n\",\n \"on to the rickety bridge. \\n \\n The Queen FIRES ANOTHER BLAST. \\n \\n ROCKY \\n LOOK OUT! \\n \\n Rocky DIVES, knocking Aisha away from the bolt. \\n\"\n ],\n [\n \" centuries. \\n \\n The Rangers are silent for a moment. \\n \\n DULCEA \\n He was always an inspiration... \\n \\n Dulcea speaks with grim-visaged intensity. \\n \\n DULCEA\",\n \" TOMMY \\n Thank you, Dulcea. For \\n everything. \\n \\n Dulcea catches her hand and six Rangers put their hands on top \\n of hers. \\n \\n DULCEA\",\n \" DULCEA \\n You have been visited by the \\n animal spirits... they have given \\n you their blessing. \\n \\n The Rangers continue to admire their symbols in silent wonder. \\n\",\n \"The Rangers crest a hill and Adam, who's in the lead, suddenly \\n drops down - the others following suit. \\n \\n They peer over the ridge -- their eyes wide. \\n \\n Before them, a tenuous rope bridge leads to a vast rock landing.\",\n \" DULCEA \\n This is as far as I can take you. \\n \\n The kids are thrown by this. \\n \\n KIMBERLY \\n You're leaving us?! \\n \\n DULCEA\",\n \"talking B-U-I-L-T. Meet the Master warrior, DULCEA. \\n \\n The Rangers stand there with stunned expressions. Dulcea looks \\n to Tommy. \\n \\n DULCEA\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \"Dulcea and the Rangers are gathered around a bird-bath stand \\n with FLAMES leaping out of it. \\n \\n DULCEA \\n In the language of the \\n Nathadians, \\\"Nin\\\" stands for\",\n \"34 thru 38 OMITTED \\n \\n 39 EXT. PHAEDOS JUNGLE - DAY 39 \\n \\n The Rangers move through foreboding jungle terrain, their ears\",\n \"Now Dulcea does the impossible. She LEAPS OFF THE ROCK, SOARS \\n FIFTY FEET through the air, AND LANDS on another protruding \\n rock. Tommy is stunned. \\n\",\n \"ornate doorway, faces the Rangers. \\n \\n DULCEA \\n Each of you must reach deep \\n within and draw upon your natural \\n instincts... Only then will you \\n know the way of the Ninjetti.\",\n \"55A EXT. DULCEA'S GARDEN / PHAEDOS - NIGHT 55A \\n \\n Dulcea leads the kids through a circular opening in one \\n wall, all of them look completely wiped out. She reaches an\",\n \" parents for anything! \\n \\n 55C EXT. DULCEA'S GARDEN / PHAEDOS - NIGHT 55C \\n \\n The Rangers are fast asleep. A night wind WHISTLES through the\",\n \"Dulcea leads Snoggle and the Rangers up a stone path. They \\n approach a bush filled with exotic berries. All of them start \\n eating the berries. \\n \\n TOMMY \\n Dulcea... how do you and Zordon\",\n \" smell what we cannot smell. \\n \\n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \\n blow. \\n \\n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly\",\n \" Billy is starting to get the hang of it. He hits Dulcea a few \\n times, then she CLOBBERS him. \\n \\n 3. Kimberly balances along the bamboo log again. She does a\",\n \"21 EXT. COMMAND CENTER - NIGHT 21 \\n \\n The Rangers climb a mountain path, all of them looking alarmed. \\n Up ahead, there's a PILLAR OF BLACK SMOKE rising from the \\n Command Center.\",\n \"54C EXT. DULCEA'S GARDEN / PHAEDOS - DAY (OLD SC 52) 54C \\n \\n Aisha watches as Dulcea goes into a bear stance. \\n\",\n \" What do you know of the Great \\n Power? \\n \\n KIMBERLY \\n Only that we need it to defeat \\n Ivan Ooze. \\n \\n Dulcea's eyes move from Ranger to Ranger.\",\n \"43 EXT. DULCEA'S CAMP / PHAEDOS - DAY 43 \\n \\n The kids are seated on rocks by a lakeside, all of them\"\n ],\n [\n \" DULCEA \\n Rocky, you are the Mighty Ape. \\n \\n We see each of them DISCOVER THEIR ANIMAL. \\n \\n BILLY \\n I see... a fox \\n\",\n \"Rocky is now up in the scaffolding. He DROPS TEN FEET through \\n the air, LANDS ON ONE END OF A BOARD. \\n \\n There's a beast at the other end and he goes FLIPPING THROUGH\",\n \" like a falcon, SOARS THROUGH THE AIR. He gets about ten feet \\n then DROPS INTO THE WATER. \\n \\n 5. Rocky climbs up the oriental pole -- this time he makes it\",\n \"Dulcea and Rocky are standing at the bottom of a twenty foot pole \\n with an exotic oriental carving \\n \\n DULCEA \\n The ape is strong, but more \\n importantly it is flexible and \\n free.\",\n \"There's a FLURRY OF FLAPPING WINGS as a FALCON SWOOPS DOWN and \\n lands on a rock directly above Tommy. The bird fixes on Tommy \\n with its piercing eyes. \\n\",\n \" I am the bear, stalwart and bold! \\n \\n ADAM \\n I am the frog, quick as \\n lightning! \\n \\n ROCKY \\n I am the mighty ape! \\n\",\n \"the beast CRASHES INTO A JOHNNY-ON-THE-SPOT. \\n \\n Rocky fights another beast and the creature SWINGS \\n UP THROUGH SCAFFOLDING with phenomenal dexterity. Rocky goes \\n after him.\",\n \" Stylin'! \\n \\n Dulcea turns to Rocky. His sand MAGICALLY TAKES ON THE SHAPE \\n OF AN APE. \\n \\n ROCKY \\n I see... an Ape. \\n\",\n \" DULCEA \\n Close. Billy, you are the Wolf, \\n cunning and swift. \\n \\n And now Kimberly. She studies hers for a moment. It looks \\n like a bird. \\n\",\n \"As Rocky is talking, a flubbery looking SNOUT works it's way \\n over Kimberly's shoulder. She hasn't noticed it yet. \\n \\n DULCEA \\n You don't understand. If you do \",\n \" DULCEA \\n You have been visited by the \\n animal spirits... they have given \\n you their blessing. \\n \\n The Rangers continue to admire their symbols in silent wonder. \\n\",\n \"into each other. \\n \\n Rocky picks up a two-by-four and starts SPARRING with another \\n rat. \\n \\n Billy SHOVES A HUGE WOODEN-SPOOL down a slope and it\",\n \" ROCKY \\n It's the best thing that's ever \\n happened to all of us. \\n \\n ADAM \\n ... He's gonna make it, guys. \\n \\n The others nod in agreement. \\n\",\n \"with the six animals of the Ninjetti carved into it. \\n \\n ROCKY \\n ... The Nathadian Monolith... \\n \\n Kimberly looks at all the bones -- instinctively puts her hand \\n on her animal symbol. \\n\",\n \"trees, causing the branches to shiver. \\n \\n After a moment, there's movement in the bushes. Suddenly, \\n amazingly, a WOLF emerges -- his mane glistening in the \\n\",\n \" BILLY \\n I am the wolf, cunning and swift! \\n \\n KIMBERLY \\n I am the crane, agile and \\n sublime! \\n \\n AISHA\",\n \" Phaedos. \\n \\n ROCKY \\n ... Incredible... \\n \\n Tommy gives them all an invigorating look. \\n \\n TOMMY \\n Let's see if we can find this\",\n \" KIMBERLY \\n I think its some kind of bird. \\n \\n DULCEA \\n Kimberly, you are the Crane, \\n agile and sublime. \\n \\n Now Adam. \\n\",\n \" BILLY \\n ... Nothing. \\n \\n ROCKY \\n Release the power with the power. \\n \\n Rocky steps back, THROWS HIS SHOULDER into the Monolith with a\",\n \"We hear a CAW and the Queen Tengu squints as she spots a falcon \\n circling in the sky above. The Queen is perched on top of a 20 \\n foot rock face. She looks around hesitantly. \\n\"\n ],\n [\n \" That's right. And then we threw \\n one of them off a mountain and \\n another one into a raqing river! \\n \\n IVAN \\n So they've been destroyed? \\n\",\n \"The Tengu fall dead silent. \\n \\n IVAN \\n Tengu Warriors, you will fly to \\n Phaedos, find the Power \\n Rangers... and TEAR THEM APART! \\n\",\n \"Now Ivan begins to THROW LIGHTNING EVERYWHERE, LAYING \\n THE COMMAND CENTER TO WASTE. \\n \\n Ivan laughs in the b.g. as Alpha continues to spin, \\n moving his arms in and out. \\n\",\n \"All of them turn their attention to Ivan. \\n \\n IVAN \\n YOU HAVE SERVED YOUR PURPOSE. \\n NOW YOU WILL RETURN TO THE \\n CONSTRUCTION SITE AND LEAP TO \\n YOUR DEMISE! \",\n \"Now the Rangers ATTACK, some of them LUNGING OFF ROCKS, others \\n BURSTING out of crevices, others coming over the walls. \\n \\n Billy wields his WHISTLING sticks -- misses several times, then\",\n \" IVAN/COLOSSUS \\n NOOOOOOOOOOOOUOOOO!!!! \\n \\n Now we witness the EXPLOSION TO END ALL EXPLOSIONS as\",\n \" IVAN/COLOSSUS \\n NOTHING can defeat the Powers of \\n Darkness! \\n \\n Now Ivan/Colossus goes to town on Megazord. WHOMP! THWACK!\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \" IVAN \\n How could you let them get away?! \\n If Dulcea leads them to the Great \\n Power, everything will be ruined! \\n They must be OBLITERATED! \\n\",\n \" IVAN \\n My turn. \\n \\n \\n He ZAPS Rita and Zedd, and with a BRILLIANT FLASH, THEY'RE GONE. \\n\",\n \"The Rangers crest a hill and Adam, who's in the lead, suddenly \\n drops down - the others following suit. \\n \\n They peer over the ridge -- their eyes wide. \\n \\n Before them, a tenuous rope bridge leads to a vast rock landing.\",\n \" IVAN \\n From this moment forth, the world \\n as you know it SHALL CEASE TO \\n EXIST! \\n \\n Ivan raises his arms -- thunder CRACKLES and LIGHTNING RIPS \\n ACROSS THE SKY. \\n\",\n \" still using a bunch of rug-rats \\n to do his dirty work. And \\n speaking of rats... \\n \\n Ivan raises both hands -- ELECTRICITY SHOOTS OUT HIS FINGERS\",\n \"and PARRY WITH CATACLYSMIC BURSTS OF SPARKS. \\n \\n Ivan/Scorpitron takes a swing and the TOWER SMASHES INTO\",\n \"Zedd and Rita finally notice Ivan, standing with his lips \\n apart, revealing jagged teeth, one of which is made of \\n GLISTENING SILVER. \\n \\n He stretches his sinewy arms, releases an enormous YAWN, puts\",\n \"The Rangers pull off more SPECTACULAR MANEUVERS \\n then swoop TOGETHER, interlocking hands and forming a \\n PERFECT CIRCLE \\n \\n They look to one another and a moment of pure magic passes\",\n \"Ivan/Colossus BASHES the Megazord so hard that the machine does \\n MULTIPLE CARTWHEELS through the cosmos. \\n \\n Ivan/Colossus makes a KAMIKAZE-DIVE straight for Megazord \\n\",\n \"He looks down on the street as the COLUMNS OF LIGHT SHOOT DOWN \\n AND THE POWER RANGERS APPEAR. \\n \\n IVAN \\n (outraged) \\n POWER RANGERS! \\n\",\n \" The Rangers share purposeful looks. \\n \\n TOMMY \\n It's our only hope. \\n \\n Alpha shakes his head, punches in the final codes. \\n \\n ALPHA \\n Safe journey, Rangers!\",\n \" Rangers, by going after the Great \\n Power, all of you knowingly put \\n your lives at extreme risk... and \\n in so doing you not only saved my \\n life, you saved all of Angel\"\n ],\n [\n \" We're here at the World Center \\n Construction Site, where a \\n mysterious object was just \\n uncovered in a freak accident in \\n which one workman suffered minor \\n injuries... \\n\",\n \"They survey the construction site for a moment. \\n \\n AISHA \\n Anybody see anything? \\n \\n TOMMY \\n ... Let's take a look over there. \\n\",\n \"59 EXT. INNER CITY CONSTRUCTION SITE - DAY 59 \\n \\n The bulldozers and earth movers have dug out a twenty foot pit. \\n IVAN leads Goldar and Mordant through the site, passing dozens\",\n \"A PURPLE HAZE OF SMOKE has settled on the construction site. \\n Suddenly, mysteriously, SWARMS OF ZOMBIFIED PARENTS emerge from \\n the vapors - We see Mr. Kelman amongst them. \\n\",\n \" AHHHHHHHHH! \\n \\n \\n 11A EXT. CONSTRUCTION SITE - DAY 11A \\n \\n A T.V. REPORTER is talking into camera. \\n \\n REPORTER\",\n \"ENGINE ROARS as it HOISTS THE PLATE UP, revealing a CAVERNOUS \\n OPENING. \\n \\n TWO MORE CONSTRUCTION WORKERS have joined the first, all of \\n them look on in amazement. \\n\",\n \"makes a CLANGING SOUND as it HITS METAL! A baffled look comes \\n over him as he stops the jackhammer, brushes away debris.. \\n uncovering an ANCIENT IRON PLATE. He gapes at it, too stunned\",\n \"the construction site. They can see the parents heading toward \\n the drop off. \\n \\n FRED \\n There they are! \\n \\n BULK \\n They're heading for the cliff! \\n \\n SKULL\",\n \"ANGLE ON FRED as he darts through the construction site, taking \\n care not to be seen. He hunkers down behind a stack of \\n two-by-fours, searches the area. He spots his dad, speaks under \\n his breath. \\n\",\n \"MAKE SPECTACULAR LANDINGS on the construction site parking \\n structure. \\n \\n As they shoot across the concrete, the CAMERA PUSHES IN on: \\n\",\n \" SKULL \\n They're at the World Center \\n Construction Site. \\n \\n Fred nods. \\n \\n FRED \\n Uh. OOZE RULES! \\n\",\n \"10 EXT. INNER CITY CONSTtZUCTION SITE - DAY 10 \\n \\n ... WORKERS operating heavy machinery -- cranes, bulldozer , \\n etc., Construction Worker jackhammers solid rock. Drill\",\n \"to speak. \\n \\n 11 EXT. CONSTRUCTION SITE - SHORT TIME LATER 11 \\n \\n A large hook has been fastened to the iron plate -- a crane\",\n \"20 CONTINUED: (2) 20 \\n \\n They pass a bulldozer, some scaffolding \\n \\n ADAM \\n Hold it... \\n \\n They come to a stop. \\n\",\n \"16 EXT. INNER CITY CONSTRUCTION SITE - NIGHT \\n \\n Barricades and police tape surround the egg. A SECURITY GUARD \\n passes his sleeping CO-WORKER, drops into a chair, sips his\",\n \" We should get some rest. \\n \\n They all settle in for the night. \\n \\n 55B EXT. INNER CITY CONSTRUCTION SITE - NIGHT (OLD SC 47) 55B \\n\",\n \"Mr. Kelman just gives Fred a blank stare. \\n \\n MR. KELMAN \\n Dig... dig... dig... \\n \\n Suddenly an ARM FALLS ON FRED'S SHOULDER. \\n\",\n \" CONSTRUCTION WORKER # 1 \\n ... I'll be damned. \\n \\n As though drawn by it's power, he moves to touch it. \\n\",\n \"All of them turn their attention to Ivan. \\n \\n IVAN \\n YOU HAVE SERVED YOUR PURPOSE. \\n NOW YOU WILL RETURN TO THE \\n CONSTRUCTION SITE AND LEAP TO \\n YOUR DEMISE! \",\n \" -- and KABOOOM -- he's space \\n dust! \\n \\n 113A EXT. CONSTRUCTION SITE 113A \\n \\n Fred is standing beside the water truck holding a large hose\"\n ],\n [\n \"They advance up a slope -- the egg comes into view. \\n \\n ROCKY (alarmed) \\n It looks like it's been opened! \\n \\n The kids get close to the egg, looking it over with\",\n \"staff at the chamber and BURSTS a blast of energy. The egg \\n opens up with a wHOOSH of decompressing air. webs of \\n ELECTRICITY BRANCH OUT, followed by a SWIRL OF BLACK SMOKE. \\n\",\n \"Suddenly a PURPLE STEAM POURS from the opening. And now \\n something really amazing happens. .. \\n \\n A menacing STONE CLAW RISES UP, CRADLING A HUGE STONE \\n\",\n \" Do you have any idea what it's \\n like to be cooped up in a rotten \\n egg for six thousand years? It's \\n BORING! Not to mention I've had \\n a Charlie horse since the\",\n \" Hey bonehead, get off my hoof! \\n \\n Goldar is oblivious. Zedd, stands reverently before the \\n glowing egg shape. \\n \\n ZEDD \\n After two thousand years of\",\n \"16 EXT. INNER CITY CONSTRUCTION SITE - NIGHT \\n \\n Barricades and police tape surround the egg. A SECURITY GUARD \\n passes his sleeping CO-WORKER, drops into a chair, sips his\",\n \"shakes his head in wonder. \\n \\n MORDANT \\n Where does he come up with this \\n stuff? \\n \\n The Queen spreads her wings and makes the most HORRENDOUS \\n SCREECH imaginable. \\n\",\n \" BULK \\n Be the eagle. Be the eagle. \\n \\n SKULL \\n Be the swallow. Be the \\n swallow... \\n \\n They take deep breaths then CHARGE THE DOOR. \\n\",\n \"We hear a resounding SNAP AS IVAN'S FEET ARE RELEASED FROM THE \\n ROOFTOP AND HIS ENTIRE BEING SPURTS INSIDE THE GIANT'S BELLY. \\n\",\n \"the creature EXPLODES INTO A CLOUD OF FEATHERS! \\n \\n BILLY \\n AIM FOR THEIR BEAKS! \\n \\n Tommy reaches the top of a rack. He sees a Tengu making a\",\n \" About twenty seconds in your \\n time. \\n \\n TOMMY \\n And how do we release the power? \\n \\n DULCEA \\n The legend goes that you release \\n the power with the power.\",\n \"The embers cast an orange glow on Kimberly's sleeping face \\n A SHADOW moves over her and two CRANE LEGS step into frame. \\n\",\n \" LIFE!! Give my creatures LIFE! \\n \\n Mordant admires Ivan. \\n \\n MORDANT \\n This guy is the King! \\n \\n Now the most amazing thing of all happens... \\n\",\n \"The SCINTILLATING BEHEMOTHS AWAKE FROM THE DEAD, THEIR EYES AND \\n MOUTHS OPENING, THEIR ARMS REACHING UPWARD. The beasts ROAR \\n OUT IN THUNDEROUS RAGE.\",\n \"his hands on his head, CRACKS it. \\n \\n IVAN \\n Ahhhhhhhh. \\n \\n Now he SMACKS his lips together, opens his arms theatrically \\n and gives his trademark stance. \\n\",\n \"We PULL BACK to reveal it's sitting on a table. \\n \\n Mr Kelman enters, looks it over curiously. He picks it up, \\n opens it and sticks his finger inside. \\n\",\n \"on his face. Ivan steps up onto a platform. \\n \\n IVAN \\n Mordant... let the ooze flow! \\n \\n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE \",\n \"Instantly, the remaining Tengu retreat, SQUAWKING and CAWWING in \\n rage. The kids turn to eaeh other, sharing in a moment of triumph. \\n \\n ADAM \\n WE DID IT!! \\n \\n\",\n \" SKULL \\n A real shame. \\n \\n Suddenly Fred appears and shouts out. \\n \\n FRED \\n EVERYBODY, LISTEN UP! \\n \\n The place falls silent. \\n \\n FRED\",\n \"It's total pandemonium. \\n \\n Suddenly, an ERUPTION OF SMOKE -- and Ivan, disguised as the \\n wizard, MAGICALLY APPEARS. The crowd CHEERS, Nuremburg style, \\n fists raised.\"\n ],\n [\n \" TOMMY (into communicator) \\n What's up, Alpha? \\n \\n ALPHA 5 (V.O.) \\n Rangers, we need you at the\",\n \" ... Alpha, I am deeply concerned \\n about the Rangers... \\n \\n ALPHA 5 \\n I told them it was too dangerous, \\n but they wouldn't listen. \\n \\n ZORDON\",\n \"ALPHA 5 works frantically amidst the array of computer \\n banks while ZORDON looks on from his COLUMN OF LIGHT. \\n \\n The six Rangers MATERIALIZE, Tommy turns to Zordon. \\n \\n TOMMY\",\n \"The Rangers MATERIALIZE in the Command Center with their \\n helmets off. \\n \\n AISHA \\n ALPHA?! \\n \\n Alpha approaches, speaks in an anguished voice. \\n \\n ALPHA 5\",\n \" ALPHA 5 \\n Ay, yi, yi! The Rangers are \\n going to be CRUSHED! \\n \\n ZORDON \\n Don't lose hope yet, Alpha! \\n\",\n \" Rangers were too late! Ivan is \\n on his way here! \\n \\n ALPHA 5 \\n Hey, NOBODY enters the Command \\n Center without a power coin! \\n\",\n \" Rangers... I'm afraid you're too \\n late. \\n \\n AISHA \\n What?! \\n \\n ALPHA 5 \\n Zordon... he's gone. \\n\",\n \" Alpha 5, the noble master sought \\n out six extraordinary teenagers \\n and gave them the power to \\n transform into an unstoppable \\n fighting force. In time of great \\n need, the young heroes could now\",\n \"Zordon, now barely alive, watches as Alpha makes more \\n adjustments to his contraption. \\n \\n ALPHA 5 \\n That should do it. we won't be \\n able to hear them, but they\",\n \" What're THOSE?! \\n \\n We hear Alpha on Tommy's wrist communicator. \\n \\n ALPHA 5 (V. 0.) \\n Rangers, call for your new animal \\n Zords! \\n\",\n \" ROCKY \\n We have to try, Alpha. It's our \\n only hope. \\n \\n Alpha shakes his head. \\n \\n ALPHA 5 \\n It's far too dangerous. Zordon\",\n \" Grove and the world from a reign \\n of unthinkable terror. \\n \\n The Rangers literally beam. Alpha holds up a camera. \\n \\n ALPHA 5 \\n Everybody say cheese. \\n\",\n \"54G INT. COMMAND CENTER - NIGHT (OLD SC 54E) 54G \\n \\n Alpha fusses over Zordon, who is looking a good ten years older. \\n \\n ZORDON\",\n \"tube into a make-shift electronic contraption. \\n \\n ALPHA 5 \\n By bouncing ultra-high \\n frequencies off one of the \\n network satellites, I can send a \\n long-range pulsar signal to\",\n \"Alpha heaves a SIGH. \\n \\n ALPHA 5 \\n Zordon's going to have my \\n orbicular spheroids when he hears \\n out about this! \\n\",\n \" within TWO FEET of the Rangers \\n coordinates. \\n \\n ZORDON \\n (with difficulty) \\n ... I just pray we're not too \\n late. \\n \\n Alpha continues making adjustments.\",\n \" ... We must try to communicate \\n with them. \\n \\n Alpha looks out over the decimated Command Center. \\n \\n ALPHA 5 \\n Perhaps if I could locate a \\n vertical-deflector then I could\",\n \"128 INT. COMMAND CENTER 128 \\n \\n Alpha LEAPS for joy. \\n \\n ALPHA 5 \\n HOORAY, POWER RANGERS!! \\n \\n\",\n \" GO, Rangers! GO, Rangers! GO, \\n Rangers! GO! \\n \\n 83 INT. MEGAZORD COCKPIT 83 \\n \\n The Rangers are side by side, each of them handling different\",\n \"Alpha works frantically hitting buttons and levers. \\n \\n ALPHA 5 \\n Ay, yi, yi, yi! The filamentary \\n transistors have malfunctioned! \\n\"\n ],\n [\n \" centuries. \\n \\n The Rangers are silent for a moment. \\n \\n DULCEA \\n He was always an inspiration... \\n \\n Dulcea speaks with grim-visaged intensity. \\n \\n DULCEA\",\n \" DULCEA \\n You have been visited by the \\n animal spirits... they have given \\n you their blessing. \\n \\n The Rangers continue to admire their symbols in silent wonder. \\n\",\n \" TOMMY \\n Thank you, Dulcea. For \\n everything. \\n \\n Dulcea catches her hand and six Rangers put their hands on top \\n of hers. \\n \\n DULCEA\",\n \"talking B-U-I-L-T. Meet the Master warrior, DULCEA. \\n \\n The Rangers stand there with stunned expressions. Dulcea looks \\n to Tommy. \\n \\n DULCEA\",\n \" What do you know of the Great \\n Power? \\n \\n KIMBERLY \\n Only that we need it to defeat \\n Ivan Ooze. \\n \\n Dulcea's eyes move from Ranger to Ranger.\",\n \"Dulcea and the Rangers are gathered around a bird-bath stand \\n with FLAMES leaping out of it. \\n \\n DULCEA \\n In the language of the \\n Nathadians, \\\"Nin\\\" stands for\",\n \" smell what we cannot smell. \\n \\n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \\n blow. \\n \\n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \" DULCEA \\n Close. Billy, you are the Wolf, \\n cunning and swift. \\n \\n And now Kimberly. She studies hers for a moment. It looks \\n like a bird. \\n\",\n \"The Rangers recover and exchange expressions of utter disbelief \\n \\n KIMBERLY \\n Wow! That was amazing for such \\n a little dude! \\n \\n The figure speaks in a HOARSE WHISPER. \\n\",\n \" Tommy, you are the Falcon, Winged \\n Lord of the Sky. \\n \\n Kimberly regards Dulcea with true admiration. \\n \\n KIMBERLY \\n \\n How do you know so much about the\",\n \"ornate doorway, faces the Rangers. \\n \\n DULCEA \\n Each of you must reach deep \\n within and draw upon your natural \\n instincts... Only then will you \\n know the way of the Ninjetti.\",\n \" Billy is starting to get the hang of it. He hits Dulcea a few \\n times, then she CLOBBERS him. \\n \\n 3. Kimberly balances along the bamboo log again. She does a\",\n \"Now Dulcea does the impossible. She LEAPS OFF THE ROCK, SOARS \\n FIFTY FEET through the air, AND LANDS on another protruding \\n rock. Tommy is stunned. \\n\",\n \"Dulcea leads Snoggle and the Rangers up a stone path. They \\n approach a bush filled with exotic berries. All of them start \\n eating the berries. \\n \\n TOMMY \\n Dulcea... how do you and Zordon\",\n \" ROCKY \\n What's going on?! \\n \\n KIMBERLY \\n I don't believe it! \\n \\n Dulcea approaches, a wondrous expression on her face. \\n\",\n \" DULCEA \\n This is as far as I can take you. \\n \\n The kids are thrown by this. \\n \\n KIMBERLY \\n You're leaving us?! \\n \\n DULCEA\",\n \" parents for anything! \\n \\n 55C EXT. DULCEA'S GARDEN / PHAEDOS - NIGHT 55C \\n \\n The Rangers are fast asleep. A night wind WHISTLES through the\",\n \"Dulcea is blindfolded, Billy isn't. \\n \\n DULCEA \\n The wolf relies on it's enhanced \\n senses to guide it... He can \\n hear what we cannot hear, he can\",\n \" DULCEA \\n Rocky, you are the Mighty Ape. \\n \\n We see each of them DISCOVER THEIR ANIMAL. \\n \\n BILLY \\n I see... a fox \\n\"\n ],\n [\n \" centuries. \\n \\n The Rangers are silent for a moment. \\n \\n DULCEA \\n He was always an inspiration... \\n \\n Dulcea speaks with grim-visaged intensity. \\n \\n DULCEA\",\n \" DULCEA \\n This is as far as I can take you. \\n \\n The kids are thrown by this. \\n \\n KIMBERLY \\n You're leaving us?! \\n \\n DULCEA\",\n \"Now Dulcea does the impossible. She LEAPS OFF THE ROCK, SOARS \\n FIFTY FEET through the air, AND LANDS on another protruding \\n rock. Tommy is stunned. \\n\",\n \" ROCKY \\n What's going on?! \\n \\n KIMBERLY \\n I don't believe it! \\n \\n Dulcea approaches, a wondrous expression on her face. \\n\",\n \" smell what we cannot smell. \\n \\n Billy takes SWING after SWING -- Dulcea easily DEFLECTS every \\n blow. \\n \\n Now Dulcea takes numerous SWINGS, THWACKING Billy repeatedly\",\n \" Tommy, you are the Falcon, Winged \\n Lord of the Sky. \\n \\n Kimberly regards Dulcea with true admiration. \\n \\n KIMBERLY \\n \\n How do you know so much about the\",\n \"Dulcea is blindfolded, Billy isn't. \\n \\n DULCEA \\n The wolf relies on it's enhanced \\n senses to guide it... He can \\n hear what we cannot hear, he can\",\n \" Ninjetti? \\n \\n Dulcea stands tall and proud. \\n \\n DULCEA \\n I... am the sole living \\n descendant of the \\\"Nathadians\\\". \\n (beat)\",\n \" DULCEA \\n Close. Billy, you are the Wolf, \\n cunning and swift. \\n \\n And now Kimberly. She studies hers for a moment. It looks \\n like a bird. \\n\",\n \"Dulcea and Rocky are standing at the bottom of a twenty foot pole \\n with an exotic oriental carving \\n \\n DULCEA \\n The ape is strong, but more \\n importantly it is flexible and \\n free.\",\n \"54C EXT. DULCEA'S GARDEN / PHAEDOS - DAY (OLD SC 52) 54C \\n \\n Aisha watches as Dulcea goes into a bear stance. \\n\",\n \"1. We see Aisha standing on a rock, her whole body flowing in \\n a martial art exercise. \\n \\n 2. Billy and Dulcea continue to fight with whistling sticks.\",\n \"Dulcea and Tommy are standing on a towering rock rising out of \\n a dark lake. \\n \\n DULCEA \\n The falcon never struggles with \\n the air, but rather becomes one \\n with it. \\n\",\n \" DULCEA \\n The bear is sturdy as a towering \\n tree. Nothing can uproot it. \\n \\n Snoggle CHARGES Dulcea, SLAMS INTO HER. She remains as rooted\",\n \"talking B-U-I-L-T. Meet the Master warrior, DULCEA. \\n \\n The Rangers stand there with stunned expressions. Dulcea looks \\n to Tommy. \\n \\n DULCEA\",\n \"54A EXT. DULCEA'S GARDEN / PHAEDOS - DAY (OLD SC 53) 54A \\n \\n Dulcea and Billy circle one another, fighting with spinning \\n WHISTLING sticks.\",\n \"He marches to the pole, Dulcea holds him back. \\n \\n DULCEA \\n Snoggle, we don't have time for \\n you to show off \\n\",\n \" DULCEA \\n It is said that to those who \\n possess the Power... all things \\n are possible. \\n \\n BILLY \\n Where did it originate? \\n \\n DULCEA\",\n \" is to achieve the highest state \\n of being... \\n \\n TOMMY \\n And how do we do that? \\n \\n DULCEA \\n By learning the ancient art of\",\n \" TOMMY \\n Thank you, Dulcea. For \\n everything. \\n \\n Dulcea catches her hand and six Rangers put their hands on top \\n of hers. \\n \\n DULCEA\"\n ],\n [\n \"Night has fallen on Angel Grove. We PAN ACROSS a quiet, middle- \\n class neighborhood, settle on a two story house. \\n\",\n \"A large banner proclaims \\\"SAVE THE OBSERVATORY.\\\" We see \\n diving teams with labeled uniforms -- the BOWLING TEAM, ANGEL\",\n \"We see the reporter then a few cuts of GEOLOGISTS combing the \\n site with scanning equipment and COPS sealing off the area with \\n yellow tape. \\n \\n REPORTER \\n ... Angel Grove Police have\",\n \"7 EXT. ANGEL GROVE PARK - DAY 7 \\n \\n FAMILIES eat hot dogs and cotton candy at a huge fundraiser .\",\n \" known as Zordon, came to the city \\n of Angel Grove to establish a \\n vanguard in the never ending \\n struggle against evil. with the \\n aid of his trusted assistant,\",\n \" I'll be at the Observatory \\n Sunday. \\n \\n ERNIE \\n That's right - Ryan's Comet. \\n \\n ROCKY \\n We should throw a little comet\",\n \"PAST the moon. \\n \\n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \\n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \\n standing on the balcony.\",\n \" In a place that came to be known \\n as Angel Grove. \\n \\n ZORDON \\n The chamber has been accidently \\n UNCOVERED! You must return it to\",\n \"72 EXT. ANGEL GROVE TOWER - DAY 72 \\n \\n We're on top of a high tower overlooking the entire city\",\n \"We see the mass of parents as they march intently down a dark \\n city street. \\n \\n 76A EXT. ANGEL GROVE PARK - ERNIE'S - NIGHT (OLD SC 64) 76A\",\n \"We see images of PEOPLE SCREAMING THEIR GUTS out as they \\n CLAMBER PAST CAMERA. \\n \\n NEWS REPORTER \\n Angel Grove has never before \\n known such a crisis and we can\",\n \" Looking good up there. \\n \\n TOMMY \\n Thanks, man. \\n \\n MR. KELMAN \\n Congratulations - the \\n Observatory's got a new lease on \\n life.\",\n \"29 INT. ZEDD'S PALACE - NIGHT 29 \\n \\n Zedd, Rita and their minions are inside Zedd's dark palace \\n Goldar looks through Rita's telescope as Rita rants.\",\n \" Grove and the world from a reign \\n of unthinkable terror. \\n \\n The Rangers literally beam. Alpha holds up a camera. \\n \\n ALPHA 5 \\n Everybody say cheese. \\n\",\n \"10. Aisha also does something appropriate. \\n \\n 55H EXT. ANGEL GROVE PARK - DAY (OLD SC 55F) 55H \\n\",\n \" BUSINESS!! \\n \\n They TELEPORT out. \\n \\n 79 EXT. ANGEL GROVE TOWER - NIGHT 79 \\n\",\n \"\\\"Angel Grove First National Bank\\\". The ENTIRE SIDE OF THE \\n BUILDING IS DEMOLISHED. \\n \\n TOMMY (V.O.) \\n One more blow like that and we're\",\n \" ROCKY \\n Look, Zordon doesn't have much \\n longer to live. And for all we \\n know, Angel Grove could already \\n be under attack. We don't have \\n TIME for this.\",\n \"Zedd and Rita react as they see Ivan/Colossus and Megazord \\n shooting out into the stars. \\n \\n RITA \\n It's Ivan and the Megazord!! \\n\",\n \"Goldar looks up from the telescope. \\n \\n GOLDAR \\n According to the TX Tracker, \\n they're headed for Phaedos. \\n \\n ZEDD\"\n ],\n [\n \"skeletons strewn around it, some of them human, some of them \\n alien. \\n \\n They approach the massive block, stand before it in awe struck \\n silence. In the middle of the Monolith there's a large circle\",\n \" KIMBERLY \\n I guess these guys weren't so \\n lucky. \\n \\n A few of the kids walk around the Monolith, examining it more \\n closely. \\n \\n AISHA\",\n \"75A EXT. MONOLITH - DAY 75A \\n \\n The kids climb up on top of the rock bluff -- before them is a \\n huge black Monolith. There's all sorts of charred bones and\",\n \"we can see the outline of the Nathadian Monolith. \\n \\n DULCEA \\n The Monolith is there in the \\n distance. \\n \\n The kids strain to get a better look. \\n\",\n \"34 thru 38 OMITTED \\n \\n 39 EXT. PHAEDOS JUNGLE - DAY 39 \\n \\n The Rangers move through foreboding jungle terrain, their ears\",\n \"75C INT. MONOLITH - DAY 75C \\n \\n The kids BURST THROUGH A WALL OF LIGHT and come down together \\n inside a vast cavern. There's a pyramid shaped steel object in\",\n \"The Rangers crest a hill and Adam, who's in the lead, suddenly \\n drops down - the others following suit. \\n \\n They peer over the ridge -- their eyes wide. \\n \\n Before them, a tenuous rope bridge leads to a vast rock landing.\",\n \" BILLY \\n That's the only way to the \\n Monolith... \\n \\n ROCKY \\n We can take these guys! \\n \\n Tommy pulls all of them into a huddle. \\n\",\n \" The Rangers share purposeful looks. \\n \\n TOMMY \\n It's our only hope. \\n \\n Alpha shakes his head, punches in the final codes. \\n \\n ALPHA \\n Safe journey, Rangers!\",\n \" BILLY \\n ... Nothing. \\n \\n ROCKY \\n Release the power with the power. \\n \\n Rocky steps back, THROWS HIS SHOULDER into the Monolith with a\",\n \" \\n We hear a RUMBLING SOUND as the earth starts to SHAKE. The \\n Rangers look to each other, horrified. \\n \\n Then everything falls still and silent... and then a miracle \\n happens. \\n\",\n \" Monolith to store the power and \\n keep it from their enemies. \\n (ominous) \\n For thousands of years, beings \\n from all over the Universe have \\n tried to obtain it... ALL have\",\n \" centuries. \\n \\n The Rangers are silent for a moment. \\n \\n DULCEA \\n He was always an inspiration... \\n \\n Dulcea speaks with grim-visaged intensity. \\n \\n DULCEA\",\n \" within TWO FEET of the Rangers \\n coordinates. \\n \\n ZORDON \\n (with difficulty) \\n ... I just pray we're not too \\n late. \\n \\n Alpha continues making adjustments.\",\n \"21 EXT. COMMAND CENTER - NIGHT 21 \\n \\n The Rangers climb a mountain path, all of them looking alarmed. \\n Up ahead, there's a PILLAR OF BLACK SMOKE rising from the \\n Command Center.\",\n \" not have the Ninjetti, the power \\n will destroy you. \\n (beat) \\n To reach the Monolith we must \\n traverse the Neola jungle. We\",\n \" DULCEA \\n You have been visited by the \\n animal spirits... they have given \\n you their blessing. \\n \\n The Rangers continue to admire their symbols in silent wonder. \\n\",\n \"Now the Rangers ATTACK, some of them LUNGING OFF ROCKS, others \\n BURSTING out of crevices, others coming over the walls. \\n \\n Billy wields his WHISTLING sticks -- misses several times, then\",\n \"The Rangers recover and exchange expressions of utter disbelief \\n \\n KIMBERLY \\n Wow! That was amazing for such \\n a little dude! \\n \\n The figure speaks in a HOARSE WHISPER. \\n\",\n \"32F EXT. JUNGLE CLEARING / PHAEDOS - DAY (OLD SC. 32C) \\n \\n The Rangers continue scouring the sky as BILLY COMES FLYING. \\n\"\n ],\n [\n \" Danger from what? \\n \\n ZORDON \\n Six thousand years ago a \\n morphological being known as Ivan \\n Ooze, ruled the world with a \\n reign of unparalleled terror.\",\n \" TOMMY \\n Huh ... Oh, uh, we re, ah... \\n \\n Kimberly intervenes. \\n \\n KIMBERLY \\n He was attacked by this horrific \\n being -- Ivan Ooze.\",\n \"IVAN OOZE. \\n \\n IVAN \\n It's TEENAGERS \\n \\n KIMBERLY \\n GroSS! \\n \\n IVAN \\n You're too kind. Allow me to\",\n \" You haven't changed, Ooze. \\n You're still picking on creatures \\n smaller than yourself. \\n \\n Ivan slowly circles Zordan's column of light, Zordon turns \\n with him. \\n \\n IVAN\",\n \" IVAN \\n Ladies and Gentlemen... the OOZE \\n is back!! \\n \\n Rita blushes. \\n \\n RITA \\n He's so cute. \\n\",\n \"There's more STATIC, then IVAN APPEARS AS THE WIZARD. \\n \\n IVAN \\n Hi, folks, Ivan Ooze here. \\n \\n ALPHA 5\",\n \" guck... this is the one and only \\n Ivan's Ooze! Yesireebob. It's \\n ooey, gooey and even kind of \\n chewy. But best of all it's\",\n \" would never allow it. \\n \\n AISHA \\n If we don't try, Zordon won't \\n survive! \\n \\n ADAM \\n If Ivan Ooze isn't stopped,\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \"on his face. Ivan steps up onto a platform. \\n \\n IVAN \\n Mordant... let the ooze flow! \\n \\n Mordant pulls a lever and the OOZE SLITHERS THROUGH THE \",\n \" IVAN \\n From this moment forth, the world \\n as you know it SHALL CEASE TO \\n EXIST! \\n \\n Ivan raises his arms -- thunder CRACKLES and LIGHTNING RIPS \\n ACROSS THE SKY. \\n\",\n \"We hear a SLITHERING SLURPING SOUND as the substance RISES UP \\n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \\n \\n MORDANT\",\n \"each other. It's an ooze free-for-all. \\n \\n IVAN \\n Boys and girls, girls and boys, \\n gather round and feast your eyes. \\n This ain't sludge and this ain't\",\n \" Well... ALMOST nobody. \\n \\n The ooze SLITHERS AND GURGLES ACROSS THE FLOOR, once again \\n IVAN RISES UP. He takes in the state-of-the-art surroundings. \\n\",\n \" introduce myself. I am the \\n infamous, world-reviled, \\n universally despised, IVAN OOZE! \\n \\n ROCKY \\n Well, pack your bags cause we're\",\n \"Zedd flashes her an angry look, turns back to Ivan. \\n \\n ZEDD \\n I am Lord Zedd, sworn enemy of \\n all that is good and decent. It \\n is a supreme honor to finally\",\n \"Ivan approaches an enormous vat, turns a tap -- it BURPS and \\n GLOPS as PURPLE OOZE pours out. \\n \\n GOLDAR \\n But boss, what about their \\n parents? \\n\",\n \" SKULL \\n They're at the World Center \\n Construction Site. \\n \\n Fred nods. \\n \\n FRED \\n Uh. OOZE RULES! \\n\",\n \"There's a BURST OF PURPLE SMOKE -- Ivan, Mordant and Goldar \\n appear. Ivan looks out on the city, holds up his arms \\n theatrically. \\n \\n IVAN\",\n \"59 EXT. INNER CITY CONSTRUCTION SITE - DAY 59 \\n \\n The bulldozers and earth movers have dug out a twenty foot pit. \\n IVAN leads Goldar and Mordant through the site, passing dozens\"\n ],\n [\n \" You haven't changed, Ooze. \\n You're still picking on creatures \\n smaller than yourself. \\n \\n Ivan slowly circles Zordan's column of light, Zordon turns \\n with him. \\n \\n IVAN\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \" would never allow it. \\n \\n AISHA \\n If we don't try, Zordon won't \\n survive! \\n \\n ADAM \\n If Ivan Ooze isn't stopped,\",\n \"There's more STATIC, then IVAN APPEARS AS THE WIZARD. \\n \\n IVAN \\n Hi, folks, Ivan Ooze here. \\n \\n ALPHA 5\",\n \" TOMMY \\n Huh ... Oh, uh, we re, ah... \\n \\n Kimberly intervenes. \\n \\n KIMBERLY \\n He was attacked by this horrific \\n being -- Ivan Ooze.\",\n \"Everybody follows Kimberly's gaze, thunderstruck expressions \\n coming over them. \\n \\n Laying on a destroyed bed of crystals is Zordon. He is still a \\n SHIMMERING SPECTRAL being, only now he s aged a good fifty\",\n \" once... and now I'm afraid he \\n has the strength to see his \\n scheme through. \\n \\n Zordon closes his eyes. Tommy puts a hand on Kimberly's\",\n \" ZORDON \\n I'm afraid that's impossible... \\n The power has been destroyed. \\n It's gone... The Zords, the \\n weapons... all of it. \\n (beat)\",\n \" Danger from what? \\n \\n ZORDON \\n Six thousand years ago a \\n morphological being known as Ivan \\n Ooze, ruled the world with a \\n reign of unparalleled terror.\",\n \"The Rangers are too stunned to speak. They approach Zordon's \\n lifeless form looking absolutely devastated. \\n \\n KIMBERLY \\n ... This can't be... \\n\",\n \" IVAN/COLOSSUS \\n NOTHING can defeat the Powers of \\n Darkness! \\n \\n Now Ivan/Colossus goes to town on Megazord. WHOMP! THWACK!\",\n \"Zordon, now barely alive, watches as Alpha makes more \\n adjustments to his contraption. \\n \\n ALPHA 5 \\n That should do it. we won't be \\n able to hear them, but they\",\n \" IVAN \\n My turn. \\n \\n \\n He ZAPS Rita and Zedd, and with a BRILLIANT FLASH, THEY'RE GONE. \\n\",\n \"They stare at Zordon with gut-wrenching expressions. They're \\n utterly defeated. \\n \\n Eventually, Tommy looks to the others and speaks in a fervent \\n voice. \\n \\n TOMMY \\n \\\"To those who possess the Great\",\n \"Zedd flashes her an angry look, turns back to Ivan. \\n \\n ZEDD \\n I am Lord Zedd, sworn enemy of \\n all that is good and decent. It \\n is a supreme honor to finally\",\n \"PAST the moon. \\n \\n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \\n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \\n standing on the balcony.\",\n \"We hear a SLITHERING SLURPING SOUND as the substance RISES UP \\n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \\n \\n MORDANT\",\n \"SCREECHING METAL and BURSTING VALVES. \\n \\n 120 INT. COMMAND CENTER 120 \\n \\n Alpha and Zordon watch as Ivan/Colossus bear hugs Megazord. \\n\",\n \" IVAN \\n Not so fast, greaseballs. \\n \\n Goldar blocks their way. \\n \\n IVAN \\n You'll have to do. \\n\",\n \" IVAN \\n Ladies and Gentlemen... the OOZE \\n is back!! \\n \\n Rita blushes. \\n \\n RITA \\n He's so cute. \\n\"\n ],\n [\n \"PAST the moon. \\n \\n The CAMERA MOVES IN on Zedd's ominous palace which rises up out \\n of the tortured landscape. Zedd, Rita, Mordant and Goldar are \\n standing on the balcony.\",\n \" IVAN \\n My turn. \\n \\n \\n He ZAPS Rita and Zedd, and with a BRILLIANT FLASH, THEY'RE GONE. \\n\",\n \" IVAN \\n Ladies and Gentlemen... the OOZE \\n is back!! \\n \\n Rita blushes. \\n \\n RITA \\n He's so cute. \\n\",\n \"Zedd flashes her an angry look, turns back to Ivan. \\n \\n ZEDD \\n I am Lord Zedd, sworn enemy of \\n all that is good and decent. It \\n is a supreme honor to finally\",\n \" You haven't changed, Ooze. \\n You're still picking on creatures \\n smaller than yourself. \\n \\n Ivan slowly circles Zordan's column of light, Zordon turns \\n with him. \\n \\n IVAN\",\n \"59 EXT. INNER CITY CONSTRUCTION SITE - DAY 59 \\n \\n The bulldozers and earth movers have dug out a twenty foot pit. \\n IVAN leads Goldar and Mordant through the site, passing dozens\",\n \" DULCEA \\n Ivan Ooze is free?! We are all \\n in mortal danger! \\n \\n She moves off - the Rangers just stand there staring at each \\n other. \\n \\n DULCEA\",\n \"29 INT. ZEDD'S PALACE - NIGHT 29 \\n \\n Zedd, Rita and their minions are inside Zedd's dark palace \\n Goldar looks through Rita's telescope as Rita rants.\",\n \"Ivan SNAPS his hand -- a WAD OF OOZE FLIES OUT, SPLATS RITA \\n across the mouth, muffling her. \\n \\n RITA \\n Rrgh mmffpprr brghuh!! \\n\",\n \"Zedd and Rita react as they see Ivan/Colossus and Megazord \\n shooting out into the stars. \\n \\n RITA \\n It's Ivan and the Megazord!! \\n\",\n \"Zedd and Rita continue watching the battle from the snow globe. \\n \\n RITA \\n I hope those Rangers put that \\n lousy lowlife out of his misery! \\n \\n ZEDD\",\n \"We hear a SLITHERING SLURPING SOUND as the substance RISES UP \\n AND TAKES ON THE GHASTLY SHAPE OF IVAN OOZE. Mordant tugs at Zedd. \\n \\n MORDANT\",\n \" TOMMY \\n Huh ... Oh, uh, we re, ah... \\n \\n Kimberly intervenes. \\n \\n KIMBERLY \\n He was attacked by this horrific \\n being -- Ivan Ooze.\",\n \" IVAN \\n Not so fast, greaseballs. \\n \\n Goldar blocks their way. \\n \\n IVAN \\n You'll have to do. \\n\",\n \"Ivan steps forward, followed by Goldar. \\n \\n IVAN \\n Ladies and gentlemen, Simon \\n says... STOP! \\n \\n All the parents stop. \\n \\n IVAN\",\n \" Finally, a real man. \\n \\n Goldar hands Ivan a scrap of paper. \\n \\n GOLDAR \\n Here's his address. \\n \\n IVAN (reading)\",\n \"There's more STATIC, then IVAN APPEARS AS THE WIZARD. \\n \\n IVAN \\n Hi, folks, Ivan Ooze here. \\n \\n ALPHA 5\",\n \"Rita and Zedd chase Mordant and Goldar around the palac \\n BLASTING them with their staffs. \\n \\n GOLDAR \\n What'd we do?! \\n \\n ZEDD\",\n \" (arms out in trademark stance) \\n The \\\"booger man\\\" is taking over. \\n \\n Ivan drops regally into Zedd's chair. \\n \\n ZEDD \\n Nobody double-crosses Lord Zedd\",\n \" would never allow it. \\n \\n AISHA \\n If we don't try, Zordon won't \\n survive! \\n \\n ADAM \\n If Ivan Ooze isn't stopped,\"\n ]\n]"},"questions":{"kind":"list like","value":["What object has bee unearthed?","After cracking open the egg, who is released?","What has been destroyed?","Who do the Power Rangers find dying?","Who does Ivan Ooze send to Phaedos?","How does Ivan Ooze hyponotize the adults?","What is given to each Ranger by Dulcea?","How is Ivan Ooze destroyed?","What do the Rangers use to restore the Command Center?","Who is the charity skydive for?","What is the name of the comet that will pass by?","Where do Bulk and Skull land when they miss the target?","What do Bulk and Skull find in the construction zone?","What comes out of the egg?","What planet does Alpha five send the Power Rangers too?","What do Rita and Zed get trapped in?","Where does Dulcea take the Rangers?","What is Rocky's animal spirit?","How do the Rangers destroy Ivan?","What has been unearthed at the construction site?","What is realeased from the egg when it is cracked open?","Where does Alpha 5 send the Rangers?","What does Dulcea give each Ranger?","Who is Dulcea?","What event is the Angel Grove observatory having?","What do the Ranger retrieve at the Monolith?","When did Ivan Ooze rule the earth?","What happens when Ivan Ooze incapacitates Zordon?","Where does Ivan Ooze trap Rita and Zedd?"],"string":"[\n \"What object has bee unearthed?\",\n \"After cracking open the egg, who is released?\",\n \"What has been destroyed?\",\n \"Who do the Power Rangers find dying?\",\n \"Who does Ivan Ooze send to Phaedos?\",\n \"How does Ivan Ooze hyponotize the adults?\",\n \"What is given to each Ranger by Dulcea?\",\n \"How is Ivan Ooze destroyed?\",\n \"What do the Rangers use to restore the Command Center?\",\n \"Who is the charity skydive for?\",\n \"What is the name of the comet that will pass by?\",\n \"Where do Bulk and Skull land when they miss the target?\",\n \"What do Bulk and Skull find in the construction zone?\",\n \"What comes out of the egg?\",\n \"What planet does Alpha five send the Power Rangers too?\",\n \"What do Rita and Zed get trapped in?\",\n \"Where does Dulcea take the Rangers?\",\n \"What is Rocky's animal spirit?\",\n \"How do the Rangers destroy Ivan?\",\n \"What has been unearthed at the construction site?\",\n \"What is realeased from the egg when it is cracked open?\",\n \"Where does Alpha 5 send the Rangers?\",\n \"What does Dulcea give each Ranger?\",\n \"Who is Dulcea?\",\n \"What event is the Angel Grove observatory having?\",\n \"What do the Ranger retrieve at the Monolith?\",\n \"When did Ivan Ooze rule the earth?\",\n \"What happens when Ivan Ooze incapacitates Zordon?\",\n \"Where does Ivan Ooze trap Rita and Zedd?\"\n]"},"answers":{"kind":"list like","value":[["A giant egg. ","a giant egg"],["Ivan Ooze. ","Ivan Ooze"],["The Command Center.","The command center"],["They find Zordon dying. ","Zordon"],["He sends his Tengu warriors. ","His Tengu warriors"],["He uses his ooze.","Using his ooze"],["Animal spirits. ","an animal spirit "],["He is destroyed going into the path of Ryan's Comet. ","Ivan is led into space and destroyed by the comet."],["They use the Great Power. ","The Great Power"],["Angel Grove Observatory.","The Angle Grove Observatory"],["Ryans Comet.","Ryan's Comet."],["A construction zone.","A construction site"],["An egg.","An egg."],["Ivan Ooze.","Ivan Ooze "],["Phaedos.","Phaedos"],["A snow globe. ","In a snow globe"],["An ancient ruined temple.","ancient ruined temple"],["An Ape.","ape"],["They lead him into the path of Ryans Comet.","Lead him into the path of a comet"],["A giant egg.","an egg"],["Ivan Ooze.","Ivan Ooze"],["To the planet Phaedos.","Phaedos"],["An animal spirit.","an animal spirit"],["Phaedos' Master Warrior.","Pheados' Master Warrior"],["A charity skydive.","A charity skydive"],["The Great Power.","the great power"],["Six thousand years ago.","6'000 years ago"],["The Rangers lose their powers.","It robs the Rangers of their power."],["Ivan traps them in a snow globe.","In a snow globe."]],"string":"[\n [\n \"A giant egg. \",\n \"a giant egg\"\n ],\n [\n \"Ivan Ooze. \",\n \"Ivan Ooze\"\n ],\n [\n \"The Command Center.\",\n \"The command center\"\n ],\n [\n \"They find Zordon dying. \",\n \"Zordon\"\n ],\n [\n \"He sends his Tengu warriors. \",\n \"His Tengu warriors\"\n ],\n [\n \"He uses his ooze.\",\n \"Using his ooze\"\n ],\n [\n \"Animal spirits. \",\n \"an animal spirit \"\n ],\n [\n \"He is destroyed going into the path of Ryan's Comet. \",\n \"Ivan is led into space and destroyed by the comet.\"\n ],\n [\n \"They use the Great Power. \",\n \"The Great Power\"\n ],\n [\n \"Angel Grove Observatory.\",\n \"The Angle Grove Observatory\"\n ],\n [\n \"Ryans Comet.\",\n \"Ryan's Comet.\"\n ],\n [\n \"A construction zone.\",\n \"A construction site\"\n ],\n [\n \"An egg.\",\n \"An egg.\"\n ],\n [\n \"Ivan Ooze.\",\n \"Ivan Ooze \"\n ],\n [\n \"Phaedos.\",\n \"Phaedos\"\n ],\n [\n \"A snow globe. \",\n \"In a snow globe\"\n ],\n [\n \"An ancient ruined temple.\",\n \"ancient ruined temple\"\n ],\n [\n \"An Ape.\",\n \"ape\"\n ],\n [\n \"They lead him into the path of Ryans Comet.\",\n \"Lead him into the path of a comet\"\n ],\n [\n \"A giant egg.\",\n \"an egg\"\n ],\n [\n \"Ivan Ooze.\",\n \"Ivan Ooze\"\n ],\n [\n \"To the planet Phaedos.\",\n \"Phaedos\"\n ],\n [\n \"An animal spirit.\",\n \"an animal spirit\"\n ],\n [\n \"Phaedos' Master Warrior.\",\n \"Pheados' Master Warrior\"\n ],\n [\n \"A charity skydive.\",\n \"A charity skydive\"\n ],\n [\n \"The Great Power.\",\n \"the great power\"\n ],\n [\n \"Six thousand years ago.\",\n \"6'000 years ago\"\n ],\n [\n \"The Rangers lose their powers.\",\n \"It robs the Rangers of their power.\"\n ],\n [\n \"Ivan traps them in a snow globe.\",\n \"In a snow globe.\"\n ]\n]"},"document_id":{"kind":"string","value":"c93b98fc3db3bc4323b55358caf2fa77b495a765"},"split":{"kind":"string","value":"train"}}},{"rowIdx":54,"cells":{"text":{"kind":"list like","value":[[" quivers. The gas bombs are cocked. \n \n From the roof The Thing roars down into their midst. \n \n Stunned, the men stumble back. MacReady throws his gas bomb. \n Nauls the same."," as it smashes the glass of the fire alarm. He pulls the lever. \n \n INT. TUNNEL \n \n The alarm is blaring throughout the camp. MacReady, Garry, "," Nauls and Norris, who have silently crept in through the \n supply window, come flying through the hacked-up door and \n barrel into MacReady. Both going straight for the flare. \n"," Sanchez and Nauls inch their way through. \n \n INT. REC ROOM \n \n MacReady rips linen, soaks the strips in gas, and stuffs "," Nauls rushes in with another box of dynamite. \n \n NAULS \n What about Childs? \n \n MACREADY \n Forget about Childs. He's over. \n"," CUT TO: \n \n EXT. COMPOUND - NIGHT \n \n MacReady and Nauls, wearing their snowshoes and using flares \n for light, pull themselves along the steadying rope that "," (nodding) \n After all this mess. \n \n EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK \n \n The winds are thick and vicious now. MacReady and Nauls pull "," wall. Nauls dives over the arm, somersaults to his feet and \n takes off. \n \n INT. MAIN HALL \n \n MacReady, running, spots Nauls careening out of a turn, "," MacReady finds a burst thermite canister. He and Norris climb \n down. \n \n They move along amongst the wreck. Almost everything but the \n skeletal superstructure has disintegrated into a fine ashy "," Nauls, you and Childs and I'll check \n the outside shacks... \n \n He tosses torches to Sanchez and Palmer. \n \n MACREADY"," Nauls blazes by him. MacReady hears the snarls and screeches \n heading his way. He streaks after Nauls. \n \n INT. REC ROOM \n"," EXT. COMPOUND - NIGHT \n \n The wind rumbles. The storm is at its peak. MacReady, Childs \n and Nauls, guided by their flares, pull themselves along the "," Garry and several others turn to MacReady quizzically. \n \n GARRY \n You're not thinking of going after \n them, are you? \n \n MACREADY"," MacReady charges up the stairs from the plant room. He zooms \n down the twisting corridors, opening and closing doors. He \n rounds a bend and crashes into Nauls coming the other way. \n"," MacReady spins Nauls off and rips into Norris, sending him \n crashing violently into the wall. Nauls tackles MacReady's \n legs, pulling him to the floor. \n"," heading toward him. \n \n NAULS \n Get back!! \n \n MACREADY \n The generator! \n \n NAULS \n Screw the generator!! \n"," Garry pokes his head into the blackness. \n \n GARRY \n What's going on, damn it? \n \n MacReady aims his shotgun at the entire pack. \n \n MACREADY"," MacReady guns it through the next wall and into the infirmary. \n Medical equipment goes flying. The machine is powerful; the \n prefabricated walls buckling under its force. \n \n INT. COMPOUND \n"," The others surround him. \n \n PALMER \n Where's MacReady? \n \n Nauls weighs each of them ominously, while digging down \n underneath his heavy jacket. \n"," MacReady hands his list to Bennings. \n \n MACREADY \n Get these things out of supply and \n meet me over by the snowmobiles. \n \n GARRY"],[" Childs, viewing the tapes, can't quite believe it all. \n \n CHILDS \n Okay now, Mac, run this by me again. \n Thousands of years ago this rocket "," (rambling) \n Happens all the time, man. They're \n falling out of the skies like flies. \n Government knows all about it... \n Chariots of the Gods, man... They "," It turns and snarls at the craft some fifteen hundred yards \n to its rear. Then whirls and gallops off. A gun blast kicks \n up snow at its heels. \n \n INT. COPTER \n"," GARRY \n I've got six dead Norwegians on my \n hands, a burned up flying saucer, \n and we've just destroyed the \n scientific find of the century. Now "," NAULS \n What is it? \n \n MACREADY \n Everything that's been missing. \n \n CHILDS \n Spaceship of some kind. \n"," Something is down there. They pull up more boards. \n \n The hole is some fifteen feet deep. Its dimensions are the \n same as the shack. Its space is almost completely taken up \n by some strange metallic object. \n"," time... \n (holds up ice sample) \n ...This ice it was buried in... \n It's over a hundred thousand years \n old. \n \n Palmer calls out, waving them over. \n"," travels precariously close to the ground; its chassis battered \n and swayed by the wind. \n \n INT. COPTER \n \n Red dials beam on the faces of two men. One carries a rifle "," fifteen feet long, six feet wide and eight feet deep. \n \n MacReady kneels down to observe. A beat. \n \n A gust of wind picks up the snow at their feet. \n \n CUT TO:"," Palmer works on the generator. He hears the sound of \n approaching propeller blades from outside. And then the sound \n of his tool box crashing to the floor. He turns to see what \n caused the ruckus."," NAULS \n Maybe we at war with Norway. \n \n Palmer, a spacy, twenty-seven year old, novice pilot and \n mechanic, grins as he lights a joint. He directs a remark to "," materials have been used in its construction. \n \n There is a laboratory. An infirmary. A kitchen and mess hall. \n A communications room and sleeping quarters. Other cubicles \n are for storage and supplies. \n"," A tractor and two helicopters sit idle, covered with mounds \n of continuously mounting snow. \n \n TWO MEN, NORRIS AND BENNINGS \n"," Pull back to reveal -- the massive black hole about fifteen \n feet beneath the ice. Charred, gnarled and mangled metal are \n all that is left of what was once an enormous sphere. \n"," CHILDS \n How long they been out now? \n \n NORRIS \n Forty... Forty-five minutes. \n \n Silence, as the uneasy eyes measure one another. \n"," Smoke climbs upward in the f.g. MacReady sets his craft down. \n Pull back to reveal the camp itself: resembling the aftermath \n of a western fort, sacked and ravaged by Indians. \n"," (shouting) \n Couldn't be possible. Must have \n weighted a ton and a half... \n \n Nauls kicks over a chair. A naked, fleshy object bounds high "," near the fuel supply bladders. Older and more rickety than \n the quarters above. \n \n Childs waltzes through, humming, a big smile on his face. \n"," How long's it been? \n \n MACREADY \n Little over two hours. \n \n NAULS \n Maybe it ain't coming. \n \n MACREADY"," MacReady fights violently with the controls as he struggles \n to get the craft into the air. It finally rights itself and \n moves up and off into the grey-white sky. \n \n INT. MAIN COMPOUND \n"],[" Childs, viewing the tapes, can't quite believe it all. \n \n CHILDS \n Okay now, Mac, run this by me again. \n Thousands of years ago this rocket "," (rambling) \n Happens all the time, man. They're \n falling out of the skies like flies. \n Government knows all about it... \n Chariots of the Gods, man... They "," GARRY \n I've got six dead Norwegians on my \n hands, a burned up flying saucer, \n and we've just destroyed the \n scientific find of the century. Now "," It turns and snarls at the craft some fifteen hundred yards \n to its rear. Then whirls and gallops off. A gun blast kicks \n up snow at its heels. \n \n INT. COPTER \n"," time... \n (holds up ice sample) \n ...This ice it was buried in... \n It's over a hundred thousand years \n old. \n \n Palmer calls out, waving them over. \n"," CHILDS \n How long they been out now? \n \n NORRIS \n Forty... Forty-five minutes. \n \n Silence, as the uneasy eyes measure one another. \n"," Something is down there. They pull up more boards. \n \n The hole is some fifteen feet deep. Its dimensions are the \n same as the shack. Its space is almost completely taken up \n by some strange metallic object. \n"," fifteen feet long, six feet wide and eight feet deep. \n \n MacReady kneels down to observe. A beat. \n \n A gust of wind picks up the snow at their feet. \n \n CUT TO:"," NAULS \n What is it? \n \n MACREADY \n Everything that's been missing. \n \n CHILDS \n Spaceship of some kind. \n"," Fuchs leafing through a pile of papers. \n \n FUCHS \n Says here about eight weeks. \n \n Dr. Copper enters the room. Bennings limping after him \n slightly."," (shouting) \n Couldn't be possible. Must have \n weighted a ton and a half... \n \n Nauls kicks over a chair. A naked, fleshy object bounds high "," Palmer works on the generator. He hears the sound of \n approaching propeller blades from outside. And then the sound \n of his tool box crashing to the floor. He turns to see what \n caused the ruckus."," NAULS \n Maybe we at war with Norway. \n \n Palmer, a spacy, twenty-seven year old, novice pilot and \n mechanic, grins as he lights a joint. He directs a remark to "," travels precariously close to the ground; its chassis battered \n and swayed by the wind. \n \n INT. COPTER \n \n Red dials beam on the faces of two men. One carries a rifle "," So what do you make of it? \n \n NORRIS \n You know damn well what we both make \n of it. \n \n MACREADY \n No chance it could have been some "," How long's it been? \n \n MACREADY \n Little over two hours. \n \n NAULS \n Maybe it ain't coming. \n \n MACREADY"," who had been working on the snowmobile. Next to him sits \n Norris, the rugged-looking, fortyish, geophysicist, who was \n one of the men being shot at. \n \n GARRY"," The two men study it uncomprehendingly. \n \n MacReady's gaze turns to a large metal cabinet at his left. \n He moves for a closer look. Several photographs are pasted "," near the fuel supply bladders. Older and more rickety than \n the quarters above. \n \n Childs waltzes through, humming, a big smile on his face. \n"," Fuchs, a young and sensitive-looking biologist, stands closest \n to the large area map of Antarctica. Several men sit and \n stand around viewing the body that lies on two brought- \n together card-tables. \n"],[" CUT TO: \n \n EXT. COMPOUND - NIGHT - CLOSE ON THE DOG CARCASSES \n \n lying on the snow. Splash. They are being soaked with "," I'm going to shoot. \n \n CLARK \n No! Wait!! \n \n Clark wades into the pack, grabs at dogs' hides and throws "," The light has been broken and it is pitch black. MacReady \n snaps on his flashlight. Norris and Garry can't contain their \n animals and the dogs burst into the room. They smash into "," More men running, nearing the kennel. Several squeezing in \n with Garry, trying to get a look. \n \n INSIDE \n \n MacReady fires several rounds. A dog is flung at him, knocking "," MacReady signals with his flashlight and then points it at \n the gathering of snarling dogs. \n \n MACREADY \n Torch it over there! \n \n CHILDS \n The dogs?"," him and his flashlight once more to the ground. \n \n Garry squeezes in and begins blasting away in the direction \n of the hissing and screeching. A dog is hit. MacReady crawls "," Childs stops, confused as to who to help first. He notices \n the dog hunched and ready to spring. He steps back toward \n MacReady. The dog/Thing leaps for MacReady; an incredible "," Three dogs start to close in on the stranger. \n \n They attack. \n \n THE SHADOW OF THE NEW DOG \n \n against the kennel wall. The shadow suddenly lurches upward, "," stare blankly, but relievedly at the fallen man. The dog \n whimpers in pain. \n \n CHILDS \n \n pokes his head out from under the snowmobile. \n"," fascinated. He hears the far-off clamor of the dogs. \n \n INT. NAULS' QUARTERS \n \n He, too, bothered by the noise, tosses and turns in his sleep. \n"," is put into full throttle. \n \n EXT. HILL - THE DOG \n \n running feverishly up and over a hill of ice. A weather- \n beaten, wooden sign sticks up on the other side: \n"," far off. \n \n INT. INFIRMARY \n \n Fuchs is attending to the shredded bodies of three other \n badly wounded dogs. \n \n INT. REC ROOM \n"," MacReady throws his thermite canister. It discharges and \n engulfs the screeching animal in fire. \n \n BENNINGS \n \n howling in pain. The ice underneath him thrashes violently. "," in their snowshoes. Bennings stands back by the snowmobiles. \n \n Childs and MacReady spread out some dozen feet from the dog. \n It continues to pay them no mind, content to chew its food. \n"," the added horsepower. They follow the still visible dog tracks \n in the snow. \n \n CUT TO: \n \n THE SUN \n"," MacReady follows the line of continuing dog tracks. \n \n MACREADY \n Maybe dinner. \n \n BENNINGS \n Dogs don't eat each other. \n \n MACREADY"," That's what he said. Now! Move! \n \n Bennings is off. \n \n INT. TUNNEL \n \n as the men approach the locked kennel door. The two dogs, "," MACREADY \n Screw the dogs!! Torch it!! \n \n Childs lets loose with a burst of blue flame. A mewing, a \n screeching. \n"," EXT. COMPOUND ABOVE THE UNDERGROUND KENNEL \n \n CLOSE ON THE DOGS' TRACKS in the snow. They lead from the "," (nodding) \n After all this mess. \n \n EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK \n \n The winds are thick and vicious now. MacReady and Nauls pull "],[" Something is down there. They pull up more boards. \n \n The hole is some fifteen feet deep. Its dimensions are the \n same as the shack. Its space is almost completely taken up \n by some strange metallic object. \n"," Sanchez and Nauls start to leave. \n \n MACREADY \n ...Hold it. \n \n He dispenses the capsules. \n \n MACREADY"," continues to keep his distance. \n \n Copper places an oxygen mask over Norris' face. He then rips \n open his shirt. \n \n MACREADY \n So you sweethearts had yourselves a "," Sanchez pushes over the portable fibrillator. Copper climbs \n up on the table and straddles Norris' chest. \n \n Unnoticed, Clark paws the contents of the instrument tray \n behind his back."," Pull back to reveal -- the massive black hole about fifteen \n feet beneath the ice. Charred, gnarled and mangled metal are \n all that is left of what was once an enormous sphere. \n"," of test tubes, notices a large bandage on the floor. He picks \n it up, inquiringly. It is mangled and shredded. \n \n INT. GENERATOR ROOM \n"," Open up! \n \n No answer as the men surround the door, their weapons ready. \n Fear. \n \n MACREADY (O.S.)"," Look for shoes, too. And burned cloth. \n \n INT. RADIO ROOM \n \n Norris has begun dismantling the radio. He rubs at his chest \n as he disengages the headset. \n"," MacReady finds a burst thermite canister. He and Norris climb \n down. \n \n They move along amongst the wreck. Almost everything but the \n skeletal superstructure has disintegrated into a fine ashy "," He depresses the ignition, bolting the tractor ten feet. \n \n He jumps, hanging onto the edge of the hole in the ceiling. \n The Thing's face and arms burst through the metal plating of "," kind of strange alloy. \n (looks out at debris \n in disgust) \n And those poor dumb bastards had to \n go and blow the hell out of it. \n \n MACREADY"," Blair jumps in fear, spilling his can. \n \n MACREADY \n Has Fuchs been out here? \n \n Blair approaches the boarded-up window. He looks haggard and "," found a scalpel. He gently lifts it out, bringing it to his \n side. \n \n MACREADY \n And if anyone tries to wake me... \n \n DR. COPPER"," hope for the pilot. \n \n CUT TO: \n \n INT. COMPOUND \n \n CLOSE ON THE PALLID FACE OF THE SCANDINAVIAN INTRUDER \n"," I'm sure a lot of you already know. \n \n He tosses a ream of steel cable and some rope to Palmer. \n \n MACREADY \n Palmer, you and Copper tie everyone "," The three move down the hall toward their appointed rendezvous \n at the rec room. \n \n MACREADY \n (to Palmer) \n Start taking apart those snowmobiles "," others, then leaves, latching the door behind him. \n \n INT. SLEEPING CUBICLE \n \n Childs lies in his cot watching a small television. The show "," as it smashes the glass of the fire alarm. He pulls the lever. \n \n INT. TUNNEL \n \n The alarm is blaring throughout the camp. MacReady, Garry, "," Both look around. Sanchez is gone. Palmer's light finds the \n motionless generator. He examines it. \n \n PALMER \n The fuel pump... it's gone... \n (frantic)"," stopped by the now freezing temperatures within the outpost. \n \n Its one curious feature: the middle has been thawed and \n scooped out. Giving it the appearance of a large bathtub. "],[" All the men have been tied up. Palmer, Childs and Garry on \n the small couch. The others, including the lifeless corpse \n of Clark, in chairs. \n"," Go untie the Doc. Get him in here. \n Bring the others, too... \n (grins menacingly) \n From now on no one gets out of my \n sight. \n"," THE MEN \n \n being tied securely to couches and chairs. \n \n MACREADY \n Tie up Clark, too. \n \n PALMER \n (bemused)"," I'm sure a lot of you already know. \n \n He tosses a ream of steel cable and some rope to Palmer. \n \n MACREADY \n Palmer, you and Copper tie everyone "," of test tubes, notices a large bandage on the floor. He picks \n it up, inquiringly. It is mangled and shredded. \n \n INT. GENERATOR ROOM \n"," MACREADY \n Now Copper, you tie Palmer up. \n \n Copper starts to tie Palmer to the small couch next to Childs \n and Garry. \n \n MACREADY"," Norris and Childs are tying the Doctor, Clark and Garry to \n the couch. MacReady prepares several makeshift blowtorches \n as he kneels on the ground. \n \n SANCHEZ"," firing, screaming, reloading and firing. \n \n INT. COMPOUND \n \n Total confusion. Some watch helplessly through the small, \n fogged-up and translucent windows. Others try to mobilize "," Chaos. Men, half-naked, bounce from their cubicle. \n \n Pulling on their pants, digging into shoes. \n \n INT. CHILDS' CUBICLE \n"," Then we're wrong. \n \n The muffled breaking of a window down the hall. The men turn. \n \n PALMER \n The supply window! \n \n SANCHEZ"," window, relieves it of its spent shell and puts it away. \n \n CUT TO: \n \n EXT. BURNING COPTER \n \n Several men spray snow on the burning wreckage. There is no "," sits stoicly, while he watches the preparations for his turn. \n \n CHILDS \n Let's do it, Bwana. \n \n Nauls and Sanchez take aim five yards away. Fierce, "," down. Real tight. \n \n CHILDS \n What for? \n \n MACREADY \n For your health. \n \n GARRY \n (to others)"," No one's that strong, boy! \n \n INT. PASSAGEWAY \n \n Tracking with the three men. Opening and closing doors, as \n they make their way back to the rec room. They keep their "," along the guide rope, fighting the gale force winds. \n \n CUT TO: \n \n THE MEN \n \n weapons in hand, huddle at the main doorway. They unbolt it. "," CUT TO: \n \n INT. REC ROOM \n \n The men watch all the doors. Dead silence. Dark. Whispers. \n \n GARRY"," as it smashes the glass of the fire alarm. He pulls the lever. \n \n INT. TUNNEL \n \n The alarm is blaring throughout the camp. MacReady, Garry, "," That's what he said. Now! Move! \n \n Bennings is off. \n \n INT. TUNNEL \n \n as the men approach the locked kennel door. The two dogs, "," The wind belts into the roofing overhead. Garry sets the \n wiring to the main doorway. MacReady begins blocking off one \n of the other entrances with a large computer. \n \n SANCHEZ"," INT. COMPOUND MAIN HALLWAY - POINT OF VIEW - THE MEN \n \n Through the fogged-up windows, a figure can be seen \n approaching the main compound. It pulls and drags its way "],[" SANCHEZ \n (incredulous) \n MacReady...? \n \n NAULS \n He's one of them. \n \n SANCHEZ"," and whirls a startled MacReady around. It is Childs. \n \n White and black blotches cover his frostbitten face. \n \n CHILDS \n Did you kill it? \n"," MacReady slides the Doctor a fresh plate. \n \n MACREADY \n Now you. \n \n Copper cuts his thumb, his blood dribbles onto the plate. \n \n He stands nervously for a beat."," MacReady dives on Palmer's back and the three go rolling to \n the floor. Screeching. Crackling. MacReady pounds viciously \n at Palmer's head. A powerful, shirt-splitting arm sends him "," MACREADY \n What are you doing? \n \n CHILDS (O.S.) \n You're a dead man, MacReady -- or a \n dead whatever the hell you are! \n"," points the torch directly at the Doctor. Both of them \n perspiring. MacReady lifts the glowing wire from the flame. \n The Doctor is dead still. MacReady slowly touches the wire "," Sanchez and Childs flop down in chairs. MacReady wipes his \n face. \n \n A long silence. Sanchez weeps quietly with relief. \n \n GARRY"," MacReady waits until Palmer's back spins around, facing him. \n Only two yards away, MacReady flings his lit roll into the \n ever-evolving second mouth and leaps onto the couch covering "," CHILDS \n So, MacReady, come on now. These \n Norwegian dudes come by... find him \n and dig him up... \n \n MacReady tosses the ball of cloth across the room into a "," Childs stops, confused as to who to help first. He notices \n the dog hunched and ready to spring. He steps back toward \n MacReady. The dog/Thing leaps for MacReady; an incredible "," MacReady beats him to it. \n \n MACREADY \n Maybe it should be someone a bit \n more even-tempered, Childs. \n \n Childs glares. \n"," Childs and MacReady turn, confused, unable to see anything \n be Bennings' screaming head. They rush toward him. \n \n MacReady stumbles. \n"," CHILDS \n So Clark was human, huh? \n \n MacReady nods. \n \n CHILDS \n So that make you a murderer. \n"," MacReady glances over the group. \n \n MACREADY \n Palmer now. \n \n He sets Palmer's plate in front of him and heats the wire. \n \n GARRY"," INT. COMPOUND - CLOSE ON PALMER'S FACE \n \n shouting down a passageway. \n \n PALMER \n MacReady!! \n \n CLOSE ON CHILDS"," One of the smaller torches is pointed at Nauls. He closes \n his eyes. MacReady places the heated wire into his plate. \n Hiss. MacReady exhales. Nauls opens his eyes. \n"," MacReady throws his thermite canister. It discharges and \n engulfs the screeching animal in fire. \n \n BENNINGS \n \n howling in pain. The ice underneath him thrashes violently. "," MACREADY \n What clothes? \n \n CHILDS (O.S.) \n You been made, MacReady. \n \n Childs chops away. MacReady desperately continues rummaging "," The force of the blast sweeps MacReady off the roof. He and \n the severed appendage crash to the hard ice in flames. He \n rolls over and over trying to smother the fire and tear off "," MacReady looks to the block of ice and then back to the \n photograph. He untapes it, pockets it and shuts the door. \n \n An armless corpse swings into his face from behind the closing "],[" MacReady dives on Palmer's back and the three go rolling to \n the floor. Screeching. Crackling. MacReady pounds viciously \n at Palmer's head. A powerful, shirt-splitting arm sends him "," Frustrated, he charges up behind Palmer and begins hammering \n the thick steel instrument over his head. \n \n The shirt of Palmer's back erupts in MacReady's face. \n"," The force of the blast sweeps MacReady off the roof. He and \n the severed appendage crash to the hard ice in flames. He \n rolls over and over trying to smother the fire and tear off "," MacReady waits until Palmer's back spins around, facing him. \n Only two yards away, MacReady flings his lit roll into the \n ever-evolving second mouth and leaps onto the couch covering "," MacReady spins Nauls off and rips into Norris, sending him \n crashing violently into the wall. Nauls tackles MacReady's \n legs, pulling him to the floor. \n"," Childs and MacReady turn, confused, unable to see anything \n be Bennings' screaming head. They rush toward him. \n \n MacReady stumbles. \n"," thrown into Clark, back ferociously and scratch at the door \n trying to get back in. One is badly bloodied. \n \n The fight inside rages on. MacReady and Clark brace themselves "," MacReady, furious, pulls Childs away. \n \n Norris breathing heavily from the activity, massages his \n chest. The strong, stormy winds overhead batter the roofing. "," A beat. Childs starts to giggle. The strain on MacReady's \n jaw begins to lessen. Garry sits catatonic. Nauls scowls at \n Childs' uncontrollable laughter. \n"," Childs stops, confused as to who to help first. He notices \n the dog hunched and ready to spring. He steps back toward \n MacReady. The dog/Thing leaps for MacReady; an incredible "," MacReady looks to the block of ice and then back to the \n photograph. He untapes it, pockets it and shuts the door. \n \n An armless corpse swings into his face from behind the closing "," of the charges sending Clark flying backwards. The others, \n themselves about to pounce, stop -- as MacReady whirls the \n torch and gun back toward them. \n \n CUT TO: \n"," Childs and MacReady stand by helplessly, unable to see what \n has him or what action to take. Childs moves closer to help. \n \n MACREADY \n (pulls him back) \n Stay back!!"," glass above his head, trying to get in. He sprints for the \n door. Fuchs' frozen body is still pinned to it with the ax. \n MacReady grapples with the stiff torso which blocks the knob. \n"," Nauls blazes by him. MacReady hears the snarls and screeches \n heading his way. He streaks after Nauls. \n \n INT. REC ROOM \n"," MacReady throws his thermite canister. It discharges and \n engulfs the screeching animal in fire. \n \n BENNINGS \n \n howling in pain. The ice underneath him thrashes violently. "," as it smashes the glass of the fire alarm. He pulls the lever. \n \n INT. TUNNEL \n \n The alarm is blaring throughout the camp. MacReady, Garry, "," He climbs down through the open stairwell. \n \n INT. PLANT ROOM \n \n MacReady has found the broken window. He rolls through it, \n landing on the frozen plants below. Something smashes at the "," MacReady beats him to it. \n \n MACREADY \n Maybe it should be someone a bit \n more even-tempered, Childs. \n \n Childs glares. \n"," MACREADY \n What clothes? \n \n CHILDS (O.S.) \n You been made, MacReady. \n \n Childs chops away. MacReady desperately continues rummaging "],[" MacReady grins and hands the bottle to Childs. Childs smiles \n back and takes a healthy swig. \n \n EXT. COMPOUND - NIGHT \n"," MacReady points the .44 at Childs' head. \n \n MACREADY \n I mean it. \n \n MacReady cocks his gun. Childs holds his ground. \n \n CHILDS"," MacReady pushes his sombrero back over his head. \n \n MACREADY \n Well, you can believe it now. \n \n He drops the bundle he had been holding on the table between "," MacReady ain't going nowhere. Bunkered \n in till spring. \n \n GARRY \n Just go get him. \n \n NORRIS \n (stands)"," Sanchez and Childs flop down in chairs. MacReady wipes his \n face. \n \n A long silence. Sanchez weeps quietly with relief. \n \n GARRY"," (nodding) \n After all this mess. \n \n EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK \n \n The winds are thick and vicious now. MacReady and Nauls pull "," thing... \n (refers to feet) \n ...Think my toes are already gone. \n \n MacReady, carrying the bottle and glass, limps over and sits "," ready. They freeze. \n \n MacReady stands before them holding a lighted flare. His \n hair and clothing are covered with snow; his cheeks and nose "," Now hold him. \n \n MACREADY \n I'm a real light sleeper, Childs... \n \n DR. COPPER \n Enough, MacReady! \n"," MACREADY \n What clothes? \n \n CHILDS (O.S.) \n You been made, MacReady. \n \n Childs chops away. MacReady desperately continues rummaging "," MacReady sits quietly by his chess set contemplating a large \n glass of Scotch. Clark, less interested than the others, is \n flipping through the Norwegian nudie magazine. \n"," MacReady waits until Palmer's back spins around, facing him. \n Only two yards away, MacReady flings his lit roll into the \n ever-evolving second mouth and leaps onto the couch covering "," MacReady runs for the snowmobile. \n \n MACREADY \n Torch them!! \n \n CHILDS \n But... \n \n MACREADY"," MacReady beats him to it. \n \n MACREADY \n Maybe it should be someone a bit \n more even-tempered, Childs. \n \n Childs glares. \n"," MacReady glances over the group. \n \n MACREADY \n Palmer now. \n \n He sets Palmer's plate in front of him and heats the wire. \n \n GARRY"," MACREADY \n What are you doing? \n \n CHILDS (O.S.) \n You're a dead man, MacReady -- or a \n dead whatever the hell you are! \n"," One of the smaller torches is pointed at Nauls. He closes \n his eyes. MacReady places the heated wire into his plate. \n Hiss. MacReady exhales. Nauls opens his eyes. \n"," BLAIR \n (pleading) \n Listen to me, Garry. Please... \n \n GARRY \n (to MacReady) \n If the weather clears enough before "," MacReady slides the Doctor a fresh plate. \n \n MACREADY \n Now you. \n \n Copper cuts his thumb, his blood dribbles onto the plate. \n \n He stands nervously for a beat."," MacReady hands his list to Bennings. \n \n MACREADY \n Get these things out of supply and \n meet me over by the snowmobiles. \n \n GARRY"],[" As they near, the smoke looms thicker. A black, tar-like \n gush; billowing up into the grey sky from the whiteness below. \n \n EXT. NORWEGIAN CAMP \n"," The proceedings are grim. \n \n Shots of the Norwegian's at work. Others of them playing \n soccer on ice. Generally the footage is a prosaic record of \n their day-to-day life. \n"," and searches the horizon with binoculars. The other pilots. \n Their unkempt faces, their blazing eyes notate a wildness. \n They bark at each other in some Scandinavian tongue. Two men "," breasted woman. Something on the tape catches his eye. He \n rewinds, then starts it forward again. \n \n The screen shows the Norwegians on the surface of what appears "," to be an enormous, flat glacier. They are spread out on the \n ice around a large odd oval shape; their arms outstretched. \n \n It fades to black and then a Norwegian comes on mugging "," EXT. THE CHOPPER \n \n moves over a ridge of ice. Columns of smoke can be seen rising \n ominously from a quarter mile off. \n \n INT. CHOPPER - POINT OF VIEW \n"," travels precariously close to the ground; its chassis battered \n and swayed by the wind. \n \n INT. COPTER \n \n Red dials beam on the faces of two men. One carries a rifle "," assistant, Fuchs, are present. The small Norwegian video \n unit has been set up and its contents are being viewed on a \n TV screen. Grainy, home movie-ish, no sound. \n"," It turns and snarls at the craft some fifteen hundred yards \n to its rear. Then whirls and gallops off. A gun blast kicks \n up snow at its heels. \n \n INT. COPTER \n"," A tractor and two helicopters sit idle, covered with mounds \n of continuously mounting snow. \n \n TWO MEN, NORRIS AND BENNINGS \n"," MACREADY \n Decanite...? Thermite charges...? \n \n The tape jump cuts again showing a long shot of the markings. \n No Norwegian in sight. An explosion kicks up the ice. A beat "," to its door. Small snapshots of the Norwegians at work and \n play. \n \n He tries to open it. Stuck. The partially caved-in ceiling \n is slightly blocking the top of the door. He tries again, "," Norwegian voice drones on as if making notes. He fast \n forwards. The same casual drone. \n \n MACREADY (O.S.) \n Copper, come here!! \n \n INT. ROOM"," A Norwegian voice drones on calmly, making verbal notes. \n \n Norris shrugs. \n \n BENNINGS \n What do you want from us? \n \n MACREADY"," His flashlight then locates a large photograph taped to the \n inside of the cabinet door. \n \n It is a picture of five Norwegians, arm in arm, all smiles, "," The ceiling is a shambles. He then shines the light deeper \n into the room. \n \n INT. NORWEGIAN LAB \n \n Dr. Copper is playing the small tape recorder. A casual "," Moving along they come to rest in front of a door with \n Norwegian lettering on it. \n \n MacReady pushes it open with his foot. Dozens of papers fly "," INT. CHOPPER \n \n MacReady pilots. Young Palmer and Norris are with him. \n \n It is clear but the winds are troublesome. The ride is a "," Another blast of rifle fire as the man takes issue with his \n prey. The pilot slams a fist into his gunman friend and \n implores for better aim. The craft swoops lower and the engine "," way to the men and the dog. He reloads his gun and bellows \n in his Scandinavian tongue. \n \n Norris and Bennings have no idea what he is saying. \n"],[" travels precariously close to the ground; its chassis battered \n and swayed by the wind. \n \n INT. COPTER \n \n Red dials beam on the faces of two men. One carries a rifle "," Another blast of rifle fire as the man takes issue with his \n prey. The pilot slams a fist into his gunman friend and \n implores for better aim. The craft swoops lower and the engine "," Palmer works on the generator. He hears the sound of \n approaching propeller blades from outside. And then the sound \n of his tool box crashing to the floor. He turns to see what \n caused the ruckus."," THE COPTER \n \n much too low now, and chastised by the wind, attempts a high- \n speed landing, directly on the heels of the sprinting dog. \n It bounces violently on the hard-packed surface."," It paws at the window and watches as the chopper, carrying \n MacReady and Dr. Copper, fights against the newly arrived \n heavy winds and lands safely. \n"," It turns and snarls at the craft some fifteen hundred yards \n to its rear. Then whirls and gallops off. A gun blast kicks \n up snow at its heels. \n \n INT. COPTER \n"," EXT. THE CHOPPER \n \n moves over a ridge of ice. Columns of smoke can be seen rising \n ominously from a quarter mile off. \n \n INT. CHOPPER - POINT OF VIEW \n"," Palmer carries a large part of a helicopter engine toward \n the compound. \n \n INT. COMPOUND \n \n The hallway near the supply storage cubicle. MacReady holds "," lunges for the floor, straightens up, and moves a few feet. \n \n A black and yellow substance rips through its trousers and \n squirts to the floor. Norris' body collapses on the "," stare blankly, but relievedly at the fallen man. The dog \n whimpers in pain. \n \n CHILDS \n \n pokes his head out from under the snowmobile. \n"," Some twenty yards to their rear something swooshes down, \n severing the line. The wind sends the men tumbling along the \n ice. Childs loosens the line and is blown away, rolling out \n of sight. \n"," A tractor and two helicopters sit idle, covered with mounds \n of continuously mounting snow. \n \n TWO MEN, NORRIS AND BENNINGS \n"," the door open as Palmer makes his way to him lugging the \n heavy helicopter part. \n \n Childs passes by from the other direction. \n \n PALMER"," sitting idle in the dark. MacReady approaches. The door to \n one of the cockpits is slightly ajar. He opens it cautiously. \n \n INT. CHOPPER \n"," The force of the blast sweeps MacReady off the roof. He and \n the severed appendage crash to the hard ice in flames. He \n rolls over and over trying to smother the fire and tear off "," stumbles, falls. MacReady grabs the flashlight and whirls in \n different directions. A panting beat. Silence. \n \n Dr. Copper holds up what hit him. A thick centerfold, buffeted "," flying ever lower now. The man with the gun leans dangerously \n outside and fires away at the dog as it nears the outpost. \n \n THE MEN \n \n outside the compound look to one another, incredulous. \n"," It is the dead of winter. Six months of darkness ahead. Palmer \n fights the cold as he works dismantling the engine of the \n helicopter. \n \n He frowns, searching for something. \n"," the ground. Dr. Copper grabs him preventing him from getting \n back up. \n \n Childs splays the remains with a jet of flame. Fuchs shakes \n his head in frustration and disgust. \n"," the ground. The door has been slammed shut. The arm pinned, \n its fist still gripping a small welding torch. \n \n The flame long since gone out. \n \n MACREADY \n (wincing)"],[" Dr. Copper looks numbly at the empty seat next to him. Childs \n finds the portable siren and blares it. \n \n EXT. COMPOUND \n"," the ground. Dr. Copper grabs him preventing him from getting \n back up. \n \n Childs splays the remains with a jet of flame. Fuchs shakes \n his head in frustration and disgust. \n"," Dr. Copper spots something. From the man's wrist on the \n armrest, he follows a long, yarn-thick, red line, ending in \n a pool of frozen blood on the floor. \n"," Dr. Copper and MacReady begin dumping the heavy contents of \n a large plastic trash bag onto the slab. \n \n DR. COPPER \n We found this. \n"," Dr. Copper undoes his lab coat and lays it over a chair as \n he exits. Blair stares down ominously at the mutilated body. \n \n EXT. COMPOUND - NIGHT \n"," Dr. Copper sits next to MacReady, who is at the controls. \n \n MacReady tightens the string of his sombrero around his neck \n and starts up its choking engine. \n"," MacReady, sickened, coughs. Dr. Copper mumbles. \n \n DR. COPPER \n Christ... \n \n They step over the arm and into another slim passageway. \n"," about, flailed by the holes in the Quonset hut-style roof. \n The place is a wreck. They enter. MacReady surveying the \n small room with his flashlight. \n \n DR. COPPER"," Copper, Clark and Garry sit moodily together on a couch. \n \n Norris awkwardly prepares to give them their injections. \n \n He is new at this. Childs stands guard with his torch. \n"," Norris shuffles the bundle of notes Dr. Copper brought back \n with him. \n \n NORRIS \n ...Seems they were spending a lot of \n time at a place four miles northeast "," Dr. Copper enters, squeezing in, through the door. The wood \n cracks overhead. More debris comes falling down. \n \n MACREADY \n Careful. It's about to go. \n"," far off. \n \n MACREADY AND COPPER \n \n their faces ashen as they take in this grotesque sight. \n \n MacReady turns to view the Norwegian compound. He then "," going to check the last few rooms. \n \n He exits. Amongst the rubble, Dr. Copper finds a pocket tape \n recorder and several cassettes. He selects a tape and is "," a hideous mewing escaping from Norris' distorted mouth. \n \n The men jump back, incredulous. Dr. Copper scrambles off his \n chest and flops to the floor. \n"," As they near, the smoke looms thicker. A black, tar-like \n gush; billowing up into the grey sky from the whiteness below. \n \n EXT. NORWEGIAN CAMP \n"," Copper steps backward, moisture beginning to collect on his \n brow. MacReady begins to heat the copper wire over the Bunsen \n burner. \n \n The men watch intently. The wire begins to glow. MacReady "," MacReady opens a lock and pushes the door open. \n \n More blackness. Stronger wind. Copper holds the lantern high \n as they make their way down a row of wooden steps and into a "," The men's attention turn to Copper. \n \n DR. COPPER \n ...Guys as crazy as that could have \n done a lot of damage to their own \n before they got to us. \n"," Copper makes his way over to the main work table. He shuffles \n through papers, glancing at the writing. \n \n MACREADY \n Anything? \n \n DR. COPPER"," INT. INFIRMARY \n \n The men rush in. Fuchs and Copper stand by the open plasma \n storage refrigerator. The inside is a mess of dried blood. "],[" MacReady throws his thermite canister. It discharges and \n engulfs the screeching animal in fire. \n \n BENNINGS \n \n howling in pain. The ice underneath him thrashes violently. "," smoldering to a close. A hastily conceived crematorium. Wood, \n books, furniture, tires, anything that will burn has been \n mixed together with the charred remains of several dogs and "," the ground. Dr. Copper grabs him preventing him from getting \n back up. \n \n Childs splays the remains with a jet of flame. Fuchs shakes \n his head in frustration and disgust. \n"," MacReady waits until Palmer's back spins around, facing him. \n Only two yards away, MacReady flings his lit roll into the \n ever-evolving second mouth and leaps onto the couch covering "," Get out of the way!! \n \n He unloads with a stream of flame. The body writhes in pain, \n belching and hissing. The slab catches fire. It struggles, "," The force of the blast sweeps MacReady off the roof. He and \n the severed appendage crash to the hard ice in flames. He \n rolls over and over trying to smother the fire and tear off "," MACREADY \n Screw the dogs!! Torch it!! \n \n Childs lets loose with a burst of blue flame. A mewing, a \n screeching. \n"," For a moment it stands silhouetted in flame. Enormous. \n \n Grotesque. \n \n Garry bolts for the main door. The Thing's tongue spirals "," He and Childs watch on as Bennings and The Thing roar in \n flame. Behind them, the other dog/Thing continues to burn. \n The screeching, mewing and gurgling wails on, all about them."," points the torch directly at the Doctor. Both of them \n perspiring. MacReady lifts the glowing wire from the flame. \n The Doctor is dead still. MacReady slowly touches the wire "," as they twitch and mew on the floor. \n \n Within seconds the fire is out. The men stand around in awe \n as they look upon The Thing that was once Norris. \n"," He's gone already! Do it! \n \n Childs blasts away. The ice begins to melt as Bennings and \n whatever has him catch fire. A screeching. \n"," He's dead. \n \n MACREADY \n Norris looked pretty dead, himself. \n Bullets don't kill these Things. \n \n MacReady turns on a Bunsen burner while he cuts the rubber "," acid into the fabric. \n \n An immense explosion. The hydrogen tanks send a white fireball \n fifty feet into the sky. The Thing's body disintegrating \n almost immediately. \n"," PALMER \n We got to burn 'em. \n \n CHILDS \n Now hold on, you dumb... \n \n Palmer sprays them with flame. Childs pushes him to the "," him and his flashlight once more to the ground. \n \n Garry squeezes in and begins blasting away in the direction \n of the hissing and screeching. A dog is hit. MacReady crawls "," Childs stops, confused as to who to help first. He notices \n the dog hunched and ready to spring. He steps back toward \n MacReady. The dog/Thing leaps for MacReady; an incredible "," One of the smaller torches is pointed at Nauls. He closes \n his eyes. MacReady places the heated wire into his plate. \n Hiss. MacReady exhales. Nauls opens his eyes. \n"," them back. He then wields his ax into the fray, chopping and \n hacking away at the gurgling, hissing silhouette. \n"," Let that thing fly, Childs. Don't \n let up until he's ash. \n \n Childs turns on the gas and lights the tip. \n \n Bennings is still watching the bluffs. Something from beneath "],[" Anyone messes with me -- the whole \n camp goes. \n \n He appears to mean it. They don't seem anxious to test him. \n \n MACREADY \n Put those torches on the floor and "," as it smashes the glass of the fire alarm. He pulls the lever. \n \n INT. TUNNEL \n \n The alarm is blaring throughout the camp. MacReady, Garry, "," The below quarter houses the generator and still other \n compartments for storage. \n \n A long underground tunnel connects the main compound to the \n dog kennel. \n \n FADE IN: \n"," Mostly untouched by the fire, but like most of the rest of \n the camp, exposed to the outside. The storm has settled \n considerably. \n \n CLOSE ON MACREADY \n"," Small fires and debris are strewn everywhere. The prefab \n Administration Building exposes gaping holes. Smoke rises \n from the almost entirely snow-buried Quonset huts. Embers \n swirl in every direction."," As they near, the smoke looms thicker. A black, tar-like \n gush; billowing up into the grey sky from the whiteness below. \n \n EXT. NORWEGIAN CAMP \n"," Childs, Sanchez and Palmer -- closing off and bolting the \n entrances to the camp. \n \n NORRIS (O.S.) \n All of you! Come here! \n"," the insidious limb. \n \n CUT TO: \n \n INT. CAMP \n \n A ruin. One half of it burnt almost to the ground. \n"," except for the whine of its engine. \n \n The man with the gun rolls out before the explosion. \n \n INT. MAIN COMPOUND \n \n The half a dozen men, playing cards, monitoring equipment, "," from the main compound. The smaller hovels are connected by \n wooden planked walkways and steadying ropes. Multicolored \n pennants stick put of the snow marking pathways and directions \n to outdoor experiments. \n"," Any of them move -- you fry 'em. And \n if you hear anything, anything at \n all you let loose the siren. We all \n meet back here in twenty minutes \n regardless."," The interior is a cramped and never ending maze of hallways, \n passageways and doors which connect the many rooms and \n compartments within the compound. Sturdy, but prefabricated "," hut almost completely buried in the snow. The hut is fifty \n yards long and connects to the main compound. He enters a \n tunnel from a latch door up top. \n \n INT. TUNNEL \n"," Smoke climbs upward in the f.g. MacReady sets his craft down. \n Pull back to reveal the camp itself: resembling the aftermath \n of a western fort, sacked and ravaged by Indians. \n"," the main compound. He walks the prefab wooden planks up the \n precipice; his destination is someone a hundred yards up the \n slope -- to a shack. He grabs onto the steadying ropes and "," softly, to no one particular. \n \n BLAIR \n It was here... got to that dog... It \n was here in this camp... \n \n The men take in his grave countenance. \n"," up all over camp... won't last long \n though. \n \n MACREADY \n Neither will we. \n \n CHILDS \n Maybe we should try and fix the "," The generator has been repaired; the lights within the \n compound are back on. \n \n Grim and tense. Everyone is present but Fuchs. Eyes flit "," sits stoicly, while he watches the preparations for his turn. \n \n CHILDS \n Let's do it, Bwana. \n \n Nauls and Sanchez take aim five yards away. Fierce, "," materials have been used in its construction. \n \n There is a laboratory. An infirmary. A kitchen and mess hall. \n A communications room and sleeping quarters. Other cubicles \n are for storage and supplies. \n"],[" the ground. Dr. Copper grabs him preventing him from getting \n back up. \n \n Childs splays the remains with a jet of flame. Fuchs shakes \n his head in frustration and disgust. \n"," Dr. Copper spots something. From the man's wrist on the \n armrest, he follows a long, yarn-thick, red line, ending in \n a pool of frozen blood on the floor. \n"," Dr. Copper undoes his lab coat and lays it over a chair as \n he exits. Blair stares down ominously at the mutilated body. \n \n EXT. COMPOUND - NIGHT \n"," The bladders have been ripped open. Copper is ghastly pale. \n \n DR. COPPER \n Somebody got to the blood... sabotaged \n it. \n \n NAULS"," Copper's the only one who has any \n business with it. \n \n The eyes shift from Garry to Copper. \n \n DR. COPPER"," Copper returns the plate to the table and sets it down in \n line with the other plates of blood that he has collected. \n \n The names of each man have been scribbled onto the plates. \n"," (beat) \n You see. \n \n Clark turns to him with a childlike smile. \n \n CLARK \n I know. Mr. Childs killed it. I saw. \n \n NAULS"," little trial. I just may have to \n kill you on general principle, Nauls. \n \n Copper begins swathing Norris' chest with a gelatin substance. \n \n MACREADY"," knocking him over the table. \n \n MACREADY \n Copper!! \n \n It's all happened too fast. Copper tries to get off a burst "," of it during the fight. \n \n PALMER \n And that was enough? \n \n DR. COPPER (O.S.) \n Garry. The rest of you! Come here! \n"," Nauls skates over to comfort him. \n \n The men watch as Garry lowers his gun. He turns to them. \n \n GARRY \n I don't know about Copper. But I "," Dr. Copper looks numbly at the empty seat next to him. Childs \n finds the portable siren and blares it. \n \n EXT. COMPOUND \n"," Dr. Copper offers to help. \n \n DR. COPPER \n I'll do it. You're going to break \n the needle in my arm. \n \n CHILDS"," Dr. Copper presses the prongs onto Norris' chest and shoots \n a bolt of current. Norris' body heaves upward. A slight \n crackling sound and an odd chirp through the oxygen mask. \n"," a hideous mewing escaping from Norris' distorted mouth. \n \n The men jump back, incredulous. Dr. Copper scrambles off his \n chest and flops to the floor. \n"," killed early that morning. \n \n Blair sits over his microscope, while Fuchs prepares slides. \n The other body is draped with a sheet, waiting its turn. Dr. \n Copper pulls off his gloves."," covering off an electrical cord, exposing the copper wire. \n \n All the while, he keeps his eye on the men. \n \n CHILDS \n (muttering) \n We should have jumped his ass. \n"," Dr. Copper turns it off. \n \n DR. COPPER \n Goes on like that quite awhile. \n (beat) \n What do you gentlemen make of it? \n"," They do so. Copper holds electrical prongs over Norris' chest. \n \n CHILDS \n (to MacReady, \n threatening) \n You're going to have to sleep \n sometime."," the body's left leg. \n \n The shirt has been ripped and lies shredded in the tar-like \n mess. \n \n The men grimace. \n \n DR. COPPER"],[" MacReady dives on Palmer's back and the three go rolling to \n the floor. Screeching. Crackling. MacReady pounds viciously \n at Palmer's head. A powerful, shirt-splitting arm sends him "," MacReady spins Nauls off and rips into Norris, sending him \n crashing violently into the wall. Nauls tackles MacReady's \n legs, pulling him to the floor. \n"," MacReady waits until Palmer's back spins around, facing him. \n Only two yards away, MacReady flings his lit roll into the \n ever-evolving second mouth and leaps onto the couch covering "," Childs stops, confused as to who to help first. He notices \n the dog hunched and ready to spring. He steps back toward \n MacReady. The dog/Thing leaps for MacReady; an incredible "," The force of the blast sweeps MacReady off the roof. He and \n the severed appendage crash to the hard ice in flames. He \n rolls over and over trying to smother the fire and tear off "," Childs and MacReady turn, confused, unable to see anything \n be Bennings' screaming head. They rush toward him. \n \n MacReady stumbles. \n"," thrown into Clark, back ferociously and scratch at the door \n trying to get back in. One is badly bloodied. \n \n The fight inside rages on. MacReady and Clark brace themselves "," MacReady throws his thermite canister. It discharges and \n engulfs the screeching animal in fire. \n \n BENNINGS \n \n howling in pain. The ice underneath him thrashes violently. "," Nauls blazes by him. MacReady hears the snarls and screeches \n heading his way. He streaks after Nauls. \n \n INT. REC ROOM \n"," of the charges sending Clark flying backwards. The others, \n themselves about to pounce, stop -- as MacReady whirls the \n torch and gun back toward them. \n \n CUT TO: \n"," MacReady, furious, pulls Childs away. \n \n Norris breathing heavily from the activity, massages his \n chest. The strong, stormy winds overhead batter the roofing. "," MacReady and Nauls have lost their torches. They pull \n feverishly along the ground trying to make it to the compound. \n \n The screeching closes in behind them. MacReady loses his "," He climbs down through the open stairwell. \n \n INT. PLANT ROOM \n \n MacReady has found the broken window. He rolls through it, \n landing on the frozen plants below. Something smashes at the "," MacReady drives. His eyes glint like a wild man's; he looks \n stark raving mad. \n \n His frostbite, now in an advanced stage, resembles black war "," ready. They freeze. \n \n MacReady stands before them holding a lighted flare. His \n hair and clothing are covered with snow; his cheeks and nose "," MacReady grabs cans of gas from the snowmobiles. Suddenly a \n steel-like, arachnid-shaped arm shoots out in pain and with \n incredible force pierces the fiberglass chassis of the "," MacReady and send him sprawling. Total confusion: the dogs; \n the men; the screeching; the blackness. \n \n CLARK \n Mac, where are you? \n"," him and his flashlight once more to the ground. \n \n Garry squeezes in and begins blasting away in the direction \n of the hissing and screeching. A dog is hit. MacReady crawls "," Nauls and Norris, who have silently crept in through the \n supply window, come flying through the hacked-up door and \n barrel into MacReady. Both going straight for the flare. \n"," Childs and MacReady stand by helplessly, unable to see what \n has him or what action to take. Childs moves closer to help. \n \n MACREADY \n (pulls him back) \n Stay back!!"],[" SANCHEZ \n (incredulous) \n MacReady...? \n \n NAULS \n He's one of them. \n \n SANCHEZ"," What you got in mind, MacReady? \n \n MACREADY \n A little test. \n \n PALMER \n What kind of test? \n \n MACREADY"," CHILDS \n So, MacReady, come on now. These \n Norwegian dudes come by... find him \n and dig him up... \n \n MacReady tosses the ball of cloth across the room into a "," He's dead. \n \n MACREADY \n Norris looked pretty dead, himself. \n Bullets don't kill these Things. \n \n MacReady turns on a Bunsen burner while he cuts the rubber "," points the torch directly at the Doctor. Both of them \n perspiring. MacReady lifts the glowing wire from the flame. \n The Doctor is dead still. MacReady slowly touches the wire "," CHILDS \n So Clark was human, huh? \n \n MacReady nods. \n \n CHILDS \n So that make you a murderer. \n"," One of the smaller torches is pointed at Nauls. He closes \n his eyes. MacReady places the heated wire into his plate. \n Hiss. MacReady exhales. Nauls opens his eyes. \n"," and whirls a startled MacReady around. It is Childs. \n \n White and black blotches cover his frostbitten face. \n \n CHILDS \n Did you kill it? \n"," MacReady throws his thermite canister. It discharges and \n engulfs the screeching animal in fire. \n \n BENNINGS \n \n howling in pain. The ice underneath him thrashes violently. "," A beat. Childs starts to giggle. The strain on MacReady's \n jaw begins to lessen. Garry sits catatonic. Nauls scowls at \n Childs' uncontrollable laughter. \n"," MacReady glances over the group. \n \n MACREADY \n Palmer now. \n \n He sets Palmer's plate in front of him and heats the wire. \n \n GARRY"," MACREADY \n What are you doing? \n \n CHILDS (O.S.) \n You're a dead man, MacReady -- or a \n dead whatever the hell you are! \n"," The force of the blast sweeps MacReady off the roof. He and \n the severed appendage crash to the hard ice in flames. He \n rolls over and over trying to smother the fire and tear off "," MacReady beats him to it. \n \n MACREADY \n Maybe it should be someone a bit \n more even-tempered, Childs. \n \n Childs glares. \n"," Childs stops, confused as to who to help first. He notices \n the dog hunched and ready to spring. He steps back toward \n MacReady. The dog/Thing leaps for MacReady; an incredible "," MacReady slides the Doctor a fresh plate. \n \n MACREADY \n Now you. \n \n Copper cuts his thumb, his blood dribbles onto the plate. \n \n He stands nervously for a beat."," Sanchez and Childs flop down in chairs. MacReady wipes his \n face. \n \n A long silence. Sanchez weeps quietly with relief. \n \n GARRY"," MacReady runs for the snowmobile. \n \n MACREADY \n Torch them!! \n \n CHILDS \n But... \n \n MACREADY"," Childs and MacReady turn, confused, unable to see anything \n be Bennings' screaming head. They rush toward him. \n \n MacReady stumbles. \n"," MacReady waits until Palmer's back spins around, facing him. \n Only two yards away, MacReady flings his lit roll into the \n ever-evolving second mouth and leaps onto the couch covering "],[" MacReady finds a burst thermite canister. He and Norris climb \n down. \n \n They move along amongst the wreck. Almost everything but the \n skeletal superstructure has disintegrated into a fine ashy "," MACREADY \n Screw the dogs!! Torch it!! \n \n Childs lets loose with a burst of blue flame. A mewing, a \n screeching. \n"," as it smashes the glass of the fire alarm. He pulls the lever. \n \n INT. TUNNEL \n \n The alarm is blaring throughout the camp. MacReady, Garry, "," them in the Molotov bottles. Garry tests the current on the \n door. Popping, sparks, smoke. \n \n MACREADY \n Looks good. \n \n GARRY"," quivers. The gas bombs are cocked. \n \n From the roof The Thing roars down into their midst. \n \n Stunned, the men stumble back. MacReady throws his gas bomb. \n Nauls the same."," MacReady guns it through the next wall and into the infirmary. \n Medical equipment goes flying. The machine is powerful; the \n prefabricated walls buckling under its force. \n \n INT. COMPOUND \n"," Nauls rushes in with another box of dynamite. \n \n NAULS \n What about Childs? \n \n MACREADY \n Forget about Childs. He's over. \n"," He climbs down through the open stairwell. \n \n INT. PLANT ROOM \n \n MacReady has found the broken window. He rolls through it, \n landing on the frozen plants below. Something smashes at the "," MacReady continues to observe the small particles. Their \n tiny squeals abating into silence. \n \n INT. REC ROOM \n \n MacReady, still carrying the industrial torch, has maneuvered "," of thermite... three shotguns... box \n of flares... two flare guns... thirty \n cans gasoline... and a case of \n alcohol. \n \n MACREADY"," MACREADY \n \n at the bottom near the main compound. The sound has stopped. \n He looks around in the near blackness. A beat. \n \n THE CHOPPERS \n"," MACREADY \n Decanite...? Thermite charges...? \n \n The tape jump cuts again showing a long shot of the markings. \n No Norwegian in sight. An explosion kicks up the ice. A beat "," blocking it from the other side. \n \n MACREADY \n Anybody in there?! \n \n Nothing. \n \n DR. COPPER \n We're Americans! \n \n Nothing."," He takes a swig from his bottle. \n \n MACREADY \n I know you're bugged because we ruined \n your trip, right? Spiffy little toy \n you had there. \n"," MacReady slashes into the huge uninflated weather balloons, \n rendering them useless. Tanks of helium and hydrogen are \n stacked nearby. \n \n INT. KITCHEN \n"," reaches the fuse box. He opens it. \n \n HALLWAY \n \n MacReady readies the table like a shield. \n \n MACREADY \n If you're right we've all got to "," Far off, amidst the howling gale -- the screeching. The men \n jump. MacReady lights the fuse, as they make it to the exit. \n He tosses it in. \n"," MacReady waits until Palmer's back spins around, facing him. \n Only two yards away, MacReady flings his lit roll into the \n ever-evolving second mouth and leaps onto the couch covering "," The floor shakes. MacReady stands, his head whirling around \n the room. \n \n MACREADY \n Come on, sucker. \n \n The tractor inches up off the ground. MacReady falls forward "," Sanchez and Nauls inch their way through. \n \n INT. REC ROOM \n \n MacReady rips linen, soaks the strips in gas, and stuffs "],[" others, then leaves, latching the door behind him. \n \n INT. SLEEPING CUBICLE \n \n Childs lies in his cot watching a small television. The show "," (beat) \n You see. \n \n Clark turns to him with a childlike smile. \n \n CLARK \n I know. Mr. Childs killed it. I saw. \n \n NAULS"," The screeching lessens. The hissing and gurgling fade. Childs \n turns off his torch. \n \n CUT TO: \n \n INT. REC ROOM - NEXT MORNING \n"," CHILDS \n So Clark was human, huh? \n \n MacReady nods. \n \n CHILDS \n So that make you a murderer. \n"," Sanchez and Childs flop down in chairs. MacReady wipes his \n face. \n \n A long silence. Sanchez weeps quietly with relief. \n \n GARRY"," The concept is staggering. I know... \n I... I don't fully understand it \n myself. \n \n CHILDS \n (skeptically, points)"," Childs, viewing the tapes, can't quite believe it all. \n \n CHILDS \n Okay now, Mac, run this by me again. \n Thousands of years ago this rocket "," the closing door to their rear. Childs whirls. \n \n FUCHS \n \n One arm outstretched, swings into view. An ax, embedded deep "," Childs scrambles off the couch and onto the floor. \n \n GARRY \n \n stares grimly ahead. Childs soaks his clothing with a can of "," Childs. \n \n NAULS \n Shut the damn hell up. \n \n Childs wipes his eyes and grins over toward MacReady. His "," me, anyway. Go ask Blair. \n \n CHILDS \n You buy any of this, Blair? \n \n A beat as Blair stares straight ahead, transfixed. He speaks "," Let that thing fly, Childs. Don't \n let up until he's ash. \n \n Childs turns on the gas and lights the tip. \n \n Bennings is still watching the bluffs. Something from beneath "," Childs and Garry with his body. \n \n A muffled boom, as the swallowed explosive ignites from deep \n within Palmer and sends his flesh splattering all over the "," CHILDS \n You lying bastard... \n \n Garry struggles to his feet, affronted. \n \n GARRY \n (slurring)"," the ground. Dr. Copper grabs him preventing him from getting \n back up. \n \n Childs splays the remains with a jet of flame. Fuchs shakes \n his head in frustration and disgust. \n"," MACREADY \n Then get a move on. Childs, come \n with me. \n \n He puts his arm around Childs and pulls him along. The others \n watch them walk off, a little bewildered."," Childs is holding the industrial torch directly in his face. \n \n CHILDS \n Bullshit! You left it open so they \n could get out! \n \n EXT. TRASH DUMP \n"," Some twenty yards to their rear something swooshes down, \n severing the line. The wind sends the men tumbling along the \n ice. Childs loosens the line and is blown away, rolling out \n of sight. \n"," Childs pulls open the heavy door. A flush of snow and wind \n push them back. They wedge their bodies at the entrance to \n the lightless room. \n \n CHILDS \n My babies. \n"," and whirls a startled MacReady around. It is Childs. \n \n White and black blotches cover his frostbitten face. \n \n CHILDS \n Did you kill it? \n"],[" travels precariously close to the ground; its chassis battered \n and swayed by the wind. \n \n INT. COPTER \n \n Red dials beam on the faces of two men. One carries a rifle "," Another blast of rifle fire as the man takes issue with his \n prey. The pilot slams a fist into his gunman friend and \n implores for better aim. The craft swoops lower and the engine "," Palmer works on the generator. He hears the sound of \n approaching propeller blades from outside. And then the sound \n of his tool box crashing to the floor. He turns to see what \n caused the ruckus."," EXT. THE CHOPPER \n \n moves over a ridge of ice. Columns of smoke can be seen rising \n ominously from a quarter mile off. \n \n INT. CHOPPER - POINT OF VIEW \n"," It turns and snarls at the craft some fifteen hundred yards \n to its rear. Then whirls and gallops off. A gun blast kicks \n up snow at its heels. \n \n INT. COPTER \n"," the door open as Palmer makes his way to him lugging the \n heavy helicopter part. \n \n Childs passes by from the other direction. \n \n PALMER"," Palmer carries a large part of a helicopter engine toward \n the compound. \n \n INT. COMPOUND \n \n The hallway near the supply storage cubicle. MacReady holds "," The force of the blast sweeps MacReady off the roof. He and \n the severed appendage crash to the hard ice in flames. He \n rolls over and over trying to smother the fire and tear off "," the tractor. The reaching claws just miss him as he pulls \n himself through. \n \n EXT. ROOF \n \n He lights his fuse, drops in the stick, turns and runs. \n"," INT. CHOPPER \n \n The two men look at each other in silence. They get out. \n \n CLOSE ON A LARGE, MAKESHIFT FUNERAL PYRE \n"," Some twenty yards to their rear something swooshes down, \n severing the line. The wind sends the men tumbling along the \n ice. Childs loosens the line and is blown away, rolling out \n of sight. \n"," lunges for the floor, straightens up, and moves a few feet. \n \n A black and yellow substance rips through its trousers and \n squirts to the floor. Norris' body collapses on the "," exchanges a look with Copper. MacReady heads back toward the \n chopper. \n \n THE CHOPPER \n \n MacReady unhinges the shotgun that is latched to the panel \n behind the seats."," window, relieves it of its spent shell and puts it away. \n \n CUT TO: \n \n EXT. BURNING COPTER \n \n Several men spray snow on the burning wreckage. There is no "," ...So it crashes, and this guy, \n whoever he is, gets thrown out, or \n walks out, and ends up freezing. \n \n CHILDS"," It paws at the window and watches as the chopper, carrying \n MacReady and Dr. Copper, fights against the newly arrived \n heavy winds and lands safely. \n"," THE SURVIVOR \n \n of the crash, his eyes crazed with determination, struggles \n to his feet. Heedless of his companion, he double-times his "," It is the dead of winter. Six months of darkness ahead. Palmer \n fights the cold as he works dismantling the engine of the \n helicopter. \n \n He frowns, searching for something. \n"," A tractor and two helicopters sit idle, covered with mounds \n of continuously mounting snow. \n \n TWO MEN, NORRIS AND BENNINGS \n"," He helps a shaken Bennings up off the table. \n \n BENNINGS \n What in the hell were they doing...? \n Flying that low... shooting at a \n dog... at us... \n"],[" Displayed on the slab is what appears to be the corpse of a \n man. Badly charred. What is left of the trousers and shoes \n of the bottom torso are ripped and split, as if his legs and "," killed early that morning. \n \n Blair sits over his microscope, while Fuchs prepares slides. \n The other body is draped with a sheet, waiting its turn. Dr. \n Copper pulls off his gloves."," Holy shit... \n \n He tries the door. Unlocked. It opens. The arm drops to the \n ground. It has been severed by the force of the slam. \n \n Its owner is nowhere to be seen. \n"," The two men step around the chair. The Norwegian stares up \n in blanched death. A gaping black hole for a mouth. \n \n His throat and wrists slit. An old-fashioned straight razor "," Dr. Copper spots something. From the man's wrist on the \n armrest, he follows a long, yarn-thick, red line, ending in \n a pool of frozen blood on the floor. \n"," A strong blow begins to breach the stall door. Nauls finally \n unhinges the piece of wood, brings the jagged end to one \n side of his throat and rips... \n \n INT. LAB WALL"," He finally gets it open and lets himself out, slamming and \n locking the door from the hall. Fuchs' body swings eerily, \n back and forth. \n \n INT. HALLWAY \n"," A beat. \n \n The sound of a glass breaking. A muffled scuffling. The door \n is slammed shut from the inside. And then silence. \n \n CUT TO: \n"," Black goo drips through the slit. The sawing obscured by the \n music. \n \n Sanchez, eyes bulging, points. Nauls turns. A claw rips "," CUT TO: \n \n EXT. COMPOUND - NIGHT - CLOSE ON THE DOG CARCASSES \n \n lying on the snow. Splash. They are being soaked with "," Childs and Garry with his body. \n \n A muffled boom, as the swallowed explosive ignites from deep \n within Palmer and sends his flesh splattering all over the "," Those of the men that have gathered exhibit a pale and quiet \n uneasiness. \n \n Blair, in silent awe, stands over the badly burned corpses \n of two interlocking dogs, that lie before him on a table."," Norris, lying on the floor, coughs as if gasping for breath. \n He quivers for a moment and then is still. Nauls crawls over \n to him and shakes him. A beat. \n"," Further down. MacReady's knee bumps into something along the \n wall, causing him to stumble slightly. He shines his light \n on it. \n \n An arm is sticking out of a steel door about three feet off "," Fuchs, a young and sensitive-looking biologist, stands closest \n to the large area map of Antarctica. Several men sit and \n stand around viewing the body that lies on two brought- \n together card-tables. \n"," the closing door to their rear. Childs whirls. \n \n FUCHS \n \n One arm outstretched, swings into view. An ax, embedded deep "," can be seen as he sits bent over a chair; his large shadow \n displayed on the wall. \n \n Back in the corridor. The dog looks up the hall once and "," the body of a man. \n \n Curious mounds of a melted and blackened goo are heaped within \n the mess. \n \n A small can of gasoline lies nearby. A large oil drum not "," the body's left leg. \n \n The shirt has been ripped and lies shredded in the tar-like \n mess. \n \n The men grimace. \n \n DR. COPPER"," Dr. Copper undoes his lab coat and lays it over a chair as \n he exits. Blair stares down ominously at the mutilated body. \n \n EXT. COMPOUND - NIGHT \n"],[" killed early that morning. \n \n Blair sits over his microscope, while Fuchs prepares slides. \n The other body is draped with a sheet, waiting its turn. Dr. \n Copper pulls off his gloves."," Fuchs, a young and sensitive-looking biologist, stands closest \n to the large area map of Antarctica. Several men sit and \n stand around viewing the body that lies on two brought- \n together card-tables. \n"," Displayed on the slab is what appears to be the corpse of a \n man. Badly charred. What is left of the trousers and shoes \n of the bottom torso are ripped and split, as if his legs and "," Dr. Copper spots something. From the man's wrist on the \n armrest, he follows a long, yarn-thick, red line, ending in \n a pool of frozen blood on the floor. \n"," the others where he belong?! \n \n INT. LAB \n \n larger than most of the other rooms and well-equipped. \n \n Dr. Copper is performing an autopsy on the Norwegian intruder, "," A strong blow begins to breach the stall door. Nauls finally \n unhinges the piece of wood, brings the jagged end to one \n side of his throat and rips... \n \n INT. LAB WALL"," Those of the men that have gathered exhibit a pale and quiet \n uneasiness. \n \n Blair, in silent awe, stands over the badly burned corpses \n of two interlocking dogs, that lie before him on a table."," He cuts himself with the scalpel and begins collecting his \n own blood. \n \n MACREADY \n Now I'll show you what I already \n know. \n"," DR. COPPER \n Blair, I'd like you and Fuchs to \n help me with autopsies on this one \n and the one Garry shot this morning. \n"," Dr. Copper undoes his lab coat and lays it over a chair as \n he exits. Blair stares down ominously at the mutilated body. \n \n EXT. COMPOUND - NIGHT \n"," He finally gets it open and lets himself out, slamming and \n locking the door from the hall. Fuchs' body swings eerily, \n back and forth. \n \n INT. HALLWAY \n"," Norris, lying on the floor, coughs as if gasping for breath. \n He quivers for a moment and then is still. Nauls crawls over \n to him and shakes him. A beat. \n"," Sanchez pushes over the portable fibrillator. Copper climbs \n up on the table and straddles Norris' chest. \n \n Unnoticed, Clark paws the contents of the instrument tray \n behind his back."," Well... there's still some cell \n activity... it's not entirely dead \n yet. \n \n Several of the men nearest the carcasses jump back knocking \n over a chair. \n"," Holy shit... \n \n He tries the door. Unlocked. It opens. The arm drops to the \n ground. It has been severed by the force of the slam. \n \n Its owner is nowhere to be seen. \n"," Dr. Copper presses the prongs onto Norris' chest and shoots \n a bolt of current. Norris' body heaves upward. A slight \n crackling sound and an odd chirp through the oxygen mask. \n"," The bladders have been ripped open. Copper is ghastly pale. \n \n DR. COPPER \n Somebody got to the blood... sabotaged \n it. \n \n NAULS"," Blair, transfixed, continues hovering over the united \n cadavers. Weighing. Thinking. A very worried look on his \n face. \n \n The dead bodies of two other dogs from the kennel are not "," Childs and Garry with his body. \n \n A muffled boom, as the swallowed explosive ignites from deep \n within Palmer and sends his flesh splattering all over the "," MacReady looks to the block of ice and then back to the \n photograph. He untapes it, pockets it and shuts the door. \n \n An armless corpse swings into his face from behind the closing "],[" CLARK \n \n opens the door to the small kennel and serves up the dinner. \n The dogs, about seven of them, yelp and bark eagerly. \n \n INT. UNDERGROUND PASSAGEWAY"," He unlatches the door to the kennel and leads him in. \n \n INT. KENNEL \n \n About twenty feet long, five feet wide. Poorly lit. \n"," Cramped with dogs. Some of them sleeping. Others pacing around \n and curious, greet their new companion, sniffing, panting \n and rubbing up against him. Clark pats the dog and several "," corridor. The wind soughing loudly overhead. \n \n CLARK \n \n reaches the kennel door. The savage outpouring of noise from \n within baffles and angers him. He unlatches the door."," PALMER \n Clark! Will you kennel this goddamn \n dog? \n (bangs wrench against \n pipe) \n Hey, Clark?! \n \n THE DOG"," He jogs down the steps, passing the underground dog kennel \n and trots toward the compound through the long narrow tunnel. \n He passes and waves to Clark, who rolls along a wheelbarrow \n of dog food. \n"," The dogs... \n \n CUT TO: \n \n INT. THE KENNEL \n \n Empty. Clark and Garry examine the latch of the kennel door. \n"," by the narrow door. Norris and Garry hold back the two \n hysterical dogs. Clark undoes the latch and he and MacReady \n enter the kennel. \n"," I'm going to shoot. \n \n CLARK \n No! Wait!! \n \n Clark wades into the pack, grabs at dogs' hides and throws "," More men running, nearing the kennel. Several squeezing in \n with Garry, trying to get a look. \n \n INSIDE \n \n MacReady fires several rounds. A dog is flung at him, knocking "," The men are interrogating Clark. He is frazzled and defensive. \n \n CLARK \n ...I'm telling you I don't remember \n leaving the kennel unlatched... \n"," That's what he said. Now! Move! \n \n Bennings is off. \n \n INT. TUNNEL \n \n as the men approach the locked kennel door. The two dogs, "," CLARK \n What's got into... \n \n Smack! Just as he opens the door, two dogs, as if jettisoned "," kennel's open stairwell and out onto the ice. All the men \n have gathered. \n \n CLARK \n All three of them took off. \n"," thrown into Clark, back ferociously and scratch at the door \n trying to get back in. One is badly bloodied. \n \n The fight inside rages on. MacReady and Clark brace themselves "," A couple of the men mingle in the area. Clark, the dog \n handler, looks out the window. \n \n CLARK \n Mac's really taking it up, huh? \n"," grip on the rope and is blown toward the main building. \n \n He crawls along looking for an opening. \n \n Nauls slides near the outside entrance to the dog kennel. \n"," EXT. COMPOUND ABOVE THE UNDERGROUND KENNEL \n \n CLOSE ON THE DOGS' TRACKS in the snow. They lead from the "," The below quarter houses the generator and still other \n compartments for storage. \n \n A long underground tunnel connects the main compound to the \n dog kennel. \n \n FADE IN: \n"," Bennings is hit. Norris pulls, drags him back toward the \n compound. The dog crawls along beside them. \n \n The intruder is relentless in his assail. He runs, screaming, "],[" Blam! Blam! The crazed visitor screams and fires as he stalks \n after them. His countenance ablaze, mad. Ice and snow kick \n up about the terrified Americans. A bullet smacks into the "," leads to Blair's shed. They are careful to keep an eye on \n each other as they move along. \n \n Sanchez heads off in the direction of another shack. \n \n CUT TO: \n"," going to check the last few rooms. \n \n He exits. Amongst the rubble, Dr. Copper finds a pocket tape \n recorder and several cassettes. He selects a tape and is "," Something is down there. They pull up more boards. \n \n The hole is some fifteen feet deep. Its dimensions are the \n same as the shack. Its space is almost completely taken up \n by some strange metallic object. \n"," Norris shuffles the bundle of notes Dr. Copper brought back \n with him. \n \n NORRIS \n ...Seems they were spending a lot of \n time at a place four miles northeast "," The loud beat of Warren Zevon's song, \"The Werewolves of \n London,\" can be heard throughout the compound. The room is \n empty. Close on a video pong game, its ball of light lazily "," The ceiling is a shambles. He then shines the light deeper \n into the room. \n \n INT. NORWEGIAN LAB \n \n Dr. Copper is playing the small tape recorder. A casual "," The proceedings are grim. \n \n Shots of the Norwegian's at work. Others of them playing \n soccer on ice. Generally the footage is a prosaic record of \n their day-to-day life. \n"," lies just ahead of them in the whiteness, in the middle of \n the dog tracks. \n \n THE MEN \n \n kneel down by the \"something.\" It is the half-eaten remains "," Small fires and debris are strewn everywhere. The prefab \n Administration Building exposes gaping holes. Smoke rises \n from the almost entirely snow-buried Quonset huts. Embers \n swirl in every direction."," sticks. \n \n Closer shots show three of the men digging a deep hole into \n the ice. There is a small patch of something dark and metallic \n at the bottom. \n"," Look for shoes, too. And burned cloth. \n \n INT. RADIO ROOM \n \n Norris has begun dismantling the radio. He rubs at his chest \n as he disengages the headset. \n"," blocking it from the other side. \n \n MACREADY \n Anybody in there?! \n \n Nothing. \n \n DR. COPPER \n We're Americans! \n \n Nothing."," No answer. Just wind. They exchange a look and enter. \n \n INT. NARROW CORRIDOR \n \n The two men move slowly. It is dank and cold. Their breath, "," INT. REC ROOM - NIGHT \n \n Fascinated, a few of the men are reviewing the Norwegian \n video tapes of the finding of the mysterious craft. \n"," His flashlight then locates a large photograph taped to the \n inside of the cabinet door. \n \n It is a picture of five Norwegians, arm in arm, all smiles, "," Moving along they come to rest in front of a door with \n Norwegian lettering on it. \n \n MacReady pushes it open with his foot. Dozens of papers fly "," INT. BLAIR'S SHACK \n \n Empty. A few of the floorboards are loosened. They pull them \n up. They stare down into a large hole beneath the planking. "," Then we're wrong. \n \n The muffled breaking of a window down the hall. The men turn. \n \n PALMER \n The supply window! \n \n SANCHEZ"," A steady stream of sleet pounds the compound and small \n surrounding shacks. \n \n INT. REC ROOM \n \n Vacant. The wall clock reads four-thirty. \n \n INT. HALLWAY"],[" revived, it... Well, The Thing was \n probably disoriented... and realized \n it couldn't survive for long in our \n atmosphere... But being the incredibly \n adaptable creature it was... it tried "," BLAIR \n ...Can't you see...? If one cell of \n this Thing got out it could imitate \n every living thing on Earth. Nothing \n could stop it! Nothing! \n"," They're alive. Those things can \n imitate anything... \n \n CHILDS \n What's it going to do, being a plant? \n \n Palmer readies his small torch. \n"," ...From what we know this Thing likes \n to go one on one. So we stick together \n as much as possible. In two's and \n three's. \n"," So do I. So do most of us. \n \n The uneasiness in the room grows. \n \n MACREADY \n Doubt if it got to more than one or "," He depresses the ignition, bolting the tractor ten feet. \n \n He jumps, hanging onto the edge of the hole in the ceiling. \n The Thing's face and arms burst through the metal plating of "," acid into the fabric. \n \n An immense explosion. The hydrogen tanks send a white fireball \n fifty feet into the sky. The Thing's body disintegrating \n almost immediately. \n"," They skid to a halt. Nauls crawls away, quickly. \n \n NAULS \n It's cool, man. We ain't near you, \n man... Stay cool... \n"," can handle it in that state. But if \n it ever got to full power... from \n what I saw of that Norwegian camp... \n well, I just don't know... It would "," For a moment it stands silhouetted in flame. Enormous. \n \n Grotesque. \n \n Garry bolts for the main door. The Thing's tongue spirals "," different area and is just as quickly pulled back down. \n \n MacReady and Childs watch on in frustration and anger. \n \n CHILDS \n What we going to do?! \n \n MACREADY"," Pull back to reveal -- the massive black hole about fifteen \n feet beneath the ice. Charred, gnarled and mangled metal are \n all that is left of what was once an enormous sphere. \n"," others, then leaves, latching the door behind him. \n \n INT. SLEEPING CUBICLE \n \n Childs lies in his cot watching a small television. The show "," If it gets a hold of you -- bite \n down... They're supposed to be fast \n and painless... Now move. \n \n CUT TO: \n \n INT. CORRIDOR"," din of wild, carnage-wrought cries. And then more screeching. \n A screeching unlike anything these men have ever heard. \n \n The men look from one another in silence as they listen. \n"," It sits, its back to them, unconcerned, heedless of their \n arrival. It is munching on the other half of the dog carcass. \n \n The men stop their machines some twenty yards from it. They "," SANCHEZ \n Why? \n \n MACREADY \n If he's one of those Things, we've \n got to get to him before he changes... "," So what do you make of it? \n \n NORRIS \n You know damn well what we both make \n of it. \n \n MACREADY \n No chance it could have been some "," What if it doesn't come? \n \n MACREADY \n It'll come. It needs us. We're the \n only thing left to imitate... \n (to Sanchez)"," SANCHEZ \n God... what...? \n \n They watch on in stunned horror as The Thing that was Norris \n begins to change, to spread awkwardly on the slab. \n"],[" the tractor. The reaching claws just miss him as he pulls \n himself through. \n \n EXT. ROOF \n \n He lights his fuse, drops in the stick, turns and runs. \n"," Holy shit... \n \n He tries the door. Unlocked. It opens. The arm drops to the \n ground. It has been severed by the force of the slam. \n \n Its owner is nowhere to be seen. \n"," He climbs down through the open stairwell. \n \n INT. PLANT ROOM \n \n MacReady has found the broken window. He rolls through it, \n landing on the frozen plants below. Something smashes at the "," Blair jumps in fear, spilling his can. \n \n MACREADY \n Has Fuchs been out here? \n \n Blair approaches the boarded-up window. He looks haggard and "," He hears the clamor of feet and voices as the others are \n nearing. He breaks the glass and grabs a shotgun. Then a box \n of shells. He frantically tries to load, but is too nervous. \n"," A strong blow begins to breach the stall door. Nauls finally \n unhinges the piece of wood, brings the jagged end to one \n side of his throat and rips... \n \n INT. LAB WALL"," from a cannon, knock him off his feet. Growls, barks, snarls. \n And a screeching from within. \n \n INT. KITCHEN \n"," can be seen as he sits bent over a chair; his large shadow \n displayed on the wall. \n \n Back in the corridor. The dog looks up the hall once and "," sound, a bubbling and gurgling is heard well to his rear. \n But closing. \n \n The terror forces him to drag faster, oblivious to the pain. \n"," grip on the rope and is blown toward the main building. \n \n He crawls along looking for an opening. \n \n Nauls slides near the outside entrance to the dog kennel. \n"," of test tubes, notices a large bandage on the floor. He picks \n it up, inquiringly. It is mangled and shredded. \n \n INT. GENERATOR ROOM \n"," The loud beat of Warren Zevon's song, \"The Werewolves of \n London,\" can be heard throughout the compound. The room is \n empty. Close on a video pong game, its ball of light lazily "," He depresses the ignition, bolting the tractor ten feet. \n \n He jumps, hanging onto the edge of the hole in the ceiling. \n The Thing's face and arms burst through the metal plating of "," It paws at the window and watches as the chopper, carrying \n MacReady and Dr. Copper, fights against the newly arrived \n heavy winds and lands safely. \n"," window, relieves it of its spent shell and puts it away. \n \n CUT TO: \n \n EXT. BURNING COPTER \n \n Several men spray snow on the burning wreckage. There is no "," The dog, who has entered the shed, has jumped on the work \n table and upended the tool box on its eagerness to look out \n of the above window. Palmer curses under his breath and calls \n out. \n"," He reaches the bathroom stall. Crawls in. Locks it. The \n gurgling nears. Leaning on the toilet seat, he looks about \n himself, frantically. \n"," The Presence pauses at the door. A scratching. Nauls paws, \n rips at a cracked and weathered slab of wood, cutting his \n fingers as he tries to break it off the siding. \n"," MacReady continues to observe the small particles. Their \n tiny squeals abating into silence. \n \n INT. REC ROOM \n \n MacReady, still carrying the industrial torch, has maneuvered "," and looks straight down through the chassis and into the \n vile and grinning face below. A claw flashes up, splitting \n the steering wheel but missing his face. \n"],[" CUT TO: \n \n EXT. COMPOUND - NIGHT \n \n MacReady and Nauls, wearing their snowshoes and using flares \n for light, pull themselves along the steadying rope that "," themselves along the rope fighting their way up the slope. A \n violent gust sends MacReady's body horizontal, but still \n hanging onto the rope. The wind slaps him back down. His "," The force of the blast sweeps MacReady off the roof. He and \n the severed appendage crash to the hard ice in flames. He \n rolls over and over trying to smother the fire and tear off "," I'm sure a lot of you already know. \n \n He tosses a ream of steel cable and some rope to Palmer. \n \n MACREADY \n Palmer, you and Copper tie everyone "," MacReady unties Nauls with one hand, while the torch stays \n glued to the others. \n \n MacReady heats the wire once again. Both he and Nauls have "," ...Hey, somebody! Open up, it's me, \n MacReady... \n (still nothing) \n ...Come on, damn it... The towline \n snapped. Been crawling around like a "," flare and torch tumble back toward Nauls. \n \n Nauls saves the torch from rolling down the hill. \n \n MacReady, lying vulnerable, watches Nauls pull his way toward "," MACREADY \n What clothes? \n \n CHILDS (O.S.) \n You been made, MacReady. \n \n Childs chops away. MacReady desperately continues rummaging "," different area and is just as quickly pulled back down. \n \n MacReady and Childs watch on in frustration and anger. \n \n CHILDS \n What we going to do?! \n \n MACREADY"," MacReady beats him to it. \n \n MACREADY \n Maybe it should be someone a bit \n more even-tempered, Childs. \n \n Childs glares. \n"," Childs and MacReady stand by helplessly, unable to see what \n has him or what action to take. Childs moves closer to help. \n \n MACREADY \n (pulls him back) \n Stay back!!"," Now hold him. \n \n MACREADY \n I'm a real light sleeper, Childs... \n \n DR. COPPER \n Enough, MacReady! \n"," (nodding) \n After all this mess. \n \n EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK \n \n The winds are thick and vicious now. MacReady and Nauls pull "," MacReady glances up. He and Childs release each other. \n \n MACREADY \n That storm's going to start ripping \n any minute -- so we don't have much \n time. \n"," MacReady runs for the snowmobile. \n \n MACREADY \n Torch them!! \n \n CHILDS \n But... \n \n MACREADY"," Childs stops, confused as to who to help first. He notices \n the dog hunched and ready to spring. He steps back toward \n MacReady. The dog/Thing leaps for MacReady; an incredible "," MacReady spins Nauls off and rips into Norris, sending him \n crashing violently into the wall. Nauls tackles MacReady's \n legs, pulling him to the floor. \n"," The infectious rasping causes MacReady a slight smile as he \n looks up, taking comfort in the sound of the raging Antarctic \n wind vibrating the roof. Nauls, untying Garry, grumbles, at "," heading toward him. \n \n NAULS \n Get back!! \n \n MACREADY \n The generator! \n \n NAULS \n Screw the generator!! \n"," The floor shakes. MacReady stands, his head whirling around \n the room. \n \n MACREADY \n Come on, sucker. \n \n The tractor inches up off the ground. MacReady falls forward "],[" gotten to that blood plasma... \n (placing the wire in \n Palmer's dish) \n ...we'll do you last... \n \n Screech!!! The blood howls, trying to crawl off the plate."," Frustrated, he charges up behind Palmer and begins hammering \n the thick steel instrument over his head. \n \n The shirt of Palmer's back erupts in MacReady's face. \n"," Palmer works on the generator. He hears the sound of \n approaching propeller blades from outside. And then the sound \n of his tool box crashing to the floor. He turns to see what \n caused the ruckus."," skidding across the floor. \n \n Copper momentarily has control of the torch. Just as he \n positions it, Palmer's mouth splits from his chin to his "," Dr. Copper presses the prongs onto Norris' chest and shoots \n a bolt of current. Norris' body heaves upward. A slight \n crackling sound and an odd chirp through the oxygen mask. \n"," MacReady glances over the group. \n \n MACREADY \n Palmer now. \n \n He sets Palmer's plate in front of him and heats the wire. \n \n GARRY"," points the torch directly at the Doctor. Both of them \n perspiring. MacReady lifts the glowing wire from the flame. \n The Doctor is dead still. MacReady slowly touches the wire "," Dr. Copper spots something. From the man's wrist on the \n armrest, he follows a long, yarn-thick, red line, ending in \n a pool of frozen blood on the floor. \n"," He heats the wire and puts it to his plate. The same harmless \n hissing. All eyes continue to watch as he tries again. The \n same result. Childs mumbles. \n \n CHILDS"," undoes the many locks to the room that houses his plants. \n \n One by one. Palmer twists his head in every which direction. \n Nervous. \n"," Copper steps backward, moisture beginning to collect on his \n brow. MacReady begins to heat the copper wire over the Bunsen \n burner. \n \n The men watch intently. The wire begins to glow. MacReady "," torches aimed at Sanchez. Sanchez is near tears. \n \n The wire is dipped into the plate... Hisssss. \n \n Sanchez breaks down and sobs. \n \n CHILDS \n"," Childs and Garry with his body. \n \n A muffled boom, as the swallowed explosive ignites from deep \n within Palmer and sends his flesh splattering all over the "," another appendage, dives on the generators and throws the \n switch. \n \n The current rips through the door. Garry dies instantly. \n"," ground, and tries to swat out the fire. \n \n CHILDS \n You stupid, sonofa... \n \n Palmer, his mouth agape with terror, screams and points to "," MacReady waits until Palmer's back spins around, facing him. \n Only two yards away, MacReady flings his lit roll into the \n ever-evolving second mouth and leaps onto the couch covering "," PALMER \n We got to burn 'em. \n \n CHILDS \n Now hold on, you dumb... \n \n Palmer sprays them with flame. Childs pushes him to the "," of flame. The ever-changing Palmer breaks his bonds and leaps \n on the Doctor. \n \n The others sit helpless, struggling at their bindings. \n"," If it did get to him. \n \n NAULS \n Look, man... \n \n PALMER \n When the lights went out... \n \n NORRIS"," Palmer bolts forward with incredible force, racing for \n MacReady; his face splitting; his mouth roaring -- dragging \n the couch, Childs and Garry with him. He smashes into MacReady "],[" MacReady points the .44 at Childs' head. \n \n MACREADY \n I mean it. \n \n MacReady cocks his gun. Childs holds his ground. \n \n CHILDS"," MACREADY \n What clothes? \n \n CHILDS (O.S.) \n You been made, MacReady. \n \n Childs chops away. MacReady desperately continues rummaging "," MACREADY \n What are you doing? \n \n CHILDS (O.S.) \n You're a dead man, MacReady -- or a \n dead whatever the hell you are! \n"," Both men speak guardedly and stare at each other suspiciously. \n \n MACREADY \n Yeah. I got it. \n (refers to Childs' \n condition) \n Pretty mean frostbite."," Childs and MacReady stand by helplessly, unable to see what \n has him or what action to take. Childs moves closer to help. \n \n MACREADY \n (pulls him back) \n Stay back!!"," MacReady glances up. He and Childs release each other. \n \n MACREADY \n That storm's going to start ripping \n any minute -- so we don't have much \n time. \n"," MacReady beats him to it. \n \n MACREADY \n Maybe it should be someone a bit \n more even-tempered, Childs. \n \n Childs glares. \n"," Now hold him. \n \n MACREADY \n I'm a real light sleeper, Childs... \n \n DR. COPPER \n Enough, MacReady! \n"," Childs. \n \n NAULS \n Shut the damn hell up. \n \n Childs wipes his eyes and grins over toward MacReady. His "," MacReady runs for the snowmobile. \n \n MACREADY \n Torch them!! \n \n CHILDS \n But... \n \n MACREADY"," He looks as weak as MacReady. A beat. \n \n MACREADY \n I think so. \n \n CHILDS \n What do you mean \"you think so?\" \n"," MacReady grins and hands the bottle to Childs. Childs smiles \n back and takes a healthy swig. \n \n EXT. COMPOUND - NIGHT \n"," CHILDS \n So, MacReady, come on now. These \n Norwegian dudes come by... find him \n and dig him up... \n \n MacReady tosses the ball of cloth across the room into a "," Sanchez and Childs flop down in chairs. MacReady wipes his \n face. \n \n A long silence. Sanchez weeps quietly with relief. \n \n GARRY"," MacReady begins to rummage through the supplies in the \n darkness. \n \n CHILDS (O.S.) \n We found your clothes -- the ones \n you tried to burn. \n"," CHILDS \n So Clark was human, huh? \n \n MacReady nods. \n \n CHILDS \n So that make you a murderer. \n"," and whirls a startled MacReady around. It is Childs. \n \n White and black blotches cover his frostbitten face. \n \n CHILDS \n Did you kill it? \n"," room. MacReady rolls away from Childs and Garry as fast as \n he can. \n \n CUT TO: \n \n MACREADY \n"," MacReady begins setting up a non-electronic chessboard. \n \n MACREADY \n Not the only one. \n \n CHILDS \n The fire's got the temperature way "," They regard each other for a moment. Childs painfully sits \n down across from MacReady. \n \n CHILDS \n I guess I'll be learning. \n"]],"string":"[\n [\n \" quivers. The gas bombs are cocked. \\n \\n From the roof The Thing roars down into their midst. \\n \\n Stunned, the men stumble back. MacReady throws his gas bomb. \\n Nauls the same.\",\n \" as it smashes the glass of the fire alarm. He pulls the lever. \\n \\n INT. TUNNEL \\n \\n The alarm is blaring throughout the camp. MacReady, Garry, \",\n \" Nauls and Norris, who have silently crept in through the \\n supply window, come flying through the hacked-up door and \\n barrel into MacReady. Both going straight for the flare. \\n\",\n \" Sanchez and Nauls inch their way through. \\n \\n INT. REC ROOM \\n \\n MacReady rips linen, soaks the strips in gas, and stuffs \",\n \" Nauls rushes in with another box of dynamite. \\n \\n NAULS \\n What about Childs? \\n \\n MACREADY \\n Forget about Childs. He's over. \\n\",\n \" CUT TO: \\n \\n EXT. COMPOUND - NIGHT \\n \\n MacReady and Nauls, wearing their snowshoes and using flares \\n for light, pull themselves along the steadying rope that \",\n \" (nodding) \\n After all this mess. \\n \\n EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK \\n \\n The winds are thick and vicious now. MacReady and Nauls pull \",\n \" wall. Nauls dives over the arm, somersaults to his feet and \\n takes off. \\n \\n INT. MAIN HALL \\n \\n MacReady, running, spots Nauls careening out of a turn, \",\n \" MacReady finds a burst thermite canister. He and Norris climb \\n down. \\n \\n They move along amongst the wreck. Almost everything but the \\n skeletal superstructure has disintegrated into a fine ashy \",\n \" Nauls, you and Childs and I'll check \\n the outside shacks... \\n \\n He tosses torches to Sanchez and Palmer. \\n \\n MACREADY\",\n \" Nauls blazes by him. MacReady hears the snarls and screeches \\n heading his way. He streaks after Nauls. \\n \\n INT. REC ROOM \\n\",\n \" EXT. COMPOUND - NIGHT \\n \\n The wind rumbles. The storm is at its peak. MacReady, Childs \\n and Nauls, guided by their flares, pull themselves along the \",\n \" Garry and several others turn to MacReady quizzically. \\n \\n GARRY \\n You're not thinking of going after \\n them, are you? \\n \\n MACREADY\",\n \" MacReady charges up the stairs from the plant room. He zooms \\n down the twisting corridors, opening and closing doors. He \\n rounds a bend and crashes into Nauls coming the other way. \\n\",\n \" MacReady spins Nauls off and rips into Norris, sending him \\n crashing violently into the wall. Nauls tackles MacReady's \\n legs, pulling him to the floor. \\n\",\n \" heading toward him. \\n \\n NAULS \\n Get back!! \\n \\n MACREADY \\n The generator! \\n \\n NAULS \\n Screw the generator!! \\n\",\n \" Garry pokes his head into the blackness. \\n \\n GARRY \\n What's going on, damn it? \\n \\n MacReady aims his shotgun at the entire pack. \\n \\n MACREADY\",\n \" MacReady guns it through the next wall and into the infirmary. \\n Medical equipment goes flying. The machine is powerful; the \\n prefabricated walls buckling under its force. \\n \\n INT. COMPOUND \\n\",\n \" The others surround him. \\n \\n PALMER \\n Where's MacReady? \\n \\n Nauls weighs each of them ominously, while digging down \\n underneath his heavy jacket. \\n\",\n \" MacReady hands his list to Bennings. \\n \\n MACREADY \\n Get these things out of supply and \\n meet me over by the snowmobiles. \\n \\n GARRY\"\n ],\n [\n \" Childs, viewing the tapes, can't quite believe it all. \\n \\n CHILDS \\n Okay now, Mac, run this by me again. \\n Thousands of years ago this rocket \",\n \" (rambling) \\n Happens all the time, man. They're \\n falling out of the skies like flies. \\n Government knows all about it... \\n Chariots of the Gods, man... They \",\n \" It turns and snarls at the craft some fifteen hundred yards \\n to its rear. Then whirls and gallops off. A gun blast kicks \\n up snow at its heels. \\n \\n INT. COPTER \\n\",\n \" GARRY \\n I've got six dead Norwegians on my \\n hands, a burned up flying saucer, \\n and we've just destroyed the \\n scientific find of the century. Now \",\n \" NAULS \\n What is it? \\n \\n MACREADY \\n Everything that's been missing. \\n \\n CHILDS \\n Spaceship of some kind. \\n\",\n \" Something is down there. They pull up more boards. \\n \\n The hole is some fifteen feet deep. Its dimensions are the \\n same as the shack. Its space is almost completely taken up \\n by some strange metallic object. \\n\",\n \" time... \\n (holds up ice sample) \\n ...This ice it was buried in... \\n It's over a hundred thousand years \\n old. \\n \\n Palmer calls out, waving them over. \\n\",\n \" travels precariously close to the ground; its chassis battered \\n and swayed by the wind. \\n \\n INT. COPTER \\n \\n Red dials beam on the faces of two men. One carries a rifle \",\n \" fifteen feet long, six feet wide and eight feet deep. \\n \\n MacReady kneels down to observe. A beat. \\n \\n A gust of wind picks up the snow at their feet. \\n \\n CUT TO:\",\n \" Palmer works on the generator. He hears the sound of \\n approaching propeller blades from outside. And then the sound \\n of his tool box crashing to the floor. He turns to see what \\n caused the ruckus.\",\n \" NAULS \\n Maybe we at war with Norway. \\n \\n Palmer, a spacy, twenty-seven year old, novice pilot and \\n mechanic, grins as he lights a joint. He directs a remark to \",\n \" materials have been used in its construction. \\n \\n There is a laboratory. An infirmary. A kitchen and mess hall. \\n A communications room and sleeping quarters. Other cubicles \\n are for storage and supplies. \\n\",\n \" A tractor and two helicopters sit idle, covered with mounds \\n of continuously mounting snow. \\n \\n TWO MEN, NORRIS AND BENNINGS \\n\",\n \" Pull back to reveal -- the massive black hole about fifteen \\n feet beneath the ice. Charred, gnarled and mangled metal are \\n all that is left of what was once an enormous sphere. \\n\",\n \" CHILDS \\n How long they been out now? \\n \\n NORRIS \\n Forty... Forty-five minutes. \\n \\n Silence, as the uneasy eyes measure one another. \\n\",\n \" Smoke climbs upward in the f.g. MacReady sets his craft down. \\n Pull back to reveal the camp itself: resembling the aftermath \\n of a western fort, sacked and ravaged by Indians. \\n\",\n \" (shouting) \\n Couldn't be possible. Must have \\n weighted a ton and a half... \\n \\n Nauls kicks over a chair. A naked, fleshy object bounds high \",\n \" near the fuel supply bladders. Older and more rickety than \\n the quarters above. \\n \\n Childs waltzes through, humming, a big smile on his face. \\n\",\n \" How long's it been? \\n \\n MACREADY \\n Little over two hours. \\n \\n NAULS \\n Maybe it ain't coming. \\n \\n MACREADY\",\n \" MacReady fights violently with the controls as he struggles \\n to get the craft into the air. It finally rights itself and \\n moves up and off into the grey-white sky. \\n \\n INT. MAIN COMPOUND \\n\"\n ],\n [\n \" Childs, viewing the tapes, can't quite believe it all. \\n \\n CHILDS \\n Okay now, Mac, run this by me again. \\n Thousands of years ago this rocket \",\n \" (rambling) \\n Happens all the time, man. They're \\n falling out of the skies like flies. \\n Government knows all about it... \\n Chariots of the Gods, man... They \",\n \" GARRY \\n I've got six dead Norwegians on my \\n hands, a burned up flying saucer, \\n and we've just destroyed the \\n scientific find of the century. Now \",\n \" It turns and snarls at the craft some fifteen hundred yards \\n to its rear. Then whirls and gallops off. A gun blast kicks \\n up snow at its heels. \\n \\n INT. COPTER \\n\",\n \" time... \\n (holds up ice sample) \\n ...This ice it was buried in... \\n It's over a hundred thousand years \\n old. \\n \\n Palmer calls out, waving them over. \\n\",\n \" CHILDS \\n How long they been out now? \\n \\n NORRIS \\n Forty... Forty-five minutes. \\n \\n Silence, as the uneasy eyes measure one another. \\n\",\n \" Something is down there. They pull up more boards. \\n \\n The hole is some fifteen feet deep. Its dimensions are the \\n same as the shack. Its space is almost completely taken up \\n by some strange metallic object. \\n\",\n \" fifteen feet long, six feet wide and eight feet deep. \\n \\n MacReady kneels down to observe. A beat. \\n \\n A gust of wind picks up the snow at their feet. \\n \\n CUT TO:\",\n \" NAULS \\n What is it? \\n \\n MACREADY \\n Everything that's been missing. \\n \\n CHILDS \\n Spaceship of some kind. \\n\",\n \" Fuchs leafing through a pile of papers. \\n \\n FUCHS \\n Says here about eight weeks. \\n \\n Dr. Copper enters the room. Bennings limping after him \\n slightly.\",\n \" (shouting) \\n Couldn't be possible. Must have \\n weighted a ton and a half... \\n \\n Nauls kicks over a chair. A naked, fleshy object bounds high \",\n \" Palmer works on the generator. He hears the sound of \\n approaching propeller blades from outside. And then the sound \\n of his tool box crashing to the floor. He turns to see what \\n caused the ruckus.\",\n \" NAULS \\n Maybe we at war with Norway. \\n \\n Palmer, a spacy, twenty-seven year old, novice pilot and \\n mechanic, grins as he lights a joint. He directs a remark to \",\n \" travels precariously close to the ground; its chassis battered \\n and swayed by the wind. \\n \\n INT. COPTER \\n \\n Red dials beam on the faces of two men. One carries a rifle \",\n \" So what do you make of it? \\n \\n NORRIS \\n You know damn well what we both make \\n of it. \\n \\n MACREADY \\n No chance it could have been some \",\n \" How long's it been? \\n \\n MACREADY \\n Little over two hours. \\n \\n NAULS \\n Maybe it ain't coming. \\n \\n MACREADY\",\n \" who had been working on the snowmobile. Next to him sits \\n Norris, the rugged-looking, fortyish, geophysicist, who was \\n one of the men being shot at. \\n \\n GARRY\",\n \" The two men study it uncomprehendingly. \\n \\n MacReady's gaze turns to a large metal cabinet at his left. \\n He moves for a closer look. Several photographs are pasted \",\n \" near the fuel supply bladders. Older and more rickety than \\n the quarters above. \\n \\n Childs waltzes through, humming, a big smile on his face. \\n\",\n \" Fuchs, a young and sensitive-looking biologist, stands closest \\n to the large area map of Antarctica. Several men sit and \\n stand around viewing the body that lies on two brought- \\n together card-tables. \\n\"\n ],\n [\n \" CUT TO: \\n \\n EXT. COMPOUND - NIGHT - CLOSE ON THE DOG CARCASSES \\n \\n lying on the snow. Splash. They are being soaked with \",\n \" I'm going to shoot. \\n \\n CLARK \\n No! Wait!! \\n \\n Clark wades into the pack, grabs at dogs' hides and throws \",\n \" The light has been broken and it is pitch black. MacReady \\n snaps on his flashlight. Norris and Garry can't contain their \\n animals and the dogs burst into the room. They smash into \",\n \" More men running, nearing the kennel. Several squeezing in \\n with Garry, trying to get a look. \\n \\n INSIDE \\n \\n MacReady fires several rounds. A dog is flung at him, knocking \",\n \" MacReady signals with his flashlight and then points it at \\n the gathering of snarling dogs. \\n \\n MACREADY \\n Torch it over there! \\n \\n CHILDS \\n The dogs?\",\n \" him and his flashlight once more to the ground. \\n \\n Garry squeezes in and begins blasting away in the direction \\n of the hissing and screeching. A dog is hit. MacReady crawls \",\n \" Childs stops, confused as to who to help first. He notices \\n the dog hunched and ready to spring. He steps back toward \\n MacReady. The dog/Thing leaps for MacReady; an incredible \",\n \" Three dogs start to close in on the stranger. \\n \\n They attack. \\n \\n THE SHADOW OF THE NEW DOG \\n \\n against the kennel wall. The shadow suddenly lurches upward, \",\n \" stare blankly, but relievedly at the fallen man. The dog \\n whimpers in pain. \\n \\n CHILDS \\n \\n pokes his head out from under the snowmobile. \\n\",\n \" fascinated. He hears the far-off clamor of the dogs. \\n \\n INT. NAULS' QUARTERS \\n \\n He, too, bothered by the noise, tosses and turns in his sleep. \\n\",\n \" is put into full throttle. \\n \\n EXT. HILL - THE DOG \\n \\n running feverishly up and over a hill of ice. A weather- \\n beaten, wooden sign sticks up on the other side: \\n\",\n \" far off. \\n \\n INT. INFIRMARY \\n \\n Fuchs is attending to the shredded bodies of three other \\n badly wounded dogs. \\n \\n INT. REC ROOM \\n\",\n \" MacReady throws his thermite canister. It discharges and \\n engulfs the screeching animal in fire. \\n \\n BENNINGS \\n \\n howling in pain. The ice underneath him thrashes violently. \",\n \" in their snowshoes. Bennings stands back by the snowmobiles. \\n \\n Childs and MacReady spread out some dozen feet from the dog. \\n It continues to pay them no mind, content to chew its food. \\n\",\n \" the added horsepower. They follow the still visible dog tracks \\n in the snow. \\n \\n CUT TO: \\n \\n THE SUN \\n\",\n \" MacReady follows the line of continuing dog tracks. \\n \\n MACREADY \\n Maybe dinner. \\n \\n BENNINGS \\n Dogs don't eat each other. \\n \\n MACREADY\",\n \" That's what he said. Now! Move! \\n \\n Bennings is off. \\n \\n INT. TUNNEL \\n \\n as the men approach the locked kennel door. The two dogs, \",\n \" MACREADY \\n Screw the dogs!! Torch it!! \\n \\n Childs lets loose with a burst of blue flame. A mewing, a \\n screeching. \\n\",\n \" EXT. COMPOUND ABOVE THE UNDERGROUND KENNEL \\n \\n CLOSE ON THE DOGS' TRACKS in the snow. They lead from the \",\n \" (nodding) \\n After all this mess. \\n \\n EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK \\n \\n The winds are thick and vicious now. MacReady and Nauls pull \"\n ],\n [\n \" Something is down there. They pull up more boards. \\n \\n The hole is some fifteen feet deep. Its dimensions are the \\n same as the shack. Its space is almost completely taken up \\n by some strange metallic object. \\n\",\n \" Sanchez and Nauls start to leave. \\n \\n MACREADY \\n ...Hold it. \\n \\n He dispenses the capsules. \\n \\n MACREADY\",\n \" continues to keep his distance. \\n \\n Copper places an oxygen mask over Norris' face. He then rips \\n open his shirt. \\n \\n MACREADY \\n So you sweethearts had yourselves a \",\n \" Sanchez pushes over the portable fibrillator. Copper climbs \\n up on the table and straddles Norris' chest. \\n \\n Unnoticed, Clark paws the contents of the instrument tray \\n behind his back.\",\n \" Pull back to reveal -- the massive black hole about fifteen \\n feet beneath the ice. Charred, gnarled and mangled metal are \\n all that is left of what was once an enormous sphere. \\n\",\n \" of test tubes, notices a large bandage on the floor. He picks \\n it up, inquiringly. It is mangled and shredded. \\n \\n INT. GENERATOR ROOM \\n\",\n \" Open up! \\n \\n No answer as the men surround the door, their weapons ready. \\n Fear. \\n \\n MACREADY (O.S.)\",\n \" Look for shoes, too. And burned cloth. \\n \\n INT. RADIO ROOM \\n \\n Norris has begun dismantling the radio. He rubs at his chest \\n as he disengages the headset. \\n\",\n \" MacReady finds a burst thermite canister. He and Norris climb \\n down. \\n \\n They move along amongst the wreck. Almost everything but the \\n skeletal superstructure has disintegrated into a fine ashy \",\n \" He depresses the ignition, bolting the tractor ten feet. \\n \\n He jumps, hanging onto the edge of the hole in the ceiling. \\n The Thing's face and arms burst through the metal plating of \",\n \" kind of strange alloy. \\n (looks out at debris \\n in disgust) \\n And those poor dumb bastards had to \\n go and blow the hell out of it. \\n \\n MACREADY\",\n \" Blair jumps in fear, spilling his can. \\n \\n MACREADY \\n Has Fuchs been out here? \\n \\n Blair approaches the boarded-up window. He looks haggard and \",\n \" found a scalpel. He gently lifts it out, bringing it to his \\n side. \\n \\n MACREADY \\n And if anyone tries to wake me... \\n \\n DR. COPPER\",\n \" hope for the pilot. \\n \\n CUT TO: \\n \\n INT. COMPOUND \\n \\n CLOSE ON THE PALLID FACE OF THE SCANDINAVIAN INTRUDER \\n\",\n \" I'm sure a lot of you already know. \\n \\n He tosses a ream of steel cable and some rope to Palmer. \\n \\n MACREADY \\n Palmer, you and Copper tie everyone \",\n \" The three move down the hall toward their appointed rendezvous \\n at the rec room. \\n \\n MACREADY \\n (to Palmer) \\n Start taking apart those snowmobiles \",\n \" others, then leaves, latching the door behind him. \\n \\n INT. SLEEPING CUBICLE \\n \\n Childs lies in his cot watching a small television. The show \",\n \" as it smashes the glass of the fire alarm. He pulls the lever. \\n \\n INT. TUNNEL \\n \\n The alarm is blaring throughout the camp. MacReady, Garry, \",\n \" Both look around. Sanchez is gone. Palmer's light finds the \\n motionless generator. He examines it. \\n \\n PALMER \\n The fuel pump... it's gone... \\n (frantic)\",\n \" stopped by the now freezing temperatures within the outpost. \\n \\n Its one curious feature: the middle has been thawed and \\n scooped out. Giving it the appearance of a large bathtub. \"\n ],\n [\n \" All the men have been tied up. Palmer, Childs and Garry on \\n the small couch. The others, including the lifeless corpse \\n of Clark, in chairs. \\n\",\n \" Go untie the Doc. Get him in here. \\n Bring the others, too... \\n (grins menacingly) \\n From now on no one gets out of my \\n sight. \\n\",\n \" THE MEN \\n \\n being tied securely to couches and chairs. \\n \\n MACREADY \\n Tie up Clark, too. \\n \\n PALMER \\n (bemused)\",\n \" I'm sure a lot of you already know. \\n \\n He tosses a ream of steel cable and some rope to Palmer. \\n \\n MACREADY \\n Palmer, you and Copper tie everyone \",\n \" of test tubes, notices a large bandage on the floor. He picks \\n it up, inquiringly. It is mangled and shredded. \\n \\n INT. GENERATOR ROOM \\n\",\n \" MACREADY \\n Now Copper, you tie Palmer up. \\n \\n Copper starts to tie Palmer to the small couch next to Childs \\n and Garry. \\n \\n MACREADY\",\n \" Norris and Childs are tying the Doctor, Clark and Garry to \\n the couch. MacReady prepares several makeshift blowtorches \\n as he kneels on the ground. \\n \\n SANCHEZ\",\n \" firing, screaming, reloading and firing. \\n \\n INT. COMPOUND \\n \\n Total confusion. Some watch helplessly through the small, \\n fogged-up and translucent windows. Others try to mobilize \",\n \" Chaos. Men, half-naked, bounce from their cubicle. \\n \\n Pulling on their pants, digging into shoes. \\n \\n INT. CHILDS' CUBICLE \\n\",\n \" Then we're wrong. \\n \\n The muffled breaking of a window down the hall. The men turn. \\n \\n PALMER \\n The supply window! \\n \\n SANCHEZ\",\n \" window, relieves it of its spent shell and puts it away. \\n \\n CUT TO: \\n \\n EXT. BURNING COPTER \\n \\n Several men spray snow on the burning wreckage. There is no \",\n \" sits stoicly, while he watches the preparations for his turn. \\n \\n CHILDS \\n Let's do it, Bwana. \\n \\n Nauls and Sanchez take aim five yards away. Fierce, \",\n \" down. Real tight. \\n \\n CHILDS \\n What for? \\n \\n MACREADY \\n For your health. \\n \\n GARRY \\n (to others)\",\n \" No one's that strong, boy! \\n \\n INT. PASSAGEWAY \\n \\n Tracking with the three men. Opening and closing doors, as \\n they make their way back to the rec room. They keep their \",\n \" along the guide rope, fighting the gale force winds. \\n \\n CUT TO: \\n \\n THE MEN \\n \\n weapons in hand, huddle at the main doorway. They unbolt it. \",\n \" CUT TO: \\n \\n INT. REC ROOM \\n \\n The men watch all the doors. Dead silence. Dark. Whispers. \\n \\n GARRY\",\n \" as it smashes the glass of the fire alarm. He pulls the lever. \\n \\n INT. TUNNEL \\n \\n The alarm is blaring throughout the camp. MacReady, Garry, \",\n \" That's what he said. Now! Move! \\n \\n Bennings is off. \\n \\n INT. TUNNEL \\n \\n as the men approach the locked kennel door. The two dogs, \",\n \" The wind belts into the roofing overhead. Garry sets the \\n wiring to the main doorway. MacReady begins blocking off one \\n of the other entrances with a large computer. \\n \\n SANCHEZ\",\n \" INT. COMPOUND MAIN HALLWAY - POINT OF VIEW - THE MEN \\n \\n Through the fogged-up windows, a figure can be seen \\n approaching the main compound. It pulls and drags its way \"\n ],\n [\n \" SANCHEZ \\n (incredulous) \\n MacReady...? \\n \\n NAULS \\n He's one of them. \\n \\n SANCHEZ\",\n \" and whirls a startled MacReady around. It is Childs. \\n \\n White and black blotches cover his frostbitten face. \\n \\n CHILDS \\n Did you kill it? \\n\",\n \" MacReady slides the Doctor a fresh plate. \\n \\n MACREADY \\n Now you. \\n \\n Copper cuts his thumb, his blood dribbles onto the plate. \\n \\n He stands nervously for a beat.\",\n \" MacReady dives on Palmer's back and the three go rolling to \\n the floor. Screeching. Crackling. MacReady pounds viciously \\n at Palmer's head. A powerful, shirt-splitting arm sends him \",\n \" MACREADY \\n What are you doing? \\n \\n CHILDS (O.S.) \\n You're a dead man, MacReady -- or a \\n dead whatever the hell you are! \\n\",\n \" points the torch directly at the Doctor. Both of them \\n perspiring. MacReady lifts the glowing wire from the flame. \\n The Doctor is dead still. MacReady slowly touches the wire \",\n \" Sanchez and Childs flop down in chairs. MacReady wipes his \\n face. \\n \\n A long silence. Sanchez weeps quietly with relief. \\n \\n GARRY\",\n \" MacReady waits until Palmer's back spins around, facing him. \\n Only two yards away, MacReady flings his lit roll into the \\n ever-evolving second mouth and leaps onto the couch covering \",\n \" CHILDS \\n So, MacReady, come on now. These \\n Norwegian dudes come by... find him \\n and dig him up... \\n \\n MacReady tosses the ball of cloth across the room into a \",\n \" Childs stops, confused as to who to help first. He notices \\n the dog hunched and ready to spring. He steps back toward \\n MacReady. The dog/Thing leaps for MacReady; an incredible \",\n \" MacReady beats him to it. \\n \\n MACREADY \\n Maybe it should be someone a bit \\n more even-tempered, Childs. \\n \\n Childs glares. \\n\",\n \" Childs and MacReady turn, confused, unable to see anything \\n be Bennings' screaming head. They rush toward him. \\n \\n MacReady stumbles. \\n\",\n \" CHILDS \\n So Clark was human, huh? \\n \\n MacReady nods. \\n \\n CHILDS \\n So that make you a murderer. \\n\",\n \" MacReady glances over the group. \\n \\n MACREADY \\n Palmer now. \\n \\n He sets Palmer's plate in front of him and heats the wire. \\n \\n GARRY\",\n \" INT. COMPOUND - CLOSE ON PALMER'S FACE \\n \\n shouting down a passageway. \\n \\n PALMER \\n MacReady!! \\n \\n CLOSE ON CHILDS\",\n \" One of the smaller torches is pointed at Nauls. He closes \\n his eyes. MacReady places the heated wire into his plate. \\n Hiss. MacReady exhales. Nauls opens his eyes. \\n\",\n \" MacReady throws his thermite canister. It discharges and \\n engulfs the screeching animal in fire. \\n \\n BENNINGS \\n \\n howling in pain. The ice underneath him thrashes violently. \",\n \" MACREADY \\n What clothes? \\n \\n CHILDS (O.S.) \\n You been made, MacReady. \\n \\n Childs chops away. MacReady desperately continues rummaging \",\n \" The force of the blast sweeps MacReady off the roof. He and \\n the severed appendage crash to the hard ice in flames. He \\n rolls over and over trying to smother the fire and tear off \",\n \" MacReady looks to the block of ice and then back to the \\n photograph. He untapes it, pockets it and shuts the door. \\n \\n An armless corpse swings into his face from behind the closing \"\n ],\n [\n \" MacReady dives on Palmer's back and the three go rolling to \\n the floor. Screeching. Crackling. MacReady pounds viciously \\n at Palmer's head. A powerful, shirt-splitting arm sends him \",\n \" Frustrated, he charges up behind Palmer and begins hammering \\n the thick steel instrument over his head. \\n \\n The shirt of Palmer's back erupts in MacReady's face. \\n\",\n \" The force of the blast sweeps MacReady off the roof. He and \\n the severed appendage crash to the hard ice in flames. He \\n rolls over and over trying to smother the fire and tear off \",\n \" MacReady waits until Palmer's back spins around, facing him. \\n Only two yards away, MacReady flings his lit roll into the \\n ever-evolving second mouth and leaps onto the couch covering \",\n \" MacReady spins Nauls off and rips into Norris, sending him \\n crashing violently into the wall. Nauls tackles MacReady's \\n legs, pulling him to the floor. \\n\",\n \" Childs and MacReady turn, confused, unable to see anything \\n be Bennings' screaming head. They rush toward him. \\n \\n MacReady stumbles. \\n\",\n \" thrown into Clark, back ferociously and scratch at the door \\n trying to get back in. One is badly bloodied. \\n \\n The fight inside rages on. MacReady and Clark brace themselves \",\n \" MacReady, furious, pulls Childs away. \\n \\n Norris breathing heavily from the activity, massages his \\n chest. The strong, stormy winds overhead batter the roofing. \",\n \" A beat. Childs starts to giggle. The strain on MacReady's \\n jaw begins to lessen. Garry sits catatonic. Nauls scowls at \\n Childs' uncontrollable laughter. \\n\",\n \" Childs stops, confused as to who to help first. He notices \\n the dog hunched and ready to spring. He steps back toward \\n MacReady. The dog/Thing leaps for MacReady; an incredible \",\n \" MacReady looks to the block of ice and then back to the \\n photograph. He untapes it, pockets it and shuts the door. \\n \\n An armless corpse swings into his face from behind the closing \",\n \" of the charges sending Clark flying backwards. The others, \\n themselves about to pounce, stop -- as MacReady whirls the \\n torch and gun back toward them. \\n \\n CUT TO: \\n\",\n \" Childs and MacReady stand by helplessly, unable to see what \\n has him or what action to take. Childs moves closer to help. \\n \\n MACREADY \\n (pulls him back) \\n Stay back!!\",\n \" glass above his head, trying to get in. He sprints for the \\n door. Fuchs' frozen body is still pinned to it with the ax. \\n MacReady grapples with the stiff torso which blocks the knob. \\n\",\n \" Nauls blazes by him. MacReady hears the snarls and screeches \\n heading his way. He streaks after Nauls. \\n \\n INT. REC ROOM \\n\",\n \" MacReady throws his thermite canister. It discharges and \\n engulfs the screeching animal in fire. \\n \\n BENNINGS \\n \\n howling in pain. The ice underneath him thrashes violently. \",\n \" as it smashes the glass of the fire alarm. He pulls the lever. \\n \\n INT. TUNNEL \\n \\n The alarm is blaring throughout the camp. MacReady, Garry, \",\n \" He climbs down through the open stairwell. \\n \\n INT. PLANT ROOM \\n \\n MacReady has found the broken window. He rolls through it, \\n landing on the frozen plants below. Something smashes at the \",\n \" MacReady beats him to it. \\n \\n MACREADY \\n Maybe it should be someone a bit \\n more even-tempered, Childs. \\n \\n Childs glares. \\n\",\n \" MACREADY \\n What clothes? \\n \\n CHILDS (O.S.) \\n You been made, MacReady. \\n \\n Childs chops away. MacReady desperately continues rummaging \"\n ],\n [\n \" MacReady grins and hands the bottle to Childs. Childs smiles \\n back and takes a healthy swig. \\n \\n EXT. COMPOUND - NIGHT \\n\",\n \" MacReady points the .44 at Childs' head. \\n \\n MACREADY \\n I mean it. \\n \\n MacReady cocks his gun. Childs holds his ground. \\n \\n CHILDS\",\n \" MacReady pushes his sombrero back over his head. \\n \\n MACREADY \\n Well, you can believe it now. \\n \\n He drops the bundle he had been holding on the table between \",\n \" MacReady ain't going nowhere. Bunkered \\n in till spring. \\n \\n GARRY \\n Just go get him. \\n \\n NORRIS \\n (stands)\",\n \" Sanchez and Childs flop down in chairs. MacReady wipes his \\n face. \\n \\n A long silence. Sanchez weeps quietly with relief. \\n \\n GARRY\",\n \" (nodding) \\n After all this mess. \\n \\n EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK \\n \\n The winds are thick and vicious now. MacReady and Nauls pull \",\n \" thing... \\n (refers to feet) \\n ...Think my toes are already gone. \\n \\n MacReady, carrying the bottle and glass, limps over and sits \",\n \" ready. They freeze. \\n \\n MacReady stands before them holding a lighted flare. His \\n hair and clothing are covered with snow; his cheeks and nose \",\n \" Now hold him. \\n \\n MACREADY \\n I'm a real light sleeper, Childs... \\n \\n DR. COPPER \\n Enough, MacReady! \\n\",\n \" MACREADY \\n What clothes? \\n \\n CHILDS (O.S.) \\n You been made, MacReady. \\n \\n Childs chops away. MacReady desperately continues rummaging \",\n \" MacReady sits quietly by his chess set contemplating a large \\n glass of Scotch. Clark, less interested than the others, is \\n flipping through the Norwegian nudie magazine. \\n\",\n \" MacReady waits until Palmer's back spins around, facing him. \\n Only two yards away, MacReady flings his lit roll into the \\n ever-evolving second mouth and leaps onto the couch covering \",\n \" MacReady runs for the snowmobile. \\n \\n MACREADY \\n Torch them!! \\n \\n CHILDS \\n But... \\n \\n MACREADY\",\n \" MacReady beats him to it. \\n \\n MACREADY \\n Maybe it should be someone a bit \\n more even-tempered, Childs. \\n \\n Childs glares. \\n\",\n \" MacReady glances over the group. \\n \\n MACREADY \\n Palmer now. \\n \\n He sets Palmer's plate in front of him and heats the wire. \\n \\n GARRY\",\n \" MACREADY \\n What are you doing? \\n \\n CHILDS (O.S.) \\n You're a dead man, MacReady -- or a \\n dead whatever the hell you are! \\n\",\n \" One of the smaller torches is pointed at Nauls. He closes \\n his eyes. MacReady places the heated wire into his plate. \\n Hiss. MacReady exhales. Nauls opens his eyes. \\n\",\n \" BLAIR \\n (pleading) \\n Listen to me, Garry. Please... \\n \\n GARRY \\n (to MacReady) \\n If the weather clears enough before \",\n \" MacReady slides the Doctor a fresh plate. \\n \\n MACREADY \\n Now you. \\n \\n Copper cuts his thumb, his blood dribbles onto the plate. \\n \\n He stands nervously for a beat.\",\n \" MacReady hands his list to Bennings. \\n \\n MACREADY \\n Get these things out of supply and \\n meet me over by the snowmobiles. \\n \\n GARRY\"\n ],\n [\n \" As they near, the smoke looms thicker. A black, tar-like \\n gush; billowing up into the grey sky from the whiteness below. \\n \\n EXT. NORWEGIAN CAMP \\n\",\n \" The proceedings are grim. \\n \\n Shots of the Norwegian's at work. Others of them playing \\n soccer on ice. Generally the footage is a prosaic record of \\n their day-to-day life. \\n\",\n \" and searches the horizon with binoculars. The other pilots. \\n Their unkempt faces, their blazing eyes notate a wildness. \\n They bark at each other in some Scandinavian tongue. Two men \",\n \" breasted woman. Something on the tape catches his eye. He \\n rewinds, then starts it forward again. \\n \\n The screen shows the Norwegians on the surface of what appears \",\n \" to be an enormous, flat glacier. They are spread out on the \\n ice around a large odd oval shape; their arms outstretched. \\n \\n It fades to black and then a Norwegian comes on mugging \",\n \" EXT. THE CHOPPER \\n \\n moves over a ridge of ice. Columns of smoke can be seen rising \\n ominously from a quarter mile off. \\n \\n INT. CHOPPER - POINT OF VIEW \\n\",\n \" travels precariously close to the ground; its chassis battered \\n and swayed by the wind. \\n \\n INT. COPTER \\n \\n Red dials beam on the faces of two men. One carries a rifle \",\n \" assistant, Fuchs, are present. The small Norwegian video \\n unit has been set up and its contents are being viewed on a \\n TV screen. Grainy, home movie-ish, no sound. \\n\",\n \" It turns and snarls at the craft some fifteen hundred yards \\n to its rear. Then whirls and gallops off. A gun blast kicks \\n up snow at its heels. \\n \\n INT. COPTER \\n\",\n \" A tractor and two helicopters sit idle, covered with mounds \\n of continuously mounting snow. \\n \\n TWO MEN, NORRIS AND BENNINGS \\n\",\n \" MACREADY \\n Decanite...? Thermite charges...? \\n \\n The tape jump cuts again showing a long shot of the markings. \\n No Norwegian in sight. An explosion kicks up the ice. A beat \",\n \" to its door. Small snapshots of the Norwegians at work and \\n play. \\n \\n He tries to open it. Stuck. The partially caved-in ceiling \\n is slightly blocking the top of the door. He tries again, \",\n \" Norwegian voice drones on as if making notes. He fast \\n forwards. The same casual drone. \\n \\n MACREADY (O.S.) \\n Copper, come here!! \\n \\n INT. ROOM\",\n \" A Norwegian voice drones on calmly, making verbal notes. \\n \\n Norris shrugs. \\n \\n BENNINGS \\n What do you want from us? \\n \\n MACREADY\",\n \" His flashlight then locates a large photograph taped to the \\n inside of the cabinet door. \\n \\n It is a picture of five Norwegians, arm in arm, all smiles, \",\n \" The ceiling is a shambles. He then shines the light deeper \\n into the room. \\n \\n INT. NORWEGIAN LAB \\n \\n Dr. Copper is playing the small tape recorder. A casual \",\n \" Moving along they come to rest in front of a door with \\n Norwegian lettering on it. \\n \\n MacReady pushes it open with his foot. Dozens of papers fly \",\n \" INT. CHOPPER \\n \\n MacReady pilots. Young Palmer and Norris are with him. \\n \\n It is clear but the winds are troublesome. The ride is a \",\n \" Another blast of rifle fire as the man takes issue with his \\n prey. The pilot slams a fist into his gunman friend and \\n implores for better aim. The craft swoops lower and the engine \",\n \" way to the men and the dog. He reloads his gun and bellows \\n in his Scandinavian tongue. \\n \\n Norris and Bennings have no idea what he is saying. \\n\"\n ],\n [\n \" travels precariously close to the ground; its chassis battered \\n and swayed by the wind. \\n \\n INT. COPTER \\n \\n Red dials beam on the faces of two men. One carries a rifle \",\n \" Another blast of rifle fire as the man takes issue with his \\n prey. The pilot slams a fist into his gunman friend and \\n implores for better aim. The craft swoops lower and the engine \",\n \" Palmer works on the generator. He hears the sound of \\n approaching propeller blades from outside. And then the sound \\n of his tool box crashing to the floor. He turns to see what \\n caused the ruckus.\",\n \" THE COPTER \\n \\n much too low now, and chastised by the wind, attempts a high- \\n speed landing, directly on the heels of the sprinting dog. \\n It bounces violently on the hard-packed surface.\",\n \" It paws at the window and watches as the chopper, carrying \\n MacReady and Dr. Copper, fights against the newly arrived \\n heavy winds and lands safely. \\n\",\n \" It turns and snarls at the craft some fifteen hundred yards \\n to its rear. Then whirls and gallops off. A gun blast kicks \\n up snow at its heels. \\n \\n INT. COPTER \\n\",\n \" EXT. THE CHOPPER \\n \\n moves over a ridge of ice. Columns of smoke can be seen rising \\n ominously from a quarter mile off. \\n \\n INT. CHOPPER - POINT OF VIEW \\n\",\n \" Palmer carries a large part of a helicopter engine toward \\n the compound. \\n \\n INT. COMPOUND \\n \\n The hallway near the supply storage cubicle. MacReady holds \",\n \" lunges for the floor, straightens up, and moves a few feet. \\n \\n A black and yellow substance rips through its trousers and \\n squirts to the floor. Norris' body collapses on the \",\n \" stare blankly, but relievedly at the fallen man. The dog \\n whimpers in pain. \\n \\n CHILDS \\n \\n pokes his head out from under the snowmobile. \\n\",\n \" Some twenty yards to their rear something swooshes down, \\n severing the line. The wind sends the men tumbling along the \\n ice. Childs loosens the line and is blown away, rolling out \\n of sight. \\n\",\n \" A tractor and two helicopters sit idle, covered with mounds \\n of continuously mounting snow. \\n \\n TWO MEN, NORRIS AND BENNINGS \\n\",\n \" the door open as Palmer makes his way to him lugging the \\n heavy helicopter part. \\n \\n Childs passes by from the other direction. \\n \\n PALMER\",\n \" sitting idle in the dark. MacReady approaches. The door to \\n one of the cockpits is slightly ajar. He opens it cautiously. \\n \\n INT. CHOPPER \\n\",\n \" The force of the blast sweeps MacReady off the roof. He and \\n the severed appendage crash to the hard ice in flames. He \\n rolls over and over trying to smother the fire and tear off \",\n \" stumbles, falls. MacReady grabs the flashlight and whirls in \\n different directions. A panting beat. Silence. \\n \\n Dr. Copper holds up what hit him. A thick centerfold, buffeted \",\n \" flying ever lower now. The man with the gun leans dangerously \\n outside and fires away at the dog as it nears the outpost. \\n \\n THE MEN \\n \\n outside the compound look to one another, incredulous. \\n\",\n \" It is the dead of winter. Six months of darkness ahead. Palmer \\n fights the cold as he works dismantling the engine of the \\n helicopter. \\n \\n He frowns, searching for something. \\n\",\n \" the ground. Dr. Copper grabs him preventing him from getting \\n back up. \\n \\n Childs splays the remains with a jet of flame. Fuchs shakes \\n his head in frustration and disgust. \\n\",\n \" the ground. The door has been slammed shut. The arm pinned, \\n its fist still gripping a small welding torch. \\n \\n The flame long since gone out. \\n \\n MACREADY \\n (wincing)\"\n ],\n [\n \" Dr. Copper looks numbly at the empty seat next to him. Childs \\n finds the portable siren and blares it. \\n \\n EXT. COMPOUND \\n\",\n \" the ground. Dr. Copper grabs him preventing him from getting \\n back up. \\n \\n Childs splays the remains with a jet of flame. Fuchs shakes \\n his head in frustration and disgust. \\n\",\n \" Dr. Copper spots something. From the man's wrist on the \\n armrest, he follows a long, yarn-thick, red line, ending in \\n a pool of frozen blood on the floor. \\n\",\n \" Dr. Copper and MacReady begin dumping the heavy contents of \\n a large plastic trash bag onto the slab. \\n \\n DR. COPPER \\n We found this. \\n\",\n \" Dr. Copper undoes his lab coat and lays it over a chair as \\n he exits. Blair stares down ominously at the mutilated body. \\n \\n EXT. COMPOUND - NIGHT \\n\",\n \" Dr. Copper sits next to MacReady, who is at the controls. \\n \\n MacReady tightens the string of his sombrero around his neck \\n and starts up its choking engine. \\n\",\n \" MacReady, sickened, coughs. Dr. Copper mumbles. \\n \\n DR. COPPER \\n Christ... \\n \\n They step over the arm and into another slim passageway. \\n\",\n \" about, flailed by the holes in the Quonset hut-style roof. \\n The place is a wreck. They enter. MacReady surveying the \\n small room with his flashlight. \\n \\n DR. COPPER\",\n \" Copper, Clark and Garry sit moodily together on a couch. \\n \\n Norris awkwardly prepares to give them their injections. \\n \\n He is new at this. Childs stands guard with his torch. \\n\",\n \" Norris shuffles the bundle of notes Dr. Copper brought back \\n with him. \\n \\n NORRIS \\n ...Seems they were spending a lot of \\n time at a place four miles northeast \",\n \" Dr. Copper enters, squeezing in, through the door. The wood \\n cracks overhead. More debris comes falling down. \\n \\n MACREADY \\n Careful. It's about to go. \\n\",\n \" far off. \\n \\n MACREADY AND COPPER \\n \\n their faces ashen as they take in this grotesque sight. \\n \\n MacReady turns to view the Norwegian compound. He then \",\n \" going to check the last few rooms. \\n \\n He exits. Amongst the rubble, Dr. Copper finds a pocket tape \\n recorder and several cassettes. He selects a tape and is \",\n \" a hideous mewing escaping from Norris' distorted mouth. \\n \\n The men jump back, incredulous. Dr. Copper scrambles off his \\n chest and flops to the floor. \\n\",\n \" As they near, the smoke looms thicker. A black, tar-like \\n gush; billowing up into the grey sky from the whiteness below. \\n \\n EXT. NORWEGIAN CAMP \\n\",\n \" Copper steps backward, moisture beginning to collect on his \\n brow. MacReady begins to heat the copper wire over the Bunsen \\n burner. \\n \\n The men watch intently. The wire begins to glow. MacReady \",\n \" MacReady opens a lock and pushes the door open. \\n \\n More blackness. Stronger wind. Copper holds the lantern high \\n as they make their way down a row of wooden steps and into a \",\n \" The men's attention turn to Copper. \\n \\n DR. COPPER \\n ...Guys as crazy as that could have \\n done a lot of damage to their own \\n before they got to us. \\n\",\n \" Copper makes his way over to the main work table. He shuffles \\n through papers, glancing at the writing. \\n \\n MACREADY \\n Anything? \\n \\n DR. COPPER\",\n \" INT. INFIRMARY \\n \\n The men rush in. Fuchs and Copper stand by the open plasma \\n storage refrigerator. The inside is a mess of dried blood. \"\n ],\n [\n \" MacReady throws his thermite canister. It discharges and \\n engulfs the screeching animal in fire. \\n \\n BENNINGS \\n \\n howling in pain. The ice underneath him thrashes violently. \",\n \" smoldering to a close. A hastily conceived crematorium. Wood, \\n books, furniture, tires, anything that will burn has been \\n mixed together with the charred remains of several dogs and \",\n \" the ground. Dr. Copper grabs him preventing him from getting \\n back up. \\n \\n Childs splays the remains with a jet of flame. Fuchs shakes \\n his head in frustration and disgust. \\n\",\n \" MacReady waits until Palmer's back spins around, facing him. \\n Only two yards away, MacReady flings his lit roll into the \\n ever-evolving second mouth and leaps onto the couch covering \",\n \" Get out of the way!! \\n \\n He unloads with a stream of flame. The body writhes in pain, \\n belching and hissing. The slab catches fire. It struggles, \",\n \" The force of the blast sweeps MacReady off the roof. He and \\n the severed appendage crash to the hard ice in flames. He \\n rolls over and over trying to smother the fire and tear off \",\n \" MACREADY \\n Screw the dogs!! Torch it!! \\n \\n Childs lets loose with a burst of blue flame. A mewing, a \\n screeching. \\n\",\n \" For a moment it stands silhouetted in flame. Enormous. \\n \\n Grotesque. \\n \\n Garry bolts for the main door. The Thing's tongue spirals \",\n \" He and Childs watch on as Bennings and The Thing roar in \\n flame. Behind them, the other dog/Thing continues to burn. \\n The screeching, mewing and gurgling wails on, all about them.\",\n \" points the torch directly at the Doctor. Both of them \\n perspiring. MacReady lifts the glowing wire from the flame. \\n The Doctor is dead still. MacReady slowly touches the wire \",\n \" as they twitch and mew on the floor. \\n \\n Within seconds the fire is out. The men stand around in awe \\n as they look upon The Thing that was once Norris. \\n\",\n \" He's gone already! Do it! \\n \\n Childs blasts away. The ice begins to melt as Bennings and \\n whatever has him catch fire. A screeching. \\n\",\n \" He's dead. \\n \\n MACREADY \\n Norris looked pretty dead, himself. \\n Bullets don't kill these Things. \\n \\n MacReady turns on a Bunsen burner while he cuts the rubber \",\n \" acid into the fabric. \\n \\n An immense explosion. The hydrogen tanks send a white fireball \\n fifty feet into the sky. The Thing's body disintegrating \\n almost immediately. \\n\",\n \" PALMER \\n We got to burn 'em. \\n \\n CHILDS \\n Now hold on, you dumb... \\n \\n Palmer sprays them with flame. Childs pushes him to the \",\n \" him and his flashlight once more to the ground. \\n \\n Garry squeezes in and begins blasting away in the direction \\n of the hissing and screeching. A dog is hit. MacReady crawls \",\n \" Childs stops, confused as to who to help first. He notices \\n the dog hunched and ready to spring. He steps back toward \\n MacReady. The dog/Thing leaps for MacReady; an incredible \",\n \" One of the smaller torches is pointed at Nauls. He closes \\n his eyes. MacReady places the heated wire into his plate. \\n Hiss. MacReady exhales. Nauls opens his eyes. \\n\",\n \" them back. He then wields his ax into the fray, chopping and \\n hacking away at the gurgling, hissing silhouette. \\n\",\n \" Let that thing fly, Childs. Don't \\n let up until he's ash. \\n \\n Childs turns on the gas and lights the tip. \\n \\n Bennings is still watching the bluffs. Something from beneath \"\n ],\n [\n \" Anyone messes with me -- the whole \\n camp goes. \\n \\n He appears to mean it. They don't seem anxious to test him. \\n \\n MACREADY \\n Put those torches on the floor and \",\n \" as it smashes the glass of the fire alarm. He pulls the lever. \\n \\n INT. TUNNEL \\n \\n The alarm is blaring throughout the camp. MacReady, Garry, \",\n \" The below quarter houses the generator and still other \\n compartments for storage. \\n \\n A long underground tunnel connects the main compound to the \\n dog kennel. \\n \\n FADE IN: \\n\",\n \" Mostly untouched by the fire, but like most of the rest of \\n the camp, exposed to the outside. The storm has settled \\n considerably. \\n \\n CLOSE ON MACREADY \\n\",\n \" Small fires and debris are strewn everywhere. The prefab \\n Administration Building exposes gaping holes. Smoke rises \\n from the almost entirely snow-buried Quonset huts. Embers \\n swirl in every direction.\",\n \" As they near, the smoke looms thicker. A black, tar-like \\n gush; billowing up into the grey sky from the whiteness below. \\n \\n EXT. NORWEGIAN CAMP \\n\",\n \" Childs, Sanchez and Palmer -- closing off and bolting the \\n entrances to the camp. \\n \\n NORRIS (O.S.) \\n All of you! Come here! \\n\",\n \" the insidious limb. \\n \\n CUT TO: \\n \\n INT. CAMP \\n \\n A ruin. One half of it burnt almost to the ground. \\n\",\n \" except for the whine of its engine. \\n \\n The man with the gun rolls out before the explosion. \\n \\n INT. MAIN COMPOUND \\n \\n The half a dozen men, playing cards, monitoring equipment, \",\n \" from the main compound. The smaller hovels are connected by \\n wooden planked walkways and steadying ropes. Multicolored \\n pennants stick put of the snow marking pathways and directions \\n to outdoor experiments. \\n\",\n \" Any of them move -- you fry 'em. And \\n if you hear anything, anything at \\n all you let loose the siren. We all \\n meet back here in twenty minutes \\n regardless.\",\n \" The interior is a cramped and never ending maze of hallways, \\n passageways and doors which connect the many rooms and \\n compartments within the compound. Sturdy, but prefabricated \",\n \" hut almost completely buried in the snow. The hut is fifty \\n yards long and connects to the main compound. He enters a \\n tunnel from a latch door up top. \\n \\n INT. TUNNEL \\n\",\n \" Smoke climbs upward in the f.g. MacReady sets his craft down. \\n Pull back to reveal the camp itself: resembling the aftermath \\n of a western fort, sacked and ravaged by Indians. \\n\",\n \" the main compound. He walks the prefab wooden planks up the \\n precipice; his destination is someone a hundred yards up the \\n slope -- to a shack. He grabs onto the steadying ropes and \",\n \" softly, to no one particular. \\n \\n BLAIR \\n It was here... got to that dog... It \\n was here in this camp... \\n \\n The men take in his grave countenance. \\n\",\n \" up all over camp... won't last long \\n though. \\n \\n MACREADY \\n Neither will we. \\n \\n CHILDS \\n Maybe we should try and fix the \",\n \" The generator has been repaired; the lights within the \\n compound are back on. \\n \\n Grim and tense. Everyone is present but Fuchs. Eyes flit \",\n \" sits stoicly, while he watches the preparations for his turn. \\n \\n CHILDS \\n Let's do it, Bwana. \\n \\n Nauls and Sanchez take aim five yards away. Fierce, \",\n \" materials have been used in its construction. \\n \\n There is a laboratory. An infirmary. A kitchen and mess hall. \\n A communications room and sleeping quarters. Other cubicles \\n are for storage and supplies. \\n\"\n ],\n [\n \" the ground. Dr. Copper grabs him preventing him from getting \\n back up. \\n \\n Childs splays the remains with a jet of flame. Fuchs shakes \\n his head in frustration and disgust. \\n\",\n \" Dr. Copper spots something. From the man's wrist on the \\n armrest, he follows a long, yarn-thick, red line, ending in \\n a pool of frozen blood on the floor. \\n\",\n \" Dr. Copper undoes his lab coat and lays it over a chair as \\n he exits. Blair stares down ominously at the mutilated body. \\n \\n EXT. COMPOUND - NIGHT \\n\",\n \" The bladders have been ripped open. Copper is ghastly pale. \\n \\n DR. COPPER \\n Somebody got to the blood... sabotaged \\n it. \\n \\n NAULS\",\n \" Copper's the only one who has any \\n business with it. \\n \\n The eyes shift from Garry to Copper. \\n \\n DR. COPPER\",\n \" Copper returns the plate to the table and sets it down in \\n line with the other plates of blood that he has collected. \\n \\n The names of each man have been scribbled onto the plates. \\n\",\n \" (beat) \\n You see. \\n \\n Clark turns to him with a childlike smile. \\n \\n CLARK \\n I know. Mr. Childs killed it. I saw. \\n \\n NAULS\",\n \" little trial. I just may have to \\n kill you on general principle, Nauls. \\n \\n Copper begins swathing Norris' chest with a gelatin substance. \\n \\n MACREADY\",\n \" knocking him over the table. \\n \\n MACREADY \\n Copper!! \\n \\n It's all happened too fast. Copper tries to get off a burst \",\n \" of it during the fight. \\n \\n PALMER \\n And that was enough? \\n \\n DR. COPPER (O.S.) \\n Garry. The rest of you! Come here! \\n\",\n \" Nauls skates over to comfort him. \\n \\n The men watch as Garry lowers his gun. He turns to them. \\n \\n GARRY \\n I don't know about Copper. But I \",\n \" Dr. Copper looks numbly at the empty seat next to him. Childs \\n finds the portable siren and blares it. \\n \\n EXT. COMPOUND \\n\",\n \" Dr. Copper offers to help. \\n \\n DR. COPPER \\n I'll do it. You're going to break \\n the needle in my arm. \\n \\n CHILDS\",\n \" Dr. Copper presses the prongs onto Norris' chest and shoots \\n a bolt of current. Norris' body heaves upward. A slight \\n crackling sound and an odd chirp through the oxygen mask. \\n\",\n \" a hideous mewing escaping from Norris' distorted mouth. \\n \\n The men jump back, incredulous. Dr. Copper scrambles off his \\n chest and flops to the floor. \\n\",\n \" killed early that morning. \\n \\n Blair sits over his microscope, while Fuchs prepares slides. \\n The other body is draped with a sheet, waiting its turn. Dr. \\n Copper pulls off his gloves.\",\n \" covering off an electrical cord, exposing the copper wire. \\n \\n All the while, he keeps his eye on the men. \\n \\n CHILDS \\n (muttering) \\n We should have jumped his ass. \\n\",\n \" Dr. Copper turns it off. \\n \\n DR. COPPER \\n Goes on like that quite awhile. \\n (beat) \\n What do you gentlemen make of it? \\n\",\n \" They do so. Copper holds electrical prongs over Norris' chest. \\n \\n CHILDS \\n (to MacReady, \\n threatening) \\n You're going to have to sleep \\n sometime.\",\n \" the body's left leg. \\n \\n The shirt has been ripped and lies shredded in the tar-like \\n mess. \\n \\n The men grimace. \\n \\n DR. COPPER\"\n ],\n [\n \" MacReady dives on Palmer's back and the three go rolling to \\n the floor. Screeching. Crackling. MacReady pounds viciously \\n at Palmer's head. A powerful, shirt-splitting arm sends him \",\n \" MacReady spins Nauls off and rips into Norris, sending him \\n crashing violently into the wall. Nauls tackles MacReady's \\n legs, pulling him to the floor. \\n\",\n \" MacReady waits until Palmer's back spins around, facing him. \\n Only two yards away, MacReady flings his lit roll into the \\n ever-evolving second mouth and leaps onto the couch covering \",\n \" Childs stops, confused as to who to help first. He notices \\n the dog hunched and ready to spring. He steps back toward \\n MacReady. The dog/Thing leaps for MacReady; an incredible \",\n \" The force of the blast sweeps MacReady off the roof. He and \\n the severed appendage crash to the hard ice in flames. He \\n rolls over and over trying to smother the fire and tear off \",\n \" Childs and MacReady turn, confused, unable to see anything \\n be Bennings' screaming head. They rush toward him. \\n \\n MacReady stumbles. \\n\",\n \" thrown into Clark, back ferociously and scratch at the door \\n trying to get back in. One is badly bloodied. \\n \\n The fight inside rages on. MacReady and Clark brace themselves \",\n \" MacReady throws his thermite canister. It discharges and \\n engulfs the screeching animal in fire. \\n \\n BENNINGS \\n \\n howling in pain. The ice underneath him thrashes violently. \",\n \" Nauls blazes by him. MacReady hears the snarls and screeches \\n heading his way. He streaks after Nauls. \\n \\n INT. REC ROOM \\n\",\n \" of the charges sending Clark flying backwards. The others, \\n themselves about to pounce, stop -- as MacReady whirls the \\n torch and gun back toward them. \\n \\n CUT TO: \\n\",\n \" MacReady, furious, pulls Childs away. \\n \\n Norris breathing heavily from the activity, massages his \\n chest. The strong, stormy winds overhead batter the roofing. \",\n \" MacReady and Nauls have lost their torches. They pull \\n feverishly along the ground trying to make it to the compound. \\n \\n The screeching closes in behind them. MacReady loses his \",\n \" He climbs down through the open stairwell. \\n \\n INT. PLANT ROOM \\n \\n MacReady has found the broken window. He rolls through it, \\n landing on the frozen plants below. Something smashes at the \",\n \" MacReady drives. His eyes glint like a wild man's; he looks \\n stark raving mad. \\n \\n His frostbite, now in an advanced stage, resembles black war \",\n \" ready. They freeze. \\n \\n MacReady stands before them holding a lighted flare. His \\n hair and clothing are covered with snow; his cheeks and nose \",\n \" MacReady grabs cans of gas from the snowmobiles. Suddenly a \\n steel-like, arachnid-shaped arm shoots out in pain and with \\n incredible force pierces the fiberglass chassis of the \",\n \" MacReady and send him sprawling. Total confusion: the dogs; \\n the men; the screeching; the blackness. \\n \\n CLARK \\n Mac, where are you? \\n\",\n \" him and his flashlight once more to the ground. \\n \\n Garry squeezes in and begins blasting away in the direction \\n of the hissing and screeching. A dog is hit. MacReady crawls \",\n \" Nauls and Norris, who have silently crept in through the \\n supply window, come flying through the hacked-up door and \\n barrel into MacReady. Both going straight for the flare. \\n\",\n \" Childs and MacReady stand by helplessly, unable to see what \\n has him or what action to take. Childs moves closer to help. \\n \\n MACREADY \\n (pulls him back) \\n Stay back!!\"\n ],\n [\n \" SANCHEZ \\n (incredulous) \\n MacReady...? \\n \\n NAULS \\n He's one of them. \\n \\n SANCHEZ\",\n \" What you got in mind, MacReady? \\n \\n MACREADY \\n A little test. \\n \\n PALMER \\n What kind of test? \\n \\n MACREADY\",\n \" CHILDS \\n So, MacReady, come on now. These \\n Norwegian dudes come by... find him \\n and dig him up... \\n \\n MacReady tosses the ball of cloth across the room into a \",\n \" He's dead. \\n \\n MACREADY \\n Norris looked pretty dead, himself. \\n Bullets don't kill these Things. \\n \\n MacReady turns on a Bunsen burner while he cuts the rubber \",\n \" points the torch directly at the Doctor. Both of them \\n perspiring. MacReady lifts the glowing wire from the flame. \\n The Doctor is dead still. MacReady slowly touches the wire \",\n \" CHILDS \\n So Clark was human, huh? \\n \\n MacReady nods. \\n \\n CHILDS \\n So that make you a murderer. \\n\",\n \" One of the smaller torches is pointed at Nauls. He closes \\n his eyes. MacReady places the heated wire into his plate. \\n Hiss. MacReady exhales. Nauls opens his eyes. \\n\",\n \" and whirls a startled MacReady around. It is Childs. \\n \\n White and black blotches cover his frostbitten face. \\n \\n CHILDS \\n Did you kill it? \\n\",\n \" MacReady throws his thermite canister. It discharges and \\n engulfs the screeching animal in fire. \\n \\n BENNINGS \\n \\n howling in pain. The ice underneath him thrashes violently. \",\n \" A beat. Childs starts to giggle. The strain on MacReady's \\n jaw begins to lessen. Garry sits catatonic. Nauls scowls at \\n Childs' uncontrollable laughter. \\n\",\n \" MacReady glances over the group. \\n \\n MACREADY \\n Palmer now. \\n \\n He sets Palmer's plate in front of him and heats the wire. \\n \\n GARRY\",\n \" MACREADY \\n What are you doing? \\n \\n CHILDS (O.S.) \\n You're a dead man, MacReady -- or a \\n dead whatever the hell you are! \\n\",\n \" The force of the blast sweeps MacReady off the roof. He and \\n the severed appendage crash to the hard ice in flames. He \\n rolls over and over trying to smother the fire and tear off \",\n \" MacReady beats him to it. \\n \\n MACREADY \\n Maybe it should be someone a bit \\n more even-tempered, Childs. \\n \\n Childs glares. \\n\",\n \" Childs stops, confused as to who to help first. He notices \\n the dog hunched and ready to spring. He steps back toward \\n MacReady. The dog/Thing leaps for MacReady; an incredible \",\n \" MacReady slides the Doctor a fresh plate. \\n \\n MACREADY \\n Now you. \\n \\n Copper cuts his thumb, his blood dribbles onto the plate. \\n \\n He stands nervously for a beat.\",\n \" Sanchez and Childs flop down in chairs. MacReady wipes his \\n face. \\n \\n A long silence. Sanchez weeps quietly with relief. \\n \\n GARRY\",\n \" MacReady runs for the snowmobile. \\n \\n MACREADY \\n Torch them!! \\n \\n CHILDS \\n But... \\n \\n MACREADY\",\n \" Childs and MacReady turn, confused, unable to see anything \\n be Bennings' screaming head. They rush toward him. \\n \\n MacReady stumbles. \\n\",\n \" MacReady waits until Palmer's back spins around, facing him. \\n Only two yards away, MacReady flings his lit roll into the \\n ever-evolving second mouth and leaps onto the couch covering \"\n ],\n [\n \" MacReady finds a burst thermite canister. He and Norris climb \\n down. \\n \\n They move along amongst the wreck. Almost everything but the \\n skeletal superstructure has disintegrated into a fine ashy \",\n \" MACREADY \\n Screw the dogs!! Torch it!! \\n \\n Childs lets loose with a burst of blue flame. A mewing, a \\n screeching. \\n\",\n \" as it smashes the glass of the fire alarm. He pulls the lever. \\n \\n INT. TUNNEL \\n \\n The alarm is blaring throughout the camp. MacReady, Garry, \",\n \" them in the Molotov bottles. Garry tests the current on the \\n door. Popping, sparks, smoke. \\n \\n MACREADY \\n Looks good. \\n \\n GARRY\",\n \" quivers. The gas bombs are cocked. \\n \\n From the roof The Thing roars down into their midst. \\n \\n Stunned, the men stumble back. MacReady throws his gas bomb. \\n Nauls the same.\",\n \" MacReady guns it through the next wall and into the infirmary. \\n Medical equipment goes flying. The machine is powerful; the \\n prefabricated walls buckling under its force. \\n \\n INT. COMPOUND \\n\",\n \" Nauls rushes in with another box of dynamite. \\n \\n NAULS \\n What about Childs? \\n \\n MACREADY \\n Forget about Childs. He's over. \\n\",\n \" He climbs down through the open stairwell. \\n \\n INT. PLANT ROOM \\n \\n MacReady has found the broken window. He rolls through it, \\n landing on the frozen plants below. Something smashes at the \",\n \" MacReady continues to observe the small particles. Their \\n tiny squeals abating into silence. \\n \\n INT. REC ROOM \\n \\n MacReady, still carrying the industrial torch, has maneuvered \",\n \" of thermite... three shotguns... box \\n of flares... two flare guns... thirty \\n cans gasoline... and a case of \\n alcohol. \\n \\n MACREADY\",\n \" MACREADY \\n \\n at the bottom near the main compound. The sound has stopped. \\n He looks around in the near blackness. A beat. \\n \\n THE CHOPPERS \\n\",\n \" MACREADY \\n Decanite...? Thermite charges...? \\n \\n The tape jump cuts again showing a long shot of the markings. \\n No Norwegian in sight. An explosion kicks up the ice. A beat \",\n \" blocking it from the other side. \\n \\n MACREADY \\n Anybody in there?! \\n \\n Nothing. \\n \\n DR. COPPER \\n We're Americans! \\n \\n Nothing.\",\n \" He takes a swig from his bottle. \\n \\n MACREADY \\n I know you're bugged because we ruined \\n your trip, right? Spiffy little toy \\n you had there. \\n\",\n \" MacReady slashes into the huge uninflated weather balloons, \\n rendering them useless. Tanks of helium and hydrogen are \\n stacked nearby. \\n \\n INT. KITCHEN \\n\",\n \" reaches the fuse box. He opens it. \\n \\n HALLWAY \\n \\n MacReady readies the table like a shield. \\n \\n MACREADY \\n If you're right we've all got to \",\n \" Far off, amidst the howling gale -- the screeching. The men \\n jump. MacReady lights the fuse, as they make it to the exit. \\n He tosses it in. \\n\",\n \" MacReady waits until Palmer's back spins around, facing him. \\n Only two yards away, MacReady flings his lit roll into the \\n ever-evolving second mouth and leaps onto the couch covering \",\n \" The floor shakes. MacReady stands, his head whirling around \\n the room. \\n \\n MACREADY \\n Come on, sucker. \\n \\n The tractor inches up off the ground. MacReady falls forward \",\n \" Sanchez and Nauls inch their way through. \\n \\n INT. REC ROOM \\n \\n MacReady rips linen, soaks the strips in gas, and stuffs \"\n ],\n [\n \" others, then leaves, latching the door behind him. \\n \\n INT. SLEEPING CUBICLE \\n \\n Childs lies in his cot watching a small television. The show \",\n \" (beat) \\n You see. \\n \\n Clark turns to him with a childlike smile. \\n \\n CLARK \\n I know. Mr. Childs killed it. I saw. \\n \\n NAULS\",\n \" The screeching lessens. The hissing and gurgling fade. Childs \\n turns off his torch. \\n \\n CUT TO: \\n \\n INT. REC ROOM - NEXT MORNING \\n\",\n \" CHILDS \\n So Clark was human, huh? \\n \\n MacReady nods. \\n \\n CHILDS \\n So that make you a murderer. \\n\",\n \" Sanchez and Childs flop down in chairs. MacReady wipes his \\n face. \\n \\n A long silence. Sanchez weeps quietly with relief. \\n \\n GARRY\",\n \" The concept is staggering. I know... \\n I... I don't fully understand it \\n myself. \\n \\n CHILDS \\n (skeptically, points)\",\n \" Childs, viewing the tapes, can't quite believe it all. \\n \\n CHILDS \\n Okay now, Mac, run this by me again. \\n Thousands of years ago this rocket \",\n \" the closing door to their rear. Childs whirls. \\n \\n FUCHS \\n \\n One arm outstretched, swings into view. An ax, embedded deep \",\n \" Childs scrambles off the couch and onto the floor. \\n \\n GARRY \\n \\n stares grimly ahead. Childs soaks his clothing with a can of \",\n \" Childs. \\n \\n NAULS \\n Shut the damn hell up. \\n \\n Childs wipes his eyes and grins over toward MacReady. His \",\n \" me, anyway. Go ask Blair. \\n \\n CHILDS \\n You buy any of this, Blair? \\n \\n A beat as Blair stares straight ahead, transfixed. He speaks \",\n \" Let that thing fly, Childs. Don't \\n let up until he's ash. \\n \\n Childs turns on the gas and lights the tip. \\n \\n Bennings is still watching the bluffs. Something from beneath \",\n \" Childs and Garry with his body. \\n \\n A muffled boom, as the swallowed explosive ignites from deep \\n within Palmer and sends his flesh splattering all over the \",\n \" CHILDS \\n You lying bastard... \\n \\n Garry struggles to his feet, affronted. \\n \\n GARRY \\n (slurring)\",\n \" the ground. Dr. Copper grabs him preventing him from getting \\n back up. \\n \\n Childs splays the remains with a jet of flame. Fuchs shakes \\n his head in frustration and disgust. \\n\",\n \" MACREADY \\n Then get a move on. Childs, come \\n with me. \\n \\n He puts his arm around Childs and pulls him along. The others \\n watch them walk off, a little bewildered.\",\n \" Childs is holding the industrial torch directly in his face. \\n \\n CHILDS \\n Bullshit! You left it open so they \\n could get out! \\n \\n EXT. TRASH DUMP \\n\",\n \" Some twenty yards to their rear something swooshes down, \\n severing the line. The wind sends the men tumbling along the \\n ice. Childs loosens the line and is blown away, rolling out \\n of sight. \\n\",\n \" Childs pulls open the heavy door. A flush of snow and wind \\n push them back. They wedge their bodies at the entrance to \\n the lightless room. \\n \\n CHILDS \\n My babies. \\n\",\n \" and whirls a startled MacReady around. It is Childs. \\n \\n White and black blotches cover his frostbitten face. \\n \\n CHILDS \\n Did you kill it? \\n\"\n ],\n [\n \" travels precariously close to the ground; its chassis battered \\n and swayed by the wind. \\n \\n INT. COPTER \\n \\n Red dials beam on the faces of two men. One carries a rifle \",\n \" Another blast of rifle fire as the man takes issue with his \\n prey. The pilot slams a fist into his gunman friend and \\n implores for better aim. The craft swoops lower and the engine \",\n \" Palmer works on the generator. He hears the sound of \\n approaching propeller blades from outside. And then the sound \\n of his tool box crashing to the floor. He turns to see what \\n caused the ruckus.\",\n \" EXT. THE CHOPPER \\n \\n moves over a ridge of ice. Columns of smoke can be seen rising \\n ominously from a quarter mile off. \\n \\n INT. CHOPPER - POINT OF VIEW \\n\",\n \" It turns and snarls at the craft some fifteen hundred yards \\n to its rear. Then whirls and gallops off. A gun blast kicks \\n up snow at its heels. \\n \\n INT. COPTER \\n\",\n \" the door open as Palmer makes his way to him lugging the \\n heavy helicopter part. \\n \\n Childs passes by from the other direction. \\n \\n PALMER\",\n \" Palmer carries a large part of a helicopter engine toward \\n the compound. \\n \\n INT. COMPOUND \\n \\n The hallway near the supply storage cubicle. MacReady holds \",\n \" The force of the blast sweeps MacReady off the roof. He and \\n the severed appendage crash to the hard ice in flames. He \\n rolls over and over trying to smother the fire and tear off \",\n \" the tractor. The reaching claws just miss him as he pulls \\n himself through. \\n \\n EXT. ROOF \\n \\n He lights his fuse, drops in the stick, turns and runs. \\n\",\n \" INT. CHOPPER \\n \\n The two men look at each other in silence. They get out. \\n \\n CLOSE ON A LARGE, MAKESHIFT FUNERAL PYRE \\n\",\n \" Some twenty yards to their rear something swooshes down, \\n severing the line. The wind sends the men tumbling along the \\n ice. Childs loosens the line and is blown away, rolling out \\n of sight. \\n\",\n \" lunges for the floor, straightens up, and moves a few feet. \\n \\n A black and yellow substance rips through its trousers and \\n squirts to the floor. Norris' body collapses on the \",\n \" exchanges a look with Copper. MacReady heads back toward the \\n chopper. \\n \\n THE CHOPPER \\n \\n MacReady unhinges the shotgun that is latched to the panel \\n behind the seats.\",\n \" window, relieves it of its spent shell and puts it away. \\n \\n CUT TO: \\n \\n EXT. BURNING COPTER \\n \\n Several men spray snow on the burning wreckage. There is no \",\n \" ...So it crashes, and this guy, \\n whoever he is, gets thrown out, or \\n walks out, and ends up freezing. \\n \\n CHILDS\",\n \" It paws at the window and watches as the chopper, carrying \\n MacReady and Dr. Copper, fights against the newly arrived \\n heavy winds and lands safely. \\n\",\n \" THE SURVIVOR \\n \\n of the crash, his eyes crazed with determination, struggles \\n to his feet. Heedless of his companion, he double-times his \",\n \" It is the dead of winter. Six months of darkness ahead. Palmer \\n fights the cold as he works dismantling the engine of the \\n helicopter. \\n \\n He frowns, searching for something. \\n\",\n \" A tractor and two helicopters sit idle, covered with mounds \\n of continuously mounting snow. \\n \\n TWO MEN, NORRIS AND BENNINGS \\n\",\n \" He helps a shaken Bennings up off the table. \\n \\n BENNINGS \\n What in the hell were they doing...? \\n Flying that low... shooting at a \\n dog... at us... \\n\"\n ],\n [\n \" Displayed on the slab is what appears to be the corpse of a \\n man. Badly charred. What is left of the trousers and shoes \\n of the bottom torso are ripped and split, as if his legs and \",\n \" killed early that morning. \\n \\n Blair sits over his microscope, while Fuchs prepares slides. \\n The other body is draped with a sheet, waiting its turn. Dr. \\n Copper pulls off his gloves.\",\n \" Holy shit... \\n \\n He tries the door. Unlocked. It opens. The arm drops to the \\n ground. It has been severed by the force of the slam. \\n \\n Its owner is nowhere to be seen. \\n\",\n \" The two men step around the chair. The Norwegian stares up \\n in blanched death. A gaping black hole for a mouth. \\n \\n His throat and wrists slit. An old-fashioned straight razor \",\n \" Dr. Copper spots something. From the man's wrist on the \\n armrest, he follows a long, yarn-thick, red line, ending in \\n a pool of frozen blood on the floor. \\n\",\n \" A strong blow begins to breach the stall door. Nauls finally \\n unhinges the piece of wood, brings the jagged end to one \\n side of his throat and rips... \\n \\n INT. LAB WALL\",\n \" He finally gets it open and lets himself out, slamming and \\n locking the door from the hall. Fuchs' body swings eerily, \\n back and forth. \\n \\n INT. HALLWAY \\n\",\n \" A beat. \\n \\n The sound of a glass breaking. A muffled scuffling. The door \\n is slammed shut from the inside. And then silence. \\n \\n CUT TO: \\n\",\n \" Black goo drips through the slit. The sawing obscured by the \\n music. \\n \\n Sanchez, eyes bulging, points. Nauls turns. A claw rips \",\n \" CUT TO: \\n \\n EXT. COMPOUND - NIGHT - CLOSE ON THE DOG CARCASSES \\n \\n lying on the snow. Splash. They are being soaked with \",\n \" Childs and Garry with his body. \\n \\n A muffled boom, as the swallowed explosive ignites from deep \\n within Palmer and sends his flesh splattering all over the \",\n \" Those of the men that have gathered exhibit a pale and quiet \\n uneasiness. \\n \\n Blair, in silent awe, stands over the badly burned corpses \\n of two interlocking dogs, that lie before him on a table.\",\n \" Norris, lying on the floor, coughs as if gasping for breath. \\n He quivers for a moment and then is still. Nauls crawls over \\n to him and shakes him. A beat. \\n\",\n \" Further down. MacReady's knee bumps into something along the \\n wall, causing him to stumble slightly. He shines his light \\n on it. \\n \\n An arm is sticking out of a steel door about three feet off \",\n \" Fuchs, a young and sensitive-looking biologist, stands closest \\n to the large area map of Antarctica. Several men sit and \\n stand around viewing the body that lies on two brought- \\n together card-tables. \\n\",\n \" the closing door to their rear. Childs whirls. \\n \\n FUCHS \\n \\n One arm outstretched, swings into view. An ax, embedded deep \",\n \" can be seen as he sits bent over a chair; his large shadow \\n displayed on the wall. \\n \\n Back in the corridor. The dog looks up the hall once and \",\n \" the body of a man. \\n \\n Curious mounds of a melted and blackened goo are heaped within \\n the mess. \\n \\n A small can of gasoline lies nearby. A large oil drum not \",\n \" the body's left leg. \\n \\n The shirt has been ripped and lies shredded in the tar-like \\n mess. \\n \\n The men grimace. \\n \\n DR. COPPER\",\n \" Dr. Copper undoes his lab coat and lays it over a chair as \\n he exits. Blair stares down ominously at the mutilated body. \\n \\n EXT. COMPOUND - NIGHT \\n\"\n ],\n [\n \" killed early that morning. \\n \\n Blair sits over his microscope, while Fuchs prepares slides. \\n The other body is draped with a sheet, waiting its turn. Dr. \\n Copper pulls off his gloves.\",\n \" Fuchs, a young and sensitive-looking biologist, stands closest \\n to the large area map of Antarctica. Several men sit and \\n stand around viewing the body that lies on two brought- \\n together card-tables. \\n\",\n \" Displayed on the slab is what appears to be the corpse of a \\n man. Badly charred. What is left of the trousers and shoes \\n of the bottom torso are ripped and split, as if his legs and \",\n \" Dr. Copper spots something. From the man's wrist on the \\n armrest, he follows a long, yarn-thick, red line, ending in \\n a pool of frozen blood on the floor. \\n\",\n \" the others where he belong?! \\n \\n INT. LAB \\n \\n larger than most of the other rooms and well-equipped. \\n \\n Dr. Copper is performing an autopsy on the Norwegian intruder, \",\n \" A strong blow begins to breach the stall door. Nauls finally \\n unhinges the piece of wood, brings the jagged end to one \\n side of his throat and rips... \\n \\n INT. LAB WALL\",\n \" Those of the men that have gathered exhibit a pale and quiet \\n uneasiness. \\n \\n Blair, in silent awe, stands over the badly burned corpses \\n of two interlocking dogs, that lie before him on a table.\",\n \" He cuts himself with the scalpel and begins collecting his \\n own blood. \\n \\n MACREADY \\n Now I'll show you what I already \\n know. \\n\",\n \" DR. COPPER \\n Blair, I'd like you and Fuchs to \\n help me with autopsies on this one \\n and the one Garry shot this morning. \\n\",\n \" Dr. Copper undoes his lab coat and lays it over a chair as \\n he exits. Blair stares down ominously at the mutilated body. \\n \\n EXT. COMPOUND - NIGHT \\n\",\n \" He finally gets it open and lets himself out, slamming and \\n locking the door from the hall. Fuchs' body swings eerily, \\n back and forth. \\n \\n INT. HALLWAY \\n\",\n \" Norris, lying on the floor, coughs as if gasping for breath. \\n He quivers for a moment and then is still. Nauls crawls over \\n to him and shakes him. A beat. \\n\",\n \" Sanchez pushes over the portable fibrillator. Copper climbs \\n up on the table and straddles Norris' chest. \\n \\n Unnoticed, Clark paws the contents of the instrument tray \\n behind his back.\",\n \" Well... there's still some cell \\n activity... it's not entirely dead \\n yet. \\n \\n Several of the men nearest the carcasses jump back knocking \\n over a chair. \\n\",\n \" Holy shit... \\n \\n He tries the door. Unlocked. It opens. The arm drops to the \\n ground. It has been severed by the force of the slam. \\n \\n Its owner is nowhere to be seen. \\n\",\n \" Dr. Copper presses the prongs onto Norris' chest and shoots \\n a bolt of current. Norris' body heaves upward. A slight \\n crackling sound and an odd chirp through the oxygen mask. \\n\",\n \" The bladders have been ripped open. Copper is ghastly pale. \\n \\n DR. COPPER \\n Somebody got to the blood... sabotaged \\n it. \\n \\n NAULS\",\n \" Blair, transfixed, continues hovering over the united \\n cadavers. Weighing. Thinking. A very worried look on his \\n face. \\n \\n The dead bodies of two other dogs from the kennel are not \",\n \" Childs and Garry with his body. \\n \\n A muffled boom, as the swallowed explosive ignites from deep \\n within Palmer and sends his flesh splattering all over the \",\n \" MacReady looks to the block of ice and then back to the \\n photograph. He untapes it, pockets it and shuts the door. \\n \\n An armless corpse swings into his face from behind the closing \"\n ],\n [\n \" CLARK \\n \\n opens the door to the small kennel and serves up the dinner. \\n The dogs, about seven of them, yelp and bark eagerly. \\n \\n INT. UNDERGROUND PASSAGEWAY\",\n \" He unlatches the door to the kennel and leads him in. \\n \\n INT. KENNEL \\n \\n About twenty feet long, five feet wide. Poorly lit. \\n\",\n \" Cramped with dogs. Some of them sleeping. Others pacing around \\n and curious, greet their new companion, sniffing, panting \\n and rubbing up against him. Clark pats the dog and several \",\n \" corridor. The wind soughing loudly overhead. \\n \\n CLARK \\n \\n reaches the kennel door. The savage outpouring of noise from \\n within baffles and angers him. He unlatches the door.\",\n \" PALMER \\n Clark! Will you kennel this goddamn \\n dog? \\n (bangs wrench against \\n pipe) \\n Hey, Clark?! \\n \\n THE DOG\",\n \" He jogs down the steps, passing the underground dog kennel \\n and trots toward the compound through the long narrow tunnel. \\n He passes and waves to Clark, who rolls along a wheelbarrow \\n of dog food. \\n\",\n \" The dogs... \\n \\n CUT TO: \\n \\n INT. THE KENNEL \\n \\n Empty. Clark and Garry examine the latch of the kennel door. \\n\",\n \" by the narrow door. Norris and Garry hold back the two \\n hysterical dogs. Clark undoes the latch and he and MacReady \\n enter the kennel. \\n\",\n \" I'm going to shoot. \\n \\n CLARK \\n No! Wait!! \\n \\n Clark wades into the pack, grabs at dogs' hides and throws \",\n \" More men running, nearing the kennel. Several squeezing in \\n with Garry, trying to get a look. \\n \\n INSIDE \\n \\n MacReady fires several rounds. A dog is flung at him, knocking \",\n \" The men are interrogating Clark. He is frazzled and defensive. \\n \\n CLARK \\n ...I'm telling you I don't remember \\n leaving the kennel unlatched... \\n\",\n \" That's what he said. Now! Move! \\n \\n Bennings is off. \\n \\n INT. TUNNEL \\n \\n as the men approach the locked kennel door. The two dogs, \",\n \" CLARK \\n What's got into... \\n \\n Smack! Just as he opens the door, two dogs, as if jettisoned \",\n \" kennel's open stairwell and out onto the ice. All the men \\n have gathered. \\n \\n CLARK \\n All three of them took off. \\n\",\n \" thrown into Clark, back ferociously and scratch at the door \\n trying to get back in. One is badly bloodied. \\n \\n The fight inside rages on. MacReady and Clark brace themselves \",\n \" A couple of the men mingle in the area. Clark, the dog \\n handler, looks out the window. \\n \\n CLARK \\n Mac's really taking it up, huh? \\n\",\n \" grip on the rope and is blown toward the main building. \\n \\n He crawls along looking for an opening. \\n \\n Nauls slides near the outside entrance to the dog kennel. \\n\",\n \" EXT. COMPOUND ABOVE THE UNDERGROUND KENNEL \\n \\n CLOSE ON THE DOGS' TRACKS in the snow. They lead from the \",\n \" The below quarter houses the generator and still other \\n compartments for storage. \\n \\n A long underground tunnel connects the main compound to the \\n dog kennel. \\n \\n FADE IN: \\n\",\n \" Bennings is hit. Norris pulls, drags him back toward the \\n compound. The dog crawls along beside them. \\n \\n The intruder is relentless in his assail. He runs, screaming, \"\n ],\n [\n \" Blam! Blam! The crazed visitor screams and fires as he stalks \\n after them. His countenance ablaze, mad. Ice and snow kick \\n up about the terrified Americans. A bullet smacks into the \",\n \" leads to Blair's shed. They are careful to keep an eye on \\n each other as they move along. \\n \\n Sanchez heads off in the direction of another shack. \\n \\n CUT TO: \\n\",\n \" going to check the last few rooms. \\n \\n He exits. Amongst the rubble, Dr. Copper finds a pocket tape \\n recorder and several cassettes. He selects a tape and is \",\n \" Something is down there. They pull up more boards. \\n \\n The hole is some fifteen feet deep. Its dimensions are the \\n same as the shack. Its space is almost completely taken up \\n by some strange metallic object. \\n\",\n \" Norris shuffles the bundle of notes Dr. Copper brought back \\n with him. \\n \\n NORRIS \\n ...Seems they were spending a lot of \\n time at a place four miles northeast \",\n \" The loud beat of Warren Zevon's song, \\\"The Werewolves of \\n London,\\\" can be heard throughout the compound. The room is \\n empty. Close on a video pong game, its ball of light lazily \",\n \" The ceiling is a shambles. He then shines the light deeper \\n into the room. \\n \\n INT. NORWEGIAN LAB \\n \\n Dr. Copper is playing the small tape recorder. A casual \",\n \" The proceedings are grim. \\n \\n Shots of the Norwegian's at work. Others of them playing \\n soccer on ice. Generally the footage is a prosaic record of \\n their day-to-day life. \\n\",\n \" lies just ahead of them in the whiteness, in the middle of \\n the dog tracks. \\n \\n THE MEN \\n \\n kneel down by the \\\"something.\\\" It is the half-eaten remains \",\n \" Small fires and debris are strewn everywhere. The prefab \\n Administration Building exposes gaping holes. Smoke rises \\n from the almost entirely snow-buried Quonset huts. Embers \\n swirl in every direction.\",\n \" sticks. \\n \\n Closer shots show three of the men digging a deep hole into \\n the ice. There is a small patch of something dark and metallic \\n at the bottom. \\n\",\n \" Look for shoes, too. And burned cloth. \\n \\n INT. RADIO ROOM \\n \\n Norris has begun dismantling the radio. He rubs at his chest \\n as he disengages the headset. \\n\",\n \" blocking it from the other side. \\n \\n MACREADY \\n Anybody in there?! \\n \\n Nothing. \\n \\n DR. COPPER \\n We're Americans! \\n \\n Nothing.\",\n \" No answer. Just wind. They exchange a look and enter. \\n \\n INT. NARROW CORRIDOR \\n \\n The two men move slowly. It is dank and cold. Their breath, \",\n \" INT. REC ROOM - NIGHT \\n \\n Fascinated, a few of the men are reviewing the Norwegian \\n video tapes of the finding of the mysterious craft. \\n\",\n \" His flashlight then locates a large photograph taped to the \\n inside of the cabinet door. \\n \\n It is a picture of five Norwegians, arm in arm, all smiles, \",\n \" Moving along they come to rest in front of a door with \\n Norwegian lettering on it. \\n \\n MacReady pushes it open with his foot. Dozens of papers fly \",\n \" INT. BLAIR'S SHACK \\n \\n Empty. A few of the floorboards are loosened. They pull them \\n up. They stare down into a large hole beneath the planking. \",\n \" Then we're wrong. \\n \\n The muffled breaking of a window down the hall. The men turn. \\n \\n PALMER \\n The supply window! \\n \\n SANCHEZ\",\n \" A steady stream of sleet pounds the compound and small \\n surrounding shacks. \\n \\n INT. REC ROOM \\n \\n Vacant. The wall clock reads four-thirty. \\n \\n INT. HALLWAY\"\n ],\n [\n \" revived, it... Well, The Thing was \\n probably disoriented... and realized \\n it couldn't survive for long in our \\n atmosphere... But being the incredibly \\n adaptable creature it was... it tried \",\n \" BLAIR \\n ...Can't you see...? If one cell of \\n this Thing got out it could imitate \\n every living thing on Earth. Nothing \\n could stop it! Nothing! \\n\",\n \" They're alive. Those things can \\n imitate anything... \\n \\n CHILDS \\n What's it going to do, being a plant? \\n \\n Palmer readies his small torch. \\n\",\n \" ...From what we know this Thing likes \\n to go one on one. So we stick together \\n as much as possible. In two's and \\n three's. \\n\",\n \" So do I. So do most of us. \\n \\n The uneasiness in the room grows. \\n \\n MACREADY \\n Doubt if it got to more than one or \",\n \" He depresses the ignition, bolting the tractor ten feet. \\n \\n He jumps, hanging onto the edge of the hole in the ceiling. \\n The Thing's face and arms burst through the metal plating of \",\n \" acid into the fabric. \\n \\n An immense explosion. The hydrogen tanks send a white fireball \\n fifty feet into the sky. The Thing's body disintegrating \\n almost immediately. \\n\",\n \" They skid to a halt. Nauls crawls away, quickly. \\n \\n NAULS \\n It's cool, man. We ain't near you, \\n man... Stay cool... \\n\",\n \" can handle it in that state. But if \\n it ever got to full power... from \\n what I saw of that Norwegian camp... \\n well, I just don't know... It would \",\n \" For a moment it stands silhouetted in flame. Enormous. \\n \\n Grotesque. \\n \\n Garry bolts for the main door. The Thing's tongue spirals \",\n \" different area and is just as quickly pulled back down. \\n \\n MacReady and Childs watch on in frustration and anger. \\n \\n CHILDS \\n What we going to do?! \\n \\n MACREADY\",\n \" Pull back to reveal -- the massive black hole about fifteen \\n feet beneath the ice. Charred, gnarled and mangled metal are \\n all that is left of what was once an enormous sphere. \\n\",\n \" others, then leaves, latching the door behind him. \\n \\n INT. SLEEPING CUBICLE \\n \\n Childs lies in his cot watching a small television. The show \",\n \" If it gets a hold of you -- bite \\n down... They're supposed to be fast \\n and painless... Now move. \\n \\n CUT TO: \\n \\n INT. CORRIDOR\",\n \" din of wild, carnage-wrought cries. And then more screeching. \\n A screeching unlike anything these men have ever heard. \\n \\n The men look from one another in silence as they listen. \\n\",\n \" It sits, its back to them, unconcerned, heedless of their \\n arrival. It is munching on the other half of the dog carcass. \\n \\n The men stop their machines some twenty yards from it. They \",\n \" SANCHEZ \\n Why? \\n \\n MACREADY \\n If he's one of those Things, we've \\n got to get to him before he changes... \",\n \" So what do you make of it? \\n \\n NORRIS \\n You know damn well what we both make \\n of it. \\n \\n MACREADY \\n No chance it could have been some \",\n \" What if it doesn't come? \\n \\n MACREADY \\n It'll come. It needs us. We're the \\n only thing left to imitate... \\n (to Sanchez)\",\n \" SANCHEZ \\n God... what...? \\n \\n They watch on in stunned horror as The Thing that was Norris \\n begins to change, to spread awkwardly on the slab. \\n\"\n ],\n [\n \" the tractor. The reaching claws just miss him as he pulls \\n himself through. \\n \\n EXT. ROOF \\n \\n He lights his fuse, drops in the stick, turns and runs. \\n\",\n \" Holy shit... \\n \\n He tries the door. Unlocked. It opens. The arm drops to the \\n ground. It has been severed by the force of the slam. \\n \\n Its owner is nowhere to be seen. \\n\",\n \" He climbs down through the open stairwell. \\n \\n INT. PLANT ROOM \\n \\n MacReady has found the broken window. He rolls through it, \\n landing on the frozen plants below. Something smashes at the \",\n \" Blair jumps in fear, spilling his can. \\n \\n MACREADY \\n Has Fuchs been out here? \\n \\n Blair approaches the boarded-up window. He looks haggard and \",\n \" He hears the clamor of feet and voices as the others are \\n nearing. He breaks the glass and grabs a shotgun. Then a box \\n of shells. He frantically tries to load, but is too nervous. \\n\",\n \" A strong blow begins to breach the stall door. Nauls finally \\n unhinges the piece of wood, brings the jagged end to one \\n side of his throat and rips... \\n \\n INT. LAB WALL\",\n \" from a cannon, knock him off his feet. Growls, barks, snarls. \\n And a screeching from within. \\n \\n INT. KITCHEN \\n\",\n \" can be seen as he sits bent over a chair; his large shadow \\n displayed on the wall. \\n \\n Back in the corridor. The dog looks up the hall once and \",\n \" sound, a bubbling and gurgling is heard well to his rear. \\n But closing. \\n \\n The terror forces him to drag faster, oblivious to the pain. \\n\",\n \" grip on the rope and is blown toward the main building. \\n \\n He crawls along looking for an opening. \\n \\n Nauls slides near the outside entrance to the dog kennel. \\n\",\n \" of test tubes, notices a large bandage on the floor. He picks \\n it up, inquiringly. It is mangled and shredded. \\n \\n INT. GENERATOR ROOM \\n\",\n \" The loud beat of Warren Zevon's song, \\\"The Werewolves of \\n London,\\\" can be heard throughout the compound. The room is \\n empty. Close on a video pong game, its ball of light lazily \",\n \" He depresses the ignition, bolting the tractor ten feet. \\n \\n He jumps, hanging onto the edge of the hole in the ceiling. \\n The Thing's face and arms burst through the metal plating of \",\n \" It paws at the window and watches as the chopper, carrying \\n MacReady and Dr. Copper, fights against the newly arrived \\n heavy winds and lands safely. \\n\",\n \" window, relieves it of its spent shell and puts it away. \\n \\n CUT TO: \\n \\n EXT. BURNING COPTER \\n \\n Several men spray snow on the burning wreckage. There is no \",\n \" The dog, who has entered the shed, has jumped on the work \\n table and upended the tool box on its eagerness to look out \\n of the above window. Palmer curses under his breath and calls \\n out. \\n\",\n \" He reaches the bathroom stall. Crawls in. Locks it. The \\n gurgling nears. Leaning on the toilet seat, he looks about \\n himself, frantically. \\n\",\n \" The Presence pauses at the door. A scratching. Nauls paws, \\n rips at a cracked and weathered slab of wood, cutting his \\n fingers as he tries to break it off the siding. \\n\",\n \" MacReady continues to observe the small particles. Their \\n tiny squeals abating into silence. \\n \\n INT. REC ROOM \\n \\n MacReady, still carrying the industrial torch, has maneuvered \",\n \" and looks straight down through the chassis and into the \\n vile and grinning face below. A claw flashes up, splitting \\n the steering wheel but missing his face. \\n\"\n ],\n [\n \" CUT TO: \\n \\n EXT. COMPOUND - NIGHT \\n \\n MacReady and Nauls, wearing their snowshoes and using flares \\n for light, pull themselves along the steadying rope that \",\n \" themselves along the rope fighting their way up the slope. A \\n violent gust sends MacReady's body horizontal, but still \\n hanging onto the rope. The wind slaps him back down. His \",\n \" The force of the blast sweeps MacReady off the roof. He and \\n the severed appendage crash to the hard ice in flames. He \\n rolls over and over trying to smother the fire and tear off \",\n \" I'm sure a lot of you already know. \\n \\n He tosses a ream of steel cable and some rope to Palmer. \\n \\n MACREADY \\n Palmer, you and Copper tie everyone \",\n \" MacReady unties Nauls with one hand, while the torch stays \\n glued to the others. \\n \\n MacReady heats the wire once again. Both he and Nauls have \",\n \" ...Hey, somebody! Open up, it's me, \\n MacReady... \\n (still nothing) \\n ...Come on, damn it... The towline \\n snapped. Been crawling around like a \",\n \" flare and torch tumble back toward Nauls. \\n \\n Nauls saves the torch from rolling down the hill. \\n \\n MacReady, lying vulnerable, watches Nauls pull his way toward \",\n \" MACREADY \\n What clothes? \\n \\n CHILDS (O.S.) \\n You been made, MacReady. \\n \\n Childs chops away. MacReady desperately continues rummaging \",\n \" different area and is just as quickly pulled back down. \\n \\n MacReady and Childs watch on in frustration and anger. \\n \\n CHILDS \\n What we going to do?! \\n \\n MACREADY\",\n \" MacReady beats him to it. \\n \\n MACREADY \\n Maybe it should be someone a bit \\n more even-tempered, Childs. \\n \\n Childs glares. \\n\",\n \" Childs and MacReady stand by helplessly, unable to see what \\n has him or what action to take. Childs moves closer to help. \\n \\n MACREADY \\n (pulls him back) \\n Stay back!!\",\n \" Now hold him. \\n \\n MACREADY \\n I'm a real light sleeper, Childs... \\n \\n DR. COPPER \\n Enough, MacReady! \\n\",\n \" (nodding) \\n After all this mess. \\n \\n EXT. COMPOUND - THE SLOPE TO MACREADY'S SHACK \\n \\n The winds are thick and vicious now. MacReady and Nauls pull \",\n \" MacReady glances up. He and Childs release each other. \\n \\n MACREADY \\n That storm's going to start ripping \\n any minute -- so we don't have much \\n time. \\n\",\n \" MacReady runs for the snowmobile. \\n \\n MACREADY \\n Torch them!! \\n \\n CHILDS \\n But... \\n \\n MACREADY\",\n \" Childs stops, confused as to who to help first. He notices \\n the dog hunched and ready to spring. He steps back toward \\n MacReady. The dog/Thing leaps for MacReady; an incredible \",\n \" MacReady spins Nauls off and rips into Norris, sending him \\n crashing violently into the wall. Nauls tackles MacReady's \\n legs, pulling him to the floor. \\n\",\n \" The infectious rasping causes MacReady a slight smile as he \\n looks up, taking comfort in the sound of the raging Antarctic \\n wind vibrating the roof. Nauls, untying Garry, grumbles, at \",\n \" heading toward him. \\n \\n NAULS \\n Get back!! \\n \\n MACREADY \\n The generator! \\n \\n NAULS \\n Screw the generator!! \\n\",\n \" The floor shakes. MacReady stands, his head whirling around \\n the room. \\n \\n MACREADY \\n Come on, sucker. \\n \\n The tractor inches up off the ground. MacReady falls forward \"\n ],\n [\n \" gotten to that blood plasma... \\n (placing the wire in \\n Palmer's dish) \\n ...we'll do you last... \\n \\n Screech!!! The blood howls, trying to crawl off the plate.\",\n \" Frustrated, he charges up behind Palmer and begins hammering \\n the thick steel instrument over his head. \\n \\n The shirt of Palmer's back erupts in MacReady's face. \\n\",\n \" Palmer works on the generator. He hears the sound of \\n approaching propeller blades from outside. And then the sound \\n of his tool box crashing to the floor. He turns to see what \\n caused the ruckus.\",\n \" skidding across the floor. \\n \\n Copper momentarily has control of the torch. Just as he \\n positions it, Palmer's mouth splits from his chin to his \",\n \" Dr. Copper presses the prongs onto Norris' chest and shoots \\n a bolt of current. Norris' body heaves upward. A slight \\n crackling sound and an odd chirp through the oxygen mask. \\n\",\n \" MacReady glances over the group. \\n \\n MACREADY \\n Palmer now. \\n \\n He sets Palmer's plate in front of him and heats the wire. \\n \\n GARRY\",\n \" points the torch directly at the Doctor. Both of them \\n perspiring. MacReady lifts the glowing wire from the flame. \\n The Doctor is dead still. MacReady slowly touches the wire \",\n \" Dr. Copper spots something. From the man's wrist on the \\n armrest, he follows a long, yarn-thick, red line, ending in \\n a pool of frozen blood on the floor. \\n\",\n \" He heats the wire and puts it to his plate. The same harmless \\n hissing. All eyes continue to watch as he tries again. The \\n same result. Childs mumbles. \\n \\n CHILDS\",\n \" undoes the many locks to the room that houses his plants. \\n \\n One by one. Palmer twists his head in every which direction. \\n Nervous. \\n\",\n \" Copper steps backward, moisture beginning to collect on his \\n brow. MacReady begins to heat the copper wire over the Bunsen \\n burner. \\n \\n The men watch intently. The wire begins to glow. MacReady \",\n \" torches aimed at Sanchez. Sanchez is near tears. \\n \\n The wire is dipped into the plate... Hisssss. \\n \\n Sanchez breaks down and sobs. \\n \\n CHILDS \\n\",\n \" Childs and Garry with his body. \\n \\n A muffled boom, as the swallowed explosive ignites from deep \\n within Palmer and sends his flesh splattering all over the \",\n \" another appendage, dives on the generators and throws the \\n switch. \\n \\n The current rips through the door. Garry dies instantly. \\n\",\n \" ground, and tries to swat out the fire. \\n \\n CHILDS \\n You stupid, sonofa... \\n \\n Palmer, his mouth agape with terror, screams and points to \",\n \" MacReady waits until Palmer's back spins around, facing him. \\n Only two yards away, MacReady flings his lit roll into the \\n ever-evolving second mouth and leaps onto the couch covering \",\n \" PALMER \\n We got to burn 'em. \\n \\n CHILDS \\n Now hold on, you dumb... \\n \\n Palmer sprays them with flame. Childs pushes him to the \",\n \" of flame. The ever-changing Palmer breaks his bonds and leaps \\n on the Doctor. \\n \\n The others sit helpless, struggling at their bindings. \\n\",\n \" If it did get to him. \\n \\n NAULS \\n Look, man... \\n \\n PALMER \\n When the lights went out... \\n \\n NORRIS\",\n \" Palmer bolts forward with incredible force, racing for \\n MacReady; his face splitting; his mouth roaring -- dragging \\n the couch, Childs and Garry with him. He smashes into MacReady \"\n ],\n [\n \" MacReady points the .44 at Childs' head. \\n \\n MACREADY \\n I mean it. \\n \\n MacReady cocks his gun. Childs holds his ground. \\n \\n CHILDS\",\n \" MACREADY \\n What clothes? \\n \\n CHILDS (O.S.) \\n You been made, MacReady. \\n \\n Childs chops away. MacReady desperately continues rummaging \",\n \" MACREADY \\n What are you doing? \\n \\n CHILDS (O.S.) \\n You're a dead man, MacReady -- or a \\n dead whatever the hell you are! \\n\",\n \" Both men speak guardedly and stare at each other suspiciously. \\n \\n MACREADY \\n Yeah. I got it. \\n (refers to Childs' \\n condition) \\n Pretty mean frostbite.\",\n \" Childs and MacReady stand by helplessly, unable to see what \\n has him or what action to take. Childs moves closer to help. \\n \\n MACREADY \\n (pulls him back) \\n Stay back!!\",\n \" MacReady glances up. He and Childs release each other. \\n \\n MACREADY \\n That storm's going to start ripping \\n any minute -- so we don't have much \\n time. \\n\",\n \" MacReady beats him to it. \\n \\n MACREADY \\n Maybe it should be someone a bit \\n more even-tempered, Childs. \\n \\n Childs glares. \\n\",\n \" Now hold him. \\n \\n MACREADY \\n I'm a real light sleeper, Childs... \\n \\n DR. COPPER \\n Enough, MacReady! \\n\",\n \" Childs. \\n \\n NAULS \\n Shut the damn hell up. \\n \\n Childs wipes his eyes and grins over toward MacReady. His \",\n \" MacReady runs for the snowmobile. \\n \\n MACREADY \\n Torch them!! \\n \\n CHILDS \\n But... \\n \\n MACREADY\",\n \" He looks as weak as MacReady. A beat. \\n \\n MACREADY \\n I think so. \\n \\n CHILDS \\n What do you mean \\\"you think so?\\\" \\n\",\n \" MacReady grins and hands the bottle to Childs. Childs smiles \\n back and takes a healthy swig. \\n \\n EXT. COMPOUND - NIGHT \\n\",\n \" CHILDS \\n So, MacReady, come on now. These \\n Norwegian dudes come by... find him \\n and dig him up... \\n \\n MacReady tosses the ball of cloth across the room into a \",\n \" Sanchez and Childs flop down in chairs. MacReady wipes his \\n face. \\n \\n A long silence. Sanchez weeps quietly with relief. \\n \\n GARRY\",\n \" MacReady begins to rummage through the supplies in the \\n darkness. \\n \\n CHILDS (O.S.) \\n We found your clothes -- the ones \\n you tried to burn. \\n\",\n \" CHILDS \\n So Clark was human, huh? \\n \\n MacReady nods. \\n \\n CHILDS \\n So that make you a murderer. \\n\",\n \" and whirls a startled MacReady around. It is Childs. \\n \\n White and black blotches cover his frostbitten face. \\n \\n CHILDS \\n Did you kill it? \\n\",\n \" room. MacReady rolls away from Childs and Garry as fast as \\n he can. \\n \\n CUT TO: \\n \\n MACREADY \\n\",\n \" MacReady begins setting up a non-electronic chessboard. \\n \\n MACREADY \\n Not the only one. \\n \\n CHILDS \\n The fire's got the temperature way \",\n \" They regard each other for a moment. Childs painfully sits \\n down across from MacReady. \\n \\n CHILDS \\n I guess I'll be learning. \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["What does MacReady, Gary, and Nauls intend to destroy the complex with?","What is the estimated age of the flying saucer?","Who estimates the age of the flying saucer?","Who kills all the remaining sled dogs?","Who is discovered to not only be assimilated, but scavenging equipment to create their own escape craft?","Who orders Windows to tie everyone up for a new test?","When MacReady tests everyone's blood, who is discovered to be the alien?","Who suffers a heart attack after unsuccessfully attacking MacReady from behind?","Who does MacReady offer a bottle to at the end?","What is the Norwegian helicopter chasing in the beginning?","What does the passenger drop upon the helicopter's landing?","What do Dr Copper and crew find in the camp?","Who incinerates the creature?","What are the camp's safety measures designed to do?","Who kills Copper?","Who attacks MacReady?","Who is found to be not human from MacReady's test?","What do Macready and crew use to destroy the complex?","What does childs claim at the end?"," What does the passenger drop when he gets off the helicopter?","Where is a corpse found with a slit throat?","Who performs an autopsy on the corpse?","How does Clark kennel the Malamute?","Where do the records lead the Americans?","What might happen if the alien escapes to a civilized area?","What does the creature try to complete before Windows catches him?","Why does Raul cut MacReady from the tow line?","What happens to Palmer's blood when it touches the wire?","What does MacReady offer Childs?"],"string":"[\n \"What does MacReady, Gary, and Nauls intend to destroy the complex with?\",\n \"What is the estimated age of the flying saucer?\",\n \"Who estimates the age of the flying saucer?\",\n \"Who kills all the remaining sled dogs?\",\n \"Who is discovered to not only be assimilated, but scavenging equipment to create their own escape craft?\",\n \"Who orders Windows to tie everyone up for a new test?\",\n \"When MacReady tests everyone's blood, who is discovered to be the alien?\",\n \"Who suffers a heart attack after unsuccessfully attacking MacReady from behind?\",\n \"Who does MacReady offer a bottle to at the end?\",\n \"What is the Norwegian helicopter chasing in the beginning?\",\n \"What does the passenger drop upon the helicopter's landing?\",\n \"What do Dr Copper and crew find in the camp?\",\n \"Who incinerates the creature?\",\n \"What are the camp's safety measures designed to do?\",\n \"Who kills Copper?\",\n \"Who attacks MacReady?\",\n \"Who is found to be not human from MacReady's test?\",\n \"What do Macready and crew use to destroy the complex?\",\n \"What does childs claim at the end?\",\n \" What does the passenger drop when he gets off the helicopter?\",\n \"Where is a corpse found with a slit throat?\",\n \"Who performs an autopsy on the corpse?\",\n \"How does Clark kennel the Malamute?\",\n \"Where do the records lead the Americans?\",\n \"What might happen if the alien escapes to a civilized area?\",\n \"What does the creature try to complete before Windows catches him?\",\n \"Why does Raul cut MacReady from the tow line?\",\n \"What happens to Palmer's blood when it touches the wire?\",\n \"What does MacReady offer Childs?\"\n]"},"answers":{"kind":"list like","value":[["dynamite.","Dynamite"],["over 100,000 years old.","100,000 years old"],["Norris","Norris"],["Blair","Blair."],["Blair","Blair"],["MacReady","MacReady"],["Palmer","palmer"],["Norris","nauls"],["Childs","Child"],["An alaskan Malamute","Alaskan Malamute"],["A thermite charge","Thermite charge "],["Corpses","Charred ruin and a corpse"],["Childs","MacReady"],["Reduce risk of assimilation.","reduce assimilation risk"],["Norris","Norris."],["Clark","Nauls "],["Palmer","Palmer"],["Dynamite","dynamyte"],["He was lost in the storm.","That he was lost in the storm"],["A thermite charge.","a thermite charge"],["In the radio room.","radio room"],["Blair.","blair"],["With the sled dogs.","With sled dogs"],["To a flying saucer.","To a buried flying saucer."],["All life on Earth will be assimilated.","They could assimilate all of life on earth in a few years. "],["Metamorphosis.","Metamorphosis"],["Because he thinks he has been assimilated.","Nauls cuts MacReady from the tow line because he thinks MacReady has bee assimilated"],["It runs.","it flees"],["A bottle of Chuckles.","A bottle "]],"string":"[\n [\n \"dynamite.\",\n \"Dynamite\"\n ],\n [\n \"over 100,000 years old.\",\n \"100,000 years old\"\n ],\n [\n \"Norris\",\n \"Norris\"\n ],\n [\n \"Blair\",\n \"Blair.\"\n ],\n [\n \"Blair\",\n \"Blair\"\n ],\n [\n \"MacReady\",\n \"MacReady\"\n ],\n [\n \"Palmer\",\n \"palmer\"\n ],\n [\n \"Norris\",\n \"nauls\"\n ],\n [\n \"Childs\",\n \"Child\"\n ],\n [\n \"An alaskan Malamute\",\n \"Alaskan Malamute\"\n ],\n [\n \"A thermite charge\",\n \"Thermite charge \"\n ],\n [\n \"Corpses\",\n \"Charred ruin and a corpse\"\n ],\n [\n \"Childs\",\n \"MacReady\"\n ],\n [\n \"Reduce risk of assimilation.\",\n \"reduce assimilation risk\"\n ],\n [\n \"Norris\",\n \"Norris.\"\n ],\n [\n \"Clark\",\n \"Nauls \"\n ],\n [\n \"Palmer\",\n \"Palmer\"\n ],\n [\n \"Dynamite\",\n \"dynamyte\"\n ],\n [\n \"He was lost in the storm.\",\n \"That he was lost in the storm\"\n ],\n [\n \"A thermite charge.\",\n \"a thermite charge\"\n ],\n [\n \"In the radio room.\",\n \"radio room\"\n ],\n [\n \"Blair.\",\n \"blair\"\n ],\n [\n \"With the sled dogs.\",\n \"With sled dogs\"\n ],\n [\n \"To a flying saucer.\",\n \"To a buried flying saucer.\"\n ],\n [\n \"All life on Earth will be assimilated.\",\n \"They could assimilate all of life on earth in a few years. \"\n ],\n [\n \"Metamorphosis.\",\n \"Metamorphosis\"\n ],\n [\n \"Because he thinks he has been assimilated.\",\n \"Nauls cuts MacReady from the tow line because he thinks MacReady has bee assimilated\"\n ],\n [\n \"It runs.\",\n \"it flees\"\n ],\n [\n \"A bottle of Chuckles.\",\n \"A bottle \"\n ]\n]"},"document_id":{"kind":"string","value":"cbb15e9755f01a017965f239be1cd3b9277f69ed"},"split":{"kind":"string","value":"train"}}},{"rowIdx":55,"cells":{"text":{"kind":"list like","value":[[" SMITH \n Fifty dollars a week. \n \n RICKEY \n I will pay you an additional fifty \n dollars a week plus expenses if you \n will attend spring training with \n Jackie Robinson. You will watch"," RICKEY \n Harold, telegram the press. Say \n this: âThe Brooklyn Dodgers today \n purchased the contract of Jackie \n Robinson from the Montreal Royals. \n He will report immediately.â"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," BARBER \n One out in the bottom of the first. \n Headed toward the plate for his \n first big league at bat is Dodger \n rookie Jackie Robinson. Jackie is \n very definitely brunette. \n"," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," If it softens at the sight of \n Jackie's skills, he'll join the \n club some time between April 10 and \n April 15. Otherwise, Robinson will \n spend the year back in Montreal. \n (throws paper down)"," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," Clay, I'd like you to meet Jackie \n Robinson. Jackie, Clay Hopper, \n manager of the Montreal Royals. \n Hopper shakes his hand as they exchange greetings. \n \n HOPPER"," upset team chemistry and so the \n only thing keeping Robinson off the \n Dodgers now, plainly, is the \n attitude of the players. \n INSERT: Brooklyn. April 9, 1947. \n \n RICKEY"," I see you starting in the spring \n with our affiliate in Montreal. If \n you make it there, we'll try you \n down here with the Dodgers. The \n white Brooklyn Dodgers."," dugout. Sukeforth headed over wearing Dodger blue. \n \n SUKEFORTH \n Robinson! \n As Jack turns, Sukeforth tosses him a FIRST BASEMAN'S GLOVE. \n"," myself and the Dodgers, but on \n Negroes everywhere. For on the day \n Jackie enters the National League, \n if he does, I have no doubt every \n one of you will form parades and \n welcoming committees. You'll"," RICKEY (CONT'D) \n I'll pay you $600 a month and a \n $3,500 bonus when you sign the \n contract. Is that agreeable?"," \n \n \n \n GOLDENROD REV 5-9-12 12. \n \n JACK \n The Brooklyn Dodgers just signed me \n to play ball up in Montreal. It"," displeasure as the Dodgers take the \n field. Jackie Robinson at first. \n The Brat Eddie Stanky at second. \n Spider Jorgensen at third. And the \n captain Pee Wee Reese at shortstop. \n"," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," from Guam. A sailor heard it on \n the radio, told me the Dodgers had \n signed a Negro player. I said that \n was fine by me. Then he said the \n guy was a shortstop. Least you"," strut. You'll wear badges. You'll \n hold Jackie Robinson days and \n Jackie Robinson nights. You'll get \n drunk, fight and be arrested. \n This is too much. People are slackjawed. Rickey powers on."," He stands with Dixie Walker the Dodger right fielder. \n \n HOPPER \n \n (MISSISSIPPI TWANG) \n Well, when Mr. Rickey picks one, he"," I think it's ready. \n \n CUT TO: \n \n 106 JACK ROOSEVELT ROBINSON - DODGER CLUBHOUSE 106"],[" SMITH \n Fifty dollars a week. \n \n RICKEY \n I will pay you an additional fifty \n dollars a week plus expenses if you \n will attend spring training with \n Jackie Robinson. You will watch"," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," RICKEY \n Harold, telegram the press. Say \n this: âThe Brooklyn Dodgers today \n purchased the contract of Jackie \n Robinson from the Montreal Royals. \n He will report immediately.â"," RICKEY (CONT'D) \n I'll pay you $600 a month and a \n $3,500 bonus when you sign the \n contract. Is that agreeable?"," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," from Guam. A sailor heard it on \n the radio, told me the Dodgers had \n signed a Negro player. I said that \n was fine by me. Then he said the \n guy was a shortstop. Least you"," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," HIGBE \n We, the undersigned Brooklyn \n Dodgers will not play ball on the \n same field as Jackie Robinson. \n Higbe signs it. He hands the pen to Bragan who adds his own"," BARBER \n One out in the bottom of the first. \n Headed toward the plate for his \n first big league at bat is Dodger \n rookie Jackie Robinson. Jackie is \n very definitely brunette. \n"," Clay, I'd like you to meet Jackie \n Robinson. Jackie, Clay Hopper, \n manager of the Montreal Royals. \n Hopper shakes his hand as they exchange greetings. \n \n HOPPER"," If it softens at the sight of \n Jackie's skills, he'll join the \n club some time between April 10 and \n April 15. Otherwise, Robinson will \n spend the year back in Montreal. \n (throws paper down)"," (POINTS) \n Sign here? \n \n RICKEY \n Yes, yes. \n As Jack poises the pen -- Rickey suddenly aghast. \n \n RICKEY "," Where Jack Robinson signs his contract. As he sets the pen \n down -- Rickey starts APPLAUDING. He's joined by Parrott, \n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \n"," strut. You'll wear badges. You'll \n hold Jackie Robinson days and \n Jackie Robinson nights. You'll get \n drunk, fight and be arrested. \n This is too much. People are slackjawed. Rickey powers on."," 204 JACKIE ROBINSON 204 \n Rounding second and headed for third. The weight of the \n world somehow lifting. They gave him one he could hit. \n \n CUT TO: \n \n \n"," I have a ballplayer on my Montreal \n team named Jackie Robinson. \n The start of applause. Rickey motions for it to stop. \n \n \n \n \n \n \n \n \n"," Mr. Rickey's office. He needs to \n see you right away. He has a \n contract for you to sign. \n That wakes him up. \n \n CUT TO: \n"," In Panama. I need to know your \n attitude toward Jackie Robinson. \n \n 72 INTERCUT THE FOLLOWING: 72 \n \n DUROCHER \n I don't got an attitude toward him."," INSERT: May 6, 1947. Brooklyn. \n Then, about five rows behind her, two RACIST FANS find their \n seats. They spot Jack down at first. \n \n RACIST FAN #1 "],[" Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," farm clubs. White faces look down as they pass a tired Jack, \n who walks through the lot toward Wendell Smith and his Buick. \n Higbe and Bragan call out from the door of the Dodger bus. \n \n HIGBE"," I see you starting in the spring \n with our affiliate in Montreal. If \n you make it there, we'll try you \n down here with the Dodgers. The \n white Brooklyn Dodgers."," upset team chemistry and so the \n only thing keeping Robinson off the \n Dodgers now, plainly, is the \n attitude of the players. \n INSERT: Brooklyn. April 9, 1947. \n \n RICKEY"," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," RICKEY \n Harold, telegram the press. Say \n this: âThe Brooklyn Dodgers today \n purchased the contract of Jackie \n Robinson from the Montreal Royals. \n He will report immediately.â"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," I have a ballplayer on my Montreal \n team named Jackie Robinson. \n The start of applause. Rickey motions for it to stop. \n \n \n \n \n \n \n \n \n"," INSERT: Panama City, Panama. March 18, 1947. \n \n DUROCHER \n I mean it ain't gonna happen. The \n Dodgers are never gonna demand \n Robinson be brought up from"," As all of us know a young Negro \n second baseman played north of the \n border last season... \n INSERT: Brooklyn YMCA. February 5, 1947."," Back, back, back and oh doctor! \n Robinson got his pitch! \n \n CUT TO: \n \n 200D FORBES FIELD 200D"," A kid in a Montreal uniform looks over. SPIDER JORGENSEN. \n \n HOPPER \n Meet Jackie Robinson. \n \n CUT TO: \n"," Cincinnati's nearly a home game for \n you. \n \n REESE \n I got this letter, sir. I guess \n some people aren't too happy about \n me playing with Robinson."," Clay, I'd like you to meet Jackie \n Robinson. Jackie, Clay Hopper, \n manager of the Montreal Royals. \n Hopper shakes his hand as they exchange greetings. \n \n HOPPER"," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," He won the World Series in 1969 with the Miracle Mets. \n \n Rachel Robinson splits her time between Connecticut and \n Manhattan where she runs the Jackie Robinson Foundation. \n \n Jackie Robinson was named Major League Rookie of the Year in "," What about Robinson? \n Bragan's been staring at the floor. He looks up now. The \n low afternoon sun hits his face. \n \n BRAGAN \n I'd like to be his teammate. \n"," few blocks from here. You'll stay \n with the Harrises except for a few \n days at the end of the week. The \n whole Dodger organization is going \n to Sanford, about 45 minute away. "," Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "," He wants to get us used to Negro \n crowds. He wants more of them than \n us. He's hoping it'll get us more \n comfortable being around Robinson. \n Higbe clears his throat, reads what he's written: \n"],[" I have no choice. I'm going to \n have to sit your manager, Branch. \n Leo Durocher is suspended from \n baseball for a year. \n \n RICKEY \n You can't do that! Happy, you son"," Durocher hits another as Rickey pulls up. \n \n RICKEY \n How are they looking, Leo? \n \n DUROCHER \n Rusty, Mr. Rickey. But we'll get"," Durocher looks to Branca, impressed. \n \n DUROCHER \n He didn't come to play; he came to \n kill. \n Durocher starts out to the mound to talk to Higbe. \n"," Durocher suddenly marches to Higbe, looks like he's going to \n belt him. As Higbe gulps, Durocher turns to the team. \n \n DUROCHER \n I don't care if he's yellow or"," need Durocher at the rudder. He's \n the only man who can handle this \n much trouble, who loves it in fact. \n You're chopping off my right hand! \n \n HAPPY"," RICKEY \n So you have no objections to him? \n \n DUROCHER \n None whatsoever. Can I go back to \n sleep now? \n \n RICKEY"," He hits another. This time to the outfield where veteran \n DIXIE WALKER gives chase, finally gives up on it. \n \n DUROCHER \n C'mon, Dixie, get after it! \n"," Fine. What can I do for you, Happy? \n \n HAPPY \n Branch, how would you feel about \n losing Durocher for a year? \n Rickey switches the phone from one ear to the other. \n"," DUROCHER \n Yes, Mr. Rickey. \n \n RICKEY'S VOICE \n Have our friends in the press gone \n to sleep yet? \n \n DUROCHER"," DUROCHER \n Wake up, ladies! Wake the Hell up! \n (a stunned beat) \n It's come to my attention that some \n of you fellas don't want to play"," 95 INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 95 \n \n Durocher, in a suit, cleans out his locker. Carefully sets"," They both back off at the last second and it drops to the \n ground between them. Durocher chuckles. \n \n DUROCHER \n That's what spring training's for, \n boys! Sort out our differences!"," Yes. Oh -- and Leo? \n \n DUROCHER \n What? \n \n \n \n \n \n \n \n \n"," today from the Catholic Youth \n Organization. Vowing a ban on \n baseball unless Durocher is \n punished for his moral looseness. \n \n RICKEY \n You're joking. \n \n HAPPY"," RICKEY \n I'm sorry, Happy, I thought you \n said lose Durocher for a year. \n \n HAPPY \n Yes. He was seen in Havana with \n known gamblers. \n"," getting clean. It's no big deal. Except... \n Dixie Walker looks to the floor, shakes his head. Finally, \n quietly, he leaves. Who's the loneliest man on the team now? \n \n CUT TO:"," DUROCHER \n \n (FROM DUGOUT) \n Well throw over there for crying \n out loud! \n Higbe fires to LAVAGETTO at first. Jack dives back in time. \n \n \n"," Shotton as a manager. You can win \n the pennant in spite of me. I can \n not possibly hurt you. \n The Dodgers trade looks. Not exactly inspirational. As \n Shotton heads out he pauses by Jack. \n"," 79 INT. LEO DUROCHER'S ROOM - THE TIVOLI HOTEL - NIGHT 79 \n \n Durocher lays staring up at the palm shadows on the ceiling. \n Finally, the phone rings. He answers."," near him as he stares ahead, trapped in a kind of void. The \n closest player to him is Bobby Bragan. Bragan finally \n manages to glance over at him, then looks quickly away. \n \n CUT TO: \n"],[" Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," HIGBE \n We, the undersigned Brooklyn \n Dodgers will not play ball on the \n same field as Jackie Robinson. \n Higbe signs it. He hands the pen to Bragan who adds his own"," petition and worry about the field. \n Because unless you fellas pay a \n little more attention to your work, \n they are going to run you right out \n of the ball park! A petition? \n (looks them over)"," Got a petition goin' on, Stank. \n \n BRAGAN \n To keep Robinson up in Montreal \n where he belongs. \n \n STANKY \n Oh... Did Pee Wee sign it? \n"," upset team chemistry and so the \n only thing keeping Robinson off the \n Dodgers now, plainly, is the \n attitude of the players. \n INSERT: Brooklyn. April 9, 1947. \n \n RICKEY"," 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \n \n Guys change into their street clothes. Branca reads to Reese "," displeasure as the Dodgers take the \n field. Jackie Robinson at first. \n The Brat Eddie Stanky at second. \n Spider Jorgensen at third. And the \n captain Pee Wee Reese at shortstop. \n"," We're the Dodgers. We have a \n reservation. \n \n HOTEL MANAGER \n Your team's not welcome, not while \n you have ballclub Negroes with you. \n"," He stands with Dixie Walker the Dodger right fielder. \n \n HOPPER \n \n (MISSISSIPPI TWANG) \n Well, when Mr. Rickey picks one, he"," from Guam. A sailor heard it on \n the radio, told me the Dodgers had \n signed a Negro player. I said that \n was fine by me. Then he said the \n guy was a shortstop. Least you"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," Slaughter, head down, on his way to the visitor's dugout as \n Dodger players pour out of their own to protest. As the UMP \n raises his hands, motions them all back... Jack pulls up his"," Recently, the thought has occurred \n to me that a change of ball clubs \n would benefit both the Brooklyn \n Baseball Club and myself. \n \n (TO WALKER) \n This is about Robinson? \n"," A National League players' strike \n instigated by some of the St. Louis \n Cardinals against the presence of \n Negro first baseman Jackie Robinson \n has been averted temporarily and \n perhaps permanently quashed. \n"," RICKEY (CONT'D) \n The Dodgers check into a hotel. A \n decent good hotel. You're worn out \n from the road and some clerk won't \n give you the pen to sign in. \n"," a contract, and I will personally \n see that baseball is never so \n abused and misrepresented again! \n Is he done? An embarrassed smattering of applause. Mostly \n shock and stares. As Rickey stands there uncomfortably... \n"," in the Dodger minor leagues. He is credited with mentoring \n several African American minor league players. \n \n Wendell Smith became the first African-American sportswriter \n to join the Baseball Writers Association in 1948. \n"," On first, mouth hanging open. Almost forgets to take a lead. \n It's an instant Rorschach test. \n \n DODGER DUGOUT \n Shotton and the players look stricken. Even Walker doesn't"," (POINTS) \n Sign here? \n \n RICKEY \n Yes, yes. \n As Jack poises the pen -- Rickey suddenly aghast. \n \n RICKEY "],[" BATTER hits a LINE DRIVE which -- Pee Wee Reese nearly leaps \n out of his socks to bring down. Wow... \n As the CROWD claps in appreciation, Jack takes a deep breath. \n"," He wants to get us used to Negro \n crowds. He wants more of them than \n us. He's hoping it'll get us more \n comfortable being around Robinson. \n Higbe clears his throat, reads what he's written: \n"," I have a ballplayer on my Montreal \n team named Jackie Robinson. \n The start of applause. Rickey motions for it to stop. \n \n \n \n \n \n \n \n \n"," Cincinnati's nearly a home game for \n you. \n \n REESE \n I got this letter, sir. I guess \n some people aren't too happy about \n me playing with Robinson."," Now cries of CARPETBAGGER! cut through. PEE WEE, HOW CAN YOU \n PLAY WITH THIS BLACK BASTARD!? Reese stares up at the worst"," What can I do for you, Pee Wee? \n \n REESE \n Well, Mr. Rickey, it's like this, \n the series in Cincinnati next week. \n \n RICKEY"," me between the eyes with it. \n \n POLICEMAN \n Is that so? \n The CROWD BOOING. The black section especially. \n \n HOPPER \n (arrives from dugout)"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "," 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \n \n Guys change into their street clothes. Branca reads to Reese "," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," pokes a soft hit past second. A nothing hit, but he's \n standing on first. And he looks, well, ferocious in fact. \n As Pete Reiser steps up into the batter's box..."," displeasure as the Dodgers take the \n field. Jackie Robinson at first. \n The Brat Eddie Stanky at second. \n Spider Jorgensen at third. And the \n captain Pee Wee Reese at shortstop. \n"," Got a petition goin' on, Stank. \n \n BRAGAN \n To keep Robinson up in Montreal \n where he belongs. \n \n STANKY \n Oh... Did Pee Wee sign it? \n"," field (the Reds coming off it). \n Jack headed for first. Pee Wee out to short. \n \n FRECKLES \n Nigger! \n (then...) \n We don't want you here!"," hecklers along the first base line. He looks a little sad. \n \n REESE \n They can say what they want; we're \n here to play baseball. \n \n JACK"," near him as he stares ahead, trapped in a kind of void. The \n closest player to him is Bobby Bragan. Bragan finally \n manages to glance over at him, then looks quickly away. \n \n CUT TO: \n"," Jones swings, pops it up. \n \n BARBER \n It's popped up foul toward first. \n Should be out of play. But here \n comes Robinson, he's coming hard -- \n"],[" 1947. He won the World Series in 1955 against the New York \n Yankees, stealing home in Game One. He was elected to the \n Baseball Hall of Fame in 1962. \n"," 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \n \n Guys change into their street clothes. Branca reads to Reese "," He stands with Dixie Walker the Dodger right fielder. \n \n HOPPER \n \n (MISSISSIPPI TWANG) \n Well, when Mr. Rickey picks one, he"," BARBER'S VOICE \n The Dodgers closing in on the \n Pennant as they'll leave St. Louis \n for Cincinnati and a three game \n series with the Reds. "," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," BARBER'S VOICE \n A very big game today here in \n Pittsburgh. A win and the Dodgers \n will have clinched the National \n League Pennant. \n \n CUT TO: \n"," 44 EXT. CITY ISLAND BALLPARK - DAYTONA BEACH - DAY 44 \n \n A stadium SIGN boasts Brooklyn Dodgers vs. Montreal Royals. \n \n \n \n \n"," they've cut the Dodger lead to 2. \n Nippy Jones up. Musial taking his \n place on deck. Jones likes to \n punch that ball when he swings. "," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," displeasure as the Dodgers take the \n field. Jackie Robinson at first. \n The Brat Eddie Stanky at second. \n Spider Jorgensen at third. And the \n captain Pee Wee Reese at shortstop. \n"," He won the World Series in 1969 with the Miracle Mets. \n \n Rachel Robinson splits her time between Connecticut and \n Manhattan where she runs the Jackie Robinson Foundation. \n \n Jackie Robinson was named Major League Rookie of the Year in "," 95 INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 95 \n \n Durocher, in a suit, cleans out his locker. Carefully sets"," 124 EXT. ON DECK CIRCLE - EBBETS FIELD - DAY 124 \n \n Brooklyn vs. Philadelphia. The bottom of the first. The \n crowd CHEERS. Stanky safe on first. \n"," The Dodgers showering, guys chattering. Suddenly, there's \n Branca and Jack at the shower entrance. All eyes look over. \n Branca enters. Then Jack. A beat and everyone goes back to"," I see you starting in the spring \n with our affiliate in Montreal. If \n you make it there, we'll try you \n down here with the Dodgers. The \n white Brooklyn Dodgers."," CUT TO: \n \n 110 THE PLAYERS LINED UP FOR THE NATIONAL ANTHEM 110 \n The Dodgers down one baseline, the BOSTON BRAVES down the"," We're the Dodgers. We have a \n reservation. \n \n HOTEL MANAGER \n Your team's not welcome, not while \n you have ballclub Negroes with you. \n"," tied it with two of their own in \n the top of the ninth. This game is \n crucial to the Red Birds. They're \n five games out, the Dodgers having \n not relinquished first place sine"," ENOS SLAUGHTER steps in for St. Louis. Hugh Casey on the \n mound for Brooklyn. Slaughter looks fiercely determined. \n \n RED BARBER'S VOICE \n It wasn't enough as the Cardinals"," Joyous, Rickey grabs a sheet showing the NL standings. \n \n RICKEY \n And eliminates the Giants and \n Boston. \n He puts an âX' through Boston and the Giants. The rest of"],[" Back, back, back and oh doctor! \n Robinson got his pitch! \n \n CUT TO: \n \n 200D FORBES FIELD 200D"," Jack falls back, strokes a double into the gap. \n \n BARBER'S VOICE \n That one wasn't quite âin' enough. \n Robinson punishing the Redbirds \n with a smart piece of hitting. \n"," back to third before... Hermanski cracks a single to left. \n As Jack crosses the plate, he stares down Chapman on his way \n to the dugout. As Chapman turns his head, spits -- \n \n CUT TO:"," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," A kid in a Montreal uniform looks over. SPIDER JORGENSEN. \n \n HOPPER \n Meet Jackie Robinson. \n \n CUT TO: \n"," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," CHAPMAN \n Hey, porch monkey! Hey Robinson! \n Hey boy! You know why you're here? \n \n EDDIE STANKY \n On the bench. Without warning, he blasts off it. MOVE WITH"," Jones swings, pops it up. \n \n BARBER \n It's popped up foul toward first. \n Should be out of play. But here \n comes Robinson, he's coming hard -- \n"," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "," Shut up and go back to St. Louis! \n \n RACIST FAN #1 \n Hey, you got a nigger on your team! \n \n BROOKLYN FAN #2"," Jack, at his catcher KLUTTZ who flicks his thumb: âHit him.' \n INSERT: May 17, 1947. Pittsburgh. \n Here it comes. All Jack has time to do is cover his face to"," Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "," Casey goes into his wind-up. \n Slaughter swings, hits a hard ground ball right at Reese who \n fires over to Jack at first. Slaughter is out by fifteen \n feet, but he never slows down. And his foot comes down --"," A National League players' strike \n instigated by some of the St. Louis \n Cardinals against the presence of \n Negro first baseman Jackie Robinson \n has been averted temporarily and \n perhaps permanently quashed. \n"," The catcher shoves him in the back. Jack turns, shoves back. \n As the two men wrestles each other to the ground -- \n \n CUT TO: \n"," He throws over. Jack back to the bag. Higbe gets the ball \n back, looks in. Jack bouncing, pounding off third. His \n movements carry violence within them. Like a piston \n exploding in an engine. "," \n \n TAN REV 6-25-12 118. \n \n 201 PIRATES DUGOUT 201 \n Kirby Higbe who watches Robinson round the bases in disgust. \n"," things: that you are a fine \n gentlemen and a great ballplayer. \n Like our Savior, you must have the \n guts to turn the other cheek. \n Jack considers Rickey. Rickey looks worn out. \n"," -- High on Jack's right calf. Slaughter's spiked him \n something wicked. Jack goes down in a heap clutching his \n leg, blood already seeping through his high socks."],[" Do what, Mr. Rickey? \n \n RICKEY \n I'm going to bring a Negro \n ballplayer to the Brooklyn Dodgers. \n \n PARROTT \n With all due respect, sir, have you"," things: that you are a fine \n gentlemen and a great ballplayer. \n Like our Savior, you must have the \n guts to turn the other cheek. \n Jack considers Rickey. Rickey looks worn out. \n"," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," RICKEY (CONT'D) \n Can you do it? \n Jack poised at what will be his Rubicon. He crosses. \n \n JACK \n Mr. Rickey, you give me a uniform,"," Why are you doing this, Mr. Rickey? \n \n RICKEY \n We had victory over fascism in \n Germany; it's time for victory over \n racism at home. \n \n JACK"," Rickey stands there until finally, opening his mouth... \n \n RICKEY \n You can't, Jackie. You know it. \n \n JACK \n I'm supposed to let this go on? \n"," 93 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 93 \n \n Rickey reads to Parrott from the New York Sun. \n \n RICKEY \n Branch Rickey cannot afford to"," Shotton considers Rickey a beat and then looks away. \n \n SHOTTON \n Baseball's the only life for an old \n pepper pot like me, but I promised \n my wife, Branch. \n"," 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 \n \n Blinds closed. Jack sits across the desk from Rickey."," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," Rickey ends the debate... \n \n RICKEY \n Robinson's a Methodist. I'm a \n Methodist. God's a Methodist. We \n can't go wrong. Find him. Bring him "," Philadelphia and you answer because \n he was a Negro, it may not be a \n sufficient reply. \n As Rickey hangs up the phone... \n \n CUT TO: \n \n \n \n "," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," He'll need to be. \n Rickey looks back to Jack who is as angry as he is confused. \n \n RICKEY \n I want to win! I want ballplayers \n who can win! Are you one of them?! \n"," 140 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - LATE AFTERNOON 140 \n \n Rickey sits brooding, thinking. Parrott enters, upset. \n \n PARROTT"," strut. You'll wear badges. You'll \n hold Jackie Robinson days and \n Jackie Robinson nights. You'll get \n drunk, fight and be arrested. \n This is too much. People are slackjawed. Rickey powers on."," that every one in baseball will be \n against me. But I'm going to do it. \n \n Parrott looks to Sukeforth who keeps his eyes on Rickey. \n \n SUKEFORTH"," JACK \n Yes. \n \n RICKEY \n A black man in white baseball. \n Imagine the reaction. The vitriol. \n Rickey strides forward, gets in his face. \n"," 71 INT. BRANCH RICKEY'S OFFICE - EARLY MORNING 71 \n \n It's very early in New York. Rickey on the phone. \n \n RICKEY \n Another spring training is upon us."," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"],[" cut from the team. \n Jack LAUGHS harder. Wendell LAUGHS as well. As it fades, \n Jack looks back over his shoulder. Jesus... \n \n CUT TO: \n"," near him as he stares ahead, trapped in a kind of void. The \n closest player to him is Bobby Bragan. Bragan finally \n manages to glance over at him, then looks quickly away. \n \n CUT TO: \n"," minutes to check in and then get to \n Shibe! Chop chop. \n No one is listening as the TEAM DRIVER opens the lower \n compartment and the players (including Jack) grab their bags. \n"," me. But he opens up eventually. \n \n RICKEY \n Good. It's too much to carry \n inside. Does he have any friends \n on the team? \n (she gives him a look)"," try your very best for this team \n until I can work out a trade. \n That gets Bragan's goat. He jumps up, really mad. \n \n BRAGAN \n Do you think I would quit on"," Because my job is to win. I have \n an obligation to Brooklyn to put \n the best team on the field I can. \n Your presence on the roster \n increases our chances of winning. \n Not buying it, Jack looks over at him. \n"," getting clean. It's no big deal. Except... \n Dixie Walker looks to the floor, shakes his head. Finally, \n quietly, he leaves. Who's the loneliest man on the team now? \n \n CUT TO:"," wherever the team may be, help him \n find restaurants, etc... \n \n SMITH \n What's in it for me? Besides the \n fifty dollars and a whole lot of \n aggravation? \n \n RICKEY"," Mr. Rickey's office. He needs to \n see you right away. He has a \n contract for you to sign. \n That wakes him up. \n \n CUT TO: \n"," 159 EXT. THE BENJAMIN FRANKLIN HOTEL - DAY 159 \n \n The Dodger TEAM BUS pulls up. The doors whoosh open; Parrott "," to him... The Commissioner of \n what..? Oh, yes put him on. \n (looks to Parrott) \n The commissioner of baseball. \n \n CUT TO: \n"," steps off looking official. As the players start to follow: \n INSERT: May 9, 1947. Benjamin Franklin Hotel, Philadelphia. \n \n PARROTT \n Come on, fellas! We have twenty "," using their heads. They have the \n same heads this year and should \n know that they can't pick the \n players of another club. \n \n CUT TO: \n \n \n \n \n \n "," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," As Herbert Miller introduces... \n \n MILLER \n I present the general manager of \n the Brooklyn Dodger baseball club, \n Mr. Branch Rickey! \n Warm APPLAUSE as Rickey steps up. As it settles..."," A car has pulled up. The driver talks to several players. \n They look over as Jack exits. The driver is Clyde Sukeforth. \n \n SUKEFORTH \n Are you Jackie Robinson? \n"," Shotton as a manager. You can win \n the pennant in spite of me. I can \n not possibly hurt you. \n The Dodgers trade looks. Not exactly inspirational. As \n Shotton heads out he pauses by Jack. \n"," He is and he knows it. The crowd stunned into silence. Jack \n frozen a moment, head down, furious with himself. Low. \n \n BARBER'S VOICE \n The Cardinals pick up a game. It "," They watch as Rickey pulls Jack from the press. He leads \n Jack directly toward Hopper. As Walker excuses himself... \n \n WALKER \n Good luck, Hop... \n \n RICKEY"," crosses the plate, heads in, sits a few feet from Stanky. \n \n JACK \n Thanks. \n \n STANKY \n For what? You're on my team. What"],[" I see you starting in the spring \n with our affiliate in Montreal. If \n you make it there, we'll try you \n down here with the Dodgers. The \n white Brooklyn Dodgers."," If it softens at the sight of \n Jackie's skills, he'll join the \n club some time between April 10 and \n April 15. Otherwise, Robinson will \n spend the year back in Montreal. \n (throws paper down)"," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," Got a petition goin' on, Stank. \n \n BRAGAN \n To keep Robinson up in Montreal \n where he belongs. \n \n STANKY \n Oh... Did Pee Wee sign it? \n"," A kid in a Montreal uniform looks over. SPIDER JORGENSEN. \n \n HOPPER \n Meet Jackie Robinson. \n \n CUT TO: \n"," the Montreal RUNNER at second, then focuses on home. \n \n 59 SMITH 59 \n His hands resting on the top of his typewriter. \n \n SMITH \n Come on, Jackie. Come on, batter. \n"," RICKEY \n Harold, telegram the press. Say \n this: âThe Brooklyn Dodgers today \n purchased the contract of Jackie \n Robinson from the Montreal Royals. \n He will report immediately.â"," Clay, I'd like you to meet Jackie \n Robinson. Jackie, Clay Hopper, \n manager of the Montreal Royals. \n Hopper shakes his hand as they exchange greetings. \n \n HOPPER"," They can't keep you on Montreal for \n long. After these exhibition \n games, they've got to bring you up. \n \n (NO REPLY) \n You don't have two words to rub \n together, do you?"," I have a ballplayer on my Montreal \n team named Jackie Robinson. \n The start of applause. Rickey motions for it to stop. \n \n \n \n \n \n \n \n \n"," Montreal. Ball players are \n conservative. \n \n RICKEY \n A team full of tough war veterans? \n Immigrants' sons? Boys from \n impoverished parts of the country? \n \n DUROCHER"," Back, back, back and oh doctor! \n Robinson got his pitch! \n \n CUT TO: \n \n 200D FORBES FIELD 200D"," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," Jack crossing toward them in his Montreal Monarchs uniform \n carrying a glove and a bat. 200 white players clocking him. \n He's surrounded by REPORTERS and PHOTOGRAPHERS. It's the cue"," upset team chemistry and so the \n only thing keeping Robinson off the \n Dodgers now, plainly, is the \n attitude of the players. \n INSERT: Brooklyn. April 9, 1947. \n \n RICKEY"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," What about Robinson? \n Bragan's been staring at the floor. He looks up now. The \n low afternoon sun hits his face. \n \n BRAGAN \n I'd like to be his teammate. \n"," deals a pick off throw to Marion at \n second and Robinson is out! \n Marion breaks for the bag and Munger turns and fires a \n strike. Marion brings down the tag -- Out! "," \n \n \n \n GOLDENROD REV 5-9-12 12. \n \n JACK \n The Brooklyn Dodgers just signed me \n to play ball up in Montreal. It"," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "],[" Like a bull on his way to slaughter, he revolts. WHAM-WHAM! \n He proceeds to turn his bat into SPLINTERS. Concrete chips, \n wood flies. Jack drops the handle of the bat, pounds his"," Takes a fastball in on the hands. \n Robinson, who is pitched to a great \n deal that way, uses a thicker \n handle bat than most hitters, just \n because he hits a lot of balls out \n on his hands."," Jack considers him. Everything hangs in the balance. Then: \n \n JACK \n I'm gonna need a new bat. \n As Jack heads back down the tunnel for the field. \n \n CUT TO: \n"," Stanky so mad he can't see straight. Chapman surrenders. \n \n CHAPMAN \n Okay, okay. Jesus. \n As Chapman disappears into his dugout, Jack whacks a single. \n"," Standing dead still at the plate, bat cocked and ready. \n \n BARBER'S VOICE \n Here's Robinson. Jackie holds that \n club down by the end. Rear foot on "," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," He throws over. Jack back to the bag. Higbe gets the ball \n back, looks in. Jack bouncing, pounding off third. His \n movements carry violence within them. Like a piston \n exploding in an engine. "," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," SMITH (O.S.) \n Robinson jogged around the bases, \n his heart singing... \n The crowd loves it as he continues toward third where \n Sukeforth is clapping for all he's worth. \n"," you know where you'd be right now?! \n On a bus headed down to Newport \n News cuz you can't play for shit! \n Here comes the pitch. Jack nonchalantly sticks his bat out,"," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "," You fellas are making too big a \n deal out of this. He scored We \n lost. One to nothing. \n \n REPORTER THREE \n Do you think you were a little hard \n on Robinson? \n"," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," 62 SMITH 62 \n Nearly drops his typewriter, pushes his hat back as he \n watches Jack start his home run trot. Smith laughs. Joy. \n \n 63 DUGOUT 63"," some reporter know how he feels. \n They stop talking as Robinson walks past, the last one into \n the shower, a couple of towels around him. \n \n \n \n \n \n \n \n "," Jones swings, pops it up. \n \n BARBER \n It's popped up foul toward first. \n Should be out of play. But here \n comes Robinson, he's coming hard -- \n"," CHAPMAN (CONT'D) \n Oh, I think I got it. Dixie, I \n believe I know! \n \n JACK \n Grips the bat. Watches for the next pitch with bloody"," Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "," well outside. Another pitch outside. âBall Three!â \n \n BARBER'S VOICE \n 3 and 0 now. Robinson waiting on \n something he can swing on."," together. They both look back to see the result of the play. \n As Robinson smiles and Walker scowls, we know... \n \n RICKEY'S VOICE \n Send Dixie in. \n"],[" together. They both look back to see the result of the play. \n As Robinson smiles and Walker scowls, we know... \n \n RICKEY'S VOICE \n Send Dixie in. \n"," What can I do for you, Pee Wee? \n \n REESE \n Well, Mr. Rickey, it's like this, \n the series in Cincinnati next week. \n \n RICKEY"," He wants to get us used to Negro \n crowds. He wants more of them than \n us. He's hoping it'll get us more \n comfortable being around Robinson. \n Higbe clears his throat, reads what he's written: \n"," Now cries of CARPETBAGGER! cut through. PEE WEE, HOW CAN YOU \n PLAY WITH THIS BLACK BASTARD!? Reese stares up at the worst"," BATTER hits a LINE DRIVE which -- Pee Wee Reese nearly leaps \n out of his socks to bring down. Wow... \n As the CROWD claps in appreciation, Jack takes a deep breath. \n"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," don't know what they want. \n \n RACHEL \n \n (BEAMING) \n They want to see if Jackie Robinson \n is real. They want to see your \n pride, your dignity. Because then"," Why are you doing this, Mr. Rickey? \n \n RICKEY \n We had victory over fascism in \n Germany; it's time for victory over \n racism at home. \n \n JACK"," life, Coach. \n \n SUKEFORTH \n Well, it's like this. Brooklyn's \n got a solid second baseman. And \n they got Pee Wee Reese at short. "," Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "," 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \n \n Guys change into their street clothes. Branca reads to Reese "," 164 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 164 \n \n Rickey looks up as Reese enters. He holds a LETTER. \n \n RICKEY"," Branch Rickey was elected to the Hall of Fame in 1967. \n \n Pee Wee Reese was elected to the Hall of Fame in 1984. \n \n Bobby Bragan retired the following year and became a manager"," as well. Jack finds himself looking at Pee Wee Reese. \n \n JUMP AHEAD TO: \n \n 103 EXT. SINGER'S DRUG STORE - BROOKLYN - DAY 103 \n"," We end on a montage of Jackie Robinson Day in present time. \n Every year in April, all MLB players wear the number 42 as a \n reminder of Jackie's accomplishments on and off the field. \n"," field (the Reds coming off it). \n Jack headed for first. Pee Wee out to short. \n \n FRECKLES \n Nigger! \n (then...) \n We don't want you here!"," things: that you are a fine \n gentlemen and a great ballplayer. \n Like our Savior, you must have the \n guts to turn the other cheek. \n Jack considers Rickey. Rickey looks worn out. \n"," displeasure as the Dodgers take the \n field. Jackie Robinson at first. \n The Brat Eddie Stanky at second. \n Spider Jorgensen at third. And the \n captain Pee Wee Reese at shortstop. \n"],[" Chapman and Jack stand side-by-side facing the PRESS. \n Chapman makes a little speech. Hypocrisy at its best. \n \n CHAPMAN \n Jackie's been accepted in baseball \n and the Philadelphia organization"," CHAPMAN \n Some Jew must've wrote that. \n \n PENNOCK \n This doesn't look good, Ben! It \n makes the Phillies, look racist! \n You've got to do something. \n"," Jack doesn't want to look over, but he is compelled. The \n bench players flanking Chapman look furious, but Chapman is \n doing this with a sick sort of glee. \n \n CHAPMAN"," Stanky so mad he can't see straight. Chapman surrenders. \n \n CHAPMAN \n Okay, okay. Jesus. \n As Chapman disappears into his dugout, Jack whacks a single. \n"," CHAPMAN \n We treat him the same way we do \n Hank Greenburg except we call Hank \n a kike instead of a coon. When we \n play exhibitions against the"," CHAPMAN \n Me?! \n \n CUT TO: \n \n \n \n \n \n \n \n \n"," (low to Chapman) \n We'll hold the bat. That way we \n don't have to touch skin. \n Chapman nods, looks relieved. A photographer hands over a \n bat. Chapman has two hands on the handle. Jack puts one"," rushes in; he's out of breath and dripping wet. Parrott \n holds up the Herald Tribune sports section. \n \n PARROTT \n The news isn't good, sir. \n"," Ben Chapman sits across from Herb Pennock who flips through \n underlined newspaper reports. Pennock reads one: \n \n PENNOCK \n There is a great lynch mob among \n us; they go unhooded and work"," CHAPMAN \n Hey, porch monkey! Hey Robinson! \n Hey boy! You know why you're here? \n \n EDDIE STANKY \n On the bench. Without warning, he blasts off it. MOVE WITH"," hardened man can change. \n \n JACK \n Chapman hasn't changed. He's just \n trying to take the heat off. \n \n PARROTT \n Mr. Rickey says it doesn't matter"," 138 INT. VISITOR'S LOCKER ROOM - DAY 138 \n \n Several REPORTERS around Chapman as well. He drinks a BEER. \n \n CHAPMAN"," back to third before... Hermanski cracks a single to left. \n As Jack crosses the plate, he stares down Chapman on his way \n to the dugout. As Chapman turns his head, spits -- \n \n CUT TO:"," CHAPMAN (CONT'D) \n Oh, I think I got it. Dixie, I \n believe I know! \n \n JACK \n Grips the bat. Watches for the next pitch with bloody"," Chapman the Phillies manager up on \n the top step, seems to be chirping \n something out to Robinson. Chapman \n a hothead during his playing days \n with the Yankees. \n"," He is and he knows it. The crowd stunned into silence. Jack \n frozen a moment, head down, furious with himself. Low. \n \n BARBER'S VOICE \n The Cardinals pick up a game. It "," Because my job is to win. I have \n an obligation to Brooklyn to put \n the best team on the field I can. \n Your presence on the roster \n increases our chances of winning. \n Not buying it, Jack looks over at him. \n"," I'm going in that Phillie dugout \n tomorrow and wring Chapman's neck! \n Rickey considers Parrott, starts laughing. Parrott is hurt. \n \n PARROTT \n Did I say something funny? \n"," Sit down. Sit down or I'll sit you \n down. \n \n CHAPMAN \n What's the problem, Stank? \n \n STANKY \n You're the problem, you goddamn"," This is a white man's game. Get it \n through your thick monkey skull! \n Jack stops short looks at him. Chapman stands his ground. \n \n RICKEY"],[" Rickey stands there until finally, opening his mouth... \n \n RICKEY \n You can't, Jackie. You know it. \n \n JACK \n I'm supposed to let this go on? \n"," JACK \n Yes. \n \n RICKEY \n A black man in white baseball. \n Imagine the reaction. The vitriol. \n Rickey strides forward, gets in his face. \n"," Rickey starts slowly rubbing the baseball in his hands. \n \n RICKEY \n A fine young man. I saw him laid \n low. Broken because of the color \n of his skin and I didn't do enough"," RICKEY \n I understand. I bet Jackie just \n wants to play ball. I bet he wishes \n he wasn't leading the league in hit \n by pitch. I bet he wishes people \n didn't want to kill him. But the"," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," things: that you are a fine \n gentlemen and a great ballplayer. \n Like our Savior, you must have the \n guts to turn the other cheek. \n Jack considers Rickey. Rickey looks worn out. \n"," RICKEY (CONT'D) \n Can you do it? \n Jack poised at what will be his Rubicon. He crosses. \n \n JACK \n Mr. Rickey, you give me a uniform,"," RICKEY \n Harold, telegram the press. Say \n this: âThe Brooklyn Dodgers today \n purchased the contract of Jackie \n Robinson from the Montreal Royals. \n He will report immediately.â"," biggest threat to his success, the \n one enemy most likely to ruin that \n success, is the Negro people \n themselves! \n There is shocked silence in the room. Rickey notices a group "," Rickey grits his teeth, stays civil. \n \n RICKEY \n And why's that, Herb? His name's \n Jackie Robinson by the way. \n \n PENNOCK"," Rickey is not liking where this is going; he motions for the \n letter, scans it, reads the highlights... \n \n RICKEY \n Nigger lover. Watch yourself. We \n will get you, carpetbagger."," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," Shotton considers Rickey a beat and then looks away. \n \n SHOTTON \n Baseball's the only life for an old \n pepper pot like me, but I promised \n my wife, Branch. \n"," Philadelphia and you answer because \n he was a Negro, it may not be a \n sufficient reply. \n As Rickey hangs up the phone... \n \n CUT TO: \n \n \n \n "," Why are you doing this, Mr. Rickey? \n \n RICKEY \n We had victory over fascism in \n Germany; it's time for victory over \n racism at home. \n \n JACK"," strut. You'll wear badges. You'll \n hold Jackie Robinson days and \n Jackie Robinson nights. You'll get \n drunk, fight and be arrested. \n This is too much. People are slackjawed. Rickey powers on."," Do what, Mr. Rickey? \n \n RICKEY \n I'm going to bring a Negro \n ballplayer to the Brooklyn Dodgers. \n \n PARROTT \n With all due respect, sir, have you"," that every one in baseball will be \n against me. But I'm going to do it. \n \n Parrott looks to Sukeforth who keeps his eyes on Rickey. \n \n SUKEFORTH"," RICKEY (CONT'D) \n Worry those pitchers so they come \n apart. Sometimes they'll catch \n you, but don't worry about that. \n Ty Cobb got caught plenty. Just"," the Negro players I hope to bring \n up next year I'll put together a \n team that can win the World Series. \n And the World Series means money. \n Jack studies him a beat, not quite buying it. \n \n RICKEY"],[" He is and he knows it. The crowd stunned into silence. Jack \n frozen a moment, head down, furious with himself. Low. \n \n BARBER'S VOICE \n The Cardinals pick up a game. It "," Know what I mean? \n Walker reacting out in right. The crowd shuts down, some in \n shock at the gesture. Jack surprised also. \n \n REESE (CONT'D) \n Thank you, Jackie. \n"," here? Rickey smiles, puts a finger to his lips... Shhhh. \n \n CUT TO: \n \n \n \n \n \n \n \n \n"," me between the eyes with it. \n \n POLICEMAN \n Is that so? \n The CROWD BOOING. The black section especially. \n \n HOPPER \n (arrives from dugout)"," Reese impulsively puts his arm around Jack's shoulder, stares \n into the Cincy dugout. \n \n REESE \n Ain't gonna be a next time. All we \n got is right now. This right here."," Reese nods. They start walking toward the stadium. \n \n \n \n \n \n \n \n \n \n TAN REV 6-25-12 68. \n"," Now cries of CARPETBAGGER! cut through. PEE WEE, HOW CAN YOU \n PLAY WITH THIS BLACK BASTARD!? Reese stares up at the worst"," near him as he stares ahead, trapped in a kind of void. The \n closest player to him is Bobby Bragan. Bragan finally \n manages to glance over at him, then looks quickly away. \n \n CUT TO: \n"," GOLDENROD REV 5-9-12 102. \n \n REESE \n \n (QUIET) \n Yes, Sir. I gotta get to practice. \n \n CUT TO:"," Get out of the game or be killed. \n He looks at one more, reacts to the vitriol, but does not \n utter it. Reese looks back at Rickey, shocked. \n \n REESE (CONT'D)"," biggest threat to his success, the \n one enemy most likely to ruin that \n success, is the Negro people \n themselves! \n There is shocked silence in the room. Rickey notices a group "," hecklers along the first base line. He looks a little sad. \n \n REESE \n They can say what they want; we're \n here to play baseball. \n \n JACK"," BATTER hits a LINE DRIVE which -- Pee Wee Reese nearly leaps \n out of his socks to bring down. Wow... \n As the CROWD claps in appreciation, Jack takes a deep breath. \n"," (REESE NODS) \n You still scared, Pee Wee? \n \n REESE \n (looks down street) \n Of garbage trucks? Terrified. \n \n CUT TO: \n"," That way they won't be able to tell \n us apart. \n Reese heads for short. Jack pounds his fist in his glove. \n \n CUT TO: \n \n 169 OMITTED 169 \n"," I CAN STILL HEAR HIM! \n From somewhere, as the National Anthem ends... \n \n CUT TO: \n \n 54 EXT. ROOSEVELT STADIUM - DAY 54 \n"," pokes a soft hit past second. A nothing hit, but he's \n standing on first. And he looks, well, ferocious in fact. \n As Pete Reiser steps up into the batter's box..."," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," quite know what to make of it. No one enjoys it, but Higbe. \n \n STANDS \n CONCESSION MEN walk closer to listen. The fans range from \n horrified to some mildly pleased. Rachel looks stricken. \n"," Safe! A BUZZ goes through the stadium now as people start to \n realize they are not watching something or someone ordinary. \n \n RICKEY \n Watching from a seat behind third. \n \n RICKEY"],[" She's all yours, Robinson. \n As THUNDER rumbles in the distance... \n \n CUT TO: \n \n \n \n \n \n \n \n \n"," Jack Robinson? Come with me. \n She starts away without explaining, looks back at them a bit \n impatiently. \n \n MISS BISHOP \n Come on now. Both of you. \n \n CUT TO: \n"," She holds it up. His name the only one filled in. \n \n RACHEL \n And I put your name on it. See? \n Jack Robinson. \n He puts his hand out, takes hers. \n \n JACK"," SHOTTON \n Are you Robinson? \n \n (JACK NODS) \n I thought so. \n Shotton pats Jack on the shoulder, continues on his way. \n \n CUT TO: \n"," Robinson. Hundreds of people line up, mass at the: Colored \n Entrance. In their Sunday best. Families. Couples. The \n old. The frail. Young boys chase after each other. One"," A tug as Jack stops, looks back at her. Fighting back her \n emotion and then impelled forward, she runs to him. They \n come together. She practically disappears in his arms. They \n do not want to be apart. \n"," with Robinson. That you even got a \n petition drawn up that you're all \n gonna sign. Well boys, you know \n what you can do with your petition? \n \n YOU CAN WIPE YOUR ASSES WITH IT! \n"," WHACK! Rachel and Rickey watch Jack taking batting practice. \n \n RICKEY \n You look lovely, Mrs. Robinson. \n \n RACHEL \n Thank you. \n \n RICKEY"," Where Jack Robinson signs his contract. As he sets the pen \n down -- Rickey starts APPLAUDING. He's joined by Parrott, \n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \n"," INSERT: April 10, 1947. \n \n JACK \n Hello? \n \n JANE ANN'S VOICE \n Mr. Robinson, this is Jane Ann in "," The older woman offers a little smile, leaves her there. \n INSERT: Third Inning. \n \n P.A. ANNOUNCER \n \n (ECHOING) \n Now batting. Jackie Robinson. \n"," Hell, even your chauffeur. \n (tips his hat) \n Mrs. Robinson. \n \n RACHEL \n It's Rachel. \n \n SMITH \n Man, you two look wiped out. \n"," You are a hard case, Jack Robinson. \n Is it okay if I keep driving you or \n should I let you out so you can \n walk? \n Jack bursts out laughing. So does Smith. \n \n JACK "," (KISSES HER) \n Are you coming, Mrs. Robinson? \n \n RACHEL \n (kisses him back) \n I'd follow you anywhere, Mr. \n Robinson. "," The phone still rings. Rickey looks to his open door. \n \n RICKEY \n Jane Ann! Are you out there? \n Grumbling, brambly eyebrows twitching, he makes the mistake \n of answering his own phone. \n"," The phone rings. Rachel answers in her nightgown. \n \n RACHEL \n Hello? \n \n JACK'S VOICE \n Rae, I'm in Brooklyn."," What about Robinson? \n Bragan's been staring at the floor. He looks up now. The \n low afternoon sun hits his face. \n \n BRAGAN \n I'd like to be his teammate. \n"," some reporter know how he feels. \n They stop talking as Robinson walks past, the last one into \n the shower, a couple of towels around him. \n \n \n \n \n \n \n \n "," together. They both look back to see the result of the play. \n As Robinson smiles and Walker scowls, we know... \n \n RICKEY'S VOICE \n Send Dixie in. \n"," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"],[" SMITH (O.S.) \n Robinson jogged around the bases, \n his heart singing... \n The crowd loves it as he continues toward third where \n Sukeforth is clapping for all he's worth. \n"," Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "," WHACK! The hit & run is on. The man on first runs on the \n pitch as a LOW LINE DRIVE shoots for the gap between 1st and \n 2nd. Robinson turns himself inside out to dive on his belly"," Jones swings, pops it up. \n \n BARBER \n It's popped up foul toward first. \n Should be out of play. But here \n comes Robinson, he's coming hard -- \n"," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "," Casey goes into his wind-up. \n Slaughter swings, hits a hard ground ball right at Reese who \n fires over to Jack at first. Slaughter is out by fifteen \n feet, but he never slows down. And his foot comes down --"," deals a pick off throw to Marion at \n second and Robinson is out! \n Marion breaks for the bag and Munger turns and fires a \n strike. Marion brings down the tag -- Out! "," Jack slides into second, the throw high, ends up in center. \n Half a dozen Dodgers impulsively on their feet and waving him \n on as Jack gets to his feet and motors into THIRD. The throw"," He throws over. Jack back to the bag. Higbe gets the ball \n back, looks in. Jack bouncing, pounding off third. His \n movements carry violence within them. Like a piston \n exploding in an engine. "," pokes a soft hit past second. A nothing hit, but he's \n standing on first. And he looks, well, ferocious in fact. \n As Pete Reiser steps up into the batter's box..."," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," Like a bull on his way to slaughter, he revolts. WHAM-WHAM! \n He proceeds to turn his bat into SPLINTERS. Concrete chips, \n wood flies. Jack drops the handle of the bat, pounds his"," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," Jack running on the pitch. Reiser bunts. The play is to \n first. Reiser is out and Jack slides safe into second. \n SCHOENDIENST has the sense to vacate before he gets there. \n \n JACK"," Jack falls back, strokes a double into the gap. \n \n BARBER'S VOICE \n That one wasn't quite âin' enough. \n Robinson punishing the Redbirds \n with a smart piece of hitting. \n"," CHAPMAN \n Hey, porch monkey! Hey Robinson! \n Hey boy! You know why you're here? \n \n EDDIE STANKY \n On the bench. Without warning, he blasts off it. MOVE WITH"," Shaking his head, the catcher gets back in his crouch, \n signals the PITCHER. On the wind-up, the Runner is off \n again. The catcher fires to THIRD: âSafe!â \n"," as Dixie Walker barrels in low. \n All Jackie's focus on the task at hand as he throws while \n Walker submarines him. He lands in a heap tangled up "," Stanky so mad he can't see straight. Chapman surrenders. \n \n CHAPMAN \n Okay, okay. Jesus. \n As Chapman disappears into his dugout, Jack whacks a single. \n"," the Montreal RUNNER at second, then focuses on home. \n \n 59 SMITH 59 \n His hands resting on the top of his typewriter. \n \n SMITH \n Come on, Jackie. Come on, batter. \n"],[" It was. But I know he played for \n the Philadelphia Baseball Club. On \n account of he struck at me three \n times and never hit me once. \n That brings the house down. Check out their laughing faces. \n"," boy is in uniform. \n \n RICKEY \n Herbert, what your team does is \n your decision. But my team is \n coming to Philadelphia. With \n Robinson. If we have to claim the"," Philadelphia and you answer because \n he was a Negro, it may not be a \n sufficient reply. \n As Rickey hangs up the phone... \n \n CUT TO: \n \n \n \n "," steps off looking official. As the players start to follow: \n INSERT: May 9, 1947. Benjamin Franklin Hotel, Philadelphia. \n \n PARROTT \n Come on, fellas! We have twenty "," GREEN REV 4-27-12 76. \n The bear baiting has begun. Jack is in a kind of temporary \n shock. That's the Phillies manager! In uniform. \n \n CHAPMAN"," 124 EXT. ON DECK CIRCLE - EBBETS FIELD - DAY 124 \n \n Brooklyn vs. Philadelphia. The bottom of the first. The \n crowd CHEERS. Stanky safe on first. \n"," Chapman and Jack stand side-by-side facing the PRESS. \n Chapman makes a little speech. Hypocrisy at its best. \n \n CHAPMAN \n Jackie's been accepted in baseball \n and the Philadelphia organization"," I'm going in that Phillie dugout \n tomorrow and wring Chapman's neck! \n Rickey considers Parrott, starts laughing. Parrott is hurt. \n \n PARROTT \n Did I say something funny? \n"," The SCOREBOARD shows 1 run scored by the Phillies in the top \n of the first. Jack steps up to the plate. Here we go again. \n INSERT: April 23, 1947. The next day. \n"," Joyous, Rickey grabs a sheet showing the NL standings. \n \n RICKEY \n And eliminates the Giants and \n Boston. \n He puts an âX' through Boston and the Giants. The rest of"," me a service. \n \n PARROTT \n A service?! \n \n RICKEY \n Is there an echo in here? Yes, \n he's creating sympathy on Jackie's \n behalf. Philadelphia by the way is"," In back: TWO DEACONS in the back whisper over a SPORTS PAGE. \n \n DEACON ONE \n Look here what he did. \n \n (READS) \n Led the International League in"," Jack walk to the plate, digs a cleat into the batter's box... \n \n CHAPMAN'S VOICE \n Hey! Hey you black Nigger! \n Jack looks to the visitor's dugout where the Phillies Alabama-"," He is and he knows it. The crowd stunned into silence. Jack \n frozen a moment, head down, furious with himself. Low. \n \n BARBER'S VOICE \n The Cardinals pick up a game. It "," Jack crossing toward them in his Montreal Monarchs uniform \n carrying a glove and a bat. 200 white players clocking him. \n He's surrounded by REPORTERS and PHOTOGRAPHERS. It's the cue"," Jackie, excuse me, um, a request \n came in. The Phillies manager Ben \n Chapman, he'd like his photo taken \n with you. \n Jack pretends to sniff the air around Parrott. \n \n JACK"," 133 EXT. SCOREBOARD - EBBETS FIELD - DAY 133 \n \n Eight zeros hang for the Phillies. Seven for the Dodgers. \n No score, the bottom of the 8th coming up. \n"," well late. Phillies third baseman HANDLEY throws the ball \n back to Dutch. Handley then looks to Jack. \n \n HANDLEY \n I'm sorry. I want you to know what"," life, Coach. \n \n SUKEFORTH \n Well, it's like this. Brooklyn's \n got a solid second baseman. And \n they got Pee Wee Reese at short. "," CUT TO: \n \n 156 INT. PENNOCK'S OFFICE - SHIBE PARK - DAY 156 \n \n Phillie GM HERB PENNOCK at his desk, on the phone. \n"],[" RICKEY \n Harold, telegram the press. Say \n this: âThe Brooklyn Dodgers today \n purchased the contract of Jackie \n Robinson from the Montreal Royals. \n He will report immediately.â"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," Mr. Rickey's office. He needs to \n see you right away. He has a \n contract for you to sign. \n That wakes him up. \n \n CUT TO: \n"," As Herbert Miller introduces... \n \n MILLER \n I present the general manager of \n the Brooklyn Dodger baseball club, \n Mr. Branch Rickey! \n Warm APPLAUSE as Rickey steps up. As it settles..."," HIGBE \n We, the undersigned Brooklyn \n Dodgers will not play ball on the \n same field as Jackie Robinson. \n Higbe signs it. He hands the pen to Bragan who adds his own"," BARBER \n One out in the bottom of the first. \n Headed toward the plate for his \n first big league at bat is Dodger \n rookie Jackie Robinson. Jackie is \n very definitely brunette. \n"," from Guam. A sailor heard it on \n the radio, told me the Dodgers had \n signed a Negro player. I said that \n was fine by me. Then he said the \n guy was a shortstop. Least you"," Where Jack Robinson signs his contract. As he sets the pen \n down -- Rickey starts APPLAUDING. He's joined by Parrott, \n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \n"," He stands with Dixie Walker the Dodger right fielder. \n \n HOPPER \n \n (MISSISSIPPI TWANG) \n Well, when Mr. Rickey picks one, he"," upset team chemistry and so the \n only thing keeping Robinson off the \n Dodgers now, plainly, is the \n attitude of the players. \n INSERT: Brooklyn. April 9, 1947. \n \n RICKEY"," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," I see you starting in the spring \n with our affiliate in Montreal. If \n you make it there, we'll try you \n down here with the Dodgers. The \n white Brooklyn Dodgers."," 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \n \n Guys change into their street clothes. Branca reads to Reese "," bubbles. BRANCH RICKEY at his desk. Two photos on the wall: \n Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's \n OF NAMES, every player in the Dodger organization. \n"," 45 CLOSE ON BRANCH RICKEY - THE DODGER DUGOUT 45 \n He sits watching as the segregated bleachers in right fill \n with BLACK FANS. All else is white. Rickey pops a PEANUT in"," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," dugout. Sukeforth headed over wearing Dodger blue. \n \n SUKEFORTH \n Robinson! \n As Jack turns, Sukeforth tosses him a FIRST BASEMAN'S GLOVE. \n"," Recently, the thought has occurred \n to me that a change of ball clubs \n would benefit both the Brooklyn \n Baseball Club and myself. \n \n (TO WALKER) \n This is about Robinson? \n"," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," Clay, I'd like you to meet Jackie \n Robinson. Jackie, Clay Hopper, \n manager of the Montreal Royals. \n Hopper shakes his hand as they exchange greetings. \n \n HOPPER"],[" RICKEY (CONT'D) \n I'll pay you $600 a month and a \n $3,500 bonus when you sign the \n contract. Is that agreeable?"," Mr. Rickey's office. He needs to \n see you right away. He has a \n contract for you to sign. \n That wakes him up. \n \n CUT TO: \n"," SMITH \n Fifty dollars a week. \n \n RICKEY \n I will pay you an additional fifty \n dollars a week plus expenses if you \n will attend spring training with \n Jackie Robinson. You will watch"," RICKEY \n Harold, telegram the press. Say \n this: âThe Brooklyn Dodgers today \n purchased the contract of Jackie \n Robinson from the Montreal Royals. \n He will report immediately.â"," Where Jack Robinson signs his contract. As he sets the pen \n down -- Rickey starts APPLAUDING. He's joined by Parrott, \n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \n"," a contract, and I will personally \n see that baseball is never so \n abused and misrepresented again! \n Is he done? An embarrassed smattering of applause. Mostly \n shock and stares. As Rickey stands there uncomfortably... \n"," 93 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 93 \n \n Rickey reads to Parrott from the New York Sun. \n \n RICKEY \n Branch Rickey cannot afford to"," (POINTS) \n Sign here? \n \n RICKEY \n Yes, yes. \n As Jack poises the pen -- Rickey suddenly aghast. \n \n RICKEY "," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," Red Sox just offered Ted Williams, \n but I'll see what I can do. \n \n BRAGAN \n Thank you, Mr. Rickey. \n Bragan leaves. Rickey looks at Parrott: âWhat do you know?'"," 198 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 198 \n \n As the phone rings, Rickey grabs it. On edge."," 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 \n \n Blinds closed. Jack sits across the desk from Rickey."," 71 INT. BRANCH RICKEY'S OFFICE - EARLY MORNING 71 \n \n It's very early in New York. Rickey on the phone. \n \n RICKEY \n Another spring training is upon us."," As Herbert Miller introduces... \n \n MILLER \n I present the general manager of \n the Brooklyn Dodger baseball club, \n Mr. Branch Rickey! \n Warm APPLAUSE as Rickey steps up. As it settles..."," 118B INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 118B \n \n Rickey smiles from his desk as they enter. \n \n \n \n \n"," 164 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 164 \n \n Rickey looks up as Reese enters. He holds a LETTER. \n \n RICKEY"," 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 \n \n Blinds closed. Dust motes in the air. A large GOLDFISH TANK"," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," HIGBE \n We, the undersigned Brooklyn \n Dodgers will not play ball on the \n same field as Jackie Robinson. \n Higbe signs it. He hands the pen to Bragan who adds his own"],[" The phone rings. Rachel answers in her nightgown. \n \n RACHEL \n Hello? \n \n JACK'S VOICE \n Rae, I'm in Brooklyn."," She holds it up. His name the only one filled in. \n \n RACHEL \n And I put your name on it. See? \n Jack Robinson. \n He puts his hand out, takes hers. \n \n JACK"," A phone RINGS on a table. RACHEL ISUM steps in, 23, \n possessed of style that you can only be graced with. \n \n RACHEL \n Hello? \n \n CUT TO: \n"," The phone still rings. Rickey looks to his open door. \n \n RICKEY \n Jane Ann! Are you out there? \n Grumbling, brambly eyebrows twitching, he makes the mistake \n of answering his own phone. \n"," He turns and walks away. As they watch, a phone rings... \n \n RICKEY'S VOICE \n Yes, Wendell, what is it? \n \n CUT TO: \n"," Where Jack Robinson signs his contract. As he sets the pen \n down -- Rickey starts APPLAUDING. He's joined by Parrott, \n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \n"," She's all yours, Robinson. \n As THUNDER rumbles in the distance... \n \n CUT TO: \n \n \n \n \n \n \n \n \n"," WHACK! Rachel and Rickey watch Jack taking batting practice. \n \n RICKEY \n You look lovely, Mrs. Robinson. \n \n RACHEL \n Thank you. \n \n RICKEY"," Watching him head for home, shaking hands with the two men he \n batted in. Pride & joy in her eyes. \n \n RACHEL \n Oh, Jack... Oh Jack... \n \n CUT TO: \n"," RICKEY \n Do you love her? Rachel? \n \n (JACK CONFUSED) \n Don't you know? \n \n JACK \n Yes, sir, very much. \n \n RICKEY"," Mr. Rickey's office. He needs to \n see you right away. He has a \n contract for you to sign. \n That wakes him up. \n \n CUT TO: \n"," He kisses her. She kisses him back. \n \n RACHEL \n See you in Brooklyn in eight weeks. \n \n JACK \n It might be Montreal."," Rachel listening, smiling as CHEERS sound from outside the \n apartment. We hear the sound of car horns on the street. \n \n 200F JACK 200F \n He runs toward first and we run with him. The smile starts"," Hell, even your chauffeur. \n (tips his hat) \n Mrs. Robinson. \n \n RACHEL \n It's Rachel. \n \n SMITH \n Man, you two look wiped out. \n"," You okay? \n \n RACHEL \n I don't like seeing you leave, \n that's all. \n He looks at her a beat, resumes packing... \n \n JACK"," You'll stay here though, Rachel. \n \n RACHEL \n Where are the other wives staying? \n \n SMITH \n There are no other wives. You're \n the only one Mr. Rickey allowed to"," (KISSES HER) \n Are you coming, Mrs. Robinson? \n \n RACHEL \n (kisses him back) \n I'd follow you anywhere, Mr. \n Robinson. "," 79 INT. LEO DUROCHER'S ROOM - THE TIVOLI HOTEL - NIGHT 79 \n \n Durocher lays staring up at the palm shadows on the ceiling. \n Finally, the phone rings. He answers."," look, he offers his hand to Rachel as she slides out as well. \n \n CUT TO: \n \n 23 OMITTED 23 \n \n \n \n \n \n \n"," I'm sure it's got a lot to say \n about a lot. Good night. \n Durocher hangs up the phone, looks to her. \n \n DUROCHER \n What am I gonna do with you? "],[" I see you starting in the spring \n with our affiliate in Montreal. If \n you make it there, we'll try you \n down here with the Dodgers. The \n white Brooklyn Dodgers."," INSERT: Panama City, Panama. March 18, 1947. \n \n DUROCHER \n I mean it ain't gonna happen. The \n Dodgers are never gonna demand \n Robinson be brought up from"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," Walker (Alabama) and Dodger pitcher HUGH CASEY (Georgia). \n \n BRAGAN \n Why do you think Rickey's got us \n playing spring games in Panama? \n \n (MORE)"," few blocks from here. You'll stay \n with the Harrises except for a few \n days at the end of the week. The \n whole Dodger organization is going \n to Sanford, about 45 minute away. "," JACK \n Look, I'm with the Brooklyn Dodger \n organization. I've got to get down \n to Daytona. I'm supposed to report \n to spring training in the morning. \n"," farm clubs. White faces look down as they pass a tired Jack, \n who walks through the lot toward Wendell Smith and his Buick. \n Higbe and Bragan call out from the door of the Dodger bus. \n \n HIGBE"," In Panama. I need to know your \n attitude toward Jackie Robinson. \n \n 72 INTERCUT THE FOLLOWING: 72 \n \n DUROCHER \n I don't got an attitude toward him."," upset team chemistry and so the \n only thing keeping Robinson off the \n Dodgers now, plainly, is the \n attitude of the players. \n INSERT: Brooklyn. April 9, 1947. \n \n RICKEY"," displeasure as the Dodgers take the \n field. Jackie Robinson at first. \n The Brat Eddie Stanky at second. \n Spider Jorgensen at third. And the \n captain Pee Wee Reese at shortstop. \n"," dugout. Sukeforth headed over wearing Dodger blue. \n \n SUKEFORTH \n Robinson! \n As Jack turns, Sukeforth tosses him a FIRST BASEMAN'S GLOVE. \n"," He stands with Dixie Walker the Dodger right fielder. \n \n HOPPER \n \n (MISSISSIPPI TWANG) \n Well, when Mr. Rickey picks one, he"," BARBER \n One out in the bottom of the first. \n Headed toward the plate for his \n first big league at bat is Dodger \n rookie Jackie Robinson. Jackie is \n very definitely brunette. \n"," Back, back, back and oh doctor! \n Robinson got his pitch! \n \n CUT TO: \n \n 200D FORBES FIELD 200D"," If it softens at the sight of \n Jackie's skills, he'll join the \n club some time between April 10 and \n April 15. Otherwise, Robinson will \n spend the year back in Montreal. \n (throws paper down)"," 44 EXT. CITY ISLAND BALLPARK - DAYTONA BEACH - DAY 44 \n \n A stadium SIGN boasts Brooklyn Dodgers vs. Montreal Royals. \n \n \n \n \n"," 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \n \n Guys change into their street clothes. Branca reads to Reese "," Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "," RICKEY \n Harold, telegram the press. Say \n this: âThe Brooklyn Dodgers today \n purchased the contract of Jackie \n Robinson from the Montreal Royals. \n He will report immediately.â"," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"],[" Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," upset team chemistry and so the \n only thing keeping Robinson off the \n Dodgers now, plainly, is the \n attitude of the players. \n INSERT: Brooklyn. April 9, 1947. \n \n RICKEY"," 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \n \n Guys change into their street clothes. Branca reads to Reese "," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," myself and the Dodgers, but on \n Negroes everywhere. For on the day \n Jackie enters the National League, \n if he does, I have no doubt every \n one of you will form parades and \n welcoming committees. You'll"," The Dodgers showering, guys chattering. Suddenly, there's \n Branca and Jack at the shower entrance. All eyes look over. \n Branca enters. Then Jack. A beat and everyone goes back to"," He wants to get us used to Negro \n crowds. He wants more of them than \n us. He's hoping it'll get us more \n comfortable being around Robinson. \n Higbe clears his throat, reads what he's written: \n"," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," We're the Dodgers. We have a \n reservation. \n \n HOTEL MANAGER \n Your team's not welcome, not while \n you have ballclub Negroes with you. \n"," from Guam. A sailor heard it on \n the radio, told me the Dodgers had \n signed a Negro player. I said that \n was fine by me. Then he said the \n guy was a shortstop. Least you"," displeasure as the Dodgers take the \n field. Jackie Robinson at first. \n The Brat Eddie Stanky at second. \n Spider Jorgensen at third. And the \n captain Pee Wee Reese at shortstop. \n"," On first, mouth hanging open. Almost forgets to take a lead. \n It's an instant Rorschach test. \n \n DODGER DUGOUT \n Shotton and the players look stricken. Even Walker doesn't"," CUT TO: \n \n 104 INT. DODGER LOCKER ROOM - DAY 104 \n \n Some guys quiet, some guys joking around. Everyone in some \n version of getting out of their street clothes or into their"," He stands with Dixie Walker the Dodger right fielder. \n \n HOPPER \n \n (MISSISSIPPI TWANG) \n Well, when Mr. Rickey picks one, he"," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "," Rickey consider the field a moment, then Jack. \n \n RICKEY \n Jackie, it's my pleasure to tell \n you that you've earned a spot on \n the Montreal Royals. When they"," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," BARBER \n One out in the bottom of the first. \n Headed toward the plate for his \n first big league at bat is Dodger \n rookie Jackie Robinson. Jackie is \n very definitely brunette. \n"," this fine young Negro man steps on \n that field today, he and the \n Dodgers will technically be \n breaking the law. A law which says \n white and black players cannot \n enjoy the same field at the same"," Jack crossing toward them in his Montreal Monarchs uniform \n carrying a glove and a bat. 200 white players clocking him. \n He's surrounded by REPORTERS and PHOTOGRAPHERS. It's the cue"],[" I have no choice. I'm going to \n have to sit your manager, Branch. \n Leo Durocher is suspended from \n baseball for a year. \n \n RICKEY \n You can't do that! Happy, you son"," Durocher hits another as Rickey pulls up. \n \n RICKEY \n How are they looking, Leo? \n \n DUROCHER \n Rusty, Mr. Rickey. But we'll get"," He stands with Dixie Walker the Dodger right fielder. \n \n HOPPER \n \n (MISSISSIPPI TWANG) \n Well, when Mr. Rickey picks one, he"," He hits another. This time to the outfield where veteran \n DIXIE WALKER gives chase, finally gives up on it. \n \n DUROCHER \n C'mon, Dixie, get after it! \n"," receiver. It's LEO DUROCHER, a WOMEN in bed alongside him. \n INSERT: Beverly Hills. February 16, 1947. \n \n DUROCHER \n Yeah? \n"," DUROCHER \n Yes, Mr. Rickey. \n \n RICKEY'S VOICE \n Have our friends in the press gone \n to sleep yet? \n \n DUROCHER"," Yes. Oh -- and Leo? \n \n DUROCHER \n What? \n \n \n \n \n \n \n \n \n"," 95 INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 95 \n \n Durocher, in a suit, cleans out his locker. Carefully sets"," 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 \n \n LEO DUROCHER hitting fungoes. One after the next. PEE WEE"," leave it to you. Good night, Leo. \n \n DUROCHER \n Yes, Mr. Rickey. \n \n CUT TO: \n"," Durocher looks to Branca, impressed. \n \n DUROCHER \n He didn't come to play; he came to \n kill. \n Durocher starts out to the mound to talk to Higbe. \n"," RICKEY \n So you have no objections to him? \n \n DUROCHER \n None whatsoever. Can I go back to \n sleep now? \n \n RICKEY"," Fine. What can I do for you, Happy? \n \n HAPPY \n Branch, how would you feel about \n losing Durocher for a year? \n Rickey switches the phone from one ear to the other. \n"," Shotton as a manager. You can win \n the pennant in spite of me. I can \n not possibly hurt you. \n The Dodgers trade looks. Not exactly inspirational. As \n Shotton heads out he pauses by Jack. \n"," 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \n \n Guys change into their street clothes. Branca reads to Reese "," today from the Catholic Youth \n Organization. Vowing a ban on \n baseball unless Durocher is \n punished for his moral looseness. \n \n RICKEY \n You're joking. \n \n HAPPY"," Branch Rickey was elected to the Hall of Fame in 1967. \n \n Pee Wee Reese was elected to the Hall of Fame in 1984. \n \n Bobby Bragan retired the following year and became a manager"," As Herbert Miller introduces... \n \n MILLER \n I present the general manager of \n the Brooklyn Dodger baseball club, \n Mr. Branch Rickey! \n Warm APPLAUSE as Rickey steps up. As it settles..."," Wendell Smith waits under an umbrella as the CARDINALS get \n off the team bus. Smith buttonholes manager EDDIE DYER. \n \n SMITH \n Eddie, what's all this talk about"," 79 INT. LEO DUROCHER'S ROOM - THE TIVOLI HOTEL - NIGHT 79 \n \n Durocher lays staring up at the palm shadows on the ceiling. \n Finally, the phone rings. He answers."],[" I'm going in that Phillie dugout \n tomorrow and wring Chapman's neck! \n Rickey considers Parrott, starts laughing. Parrott is hurt. \n \n PARROTT \n Did I say something funny? \n"," Chapman the Phillies manager up on \n the top step, seems to be chirping \n something out to Robinson. Chapman \n a hothead during his playing days \n with the Yankees. \n"," Jack walk to the plate, digs a cleat into the batter's box... \n \n CHAPMAN'S VOICE \n Hey! Hey you black Nigger! \n Jack looks to the visitor's dugout where the Phillies Alabama-"," CHAPMAN \n Hey, porch monkey! Hey Robinson! \n Hey boy! You know why you're here? \n \n EDDIE STANKY \n On the bench. Without warning, he blasts off it. MOVE WITH"," dugout. Sukeforth headed over wearing Dodger blue. \n \n SUKEFORTH \n Robinson! \n As Jack turns, Sukeforth tosses him a FIRST BASEMAN'S GLOVE. \n"," Ben Chapman sits across from Herb Pennock who flips through \n underlined newspaper reports. Pennock reads one: \n \n PENNOCK \n There is a great lynch mob among \n us; they go unhooded and work"," Like a bull on his way to slaughter, he revolts. WHAM-WHAM! \n He proceeds to turn his bat into SPLINTERS. Concrete chips, \n wood flies. Jack drops the handle of the bat, pounds his"," Stanky so mad he can't see straight. Chapman surrenders. \n \n CHAPMAN \n Okay, okay. Jesus. \n As Chapman disappears into his dugout, Jack whacks a single. \n"," back to third before... Hermanski cracks a single to left. \n As Jack crosses the plate, he stares down Chapman on his way \n to the dugout. As Chapman turns his head, spits -- \n \n CUT TO:"," Jackie, excuse me, um, a request \n came in. The Phillies manager Ben \n Chapman, he'd like his photo taken \n with you. \n Jack pretends to sniff the air around Parrott. \n \n JACK"," 130 BEN CHAPMAN 130 \n Settles back in the shadows of the dugout. Finished for now. \n \n CUT TO: \n \n \n \n \n \n \n"," 62 SMITH 62 \n Nearly drops his typewriter, pushes his hat back as he \n watches Jack start his home run trot. Smith laughs. Joy. \n \n 63 DUGOUT 63"," \n \n TAN REV 6-25-12 118. \n \n 201 PIRATES DUGOUT 201 \n Kirby Higbe who watches Robinson round the bases in disgust. \n"," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "," Go home, Nigger! Go back to Africa! \n Phillie pitcher DUTCH LEONARD looks in. Jack has to try to \n concentrate on the pitch. Here it comes. A fastball well"," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," Standing dead still at the plate, bat cocked and ready. \n \n BARBER'S VOICE \n Here's Robinson. Jackie holds that \n club down by the end. Rear foot on "," things: that you are a fine \n gentlemen and a great ballplayer. \n Like our Savior, you must have the \n guts to turn the other cheek. \n Jack considers Rickey. Rickey looks worn out. \n"," He hits another. This time to the outfield where veteran \n DIXIE WALKER gives chase, finally gives up on it. \n \n DUROCHER \n C'mon, Dixie, get after it! \n"],[" BATTER hits a LINE DRIVE which -- Pee Wee Reese nearly leaps \n out of his socks to bring down. Wow... \n As the CROWD claps in appreciation, Jack takes a deep breath. \n"," He wants to get us used to Negro \n crowds. He wants more of them than \n us. He's hoping it'll get us more \n comfortable being around Robinson. \n Higbe clears his throat, reads what he's written: \n"," field (the Reds coming off it). \n Jack headed for first. Pee Wee out to short. \n \n FRECKLES \n Nigger! \n (then...) \n We don't want you here!"," displeasure as the Dodgers take the \n field. Jackie Robinson at first. \n The Brat Eddie Stanky at second. \n Spider Jorgensen at third. And the \n captain Pee Wee Reese at shortstop. \n"," near him as he stares ahead, trapped in a kind of void. The \n closest player to him is Bobby Bragan. Bragan finally \n manages to glance over at him, then looks quickly away. \n \n CUT TO: \n"," me between the eyes with it. \n \n POLICEMAN \n Is that so? \n The CROWD BOOING. The black section especially. \n \n HOPPER \n (arrives from dugout)"," Now cries of CARPETBAGGER! cut through. PEE WEE, HOW CAN YOU \n PLAY WITH THIS BLACK BASTARD!? Reese stares up at the worst"," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," What can I do for you, Pee Wee? \n \n REESE \n Well, Mr. Rickey, it's like this, \n the series in Cincinnati next week. \n \n RICKEY"," He stands with Dixie Walker the Dodger right fielder. \n \n HOPPER \n \n (MISSISSIPPI TWANG) \n Well, when Mr. Rickey picks one, he"," pokes a soft hit past second. A nothing hit, but he's \n standing on first. And he looks, well, ferocious in fact. \n As Pete Reiser steps up into the batter's box..."," Reese impulsively puts his arm around Jack's shoulder, stares \n into the Cincy dugout. \n \n REESE \n Ain't gonna be a next time. All we \n got is right now. This right here."," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "," Cincinnati's nearly a home game for \n you. \n \n REESE \n I got this letter, sir. I guess \n some people aren't too happy about \n me playing with Robinson."," hecklers along the first base line. He looks a little sad. \n \n REESE \n They can say what they want; we're \n here to play baseball. \n \n JACK"," things: that you are a fine \n gentlemen and a great ballplayer. \n Like our Savior, you must have the \n guts to turn the other cheek. \n Jack considers Rickey. Rickey looks worn out. \n"," Jack reaches first, throws the ball around the infield. Many \n in the crowd beyond rise to jeer and heap abuse. COON! \n SHINE! Jack tries to let it wash over him."," as well. Jack finds himself looking at Pee Wee Reese. \n \n JUMP AHEAD TO: \n \n 103 EXT. SINGER'S DRUG STORE - BROOKLYN - DAY 103 \n"," INSERT: May 6, 1947. Brooklyn. \n Then, about five rows behind her, two RACIST FANS find their \n seats. They spot Jack down at first. \n \n RACIST FAN #1 "," Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "],[" Robinson on first, Pete Reiser at \n bat. Reiser belts it. A long one. \n Deep into left center. Back goes \n Ennis who is not tall enough. This \n one's off the wall. Robinson is "," WHACK! The hit & run is on. The man on first runs on the \n pitch as a LOW LINE DRIVE shoots for the gap between 1st and \n 2nd. Robinson turns himself inside out to dive on his belly"," Casey goes into his wind-up. \n Slaughter swings, hits a hard ground ball right at Reese who \n fires over to Jack at first. Slaughter is out by fifteen \n feet, but he never slows down. And his foot comes down --"," SMITH (O.S.) \n Robinson jogged around the bases, \n his heart singing... \n The crowd loves it as he continues toward third where \n Sukeforth is clapping for all he's worth. \n"," Jones swings, pops it up. \n \n BARBER \n It's popped up foul toward first. \n Should be out of play. But here \n comes Robinson, he's coming hard -- \n"," ON HIM now as he tries to push himself up from the dirt. A \n close look at JACK ROOSEVELT ROBINSON. A born battler, he \n shakes out the cobwebs, finally lurches to his feet, looks to"," going to score from first. \n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \n players around him react, Stanky finally looks up as Robinson "," Jack falls back, strokes a double into the gap. \n \n BARBER'S VOICE \n That one wasn't quite âin' enough. \n Robinson punishing the Redbirds \n with a smart piece of hitting. \n"," ENOS SLAUGHTER steps in for St. Louis. Hugh Casey on the \n mound for Brooklyn. Slaughter looks fiercely determined. \n \n RED BARBER'S VOICE \n It wasn't enough as the Cardinals"," Slaughter, head down, on his way to the visitor's dugout as \n Dodger players pour out of their own to protest. As the UMP \n raises his hands, motions them all back... Jack pulls up his"," for most of the batting and fielding and chatter among the \n Dodgers, Royals and Saints to come to a stop. \n Higbe forgets Bragan is throwing him a ball. It clocks him \n in the chest."," Jack slides into second, the throw high, ends up in center. \n Half a dozen Dodgers impulsively on their feet and waving him \n on as Jack gets to his feet and motors into THIRD. The throw"," pokes a soft hit past second. A nothing hit, but he's \n standing on first. And he looks, well, ferocious in fact. \n As Pete Reiser steps up into the batter's box..."," -- High on Jack's right calf. Slaughter's spiked him \n something wicked. Jack goes down in a heap clutching his \n leg, blood already seeping through his high socks."," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," 204 JACKIE ROBINSON 204 \n Rounding second and headed for third. The weight of the \n world somehow lifting. They gave him one he could hit. \n \n CUT TO: \n \n \n"," things: that you are a fine \n gentlemen and a great ballplayer. \n Like our Savior, you must have the \n guts to turn the other cheek. \n Jack considers Rickey. Rickey looks worn out. \n"," Takes a fastball in on the hands. \n Robinson, who is pitched to a great \n deal that way, uses a thicker \n handle bat than most hitters, just \n because he hits a lot of balls out \n on his hands."," as Dixie Walker barrels in low. \n All Jackie's focus on the task at hand as he throws while \n Walker submarines him. He lands in a heap tangled up "," Back, back, back and oh doctor! \n Robinson got his pitch! \n \n CUT TO: \n \n 200D FORBES FIELD 200D"],[" CHAPMAN \n Some Jew must've wrote that. \n \n PENNOCK \n This doesn't look good, Ben! It \n makes the Phillies, look racist! \n You've got to do something. \n"," Ben Chapman sits across from Herb Pennock who flips through \n underlined newspaper reports. Pennock reads one: \n \n PENNOCK \n There is a great lynch mob among \n us; they go unhooded and work"," Jackie, excuse me, um, a request \n came in. The Phillies manager Ben \n Chapman, he'd like his photo taken \n with you. \n Jack pretends to sniff the air around Parrott. \n \n JACK"," Chapman the Phillies manager up on \n the top step, seems to be chirping \n something out to Robinson. Chapman \n a hothead during his playing days \n with the Yankees. \n"," I'm going in that Phillie dugout \n tomorrow and wring Chapman's neck! \n Rickey considers Parrott, starts laughing. Parrott is hurt. \n \n PARROTT \n Did I say something funny? \n"," CHAPMAN \n Hey, porch monkey! Hey Robinson! \n Hey boy! You know why you're here? \n \n EDDIE STANKY \n On the bench. Without warning, he blasts off it. MOVE WITH"," Chapman and Jack stand side-by-side facing the PRESS. \n Chapman makes a little speech. Hypocrisy at its best. \n \n CHAPMAN \n Jackie's been accepted in baseball \n and the Philadelphia organization"," Bragan, most of your teammates have \n recanted on this petition nonsense. \n Are you really here to tell me you \n don't want to play with Robinson? \n \n BRAGAN \n Yes, Sir. My friends back in"," Jack walk to the plate, digs a cleat into the batter's box... \n \n CHAPMAN'S VOICE \n Hey! Hey you black Nigger! \n Jack looks to the visitor's dugout where the Phillies Alabama-"," CHAPMAN \n We treat him the same way we do \n Hank Greenburg except we call Hank \n a kike instead of a coon. When we \n play exhibitions against the"," Philadelphia and you answer because \n he was a Negro, it may not be a \n sufficient reply. \n As Rickey hangs up the phone... \n \n CUT TO: \n \n \n \n "," Go home, Nigger! Go back to Africa! \n Phillie pitcher DUTCH LEONARD looks in. Jack has to try to \n concentrate on the pitch. Here it comes. A fastball well"," upset team chemistry and so the \n only thing keeping Robinson off the \n Dodgers now, plainly, is the \n attitude of the players. \n INSERT: Brooklyn. April 9, 1947. \n \n RICKEY"," He wants to get us used to Negro \n crowds. He wants more of them than \n us. He's hoping it'll get us more \n comfortable being around Robinson. \n Higbe clears his throat, reads what he's written: \n"," This is a white man's game. Get it \n through your thick monkey skull! \n Jack stops short looks at him. Chapman stands his ground. \n \n RICKEY"," things: that you are a fine \n gentlemen and a great ballplayer. \n Like our Savior, you must have the \n guts to turn the other cheek. \n Jack considers Rickey. Rickey looks worn out. \n"," (pounds his fist) \n If any group or segment of Negro \n society uses the advancement of \n Jackie Robinson in baseball as a \n triumph of race over race, I will \n regret the day I ever signed him to"," Jack doesn't want to look over, but he is compelled. The \n bench players flanking Chapman look furious, but Chapman is \n doing this with a sick sort of glee. \n \n CHAPMAN"," Parrot hurries over. He's the Dodgers travelling secretary. \n \n PARROTT \n Jackie Robinson's on a bus leaving \n Pensacola. \n \n RICKEY"," Ben Chapman was fired in 1948 and never managed again. \n \n Eddie Stanky went on to manage the St. Louis Cardinals, the \n Chicago White Sox and the Texas Rangers. \n"]],"string":"[\n [\n \" SMITH \\n Fifty dollars a week. \\n \\n RICKEY \\n I will pay you an additional fifty \\n dollars a week plus expenses if you \\n will attend spring training with \\n Jackie Robinson. You will watch\",\n \" RICKEY \\n Harold, telegram the press. Say \\n this: âThe Brooklyn Dodgers today \\n purchased the contract of Jackie \\n Robinson from the Montreal Royals. \\n He will report immediately.â\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" BARBER \\n One out in the bottom of the first. \\n Headed toward the plate for his \\n first big league at bat is Dodger \\n rookie Jackie Robinson. Jackie is \\n very definitely brunette. \\n\",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" If it softens at the sight of \\n Jackie's skills, he'll join the \\n club some time between April 10 and \\n April 15. Otherwise, Robinson will \\n spend the year back in Montreal. \\n (throws paper down)\",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" Clay, I'd like you to meet Jackie \\n Robinson. Jackie, Clay Hopper, \\n manager of the Montreal Royals. \\n Hopper shakes his hand as they exchange greetings. \\n \\n HOPPER\",\n \" upset team chemistry and so the \\n only thing keeping Robinson off the \\n Dodgers now, plainly, is the \\n attitude of the players. \\n INSERT: Brooklyn. April 9, 1947. \\n \\n RICKEY\",\n \" I see you starting in the spring \\n with our affiliate in Montreal. If \\n you make it there, we'll try you \\n down here with the Dodgers. The \\n white Brooklyn Dodgers.\",\n \" dugout. Sukeforth headed over wearing Dodger blue. \\n \\n SUKEFORTH \\n Robinson! \\n As Jack turns, Sukeforth tosses him a FIRST BASEMAN'S GLOVE. \\n\",\n \" myself and the Dodgers, but on \\n Negroes everywhere. For on the day \\n Jackie enters the National League, \\n if he does, I have no doubt every \\n one of you will form parades and \\n welcoming committees. You'll\",\n \" RICKEY (CONT'D) \\n I'll pay you $600 a month and a \\n $3,500 bonus when you sign the \\n contract. Is that agreeable?\",\n \" \\n \\n \\n \\n GOLDENROD REV 5-9-12 12. \\n \\n JACK \\n The Brooklyn Dodgers just signed me \\n to play ball up in Montreal. It\",\n \" displeasure as the Dodgers take the \\n field. Jackie Robinson at first. \\n The Brat Eddie Stanky at second. \\n Spider Jorgensen at third. And the \\n captain Pee Wee Reese at shortstop. \\n\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" from Guam. A sailor heard it on \\n the radio, told me the Dodgers had \\n signed a Negro player. I said that \\n was fine by me. Then he said the \\n guy was a shortstop. Least you\",\n \" strut. You'll wear badges. You'll \\n hold Jackie Robinson days and \\n Jackie Robinson nights. You'll get \\n drunk, fight and be arrested. \\n This is too much. People are slackjawed. Rickey powers on.\",\n \" He stands with Dixie Walker the Dodger right fielder. \\n \\n HOPPER \\n \\n (MISSISSIPPI TWANG) \\n Well, when Mr. Rickey picks one, he\",\n \" I think it's ready. \\n \\n CUT TO: \\n \\n 106 JACK ROOSEVELT ROBINSON - DODGER CLUBHOUSE 106\"\n ],\n [\n \" SMITH \\n Fifty dollars a week. \\n \\n RICKEY \\n I will pay you an additional fifty \\n dollars a week plus expenses if you \\n will attend spring training with \\n Jackie Robinson. You will watch\",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" RICKEY \\n Harold, telegram the press. Say \\n this: âThe Brooklyn Dodgers today \\n purchased the contract of Jackie \\n Robinson from the Montreal Royals. \\n He will report immediately.â\",\n \" RICKEY (CONT'D) \\n I'll pay you $600 a month and a \\n $3,500 bonus when you sign the \\n contract. Is that agreeable?\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" from Guam. A sailor heard it on \\n the radio, told me the Dodgers had \\n signed a Negro player. I said that \\n was fine by me. Then he said the \\n guy was a shortstop. Least you\",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" HIGBE \\n We, the undersigned Brooklyn \\n Dodgers will not play ball on the \\n same field as Jackie Robinson. \\n Higbe signs it. He hands the pen to Bragan who adds his own\",\n \" BARBER \\n One out in the bottom of the first. \\n Headed toward the plate for his \\n first big league at bat is Dodger \\n rookie Jackie Robinson. Jackie is \\n very definitely brunette. \\n\",\n \" Clay, I'd like you to meet Jackie \\n Robinson. Jackie, Clay Hopper, \\n manager of the Montreal Royals. \\n Hopper shakes his hand as they exchange greetings. \\n \\n HOPPER\",\n \" If it softens at the sight of \\n Jackie's skills, he'll join the \\n club some time between April 10 and \\n April 15. Otherwise, Robinson will \\n spend the year back in Montreal. \\n (throws paper down)\",\n \" (POINTS) \\n Sign here? \\n \\n RICKEY \\n Yes, yes. \\n As Jack poises the pen -- Rickey suddenly aghast. \\n \\n RICKEY \",\n \" Where Jack Robinson signs his contract. As he sets the pen \\n down -- Rickey starts APPLAUDING. He's joined by Parrott, \\n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \\n\",\n \" strut. You'll wear badges. You'll \\n hold Jackie Robinson days and \\n Jackie Robinson nights. You'll get \\n drunk, fight and be arrested. \\n This is too much. People are slackjawed. Rickey powers on.\",\n \" 204 JACKIE ROBINSON 204 \\n Rounding second and headed for third. The weight of the \\n world somehow lifting. They gave him one he could hit. \\n \\n CUT TO: \\n \\n \\n\",\n \" I have a ballplayer on my Montreal \\n team named Jackie Robinson. \\n The start of applause. Rickey motions for it to stop. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" Mr. Rickey's office. He needs to \\n see you right away. He has a \\n contract for you to sign. \\n That wakes him up. \\n \\n CUT TO: \\n\",\n \" In Panama. I need to know your \\n attitude toward Jackie Robinson. \\n \\n 72 INTERCUT THE FOLLOWING: 72 \\n \\n DUROCHER \\n I don't got an attitude toward him.\",\n \" INSERT: May 6, 1947. Brooklyn. \\n Then, about five rows behind her, two RACIST FANS find their \\n seats. They spot Jack down at first. \\n \\n RACIST FAN #1 \"\n ],\n [\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" farm clubs. White faces look down as they pass a tired Jack, \\n who walks through the lot toward Wendell Smith and his Buick. \\n Higbe and Bragan call out from the door of the Dodger bus. \\n \\n HIGBE\",\n \" I see you starting in the spring \\n with our affiliate in Montreal. If \\n you make it there, we'll try you \\n down here with the Dodgers. The \\n white Brooklyn Dodgers.\",\n \" upset team chemistry and so the \\n only thing keeping Robinson off the \\n Dodgers now, plainly, is the \\n attitude of the players. \\n INSERT: Brooklyn. April 9, 1947. \\n \\n RICKEY\",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" RICKEY \\n Harold, telegram the press. Say \\n this: âThe Brooklyn Dodgers today \\n purchased the contract of Jackie \\n Robinson from the Montreal Royals. \\n He will report immediately.â\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" I have a ballplayer on my Montreal \\n team named Jackie Robinson. \\n The start of applause. Rickey motions for it to stop. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" INSERT: Panama City, Panama. March 18, 1947. \\n \\n DUROCHER \\n I mean it ain't gonna happen. The \\n Dodgers are never gonna demand \\n Robinson be brought up from\",\n \" As all of us know a young Negro \\n second baseman played north of the \\n border last season... \\n INSERT: Brooklyn YMCA. February 5, 1947.\",\n \" Back, back, back and oh doctor! \\n Robinson got his pitch! \\n \\n CUT TO: \\n \\n 200D FORBES FIELD 200D\",\n \" A kid in a Montreal uniform looks over. SPIDER JORGENSEN. \\n \\n HOPPER \\n Meet Jackie Robinson. \\n \\n CUT TO: \\n\",\n \" Cincinnati's nearly a home game for \\n you. \\n \\n REESE \\n I got this letter, sir. I guess \\n some people aren't too happy about \\n me playing with Robinson.\",\n \" Clay, I'd like you to meet Jackie \\n Robinson. Jackie, Clay Hopper, \\n manager of the Montreal Royals. \\n Hopper shakes his hand as they exchange greetings. \\n \\n HOPPER\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" He won the World Series in 1969 with the Miracle Mets. \\n \\n Rachel Robinson splits her time between Connecticut and \\n Manhattan where she runs the Jackie Robinson Foundation. \\n \\n Jackie Robinson was named Major League Rookie of the Year in \",\n \" What about Robinson? \\n Bragan's been staring at the floor. He looks up now. The \\n low afternoon sun hits his face. \\n \\n BRAGAN \\n I'd like to be his teammate. \\n\",\n \" few blocks from here. You'll stay \\n with the Harrises except for a few \\n days at the end of the week. The \\n whole Dodger organization is going \\n to Sanford, about 45 minute away. \",\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \",\n \" He wants to get us used to Negro \\n crowds. He wants more of them than \\n us. He's hoping it'll get us more \\n comfortable being around Robinson. \\n Higbe clears his throat, reads what he's written: \\n\"\n ],\n [\n \" I have no choice. I'm going to \\n have to sit your manager, Branch. \\n Leo Durocher is suspended from \\n baseball for a year. \\n \\n RICKEY \\n You can't do that! Happy, you son\",\n \" Durocher hits another as Rickey pulls up. \\n \\n RICKEY \\n How are they looking, Leo? \\n \\n DUROCHER \\n Rusty, Mr. Rickey. But we'll get\",\n \" Durocher looks to Branca, impressed. \\n \\n DUROCHER \\n He didn't come to play; he came to \\n kill. \\n Durocher starts out to the mound to talk to Higbe. \\n\",\n \" Durocher suddenly marches to Higbe, looks like he's going to \\n belt him. As Higbe gulps, Durocher turns to the team. \\n \\n DUROCHER \\n I don't care if he's yellow or\",\n \" need Durocher at the rudder. He's \\n the only man who can handle this \\n much trouble, who loves it in fact. \\n You're chopping off my right hand! \\n \\n HAPPY\",\n \" RICKEY \\n So you have no objections to him? \\n \\n DUROCHER \\n None whatsoever. Can I go back to \\n sleep now? \\n \\n RICKEY\",\n \" He hits another. This time to the outfield where veteran \\n DIXIE WALKER gives chase, finally gives up on it. \\n \\n DUROCHER \\n C'mon, Dixie, get after it! \\n\",\n \" Fine. What can I do for you, Happy? \\n \\n HAPPY \\n Branch, how would you feel about \\n losing Durocher for a year? \\n Rickey switches the phone from one ear to the other. \\n\",\n \" DUROCHER \\n Yes, Mr. Rickey. \\n \\n RICKEY'S VOICE \\n Have our friends in the press gone \\n to sleep yet? \\n \\n DUROCHER\",\n \" DUROCHER \\n Wake up, ladies! Wake the Hell up! \\n (a stunned beat) \\n It's come to my attention that some \\n of you fellas don't want to play\",\n \" 95 INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 95 \\n \\n Durocher, in a suit, cleans out his locker. Carefully sets\",\n \" They both back off at the last second and it drops to the \\n ground between them. Durocher chuckles. \\n \\n DUROCHER \\n That's what spring training's for, \\n boys! Sort out our differences!\",\n \" Yes. Oh -- and Leo? \\n \\n DUROCHER \\n What? \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" today from the Catholic Youth \\n Organization. Vowing a ban on \\n baseball unless Durocher is \\n punished for his moral looseness. \\n \\n RICKEY \\n You're joking. \\n \\n HAPPY\",\n \" RICKEY \\n I'm sorry, Happy, I thought you \\n said lose Durocher for a year. \\n \\n HAPPY \\n Yes. He was seen in Havana with \\n known gamblers. \\n\",\n \" getting clean. It's no big deal. Except... \\n Dixie Walker looks to the floor, shakes his head. Finally, \\n quietly, he leaves. Who's the loneliest man on the team now? \\n \\n CUT TO:\",\n \" DUROCHER \\n \\n (FROM DUGOUT) \\n Well throw over there for crying \\n out loud! \\n Higbe fires to LAVAGETTO at first. Jack dives back in time. \\n \\n \\n\",\n \" Shotton as a manager. You can win \\n the pennant in spite of me. I can \\n not possibly hurt you. \\n The Dodgers trade looks. Not exactly inspirational. As \\n Shotton heads out he pauses by Jack. \\n\",\n \" 79 INT. LEO DUROCHER'S ROOM - THE TIVOLI HOTEL - NIGHT 79 \\n \\n Durocher lays staring up at the palm shadows on the ceiling. \\n Finally, the phone rings. He answers.\",\n \" near him as he stares ahead, trapped in a kind of void. The \\n closest player to him is Bobby Bragan. Bragan finally \\n manages to glance over at him, then looks quickly away. \\n \\n CUT TO: \\n\"\n ],\n [\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" HIGBE \\n We, the undersigned Brooklyn \\n Dodgers will not play ball on the \\n same field as Jackie Robinson. \\n Higbe signs it. He hands the pen to Bragan who adds his own\",\n \" petition and worry about the field. \\n Because unless you fellas pay a \\n little more attention to your work, \\n they are going to run you right out \\n of the ball park! A petition? \\n (looks them over)\",\n \" Got a petition goin' on, Stank. \\n \\n BRAGAN \\n To keep Robinson up in Montreal \\n where he belongs. \\n \\n STANKY \\n Oh... Did Pee Wee sign it? \\n\",\n \" upset team chemistry and so the \\n only thing keeping Robinson off the \\n Dodgers now, plainly, is the \\n attitude of the players. \\n INSERT: Brooklyn. April 9, 1947. \\n \\n RICKEY\",\n \" 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \\n \\n Guys change into their street clothes. Branca reads to Reese \",\n \" displeasure as the Dodgers take the \\n field. Jackie Robinson at first. \\n The Brat Eddie Stanky at second. \\n Spider Jorgensen at third. And the \\n captain Pee Wee Reese at shortstop. \\n\",\n \" We're the Dodgers. We have a \\n reservation. \\n \\n HOTEL MANAGER \\n Your team's not welcome, not while \\n you have ballclub Negroes with you. \\n\",\n \" He stands with Dixie Walker the Dodger right fielder. \\n \\n HOPPER \\n \\n (MISSISSIPPI TWANG) \\n Well, when Mr. Rickey picks one, he\",\n \" from Guam. A sailor heard it on \\n the radio, told me the Dodgers had \\n signed a Negro player. I said that \\n was fine by me. Then he said the \\n guy was a shortstop. Least you\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" Slaughter, head down, on his way to the visitor's dugout as \\n Dodger players pour out of their own to protest. As the UMP \\n raises his hands, motions them all back... Jack pulls up his\",\n \" Recently, the thought has occurred \\n to me that a change of ball clubs \\n would benefit both the Brooklyn \\n Baseball Club and myself. \\n \\n (TO WALKER) \\n This is about Robinson? \\n\",\n \" A National League players' strike \\n instigated by some of the St. Louis \\n Cardinals against the presence of \\n Negro first baseman Jackie Robinson \\n has been averted temporarily and \\n perhaps permanently quashed. \\n\",\n \" RICKEY (CONT'D) \\n The Dodgers check into a hotel. A \\n decent good hotel. You're worn out \\n from the road and some clerk won't \\n give you the pen to sign in. \\n\",\n \" a contract, and I will personally \\n see that baseball is never so \\n abused and misrepresented again! \\n Is he done? An embarrassed smattering of applause. Mostly \\n shock and stares. As Rickey stands there uncomfortably... \\n\",\n \" in the Dodger minor leagues. He is credited with mentoring \\n several African American minor league players. \\n \\n Wendell Smith became the first African-American sportswriter \\n to join the Baseball Writers Association in 1948. \\n\",\n \" On first, mouth hanging open. Almost forgets to take a lead. \\n It's an instant Rorschach test. \\n \\n DODGER DUGOUT \\n Shotton and the players look stricken. Even Walker doesn't\",\n \" (POINTS) \\n Sign here? \\n \\n RICKEY \\n Yes, yes. \\n As Jack poises the pen -- Rickey suddenly aghast. \\n \\n RICKEY \"\n ],\n [\n \" BATTER hits a LINE DRIVE which -- Pee Wee Reese nearly leaps \\n out of his socks to bring down. Wow... \\n As the CROWD claps in appreciation, Jack takes a deep breath. \\n\",\n \" He wants to get us used to Negro \\n crowds. He wants more of them than \\n us. He's hoping it'll get us more \\n comfortable being around Robinson. \\n Higbe clears his throat, reads what he's written: \\n\",\n \" I have a ballplayer on my Montreal \\n team named Jackie Robinson. \\n The start of applause. Rickey motions for it to stop. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" Cincinnati's nearly a home game for \\n you. \\n \\n REESE \\n I got this letter, sir. I guess \\n some people aren't too happy about \\n me playing with Robinson.\",\n \" Now cries of CARPETBAGGER! cut through. PEE WEE, HOW CAN YOU \\n PLAY WITH THIS BLACK BASTARD!? Reese stares up at the worst\",\n \" What can I do for you, Pee Wee? \\n \\n REESE \\n Well, Mr. Rickey, it's like this, \\n the series in Cincinnati next week. \\n \\n RICKEY\",\n \" me between the eyes with it. \\n \\n POLICEMAN \\n Is that so? \\n The CROWD BOOING. The black section especially. \\n \\n HOPPER \\n (arrives from dugout)\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \",\n \" 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \\n \\n Guys change into their street clothes. Branca reads to Reese \",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" pokes a soft hit past second. A nothing hit, but he's \\n standing on first. And he looks, well, ferocious in fact. \\n As Pete Reiser steps up into the batter's box...\",\n \" displeasure as the Dodgers take the \\n field. Jackie Robinson at first. \\n The Brat Eddie Stanky at second. \\n Spider Jorgensen at third. And the \\n captain Pee Wee Reese at shortstop. \\n\",\n \" Got a petition goin' on, Stank. \\n \\n BRAGAN \\n To keep Robinson up in Montreal \\n where he belongs. \\n \\n STANKY \\n Oh... Did Pee Wee sign it? \\n\",\n \" field (the Reds coming off it). \\n Jack headed for first. Pee Wee out to short. \\n \\n FRECKLES \\n Nigger! \\n (then...) \\n We don't want you here!\",\n \" hecklers along the first base line. He looks a little sad. \\n \\n REESE \\n They can say what they want; we're \\n here to play baseball. \\n \\n JACK\",\n \" near him as he stares ahead, trapped in a kind of void. The \\n closest player to him is Bobby Bragan. Bragan finally \\n manages to glance over at him, then looks quickly away. \\n \\n CUT TO: \\n\",\n \" Jones swings, pops it up. \\n \\n BARBER \\n It's popped up foul toward first. \\n Should be out of play. But here \\n comes Robinson, he's coming hard -- \\n\"\n ],\n [\n \" 1947. He won the World Series in 1955 against the New York \\n Yankees, stealing home in Game One. He was elected to the \\n Baseball Hall of Fame in 1962. \\n\",\n \" 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \\n \\n Guys change into their street clothes. Branca reads to Reese \",\n \" He stands with Dixie Walker the Dodger right fielder. \\n \\n HOPPER \\n \\n (MISSISSIPPI TWANG) \\n Well, when Mr. Rickey picks one, he\",\n \" BARBER'S VOICE \\n The Dodgers closing in on the \\n Pennant as they'll leave St. Louis \\n for Cincinnati and a three game \\n series with the Reds. \",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" BARBER'S VOICE \\n A very big game today here in \\n Pittsburgh. A win and the Dodgers \\n will have clinched the National \\n League Pennant. \\n \\n CUT TO: \\n\",\n \" 44 EXT. CITY ISLAND BALLPARK - DAYTONA BEACH - DAY 44 \\n \\n A stadium SIGN boasts Brooklyn Dodgers vs. Montreal Royals. \\n \\n \\n \\n \\n\",\n \" they've cut the Dodger lead to 2. \\n Nippy Jones up. Musial taking his \\n place on deck. Jones likes to \\n punch that ball when he swings. \",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" displeasure as the Dodgers take the \\n field. Jackie Robinson at first. \\n The Brat Eddie Stanky at second. \\n Spider Jorgensen at third. And the \\n captain Pee Wee Reese at shortstop. \\n\",\n \" He won the World Series in 1969 with the Miracle Mets. \\n \\n Rachel Robinson splits her time between Connecticut and \\n Manhattan where she runs the Jackie Robinson Foundation. \\n \\n Jackie Robinson was named Major League Rookie of the Year in \",\n \" 95 INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 95 \\n \\n Durocher, in a suit, cleans out his locker. Carefully sets\",\n \" 124 EXT. ON DECK CIRCLE - EBBETS FIELD - DAY 124 \\n \\n Brooklyn vs. Philadelphia. The bottom of the first. The \\n crowd CHEERS. Stanky safe on first. \\n\",\n \" The Dodgers showering, guys chattering. Suddenly, there's \\n Branca and Jack at the shower entrance. All eyes look over. \\n Branca enters. Then Jack. A beat and everyone goes back to\",\n \" I see you starting in the spring \\n with our affiliate in Montreal. If \\n you make it there, we'll try you \\n down here with the Dodgers. The \\n white Brooklyn Dodgers.\",\n \" CUT TO: \\n \\n 110 THE PLAYERS LINED UP FOR THE NATIONAL ANTHEM 110 \\n The Dodgers down one baseline, the BOSTON BRAVES down the\",\n \" We're the Dodgers. We have a \\n reservation. \\n \\n HOTEL MANAGER \\n Your team's not welcome, not while \\n you have ballclub Negroes with you. \\n\",\n \" tied it with two of their own in \\n the top of the ninth. This game is \\n crucial to the Red Birds. They're \\n five games out, the Dodgers having \\n not relinquished first place sine\",\n \" ENOS SLAUGHTER steps in for St. Louis. Hugh Casey on the \\n mound for Brooklyn. Slaughter looks fiercely determined. \\n \\n RED BARBER'S VOICE \\n It wasn't enough as the Cardinals\",\n \" Joyous, Rickey grabs a sheet showing the NL standings. \\n \\n RICKEY \\n And eliminates the Giants and \\n Boston. \\n He puts an âX' through Boston and the Giants. The rest of\"\n ],\n [\n \" Back, back, back and oh doctor! \\n Robinson got his pitch! \\n \\n CUT TO: \\n \\n 200D FORBES FIELD 200D\",\n \" Jack falls back, strokes a double into the gap. \\n \\n BARBER'S VOICE \\n That one wasn't quite âin' enough. \\n Robinson punishing the Redbirds \\n with a smart piece of hitting. \\n\",\n \" back to third before... Hermanski cracks a single to left. \\n As Jack crosses the plate, he stares down Chapman on his way \\n to the dugout. As Chapman turns his head, spits -- \\n \\n CUT TO:\",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" A kid in a Montreal uniform looks over. SPIDER JORGENSEN. \\n \\n HOPPER \\n Meet Jackie Robinson. \\n \\n CUT TO: \\n\",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" CHAPMAN \\n Hey, porch monkey! Hey Robinson! \\n Hey boy! You know why you're here? \\n \\n EDDIE STANKY \\n On the bench. Without warning, he blasts off it. MOVE WITH\",\n \" Jones swings, pops it up. \\n \\n BARBER \\n It's popped up foul toward first. \\n Should be out of play. But here \\n comes Robinson, he's coming hard -- \\n\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \",\n \" Shut up and go back to St. Louis! \\n \\n RACIST FAN #1 \\n Hey, you got a nigger on your team! \\n \\n BROOKLYN FAN #2\",\n \" Jack, at his catcher KLUTTZ who flicks his thumb: âHit him.' \\n INSERT: May 17, 1947. Pittsburgh. \\n Here it comes. All Jack has time to do is cover his face to\",\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \",\n \" Casey goes into his wind-up. \\n Slaughter swings, hits a hard ground ball right at Reese who \\n fires over to Jack at first. Slaughter is out by fifteen \\n feet, but he never slows down. And his foot comes down --\",\n \" A National League players' strike \\n instigated by some of the St. Louis \\n Cardinals against the presence of \\n Negro first baseman Jackie Robinson \\n has been averted temporarily and \\n perhaps permanently quashed. \\n\",\n \" The catcher shoves him in the back. Jack turns, shoves back. \\n As the two men wrestles each other to the ground -- \\n \\n CUT TO: \\n\",\n \" He throws over. Jack back to the bag. Higbe gets the ball \\n back, looks in. Jack bouncing, pounding off third. His \\n movements carry violence within them. Like a piston \\n exploding in an engine. \",\n \" \\n \\n TAN REV 6-25-12 118. \\n \\n 201 PIRATES DUGOUT 201 \\n Kirby Higbe who watches Robinson round the bases in disgust. \\n\",\n \" things: that you are a fine \\n gentlemen and a great ballplayer. \\n Like our Savior, you must have the \\n guts to turn the other cheek. \\n Jack considers Rickey. Rickey looks worn out. \\n\",\n \" -- High on Jack's right calf. Slaughter's spiked him \\n something wicked. Jack goes down in a heap clutching his \\n leg, blood already seeping through his high socks.\"\n ],\n [\n \" Do what, Mr. Rickey? \\n \\n RICKEY \\n I'm going to bring a Negro \\n ballplayer to the Brooklyn Dodgers. \\n \\n PARROTT \\n With all due respect, sir, have you\",\n \" things: that you are a fine \\n gentlemen and a great ballplayer. \\n Like our Savior, you must have the \\n guts to turn the other cheek. \\n Jack considers Rickey. Rickey looks worn out. \\n\",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" RICKEY (CONT'D) \\n Can you do it? \\n Jack poised at what will be his Rubicon. He crosses. \\n \\n JACK \\n Mr. Rickey, you give me a uniform,\",\n \" Why are you doing this, Mr. Rickey? \\n \\n RICKEY \\n We had victory over fascism in \\n Germany; it's time for victory over \\n racism at home. \\n \\n JACK\",\n \" Rickey stands there until finally, opening his mouth... \\n \\n RICKEY \\n You can't, Jackie. You know it. \\n \\n JACK \\n I'm supposed to let this go on? \\n\",\n \" 93 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 93 \\n \\n Rickey reads to Parrott from the New York Sun. \\n \\n RICKEY \\n Branch Rickey cannot afford to\",\n \" Shotton considers Rickey a beat and then looks away. \\n \\n SHOTTON \\n Baseball's the only life for an old \\n pepper pot like me, but I promised \\n my wife, Branch. \\n\",\n \" 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 \\n \\n Blinds closed. Jack sits across the desk from Rickey.\",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" Rickey ends the debate... \\n \\n RICKEY \\n Robinson's a Methodist. I'm a \\n Methodist. God's a Methodist. We \\n can't go wrong. Find him. Bring him \",\n \" Philadelphia and you answer because \\n he was a Negro, it may not be a \\n sufficient reply. \\n As Rickey hangs up the phone... \\n \\n CUT TO: \\n \\n \\n \\n \",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" He'll need to be. \\n Rickey looks back to Jack who is as angry as he is confused. \\n \\n RICKEY \\n I want to win! I want ballplayers \\n who can win! Are you one of them?! \\n\",\n \" 140 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - LATE AFTERNOON 140 \\n \\n Rickey sits brooding, thinking. Parrott enters, upset. \\n \\n PARROTT\",\n \" strut. You'll wear badges. You'll \\n hold Jackie Robinson days and \\n Jackie Robinson nights. You'll get \\n drunk, fight and be arrested. \\n This is too much. People are slackjawed. Rickey powers on.\",\n \" that every one in baseball will be \\n against me. But I'm going to do it. \\n \\n Parrott looks to Sukeforth who keeps his eyes on Rickey. \\n \\n SUKEFORTH\",\n \" JACK \\n Yes. \\n \\n RICKEY \\n A black man in white baseball. \\n Imagine the reaction. The vitriol. \\n Rickey strides forward, gets in his face. \\n\",\n \" 71 INT. BRANCH RICKEY'S OFFICE - EARLY MORNING 71 \\n \\n It's very early in New York. Rickey on the phone. \\n \\n RICKEY \\n Another spring training is upon us.\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\"\n ],\n [\n \" cut from the team. \\n Jack LAUGHS harder. Wendell LAUGHS as well. As it fades, \\n Jack looks back over his shoulder. Jesus... \\n \\n CUT TO: \\n\",\n \" near him as he stares ahead, trapped in a kind of void. The \\n closest player to him is Bobby Bragan. Bragan finally \\n manages to glance over at him, then looks quickly away. \\n \\n CUT TO: \\n\",\n \" minutes to check in and then get to \\n Shibe! Chop chop. \\n No one is listening as the TEAM DRIVER opens the lower \\n compartment and the players (including Jack) grab their bags. \\n\",\n \" me. But he opens up eventually. \\n \\n RICKEY \\n Good. It's too much to carry \\n inside. Does he have any friends \\n on the team? \\n (she gives him a look)\",\n \" try your very best for this team \\n until I can work out a trade. \\n That gets Bragan's goat. He jumps up, really mad. \\n \\n BRAGAN \\n Do you think I would quit on\",\n \" Because my job is to win. I have \\n an obligation to Brooklyn to put \\n the best team on the field I can. \\n Your presence on the roster \\n increases our chances of winning. \\n Not buying it, Jack looks over at him. \\n\",\n \" getting clean. It's no big deal. Except... \\n Dixie Walker looks to the floor, shakes his head. Finally, \\n quietly, he leaves. Who's the loneliest man on the team now? \\n \\n CUT TO:\",\n \" wherever the team may be, help him \\n find restaurants, etc... \\n \\n SMITH \\n What's in it for me? Besides the \\n fifty dollars and a whole lot of \\n aggravation? \\n \\n RICKEY\",\n \" Mr. Rickey's office. He needs to \\n see you right away. He has a \\n contract for you to sign. \\n That wakes him up. \\n \\n CUT TO: \\n\",\n \" 159 EXT. THE BENJAMIN FRANKLIN HOTEL - DAY 159 \\n \\n The Dodger TEAM BUS pulls up. The doors whoosh open; Parrott \",\n \" to him... The Commissioner of \\n what..? Oh, yes put him on. \\n (looks to Parrott) \\n The commissioner of baseball. \\n \\n CUT TO: \\n\",\n \" steps off looking official. As the players start to follow: \\n INSERT: May 9, 1947. Benjamin Franklin Hotel, Philadelphia. \\n \\n PARROTT \\n Come on, fellas! We have twenty \",\n \" using their heads. They have the \\n same heads this year and should \\n know that they can't pick the \\n players of another club. \\n \\n CUT TO: \\n \\n \\n \\n \\n \\n \",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" As Herbert Miller introduces... \\n \\n MILLER \\n I present the general manager of \\n the Brooklyn Dodger baseball club, \\n Mr. Branch Rickey! \\n Warm APPLAUSE as Rickey steps up. As it settles...\",\n \" A car has pulled up. The driver talks to several players. \\n They look over as Jack exits. The driver is Clyde Sukeforth. \\n \\n SUKEFORTH \\n Are you Jackie Robinson? \\n\",\n \" Shotton as a manager. You can win \\n the pennant in spite of me. I can \\n not possibly hurt you. \\n The Dodgers trade looks. Not exactly inspirational. As \\n Shotton heads out he pauses by Jack. \\n\",\n \" He is and he knows it. The crowd stunned into silence. Jack \\n frozen a moment, head down, furious with himself. Low. \\n \\n BARBER'S VOICE \\n The Cardinals pick up a game. It \",\n \" They watch as Rickey pulls Jack from the press. He leads \\n Jack directly toward Hopper. As Walker excuses himself... \\n \\n WALKER \\n Good luck, Hop... \\n \\n RICKEY\",\n \" crosses the plate, heads in, sits a few feet from Stanky. \\n \\n JACK \\n Thanks. \\n \\n STANKY \\n For what? You're on my team. What\"\n ],\n [\n \" I see you starting in the spring \\n with our affiliate in Montreal. If \\n you make it there, we'll try you \\n down here with the Dodgers. The \\n white Brooklyn Dodgers.\",\n \" If it softens at the sight of \\n Jackie's skills, he'll join the \\n club some time between April 10 and \\n April 15. Otherwise, Robinson will \\n spend the year back in Montreal. \\n (throws paper down)\",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" Got a petition goin' on, Stank. \\n \\n BRAGAN \\n To keep Robinson up in Montreal \\n where he belongs. \\n \\n STANKY \\n Oh... Did Pee Wee sign it? \\n\",\n \" A kid in a Montreal uniform looks over. SPIDER JORGENSEN. \\n \\n HOPPER \\n Meet Jackie Robinson. \\n \\n CUT TO: \\n\",\n \" the Montreal RUNNER at second, then focuses on home. \\n \\n 59 SMITH 59 \\n His hands resting on the top of his typewriter. \\n \\n SMITH \\n Come on, Jackie. Come on, batter. \\n\",\n \" RICKEY \\n Harold, telegram the press. Say \\n this: âThe Brooklyn Dodgers today \\n purchased the contract of Jackie \\n Robinson from the Montreal Royals. \\n He will report immediately.â\",\n \" Clay, I'd like you to meet Jackie \\n Robinson. Jackie, Clay Hopper, \\n manager of the Montreal Royals. \\n Hopper shakes his hand as they exchange greetings. \\n \\n HOPPER\",\n \" They can't keep you on Montreal for \\n long. After these exhibition \\n games, they've got to bring you up. \\n \\n (NO REPLY) \\n You don't have two words to rub \\n together, do you?\",\n \" I have a ballplayer on my Montreal \\n team named Jackie Robinson. \\n The start of applause. Rickey motions for it to stop. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" Montreal. Ball players are \\n conservative. \\n \\n RICKEY \\n A team full of tough war veterans? \\n Immigrants' sons? Boys from \\n impoverished parts of the country? \\n \\n DUROCHER\",\n \" Back, back, back and oh doctor! \\n Robinson got his pitch! \\n \\n CUT TO: \\n \\n 200D FORBES FIELD 200D\",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" Jack crossing toward them in his Montreal Monarchs uniform \\n carrying a glove and a bat. 200 white players clocking him. \\n He's surrounded by REPORTERS and PHOTOGRAPHERS. It's the cue\",\n \" upset team chemistry and so the \\n only thing keeping Robinson off the \\n Dodgers now, plainly, is the \\n attitude of the players. \\n INSERT: Brooklyn. April 9, 1947. \\n \\n RICKEY\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" What about Robinson? \\n Bragan's been staring at the floor. He looks up now. The \\n low afternoon sun hits his face. \\n \\n BRAGAN \\n I'd like to be his teammate. \\n\",\n \" deals a pick off throw to Marion at \\n second and Robinson is out! \\n Marion breaks for the bag and Munger turns and fires a \\n strike. Marion brings down the tag -- Out! \",\n \" \\n \\n \\n \\n GOLDENROD REV 5-9-12 12. \\n \\n JACK \\n The Brooklyn Dodgers just signed me \\n to play ball up in Montreal. It\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \"\n ],\n [\n \" Like a bull on his way to slaughter, he revolts. WHAM-WHAM! \\n He proceeds to turn his bat into SPLINTERS. Concrete chips, \\n wood flies. Jack drops the handle of the bat, pounds his\",\n \" Takes a fastball in on the hands. \\n Robinson, who is pitched to a great \\n deal that way, uses a thicker \\n handle bat than most hitters, just \\n because he hits a lot of balls out \\n on his hands.\",\n \" Jack considers him. Everything hangs in the balance. Then: \\n \\n JACK \\n I'm gonna need a new bat. \\n As Jack heads back down the tunnel for the field. \\n \\n CUT TO: \\n\",\n \" Stanky so mad he can't see straight. Chapman surrenders. \\n \\n CHAPMAN \\n Okay, okay. Jesus. \\n As Chapman disappears into his dugout, Jack whacks a single. \\n\",\n \" Standing dead still at the plate, bat cocked and ready. \\n \\n BARBER'S VOICE \\n Here's Robinson. Jackie holds that \\n club down by the end. Rear foot on \",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" He throws over. Jack back to the bag. Higbe gets the ball \\n back, looks in. Jack bouncing, pounding off third. His \\n movements carry violence within them. Like a piston \\n exploding in an engine. \",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" SMITH (O.S.) \\n Robinson jogged around the bases, \\n his heart singing... \\n The crowd loves it as he continues toward third where \\n Sukeforth is clapping for all he's worth. \\n\",\n \" you know where you'd be right now?! \\n On a bus headed down to Newport \\n News cuz you can't play for shit! \\n Here comes the pitch. Jack nonchalantly sticks his bat out,\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \",\n \" You fellas are making too big a \\n deal out of this. He scored We \\n lost. One to nothing. \\n \\n REPORTER THREE \\n Do you think you were a little hard \\n on Robinson? \\n\",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" 62 SMITH 62 \\n Nearly drops his typewriter, pushes his hat back as he \\n watches Jack start his home run trot. Smith laughs. Joy. \\n \\n 63 DUGOUT 63\",\n \" some reporter know how he feels. \\n They stop talking as Robinson walks past, the last one into \\n the shower, a couple of towels around him. \\n \\n \\n \\n \\n \\n \\n \\n \",\n \" Jones swings, pops it up. \\n \\n BARBER \\n It's popped up foul toward first. \\n Should be out of play. But here \\n comes Robinson, he's coming hard -- \\n\",\n \" CHAPMAN (CONT'D) \\n Oh, I think I got it. Dixie, I \\n believe I know! \\n \\n JACK \\n Grips the bat. Watches for the next pitch with bloody\",\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \",\n \" well outside. Another pitch outside. âBall Three!â \\n \\n BARBER'S VOICE \\n 3 and 0 now. Robinson waiting on \\n something he can swing on.\",\n \" together. They both look back to see the result of the play. \\n As Robinson smiles and Walker scowls, we know... \\n \\n RICKEY'S VOICE \\n Send Dixie in. \\n\"\n ],\n [\n \" together. They both look back to see the result of the play. \\n As Robinson smiles and Walker scowls, we know... \\n \\n RICKEY'S VOICE \\n Send Dixie in. \\n\",\n \" What can I do for you, Pee Wee? \\n \\n REESE \\n Well, Mr. Rickey, it's like this, \\n the series in Cincinnati next week. \\n \\n RICKEY\",\n \" He wants to get us used to Negro \\n crowds. He wants more of them than \\n us. He's hoping it'll get us more \\n comfortable being around Robinson. \\n Higbe clears his throat, reads what he's written: \\n\",\n \" Now cries of CARPETBAGGER! cut through. PEE WEE, HOW CAN YOU \\n PLAY WITH THIS BLACK BASTARD!? Reese stares up at the worst\",\n \" BATTER hits a LINE DRIVE which -- Pee Wee Reese nearly leaps \\n out of his socks to bring down. Wow... \\n As the CROWD claps in appreciation, Jack takes a deep breath. \\n\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" don't know what they want. \\n \\n RACHEL \\n \\n (BEAMING) \\n They want to see if Jackie Robinson \\n is real. They want to see your \\n pride, your dignity. Because then\",\n \" Why are you doing this, Mr. Rickey? \\n \\n RICKEY \\n We had victory over fascism in \\n Germany; it's time for victory over \\n racism at home. \\n \\n JACK\",\n \" life, Coach. \\n \\n SUKEFORTH \\n Well, it's like this. Brooklyn's \\n got a solid second baseman. And \\n they got Pee Wee Reese at short. \",\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \",\n \" 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \\n \\n Guys change into their street clothes. Branca reads to Reese \",\n \" 164 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 164 \\n \\n Rickey looks up as Reese enters. He holds a LETTER. \\n \\n RICKEY\",\n \" Branch Rickey was elected to the Hall of Fame in 1967. \\n \\n Pee Wee Reese was elected to the Hall of Fame in 1984. \\n \\n Bobby Bragan retired the following year and became a manager\",\n \" as well. Jack finds himself looking at Pee Wee Reese. \\n \\n JUMP AHEAD TO: \\n \\n 103 EXT. SINGER'S DRUG STORE - BROOKLYN - DAY 103 \\n\",\n \" We end on a montage of Jackie Robinson Day in present time. \\n Every year in April, all MLB players wear the number 42 as a \\n reminder of Jackie's accomplishments on and off the field. \\n\",\n \" field (the Reds coming off it). \\n Jack headed for first. Pee Wee out to short. \\n \\n FRECKLES \\n Nigger! \\n (then...) \\n We don't want you here!\",\n \" things: that you are a fine \\n gentlemen and a great ballplayer. \\n Like our Savior, you must have the \\n guts to turn the other cheek. \\n Jack considers Rickey. Rickey looks worn out. \\n\",\n \" displeasure as the Dodgers take the \\n field. Jackie Robinson at first. \\n The Brat Eddie Stanky at second. \\n Spider Jorgensen at third. And the \\n captain Pee Wee Reese at shortstop. \\n\"\n ],\n [\n \" Chapman and Jack stand side-by-side facing the PRESS. \\n Chapman makes a little speech. Hypocrisy at its best. \\n \\n CHAPMAN \\n Jackie's been accepted in baseball \\n and the Philadelphia organization\",\n \" CHAPMAN \\n Some Jew must've wrote that. \\n \\n PENNOCK \\n This doesn't look good, Ben! It \\n makes the Phillies, look racist! \\n You've got to do something. \\n\",\n \" Jack doesn't want to look over, but he is compelled. The \\n bench players flanking Chapman look furious, but Chapman is \\n doing this with a sick sort of glee. \\n \\n CHAPMAN\",\n \" Stanky so mad he can't see straight. Chapman surrenders. \\n \\n CHAPMAN \\n Okay, okay. Jesus. \\n As Chapman disappears into his dugout, Jack whacks a single. \\n\",\n \" CHAPMAN \\n We treat him the same way we do \\n Hank Greenburg except we call Hank \\n a kike instead of a coon. When we \\n play exhibitions against the\",\n \" CHAPMAN \\n Me?! \\n \\n CUT TO: \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" (low to Chapman) \\n We'll hold the bat. That way we \\n don't have to touch skin. \\n Chapman nods, looks relieved. A photographer hands over a \\n bat. Chapman has two hands on the handle. Jack puts one\",\n \" rushes in; he's out of breath and dripping wet. Parrott \\n holds up the Herald Tribune sports section. \\n \\n PARROTT \\n The news isn't good, sir. \\n\",\n \" Ben Chapman sits across from Herb Pennock who flips through \\n underlined newspaper reports. Pennock reads one: \\n \\n PENNOCK \\n There is a great lynch mob among \\n us; they go unhooded and work\",\n \" CHAPMAN \\n Hey, porch monkey! Hey Robinson! \\n Hey boy! You know why you're here? \\n \\n EDDIE STANKY \\n On the bench. Without warning, he blasts off it. MOVE WITH\",\n \" hardened man can change. \\n \\n JACK \\n Chapman hasn't changed. He's just \\n trying to take the heat off. \\n \\n PARROTT \\n Mr. Rickey says it doesn't matter\",\n \" 138 INT. VISITOR'S LOCKER ROOM - DAY 138 \\n \\n Several REPORTERS around Chapman as well. He drinks a BEER. \\n \\n CHAPMAN\",\n \" back to third before... Hermanski cracks a single to left. \\n As Jack crosses the plate, he stares down Chapman on his way \\n to the dugout. As Chapman turns his head, spits -- \\n \\n CUT TO:\",\n \" CHAPMAN (CONT'D) \\n Oh, I think I got it. Dixie, I \\n believe I know! \\n \\n JACK \\n Grips the bat. Watches for the next pitch with bloody\",\n \" Chapman the Phillies manager up on \\n the top step, seems to be chirping \\n something out to Robinson. Chapman \\n a hothead during his playing days \\n with the Yankees. \\n\",\n \" He is and he knows it. The crowd stunned into silence. Jack \\n frozen a moment, head down, furious with himself. Low. \\n \\n BARBER'S VOICE \\n The Cardinals pick up a game. It \",\n \" Because my job is to win. I have \\n an obligation to Brooklyn to put \\n the best team on the field I can. \\n Your presence on the roster \\n increases our chances of winning. \\n Not buying it, Jack looks over at him. \\n\",\n \" I'm going in that Phillie dugout \\n tomorrow and wring Chapman's neck! \\n Rickey considers Parrott, starts laughing. Parrott is hurt. \\n \\n PARROTT \\n Did I say something funny? \\n\",\n \" Sit down. Sit down or I'll sit you \\n down. \\n \\n CHAPMAN \\n What's the problem, Stank? \\n \\n STANKY \\n You're the problem, you goddamn\",\n \" This is a white man's game. Get it \\n through your thick monkey skull! \\n Jack stops short looks at him. Chapman stands his ground. \\n \\n RICKEY\"\n ],\n [\n \" Rickey stands there until finally, opening his mouth... \\n \\n RICKEY \\n You can't, Jackie. You know it. \\n \\n JACK \\n I'm supposed to let this go on? \\n\",\n \" JACK \\n Yes. \\n \\n RICKEY \\n A black man in white baseball. \\n Imagine the reaction. The vitriol. \\n Rickey strides forward, gets in his face. \\n\",\n \" Rickey starts slowly rubbing the baseball in his hands. \\n \\n RICKEY \\n A fine young man. I saw him laid \\n low. Broken because of the color \\n of his skin and I didn't do enough\",\n \" RICKEY \\n I understand. I bet Jackie just \\n wants to play ball. I bet he wishes \\n he wasn't leading the league in hit \\n by pitch. I bet he wishes people \\n didn't want to kill him. But the\",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" things: that you are a fine \\n gentlemen and a great ballplayer. \\n Like our Savior, you must have the \\n guts to turn the other cheek. \\n Jack considers Rickey. Rickey looks worn out. \\n\",\n \" RICKEY (CONT'D) \\n Can you do it? \\n Jack poised at what will be his Rubicon. He crosses. \\n \\n JACK \\n Mr. Rickey, you give me a uniform,\",\n \" RICKEY \\n Harold, telegram the press. Say \\n this: âThe Brooklyn Dodgers today \\n purchased the contract of Jackie \\n Robinson from the Montreal Royals. \\n He will report immediately.â\",\n \" biggest threat to his success, the \\n one enemy most likely to ruin that \\n success, is the Negro people \\n themselves! \\n There is shocked silence in the room. Rickey notices a group \",\n \" Rickey grits his teeth, stays civil. \\n \\n RICKEY \\n And why's that, Herb? His name's \\n Jackie Robinson by the way. \\n \\n PENNOCK\",\n \" Rickey is not liking where this is going; he motions for the \\n letter, scans it, reads the highlights... \\n \\n RICKEY \\n Nigger lover. Watch yourself. We \\n will get you, carpetbagger.\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" Shotton considers Rickey a beat and then looks away. \\n \\n SHOTTON \\n Baseball's the only life for an old \\n pepper pot like me, but I promised \\n my wife, Branch. \\n\",\n \" Philadelphia and you answer because \\n he was a Negro, it may not be a \\n sufficient reply. \\n As Rickey hangs up the phone... \\n \\n CUT TO: \\n \\n \\n \\n \",\n \" Why are you doing this, Mr. Rickey? \\n \\n RICKEY \\n We had victory over fascism in \\n Germany; it's time for victory over \\n racism at home. \\n \\n JACK\",\n \" strut. You'll wear badges. You'll \\n hold Jackie Robinson days and \\n Jackie Robinson nights. You'll get \\n drunk, fight and be arrested. \\n This is too much. People are slackjawed. Rickey powers on.\",\n \" Do what, Mr. Rickey? \\n \\n RICKEY \\n I'm going to bring a Negro \\n ballplayer to the Brooklyn Dodgers. \\n \\n PARROTT \\n With all due respect, sir, have you\",\n \" that every one in baseball will be \\n against me. But I'm going to do it. \\n \\n Parrott looks to Sukeforth who keeps his eyes on Rickey. \\n \\n SUKEFORTH\",\n \" RICKEY (CONT'D) \\n Worry those pitchers so they come \\n apart. Sometimes they'll catch \\n you, but don't worry about that. \\n Ty Cobb got caught plenty. Just\",\n \" the Negro players I hope to bring \\n up next year I'll put together a \\n team that can win the World Series. \\n And the World Series means money. \\n Jack studies him a beat, not quite buying it. \\n \\n RICKEY\"\n ],\n [\n \" He is and he knows it. The crowd stunned into silence. Jack \\n frozen a moment, head down, furious with himself. Low. \\n \\n BARBER'S VOICE \\n The Cardinals pick up a game. It \",\n \" Know what I mean? \\n Walker reacting out in right. The crowd shuts down, some in \\n shock at the gesture. Jack surprised also. \\n \\n REESE (CONT'D) \\n Thank you, Jackie. \\n\",\n \" here? Rickey smiles, puts a finger to his lips... Shhhh. \\n \\n CUT TO: \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" me between the eyes with it. \\n \\n POLICEMAN \\n Is that so? \\n The CROWD BOOING. The black section especially. \\n \\n HOPPER \\n (arrives from dugout)\",\n \" Reese impulsively puts his arm around Jack's shoulder, stares \\n into the Cincy dugout. \\n \\n REESE \\n Ain't gonna be a next time. All we \\n got is right now. This right here.\",\n \" Reese nods. They start walking toward the stadium. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n TAN REV 6-25-12 68. \\n\",\n \" Now cries of CARPETBAGGER! cut through. PEE WEE, HOW CAN YOU \\n PLAY WITH THIS BLACK BASTARD!? Reese stares up at the worst\",\n \" near him as he stares ahead, trapped in a kind of void. The \\n closest player to him is Bobby Bragan. Bragan finally \\n manages to glance over at him, then looks quickly away. \\n \\n CUT TO: \\n\",\n \" GOLDENROD REV 5-9-12 102. \\n \\n REESE \\n \\n (QUIET) \\n Yes, Sir. I gotta get to practice. \\n \\n CUT TO:\",\n \" Get out of the game or be killed. \\n He looks at one more, reacts to the vitriol, but does not \\n utter it. Reese looks back at Rickey, shocked. \\n \\n REESE (CONT'D)\",\n \" biggest threat to his success, the \\n one enemy most likely to ruin that \\n success, is the Negro people \\n themselves! \\n There is shocked silence in the room. Rickey notices a group \",\n \" hecklers along the first base line. He looks a little sad. \\n \\n REESE \\n They can say what they want; we're \\n here to play baseball. \\n \\n JACK\",\n \" BATTER hits a LINE DRIVE which -- Pee Wee Reese nearly leaps \\n out of his socks to bring down. Wow... \\n As the CROWD claps in appreciation, Jack takes a deep breath. \\n\",\n \" (REESE NODS) \\n You still scared, Pee Wee? \\n \\n REESE \\n (looks down street) \\n Of garbage trucks? Terrified. \\n \\n CUT TO: \\n\",\n \" That way they won't be able to tell \\n us apart. \\n Reese heads for short. Jack pounds his fist in his glove. \\n \\n CUT TO: \\n \\n 169 OMITTED 169 \\n\",\n \" I CAN STILL HEAR HIM! \\n From somewhere, as the National Anthem ends... \\n \\n CUT TO: \\n \\n 54 EXT. ROOSEVELT STADIUM - DAY 54 \\n\",\n \" pokes a soft hit past second. A nothing hit, but he's \\n standing on first. And he looks, well, ferocious in fact. \\n As Pete Reiser steps up into the batter's box...\",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" quite know what to make of it. No one enjoys it, but Higbe. \\n \\n STANDS \\n CONCESSION MEN walk closer to listen. The fans range from \\n horrified to some mildly pleased. Rachel looks stricken. \\n\",\n \" Safe! A BUZZ goes through the stadium now as people start to \\n realize they are not watching something or someone ordinary. \\n \\n RICKEY \\n Watching from a seat behind third. \\n \\n RICKEY\"\n ],\n [\n \" She's all yours, Robinson. \\n As THUNDER rumbles in the distance... \\n \\n CUT TO: \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" Jack Robinson? Come with me. \\n She starts away without explaining, looks back at them a bit \\n impatiently. \\n \\n MISS BISHOP \\n Come on now. Both of you. \\n \\n CUT TO: \\n\",\n \" She holds it up. His name the only one filled in. \\n \\n RACHEL \\n And I put your name on it. See? \\n Jack Robinson. \\n He puts his hand out, takes hers. \\n \\n JACK\",\n \" SHOTTON \\n Are you Robinson? \\n \\n (JACK NODS) \\n I thought so. \\n Shotton pats Jack on the shoulder, continues on his way. \\n \\n CUT TO: \\n\",\n \" Robinson. Hundreds of people line up, mass at the: Colored \\n Entrance. In their Sunday best. Families. Couples. The \\n old. The frail. Young boys chase after each other. One\",\n \" A tug as Jack stops, looks back at her. Fighting back her \\n emotion and then impelled forward, she runs to him. They \\n come together. She practically disappears in his arms. They \\n do not want to be apart. \\n\",\n \" with Robinson. That you even got a \\n petition drawn up that you're all \\n gonna sign. Well boys, you know \\n what you can do with your petition? \\n \\n YOU CAN WIPE YOUR ASSES WITH IT! \\n\",\n \" WHACK! Rachel and Rickey watch Jack taking batting practice. \\n \\n RICKEY \\n You look lovely, Mrs. Robinson. \\n \\n RACHEL \\n Thank you. \\n \\n RICKEY\",\n \" Where Jack Robinson signs his contract. As he sets the pen \\n down -- Rickey starts APPLAUDING. He's joined by Parrott, \\n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \\n\",\n \" INSERT: April 10, 1947. \\n \\n JACK \\n Hello? \\n \\n JANE ANN'S VOICE \\n Mr. Robinson, this is Jane Ann in \",\n \" The older woman offers a little smile, leaves her there. \\n INSERT: Third Inning. \\n \\n P.A. ANNOUNCER \\n \\n (ECHOING) \\n Now batting. Jackie Robinson. \\n\",\n \" Hell, even your chauffeur. \\n (tips his hat) \\n Mrs. Robinson. \\n \\n RACHEL \\n It's Rachel. \\n \\n SMITH \\n Man, you two look wiped out. \\n\",\n \" You are a hard case, Jack Robinson. \\n Is it okay if I keep driving you or \\n should I let you out so you can \\n walk? \\n Jack bursts out laughing. So does Smith. \\n \\n JACK \",\n \" (KISSES HER) \\n Are you coming, Mrs. Robinson? \\n \\n RACHEL \\n (kisses him back) \\n I'd follow you anywhere, Mr. \\n Robinson. \",\n \" The phone still rings. Rickey looks to his open door. \\n \\n RICKEY \\n Jane Ann! Are you out there? \\n Grumbling, brambly eyebrows twitching, he makes the mistake \\n of answering his own phone. \\n\",\n \" The phone rings. Rachel answers in her nightgown. \\n \\n RACHEL \\n Hello? \\n \\n JACK'S VOICE \\n Rae, I'm in Brooklyn.\",\n \" What about Robinson? \\n Bragan's been staring at the floor. He looks up now. The \\n low afternoon sun hits his face. \\n \\n BRAGAN \\n I'd like to be his teammate. \\n\",\n \" some reporter know how he feels. \\n They stop talking as Robinson walks past, the last one into \\n the shower, a couple of towels around him. \\n \\n \\n \\n \\n \\n \\n \\n \",\n \" together. They both look back to see the result of the play. \\n As Robinson smiles and Walker scowls, we know... \\n \\n RICKEY'S VOICE \\n Send Dixie in. \\n\",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\"\n ],\n [\n \" SMITH (O.S.) \\n Robinson jogged around the bases, \\n his heart singing... \\n The crowd loves it as he continues toward third where \\n Sukeforth is clapping for all he's worth. \\n\",\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \",\n \" WHACK! The hit & run is on. The man on first runs on the \\n pitch as a LOW LINE DRIVE shoots for the gap between 1st and \\n 2nd. Robinson turns himself inside out to dive on his belly\",\n \" Jones swings, pops it up. \\n \\n BARBER \\n It's popped up foul toward first. \\n Should be out of play. But here \\n comes Robinson, he's coming hard -- \\n\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \",\n \" Casey goes into his wind-up. \\n Slaughter swings, hits a hard ground ball right at Reese who \\n fires over to Jack at first. Slaughter is out by fifteen \\n feet, but he never slows down. And his foot comes down --\",\n \" deals a pick off throw to Marion at \\n second and Robinson is out! \\n Marion breaks for the bag and Munger turns and fires a \\n strike. Marion brings down the tag -- Out! \",\n \" Jack slides into second, the throw high, ends up in center. \\n Half a dozen Dodgers impulsively on their feet and waving him \\n on as Jack gets to his feet and motors into THIRD. The throw\",\n \" He throws over. Jack back to the bag. Higbe gets the ball \\n back, looks in. Jack bouncing, pounding off third. His \\n movements carry violence within them. Like a piston \\n exploding in an engine. \",\n \" pokes a soft hit past second. A nothing hit, but he's \\n standing on first. And he looks, well, ferocious in fact. \\n As Pete Reiser steps up into the batter's box...\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" Like a bull on his way to slaughter, he revolts. WHAM-WHAM! \\n He proceeds to turn his bat into SPLINTERS. Concrete chips, \\n wood flies. Jack drops the handle of the bat, pounds his\",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" Jack running on the pitch. Reiser bunts. The play is to \\n first. Reiser is out and Jack slides safe into second. \\n SCHOENDIENST has the sense to vacate before he gets there. \\n \\n JACK\",\n \" Jack falls back, strokes a double into the gap. \\n \\n BARBER'S VOICE \\n That one wasn't quite âin' enough. \\n Robinson punishing the Redbirds \\n with a smart piece of hitting. \\n\",\n \" CHAPMAN \\n Hey, porch monkey! Hey Robinson! \\n Hey boy! You know why you're here? \\n \\n EDDIE STANKY \\n On the bench. Without warning, he blasts off it. MOVE WITH\",\n \" Shaking his head, the catcher gets back in his crouch, \\n signals the PITCHER. On the wind-up, the Runner is off \\n again. The catcher fires to THIRD: âSafe!â \\n\",\n \" as Dixie Walker barrels in low. \\n All Jackie's focus on the task at hand as he throws while \\n Walker submarines him. He lands in a heap tangled up \",\n \" Stanky so mad he can't see straight. Chapman surrenders. \\n \\n CHAPMAN \\n Okay, okay. Jesus. \\n As Chapman disappears into his dugout, Jack whacks a single. \\n\",\n \" the Montreal RUNNER at second, then focuses on home. \\n \\n 59 SMITH 59 \\n His hands resting on the top of his typewriter. \\n \\n SMITH \\n Come on, Jackie. Come on, batter. \\n\"\n ],\n [\n \" It was. But I know he played for \\n the Philadelphia Baseball Club. On \\n account of he struck at me three \\n times and never hit me once. \\n That brings the house down. Check out their laughing faces. \\n\",\n \" boy is in uniform. \\n \\n RICKEY \\n Herbert, what your team does is \\n your decision. But my team is \\n coming to Philadelphia. With \\n Robinson. If we have to claim the\",\n \" Philadelphia and you answer because \\n he was a Negro, it may not be a \\n sufficient reply. \\n As Rickey hangs up the phone... \\n \\n CUT TO: \\n \\n \\n \\n \",\n \" steps off looking official. As the players start to follow: \\n INSERT: May 9, 1947. Benjamin Franklin Hotel, Philadelphia. \\n \\n PARROTT \\n Come on, fellas! We have twenty \",\n \" GREEN REV 4-27-12 76. \\n The bear baiting has begun. Jack is in a kind of temporary \\n shock. That's the Phillies manager! In uniform. \\n \\n CHAPMAN\",\n \" 124 EXT. ON DECK CIRCLE - EBBETS FIELD - DAY 124 \\n \\n Brooklyn vs. Philadelphia. The bottom of the first. The \\n crowd CHEERS. Stanky safe on first. \\n\",\n \" Chapman and Jack stand side-by-side facing the PRESS. \\n Chapman makes a little speech. Hypocrisy at its best. \\n \\n CHAPMAN \\n Jackie's been accepted in baseball \\n and the Philadelphia organization\",\n \" I'm going in that Phillie dugout \\n tomorrow and wring Chapman's neck! \\n Rickey considers Parrott, starts laughing. Parrott is hurt. \\n \\n PARROTT \\n Did I say something funny? \\n\",\n \" The SCOREBOARD shows 1 run scored by the Phillies in the top \\n of the first. Jack steps up to the plate. Here we go again. \\n INSERT: April 23, 1947. The next day. \\n\",\n \" Joyous, Rickey grabs a sheet showing the NL standings. \\n \\n RICKEY \\n And eliminates the Giants and \\n Boston. \\n He puts an âX' through Boston and the Giants. The rest of\",\n \" me a service. \\n \\n PARROTT \\n A service?! \\n \\n RICKEY \\n Is there an echo in here? Yes, \\n he's creating sympathy on Jackie's \\n behalf. Philadelphia by the way is\",\n \" In back: TWO DEACONS in the back whisper over a SPORTS PAGE. \\n \\n DEACON ONE \\n Look here what he did. \\n \\n (READS) \\n Led the International League in\",\n \" Jack walk to the plate, digs a cleat into the batter's box... \\n \\n CHAPMAN'S VOICE \\n Hey! Hey you black Nigger! \\n Jack looks to the visitor's dugout where the Phillies Alabama-\",\n \" He is and he knows it. The crowd stunned into silence. Jack \\n frozen a moment, head down, furious with himself. Low. \\n \\n BARBER'S VOICE \\n The Cardinals pick up a game. It \",\n \" Jack crossing toward them in his Montreal Monarchs uniform \\n carrying a glove and a bat. 200 white players clocking him. \\n He's surrounded by REPORTERS and PHOTOGRAPHERS. It's the cue\",\n \" Jackie, excuse me, um, a request \\n came in. The Phillies manager Ben \\n Chapman, he'd like his photo taken \\n with you. \\n Jack pretends to sniff the air around Parrott. \\n \\n JACK\",\n \" 133 EXT. SCOREBOARD - EBBETS FIELD - DAY 133 \\n \\n Eight zeros hang for the Phillies. Seven for the Dodgers. \\n No score, the bottom of the 8th coming up. \\n\",\n \" well late. Phillies third baseman HANDLEY throws the ball \\n back to Dutch. Handley then looks to Jack. \\n \\n HANDLEY \\n I'm sorry. I want you to know what\",\n \" life, Coach. \\n \\n SUKEFORTH \\n Well, it's like this. Brooklyn's \\n got a solid second baseman. And \\n they got Pee Wee Reese at short. \",\n \" CUT TO: \\n \\n 156 INT. PENNOCK'S OFFICE - SHIBE PARK - DAY 156 \\n \\n Phillie GM HERB PENNOCK at his desk, on the phone. \\n\"\n ],\n [\n \" RICKEY \\n Harold, telegram the press. Say \\n this: âThe Brooklyn Dodgers today \\n purchased the contract of Jackie \\n Robinson from the Montreal Royals. \\n He will report immediately.â\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" Mr. Rickey's office. He needs to \\n see you right away. He has a \\n contract for you to sign. \\n That wakes him up. \\n \\n CUT TO: \\n\",\n \" As Herbert Miller introduces... \\n \\n MILLER \\n I present the general manager of \\n the Brooklyn Dodger baseball club, \\n Mr. Branch Rickey! \\n Warm APPLAUSE as Rickey steps up. As it settles...\",\n \" HIGBE \\n We, the undersigned Brooklyn \\n Dodgers will not play ball on the \\n same field as Jackie Robinson. \\n Higbe signs it. He hands the pen to Bragan who adds his own\",\n \" BARBER \\n One out in the bottom of the first. \\n Headed toward the plate for his \\n first big league at bat is Dodger \\n rookie Jackie Robinson. Jackie is \\n very definitely brunette. \\n\",\n \" from Guam. A sailor heard it on \\n the radio, told me the Dodgers had \\n signed a Negro player. I said that \\n was fine by me. Then he said the \\n guy was a shortstop. Least you\",\n \" Where Jack Robinson signs his contract. As he sets the pen \\n down -- Rickey starts APPLAUDING. He's joined by Parrott, \\n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \\n\",\n \" He stands with Dixie Walker the Dodger right fielder. \\n \\n HOPPER \\n \\n (MISSISSIPPI TWANG) \\n Well, when Mr. Rickey picks one, he\",\n \" upset team chemistry and so the \\n only thing keeping Robinson off the \\n Dodgers now, plainly, is the \\n attitude of the players. \\n INSERT: Brooklyn. April 9, 1947. \\n \\n RICKEY\",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" I see you starting in the spring \\n with our affiliate in Montreal. If \\n you make it there, we'll try you \\n down here with the Dodgers. The \\n white Brooklyn Dodgers.\",\n \" 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \\n \\n Guys change into their street clothes. Branca reads to Reese \",\n \" bubbles. BRANCH RICKEY at his desk. Two photos on the wall: \\n Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's \\n OF NAMES, every player in the Dodger organization. \\n\",\n \" 45 CLOSE ON BRANCH RICKEY - THE DODGER DUGOUT 45 \\n He sits watching as the segregated bleachers in right fill \\n with BLACK FANS. All else is white. Rickey pops a PEANUT in\",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" dugout. Sukeforth headed over wearing Dodger blue. \\n \\n SUKEFORTH \\n Robinson! \\n As Jack turns, Sukeforth tosses him a FIRST BASEMAN'S GLOVE. \\n\",\n \" Recently, the thought has occurred \\n to me that a change of ball clubs \\n would benefit both the Brooklyn \\n Baseball Club and myself. \\n \\n (TO WALKER) \\n This is about Robinson? \\n\",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" Clay, I'd like you to meet Jackie \\n Robinson. Jackie, Clay Hopper, \\n manager of the Montreal Royals. \\n Hopper shakes his hand as they exchange greetings. \\n \\n HOPPER\"\n ],\n [\n \" RICKEY (CONT'D) \\n I'll pay you $600 a month and a \\n $3,500 bonus when you sign the \\n contract. Is that agreeable?\",\n \" Mr. Rickey's office. He needs to \\n see you right away. He has a \\n contract for you to sign. \\n That wakes him up. \\n \\n CUT TO: \\n\",\n \" SMITH \\n Fifty dollars a week. \\n \\n RICKEY \\n I will pay you an additional fifty \\n dollars a week plus expenses if you \\n will attend spring training with \\n Jackie Robinson. You will watch\",\n \" RICKEY \\n Harold, telegram the press. Say \\n this: âThe Brooklyn Dodgers today \\n purchased the contract of Jackie \\n Robinson from the Montreal Royals. \\n He will report immediately.â\",\n \" Where Jack Robinson signs his contract. As he sets the pen \\n down -- Rickey starts APPLAUDING. He's joined by Parrott, \\n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \\n\",\n \" a contract, and I will personally \\n see that baseball is never so \\n abused and misrepresented again! \\n Is he done? An embarrassed smattering of applause. Mostly \\n shock and stares. As Rickey stands there uncomfortably... \\n\",\n \" 93 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 93 \\n \\n Rickey reads to Parrott from the New York Sun. \\n \\n RICKEY \\n Branch Rickey cannot afford to\",\n \" (POINTS) \\n Sign here? \\n \\n RICKEY \\n Yes, yes. \\n As Jack poises the pen -- Rickey suddenly aghast. \\n \\n RICKEY \",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" Red Sox just offered Ted Williams, \\n but I'll see what I can do. \\n \\n BRAGAN \\n Thank you, Mr. Rickey. \\n Bragan leaves. Rickey looks at Parrott: âWhat do you know?'\",\n \" 198 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 198 \\n \\n As the phone rings, Rickey grabs it. On edge.\",\n \" 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 \\n \\n Blinds closed. Jack sits across the desk from Rickey.\",\n \" 71 INT. BRANCH RICKEY'S OFFICE - EARLY MORNING 71 \\n \\n It's very early in New York. Rickey on the phone. \\n \\n RICKEY \\n Another spring training is upon us.\",\n \" As Herbert Miller introduces... \\n \\n MILLER \\n I present the general manager of \\n the Brooklyn Dodger baseball club, \\n Mr. Branch Rickey! \\n Warm APPLAUSE as Rickey steps up. As it settles...\",\n \" 118B INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 118B \\n \\n Rickey smiles from his desk as they enter. \\n \\n \\n \\n \\n\",\n \" 164 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 164 \\n \\n Rickey looks up as Reese enters. He holds a LETTER. \\n \\n RICKEY\",\n \" 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 \\n \\n Blinds closed. Dust motes in the air. A large GOLDFISH TANK\",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" HIGBE \\n We, the undersigned Brooklyn \\n Dodgers will not play ball on the \\n same field as Jackie Robinson. \\n Higbe signs it. He hands the pen to Bragan who adds his own\"\n ],\n [\n \" The phone rings. Rachel answers in her nightgown. \\n \\n RACHEL \\n Hello? \\n \\n JACK'S VOICE \\n Rae, I'm in Brooklyn.\",\n \" She holds it up. His name the only one filled in. \\n \\n RACHEL \\n And I put your name on it. See? \\n Jack Robinson. \\n He puts his hand out, takes hers. \\n \\n JACK\",\n \" A phone RINGS on a table. RACHEL ISUM steps in, 23, \\n possessed of style that you can only be graced with. \\n \\n RACHEL \\n Hello? \\n \\n CUT TO: \\n\",\n \" The phone still rings. Rickey looks to his open door. \\n \\n RICKEY \\n Jane Ann! Are you out there? \\n Grumbling, brambly eyebrows twitching, he makes the mistake \\n of answering his own phone. \\n\",\n \" He turns and walks away. As they watch, a phone rings... \\n \\n RICKEY'S VOICE \\n Yes, Wendell, what is it? \\n \\n CUT TO: \\n\",\n \" Where Jack Robinson signs his contract. As he sets the pen \\n down -- Rickey starts APPLAUDING. He's joined by Parrott, \\n JANE ANN and a JANITOR. Rickey claps Jack on the shoulder. \\n\",\n \" She's all yours, Robinson. \\n As THUNDER rumbles in the distance... \\n \\n CUT TO: \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" WHACK! Rachel and Rickey watch Jack taking batting practice. \\n \\n RICKEY \\n You look lovely, Mrs. Robinson. \\n \\n RACHEL \\n Thank you. \\n \\n RICKEY\",\n \" Watching him head for home, shaking hands with the two men he \\n batted in. Pride & joy in her eyes. \\n \\n RACHEL \\n Oh, Jack... Oh Jack... \\n \\n CUT TO: \\n\",\n \" RICKEY \\n Do you love her? Rachel? \\n \\n (JACK CONFUSED) \\n Don't you know? \\n \\n JACK \\n Yes, sir, very much. \\n \\n RICKEY\",\n \" Mr. Rickey's office. He needs to \\n see you right away. He has a \\n contract for you to sign. \\n That wakes him up. \\n \\n CUT TO: \\n\",\n \" He kisses her. She kisses him back. \\n \\n RACHEL \\n See you in Brooklyn in eight weeks. \\n \\n JACK \\n It might be Montreal.\",\n \" Rachel listening, smiling as CHEERS sound from outside the \\n apartment. We hear the sound of car horns on the street. \\n \\n 200F JACK 200F \\n He runs toward first and we run with him. The smile starts\",\n \" Hell, even your chauffeur. \\n (tips his hat) \\n Mrs. Robinson. \\n \\n RACHEL \\n It's Rachel. \\n \\n SMITH \\n Man, you two look wiped out. \\n\",\n \" You okay? \\n \\n RACHEL \\n I don't like seeing you leave, \\n that's all. \\n He looks at her a beat, resumes packing... \\n \\n JACK\",\n \" You'll stay here though, Rachel. \\n \\n RACHEL \\n Where are the other wives staying? \\n \\n SMITH \\n There are no other wives. You're \\n the only one Mr. Rickey allowed to\",\n \" (KISSES HER) \\n Are you coming, Mrs. Robinson? \\n \\n RACHEL \\n (kisses him back) \\n I'd follow you anywhere, Mr. \\n Robinson. \",\n \" 79 INT. LEO DUROCHER'S ROOM - THE TIVOLI HOTEL - NIGHT 79 \\n \\n Durocher lays staring up at the palm shadows on the ceiling. \\n Finally, the phone rings. He answers.\",\n \" look, he offers his hand to Rachel as she slides out as well. \\n \\n CUT TO: \\n \\n 23 OMITTED 23 \\n \\n \\n \\n \\n \\n \\n\",\n \" I'm sure it's got a lot to say \\n about a lot. Good night. \\n Durocher hangs up the phone, looks to her. \\n \\n DUROCHER \\n What am I gonna do with you? \"\n ],\n [\n \" I see you starting in the spring \\n with our affiliate in Montreal. If \\n you make it there, we'll try you \\n down here with the Dodgers. The \\n white Brooklyn Dodgers.\",\n \" INSERT: Panama City, Panama. March 18, 1947. \\n \\n DUROCHER \\n I mean it ain't gonna happen. The \\n Dodgers are never gonna demand \\n Robinson be brought up from\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" Walker (Alabama) and Dodger pitcher HUGH CASEY (Georgia). \\n \\n BRAGAN \\n Why do you think Rickey's got us \\n playing spring games in Panama? \\n \\n (MORE)\",\n \" few blocks from here. You'll stay \\n with the Harrises except for a few \\n days at the end of the week. The \\n whole Dodger organization is going \\n to Sanford, about 45 minute away. \",\n \" JACK \\n Look, I'm with the Brooklyn Dodger \\n organization. I've got to get down \\n to Daytona. I'm supposed to report \\n to spring training in the morning. \\n\",\n \" farm clubs. White faces look down as they pass a tired Jack, \\n who walks through the lot toward Wendell Smith and his Buick. \\n Higbe and Bragan call out from the door of the Dodger bus. \\n \\n HIGBE\",\n \" In Panama. I need to know your \\n attitude toward Jackie Robinson. \\n \\n 72 INTERCUT THE FOLLOWING: 72 \\n \\n DUROCHER \\n I don't got an attitude toward him.\",\n \" upset team chemistry and so the \\n only thing keeping Robinson off the \\n Dodgers now, plainly, is the \\n attitude of the players. \\n INSERT: Brooklyn. April 9, 1947. \\n \\n RICKEY\",\n \" displeasure as the Dodgers take the \\n field. Jackie Robinson at first. \\n The Brat Eddie Stanky at second. \\n Spider Jorgensen at third. And the \\n captain Pee Wee Reese at shortstop. \\n\",\n \" dugout. Sukeforth headed over wearing Dodger blue. \\n \\n SUKEFORTH \\n Robinson! \\n As Jack turns, Sukeforth tosses him a FIRST BASEMAN'S GLOVE. \\n\",\n \" He stands with Dixie Walker the Dodger right fielder. \\n \\n HOPPER \\n \\n (MISSISSIPPI TWANG) \\n Well, when Mr. Rickey picks one, he\",\n \" BARBER \\n One out in the bottom of the first. \\n Headed toward the plate for his \\n first big league at bat is Dodger \\n rookie Jackie Robinson. Jackie is \\n very definitely brunette. \\n\",\n \" Back, back, back and oh doctor! \\n Robinson got his pitch! \\n \\n CUT TO: \\n \\n 200D FORBES FIELD 200D\",\n \" If it softens at the sight of \\n Jackie's skills, he'll join the \\n club some time between April 10 and \\n April 15. Otherwise, Robinson will \\n spend the year back in Montreal. \\n (throws paper down)\",\n \" 44 EXT. CITY ISLAND BALLPARK - DAYTONA BEACH - DAY 44 \\n \\n A stadium SIGN boasts Brooklyn Dodgers vs. Montreal Royals. \\n \\n \\n \\n \\n\",\n \" 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \\n \\n Guys change into their street clothes. Branca reads to Reese \",\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \",\n \" RICKEY \\n Harold, telegram the press. Say \\n this: âThe Brooklyn Dodgers today \\n purchased the contract of Jackie \\n Robinson from the Montreal Royals. \\n He will report immediately.â\",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\"\n ],\n [\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" upset team chemistry and so the \\n only thing keeping Robinson off the \\n Dodgers now, plainly, is the \\n attitude of the players. \\n INSERT: Brooklyn. April 9, 1947. \\n \\n RICKEY\",\n \" 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \\n \\n Guys change into their street clothes. Branca reads to Reese \",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" myself and the Dodgers, but on \\n Negroes everywhere. For on the day \\n Jackie enters the National League, \\n if he does, I have no doubt every \\n one of you will form parades and \\n welcoming committees. You'll\",\n \" The Dodgers showering, guys chattering. Suddenly, there's \\n Branca and Jack at the shower entrance. All eyes look over. \\n Branca enters. Then Jack. A beat and everyone goes back to\",\n \" He wants to get us used to Negro \\n crowds. He wants more of them than \\n us. He's hoping it'll get us more \\n comfortable being around Robinson. \\n Higbe clears his throat, reads what he's written: \\n\",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" We're the Dodgers. We have a \\n reservation. \\n \\n HOTEL MANAGER \\n Your team's not welcome, not while \\n you have ballclub Negroes with you. \\n\",\n \" from Guam. A sailor heard it on \\n the radio, told me the Dodgers had \\n signed a Negro player. I said that \\n was fine by me. Then he said the \\n guy was a shortstop. Least you\",\n \" displeasure as the Dodgers take the \\n field. Jackie Robinson at first. \\n The Brat Eddie Stanky at second. \\n Spider Jorgensen at third. And the \\n captain Pee Wee Reese at shortstop. \\n\",\n \" On first, mouth hanging open. Almost forgets to take a lead. \\n It's an instant Rorschach test. \\n \\n DODGER DUGOUT \\n Shotton and the players look stricken. Even Walker doesn't\",\n \" CUT TO: \\n \\n 104 INT. DODGER LOCKER ROOM - DAY 104 \\n \\n Some guys quiet, some guys joking around. Everyone in some \\n version of getting out of their street clothes or into their\",\n \" He stands with Dixie Walker the Dodger right fielder. \\n \\n HOPPER \\n \\n (MISSISSIPPI TWANG) \\n Well, when Mr. Rickey picks one, he\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \",\n \" Rickey consider the field a moment, then Jack. \\n \\n RICKEY \\n Jackie, it's my pleasure to tell \\n you that you've earned a spot on \\n the Montreal Royals. When they\",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" BARBER \\n One out in the bottom of the first. \\n Headed toward the plate for his \\n first big league at bat is Dodger \\n rookie Jackie Robinson. Jackie is \\n very definitely brunette. \\n\",\n \" this fine young Negro man steps on \\n that field today, he and the \\n Dodgers will technically be \\n breaking the law. A law which says \\n white and black players cannot \\n enjoy the same field at the same\",\n \" Jack crossing toward them in his Montreal Monarchs uniform \\n carrying a glove and a bat. 200 white players clocking him. \\n He's surrounded by REPORTERS and PHOTOGRAPHERS. It's the cue\"\n ],\n [\n \" I have no choice. I'm going to \\n have to sit your manager, Branch. \\n Leo Durocher is suspended from \\n baseball for a year. \\n \\n RICKEY \\n You can't do that! Happy, you son\",\n \" Durocher hits another as Rickey pulls up. \\n \\n RICKEY \\n How are they looking, Leo? \\n \\n DUROCHER \\n Rusty, Mr. Rickey. But we'll get\",\n \" He stands with Dixie Walker the Dodger right fielder. \\n \\n HOPPER \\n \\n (MISSISSIPPI TWANG) \\n Well, when Mr. Rickey picks one, he\",\n \" He hits another. This time to the outfield where veteran \\n DIXIE WALKER gives chase, finally gives up on it. \\n \\n DUROCHER \\n C'mon, Dixie, get after it! \\n\",\n \" receiver. It's LEO DUROCHER, a WOMEN in bed alongside him. \\n INSERT: Beverly Hills. February 16, 1947. \\n \\n DUROCHER \\n Yeah? \\n\",\n \" DUROCHER \\n Yes, Mr. Rickey. \\n \\n RICKEY'S VOICE \\n Have our friends in the press gone \\n to sleep yet? \\n \\n DUROCHER\",\n \" Yes. Oh -- and Leo? \\n \\n DUROCHER \\n What? \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" 95 INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 95 \\n \\n Durocher, in a suit, cleans out his locker. Carefully sets\",\n \" 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 \\n \\n LEO DUROCHER hitting fungoes. One after the next. PEE WEE\",\n \" leave it to you. Good night, Leo. \\n \\n DUROCHER \\n Yes, Mr. Rickey. \\n \\n CUT TO: \\n\",\n \" Durocher looks to Branca, impressed. \\n \\n DUROCHER \\n He didn't come to play; he came to \\n kill. \\n Durocher starts out to the mound to talk to Higbe. \\n\",\n \" RICKEY \\n So you have no objections to him? \\n \\n DUROCHER \\n None whatsoever. Can I go back to \\n sleep now? \\n \\n RICKEY\",\n \" Fine. What can I do for you, Happy? \\n \\n HAPPY \\n Branch, how would you feel about \\n losing Durocher for a year? \\n Rickey switches the phone from one ear to the other. \\n\",\n \" Shotton as a manager. You can win \\n the pennant in spite of me. I can \\n not possibly hurt you. \\n The Dodgers trade looks. Not exactly inspirational. As \\n Shotton heads out he pauses by Jack. \\n\",\n \" 150A INT. DODGER LOCKER ROOM - EBBETS FIELD - DAY 150A \\n \\n Guys change into their street clothes. Branca reads to Reese \",\n \" today from the Catholic Youth \\n Organization. Vowing a ban on \\n baseball unless Durocher is \\n punished for his moral looseness. \\n \\n RICKEY \\n You're joking. \\n \\n HAPPY\",\n \" Branch Rickey was elected to the Hall of Fame in 1967. \\n \\n Pee Wee Reese was elected to the Hall of Fame in 1984. \\n \\n Bobby Bragan retired the following year and became a manager\",\n \" As Herbert Miller introduces... \\n \\n MILLER \\n I present the general manager of \\n the Brooklyn Dodger baseball club, \\n Mr. Branch Rickey! \\n Warm APPLAUSE as Rickey steps up. As it settles...\",\n \" Wendell Smith waits under an umbrella as the CARDINALS get \\n off the team bus. Smith buttonholes manager EDDIE DYER. \\n \\n SMITH \\n Eddie, what's all this talk about\",\n \" 79 INT. LEO DUROCHER'S ROOM - THE TIVOLI HOTEL - NIGHT 79 \\n \\n Durocher lays staring up at the palm shadows on the ceiling. \\n Finally, the phone rings. He answers.\"\n ],\n [\n \" I'm going in that Phillie dugout \\n tomorrow and wring Chapman's neck! \\n Rickey considers Parrott, starts laughing. Parrott is hurt. \\n \\n PARROTT \\n Did I say something funny? \\n\",\n \" Chapman the Phillies manager up on \\n the top step, seems to be chirping \\n something out to Robinson. Chapman \\n a hothead during his playing days \\n with the Yankees. \\n\",\n \" Jack walk to the plate, digs a cleat into the batter's box... \\n \\n CHAPMAN'S VOICE \\n Hey! Hey you black Nigger! \\n Jack looks to the visitor's dugout where the Phillies Alabama-\",\n \" CHAPMAN \\n Hey, porch monkey! Hey Robinson! \\n Hey boy! You know why you're here? \\n \\n EDDIE STANKY \\n On the bench. Without warning, he blasts off it. MOVE WITH\",\n \" dugout. Sukeforth headed over wearing Dodger blue. \\n \\n SUKEFORTH \\n Robinson! \\n As Jack turns, Sukeforth tosses him a FIRST BASEMAN'S GLOVE. \\n\",\n \" Ben Chapman sits across from Herb Pennock who flips through \\n underlined newspaper reports. Pennock reads one: \\n \\n PENNOCK \\n There is a great lynch mob among \\n us; they go unhooded and work\",\n \" Like a bull on his way to slaughter, he revolts. WHAM-WHAM! \\n He proceeds to turn his bat into SPLINTERS. Concrete chips, \\n wood flies. Jack drops the handle of the bat, pounds his\",\n \" Stanky so mad he can't see straight. Chapman surrenders. \\n \\n CHAPMAN \\n Okay, okay. Jesus. \\n As Chapman disappears into his dugout, Jack whacks a single. \\n\",\n \" back to third before... Hermanski cracks a single to left. \\n As Jack crosses the plate, he stares down Chapman on his way \\n to the dugout. As Chapman turns his head, spits -- \\n \\n CUT TO:\",\n \" Jackie, excuse me, um, a request \\n came in. The Phillies manager Ben \\n Chapman, he'd like his photo taken \\n with you. \\n Jack pretends to sniff the air around Parrott. \\n \\n JACK\",\n \" 130 BEN CHAPMAN 130 \\n Settles back in the shadows of the dugout. Finished for now. \\n \\n CUT TO: \\n \\n \\n \\n \\n \\n \\n\",\n \" 62 SMITH 62 \\n Nearly drops his typewriter, pushes his hat back as he \\n watches Jack start his home run trot. Smith laughs. Joy. \\n \\n 63 DUGOUT 63\",\n \" \\n \\n TAN REV 6-25-12 118. \\n \\n 201 PIRATES DUGOUT 201 \\n Kirby Higbe who watches Robinson round the bases in disgust. \\n\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \",\n \" Go home, Nigger! Go back to Africa! \\n Phillie pitcher DUTCH LEONARD looks in. Jack has to try to \\n concentrate on the pitch. Here it comes. A fastball well\",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" Standing dead still at the plate, bat cocked and ready. \\n \\n BARBER'S VOICE \\n Here's Robinson. Jackie holds that \\n club down by the end. Rear foot on \",\n \" things: that you are a fine \\n gentlemen and a great ballplayer. \\n Like our Savior, you must have the \\n guts to turn the other cheek. \\n Jack considers Rickey. Rickey looks worn out. \\n\",\n \" He hits another. This time to the outfield where veteran \\n DIXIE WALKER gives chase, finally gives up on it. \\n \\n DUROCHER \\n C'mon, Dixie, get after it! \\n\"\n ],\n [\n \" BATTER hits a LINE DRIVE which -- Pee Wee Reese nearly leaps \\n out of his socks to bring down. Wow... \\n As the CROWD claps in appreciation, Jack takes a deep breath. \\n\",\n \" He wants to get us used to Negro \\n crowds. He wants more of them than \\n us. He's hoping it'll get us more \\n comfortable being around Robinson. \\n Higbe clears his throat, reads what he's written: \\n\",\n \" field (the Reds coming off it). \\n Jack headed for first. Pee Wee out to short. \\n \\n FRECKLES \\n Nigger! \\n (then...) \\n We don't want you here!\",\n \" displeasure as the Dodgers take the \\n field. Jackie Robinson at first. \\n The Brat Eddie Stanky at second. \\n Spider Jorgensen at third. And the \\n captain Pee Wee Reese at shortstop. \\n\",\n \" near him as he stares ahead, trapped in a kind of void. The \\n closest player to him is Bobby Bragan. Bragan finally \\n manages to glance over at him, then looks quickly away. \\n \\n CUT TO: \\n\",\n \" me between the eyes with it. \\n \\n POLICEMAN \\n Is that so? \\n The CROWD BOOING. The black section especially. \\n \\n HOPPER \\n (arrives from dugout)\",\n \" Now cries of CARPETBAGGER! cut through. PEE WEE, HOW CAN YOU \\n PLAY WITH THIS BLACK BASTARD!? Reese stares up at the worst\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" What can I do for you, Pee Wee? \\n \\n REESE \\n Well, Mr. Rickey, it's like this, \\n the series in Cincinnati next week. \\n \\n RICKEY\",\n \" He stands with Dixie Walker the Dodger right fielder. \\n \\n HOPPER \\n \\n (MISSISSIPPI TWANG) \\n Well, when Mr. Rickey picks one, he\",\n \" pokes a soft hit past second. A nothing hit, but he's \\n standing on first. And he looks, well, ferocious in fact. \\n As Pete Reiser steps up into the batter's box...\",\n \" Reese impulsively puts his arm around Jack's shoulder, stares \\n into the Cincy dugout. \\n \\n REESE \\n Ain't gonna be a next time. All we \\n got is right now. This right here.\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \",\n \" Cincinnati's nearly a home game for \\n you. \\n \\n REESE \\n I got this letter, sir. I guess \\n some people aren't too happy about \\n me playing with Robinson.\",\n \" hecklers along the first base line. He looks a little sad. \\n \\n REESE \\n They can say what they want; we're \\n here to play baseball. \\n \\n JACK\",\n \" things: that you are a fine \\n gentlemen and a great ballplayer. \\n Like our Savior, you must have the \\n guts to turn the other cheek. \\n Jack considers Rickey. Rickey looks worn out. \\n\",\n \" Jack reaches first, throws the ball around the infield. Many \\n in the crowd beyond rise to jeer and heap abuse. COON! \\n SHINE! Jack tries to let it wash over him.\",\n \" as well. Jack finds himself looking at Pee Wee Reese. \\n \\n JUMP AHEAD TO: \\n \\n 103 EXT. SINGER'S DRUG STORE - BROOKLYN - DAY 103 \\n\",\n \" INSERT: May 6, 1947. Brooklyn. \\n Then, about five rows behind her, two RACIST FANS find their \\n seats. They spot Jack down at first. \\n \\n RACIST FAN #1 \",\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \"\n ],\n [\n \" Robinson on first, Pete Reiser at \\n bat. Reiser belts it. A long one. \\n Deep into left center. Back goes \\n Ennis who is not tall enough. This \\n one's off the wall. Robinson is \",\n \" WHACK! The hit & run is on. The man on first runs on the \\n pitch as a LOW LINE DRIVE shoots for the gap between 1st and \\n 2nd. Robinson turns himself inside out to dive on his belly\",\n \" Casey goes into his wind-up. \\n Slaughter swings, hits a hard ground ball right at Reese who \\n fires over to Jack at first. Slaughter is out by fifteen \\n feet, but he never slows down. And his foot comes down --\",\n \" SMITH (O.S.) \\n Robinson jogged around the bases, \\n his heart singing... \\n The crowd loves it as he continues toward third where \\n Sukeforth is clapping for all he's worth. \\n\",\n \" Jones swings, pops it up. \\n \\n BARBER \\n It's popped up foul toward first. \\n Should be out of play. But here \\n comes Robinson, he's coming hard -- \\n\",\n \" ON HIM now as he tries to push himself up from the dirt. A \\n close look at JACK ROOSEVELT ROBINSON. A born battler, he \\n shakes out the cobwebs, finally lurches to his feet, looks to\",\n \" going to score from first. \\n Over Barber: a CRACK of the bat, the ROAR of the crowd. As \\n players around him react, Stanky finally looks up as Robinson \",\n \" Jack falls back, strokes a double into the gap. \\n \\n BARBER'S VOICE \\n That one wasn't quite âin' enough. \\n Robinson punishing the Redbirds \\n with a smart piece of hitting. \\n\",\n \" ENOS SLAUGHTER steps in for St. Louis. Hugh Casey on the \\n mound for Brooklyn. Slaughter looks fiercely determined. \\n \\n RED BARBER'S VOICE \\n It wasn't enough as the Cardinals\",\n \" Slaughter, head down, on his way to the visitor's dugout as \\n Dodger players pour out of their own to protest. As the UMP \\n raises his hands, motions them all back... Jack pulls up his\",\n \" for most of the batting and fielding and chatter among the \\n Dodgers, Royals and Saints to come to a stop. \\n Higbe forgets Bragan is throwing him a ball. It clocks him \\n in the chest.\",\n \" Jack slides into second, the throw high, ends up in center. \\n Half a dozen Dodgers impulsively on their feet and waving him \\n on as Jack gets to his feet and motors into THIRD. The throw\",\n \" pokes a soft hit past second. A nothing hit, but he's \\n standing on first. And he looks, well, ferocious in fact. \\n As Pete Reiser steps up into the batter's box...\",\n \" -- High on Jack's right calf. Slaughter's spiked him \\n something wicked. Jack goes down in a heap clutching his \\n leg, blood already seeping through his high socks.\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" 204 JACKIE ROBINSON 204 \\n Rounding second and headed for third. The weight of the \\n world somehow lifting. They gave him one he could hit. \\n \\n CUT TO: \\n \\n \\n\",\n \" things: that you are a fine \\n gentlemen and a great ballplayer. \\n Like our Savior, you must have the \\n guts to turn the other cheek. \\n Jack considers Rickey. Rickey looks worn out. \\n\",\n \" Takes a fastball in on the hands. \\n Robinson, who is pitched to a great \\n deal that way, uses a thicker \\n handle bat than most hitters, just \\n because he hits a lot of balls out \\n on his hands.\",\n \" as Dixie Walker barrels in low. \\n All Jackie's focus on the task at hand as he throws while \\n Walker submarines him. He lands in a heap tangled up \",\n \" Back, back, back and oh doctor! \\n Robinson got his pitch! \\n \\n CUT TO: \\n \\n 200D FORBES FIELD 200D\"\n ],\n [\n \" CHAPMAN \\n Some Jew must've wrote that. \\n \\n PENNOCK \\n This doesn't look good, Ben! It \\n makes the Phillies, look racist! \\n You've got to do something. \\n\",\n \" Ben Chapman sits across from Herb Pennock who flips through \\n underlined newspaper reports. Pennock reads one: \\n \\n PENNOCK \\n There is a great lynch mob among \\n us; they go unhooded and work\",\n \" Jackie, excuse me, um, a request \\n came in. The Phillies manager Ben \\n Chapman, he'd like his photo taken \\n with you. \\n Jack pretends to sniff the air around Parrott. \\n \\n JACK\",\n \" Chapman the Phillies manager up on \\n the top step, seems to be chirping \\n something out to Robinson. Chapman \\n a hothead during his playing days \\n with the Yankees. \\n\",\n \" I'm going in that Phillie dugout \\n tomorrow and wring Chapman's neck! \\n Rickey considers Parrott, starts laughing. Parrott is hurt. \\n \\n PARROTT \\n Did I say something funny? \\n\",\n \" CHAPMAN \\n Hey, porch monkey! Hey Robinson! \\n Hey boy! You know why you're here? \\n \\n EDDIE STANKY \\n On the bench. Without warning, he blasts off it. MOVE WITH\",\n \" Chapman and Jack stand side-by-side facing the PRESS. \\n Chapman makes a little speech. Hypocrisy at its best. \\n \\n CHAPMAN \\n Jackie's been accepted in baseball \\n and the Philadelphia organization\",\n \" Bragan, most of your teammates have \\n recanted on this petition nonsense. \\n Are you really here to tell me you \\n don't want to play with Robinson? \\n \\n BRAGAN \\n Yes, Sir. My friends back in\",\n \" Jack walk to the plate, digs a cleat into the batter's box... \\n \\n CHAPMAN'S VOICE \\n Hey! Hey you black Nigger! \\n Jack looks to the visitor's dugout where the Phillies Alabama-\",\n \" CHAPMAN \\n We treat him the same way we do \\n Hank Greenburg except we call Hank \\n a kike instead of a coon. When we \\n play exhibitions against the\",\n \" Philadelphia and you answer because \\n he was a Negro, it may not be a \\n sufficient reply. \\n As Rickey hangs up the phone... \\n \\n CUT TO: \\n \\n \\n \\n \",\n \" Go home, Nigger! Go back to Africa! \\n Phillie pitcher DUTCH LEONARD looks in. Jack has to try to \\n concentrate on the pitch. Here it comes. A fastball well\",\n \" upset team chemistry and so the \\n only thing keeping Robinson off the \\n Dodgers now, plainly, is the \\n attitude of the players. \\n INSERT: Brooklyn. April 9, 1947. \\n \\n RICKEY\",\n \" He wants to get us used to Negro \\n crowds. He wants more of them than \\n us. He's hoping it'll get us more \\n comfortable being around Robinson. \\n Higbe clears his throat, reads what he's written: \\n\",\n \" This is a white man's game. Get it \\n through your thick monkey skull! \\n Jack stops short looks at him. Chapman stands his ground. \\n \\n RICKEY\",\n \" things: that you are a fine \\n gentlemen and a great ballplayer. \\n Like our Savior, you must have the \\n guts to turn the other cheek. \\n Jack considers Rickey. Rickey looks worn out. \\n\",\n \" (pounds his fist) \\n If any group or segment of Negro \\n society uses the advancement of \\n Jackie Robinson in baseball as a \\n triumph of race over race, I will \\n regret the day I ever signed him to\",\n \" Jack doesn't want to look over, but he is compelled. The \\n bench players flanking Chapman look furious, but Chapman is \\n doing this with a sick sort of glee. \\n \\n CHAPMAN\",\n \" Parrot hurries over. He's the Dodgers travelling secretary. \\n \\n PARROTT \\n Jackie Robinson's on a bus leaving \\n Pensacola. \\n \\n RICKEY\",\n \" Ben Chapman was fired in 1948 and never managed again. \\n \\n Eddie Stanky went on to manage the St. Louis Cardinals, the \\n Chicago White Sox and the Texas Rangers. \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["How much money were the Dodgers going to pay Jackie Robinson per month?","What was the amount of the signing bonus that Jackie Robinson received?","What city was the Farm team that Robinson played for? ","Who agrees to manage the team once Durocher is suspended? ","What did the petition state that most of the Dodgers' players signed?","What does Pee Wee Reese do to Robinson to silence the hostile crowd in Cincinnati? ","Who did the Dodgers play in the World Series that year?","Playing for St. Louis, who spikes Robinson in the back of the leg?","What does Branch Rickey tell Robinson he must do if he wants to play?","Who is the team executive?","When does Robinson make it to the franchise farm team in Montreal?","Why does Robinson smash his bat?","What does Pee Wee Reese come to understand about Robinson?","What is Chapman required to do after creating bad press for the team?","What does Rickey warn Robinson to do before he is allowed to play?","How does Reese silence the crowd in cincinatti?","Who is Robinson's girlfriend?","What does Enos \"accidentally\" do to robinson while running the bases?","What is the name of the Philadelphia team?","Who is the executive of the Dodgers whom signed Robinson to a contract?","What was the signing bonus amount for the contract that Branch Rickey offers Robinson?","What question does Robinson ask his girlfriend Rachel on the phone after accepting his new contract?","During spring training in Panama Robinson makes it to the Dodgers farm team located in what city?","What do the majority of the Dodger teammates do after learning of Robinson's advancement to the Dodgers?","Who agrees to manage the dodgers after manager Leo Durocher is suspended?","What item does Robinson smash in the dugout after being taunted by Phillies manager Ben Chapman during the game?","What does Pee Wee Reese do to show empathy towards Robinson while standing in from of a hostile crowd in Cincinnati?","Where on the body is Robinson injured when Enos Slaughter hurt Robinson while running the bases?","What does the Philadelphia Phillies team owner require of Ben Chapman for taunting Robinson during a game?"],"string":"[\n \"How much money were the Dodgers going to pay Jackie Robinson per month?\",\n \"What was the amount of the signing bonus that Jackie Robinson received?\",\n \"What city was the Farm team that Robinson played for? \",\n \"Who agrees to manage the team once Durocher is suspended? \",\n \"What did the petition state that most of the Dodgers' players signed?\",\n \"What does Pee Wee Reese do to Robinson to silence the hostile crowd in Cincinnati? \",\n \"Who did the Dodgers play in the World Series that year?\",\n \"Playing for St. Louis, who spikes Robinson in the back of the leg?\",\n \"What does Branch Rickey tell Robinson he must do if he wants to play?\",\n \"Who is the team executive?\",\n \"When does Robinson make it to the franchise farm team in Montreal?\",\n \"Why does Robinson smash his bat?\",\n \"What does Pee Wee Reese come to understand about Robinson?\",\n \"What is Chapman required to do after creating bad press for the team?\",\n \"What does Rickey warn Robinson to do before he is allowed to play?\",\n \"How does Reese silence the crowd in cincinatti?\",\n \"Who is Robinson's girlfriend?\",\n \"What does Enos \\\"accidentally\\\" do to robinson while running the bases?\",\n \"What is the name of the Philadelphia team?\",\n \"Who is the executive of the Dodgers whom signed Robinson to a contract?\",\n \"What was the signing bonus amount for the contract that Branch Rickey offers Robinson?\",\n \"What question does Robinson ask his girlfriend Rachel on the phone after accepting his new contract?\",\n \"During spring training in Panama Robinson makes it to the Dodgers farm team located in what city?\",\n \"What do the majority of the Dodger teammates do after learning of Robinson's advancement to the Dodgers?\",\n \"Who agrees to manage the dodgers after manager Leo Durocher is suspended?\",\n \"What item does Robinson smash in the dugout after being taunted by Phillies manager Ben Chapman during the game?\",\n \"What does Pee Wee Reese do to show empathy towards Robinson while standing in from of a hostile crowd in Cincinnati?\",\n \"Where on the body is Robinson injured when Enos Slaughter hurt Robinson while running the bases?\",\n \"What does the Philadelphia Phillies team owner require of Ben Chapman for taunting Robinson during a game?\"\n]"},"answers":{"kind":"list like","value":[["600 dollars","600"],["3,500 dollars","Jackie Robinson recieved a $3,500 signing bonus."],["Montreal","Montreal"],["Burt Shotton","Burt Shotton"],["That they refused to play with Robinson","that they refused to play with Robinson"],["He puts his arm around him","Before a angry crowd, he stands and puts his arm around Robinson."],["The New York Yankees","The Dodgers played the New York Yankees in the World Series."],["Enos Slaughter","Enos Slaughter"],["Control his temper","Control his temper."],["Branch Rickey","Branch Rickey"],["During spring training","1946."],["Manager Ben Chapman taunts him","Philies manager Ben Chapman taunts him with racial slurs."],["What kind of pressure he is facing.","The pressure he is facing"],["Pose with Robinson","pose for pictures with Robinson"],["Control his temper","learn to control his bad temper"],["Showing solidarity","Stood with his arm around Robinson "],["Rachel","Rachel."],["Spikes him on the back.","Kicks him with his cleats."],["Phillies","The Philadelphia team is known as the Philadelphia Phillies"],["Branch Rickey","Rickey"],["3500 dollars","$3500"],["He asks her to marry him.","He proposes marriage to her."],["Montreal","Robinson joins the farm team for the Dodgers located in Montreal."],["They sign a petition.","sign a petition refusing to play with him"],["Burt Shotton","Burt Shotton"],["A Baseball Bat","his bat"],["He puts his arm around Robinson.","puts his arm around Robinson to show soladarity with him"],["His leg.","Enos Slaughter spikes Robinson on the back of his leg with his cleats."],["Ben Chapman is required to pose for photographs with Robinson for magazines and newspapers.","He has to have pictures taken of them together"]],"string":"[\n [\n \"600 dollars\",\n \"600\"\n ],\n [\n \"3,500 dollars\",\n \"Jackie Robinson recieved a $3,500 signing bonus.\"\n ],\n [\n \"Montreal\",\n \"Montreal\"\n ],\n [\n \"Burt Shotton\",\n \"Burt Shotton\"\n ],\n [\n \"That they refused to play with Robinson\",\n \"that they refused to play with Robinson\"\n ],\n [\n \"He puts his arm around him\",\n \"Before a angry crowd, he stands and puts his arm around Robinson.\"\n ],\n [\n \"The New York Yankees\",\n \"The Dodgers played the New York Yankees in the World Series.\"\n ],\n [\n \"Enos Slaughter\",\n \"Enos Slaughter\"\n ],\n [\n \"Control his temper\",\n \"Control his temper.\"\n ],\n [\n \"Branch Rickey\",\n \"Branch Rickey\"\n ],\n [\n \"During spring training\",\n \"1946.\"\n ],\n [\n \"Manager Ben Chapman taunts him\",\n \"Philies manager Ben Chapman taunts him with racial slurs.\"\n ],\n [\n \"What kind of pressure he is facing.\",\n \"The pressure he is facing\"\n ],\n [\n \"Pose with Robinson\",\n \"pose for pictures with Robinson\"\n ],\n [\n \"Control his temper\",\n \"learn to control his bad temper\"\n ],\n [\n \"Showing solidarity\",\n \"Stood with his arm around Robinson \"\n ],\n [\n \"Rachel\",\n \"Rachel.\"\n ],\n [\n \"Spikes him on the back.\",\n \"Kicks him with his cleats.\"\n ],\n [\n \"Phillies\",\n \"The Philadelphia team is known as the Philadelphia Phillies\"\n ],\n [\n \"Branch Rickey\",\n \"Rickey\"\n ],\n [\n \"3500 dollars\",\n \"$3500\"\n ],\n [\n \"He asks her to marry him.\",\n \"He proposes marriage to her.\"\n ],\n [\n \"Montreal\",\n \"Robinson joins the farm team for the Dodgers located in Montreal.\"\n ],\n [\n \"They sign a petition.\",\n \"sign a petition refusing to play with him\"\n ],\n [\n \"Burt Shotton\",\n \"Burt Shotton\"\n ],\n [\n \"A Baseball Bat\",\n \"his bat\"\n ],\n [\n \"He puts his arm around Robinson.\",\n \"puts his arm around Robinson to show soladarity with him\"\n ],\n [\n \"His leg.\",\n \"Enos Slaughter spikes Robinson on the back of his leg with his cleats.\"\n ],\n [\n \"Ben Chapman is required to pose for photographs with Robinson for magazines and newspapers.\",\n \"He has to have pictures taken of them together\"\n ]\n]"},"document_id":{"kind":"string","value":"ceb4f09a3b51a02fdce4260a79a139723fd541a1"},"split":{"kind":"string","value":"train"}}},{"rowIdx":56,"cells":{"text":{"kind":"list like","value":[[" \n NARRATOR \n The girl, Summer Finn of \n Shinnecock, Michigan, did not share \n this belief. \n \n CUT TO: \n \n "," The girl is SUMMER FINN. She files folders and answers phones \n in a plain white office. She has cropped blonde hair almost \n like a boy's but her face is feminine and pretty enough to \n get away with it."," and Summer are two of them. Tom takes this opportunity to put \n a CD in his computer and play the song really loud. It's \"I \n Want to Know What Love Is\" by Foreigner. No reaction from"," Summer smiles. Maybe this will be ok. \n \n TOM \n Mom, Martin, this is Summer. \n \n SARAH \n Summer! Well hello! We've heard so"," \n SUMMER \n I know. \n (BEAT) \n See you later. \n \n And she walks away. The CAMERA TRACKS AWAY with her, leaving"," Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," SUMMER \n Me? No. \n \n Tom shoots daggers at McKenzie for that comment. McKenzie \n mouths \"what?\" Summer sees nothing. \n \n MCKENZIE"," SUMMER \n Tom -- \n \n TOM \n What's different now? How could \n things change so quickly? \n \n SUMMER"," corner and sees Summer walking towards him. As she gets \n closer he sees it's not her after all and breathes a sigh of \n relief. \n \n \n INT. BEDROOM - LATER \n "," MCKENZIE \n Who? \n \n TOM \n The new girl. Summer. In Vance's \n office. \n \n MCKENZIE"," \n SUMMER \n I understand. \n \n TOM \n Yeah well...anyway...I hope you're \n happy. \n \n SUMMER"," SUMMER \n Tom! \n \n But when he doesn't turn around she just shakes it off and \n starts dancing again. \n \n LATER. Tom is outside in the rain. We can still hear the"," knows it, everyone else just there for the cake. Song over, \n everyone digs in. Tom finds himself standing next to Summer. \n \n TOM \n Hi. \n \n SUMMER \n Hello."," Summer... \n \n SUMMER \n Yeah? \n \n TOM \n (BEAT) \n So how was your weekend? \n \n SUMMER"," 82. \n \n \n \n SARAH \n Ok. We'll see you inside. \n \n When they're out of earshot, Tom sees that Summer is"," Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. \n TIME CUTS reveal that Summer is talking with, laughing with, \n drinking with, and possibly flirting with many of them. Tom"," Summer start to make out a bit, both keeping an eye on the \n TV. \n \n CUT TO: \n \n \n INT. SUMMER'S APARTMENT - 20 MINUTES LATER"," SUMMER \n I know. I'm sorry Tom. \n \n TOM \n Is everything alright with you? \n \n She smiles, tries to pull herself together. \n "," Tom watches TV. An advertisement for toothpaste comes on. Tom \n could swear the actress was Summer. \n \n \n INT TROLLEY - DAY \n \n A trolley going the other direction passes by. EVERY"," SUMMER \n Hey it's me. \n \n TOM \n Hello me. You having a good day? \n \n SUMMER \n I am thank you. Listen, about"],[" They share another laugh and then it gets quiet. In that good \n way. \n \n ANGLE ON McKenzie, wasted, singing the shit out of \"Proud to \n Be an American.\" He really means it. At any minute he might"," MCKENZIE \n The whole office is going. \n Tom looks over to where Summer sits. And realization dawns on \n him... \n \n \n INT KARAOKE BAR - NIGHT \n "," MCKENZIE \n So, uh, who's singing next? \n \n SUMMER \n (re: singing) \n I'd say it's your turn loverboy. \n "," Tom is at a loss. There's yet another awkward silent beat \n between them. Thankfully, it's interrupted by... \n \n MCKENZIE \n (already drunk) \n Goddamn that song is brilliant!"," MCKENZIE \n Yeah. \n \n TOM \n Now she's getting married. \n \n PAUL \n I'm so sorry Tom. \n \n TOM"," (QUICKLY) \n Ok, goodnight McKenzie! \n \n MCKENZIE \n I mean... likes you, likes you. For \n real. Tell her Tom. \n "," Summer is in a back booth with some co-workers when Tom walks \n in to the crowded place. McKenzie has the microphone and he's \n singing \"Every Rose Has Its Thorn\" by Poison. He's real into"," PAUL \n We have news. \n \n TOM \n Ok. \n \n MCKENZIE \n It's about her. \n \n TOM"," start to cry. \n \n MCKENZIE \n \"And I'd proudly stand UP!\" \n (aggressive drunk) \n I said stand! \n "," That's it! \n \n 50. \n \n \n \n McKenzie enters and sees her singing into the phone. Turns \n without a word and leaves. \n \n "," INT TOM'S CUBICLE - SAME \n \n Tom listening to her sing. McKenzie comes over. \n \n MCKENZIE \n Your girl is losing it. \n "," And with that he gets up and walks off. The room is pretty \n stunned. Someone coughs. McKenzie tries to start a clap. It \n doesn't really take. \n \n CUT TO: \n \n "," the stage, tried to fight the \n bartender, and then threatened to \n burn the place down before passing \n out on the sidewalk. Quiet night \n for you. \n \n MCKENZIE"," Tom walks in to find Paul and McKenzie at a table. They look \n extremely nervous. \n \n TOM \n What's going on? \n \n Neither one answers him. They look at each other. Finally... \n "," \n TOM \n I don't... \n \n MCKENZIE \n You really do. \n \n SUMMER"," 52. \n \n \n \n \n INT SPORTS BAR - NIGHT \n \n Tom, Mckenzie and Paul are having a drink. \n \n PAUL"," Oh! You know what we should do... \n \n \n INT KARAOKE BAR - LATER \n \n Tom is, yes, on stage singing another song by The Clash,"," MCKENZIE \n No I do not. In fact girls are \n repulsed by me. Paul, how about \n you? \n \n PAUL \n Why yes, in fact I do. Her name is"," PAUL \n It is. \n \n TOM \n How do you know? \n \n MCKENZIE \n We know. \n \n TOM"," \n \n INT TOM'S PLACE - AS BEFORE \n \n Silence for a few beats. \n \n PAUL \n Jesus. \n \n MCKENZIE"],[" \n Summer starts walking ahead and Tom notices for the first \n time she's furious. \n \n TOM \n Hey. What is it? \n \n SUMMER"," Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," SUMMER \n Tom -- \n \n TOM \n What's different now? How could \n things change so quickly? \n \n SUMMER"," TOM \n Ok. \n \n Nothing else is said. \n \n TOM \n Wait, are you still mad at me? \n \n SUMMER \n (rolling her eyes)"," SUMMER \n Cause there's nothing to tell. \n \n TOM \n Come on, I'm interested. \n \n SUMMER \n You wanna have the relationship"," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," You really do? \n \n TOM \n (BEAT) \n God no. \n \n They both laugh a little. The tension begins to dissipate. \n \n SUMMER"," Tom! You're the crazy person! \n \n TOM \n What are you talking about?! \n \n SUMMER \n One day I'm reading a book at the"," 82. \n \n \n \n SARAH \n Ok. We'll see you inside. \n \n When they're out of earshot, Tom sees that Summer is"," Summer and Tom come bounding in, lip-locked and all over each \n other. They fall on his bed and begin undressing each other. \n Suddenly, Tom stops. \n \n 44. \n \n \n "," Ok? \n \n Tom is visibly disappointed by this but he tries to hide it. \n \n TOM \n Sure. \n \n SUMMER \n (BEAT)"," 9. \n \n \n \n SUMMER \n You're happy? \n \n TOM \n You're not? \n \n SUMMER"," \n \n Tom quickly shuts the door on Paul. \n \n TOM \n If you heard... \n \n SUMMER \n Heard what? \n \n TOM"," \n SUMMER \n I'm dancing. I haven't danced in \n ages. God. Come on. \n \n TOM \n No. \n \n SUMMER"," TOM \n Hey Mr. Vance. \n \n SUMMER \n Yes, Mr. Vance? \n \n And they're all business. As Tom turns to go, however, Summer"," He's not. He clenches his teeth. And begins... \n \n TOM \n Summer, I've gotta ask you \n something. \n \n SUMMER \n Ok. \n "," Tom is awakened by a buzzer. He hits the \"sleep\" button but \n the buzzing isn't coming from his alarm. It's his door. He \n gets up, concerned, and goes to answer it. It's Summer. \n "," \n SUMMER \n I understand. \n \n TOM \n Yeah well...anyway...I hope you're \n happy. \n \n SUMMER"," Again, that fateful day continues. Tom and Summer outside. \n \n SUMMER \n So. \n \n TOM \n So... Now what? \n \n 107."," TOM \n What? \n \n SUMMER \n Don't talk about it. Do it. \n \n Summer gives him a pen from her purse and the underside of"],[" Same day from the past. They walk out, at first everything's \n alright. It's exactly as we saw on page 7. But soon after \n that she begins to cry again. Serious, real sobbing. \n \n TOM"," Then, as if to shut those thoughts out, whatever they were, \n he turns on the TV and joylessly watches the nothingness. \n \n \n 9. SPLITSCREEN - DAY \n "," 67. \n \n \n \n She comes in and kisses him. He thinks about it for a second. \n Is this enough to assuage his doubts? Damn it, she wins"," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," 66. \n \n \n \n Right: Summer lies awake, staring at the ceiling. \n \n Left: Tom picks up the phone. Is about to dial when he stops \n himself and hangs up. \n "," look at her, to offer some sort of comfort, believing it to \n be a response to the movie. She doesn't look back. \n \n \n (409) \n INT TOM'S BEDROOM - DAY \n "," Tom wakes up. He gets his bearings and then quickly rolls \n onto the floor and begins a brief push-up routine. \n \n NARRATOR (V.O.) \n Most days of the year are entirely"," 5. \n \n \n \n NARRATOR \n Tom meets Summer on January 8th in \n a San Francisco office building. In \n an instant, he will know she's the"," He's sleeping like a baby, probably the best sleep he's had \n in a long while. Summer lies next to him. Wide awake. Bored \n and unfulfilled. \n \n \n INT RESTAURANT - SAME"," Again, that fateful day continues. Tom and Summer outside. \n \n SUMMER \n So. \n \n TOM \n So... Now what? \n \n 107."," \n Tom starts to itch... \n \n \n INT. APARTMENT - LATER \n \n Tom is painting the walls of his now nearly bare apartment. \n \n TOM (V.O.)"," grief/ but your love is my relief.\" \n \n We know, as well as he does: he will ask nothing tonight. \n \n \n (172) \n INT PARTY - NIGHT \n "," She hugs him. Tight. He doesn't cry but he could. \n \n RACHEL \n You know, my friends... they're all \n in love with you. \n \n TOM"," SUMMER \n Cause there's nothing to tell. \n \n TOM \n Come on, I'm interested. \n \n SUMMER \n You wanna have the relationship"," 59. \n \n \n \n Next in line is a HOMELESS COUPLE holding hands. Tom spirits \n immediately fall. Even these two somehow found each other. \n \n "," Tom says nothing. \n \n SUMMER \n I knew I could promise him I'd feel \n the same way every morning. In a \n way that I... I never could with \n you. \n "," ANOTHER COUPLE entwined on a bench. It's killing him. He sees \n a THIRD COUPLE walking towards him holding hands. He snaps. \n \n 90. \n \n \n "," might notice she lags behind him as they walk through the \n aisles. His hands are in his pockets. He's bored. She's \n distant. But only if we're really looking. \n \n \n (406)"," I'm tired. Can we talk about this \n tomorrow? \n \n It's silent. He doesn't know what to do or say or think. \n Neither of them say a word as they go their separate ways. \n "," day Tom described to his sister and his friends. The day it \n all, finally, fell apart. \n \n 103. \n \n \n \n TOM \n So how was last night?"],[" You did the right thing. Where is \n he? \n \n Tom is in the kitchen breaking things and basically going \n insane. About to smash a plate on the floor, he's interrupted \n BY: \n "," Tom has more than fifty self-help books on a shelf by his \n bed. He reads from one called \"Six Steps to Getting Over \n Him.\" \n \n TOM (V.O.)"," look at her, to offer some sort of comfort, believing it to \n be a response to the movie. She doesn't look back. \n \n \n (409) \n INT TOM'S BEDROOM - DAY \n "," \n He takes a few deep breaths. \n \n TOM \n Are you calm? \n (BEAT) \n Ok. Then it's time to go back in. \n "," Tom is going apeshit in his room. He's ripping down posters, \n taking pictures out of frames and tearing them apart. He \n punches the wall. He drinks an entire bottle of red wine. He"," distraught. \n \n TOM \n Sorry about that. \n \n SUMMER \n It's fine. \n \n TOM"," She hugs him. Tight. He doesn't cry but he could. \n \n RACHEL \n You know, my friends... they're all \n in love with you. \n \n TOM"," Tom walks over and sits down on a bench. He stares off, lost \n in thought. And then, from out of nowhere, there's her voice. \n \n SUMMER (V.O.) \n Hey. \n "," You really do? \n \n TOM \n (BEAT) \n God no. \n \n They both laugh a little. The tension begins to dissipate. \n \n SUMMER"," And with that he storms off. \n \n MCKENZIE \n Tom! \n \n PAUL \n Let him go. \n \n ANGLE ON Tom walking away from them. \n "," Tom! \n \n Tom recognizes he's losing his shit. He takes a seat on the \n boardroom table. \n \n TOM \n (BEAT)"," \n TOM \n (DEFLATED) \n Oh. Got it... No problem. \n \n He turns back around and shakes that off, tries to refocus on"," Tom walks to his cubicle, still on top of the world. \n \n 39. \n \n \n \n \n INT TOM'S PLACE - THAT NIGHT \n "," Tom comes charging out of the place with his friends \n following behind. \n \n TOM \n There's no fucking way! \n \n MCKENZIE \n Tom. \n \n TOM"," That's harsh. \n \n TOM \n I don't know what I'm gonna do. \n \n RACHEL \n You're gonna be fine. \n "," \n Tom can't help but do a little celebration dance. \n \n CUT TO: \n \n LATER. Sex has been had. Summer is asleep. Tom lies next to"," INT TOM'S PLACE - LATER \n \n PAUL and MCKENZIE open the door. These are Tom's best friends \n since birth. Paul is a doctor and wears hospital scrubs."," TOM \n Ok. Well, I'm sorry. Things for me \n have been a little difficult. \n \n VANCE \n That's ok. I understand that. I was \n just thinking... perhaps you could"," Tom. Everyone else in the class seems at peace. Tom can't \n even get the breathing right. \n \n \n INT. HOMELESS SHELTER - DAY \n "," A cab arrives. Tom and Summer help McKenzie inside. \n \n MCKENZIE \n Hey. \n \n TOM \n What's up? \n "],[" We're a greeting card company. \n \n TOM \n Yes but think about it! Why do \n people buy these things? Not to say \n how they feel. There's paper and"," Tom walks to his cubicle, still on top of the world. \n \n 39. \n \n \n \n \n INT TOM'S PLACE - THAT NIGHT \n "," He quickly ushers him out of the office. \n \n 87. \n \n \n \n \n (383) \n INT TOM'S BEDROOM - MORNING \n "," The boy is TOM HANSEN. He sits at a very long rectangular \n conference table. The walls are lined with framed blow-up \n sized greeting cards. Tom, dark hair and blue eyes, wears a t-"," INT. APARTMENT - LATER \n \n Tom, almost with a full beard, is redecorating his apartment \n again. We see him rearranging the furniture in the room. \n \n LATER. He hangs some new pictures."," a little. \n \n The Women clutch their heart like they might faint. \n \n \n INT RELIGIOUS HOLIDAYS WING - LATER \n \n Workers are again all gathered around Tom."," shirt under his sports coat and Adidas tennis shoes to \n balance out the corporate dress code. He looks pretty bored. \n \n NARRATOR \n The boy, Tom Hansen of Margate, New"," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," that grandma's dead.\" \n \n Vance and the card-writing team are appalled. \n \n TOM \n Think about it. \n (picks up another card)"," \n TOM \n You wanted to see me, Mr. Vance? \n \n VANCE \n Yes Hansen. Sit down. \n \n TOM \n Ok. \n "," one he's been looking for. \n \n CU Summer opening the door to the boardroom, about to come \n face to face with Tom for the first time. \n \n NARRATOR"," CUT TO: \n \n \n (272-286) \n INT. BOOKSTORE - DAY \n \n Tom, starting to get that unshaven, unkempt look, wanders"," \n Tom sits next to McKenzie and across from Vance. He's in his \n usual boardroom position, which is to say, near comatose. \n "," Tom gets up and walks to the door. \n \n TOM \n It's all crap. We make and peddle \n crap. And sometimes people believe \n in this crap. I just can't do it"," ...adequate... greeting card \n writer. \n \n 19. \n \n \n \n TOM \n Why thank you. That's what they"," at his side, waits in the foyer of Allen, Prince, and Gethers \n Architecture. From the room we can tell this firm is big \n time. \n \n Tom waits. \n "," Hey! \n \n TOM \n Hey! \n \n Vance pokes out of his corner office. \n \n VANCE. \n Summer, I need -- Oh hello Hansen. \n "," Tom sits with his feet up on a table, headphones on his ears, \n reading one of many Taschen books on innovative building \n design. \n \n \n 3. INT OFFICE LOBBY - DAY \n "," Really? Jesus. Did you always want \n to write greeting cards? \n \n TOM \n Are you nuts? I don't even want to \n do it now. \n \n SUMMER"," great. Well done Hansen, you idiot. \n \n Tom walks a few more steps. \n \n And then, seemingly out of nowhere, without his even"],[" Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. \n TIME CUTS reveal that Summer is talking with, laughing with, \n drinking with, and possibly flirting with many of them. Tom"," Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," knows it, everyone else just there for the cake. Song over, \n everyone digs in. Tom finds himself standing next to Summer. \n \n TOM \n Hi. \n \n SUMMER \n Hello."," SUMMER \n Tom! \n \n But when he doesn't turn around she just shakes it off and \n starts dancing again. \n \n LATER. Tom is outside in the rain. We can still hear the"," Right: Summer looks at her phone, willing it to ring. It \n doesn't. \n \n \n INT TOM'S BEDROOM - HOURS LATER \n "," 82. \n \n \n \n SARAH \n Ok. We'll see you inside. \n \n When they're out of earshot, Tom sees that Summer is"," \n \n Tom quickly shuts the door on Paul. \n \n TOM \n If you heard... \n \n SUMMER \n Heard what? \n \n TOM"," know. But at least he didn't -- \n \n SUMMER \n Is that true? \n \n TOM \n What? \n \n SUMMER"," \n Tom can't help but do a little celebration dance. \n \n CUT TO: \n \n LATER. Sex has been had. Summer is asleep. Tom lies next to"," again. He shuts the door in our faces. \n \n \n INT TOM'S BEDROOM - THE NEXT MORNING \n \n Tom and Summer in the wee hours. \n \n TOM"," \n TOM \n I don't... \n \n MCKENZIE \n You really do. \n \n SUMMER"," Tom is awakened by a buzzer. He hits the \"sleep\" button but \n the buzzing isn't coming from his alarm. It's his door. He \n gets up, concerned, and goes to answer it. It's Summer. \n "," Suddenly, Tom sees something at the front of the line. \n \n TOM \n Oh shit. \n \n SUMMER \n What? \n "," TOM \n Hey Mr. Vance. \n \n SUMMER \n Yes, Mr. Vance? \n \n And they're all business. As Tom turns to go, however, Summer"," Tom shuts the door on McKenzie as fast as he can. Now it's \n just Tom and Summer. Tom talks a mile a minute to try and \n erase McKenzie's last exchange from her mind. \n \n TOM"," one he's been looking for. \n \n CU Summer opening the door to the boardroom, about to come \n face to face with Tom for the first time. \n \n NARRATOR"," \n SUMMER \n Ok. \n \n Tom puts his hands in his pockets and watches this exchange \n go down. Not sure what else to do. At this point he's more \n amused than concerned. \n "," and Summer are two of them. Tom takes this opportunity to put \n a CD in his computer and play the song really loud. It's \"I \n Want to Know What Love Is\" by Foreigner. No reaction from"," LATER. ANGLE ON Tom alone at the table. The band plays \"Lady \n in Red\" and everyone's dancing. When we're back on Tom, he's \n sitting with Summer. \n \n TOM"," \n Summer starts walking ahead and Tom notices for the first \n time she's furious. \n \n TOM \n Hey. What is it? \n \n SUMMER"],[" Same day from the past. They walk out, at first everything's \n alright. It's exactly as we saw on page 7. But soon after \n that she begins to cry again. Serious, real sobbing. \n \n TOM"," 66. \n \n \n \n Right: Summer lies awake, staring at the ceiling. \n \n Left: Tom picks up the phone. Is about to dial when he stops \n himself and hangs up. \n "," 67. \n \n \n \n She comes in and kisses him. He thinks about it for a second. \n Is this enough to assuage his doubts? Damn it, she wins"," Summer and Tom come bounding in, lip-locked and all over each \n other. They fall on his bed and begin undressing each other. \n Suddenly, Tom stops. \n \n 44. \n \n \n "," 5. \n \n \n \n NARRATOR \n Tom meets Summer on January 8th in \n a San Francisco office building. In \n an instant, he will know she's the"," look at her, to offer some sort of comfort, believing it to \n be a response to the movie. She doesn't look back. \n \n \n (409) \n INT TOM'S BEDROOM - DAY \n "," \n The elevator doors open and she gets off. \n \n TOM \n (accidentally out loud) \n Oh my god. \n \n \n (8)"," \n (417-464) \n 1. INT TOM'S BATHROOM - DAY \n \n Tom shaves. Makes himself look presentable. \n \n 108. \n "," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," He's sleeping like a baby, probably the best sleep he's had \n in a long while. Summer lies next to him. Wide awake. Bored \n and unfulfilled. \n \n \n INT RESTAURANT - SAME"," grief/ but your love is my relief.\" \n \n We know, as well as he does: he will ask nothing tonight. \n \n \n (172) \n INT PARTY - NIGHT \n "," She hugs him. Tight. He doesn't cry but he could. \n \n RACHEL \n You know, my friends... they're all \n in love with you. \n \n TOM"," might notice she lags behind him as they walk through the \n aisles. His hands are in his pockets. He's bored. She's \n distant. But only if we're really looking. \n \n \n (406)"," SUMMER \n Cause there's nothing to tell. \n \n TOM \n Come on, I'm interested. \n \n SUMMER \n You wanna have the relationship"," The phone rings. Tom stops his push-ups to answer it. \n \n NARRATOR (V.O.) \n May 8th was a Saturday. \n \n \n INT DELI - DAY \n "," Tom wakes up. He gets his bearings and then quickly rolls \n onto the floor and begins a brief push-up routine. \n \n NARRATOR (V.O.) \n Most days of the year are entirely"," 43. \n \n \n \n TOM \n Thanks. \n \n SUMMER \n I mean, I just want to say, up"," Then, as if to shut those thoughts out, whatever they were, \n he turns on the TV and joylessly watches the nothingness. \n \n \n 9. SPLITSCREEN - DAY \n "," Tom says nothing. \n \n SUMMER \n I knew I could promise him I'd feel \n the same way every morning. In a \n way that I... I never could with \n you. \n "," her. He still can't help but be ecstatic. He is pumping his \n fists in the air and silently shouting \"Woo Hoo!!!!\" \n \n \n (388)"],[" 5. \n \n \n \n NARRATOR \n Tom meets Summer on January 8th in \n a San Francisco office building. In \n an instant, he will know she's the"," Again, that fateful day continues. Tom and Summer outside. \n \n SUMMER \n So. \n \n TOM \n So... Now what? \n \n 107."," 56. \n \n \n \n \n INT TOM'S CAR - THAT NIGHT \n \n Tom and Summer driving on the Golden Gate. Tom is very"," and Summer are two of them. Tom takes this opportunity to put \n a CD in his computer and play the song really loud. It's \"I \n Want to Know What Love Is\" by Foreigner. No reaction from"," The phone rings. Tom stops his push-ups to answer it. \n \n NARRATOR (V.O.) \n May 8th was a Saturday. \n \n \n INT DELI - DAY \n "," corner and sees Summer walking towards him. As she gets \n closer he sees it's not her after all and breathes a sigh of \n relief. \n \n \n INT. BEDROOM - LATER \n "," That day again. As we've seen before, Tom reads a newspaper. \n Summer reads a novel. \n \n TOM \n It's playing at 5. \n \n SUMMER"," SUMMER \n Tom! \n \n But when he doesn't turn around she just shakes it off and \n starts dancing again. \n \n LATER. Tom is outside in the rain. We can still hear the"," \n SUMMER \n Oh ok, sure, no prob. \n \n \n INT OFFICE - LATE IN THE DAY \n \n The office is emptying out. Only a few people remain but Tom"," We spent the whole day together. \n \n \n EXT OUTDOOR MARKET - DAY \n \n Tom and Summer walk through the stalls. \n \n TOM (V.O.)"," SUMMER \n Hey it's me. \n \n TOM \n Hello me. You having a good day? \n \n SUMMER \n I am thank you. Listen, about"," TOM \n Me and Summer. \n \n MCKENZIE \n Was it ever on? \n \n 25. \n \n \n \n TOM"," Tom takes a deep breath. \n \n \n EXT PARK - DAY \n \n Tom and Summer eat sandwiches in the park. \n \n TOM (V.O.)"," \n SUMMER \n I know. \n (BEAT) \n See you later. \n \n And she walks away. The CAMERA TRACKS AWAY with her, leaving"," 9. \n \n \n \n SUMMER \n You're happy? \n \n TOM \n You're not? \n \n SUMMER"," We went shopping. \n \n \n EXT COFFEE HOUSE - DAY \n \n Tom and Summer seated outside drinking coffee. He reads the \n newspaper, she reads a novel. \n "," I mean, who are you? They're happy. \n Just mind your own business. \n \n Summer goes back to eating. Tom can't believe she snapped. \n \n \n (31)"," Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," Summer and Tom come bounding in, lip-locked and all over each \n other. They fall on his bed and begin undressing each other. \n Suddenly, Tom stops. \n \n 44. \n \n \n "," Hey, no, that's cool. Whatever you \n want to do. \n \n SUMMER \n Thank you. So we'll talk tomorrow, \n alright? \n \n TOM"],[" Tom walks to his cubicle, still on top of the world. \n \n 39. \n \n \n \n \n INT TOM'S PLACE - THAT NIGHT \n "," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," a little. \n \n The Women clutch their heart like they might faint. \n \n \n INT RELIGIOUS HOLIDAYS WING - LATER \n \n Workers are again all gathered around Tom."," Tom wakes up. He gets his bearings and then quickly rolls \n onto the floor and begins a brief push-up routine. \n \n NARRATOR (V.O.) \n Most days of the year are entirely"," He quickly ushers him out of the office. \n \n 87. \n \n \n \n \n (383) \n INT TOM'S BEDROOM - MORNING \n "," He works for the Republican party. \n Very successful. Just not for me. \n \n TOM \n Ok. And then? \n \n SUMMER \n Well, for a short time in college,"," INT. APARTMENT - LATER \n \n Tom, almost with a full beard, is redecorating his apartment \n again. We see him rearranging the furniture in the room. \n \n LATER. He hangs some new pictures."," CUT TO: \n \n \n (272-286) \n INT. BOOKSTORE - DAY \n \n Tom, starting to get that unshaven, unkempt look, wanders"," \n TOM \n You wanted to see me, Mr. Vance? \n \n VANCE \n Yes Hansen. Sit down. \n \n TOM \n Ok. \n "," How long have you worked here? \n \n 18. \n \n \n \n TOM \n Oh, you know, 4, 5... years. \n \n SUMMER"," TOM \n Hey Mr. Vance. \n \n SUMMER \n Yes, Mr. Vance? \n \n And they're all business. As Tom turns to go, however, Summer"," shirt under his sports coat and Adidas tennis shoes to \n balance out the corporate dress code. He looks pretty bored. \n \n NARRATOR \n The boy, Tom Hansen of Margate, New"," \n Tom sits next to McKenzie and across from Vance. He's in his \n usual boardroom position, which is to say, near comatose. \n "," \n Tom starts to itch... \n \n \n INT. APARTMENT - LATER \n \n Tom is painting the walls of his now nearly bare apartment. \n \n TOM (V.O.)"," one he's been looking for. \n \n CU Summer opening the door to the boardroom, about to come \n face to face with Tom for the first time. \n \n NARRATOR"," \n Tom actually wanders in to work, wearing sunglasses and the \n clothes he slept in. People pass and say hello. He can't \n muster responses. At his desk, \n \n MCKENZIE"," Tom sits with his feet up on a table, headphones on his ears, \n reading one of many Taschen books on innovative building \n design. \n \n \n 3. INT OFFICE LOBBY - DAY \n "," Tom gets up and walks to the door. \n \n TOM \n It's all crap. We make and peddle \n crap. And sometimes people believe \n in this crap. I just can't do it"," \n TOM \n (DEFLATED) \n Oh. Got it... No problem. \n \n He turns back around and shakes that off, tries to refocus on"," The phone rings. Tom stops his push-ups to answer it. \n \n NARRATOR (V.O.) \n May 8th was a Saturday. \n \n \n INT DELI - DAY \n "],[" his wall (which is now composed of a dynamic cityscape of \n futuristic looking structures). He crosses \"Abrams and \n Abrams\" off the list. We notice several others are also \n crossed off. \n \n "," feelings are always getting hurt. \n Who needs all that? We're young. \n We're in one of the most beautiful \n cities in the world. \n (MORE) \n "," at his side, waits in the foyer of Allen, Prince, and Gethers \n Architecture. From the room we can tell this firm is big \n time. \n \n Tom waits. \n "," is a God. \n \n \n EXT YERNA BUENA GARDEN - DAY \n \n Summer and Tom sit on the steps which offers a stunning view \n of the city's architectural marvels. \n "," interview. We can see he is frustrated but not deterred. In \n the distance, his favorite spot in the city, where he took \n Summer ages ago. \n \n \n EXT. PARK - DAY \n "," shirt under his sports coat and Adidas tennis shoes to \n balance out the corporate dress code. He looks pretty bored. \n \n NARRATOR \n The boy, Tom Hansen of Margate, New"," Literally, his entire universe falls apart. \n \n 97. \n \n \n \n FX: BUILDINGS come crumbling down. The whole city turns to"," a little. \n \n The Women clutch their heart like they might faint. \n \n \n INT RELIGIOUS HOLIDAYS WING - LATER \n \n Workers are again all gathered around Tom."," 2. EXT CITY SIDEWALK - DAY \n \n Tom sits on a street corner drawing new additions to the \n city's skyline. \n \n 2. INT LIBRARY - DAY \n "," outside? \n \n TOM \n I do! I love that church. It's like \n my favorite structure in the city. \n \n GIRL \n If only it wasn't near that"," rubble. He's the only constant as the world around him is \n ERASED, brick by brick, beam by beam, as if by an unseen \n force and reduced to nothing. \n \n CUT TO: \n "," SUMMER \n The city or the firm? \n \n TOM \n Both... Either. \n \n SUMMER \n I'm happy. Still getting situated."," A parade forms behind him. The POSTMAN, a POLICE OFFICER, the \n HOT DOG VENDOR, RONALD MCDONALD and MAYOR MCCHEESE, everybody"," I've fished in that sea. I've \n jumped in and swam in that sea! I'm \n fucking Aquaman! \n (to Rachel) \n Sorry. What I mean is... there are"," Tom. Everyone else in the class seems at peace. Tom can't \n even get the breathing right. \n \n \n INT. HOMELESS SHELTER - DAY \n "," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," I come here a lot. I always loved \n this place, ever since you brought \n me here. \n \n The mention of their past makes the atmosphere frosty. \n \n TOM"," SUMMER \n Why? \n \n TOM \n Over there, that's St. Patrick's \n church. The beauty of St. Patrick's \n is its humility. With this giant"," EXT TRANSAMERICA BUILDING - DAY \n \n Summer and Tom stand on San Francisco's most interesting \n street corner, where the ultra-modern Transamerica Building \n stands next to the ancient Columbus Tower. \n "," winking, doing a little shuffle. He is the man. He checks out \n his reflection in a window. A YOUNG PAUL NEWMAN stares back. \n \n People wave as he passes, they clap, they give him thumbs up."],[" A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," \n TOM \n I don't... \n \n MCKENZIE \n You really do. \n \n SUMMER"," TOM \n He's very...loving. \n \n SUMMER \n Does he hug all your friends? \n \n There's that word again. \n "," 36. \n \n \n \n MCKENZIE \n Not you. You. \n (beat, to Summer) \n He likes you. \n \n TOM"," SUMMER \n Tom -- \n \n TOM \n What's different now? How could \n things change so quickly? \n \n SUMMER"," Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," TOM \n Hey Mr. Vance. \n \n SUMMER \n Yes, Mr. Vance? \n \n And they're all business. As Tom turns to go, however, Summer"," and Summer are two of them. Tom takes this opportunity to put \n a CD in his computer and play the song really loud. It's \"I \n Want to Know What Love Is\" by Foreigner. No reaction from"," TOM \n Of course I do. \n \n SUMMER \n Interesting. A real romantic. \n \n MCKENZIE \n Oh you have no idea. This one..."," You know what. Do you...like me? \n \n TOM \n Yeah. I like you. Of course I do. \n \n SUMMER \n As a friend. \n \n TOM"," You really do? \n \n TOM \n (BEAT) \n God no. \n \n They both laugh a little. The tension begins to dissipate. \n \n SUMMER"," 82. \n \n \n \n SARAH \n Ok. We'll see you inside. \n \n When they're out of earshot, Tom sees that Summer is"," \n SUMMER \n I understand. \n \n TOM \n Yeah well...anyway...I hope you're \n happy. \n \n SUMMER"," Tom says nothing. \n \n SUMMER \n I knew I could promise him I'd feel \n the same way every morning. In a \n way that I... I never could with \n you. \n "," Summer and Tom come bounding in, lip-locked and all over each \n other. They fall on his bed and begin undressing each other. \n Suddenly, Tom stops. \n \n 44. \n \n \n "," \n SUMMER \n I... Tom... \n \n TOM \n What, tell me... \n \n SUMMER \n I woke up one day and I knew. \n "," know. But at least he didn't -- \n \n SUMMER \n Is that true? \n \n TOM \n What? \n \n SUMMER"," Tom shuts the door on McKenzie as fast as he can. Now it's \n just Tom and Summer. Tom talks a mile a minute to try and \n erase McKenzie's last exchange from her mind. \n \n TOM"," \n \n Tom quickly shuts the door on Paul. \n \n TOM \n If you heard... \n \n SUMMER \n Heard what? \n \n TOM"," SUMMER \n Tom! \n \n But when he doesn't turn around she just shakes it off and \n starts dancing again. \n \n LATER. Tom is outside in the rain. We can still hear the"],[" Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," INT MOVIE - LATER \n \n Tom and Summer watching the film. Tears begin to well in \n Summer's eyes. They soon turn to audible sobs. Tom turns to"," \n Tom and Summer, watching the movie. Intently. They've even \n got popcorn. \n \n SUMMER \n Is that... possible? \n \n \n (79) \n "," For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a \n park bench. Their names are TOM and SUMMER. Neither one says \n a word. \n \n "," TOM (V.O.) \n We had coffee. \n \n \n EXT MOVIE THEATER - DAY \n \n Tom and Summer walk out of a movie theatre. \n "," \n Summer starts walking ahead and Tom notices for the first \n time she's furious. \n \n TOM \n Hey. What is it? \n \n SUMMER"," Tom watches TV. An advertisement for toothpaste comes on. Tom \n could swear the actress was Summer. \n \n \n INT TROLLEY - DAY \n \n A trolley going the other direction passes by. EVERY"," In CU, Tom goes to hold Summer's hand. But something happens. \n It could be a total coincidence, but just as his hand \n approaches hers (in SLO-MO), she moves it away and keeps it"," INT. SUMMER'S APARTMENT - LATER \n \n Tom and Summer get comfortable. Both are excited and looking \n forward to this. The movie starts, the credits roll. Tom and"," \n Tom walks out. He looks back but she isn't looking. When she \n looks back at him, he's gone. \n \n LATER. Tom about to leave the office. Passes Summer's desk."," Summer start to make out a bit, both keeping an eye on the \n TV. \n \n CUT TO: \n \n \n INT. SUMMER'S APARTMENT - 20 MINUTES LATER"," again. He shuts the door in our faces. \n \n \n INT TOM'S BEDROOM - THE NEXT MORNING \n \n Tom and Summer in the wee hours. \n \n TOM"," 82. \n \n \n \n SARAH \n Ok. We'll see you inside. \n \n When they're out of earshot, Tom sees that Summer is"," \n SUMMER \n Ok. \n \n Tom puts his hands in his pockets and watches this exchange \n go down. Not sure what else to do. At this point he's more \n amused than concerned. \n "," TOM \n Hey Mr. Vance. \n \n SUMMER \n Yes, Mr. Vance? \n \n And they're all business. As Tom turns to go, however, Summer"," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," \n TOM \n I don't... \n \n MCKENZIE \n You really do. \n \n SUMMER"," TOM \n What? \n \n SUMMER \n Don't talk about it. Do it. \n \n Summer gives him a pen from her purse and the underside of"," Right: Summer looks at her phone, willing it to ring. It \n doesn't. \n \n \n INT TOM'S BEDROOM - HOURS LATER \n "," \n Tom can't help but do a little celebration dance. \n \n CUT TO: \n \n LATER. Sex has been had. Summer is asleep. Tom lies next to"],[" outside? \n \n TOM \n I do! I love that church. It's like \n my favorite structure in the city. \n \n GIRL \n If only it wasn't near that"," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," interview. We can see he is frustrated but not deterred. In \n the distance, his favorite spot in the city, where he took \n Summer ages ago. \n \n \n EXT. PARK - DAY \n "," Tom walks down the street. Or, more accurately, Tom sulks \n down the street. Though it's sunny and warm, Tom is a sad, \n broken man and the world is an awful place. There's still"," is a God. \n \n \n EXT YERNA BUENA GARDEN - DAY \n \n Summer and Tom sit on the steps which offers a stunning view \n of the city's architectural marvels. \n "," Tom walks to his cubicle, still on top of the world. \n \n 39. \n \n \n \n \n INT TOM'S PLACE - THAT NIGHT \n "," 2. EXT CITY SIDEWALK - DAY \n \n Tom sits on a street corner drawing new additions to the \n city's skyline. \n \n 2. INT LIBRARY - DAY \n "," \n Tom backpacks alone in the forest. \n \n TOM (V.O.) \n \"Five. Travel. Take some time to \n see another environment. Get \n perspective. It's a beautiful"," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," his wall (which is now composed of a dynamic cityscape of \n futuristic looking structures). He crosses \"Abrams and \n Abrams\" off the list. We notice several others are also \n crossed off. \n \n "," Hall and Oates following Tom, almost trying to cheer him up. \n He checks out his reflection in a window. Ron Howard's \n brother Clint looks back. \n \n Tom walks by a COUPLE making out on a bench. He grimaces."," Tom's parade of supporters, The Postman, Mayor McCheese, all \n of them shake their heads and give him disapproving looks. \n The Cartoon Bird takes a cartoon shit on Tom's shoulder. Tom"," great. Well done Hansen, you idiot. \n \n Tom walks a few more steps. \n \n And then, seemingly out of nowhere, without his even"," The CLERK eyes him suspiciously. \n \n \n EXT STREET - SAME \n \n Tom sees a COUPLE kissing on the sidewalk. He winces. He sees"," TOM \n A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n "," Tom had always been a devout \n believer in the idea of \"true \n love.\" \n (BEAT) \n The evidence did not support him. \n \n CUT TO: \n "," 5. EXT GOLDEN GATE BRIDGE - DAY \n \n Tom has his car on the side of the road and is out measuring \n the distance between the beams of the bridge. \n \n 8. EXT PARK - DAY"," at his side, waits in the foyer of Allen, Prince, and Gethers \n Architecture. From the room we can tell this firm is big \n time. \n \n Tom waits. \n "," CUT TO: \n \n \n (272-286) \n INT. BOOKSTORE - DAY \n \n Tom, starting to get that unshaven, unkempt look, wanders"," world. It will be for you again \n someday.\" \n \n This is it, he's finally found some peace. Tom looks up to \n the tops of the trees where the sunlight is peeking in and \n takes a deep breath."],[" She turns back to look at Tom on the way. She sticks out her \n tongue to be cute. Co-Worker doesn't see. Tom is crazy about \n her. \n \n \n INT OFFICE - LATER \n "," A female CO-WORKER, 50s, stands at the front of the room in \n mid-presentation, showing slides that have something to do \n with a cat in various poses. First we see, \"Cat Reaching Up"," \n \n INT WEDDINGS AND ANNIVERSARIES SUITE - LATER \n \n All of the people who work in here are MIDDLE AGED WOMEN. \n Currently, they are standing around one desk where Tom sits"," a little. \n \n The Women clutch their heart like they might faint. \n \n \n INT RELIGIOUS HOLIDAYS WING - LATER \n \n Workers are again all gathered around Tom."," MCKENZIE \n Yeah. \n \n TOM \n Now she's getting married. \n \n PAUL \n I'm so sorry Tom. \n \n TOM"," A CO-WORKER passes. \n \n CO-WORKER \n Hey Summer. Tom. \n \n BOTH \n (like nothing's up) \n Hey./ Hi. \n "," Shit. That's not bad. \n \n TOM \n No worries. \n \n Tom walks by the room marked \"Weddings and Anniversaries.\" \n He's about to keep going when he pauses."," Oh you'd be surprised. \n \n AUNT ANITA \n (actually squeezing his \n CHEEKS) \n Look at this punum. Are all those \n girls blind? \n "," INT OFFICE LOBBY - DAY \n \n The office sings \"Happy Birthday\" to a FEMALE CO-WORKER. When \n they get to the part about her name, Tom is the only one who"," I mean you were practically \n stalking her... \n \n TOM \n Shhh! \n \n Suddenly, the sound of a toilet flushing is heard. From the"," for Out-of-Reach Milk Bowl.\" \n \n CO-WORKER \n This one says \"Go for it!\" \n \n She clicks to the next slide. \"Cat Hanging From Tree Branch.\" \n "," She takes her seat. \n \n VANCE. \n Good job Rhoda, I agree. Really \n inspirational stuff. Now, who's \n next. We haven't heard from"," on her desk. Not a word is spoken. Satisfied, he returns to \n his seat and waits to see what happens. \n \n NARRATOR \n Exhibit A: Lisa Rayner. \n "," CLOSE ON her HAND, covering his. Notice the wedding ring. No \n words are spoken. Tom looks at her the way every woman wants \n to be looked at. \n \n A DISTINGUISHED VOICE begins to speak to us."," \n The elevator doors open and she gets off. \n \n TOM \n (accidentally out loud) \n Oh my god. \n \n \n (8)"," I got one good shot in. \n \n \n \n (146 & 147) \n INT. OFFICE - LATER \n \n Tom is in the photocopy room with a bandage on his nose."," corner deli and this guy sits down \n and starts asking about it. Now \n he's my husband! \n \n TOM \n This is funny to you? \n \n SUMMER"," She's on the phone. He wants to stop and say something but \n she's busy. He walks on. She never knew he was there. \n \n LATER. Summer, packed up to go, walks over to Tom's cubicle"," Anyway, I should get back. \n \n TOM \n Ok, well, I'll see you around. \n \n She walks back to her cubicle at the other end of the hall."," Yup. \n \n It's silent a few beats. \n \n TOM \n Anyway, who cares about me? This is \n your day. \n "],[" Yeah I quit the office. \n \n SUMMER \n Really? That's great! What are you \n doing now? \n \n TOM \n Mostly...sleeping. Breaking things."," Tom gets up and walks to the door. \n \n TOM \n It's all crap. We make and peddle \n crap. And sometimes people believe \n in this crap. I just can't do it"," TOM \n No, Paul, no jobs. I'm still \n unemployed. We just kissed. \n \n 40. \n \n \n \n PAUL"," \n Tom starts to itch... \n \n \n INT. APARTMENT - LATER \n \n Tom is painting the walls of his now nearly bare apartment. \n \n TOM (V.O.)"," He quickly ushers him out of the office. \n \n 87. \n \n \n \n \n (383) \n INT TOM'S BEDROOM - MORNING \n "," INT. APARTMENT - LATER \n \n Tom, almost with a full beard, is redecorating his apartment \n again. We see him rearranging the furniture in the room. \n \n LATER. He hangs some new pictures."," CUT TO: \n \n \n (272-286) \n INT. BOOKSTORE - DAY \n \n Tom, starting to get that unshaven, unkempt look, wanders"," Anyway, I'm leaving now. Pretend I \n was never here. Tom, talk to you \n later?... Hey, If any jobs open \n up... \n \n 41. \n "," \n TOM \n (DEFLATED) \n Oh. Got it... No problem. \n \n He turns back around and shakes that off, tries to refocus on"," tries to find something to kick and can't. He throws his cell \n phone off his balcony. Finally he collapses on the bed. \n \n \n (384) \n INT TOM'S BEDROOM \n "," Tom walks to his cubicle, still on top of the world. \n \n 39. \n \n \n \n \n INT TOM'S PLACE - THAT NIGHT \n "," Tom is standing still now, no longer moving. He's trying to \n keep his frustration from being audible. \n \n 76. \n \n \n \n TOM"," And with that he storms off. \n \n MCKENZIE \n Tom! \n \n PAUL \n Let him go. \n \n ANGLE ON Tom walking away from them. \n "," Tom has more than fifty self-help books on a shelf by his \n bed. He reads from one called \"Six Steps to Getting Over \n Him.\" \n \n TOM (V.O.)"," END MUSIC. \n \n \n (478) \n EXT OFFICE BUILDING - ANOTHER DAY \n \n Tom, in a suit, exits a building after another dismal"," \n Tom backpacks alone in the forest. \n \n TOM (V.O.) \n \"Five. Travel. Take some time to \n see another environment. Get \n perspective. It's a beautiful"," \n Tom jogs. A little faster this time. \n \n 9. INT TOM'S BEDROOM - NIGHT \n \n Tom getting more bad news from the answering machine,"," great. Well done Hansen, you idiot. \n \n Tom walks a few more steps. \n \n And then, seemingly out of nowhere, without his even"," Tom removes his headphones and sits defeated with McKenzie \n and Paul in a booth. \n \n TOM \n It's off. \n \n PAUL \n What? \n "," Tom comes charging out of the place with his friends \n following behind. \n \n TOM \n There's no fucking way! \n \n MCKENZIE \n Tom. \n \n TOM"],[" interview. We can see he is frustrated but not deterred. In \n the distance, his favorite spot in the city, where he took \n Summer ages ago. \n \n \n EXT. PARK - DAY \n "," Tom walks over and sits down on a bench. He stares off, lost \n in thought. And then, from out of nowhere, there's her voice. \n \n SUMMER (V.O.) \n Hey. \n "," 5. \n \n \n \n NARRATOR \n Tom meets Summer on January 8th in \n a San Francisco office building. In \n an instant, he will know she's the"," Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," one he's been looking for. \n \n CU Summer opening the door to the boardroom, about to come \n face to face with Tom for the first time. \n \n NARRATOR"," Tom watches TV. An advertisement for toothpaste comes on. Tom \n could swear the actress was Summer. \n \n \n INT TROLLEY - DAY \n \n A trolley going the other direction passes by. EVERY"," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," is a God. \n \n \n EXT YERNA BUENA GARDEN - DAY \n \n Summer and Tom sit on the steps which offers a stunning view \n of the city's architectural marvels. \n "," That day again. As we've seen before, Tom reads a newspaper. \n Summer reads a novel. \n \n TOM \n It's playing at 5. \n \n SUMMER"," Again, that fateful day continues. Tom and Summer outside. \n \n SUMMER \n So. \n \n TOM \n So... Now what? \n \n 107."," Tom says nothing. \n \n SUMMER \n I knew I could promise him I'd feel \n the same way every morning. In a \n way that I... I never could with \n you. \n "," SUMMER \n The city or the firm? \n \n TOM \n Both... Either. \n \n SUMMER \n I'm happy. Still getting situated."," 56. \n \n \n \n \n INT TOM'S CAR - THAT NIGHT \n \n Tom and Summer driving on the Golden Gate. Tom is very"," Summer sits like an apparition on a neighboring bench. She \n may have just sat down, she may have been there for hours. \n Tom isn't sure if she's real. He doesn't quite know what to \n do. \n "," We spent the whole day together. \n \n \n EXT OUTDOOR MARKET - DAY \n \n Tom and Summer walk through the stalls. \n \n TOM (V.O.)"," Tom takes a deep breath. \n \n \n EXT PARK - DAY \n \n Tom and Summer eat sandwiches in the park. \n \n TOM (V.O.)"," \n Tom walks out. He looks back but she isn't looking. When she \n looks back at him, he's gone. \n \n LATER. Tom about to leave the office. Passes Summer's desk."," EXT PARK - DAY \n \n Tom and Summer are having a picnic. If it looks familiar, \n it's cause we saw them here on page 7. This is that fateful"," SUMMER \n Tom -- \n \n TOM \n What's different now? How could \n things change so quickly? \n \n SUMMER"," \n SUMMER \n Oh ok, sure, no prob. \n \n \n INT OFFICE - LATE IN THE DAY \n \n The office is emptying out. Only a few people remain but Tom"],[" My name's Tom. \n \n GIRL \n Nice to meet you... \n \n She puts out her hand to meet his. They shake. \n \n GIRL"," \n TOM \n The right girl I guess. \n \n AUNT BETSY \n There's girls everywhere. I bet you \n have to beat em off with a stick. \n \n TOM"," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," towards an outdoor cafe. Her name is ALLISON. It's clear \n right away that Tom can't wait for this night to end already. \n \n 70. \n \n \n \n ALISON"," TOM \n Summer! \n \n She stops and turns back. He takes in her face, most likely \n for the last time ever. \n \n TOM \n I really do hope you're happy."," 5. \n \n \n \n NARRATOR \n Tom meets Summer on January 8th in \n a San Francisco office building. In \n an instant, he will know she's the"," MAN \n Come on back. \n \n TOM \n Thank you. \n \n He starts to go. But halfway through the doorway, he pauses \n and looks back at the girl. \n "," \n The elevator doors open and she gets off. \n \n TOM \n (accidentally out loud) \n Oh my god. \n \n \n (8)"," SUMMER \n Tom! \n \n But when he doesn't turn around she just shakes it off and \n starts dancing again. \n \n LATER. Tom is outside in the rain. We can still hear the"," \n TOM \n Hey Martin. \n \n ANGLE ON RACHEL and Sarah. \n \n RACHEL \n He met a girl. \n \n SARAH"," during this time that something weird comes over Tom and we \n can visibly see it in his face. He likes the look of this \n girl. This girl is cute. He'd like to talk more with her."," 6. \n \n \n \n GIRL \n Thomas. \n \n Tom freezes. \n \n TOM \n Rachel? What are you doing here? \n "," TOM \n And it turns out she's read every \n Graham Greene novel ever published. \n Her desk is lined with Magritte \n posters and Edward Hopper. \n \n RACHEL"," Tom walks over and sits down on a bench. He stares off, lost \n in thought. And then, from out of nowhere, there's her voice. \n \n SUMMER (V.O.) \n Hey. \n "," \n Tom is caught like a deer in headlights. What can he do? \n \n TOM \n Well this is the girl friend I've \n told you about. I don't know if"," I mean you were practically \n stalking her... \n \n TOM \n Shhh! \n \n Suddenly, the sound of a toilet flushing is heard. From the"," shirt under his sports coat and Adidas tennis shoes to \n balance out the corporate dress code. He looks pretty bored. \n \n NARRATOR \n The boy, Tom Hansen of Margate, New"," TOM \n What? \n \n SUMMER \n Don't talk about it. Do it. \n \n Summer gives him a pen from her purse and the underside of"," ...pretty sure. \n \n TOM \n (to Girl) \n Excuse me. \n \n GIRL \n Hello stranger. \n \n TOM"," Tom watches her go. \n \n CUT TO: \n \n \n (240)"],[" Tom has more than fifty self-help books on a shelf by his \n bed. He reads from one called \"Six Steps to Getting Over \n Him.\" \n \n TOM (V.O.)"," You did the right thing. Where is \n he? \n \n Tom is in the kitchen breaking things and basically going \n insane. About to smash a plate on the floor, he's interrupted \n BY: \n "," tries to find something to kick and can't. He throws his cell \n phone off his balcony. Finally he collapses on the bed. \n \n \n (384) \n INT TOM'S BEDROOM \n "," Tom walks over and sits down on a bench. He stares off, lost \n in thought. And then, from out of nowhere, there's her voice. \n \n SUMMER (V.O.) \n Hey. \n "," Tom is going apeshit in his room. He's ripping down posters, \n taking pictures out of frames and tearing them apart. He \n punches the wall. He drinks an entire bottle of red wine. He"," Tom is too wrapped up in the phone call to acknowledge him. \n The smile on his face is the biggest we've seen yet. \n \n \n \n (68) \n INT. SHOWER - LATER \n "," Tom comes charging out of the place with his friends \n following behind. \n \n TOM \n There's no fucking way! \n \n MCKENZIE \n Tom. \n \n TOM"," Right: Summer looks at her phone, willing it to ring. It \n doesn't. \n \n \n INT TOM'S BEDROOM - HOURS LATER \n "," look at her, to offer some sort of comfort, believing it to \n be a response to the movie. She doesn't look back. \n \n \n (409) \n INT TOM'S BEDROOM - DAY \n "," Tom watches her walk away for a beat before he turns to go \n the other way. \n \n TOM \n (under his breath) \n Friends. Awesome. That's just"," But the line is dead. Tom's head sinks into his chest. Yet \n another frustrating night... \n \n CUT TO: \n \n "," and crying and bitching about for \n weeks now? \n \n TOM \n I have not been... \n \n PAUL \n The same girl you said was way out"," TOM \n (calling to her) \n I just got my ass kicked! \n \n Only the CROWD outside the bar hear this. \n \n TOM \n (to Onlookers)"," once. Screw it. I'm done with her. \n It's over. \n \n 28. \n \n \n \n Tom's friends all look at him like he's crazy."," TOM \n He's very...loving. \n \n SUMMER \n Does he hug all your friends? \n \n There's that word again. \n "," She hugs him. Tight. He doesn't cry but he could. \n \n RACHEL \n You know, my friends... they're all \n in love with you. \n \n TOM"," TOM \n Yeah. \n \n ALISON \n Well I'm glad you called. They \n spoke very highly of you. \n \n TOM \n Great. \n \n "," Tom is awakened by a buzzer. He hits the \"sleep\" button but \n the buzzing isn't coming from his alarm. It's his door. He \n gets up, concerned, and goes to answer it. It's Summer. \n "," his shoes on. He holds the phone up to his ear. \n \n TOM \n Hey. \n \n Summer is half-asleep under the covers. The phone lays at her \n side and she angles towards it. \n "," her. I know her too well. She \n wouldn't do that. \n \n His friends say nothing. \n \n TOM \n (BEAT) \n Fuck! \n "],[" Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," \n Summer starts walking ahead and Tom notices for the first \n time she's furious. \n \n TOM \n Hey. What is it? \n \n SUMMER"," Tom says nothing. \n \n SUMMER \n I knew I could promise him I'd feel \n the same way every morning. In a \n way that I... I never could with \n you. \n "," SUMMER \n Cause there's nothing to tell. \n \n TOM \n Come on, I'm interested. \n \n SUMMER \n You wanna have the relationship"," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," SUMMER \n Tom -- \n \n TOM \n What's different now? How could \n things change so quickly? \n \n SUMMER"," Tom is awakened by a buzzer. He hits the \"sleep\" button but \n the buzzing isn't coming from his alarm. It's his door. He \n gets up, concerned, and goes to answer it. It's Summer. \n "," Summer and Tom come bounding in, lip-locked and all over each \n other. They fall on his bed and begin undressing each other. \n Suddenly, Tom stops. \n \n 44. \n \n \n "," TOM \n It's amazing to me. You're married. \n \n SUMMER \n I know. \n \n TOM \n You're not only someone's"," In CU, Tom goes to hold Summer's hand. But something happens. \n It could be a total coincidence, but just as his hand \n approaches hers (in SLO-MO), she moves it away and keeps it"," 9. \n \n \n \n SUMMER \n You're happy? \n \n TOM \n You're not? \n \n SUMMER"," TOM \n What? \n \n SUMMER \n Don't talk about it. Do it. \n \n Summer gives him a pen from her purse and the underside of"," CU - SUMMER ASLEEP (as before) \n \n TOM (V.O.) \n I hate the way she sleeps. \n \n CU - SUMMER'S LAUGH \n "," 82. \n \n \n \n SARAH \n Ok. We'll see you inside. \n \n When they're out of earshot, Tom sees that Summer is"," \n \n Tom quickly shuts the door on Paul. \n \n TOM \n If you heard... \n \n SUMMER \n Heard what? \n \n TOM"," \n SUMMER \n Ok. \n \n Tom puts his hands in his pockets and watches this exchange \n go down. Not sure what else to do. At this point he's more \n amused than concerned. \n "," \n SUMMER \n I'm dancing. I haven't danced in \n ages. God. Come on. \n \n TOM \n No. \n \n SUMMER"," You really do? \n \n TOM \n (BEAT) \n God no. \n \n They both laugh a little. The tension begins to dissipate. \n \n SUMMER"," TOM \n (touching his tie) \n Sorta. \n \n SUMMER \n I'd rather not. Seriously, do you \n mind? \n "," 56. \n \n \n \n \n INT TOM'S CAR - THAT NIGHT \n \n Tom and Summer driving on the Golden Gate. Tom is very"],[" Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," \n Summer starts walking ahead and Tom notices for the first \n time she's furious. \n \n TOM \n Hey. What is it? \n \n SUMMER"," SUMMER \n Tom -- \n \n TOM \n What's different now? How could \n things change so quickly? \n \n SUMMER"," You really do? \n \n TOM \n (BEAT) \n God no. \n \n They both laugh a little. The tension begins to dissipate. \n \n SUMMER"," TOM (V.O.) \n We had coffee. \n \n \n EXT MOVIE THEATER - DAY \n \n Tom and Summer walk out of a movie theatre. \n "," Tom! You're the crazy person! \n \n TOM \n What are you talking about?! \n \n SUMMER \n One day I'm reading a book at the"," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," TOM \n Summer, hold on... you don't \n believe in love? \n \n SUMMER \n I don't even know what that word \n means. I know I've never felt it,"," \n SUMMER \n I'm dancing. I haven't danced in \n ages. God. Come on. \n \n TOM \n No. \n \n SUMMER"," \n SUMMER \n I understand. \n \n TOM \n Yeah well...anyway...I hope you're \n happy. \n \n SUMMER"," SUMMER \n Cause there's nothing to tell. \n \n TOM \n Come on, I'm interested. \n \n SUMMER \n You wanna have the relationship"," TOM \n But...what if you meet someone and \n fall in love? \n \n SUMMER \n (LAUGHS) \n Love? You seriously believe in that \n stuff? \n "," Ok? \n \n Tom is visibly disappointed by this but he tries to hide it. \n \n TOM \n Sure. \n \n SUMMER \n (BEAT)"," \n Tom and Summer, watching the movie. Intently. They've even \n got popcorn. \n \n SUMMER \n Is that... possible? \n \n \n (79) \n "," 9. \n \n \n \n SUMMER \n You're happy? \n \n TOM \n You're not? \n \n SUMMER"," That day again. As we've seen before, Tom reads a newspaper. \n Summer reads a novel. \n \n TOM \n It's playing at 5. \n \n SUMMER"," CU - SUMMER ASLEEP (as before) \n \n TOM (V.O.) \n I hate the way she sleeps. \n \n CU - SUMMER'S LAUGH \n "," INT. SUMMER'S APARTMENT - LATER \n \n Tom and Summer get comfortable. Both are excited and looking \n forward to this. The movie starts, the credits roll. Tom and"," TOM \n (touching his tie) \n Sorta. \n \n SUMMER \n I'd rather not. Seriously, do you \n mind? \n "," and a total misreading of the \n movie, \"The Graduate.\" \n \n CUT TO: \n \n \n INT OFFICE CUBICLE - PRESENT DAY \n "],[" TOM \n Hey Mr. Vance. \n \n SUMMER \n Yes, Mr. Vance? \n \n And they're all business. As Tom turns to go, however, Summer"," \n On the right side of the screen, Tom continues to listen to \n some boring presentation. On the left, Summer answers a call, \n takes a message, and walks out of her cubicle down a long \n narrow hallway. \n "," We went shopping. \n \n \n EXT COFFEE HOUSE - DAY \n \n Tom and Summer seated outside drinking coffee. He reads the \n newspaper, she reads a novel. \n "," Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," TOM (V.O.) \n We had coffee. \n \n \n EXT MOVIE THEATER - DAY \n \n Tom and Summer walk out of a movie theatre. \n "," Tom is awakened by a buzzer. He hits the \"sleep\" button but \n the buzzing isn't coming from his alarm. It's his door. He \n gets up, concerned, and goes to answer it. It's Summer. \n "," \n Tom walks out. He looks back but she isn't looking. When she \n looks back at him, he's gone. \n \n LATER. Tom about to leave the office. Passes Summer's desk."," \n SUMMER \n Oh ok, sure, no prob. \n \n \n INT OFFICE - LATE IN THE DAY \n \n The office is emptying out. Only a few people remain but Tom"," 82. \n \n \n \n SARAH \n Ok. We'll see you inside. \n \n When they're out of earshot, Tom sees that Summer is"," TOM \n What? \n \n SUMMER \n Don't talk about it. Do it. \n \n Summer gives him a pen from her purse and the underside of"," \n TOM \n I don't... \n \n MCKENZIE \n You really do. \n \n SUMMER"," 5. \n \n \n \n NARRATOR \n Tom meets Summer on January 8th in \n a San Francisco office building. In \n an instant, he will know she's the"," Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. \n TIME CUTS reveal that Summer is talking with, laughing with, \n drinking with, and possibly flirting with many of them. Tom"," 56. \n \n \n \n \n INT TOM'S CAR - THAT NIGHT \n \n Tom and Summer driving on the Golden Gate. Tom is very"," INT. SUMMER'S APARTMENT - LATER \n \n Tom and Summer get comfortable. Both are excited and looking \n forward to this. The movie starts, the credits roll. Tom and"," Tom and Summer, who have ridden together to work, stand \n outside the building. \n \n 49. \n \n \n \n SUMMER \n You wanna -- \n "," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," \n TOM \n So, uh, Summer... \n \n SUMMER \n Tom. \n \n TOM \n Yeah! How's it going so far? \n "," \n SUMMER \n It was fine. Just a work thing. \n \n TOM \n Where did you guys go? \n \n SUMMER \n Some restaurant. \n "," SUMMER \n The city or the firm? \n \n TOM \n Both... Either. \n \n SUMMER \n I'm happy. Still getting situated."],[" Tom wakes up. He gets his bearings and then quickly rolls \n onto the floor and begins a brief push-up routine. \n \n NARRATOR (V.O.) \n Most days of the year are entirely"," He works for the Republican party. \n Very successful. Just not for me. \n \n TOM \n Ok. And then? \n \n SUMMER \n Well, for a short time in college,"," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," \n TOM \n (DEFLATED) \n Oh. Got it... No problem. \n \n He turns back around and shakes that off, tries to refocus on"," one he's been looking for. \n \n CU Summer opening the door to the boardroom, about to come \n face to face with Tom for the first time. \n \n NARRATOR"," shirt under his sports coat and Adidas tennis shoes to \n balance out the corporate dress code. He looks pretty bored. \n \n NARRATOR \n The boy, Tom Hansen of Margate, New"," TOM \n Hey Mr. Vance. \n \n SUMMER \n Yes, Mr. Vance? \n \n And they're all business. As Tom turns to go, however, Summer"," Tom had always been a devout \n believer in the idea of \"true \n love.\" \n (BEAT) \n The evidence did not support him. \n \n CUT TO: \n "," \n TOM \n That son of a bitch. \n \n RACHEL \n You see what I mean? \n \n The whistle blows again and Rachel gets up to go back on the \n field."," at his side, waits in the foyer of Allen, Prince, and Gethers \n Architecture. From the room we can tell this firm is big \n time. \n \n Tom waits. \n "," It's unbelievable. There's a few seconds where Tom isn't sure \n if he's dreaming or not. But then he realizes, suddenly, out \n of the blue, his best case scenario really is actually \n happening. \n "," \n TOM \n You wanted to see me, Mr. Vance? \n \n VANCE \n Yes Hansen. Sit down. \n \n TOM \n Ok. \n "," INT. APARTMENT - LATER \n \n Tom, almost with a full beard, is redecorating his apartment \n again. We see him rearranging the furniture in the room. \n \n LATER. He hangs some new pictures."," a little. \n \n The Women clutch their heart like they might faint. \n \n \n INT RELIGIOUS HOLIDAYS WING - LATER \n \n Workers are again all gathered around Tom."," \n Tom jogs. \n \n TOM (V.O.) \n \"One. Exercise. The body's release \n of endorphins will assuage the \n brain and provide a genuine sense"," TOM \n He's very...loving. \n \n SUMMER \n Does he hug all your friends? \n \n There's that word again. \n "," TOM \n Ok. Well, I'm sorry. Things for me \n have been a little difficult. \n \n VANCE \n That's ok. I understand that. I was \n just thinking... perhaps you could"," \n Tom starts to itch... \n \n \n INT. APARTMENT - LATER \n \n Tom is painting the walls of his now nearly bare apartment. \n \n TOM (V.O.)"," Tom gets up and walks to the door. \n \n TOM \n It's all crap. We make and peddle \n crap. And sometimes people believe \n in this crap. I just can't do it"," Tom. Everyone else in the class seems at peace. Tom can't \n even get the breathing right. \n \n \n INT. HOMELESS SHELTER - DAY \n "],[" Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. \n TIME CUTS reveal that Summer is talking with, laughing with, \n drinking with, and possibly flirting with many of them. Tom"," \n Summer starts walking ahead and Tom notices for the first \n time she's furious. \n \n TOM \n Hey. What is it? \n \n SUMMER"," Ok? \n \n Tom is visibly disappointed by this but he tries to hide it. \n \n TOM \n Sure. \n \n SUMMER \n (BEAT)"," Suddenly, Tom sees something at the front of the line. \n \n TOM \n Oh shit. \n \n SUMMER \n What? \n "," Tom is awakened by a buzzer. He hits the \"sleep\" button but \n the buzzing isn't coming from his alarm. It's his door. He \n gets up, concerned, and goes to answer it. It's Summer. \n "," (re: Summer's engagement) \n I heard. \n \n TOM \n Yeah. \n \n RACHEL \n Sucks. \n \n TOM"," Tom is going apeshit in his room. He's ripping down posters, \n taking pictures out of frames and tearing them apart. He \n punches the wall. He drinks an entire bottle of red wine. He"," Right: Summer looks at her phone, willing it to ring. It \n doesn't. \n \n \n INT TOM'S BEDROOM - HOURS LATER \n "," Tom looks at his food in disgust. He may never eat again. \n \n SUMMER \n (INNOCENT) \n What? \n \n Tom stands up to go. \n "," music blaring from the club. Summer is in there. Tom is \n alone. He can't believe it's come to this. \n \n \n (251)"," \n SUMMER \n Ok. \n \n Tom puts his hands in his pockets and watches this exchange \n go down. Not sure what else to do. At this point he's more \n amused than concerned. \n "," INT. APARTMENT - LATER \n \n Tom, almost with a full beard, is redecorating his apartment \n again. We see him rearranging the furniture in the room. \n \n LATER. He hangs some new pictures."," SUMMER \n Tom! \n \n But when he doesn't turn around she just shakes it off and \n starts dancing again. \n \n LATER. Tom is outside in the rain. We can still hear the"," In CU, Tom goes to hold Summer's hand. But something happens. \n It could be a total coincidence, but just as his hand \n approaches hers (in SLO-MO), she moves it away and keeps it"," and Summer are two of them. Tom takes this opportunity to put \n a CD in his computer and play the song really loud. It's \"I \n Want to Know What Love Is\" by Foreigner. No reaction from"," LATER. ANGLE ON Tom alone at the table. The band plays \"Lady \n in Red\" and everyone's dancing. When we're back on Tom, he's \n sitting with Summer. \n \n TOM"," I mean, who are you? They're happy. \n Just mind your own business. \n \n Summer goes back to eating. Tom can't believe she snapped. \n \n \n (31)"," Summer start to make out a bit, both keeping an eye on the \n TV. \n \n CUT TO: \n \n \n INT. SUMMER'S APARTMENT - 20 MINUTES LATER"," Rave music blares. Tom stands off to the side looking \n miserable. Summer is on the dance floor. Though she's not \n really dancing with anyone in particular, she's dancing with \n everyone. Finally she comes over, white shirt dripping with"],[" Tom is pleased. \n \n DOUCHE \n You're serious? This guy? \n \n And now he's pissed. \n \n TOM \n Hey buddy -- \n "," TOM \n (calling to her) \n I just got my ass kicked! \n \n Only the CROWD outside the bar hear this. \n \n TOM \n (to Onlookers)"," don't. I fight my own battles. \n \n TOM \n Come on, that guy was an asshole! \n \n SUMMER \n You didn't have to hit him. Why"," Tom comes charging out of the place with his friends \n following behind. \n \n TOM \n There's no fucking way! \n \n MCKENZIE \n Tom. \n \n TOM"," It's a MAN racing down the street, fleeing from an unseen \n assassin. When he turns around we see the man is TOM. Bullets \n fly and he's hit repeatedly in the back while running away"," There's a beat of calm where Tom is actually sorta surprised. \n And then the Douche spins around and starts PUMMELLING TOM. \n \n CUT TO: \n \n "," And with that he storms off. \n \n MCKENZIE \n Tom! \n \n PAUL \n Let him go. \n \n ANGLE ON Tom walking away from them. \n "," great. Well done Hansen, you idiot. \n \n Tom walks a few more steps. \n \n And then, seemingly out of nowhere, without his even"," Tom is going apeshit in his room. He's ripping down posters, \n taking pictures out of frames and tearing them apart. He \n punches the wall. He drinks an entire bottle of red wine. He"," \n TOM \n That son of a bitch. \n \n RACHEL \n You see what I mean? \n \n The whistle blows again and Rachel gets up to go back on the \n field."," Tom is getting excited. The rest of the room is growing \n uncomfortable. \n \n TOM \n I say to hell with it! Let's level \n with America. Or at least make them"," \n Summer starts walking ahead and Tom notices for the first \n time she's furious. \n \n TOM \n Hey. What is it? \n \n SUMMER"," (can't help himself) \n Self-confidence! Ha! \n \n Tom elbows him in the ribs again. \n \n TOM \n Anyway, I'm not near drunk enough"," \n TOM \n The right girl I guess. \n \n AUNT BETSY \n There's girls everywhere. I bet you \n have to beat em off with a stick. \n \n TOM"," Suddenly, Tom sees something at the front of the line. \n \n TOM \n Oh shit. \n \n SUMMER \n What? \n "," Tom. Everyone else in the class seems at peace. Tom can't \n even get the breathing right. \n \n \n INT. HOMELESS SHELTER - DAY \n "," \n TOM \n (DEFLATED) \n Oh. Got it... No problem. \n \n He turns back around and shakes that off, tries to refocus on"," \n SUMMER \n Ok. \n \n Tom puts his hands in his pockets and watches this exchange \n go down. Not sure what else to do. At this point he's more \n amused than concerned. \n "," TOM \n Ok. Well, I'm sorry. Things for me \n have been a little difficult. \n \n VANCE \n That's ok. I understand that. I was \n just thinking... perhaps you could"," \n Tom and Alison. Alison is desperately trying to get a drink. \n \n ALISON \n Waiter! \n \n TOM \n Or... Christ, I don't know, maybe"],[" \n The elevator doors open and she gets off. \n \n TOM \n (accidentally out loud) \n Oh my god. \n \n \n (8)"," towards an outdoor cafe. Her name is ALLISON. It's clear \n right away that Tom can't wait for this night to end already. \n \n 70. \n \n \n \n ALISON"," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," and crying and bitching about for \n weeks now? \n \n TOM \n I have not been... \n \n PAUL \n The same girl you said was way out"," My name's Tom. \n \n GIRL \n Nice to meet you... \n \n She puts out her hand to meet his. They shake. \n \n GIRL"," She turns back to look at Tom on the way. She sticks out her \n tongue to be cute. Co-Worker doesn't see. Tom is crazy about \n her. \n \n \n INT OFFICE - LATER \n "," Tom walks over and sits down on a bench. He stares off, lost \n in thought. And then, from out of nowhere, there's her voice. \n \n SUMMER (V.O.) \n Hey. \n "," look at her, to offer some sort of comfort, believing it to \n be a response to the movie. She doesn't look back. \n \n \n (409) \n INT TOM'S BEDROOM - DAY \n "," TOM \n Summer! \n \n She stops and turns back. He takes in her face, most likely \n for the last time ever. \n \n TOM \n I really do hope you're happy."," Tom watches her go. \n \n CUT TO: \n \n \n (240)"," MAN \n Come on back. \n \n TOM \n Thank you. \n \n He starts to go. But halfway through the doorway, he pauses \n and looks back at the girl. \n "," \n TOM \n The right girl I guess. \n \n AUNT BETSY \n There's girls everywhere. I bet you \n have to beat em off with a stick. \n \n TOM"," \n Tom is caught like a deer in headlights. What can he do? \n \n TOM \n Well this is the girl friend I've \n told you about. I don't know if"," And, honestly, he's a little surprised by it. \n \n TOM \n So, uh... \n \n GIRL \n Hmm? \n \n TOM"," 74. \n \n ALISON (cont'd) \n You wanna get out of here? I know \n this great... \n \n TOM \n (suddenly excited)"," I mean you were practically \n stalking her... \n \n TOM \n Shhh! \n \n Suddenly, the sound of a toilet flushing is heard. From the"," Anyway, I should get back. \n \n TOM \n Ok, well, I'll see you around. \n \n She walks back to her cubicle at the other end of the hall."," during this time that something weird comes over Tom and we \n can visibly see it in his face. He likes the look of this \n girl. This girl is cute. He'd like to talk more with her."," SUMMER \n Tom! \n \n But when he doesn't turn around she just shakes it off and \n starts dancing again. \n \n LATER. Tom is outside in the rain. We can still hear the"," \n Tom and Alison. Alison is desperately trying to get a drink. \n \n ALISON \n Waiter! \n \n TOM \n Or... Christ, I don't know, maybe"],[" He quickly ushers him out of the office. \n \n 87. \n \n \n \n \n (383) \n INT TOM'S BEDROOM - MORNING \n "," Tom gets up and walks to the door. \n \n TOM \n It's all crap. We make and peddle \n crap. And sometimes people believe \n in this crap. I just can't do it"," \n TOM \n You wanted to see me, Mr. Vance? \n \n VANCE \n Yes Hansen. Sit down. \n \n TOM \n Ok. \n "," Tom walks to his cubicle, still on top of the world. \n \n 39. \n \n \n \n \n INT TOM'S PLACE - THAT NIGHT \n "," a little. \n \n The Women clutch their heart like they might faint. \n \n \n INT RELIGIOUS HOLIDAYS WING - LATER \n \n Workers are again all gathered around Tom."," \n Tom actually wanders in to work, wearing sunglasses and the \n clothes he slept in. People pass and say hello. He can't \n muster responses. At his desk, \n \n MCKENZIE"," He miserably sits down at his desk, tries to work but he ends \n up just staring into space. \n \n \n INT VANCE'S OFFICE - DAY \n \n Tom has been called into the Principal's office."," TOM \n Ok. Well, I'm sorry. Things for me \n have been a little difficult. \n \n VANCE \n That's ok. I understand that. I was \n just thinking... perhaps you could"," VANCE. \n Has something happened to you \n recently? \n \n TOM \n What do you mean? \n \n VANCE \n A death in the family, someone"," shirt under his sports coat and Adidas tennis shoes to \n balance out the corporate dress code. He looks pretty bored. \n \n NARRATOR \n The boy, Tom Hansen of Margate, New"," \n Tom jogs. \n \n TOM (V.O.) \n \"One. Exercise. The body's release \n of endorphins will assuage the \n brain and provide a genuine sense"," \n TOM \n (DEFLATED) \n Oh. Got it... No problem. \n \n He turns back around and shakes that off, tries to refocus on"," We're a greeting card company. \n \n TOM \n Yes but think about it! Why do \n people buy these things? Not to say \n how they feel. There's paper and"," And there's not much else to say after that. \n \n Tom gets up to leave. \n \n TOM \n You know what sucks? Realizing that \n everything you believe in is \n complete bullshit."," great. Well done Hansen, you idiot. \n \n Tom walks a few more steps. \n \n And then, seemingly out of nowhere, without his even"," Tom had always been a devout \n believer in the idea of \"true \n love.\" \n (BEAT) \n The evidence did not support him. \n \n CUT TO: \n "," CUT TO: \n \n \n (272-286) \n INT. BOOKSTORE - DAY \n \n Tom, starting to get that unshaven, unkempt look, wanders"," But the line is dead. Tom's head sinks into his chest. Yet \n another frustrating night... \n \n CUT TO: \n \n "," INT. APARTMENT - LATER \n \n Tom, almost with a full beard, is redecorating his apartment \n again. We see him rearranging the furniture in the room. \n \n LATER. He hangs some new pictures."," It's unbelievable. There's a few seconds where Tom isn't sure \n if he's dreaming or not. But then he realizes, suddenly, out \n of the blue, his best case scenario really is actually \n happening. \n "],[" shirt under his sports coat and Adidas tennis shoes to \n balance out the corporate dress code. He looks pretty bored. \n \n NARRATOR \n The boy, Tom Hansen of Margate, New"," Eh, you know. Same old story. Moved \n to the city to work for a company. \n Company went under. Needed a job. \n My friend worked here. Got me this. \n \n SUMMER"," interview. We can see he is frustrated but not deterred. In \n the distance, his favorite spot in the city, where he took \n Summer ages ago. \n \n \n EXT. PARK - DAY \n "," You should know up front, this is \n not a love story. \n \n \n (240) \n EXT STREETS OF SAN FRAN - NIGHT \n "," his wall (which is now composed of a dynamic cityscape of \n futuristic looking structures). He crosses \"Abrams and \n Abrams\" off the list. We notice several others are also \n crossed off. \n \n "," 2. EXT CITY SIDEWALK - DAY \n \n Tom sits on a street corner drawing new additions to the \n city's skyline. \n \n 2. INT LIBRARY - DAY \n "," The phone rings. Tom stops his push-ups to answer it. \n \n NARRATOR (V.O.) \n May 8th was a Saturday. \n \n \n INT DELI - DAY \n "," feelings are always getting hurt. \n Who needs all that? We're young. \n We're in one of the most beautiful \n cities in the world. \n (MORE) \n "," at his side, waits in the foyer of Allen, Prince, and Gethers \n Architecture. From the room we can tell this firm is big \n time. \n \n Tom waits. \n "," This is a story of boy meets girl. \n \n But before they do, \n \n CUT TO: \n \n BLACK. \n \n NARRATOR"," SUMMER \n The city or the firm? \n \n TOM \n Both... Either. \n \n SUMMER \n I'm happy. Still getting situated."," I know Atherton. Nice area. \n \n GIRL \n Have I seen you before? \n \n 116. \n \n \n \n TOM"," We went shopping. \n \n \n EXT COFFEE HOUSE - DAY \n \n Tom and Summer seated outside drinking coffee. He reads the \n newspaper, she reads a novel. \n "," Tom wakes up. He gets his bearings and then quickly rolls \n onto the floor and begins a brief push-up routine. \n \n NARRATOR (V.O.) \n Most days of the year are entirely"," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," 5. \n \n \n \n NARRATOR \n Tom meets Summer on January 8th in \n a San Francisco office building. In \n an instant, he will know she's the"," The girl is SUMMER FINN. She files folders and answers phones \n in a plain white office. She has cropped blonde hair almost \n like a boy's but her face is feminine and pretty enough to \n get away with it."," He's sleeping like a baby, probably the best sleep he's had \n in a long while. Summer lies next to him. Wide awake. Bored \n and unfulfilled. \n \n \n INT RESTAURANT - SAME"," Rave music blares. Tom stands off to the side looking \n miserable. Summer is on the dance floor. Though she's not \n really dancing with anyone in particular, she's dancing with \n everyone. Finally she comes over, white shirt dripping with"," \n Tom starts to itch... \n \n \n INT. APARTMENT - LATER \n \n Tom is painting the walls of his now nearly bare apartment. \n \n TOM (V.O.)"],[" \n The elevator doors open and she gets off. \n \n TOM \n (accidentally out loud) \n Oh my god. \n \n \n (8)"," \n MCKENZIE \n (as explanation) \n Women. \n \n TOM \n Ugh. You know what? Screw her! We \n haven't even met and I can't stand"," TOM (V.O.) \n I hate the way she laughs. \n \n OVER BLACK, play the middle 8 of \"Every Little Thing She Does \n is Magic.\" \n "," and crying and bitching about for \n weeks now? \n \n TOM \n I have not been... \n \n PAUL \n The same girl you said was way out"," table, Tom sees a VERY UNATTRACTIVE COUPLE feeding each other \n food. \n \n TOM \n Check them out. \n \n Summer sees. She has no reaction. \n \n TOM"," She turns back to look at Tom on the way. She sticks out her \n tongue to be cute. Co-Worker doesn't see. Tom is crazy about \n her. \n \n \n INT OFFICE - LATER \n "," You really do? \n \n TOM \n (BEAT) \n God no. \n \n They both laugh a little. The tension begins to dissipate. \n \n SUMMER"," A lot of people have problems with \n this, but to me, it makes both \n structures so much more beautiful \n side by side like that. \n \n Tom keeps talking. Summer turns and looks directly at the"," I hate her 1950s haircut. \n \n CU - SUMMER'S KNEES (as before) \n \n TOM (V.O.) \n I hate her knobby knees. \n "," The CLERK eyes him suspiciously. \n \n \n EXT STREET - SAME \n \n Tom sees a COUPLE kissing on the sidewalk. He winces. He sees"," Tom watches her walk away, completely enamored. \n \n He sits down at his desk and sets out to work. But before he \n does, his eyes fall on a sketch he drew of a house. It's"," My name's Tom. \n \n GIRL \n Nice to meet you... \n \n She puts out her hand to meet his. They shake. \n \n GIRL"," Summer looks at Tom, like she's disappointed or even angry at \n him for something. Then she walks ahead of him into the \n theatre. He's forced to follow. Answer-less, as conflicted as \n ever. Why is none of this easy?"," She doesn't notice Tom whose face looks like he's just seen \n God. \n \n 15. \n \n \n \n \n (3, 4, 5)"," Tom watches her go. \n \n CUT TO: \n \n \n (240)"," I hate her crooked teeth. \n \n 45. \n \n \n \n CU - SUMMER'S HAIR (as before) \n \n TOM (V.O.)"," \n Tom and Alison. Alison is desperately trying to get a drink. \n \n ALISON \n Waiter! \n \n TOM \n Or... Christ, I don't know, maybe"," Tom looks at his food in disgust. He may never eat again. \n \n SUMMER \n (INNOCENT) \n What? \n \n Tom stands up to go. \n "," a little. \n \n The Women clutch their heart like they might faint. \n \n \n INT RELIGIOUS HOLIDAYS WING - LATER \n \n Workers are again all gathered around Tom."," For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a \n park bench. Their names are TOM and SUMMER. Neither one says \n a word. \n \n "]],"string":"[\n [\n \" \\n NARRATOR \\n The girl, Summer Finn of \\n Shinnecock, Michigan, did not share \\n this belief. \\n \\n CUT TO: \\n \\n \",\n \" The girl is SUMMER FINN. She files folders and answers phones \\n in a plain white office. She has cropped blonde hair almost \\n like a boy's but her face is feminine and pretty enough to \\n get away with it.\",\n \" and Summer are two of them. Tom takes this opportunity to put \\n a CD in his computer and play the song really loud. It's \\\"I \\n Want to Know What Love Is\\\" by Foreigner. No reaction from\",\n \" Summer smiles. Maybe this will be ok. \\n \\n TOM \\n Mom, Martin, this is Summer. \\n \\n SARAH \\n Summer! Well hello! We've heard so\",\n \" \\n SUMMER \\n I know. \\n (BEAT) \\n See you later. \\n \\n And she walks away. The CAMERA TRACKS AWAY with her, leaving\",\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" SUMMER \\n Me? No. \\n \\n Tom shoots daggers at McKenzie for that comment. McKenzie \\n mouths \\\"what?\\\" Summer sees nothing. \\n \\n MCKENZIE\",\n \" SUMMER \\n Tom -- \\n \\n TOM \\n What's different now? How could \\n things change so quickly? \\n \\n SUMMER\",\n \" corner and sees Summer walking towards him. As she gets \\n closer he sees it's not her after all and breathes a sigh of \\n relief. \\n \\n \\n INT. BEDROOM - LATER \\n \",\n \" MCKENZIE \\n Who? \\n \\n TOM \\n The new girl. Summer. In Vance's \\n office. \\n \\n MCKENZIE\",\n \" \\n SUMMER \\n I understand. \\n \\n TOM \\n Yeah well...anyway...I hope you're \\n happy. \\n \\n SUMMER\",\n \" SUMMER \\n Tom! \\n \\n But when he doesn't turn around she just shakes it off and \\n starts dancing again. \\n \\n LATER. Tom is outside in the rain. We can still hear the\",\n \" knows it, everyone else just there for the cake. Song over, \\n everyone digs in. Tom finds himself standing next to Summer. \\n \\n TOM \\n Hi. \\n \\n SUMMER \\n Hello.\",\n \" Summer... \\n \\n SUMMER \\n Yeah? \\n \\n TOM \\n (BEAT) \\n So how was your weekend? \\n \\n SUMMER\",\n \" 82. \\n \\n \\n \\n SARAH \\n Ok. We'll see you inside. \\n \\n When they're out of earshot, Tom sees that Summer is\",\n \" Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. \\n TIME CUTS reveal that Summer is talking with, laughing with, \\n drinking with, and possibly flirting with many of them. Tom\",\n \" Summer start to make out a bit, both keeping an eye on the \\n TV. \\n \\n CUT TO: \\n \\n \\n INT. SUMMER'S APARTMENT - 20 MINUTES LATER\",\n \" SUMMER \\n I know. I'm sorry Tom. \\n \\n TOM \\n Is everything alright with you? \\n \\n She smiles, tries to pull herself together. \\n \",\n \" Tom watches TV. An advertisement for toothpaste comes on. Tom \\n could swear the actress was Summer. \\n \\n \\n INT TROLLEY - DAY \\n \\n A trolley going the other direction passes by. EVERY\",\n \" SUMMER \\n Hey it's me. \\n \\n TOM \\n Hello me. You having a good day? \\n \\n SUMMER \\n I am thank you. Listen, about\"\n ],\n [\n \" They share another laugh and then it gets quiet. In that good \\n way. \\n \\n ANGLE ON McKenzie, wasted, singing the shit out of \\\"Proud to \\n Be an American.\\\" He really means it. At any minute he might\",\n \" MCKENZIE \\n The whole office is going. \\n Tom looks over to where Summer sits. And realization dawns on \\n him... \\n \\n \\n INT KARAOKE BAR - NIGHT \\n \",\n \" MCKENZIE \\n So, uh, who's singing next? \\n \\n SUMMER \\n (re: singing) \\n I'd say it's your turn loverboy. \\n \",\n \" Tom is at a loss. There's yet another awkward silent beat \\n between them. Thankfully, it's interrupted by... \\n \\n MCKENZIE \\n (already drunk) \\n Goddamn that song is brilliant!\",\n \" MCKENZIE \\n Yeah. \\n \\n TOM \\n Now she's getting married. \\n \\n PAUL \\n I'm so sorry Tom. \\n \\n TOM\",\n \" (QUICKLY) \\n Ok, goodnight McKenzie! \\n \\n MCKENZIE \\n I mean... likes you, likes you. For \\n real. Tell her Tom. \\n \",\n \" Summer is in a back booth with some co-workers when Tom walks \\n in to the crowded place. McKenzie has the microphone and he's \\n singing \\\"Every Rose Has Its Thorn\\\" by Poison. He's real into\",\n \" PAUL \\n We have news. \\n \\n TOM \\n Ok. \\n \\n MCKENZIE \\n It's about her. \\n \\n TOM\",\n \" start to cry. \\n \\n MCKENZIE \\n \\\"And I'd proudly stand UP!\\\" \\n (aggressive drunk) \\n I said stand! \\n \",\n \" That's it! \\n \\n 50. \\n \\n \\n \\n McKenzie enters and sees her singing into the phone. Turns \\n without a word and leaves. \\n \\n \",\n \" INT TOM'S CUBICLE - SAME \\n \\n Tom listening to her sing. McKenzie comes over. \\n \\n MCKENZIE \\n Your girl is losing it. \\n \",\n \" And with that he gets up and walks off. The room is pretty \\n stunned. Someone coughs. McKenzie tries to start a clap. It \\n doesn't really take. \\n \\n CUT TO: \\n \\n \",\n \" the stage, tried to fight the \\n bartender, and then threatened to \\n burn the place down before passing \\n out on the sidewalk. Quiet night \\n for you. \\n \\n MCKENZIE\",\n \" Tom walks in to find Paul and McKenzie at a table. They look \\n extremely nervous. \\n \\n TOM \\n What's going on? \\n \\n Neither one answers him. They look at each other. Finally... \\n \",\n \" \\n TOM \\n I don't... \\n \\n MCKENZIE \\n You really do. \\n \\n SUMMER\",\n \" 52. \\n \\n \\n \\n \\n INT SPORTS BAR - NIGHT \\n \\n Tom, Mckenzie and Paul are having a drink. \\n \\n PAUL\",\n \" Oh! You know what we should do... \\n \\n \\n INT KARAOKE BAR - LATER \\n \\n Tom is, yes, on stage singing another song by The Clash,\",\n \" MCKENZIE \\n No I do not. In fact girls are \\n repulsed by me. Paul, how about \\n you? \\n \\n PAUL \\n Why yes, in fact I do. Her name is\",\n \" PAUL \\n It is. \\n \\n TOM \\n How do you know? \\n \\n MCKENZIE \\n We know. \\n \\n TOM\",\n \" \\n \\n INT TOM'S PLACE - AS BEFORE \\n \\n Silence for a few beats. \\n \\n PAUL \\n Jesus. \\n \\n MCKENZIE\"\n ],\n [\n \" \\n Summer starts walking ahead and Tom notices for the first \\n time she's furious. \\n \\n TOM \\n Hey. What is it? \\n \\n SUMMER\",\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" SUMMER \\n Tom -- \\n \\n TOM \\n What's different now? How could \\n things change so quickly? \\n \\n SUMMER\",\n \" TOM \\n Ok. \\n \\n Nothing else is said. \\n \\n TOM \\n Wait, are you still mad at me? \\n \\n SUMMER \\n (rolling her eyes)\",\n \" SUMMER \\n Cause there's nothing to tell. \\n \\n TOM \\n Come on, I'm interested. \\n \\n SUMMER \\n You wanna have the relationship\",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" You really do? \\n \\n TOM \\n (BEAT) \\n God no. \\n \\n They both laugh a little. The tension begins to dissipate. \\n \\n SUMMER\",\n \" Tom! You're the crazy person! \\n \\n TOM \\n What are you talking about?! \\n \\n SUMMER \\n One day I'm reading a book at the\",\n \" 82. \\n \\n \\n \\n SARAH \\n Ok. We'll see you inside. \\n \\n When they're out of earshot, Tom sees that Summer is\",\n \" Summer and Tom come bounding in, lip-locked and all over each \\n other. They fall on his bed and begin undressing each other. \\n Suddenly, Tom stops. \\n \\n 44. \\n \\n \\n \",\n \" Ok? \\n \\n Tom is visibly disappointed by this but he tries to hide it. \\n \\n TOM \\n Sure. \\n \\n SUMMER \\n (BEAT)\",\n \" 9. \\n \\n \\n \\n SUMMER \\n You're happy? \\n \\n TOM \\n You're not? \\n \\n SUMMER\",\n \" \\n \\n Tom quickly shuts the door on Paul. \\n \\n TOM \\n If you heard... \\n \\n SUMMER \\n Heard what? \\n \\n TOM\",\n \" \\n SUMMER \\n I'm dancing. I haven't danced in \\n ages. God. Come on. \\n \\n TOM \\n No. \\n \\n SUMMER\",\n \" TOM \\n Hey Mr. Vance. \\n \\n SUMMER \\n Yes, Mr. Vance? \\n \\n And they're all business. As Tom turns to go, however, Summer\",\n \" He's not. He clenches his teeth. And begins... \\n \\n TOM \\n Summer, I've gotta ask you \\n something. \\n \\n SUMMER \\n Ok. \\n \",\n \" Tom is awakened by a buzzer. He hits the \\\"sleep\\\" button but \\n the buzzing isn't coming from his alarm. It's his door. He \\n gets up, concerned, and goes to answer it. It's Summer. \\n \",\n \" \\n SUMMER \\n I understand. \\n \\n TOM \\n Yeah well...anyway...I hope you're \\n happy. \\n \\n SUMMER\",\n \" Again, that fateful day continues. Tom and Summer outside. \\n \\n SUMMER \\n So. \\n \\n TOM \\n So... Now what? \\n \\n 107.\",\n \" TOM \\n What? \\n \\n SUMMER \\n Don't talk about it. Do it. \\n \\n Summer gives him a pen from her purse and the underside of\"\n ],\n [\n \" Same day from the past. They walk out, at first everything's \\n alright. It's exactly as we saw on page 7. But soon after \\n that she begins to cry again. Serious, real sobbing. \\n \\n TOM\",\n \" Then, as if to shut those thoughts out, whatever they were, \\n he turns on the TV and joylessly watches the nothingness. \\n \\n \\n 9. SPLITSCREEN - DAY \\n \",\n \" 67. \\n \\n \\n \\n She comes in and kisses him. He thinks about it for a second. \\n Is this enough to assuage his doubts? Damn it, she wins\",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" 66. \\n \\n \\n \\n Right: Summer lies awake, staring at the ceiling. \\n \\n Left: Tom picks up the phone. Is about to dial when he stops \\n himself and hangs up. \\n \",\n \" look at her, to offer some sort of comfort, believing it to \\n be a response to the movie. She doesn't look back. \\n \\n \\n (409) \\n INT TOM'S BEDROOM - DAY \\n \",\n \" Tom wakes up. He gets his bearings and then quickly rolls \\n onto the floor and begins a brief push-up routine. \\n \\n NARRATOR (V.O.) \\n Most days of the year are entirely\",\n \" 5. \\n \\n \\n \\n NARRATOR \\n Tom meets Summer on January 8th in \\n a San Francisco office building. In \\n an instant, he will know she's the\",\n \" He's sleeping like a baby, probably the best sleep he's had \\n in a long while. Summer lies next to him. Wide awake. Bored \\n and unfulfilled. \\n \\n \\n INT RESTAURANT - SAME\",\n \" Again, that fateful day continues. Tom and Summer outside. \\n \\n SUMMER \\n So. \\n \\n TOM \\n So... Now what? \\n \\n 107.\",\n \" \\n Tom starts to itch... \\n \\n \\n INT. APARTMENT - LATER \\n \\n Tom is painting the walls of his now nearly bare apartment. \\n \\n TOM (V.O.)\",\n \" grief/ but your love is my relief.\\\" \\n \\n We know, as well as he does: he will ask nothing tonight. \\n \\n \\n (172) \\n INT PARTY - NIGHT \\n \",\n \" She hugs him. Tight. He doesn't cry but he could. \\n \\n RACHEL \\n You know, my friends... they're all \\n in love with you. \\n \\n TOM\",\n \" SUMMER \\n Cause there's nothing to tell. \\n \\n TOM \\n Come on, I'm interested. \\n \\n SUMMER \\n You wanna have the relationship\",\n \" 59. \\n \\n \\n \\n Next in line is a HOMELESS COUPLE holding hands. Tom spirits \\n immediately fall. Even these two somehow found each other. \\n \\n \",\n \" Tom says nothing. \\n \\n SUMMER \\n I knew I could promise him I'd feel \\n the same way every morning. In a \\n way that I... I never could with \\n you. \\n \",\n \" ANOTHER COUPLE entwined on a bench. It's killing him. He sees \\n a THIRD COUPLE walking towards him holding hands. He snaps. \\n \\n 90. \\n \\n \\n \",\n \" might notice she lags behind him as they walk through the \\n aisles. His hands are in his pockets. He's bored. She's \\n distant. But only if we're really looking. \\n \\n \\n (406)\",\n \" I'm tired. Can we talk about this \\n tomorrow? \\n \\n It's silent. He doesn't know what to do or say or think. \\n Neither of them say a word as they go their separate ways. \\n \",\n \" day Tom described to his sister and his friends. The day it \\n all, finally, fell apart. \\n \\n 103. \\n \\n \\n \\n TOM \\n So how was last night?\"\n ],\n [\n \" You did the right thing. Where is \\n he? \\n \\n Tom is in the kitchen breaking things and basically going \\n insane. About to smash a plate on the floor, he's interrupted \\n BY: \\n \",\n \" Tom has more than fifty self-help books on a shelf by his \\n bed. He reads from one called \\\"Six Steps to Getting Over \\n Him.\\\" \\n \\n TOM (V.O.)\",\n \" look at her, to offer some sort of comfort, believing it to \\n be a response to the movie. She doesn't look back. \\n \\n \\n (409) \\n INT TOM'S BEDROOM - DAY \\n \",\n \" \\n He takes a few deep breaths. \\n \\n TOM \\n Are you calm? \\n (BEAT) \\n Ok. Then it's time to go back in. \\n \",\n \" Tom is going apeshit in his room. He's ripping down posters, \\n taking pictures out of frames and tearing them apart. He \\n punches the wall. He drinks an entire bottle of red wine. He\",\n \" distraught. \\n \\n TOM \\n Sorry about that. \\n \\n SUMMER \\n It's fine. \\n \\n TOM\",\n \" She hugs him. Tight. He doesn't cry but he could. \\n \\n RACHEL \\n You know, my friends... they're all \\n in love with you. \\n \\n TOM\",\n \" Tom walks over and sits down on a bench. He stares off, lost \\n in thought. And then, from out of nowhere, there's her voice. \\n \\n SUMMER (V.O.) \\n Hey. \\n \",\n \" You really do? \\n \\n TOM \\n (BEAT) \\n God no. \\n \\n They both laugh a little. The tension begins to dissipate. \\n \\n SUMMER\",\n \" And with that he storms off. \\n \\n MCKENZIE \\n Tom! \\n \\n PAUL \\n Let him go. \\n \\n ANGLE ON Tom walking away from them. \\n \",\n \" Tom! \\n \\n Tom recognizes he's losing his shit. He takes a seat on the \\n boardroom table. \\n \\n TOM \\n (BEAT)\",\n \" \\n TOM \\n (DEFLATED) \\n Oh. Got it... No problem. \\n \\n He turns back around and shakes that off, tries to refocus on\",\n \" Tom walks to his cubicle, still on top of the world. \\n \\n 39. \\n \\n \\n \\n \\n INT TOM'S PLACE - THAT NIGHT \\n \",\n \" Tom comes charging out of the place with his friends \\n following behind. \\n \\n TOM \\n There's no fucking way! \\n \\n MCKENZIE \\n Tom. \\n \\n TOM\",\n \" That's harsh. \\n \\n TOM \\n I don't know what I'm gonna do. \\n \\n RACHEL \\n You're gonna be fine. \\n \",\n \" \\n Tom can't help but do a little celebration dance. \\n \\n CUT TO: \\n \\n LATER. Sex has been had. Summer is asleep. Tom lies next to\",\n \" INT TOM'S PLACE - LATER \\n \\n PAUL and MCKENZIE open the door. These are Tom's best friends \\n since birth. Paul is a doctor and wears hospital scrubs.\",\n \" TOM \\n Ok. Well, I'm sorry. Things for me \\n have been a little difficult. \\n \\n VANCE \\n That's ok. I understand that. I was \\n just thinking... perhaps you could\",\n \" Tom. Everyone else in the class seems at peace. Tom can't \\n even get the breathing right. \\n \\n \\n INT. HOMELESS SHELTER - DAY \\n \",\n \" A cab arrives. Tom and Summer help McKenzie inside. \\n \\n MCKENZIE \\n Hey. \\n \\n TOM \\n What's up? \\n \"\n ],\n [\n \" We're a greeting card company. \\n \\n TOM \\n Yes but think about it! Why do \\n people buy these things? Not to say \\n how they feel. There's paper and\",\n \" Tom walks to his cubicle, still on top of the world. \\n \\n 39. \\n \\n \\n \\n \\n INT TOM'S PLACE - THAT NIGHT \\n \",\n \" He quickly ushers him out of the office. \\n \\n 87. \\n \\n \\n \\n \\n (383) \\n INT TOM'S BEDROOM - MORNING \\n \",\n \" The boy is TOM HANSEN. He sits at a very long rectangular \\n conference table. The walls are lined with framed blow-up \\n sized greeting cards. Tom, dark hair and blue eyes, wears a t-\",\n \" INT. APARTMENT - LATER \\n \\n Tom, almost with a full beard, is redecorating his apartment \\n again. We see him rearranging the furniture in the room. \\n \\n LATER. He hangs some new pictures.\",\n \" a little. \\n \\n The Women clutch their heart like they might faint. \\n \\n \\n INT RELIGIOUS HOLIDAYS WING - LATER \\n \\n Workers are again all gathered around Tom.\",\n \" shirt under his sports coat and Adidas tennis shoes to \\n balance out the corporate dress code. He looks pretty bored. \\n \\n NARRATOR \\n The boy, Tom Hansen of Margate, New\",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" that grandma's dead.\\\" \\n \\n Vance and the card-writing team are appalled. \\n \\n TOM \\n Think about it. \\n (picks up another card)\",\n \" \\n TOM \\n You wanted to see me, Mr. Vance? \\n \\n VANCE \\n Yes Hansen. Sit down. \\n \\n TOM \\n Ok. \\n \",\n \" one he's been looking for. \\n \\n CU Summer opening the door to the boardroom, about to come \\n face to face with Tom for the first time. \\n \\n NARRATOR\",\n \" CUT TO: \\n \\n \\n (272-286) \\n INT. BOOKSTORE - DAY \\n \\n Tom, starting to get that unshaven, unkempt look, wanders\",\n \" \\n Tom sits next to McKenzie and across from Vance. He's in his \\n usual boardroom position, which is to say, near comatose. \\n \",\n \" Tom gets up and walks to the door. \\n \\n TOM \\n It's all crap. We make and peddle \\n crap. And sometimes people believe \\n in this crap. I just can't do it\",\n \" ...adequate... greeting card \\n writer. \\n \\n 19. \\n \\n \\n \\n TOM \\n Why thank you. That's what they\",\n \" at his side, waits in the foyer of Allen, Prince, and Gethers \\n Architecture. From the room we can tell this firm is big \\n time. \\n \\n Tom waits. \\n \",\n \" Hey! \\n \\n TOM \\n Hey! \\n \\n Vance pokes out of his corner office. \\n \\n VANCE. \\n Summer, I need -- Oh hello Hansen. \\n \",\n \" Tom sits with his feet up on a table, headphones on his ears, \\n reading one of many Taschen books on innovative building \\n design. \\n \\n \\n 3. INT OFFICE LOBBY - DAY \\n \",\n \" Really? Jesus. Did you always want \\n to write greeting cards? \\n \\n TOM \\n Are you nuts? I don't even want to \\n do it now. \\n \\n SUMMER\",\n \" great. Well done Hansen, you idiot. \\n \\n Tom walks a few more steps. \\n \\n And then, seemingly out of nowhere, without his even\"\n ],\n [\n \" Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. \\n TIME CUTS reveal that Summer is talking with, laughing with, \\n drinking with, and possibly flirting with many of them. Tom\",\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" knows it, everyone else just there for the cake. Song over, \\n everyone digs in. Tom finds himself standing next to Summer. \\n \\n TOM \\n Hi. \\n \\n SUMMER \\n Hello.\",\n \" SUMMER \\n Tom! \\n \\n But when he doesn't turn around she just shakes it off and \\n starts dancing again. \\n \\n LATER. Tom is outside in the rain. We can still hear the\",\n \" Right: Summer looks at her phone, willing it to ring. It \\n doesn't. \\n \\n \\n INT TOM'S BEDROOM - HOURS LATER \\n \",\n \" 82. \\n \\n \\n \\n SARAH \\n Ok. We'll see you inside. \\n \\n When they're out of earshot, Tom sees that Summer is\",\n \" \\n \\n Tom quickly shuts the door on Paul. \\n \\n TOM \\n If you heard... \\n \\n SUMMER \\n Heard what? \\n \\n TOM\",\n \" know. But at least he didn't -- \\n \\n SUMMER \\n Is that true? \\n \\n TOM \\n What? \\n \\n SUMMER\",\n \" \\n Tom can't help but do a little celebration dance. \\n \\n CUT TO: \\n \\n LATER. Sex has been had. Summer is asleep. Tom lies next to\",\n \" again. He shuts the door in our faces. \\n \\n \\n INT TOM'S BEDROOM - THE NEXT MORNING \\n \\n Tom and Summer in the wee hours. \\n \\n TOM\",\n \" \\n TOM \\n I don't... \\n \\n MCKENZIE \\n You really do. \\n \\n SUMMER\",\n \" Tom is awakened by a buzzer. He hits the \\\"sleep\\\" button but \\n the buzzing isn't coming from his alarm. It's his door. He \\n gets up, concerned, and goes to answer it. It's Summer. \\n \",\n \" Suddenly, Tom sees something at the front of the line. \\n \\n TOM \\n Oh shit. \\n \\n SUMMER \\n What? \\n \",\n \" TOM \\n Hey Mr. Vance. \\n \\n SUMMER \\n Yes, Mr. Vance? \\n \\n And they're all business. As Tom turns to go, however, Summer\",\n \" Tom shuts the door on McKenzie as fast as he can. Now it's \\n just Tom and Summer. Tom talks a mile a minute to try and \\n erase McKenzie's last exchange from her mind. \\n \\n TOM\",\n \" one he's been looking for. \\n \\n CU Summer opening the door to the boardroom, about to come \\n face to face with Tom for the first time. \\n \\n NARRATOR\",\n \" \\n SUMMER \\n Ok. \\n \\n Tom puts his hands in his pockets and watches this exchange \\n go down. Not sure what else to do. At this point he's more \\n amused than concerned. \\n \",\n \" and Summer are two of them. Tom takes this opportunity to put \\n a CD in his computer and play the song really loud. It's \\\"I \\n Want to Know What Love Is\\\" by Foreigner. No reaction from\",\n \" LATER. ANGLE ON Tom alone at the table. The band plays \\\"Lady \\n in Red\\\" and everyone's dancing. When we're back on Tom, he's \\n sitting with Summer. \\n \\n TOM\",\n \" \\n Summer starts walking ahead and Tom notices for the first \\n time she's furious. \\n \\n TOM \\n Hey. What is it? \\n \\n SUMMER\"\n ],\n [\n \" Same day from the past. They walk out, at first everything's \\n alright. It's exactly as we saw on page 7. But soon after \\n that she begins to cry again. Serious, real sobbing. \\n \\n TOM\",\n \" 66. \\n \\n \\n \\n Right: Summer lies awake, staring at the ceiling. \\n \\n Left: Tom picks up the phone. Is about to dial when he stops \\n himself and hangs up. \\n \",\n \" 67. \\n \\n \\n \\n She comes in and kisses him. He thinks about it for a second. \\n Is this enough to assuage his doubts? Damn it, she wins\",\n \" Summer and Tom come bounding in, lip-locked and all over each \\n other. They fall on his bed and begin undressing each other. \\n Suddenly, Tom stops. \\n \\n 44. \\n \\n \\n \",\n \" 5. \\n \\n \\n \\n NARRATOR \\n Tom meets Summer on January 8th in \\n a San Francisco office building. In \\n an instant, he will know she's the\",\n \" look at her, to offer some sort of comfort, believing it to \\n be a response to the movie. She doesn't look back. \\n \\n \\n (409) \\n INT TOM'S BEDROOM - DAY \\n \",\n \" \\n The elevator doors open and she gets off. \\n \\n TOM \\n (accidentally out loud) \\n Oh my god. \\n \\n \\n (8)\",\n \" \\n (417-464) \\n 1. INT TOM'S BATHROOM - DAY \\n \\n Tom shaves. Makes himself look presentable. \\n \\n 108. \\n \",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" He's sleeping like a baby, probably the best sleep he's had \\n in a long while. Summer lies next to him. Wide awake. Bored \\n and unfulfilled. \\n \\n \\n INT RESTAURANT - SAME\",\n \" grief/ but your love is my relief.\\\" \\n \\n We know, as well as he does: he will ask nothing tonight. \\n \\n \\n (172) \\n INT PARTY - NIGHT \\n \",\n \" She hugs him. Tight. He doesn't cry but he could. \\n \\n RACHEL \\n You know, my friends... they're all \\n in love with you. \\n \\n TOM\",\n \" might notice she lags behind him as they walk through the \\n aisles. His hands are in his pockets. He's bored. She's \\n distant. But only if we're really looking. \\n \\n \\n (406)\",\n \" SUMMER \\n Cause there's nothing to tell. \\n \\n TOM \\n Come on, I'm interested. \\n \\n SUMMER \\n You wanna have the relationship\",\n \" The phone rings. Tom stops his push-ups to answer it. \\n \\n NARRATOR (V.O.) \\n May 8th was a Saturday. \\n \\n \\n INT DELI - DAY \\n \",\n \" Tom wakes up. He gets his bearings and then quickly rolls \\n onto the floor and begins a brief push-up routine. \\n \\n NARRATOR (V.O.) \\n Most days of the year are entirely\",\n \" 43. \\n \\n \\n \\n TOM \\n Thanks. \\n \\n SUMMER \\n I mean, I just want to say, up\",\n \" Then, as if to shut those thoughts out, whatever they were, \\n he turns on the TV and joylessly watches the nothingness. \\n \\n \\n 9. SPLITSCREEN - DAY \\n \",\n \" Tom says nothing. \\n \\n SUMMER \\n I knew I could promise him I'd feel \\n the same way every morning. In a \\n way that I... I never could with \\n you. \\n \",\n \" her. He still can't help but be ecstatic. He is pumping his \\n fists in the air and silently shouting \\\"Woo Hoo!!!!\\\" \\n \\n \\n (388)\"\n ],\n [\n \" 5. \\n \\n \\n \\n NARRATOR \\n Tom meets Summer on January 8th in \\n a San Francisco office building. In \\n an instant, he will know she's the\",\n \" Again, that fateful day continues. Tom and Summer outside. \\n \\n SUMMER \\n So. \\n \\n TOM \\n So... Now what? \\n \\n 107.\",\n \" 56. \\n \\n \\n \\n \\n INT TOM'S CAR - THAT NIGHT \\n \\n Tom and Summer driving on the Golden Gate. Tom is very\",\n \" and Summer are two of them. Tom takes this opportunity to put \\n a CD in his computer and play the song really loud. It's \\\"I \\n Want to Know What Love Is\\\" by Foreigner. No reaction from\",\n \" The phone rings. Tom stops his push-ups to answer it. \\n \\n NARRATOR (V.O.) \\n May 8th was a Saturday. \\n \\n \\n INT DELI - DAY \\n \",\n \" corner and sees Summer walking towards him. As she gets \\n closer he sees it's not her after all and breathes a sigh of \\n relief. \\n \\n \\n INT. BEDROOM - LATER \\n \",\n \" That day again. As we've seen before, Tom reads a newspaper. \\n Summer reads a novel. \\n \\n TOM \\n It's playing at 5. \\n \\n SUMMER\",\n \" SUMMER \\n Tom! \\n \\n But when he doesn't turn around she just shakes it off and \\n starts dancing again. \\n \\n LATER. Tom is outside in the rain. We can still hear the\",\n \" \\n SUMMER \\n Oh ok, sure, no prob. \\n \\n \\n INT OFFICE - LATE IN THE DAY \\n \\n The office is emptying out. Only a few people remain but Tom\",\n \" We spent the whole day together. \\n \\n \\n EXT OUTDOOR MARKET - DAY \\n \\n Tom and Summer walk through the stalls. \\n \\n TOM (V.O.)\",\n \" SUMMER \\n Hey it's me. \\n \\n TOM \\n Hello me. You having a good day? \\n \\n SUMMER \\n I am thank you. Listen, about\",\n \" TOM \\n Me and Summer. \\n \\n MCKENZIE \\n Was it ever on? \\n \\n 25. \\n \\n \\n \\n TOM\",\n \" Tom takes a deep breath. \\n \\n \\n EXT PARK - DAY \\n \\n Tom and Summer eat sandwiches in the park. \\n \\n TOM (V.O.)\",\n \" \\n SUMMER \\n I know. \\n (BEAT) \\n See you later. \\n \\n And she walks away. The CAMERA TRACKS AWAY with her, leaving\",\n \" 9. \\n \\n \\n \\n SUMMER \\n You're happy? \\n \\n TOM \\n You're not? \\n \\n SUMMER\",\n \" We went shopping. \\n \\n \\n EXT COFFEE HOUSE - DAY \\n \\n Tom and Summer seated outside drinking coffee. He reads the \\n newspaper, she reads a novel. \\n \",\n \" I mean, who are you? They're happy. \\n Just mind your own business. \\n \\n Summer goes back to eating. Tom can't believe she snapped. \\n \\n \\n (31)\",\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" Summer and Tom come bounding in, lip-locked and all over each \\n other. They fall on his bed and begin undressing each other. \\n Suddenly, Tom stops. \\n \\n 44. \\n \\n \\n \",\n \" Hey, no, that's cool. Whatever you \\n want to do. \\n \\n SUMMER \\n Thank you. So we'll talk tomorrow, \\n alright? \\n \\n TOM\"\n ],\n [\n \" Tom walks to his cubicle, still on top of the world. \\n \\n 39. \\n \\n \\n \\n \\n INT TOM'S PLACE - THAT NIGHT \\n \",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" a little. \\n \\n The Women clutch their heart like they might faint. \\n \\n \\n INT RELIGIOUS HOLIDAYS WING - LATER \\n \\n Workers are again all gathered around Tom.\",\n \" Tom wakes up. He gets his bearings and then quickly rolls \\n onto the floor and begins a brief push-up routine. \\n \\n NARRATOR (V.O.) \\n Most days of the year are entirely\",\n \" He quickly ushers him out of the office. \\n \\n 87. \\n \\n \\n \\n \\n (383) \\n INT TOM'S BEDROOM - MORNING \\n \",\n \" He works for the Republican party. \\n Very successful. Just not for me. \\n \\n TOM \\n Ok. And then? \\n \\n SUMMER \\n Well, for a short time in college,\",\n \" INT. APARTMENT - LATER \\n \\n Tom, almost with a full beard, is redecorating his apartment \\n again. We see him rearranging the furniture in the room. \\n \\n LATER. He hangs some new pictures.\",\n \" CUT TO: \\n \\n \\n (272-286) \\n INT. BOOKSTORE - DAY \\n \\n Tom, starting to get that unshaven, unkempt look, wanders\",\n \" \\n TOM \\n You wanted to see me, Mr. Vance? \\n \\n VANCE \\n Yes Hansen. Sit down. \\n \\n TOM \\n Ok. \\n \",\n \" How long have you worked here? \\n \\n 18. \\n \\n \\n \\n TOM \\n Oh, you know, 4, 5... years. \\n \\n SUMMER\",\n \" TOM \\n Hey Mr. Vance. \\n \\n SUMMER \\n Yes, Mr. Vance? \\n \\n And they're all business. As Tom turns to go, however, Summer\",\n \" shirt under his sports coat and Adidas tennis shoes to \\n balance out the corporate dress code. He looks pretty bored. \\n \\n NARRATOR \\n The boy, Tom Hansen of Margate, New\",\n \" \\n Tom sits next to McKenzie and across from Vance. He's in his \\n usual boardroom position, which is to say, near comatose. \\n \",\n \" \\n Tom starts to itch... \\n \\n \\n INT. APARTMENT - LATER \\n \\n Tom is painting the walls of his now nearly bare apartment. \\n \\n TOM (V.O.)\",\n \" one he's been looking for. \\n \\n CU Summer opening the door to the boardroom, about to come \\n face to face with Tom for the first time. \\n \\n NARRATOR\",\n \" \\n Tom actually wanders in to work, wearing sunglasses and the \\n clothes he slept in. People pass and say hello. He can't \\n muster responses. At his desk, \\n \\n MCKENZIE\",\n \" Tom sits with his feet up on a table, headphones on his ears, \\n reading one of many Taschen books on innovative building \\n design. \\n \\n \\n 3. INT OFFICE LOBBY - DAY \\n \",\n \" Tom gets up and walks to the door. \\n \\n TOM \\n It's all crap. We make and peddle \\n crap. And sometimes people believe \\n in this crap. I just can't do it\",\n \" \\n TOM \\n (DEFLATED) \\n Oh. Got it... No problem. \\n \\n He turns back around and shakes that off, tries to refocus on\",\n \" The phone rings. Tom stops his push-ups to answer it. \\n \\n NARRATOR (V.O.) \\n May 8th was a Saturday. \\n \\n \\n INT DELI - DAY \\n \"\n ],\n [\n \" his wall (which is now composed of a dynamic cityscape of \\n futuristic looking structures). He crosses \\\"Abrams and \\n Abrams\\\" off the list. We notice several others are also \\n crossed off. \\n \\n \",\n \" feelings are always getting hurt. \\n Who needs all that? We're young. \\n We're in one of the most beautiful \\n cities in the world. \\n (MORE) \\n \",\n \" at his side, waits in the foyer of Allen, Prince, and Gethers \\n Architecture. From the room we can tell this firm is big \\n time. \\n \\n Tom waits. \\n \",\n \" is a God. \\n \\n \\n EXT YERNA BUENA GARDEN - DAY \\n \\n Summer and Tom sit on the steps which offers a stunning view \\n of the city's architectural marvels. \\n \",\n \" interview. We can see he is frustrated but not deterred. In \\n the distance, his favorite spot in the city, where he took \\n Summer ages ago. \\n \\n \\n EXT. PARK - DAY \\n \",\n \" shirt under his sports coat and Adidas tennis shoes to \\n balance out the corporate dress code. He looks pretty bored. \\n \\n NARRATOR \\n The boy, Tom Hansen of Margate, New\",\n \" Literally, his entire universe falls apart. \\n \\n 97. \\n \\n \\n \\n FX: BUILDINGS come crumbling down. The whole city turns to\",\n \" a little. \\n \\n The Women clutch their heart like they might faint. \\n \\n \\n INT RELIGIOUS HOLIDAYS WING - LATER \\n \\n Workers are again all gathered around Tom.\",\n \" 2. EXT CITY SIDEWALK - DAY \\n \\n Tom sits on a street corner drawing new additions to the \\n city's skyline. \\n \\n 2. INT LIBRARY - DAY \\n \",\n \" outside? \\n \\n TOM \\n I do! I love that church. It's like \\n my favorite structure in the city. \\n \\n GIRL \\n If only it wasn't near that\",\n \" rubble. He's the only constant as the world around him is \\n ERASED, brick by brick, beam by beam, as if by an unseen \\n force and reduced to nothing. \\n \\n CUT TO: \\n \",\n \" SUMMER \\n The city or the firm? \\n \\n TOM \\n Both... Either. \\n \\n SUMMER \\n I'm happy. Still getting situated.\",\n \" A parade forms behind him. The POSTMAN, a POLICE OFFICER, the \\n HOT DOG VENDOR, RONALD MCDONALD and MAYOR MCCHEESE, everybody\",\n \" I've fished in that sea. I've \\n jumped in and swam in that sea! I'm \\n fucking Aquaman! \\n (to Rachel) \\n Sorry. What I mean is... there are\",\n \" Tom. Everyone else in the class seems at peace. Tom can't \\n even get the breathing right. \\n \\n \\n INT. HOMELESS SHELTER - DAY \\n \",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" I come here a lot. I always loved \\n this place, ever since you brought \\n me here. \\n \\n The mention of their past makes the atmosphere frosty. \\n \\n TOM\",\n \" SUMMER \\n Why? \\n \\n TOM \\n Over there, that's St. Patrick's \\n church. The beauty of St. Patrick's \\n is its humility. With this giant\",\n \" EXT TRANSAMERICA BUILDING - DAY \\n \\n Summer and Tom stand on San Francisco's most interesting \\n street corner, where the ultra-modern Transamerica Building \\n stands next to the ancient Columbus Tower. \\n \",\n \" winking, doing a little shuffle. He is the man. He checks out \\n his reflection in a window. A YOUNG PAUL NEWMAN stares back. \\n \\n People wave as he passes, they clap, they give him thumbs up.\"\n ],\n [\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" \\n TOM \\n I don't... \\n \\n MCKENZIE \\n You really do. \\n \\n SUMMER\",\n \" TOM \\n He's very...loving. \\n \\n SUMMER \\n Does he hug all your friends? \\n \\n There's that word again. \\n \",\n \" 36. \\n \\n \\n \\n MCKENZIE \\n Not you. You. \\n (beat, to Summer) \\n He likes you. \\n \\n TOM\",\n \" SUMMER \\n Tom -- \\n \\n TOM \\n What's different now? How could \\n things change so quickly? \\n \\n SUMMER\",\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" TOM \\n Hey Mr. Vance. \\n \\n SUMMER \\n Yes, Mr. Vance? \\n \\n And they're all business. As Tom turns to go, however, Summer\",\n \" and Summer are two of them. Tom takes this opportunity to put \\n a CD in his computer and play the song really loud. It's \\\"I \\n Want to Know What Love Is\\\" by Foreigner. No reaction from\",\n \" TOM \\n Of course I do. \\n \\n SUMMER \\n Interesting. A real romantic. \\n \\n MCKENZIE \\n Oh you have no idea. This one...\",\n \" You know what. Do you...like me? \\n \\n TOM \\n Yeah. I like you. Of course I do. \\n \\n SUMMER \\n As a friend. \\n \\n TOM\",\n \" You really do? \\n \\n TOM \\n (BEAT) \\n God no. \\n \\n They both laugh a little. The tension begins to dissipate. \\n \\n SUMMER\",\n \" 82. \\n \\n \\n \\n SARAH \\n Ok. We'll see you inside. \\n \\n When they're out of earshot, Tom sees that Summer is\",\n \" \\n SUMMER \\n I understand. \\n \\n TOM \\n Yeah well...anyway...I hope you're \\n happy. \\n \\n SUMMER\",\n \" Tom says nothing. \\n \\n SUMMER \\n I knew I could promise him I'd feel \\n the same way every morning. In a \\n way that I... I never could with \\n you. \\n \",\n \" Summer and Tom come bounding in, lip-locked and all over each \\n other. They fall on his bed and begin undressing each other. \\n Suddenly, Tom stops. \\n \\n 44. \\n \\n \\n \",\n \" \\n SUMMER \\n I... Tom... \\n \\n TOM \\n What, tell me... \\n \\n SUMMER \\n I woke up one day and I knew. \\n \",\n \" know. But at least he didn't -- \\n \\n SUMMER \\n Is that true? \\n \\n TOM \\n What? \\n \\n SUMMER\",\n \" Tom shuts the door on McKenzie as fast as he can. Now it's \\n just Tom and Summer. Tom talks a mile a minute to try and \\n erase McKenzie's last exchange from her mind. \\n \\n TOM\",\n \" \\n \\n Tom quickly shuts the door on Paul. \\n \\n TOM \\n If you heard... \\n \\n SUMMER \\n Heard what? \\n \\n TOM\",\n \" SUMMER \\n Tom! \\n \\n But when he doesn't turn around she just shakes it off and \\n starts dancing again. \\n \\n LATER. Tom is outside in the rain. We can still hear the\"\n ],\n [\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" INT MOVIE - LATER \\n \\n Tom and Summer watching the film. Tears begin to well in \\n Summer's eyes. They soon turn to audible sobs. Tom turns to\",\n \" \\n Tom and Summer, watching the movie. Intently. They've even \\n got popcorn. \\n \\n SUMMER \\n Is that... possible? \\n \\n \\n (79) \\n \",\n \" For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a \\n park bench. Their names are TOM and SUMMER. Neither one says \\n a word. \\n \\n \",\n \" TOM (V.O.) \\n We had coffee. \\n \\n \\n EXT MOVIE THEATER - DAY \\n \\n Tom and Summer walk out of a movie theatre. \\n \",\n \" \\n Summer starts walking ahead and Tom notices for the first \\n time she's furious. \\n \\n TOM \\n Hey. What is it? \\n \\n SUMMER\",\n \" Tom watches TV. An advertisement for toothpaste comes on. Tom \\n could swear the actress was Summer. \\n \\n \\n INT TROLLEY - DAY \\n \\n A trolley going the other direction passes by. EVERY\",\n \" In CU, Tom goes to hold Summer's hand. But something happens. \\n It could be a total coincidence, but just as his hand \\n approaches hers (in SLO-MO), she moves it away and keeps it\",\n \" INT. SUMMER'S APARTMENT - LATER \\n \\n Tom and Summer get comfortable. Both are excited and looking \\n forward to this. The movie starts, the credits roll. Tom and\",\n \" \\n Tom walks out. He looks back but she isn't looking. When she \\n looks back at him, he's gone. \\n \\n LATER. Tom about to leave the office. Passes Summer's desk.\",\n \" Summer start to make out a bit, both keeping an eye on the \\n TV. \\n \\n CUT TO: \\n \\n \\n INT. SUMMER'S APARTMENT - 20 MINUTES LATER\",\n \" again. He shuts the door in our faces. \\n \\n \\n INT TOM'S BEDROOM - THE NEXT MORNING \\n \\n Tom and Summer in the wee hours. \\n \\n TOM\",\n \" 82. \\n \\n \\n \\n SARAH \\n Ok. We'll see you inside. \\n \\n When they're out of earshot, Tom sees that Summer is\",\n \" \\n SUMMER \\n Ok. \\n \\n Tom puts his hands in his pockets and watches this exchange \\n go down. Not sure what else to do. At this point he's more \\n amused than concerned. \\n \",\n \" TOM \\n Hey Mr. Vance. \\n \\n SUMMER \\n Yes, Mr. Vance? \\n \\n And they're all business. As Tom turns to go, however, Summer\",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" \\n TOM \\n I don't... \\n \\n MCKENZIE \\n You really do. \\n \\n SUMMER\",\n \" TOM \\n What? \\n \\n SUMMER \\n Don't talk about it. Do it. \\n \\n Summer gives him a pen from her purse and the underside of\",\n \" Right: Summer looks at her phone, willing it to ring. It \\n doesn't. \\n \\n \\n INT TOM'S BEDROOM - HOURS LATER \\n \",\n \" \\n Tom can't help but do a little celebration dance. \\n \\n CUT TO: \\n \\n LATER. Sex has been had. Summer is asleep. Tom lies next to\"\n ],\n [\n \" outside? \\n \\n TOM \\n I do! I love that church. It's like \\n my favorite structure in the city. \\n \\n GIRL \\n If only it wasn't near that\",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" interview. We can see he is frustrated but not deterred. In \\n the distance, his favorite spot in the city, where he took \\n Summer ages ago. \\n \\n \\n EXT. PARK - DAY \\n \",\n \" Tom walks down the street. Or, more accurately, Tom sulks \\n down the street. Though it's sunny and warm, Tom is a sad, \\n broken man and the world is an awful place. There's still\",\n \" is a God. \\n \\n \\n EXT YERNA BUENA GARDEN - DAY \\n \\n Summer and Tom sit on the steps which offers a stunning view \\n of the city's architectural marvels. \\n \",\n \" Tom walks to his cubicle, still on top of the world. \\n \\n 39. \\n \\n \\n \\n \\n INT TOM'S PLACE - THAT NIGHT \\n \",\n \" 2. EXT CITY SIDEWALK - DAY \\n \\n Tom sits on a street corner drawing new additions to the \\n city's skyline. \\n \\n 2. INT LIBRARY - DAY \\n \",\n \" \\n Tom backpacks alone in the forest. \\n \\n TOM (V.O.) \\n \\\"Five. Travel. Take some time to \\n see another environment. Get \\n perspective. It's a beautiful\",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" his wall (which is now composed of a dynamic cityscape of \\n futuristic looking structures). He crosses \\\"Abrams and \\n Abrams\\\" off the list. We notice several others are also \\n crossed off. \\n \\n \",\n \" Hall and Oates following Tom, almost trying to cheer him up. \\n He checks out his reflection in a window. Ron Howard's \\n brother Clint looks back. \\n \\n Tom walks by a COUPLE making out on a bench. He grimaces.\",\n \" Tom's parade of supporters, The Postman, Mayor McCheese, all \\n of them shake their heads and give him disapproving looks. \\n The Cartoon Bird takes a cartoon shit on Tom's shoulder. Tom\",\n \" great. Well done Hansen, you idiot. \\n \\n Tom walks a few more steps. \\n \\n And then, seemingly out of nowhere, without his even\",\n \" The CLERK eyes him suspiciously. \\n \\n \\n EXT STREET - SAME \\n \\n Tom sees a COUPLE kissing on the sidewalk. He winces. He sees\",\n \" TOM \\n A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n \",\n \" Tom had always been a devout \\n believer in the idea of \\\"true \\n love.\\\" \\n (BEAT) \\n The evidence did not support him. \\n \\n CUT TO: \\n \",\n \" 5. EXT GOLDEN GATE BRIDGE - DAY \\n \\n Tom has his car on the side of the road and is out measuring \\n the distance between the beams of the bridge. \\n \\n 8. EXT PARK - DAY\",\n \" at his side, waits in the foyer of Allen, Prince, and Gethers \\n Architecture. From the room we can tell this firm is big \\n time. \\n \\n Tom waits. \\n \",\n \" CUT TO: \\n \\n \\n (272-286) \\n INT. BOOKSTORE - DAY \\n \\n Tom, starting to get that unshaven, unkempt look, wanders\",\n \" world. It will be for you again \\n someday.\\\" \\n \\n This is it, he's finally found some peace. Tom looks up to \\n the tops of the trees where the sunlight is peeking in and \\n takes a deep breath.\"\n ],\n [\n \" She turns back to look at Tom on the way. She sticks out her \\n tongue to be cute. Co-Worker doesn't see. Tom is crazy about \\n her. \\n \\n \\n INT OFFICE - LATER \\n \",\n \" A female CO-WORKER, 50s, stands at the front of the room in \\n mid-presentation, showing slides that have something to do \\n with a cat in various poses. First we see, \\\"Cat Reaching Up\",\n \" \\n \\n INT WEDDINGS AND ANNIVERSARIES SUITE - LATER \\n \\n All of the people who work in here are MIDDLE AGED WOMEN. \\n Currently, they are standing around one desk where Tom sits\",\n \" a little. \\n \\n The Women clutch their heart like they might faint. \\n \\n \\n INT RELIGIOUS HOLIDAYS WING - LATER \\n \\n Workers are again all gathered around Tom.\",\n \" MCKENZIE \\n Yeah. \\n \\n TOM \\n Now she's getting married. \\n \\n PAUL \\n I'm so sorry Tom. \\n \\n TOM\",\n \" A CO-WORKER passes. \\n \\n CO-WORKER \\n Hey Summer. Tom. \\n \\n BOTH \\n (like nothing's up) \\n Hey./ Hi. \\n \",\n \" Shit. That's not bad. \\n \\n TOM \\n No worries. \\n \\n Tom walks by the room marked \\\"Weddings and Anniversaries.\\\" \\n He's about to keep going when he pauses.\",\n \" Oh you'd be surprised. \\n \\n AUNT ANITA \\n (actually squeezing his \\n CHEEKS) \\n Look at this punum. Are all those \\n girls blind? \\n \",\n \" INT OFFICE LOBBY - DAY \\n \\n The office sings \\\"Happy Birthday\\\" to a FEMALE CO-WORKER. When \\n they get to the part about her name, Tom is the only one who\",\n \" I mean you were practically \\n stalking her... \\n \\n TOM \\n Shhh! \\n \\n Suddenly, the sound of a toilet flushing is heard. From the\",\n \" for Out-of-Reach Milk Bowl.\\\" \\n \\n CO-WORKER \\n This one says \\\"Go for it!\\\" \\n \\n She clicks to the next slide. \\\"Cat Hanging From Tree Branch.\\\" \\n \",\n \" She takes her seat. \\n \\n VANCE. \\n Good job Rhoda, I agree. Really \\n inspirational stuff. Now, who's \\n next. We haven't heard from\",\n \" on her desk. Not a word is spoken. Satisfied, he returns to \\n his seat and waits to see what happens. \\n \\n NARRATOR \\n Exhibit A: Lisa Rayner. \\n \",\n \" CLOSE ON her HAND, covering his. Notice the wedding ring. No \\n words are spoken. Tom looks at her the way every woman wants \\n to be looked at. \\n \\n A DISTINGUISHED VOICE begins to speak to us.\",\n \" \\n The elevator doors open and she gets off. \\n \\n TOM \\n (accidentally out loud) \\n Oh my god. \\n \\n \\n (8)\",\n \" I got one good shot in. \\n \\n \\n \\n (146 & 147) \\n INT. OFFICE - LATER \\n \\n Tom is in the photocopy room with a bandage on his nose.\",\n \" corner deli and this guy sits down \\n and starts asking about it. Now \\n he's my husband! \\n \\n TOM \\n This is funny to you? \\n \\n SUMMER\",\n \" She's on the phone. He wants to stop and say something but \\n she's busy. He walks on. She never knew he was there. \\n \\n LATER. Summer, packed up to go, walks over to Tom's cubicle\",\n \" Anyway, I should get back. \\n \\n TOM \\n Ok, well, I'll see you around. \\n \\n She walks back to her cubicle at the other end of the hall.\",\n \" Yup. \\n \\n It's silent a few beats. \\n \\n TOM \\n Anyway, who cares about me? This is \\n your day. \\n \"\n ],\n [\n \" Yeah I quit the office. \\n \\n SUMMER \\n Really? That's great! What are you \\n doing now? \\n \\n TOM \\n Mostly...sleeping. Breaking things.\",\n \" Tom gets up and walks to the door. \\n \\n TOM \\n It's all crap. We make and peddle \\n crap. And sometimes people believe \\n in this crap. I just can't do it\",\n \" TOM \\n No, Paul, no jobs. I'm still \\n unemployed. We just kissed. \\n \\n 40. \\n \\n \\n \\n PAUL\",\n \" \\n Tom starts to itch... \\n \\n \\n INT. APARTMENT - LATER \\n \\n Tom is painting the walls of his now nearly bare apartment. \\n \\n TOM (V.O.)\",\n \" He quickly ushers him out of the office. \\n \\n 87. \\n \\n \\n \\n \\n (383) \\n INT TOM'S BEDROOM - MORNING \\n \",\n \" INT. APARTMENT - LATER \\n \\n Tom, almost with a full beard, is redecorating his apartment \\n again. We see him rearranging the furniture in the room. \\n \\n LATER. He hangs some new pictures.\",\n \" CUT TO: \\n \\n \\n (272-286) \\n INT. BOOKSTORE - DAY \\n \\n Tom, starting to get that unshaven, unkempt look, wanders\",\n \" Anyway, I'm leaving now. Pretend I \\n was never here. Tom, talk to you \\n later?... Hey, If any jobs open \\n up... \\n \\n 41. \\n \",\n \" \\n TOM \\n (DEFLATED) \\n Oh. Got it... No problem. \\n \\n He turns back around and shakes that off, tries to refocus on\",\n \" tries to find something to kick and can't. He throws his cell \\n phone off his balcony. Finally he collapses on the bed. \\n \\n \\n (384) \\n INT TOM'S BEDROOM \\n \",\n \" Tom walks to his cubicle, still on top of the world. \\n \\n 39. \\n \\n \\n \\n \\n INT TOM'S PLACE - THAT NIGHT \\n \",\n \" Tom is standing still now, no longer moving. He's trying to \\n keep his frustration from being audible. \\n \\n 76. \\n \\n \\n \\n TOM\",\n \" And with that he storms off. \\n \\n MCKENZIE \\n Tom! \\n \\n PAUL \\n Let him go. \\n \\n ANGLE ON Tom walking away from them. \\n \",\n \" Tom has more than fifty self-help books on a shelf by his \\n bed. He reads from one called \\\"Six Steps to Getting Over \\n Him.\\\" \\n \\n TOM (V.O.)\",\n \" END MUSIC. \\n \\n \\n (478) \\n EXT OFFICE BUILDING - ANOTHER DAY \\n \\n Tom, in a suit, exits a building after another dismal\",\n \" \\n Tom backpacks alone in the forest. \\n \\n TOM (V.O.) \\n \\\"Five. Travel. Take some time to \\n see another environment. Get \\n perspective. It's a beautiful\",\n \" \\n Tom jogs. A little faster this time. \\n \\n 9. INT TOM'S BEDROOM - NIGHT \\n \\n Tom getting more bad news from the answering machine,\",\n \" great. Well done Hansen, you idiot. \\n \\n Tom walks a few more steps. \\n \\n And then, seemingly out of nowhere, without his even\",\n \" Tom removes his headphones and sits defeated with McKenzie \\n and Paul in a booth. \\n \\n TOM \\n It's off. \\n \\n PAUL \\n What? \\n \",\n \" Tom comes charging out of the place with his friends \\n following behind. \\n \\n TOM \\n There's no fucking way! \\n \\n MCKENZIE \\n Tom. \\n \\n TOM\"\n ],\n [\n \" interview. We can see he is frustrated but not deterred. In \\n the distance, his favorite spot in the city, where he took \\n Summer ages ago. \\n \\n \\n EXT. PARK - DAY \\n \",\n \" Tom walks over and sits down on a bench. He stares off, lost \\n in thought. And then, from out of nowhere, there's her voice. \\n \\n SUMMER (V.O.) \\n Hey. \\n \",\n \" 5. \\n \\n \\n \\n NARRATOR \\n Tom meets Summer on January 8th in \\n a San Francisco office building. In \\n an instant, he will know she's the\",\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" one he's been looking for. \\n \\n CU Summer opening the door to the boardroom, about to come \\n face to face with Tom for the first time. \\n \\n NARRATOR\",\n \" Tom watches TV. An advertisement for toothpaste comes on. Tom \\n could swear the actress was Summer. \\n \\n \\n INT TROLLEY - DAY \\n \\n A trolley going the other direction passes by. EVERY\",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" is a God. \\n \\n \\n EXT YERNA BUENA GARDEN - DAY \\n \\n Summer and Tom sit on the steps which offers a stunning view \\n of the city's architectural marvels. \\n \",\n \" That day again. As we've seen before, Tom reads a newspaper. \\n Summer reads a novel. \\n \\n TOM \\n It's playing at 5. \\n \\n SUMMER\",\n \" Again, that fateful day continues. Tom and Summer outside. \\n \\n SUMMER \\n So. \\n \\n TOM \\n So... Now what? \\n \\n 107.\",\n \" Tom says nothing. \\n \\n SUMMER \\n I knew I could promise him I'd feel \\n the same way every morning. In a \\n way that I... I never could with \\n you. \\n \",\n \" SUMMER \\n The city or the firm? \\n \\n TOM \\n Both... Either. \\n \\n SUMMER \\n I'm happy. Still getting situated.\",\n \" 56. \\n \\n \\n \\n \\n INT TOM'S CAR - THAT NIGHT \\n \\n Tom and Summer driving on the Golden Gate. Tom is very\",\n \" Summer sits like an apparition on a neighboring bench. She \\n may have just sat down, she may have been there for hours. \\n Tom isn't sure if she's real. He doesn't quite know what to \\n do. \\n \",\n \" We spent the whole day together. \\n \\n \\n EXT OUTDOOR MARKET - DAY \\n \\n Tom and Summer walk through the stalls. \\n \\n TOM (V.O.)\",\n \" Tom takes a deep breath. \\n \\n \\n EXT PARK - DAY \\n \\n Tom and Summer eat sandwiches in the park. \\n \\n TOM (V.O.)\",\n \" \\n Tom walks out. He looks back but she isn't looking. When she \\n looks back at him, he's gone. \\n \\n LATER. Tom about to leave the office. Passes Summer's desk.\",\n \" EXT PARK - DAY \\n \\n Tom and Summer are having a picnic. If it looks familiar, \\n it's cause we saw them here on page 7. This is that fateful\",\n \" SUMMER \\n Tom -- \\n \\n TOM \\n What's different now? How could \\n things change so quickly? \\n \\n SUMMER\",\n \" \\n SUMMER \\n Oh ok, sure, no prob. \\n \\n \\n INT OFFICE - LATE IN THE DAY \\n \\n The office is emptying out. Only a few people remain but Tom\"\n ],\n [\n \" My name's Tom. \\n \\n GIRL \\n Nice to meet you... \\n \\n She puts out her hand to meet his. They shake. \\n \\n GIRL\",\n \" \\n TOM \\n The right girl I guess. \\n \\n AUNT BETSY \\n There's girls everywhere. I bet you \\n have to beat em off with a stick. \\n \\n TOM\",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" towards an outdoor cafe. Her name is ALLISON. It's clear \\n right away that Tom can't wait for this night to end already. \\n \\n 70. \\n \\n \\n \\n ALISON\",\n \" TOM \\n Summer! \\n \\n She stops and turns back. He takes in her face, most likely \\n for the last time ever. \\n \\n TOM \\n I really do hope you're happy.\",\n \" 5. \\n \\n \\n \\n NARRATOR \\n Tom meets Summer on January 8th in \\n a San Francisco office building. In \\n an instant, he will know she's the\",\n \" MAN \\n Come on back. \\n \\n TOM \\n Thank you. \\n \\n He starts to go. But halfway through the doorway, he pauses \\n and looks back at the girl. \\n \",\n \" \\n The elevator doors open and she gets off. \\n \\n TOM \\n (accidentally out loud) \\n Oh my god. \\n \\n \\n (8)\",\n \" SUMMER \\n Tom! \\n \\n But when he doesn't turn around she just shakes it off and \\n starts dancing again. \\n \\n LATER. Tom is outside in the rain. We can still hear the\",\n \" \\n TOM \\n Hey Martin. \\n \\n ANGLE ON RACHEL and Sarah. \\n \\n RACHEL \\n He met a girl. \\n \\n SARAH\",\n \" during this time that something weird comes over Tom and we \\n can visibly see it in his face. He likes the look of this \\n girl. This girl is cute. He'd like to talk more with her.\",\n \" 6. \\n \\n \\n \\n GIRL \\n Thomas. \\n \\n Tom freezes. \\n \\n TOM \\n Rachel? What are you doing here? \\n \",\n \" TOM \\n And it turns out she's read every \\n Graham Greene novel ever published. \\n Her desk is lined with Magritte \\n posters and Edward Hopper. \\n \\n RACHEL\",\n \" Tom walks over and sits down on a bench. He stares off, lost \\n in thought. And then, from out of nowhere, there's her voice. \\n \\n SUMMER (V.O.) \\n Hey. \\n \",\n \" \\n Tom is caught like a deer in headlights. What can he do? \\n \\n TOM \\n Well this is the girl friend I've \\n told you about. I don't know if\",\n \" I mean you were practically \\n stalking her... \\n \\n TOM \\n Shhh! \\n \\n Suddenly, the sound of a toilet flushing is heard. From the\",\n \" shirt under his sports coat and Adidas tennis shoes to \\n balance out the corporate dress code. He looks pretty bored. \\n \\n NARRATOR \\n The boy, Tom Hansen of Margate, New\",\n \" TOM \\n What? \\n \\n SUMMER \\n Don't talk about it. Do it. \\n \\n Summer gives him a pen from her purse and the underside of\",\n \" ...pretty sure. \\n \\n TOM \\n (to Girl) \\n Excuse me. \\n \\n GIRL \\n Hello stranger. \\n \\n TOM\",\n \" Tom watches her go. \\n \\n CUT TO: \\n \\n \\n (240)\"\n ],\n [\n \" Tom has more than fifty self-help books on a shelf by his \\n bed. He reads from one called \\\"Six Steps to Getting Over \\n Him.\\\" \\n \\n TOM (V.O.)\",\n \" You did the right thing. Where is \\n he? \\n \\n Tom is in the kitchen breaking things and basically going \\n insane. About to smash a plate on the floor, he's interrupted \\n BY: \\n \",\n \" tries to find something to kick and can't. He throws his cell \\n phone off his balcony. Finally he collapses on the bed. \\n \\n \\n (384) \\n INT TOM'S BEDROOM \\n \",\n \" Tom walks over and sits down on a bench. He stares off, lost \\n in thought. And then, from out of nowhere, there's her voice. \\n \\n SUMMER (V.O.) \\n Hey. \\n \",\n \" Tom is going apeshit in his room. He's ripping down posters, \\n taking pictures out of frames and tearing them apart. He \\n punches the wall. He drinks an entire bottle of red wine. He\",\n \" Tom is too wrapped up in the phone call to acknowledge him. \\n The smile on his face is the biggest we've seen yet. \\n \\n \\n \\n (68) \\n INT. SHOWER - LATER \\n \",\n \" Tom comes charging out of the place with his friends \\n following behind. \\n \\n TOM \\n There's no fucking way! \\n \\n MCKENZIE \\n Tom. \\n \\n TOM\",\n \" Right: Summer looks at her phone, willing it to ring. It \\n doesn't. \\n \\n \\n INT TOM'S BEDROOM - HOURS LATER \\n \",\n \" look at her, to offer some sort of comfort, believing it to \\n be a response to the movie. She doesn't look back. \\n \\n \\n (409) \\n INT TOM'S BEDROOM - DAY \\n \",\n \" Tom watches her walk away for a beat before he turns to go \\n the other way. \\n \\n TOM \\n (under his breath) \\n Friends. Awesome. That's just\",\n \" But the line is dead. Tom's head sinks into his chest. Yet \\n another frustrating night... \\n \\n CUT TO: \\n \\n \",\n \" and crying and bitching about for \\n weeks now? \\n \\n TOM \\n I have not been... \\n \\n PAUL \\n The same girl you said was way out\",\n \" TOM \\n (calling to her) \\n I just got my ass kicked! \\n \\n Only the CROWD outside the bar hear this. \\n \\n TOM \\n (to Onlookers)\",\n \" once. Screw it. I'm done with her. \\n It's over. \\n \\n 28. \\n \\n \\n \\n Tom's friends all look at him like he's crazy.\",\n \" TOM \\n He's very...loving. \\n \\n SUMMER \\n Does he hug all your friends? \\n \\n There's that word again. \\n \",\n \" She hugs him. Tight. He doesn't cry but he could. \\n \\n RACHEL \\n You know, my friends... they're all \\n in love with you. \\n \\n TOM\",\n \" TOM \\n Yeah. \\n \\n ALISON \\n Well I'm glad you called. They \\n spoke very highly of you. \\n \\n TOM \\n Great. \\n \\n \",\n \" Tom is awakened by a buzzer. He hits the \\\"sleep\\\" button but \\n the buzzing isn't coming from his alarm. It's his door. He \\n gets up, concerned, and goes to answer it. It's Summer. \\n \",\n \" his shoes on. He holds the phone up to his ear. \\n \\n TOM \\n Hey. \\n \\n Summer is half-asleep under the covers. The phone lays at her \\n side and she angles towards it. \\n \",\n \" her. I know her too well. She \\n wouldn't do that. \\n \\n His friends say nothing. \\n \\n TOM \\n (BEAT) \\n Fuck! \\n \"\n ],\n [\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" \\n Summer starts walking ahead and Tom notices for the first \\n time she's furious. \\n \\n TOM \\n Hey. What is it? \\n \\n SUMMER\",\n \" Tom says nothing. \\n \\n SUMMER \\n I knew I could promise him I'd feel \\n the same way every morning. In a \\n way that I... I never could with \\n you. \\n \",\n \" SUMMER \\n Cause there's nothing to tell. \\n \\n TOM \\n Come on, I'm interested. \\n \\n SUMMER \\n You wanna have the relationship\",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" SUMMER \\n Tom -- \\n \\n TOM \\n What's different now? How could \\n things change so quickly? \\n \\n SUMMER\",\n \" Tom is awakened by a buzzer. He hits the \\\"sleep\\\" button but \\n the buzzing isn't coming from his alarm. It's his door. He \\n gets up, concerned, and goes to answer it. It's Summer. \\n \",\n \" Summer and Tom come bounding in, lip-locked and all over each \\n other. They fall on his bed and begin undressing each other. \\n Suddenly, Tom stops. \\n \\n 44. \\n \\n \\n \",\n \" TOM \\n It's amazing to me. You're married. \\n \\n SUMMER \\n I know. \\n \\n TOM \\n You're not only someone's\",\n \" In CU, Tom goes to hold Summer's hand. But something happens. \\n It could be a total coincidence, but just as his hand \\n approaches hers (in SLO-MO), she moves it away and keeps it\",\n \" 9. \\n \\n \\n \\n SUMMER \\n You're happy? \\n \\n TOM \\n You're not? \\n \\n SUMMER\",\n \" TOM \\n What? \\n \\n SUMMER \\n Don't talk about it. Do it. \\n \\n Summer gives him a pen from her purse and the underside of\",\n \" CU - SUMMER ASLEEP (as before) \\n \\n TOM (V.O.) \\n I hate the way she sleeps. \\n \\n CU - SUMMER'S LAUGH \\n \",\n \" 82. \\n \\n \\n \\n SARAH \\n Ok. We'll see you inside. \\n \\n When they're out of earshot, Tom sees that Summer is\",\n \" \\n \\n Tom quickly shuts the door on Paul. \\n \\n TOM \\n If you heard... \\n \\n SUMMER \\n Heard what? \\n \\n TOM\",\n \" \\n SUMMER \\n Ok. \\n \\n Tom puts his hands in his pockets and watches this exchange \\n go down. Not sure what else to do. At this point he's more \\n amused than concerned. \\n \",\n \" \\n SUMMER \\n I'm dancing. I haven't danced in \\n ages. God. Come on. \\n \\n TOM \\n No. \\n \\n SUMMER\",\n \" You really do? \\n \\n TOM \\n (BEAT) \\n God no. \\n \\n They both laugh a little. The tension begins to dissipate. \\n \\n SUMMER\",\n \" TOM \\n (touching his tie) \\n Sorta. \\n \\n SUMMER \\n I'd rather not. Seriously, do you \\n mind? \\n \",\n \" 56. \\n \\n \\n \\n \\n INT TOM'S CAR - THAT NIGHT \\n \\n Tom and Summer driving on the Golden Gate. Tom is very\"\n ],\n [\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" \\n Summer starts walking ahead and Tom notices for the first \\n time she's furious. \\n \\n TOM \\n Hey. What is it? \\n \\n SUMMER\",\n \" SUMMER \\n Tom -- \\n \\n TOM \\n What's different now? How could \\n things change so quickly? \\n \\n SUMMER\",\n \" You really do? \\n \\n TOM \\n (BEAT) \\n God no. \\n \\n They both laugh a little. The tension begins to dissipate. \\n \\n SUMMER\",\n \" TOM (V.O.) \\n We had coffee. \\n \\n \\n EXT MOVIE THEATER - DAY \\n \\n Tom and Summer walk out of a movie theatre. \\n \",\n \" Tom! You're the crazy person! \\n \\n TOM \\n What are you talking about?! \\n \\n SUMMER \\n One day I'm reading a book at the\",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" TOM \\n Summer, hold on... you don't \\n believe in love? \\n \\n SUMMER \\n I don't even know what that word \\n means. I know I've never felt it,\",\n \" \\n SUMMER \\n I'm dancing. I haven't danced in \\n ages. God. Come on. \\n \\n TOM \\n No. \\n \\n SUMMER\",\n \" \\n SUMMER \\n I understand. \\n \\n TOM \\n Yeah well...anyway...I hope you're \\n happy. \\n \\n SUMMER\",\n \" SUMMER \\n Cause there's nothing to tell. \\n \\n TOM \\n Come on, I'm interested. \\n \\n SUMMER \\n You wanna have the relationship\",\n \" TOM \\n But...what if you meet someone and \\n fall in love? \\n \\n SUMMER \\n (LAUGHS) \\n Love? You seriously believe in that \\n stuff? \\n \",\n \" Ok? \\n \\n Tom is visibly disappointed by this but he tries to hide it. \\n \\n TOM \\n Sure. \\n \\n SUMMER \\n (BEAT)\",\n \" \\n Tom and Summer, watching the movie. Intently. They've even \\n got popcorn. \\n \\n SUMMER \\n Is that... possible? \\n \\n \\n (79) \\n \",\n \" 9. \\n \\n \\n \\n SUMMER \\n You're happy? \\n \\n TOM \\n You're not? \\n \\n SUMMER\",\n \" That day again. As we've seen before, Tom reads a newspaper. \\n Summer reads a novel. \\n \\n TOM \\n It's playing at 5. \\n \\n SUMMER\",\n \" CU - SUMMER ASLEEP (as before) \\n \\n TOM (V.O.) \\n I hate the way she sleeps. \\n \\n CU - SUMMER'S LAUGH \\n \",\n \" INT. SUMMER'S APARTMENT - LATER \\n \\n Tom and Summer get comfortable. Both are excited and looking \\n forward to this. The movie starts, the credits roll. Tom and\",\n \" TOM \\n (touching his tie) \\n Sorta. \\n \\n SUMMER \\n I'd rather not. Seriously, do you \\n mind? \\n \",\n \" and a total misreading of the \\n movie, \\\"The Graduate.\\\" \\n \\n CUT TO: \\n \\n \\n INT OFFICE CUBICLE - PRESENT DAY \\n \"\n ],\n [\n \" TOM \\n Hey Mr. Vance. \\n \\n SUMMER \\n Yes, Mr. Vance? \\n \\n And they're all business. As Tom turns to go, however, Summer\",\n \" \\n On the right side of the screen, Tom continues to listen to \\n some boring presentation. On the left, Summer answers a call, \\n takes a message, and walks out of her cubicle down a long \\n narrow hallway. \\n \",\n \" We went shopping. \\n \\n \\n EXT COFFEE HOUSE - DAY \\n \\n Tom and Summer seated outside drinking coffee. He reads the \\n newspaper, she reads a novel. \\n \",\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" TOM (V.O.) \\n We had coffee. \\n \\n \\n EXT MOVIE THEATER - DAY \\n \\n Tom and Summer walk out of a movie theatre. \\n \",\n \" Tom is awakened by a buzzer. He hits the \\\"sleep\\\" button but \\n the buzzing isn't coming from his alarm. It's his door. He \\n gets up, concerned, and goes to answer it. It's Summer. \\n \",\n \" \\n Tom walks out. He looks back but she isn't looking. When she \\n looks back at him, he's gone. \\n \\n LATER. Tom about to leave the office. Passes Summer's desk.\",\n \" \\n SUMMER \\n Oh ok, sure, no prob. \\n \\n \\n INT OFFICE - LATE IN THE DAY \\n \\n The office is emptying out. Only a few people remain but Tom\",\n \" 82. \\n \\n \\n \\n SARAH \\n Ok. We'll see you inside. \\n \\n When they're out of earshot, Tom sees that Summer is\",\n \" TOM \\n What? \\n \\n SUMMER \\n Don't talk about it. Do it. \\n \\n Summer gives him a pen from her purse and the underside of\",\n \" \\n TOM \\n I don't... \\n \\n MCKENZIE \\n You really do. \\n \\n SUMMER\",\n \" 5. \\n \\n \\n \\n NARRATOR \\n Tom meets Summer on January 8th in \\n a San Francisco office building. In \\n an instant, he will know she's the\",\n \" Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. \\n TIME CUTS reveal that Summer is talking with, laughing with, \\n drinking with, and possibly flirting with many of them. Tom\",\n \" 56. \\n \\n \\n \\n \\n INT TOM'S CAR - THAT NIGHT \\n \\n Tom and Summer driving on the Golden Gate. Tom is very\",\n \" INT. SUMMER'S APARTMENT - LATER \\n \\n Tom and Summer get comfortable. Both are excited and looking \\n forward to this. The movie starts, the credits roll. Tom and\",\n \" Tom and Summer, who have ridden together to work, stand \\n outside the building. \\n \\n 49. \\n \\n \\n \\n SUMMER \\n You wanna -- \\n \",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" \\n TOM \\n So, uh, Summer... \\n \\n SUMMER \\n Tom. \\n \\n TOM \\n Yeah! How's it going so far? \\n \",\n \" \\n SUMMER \\n It was fine. Just a work thing. \\n \\n TOM \\n Where did you guys go? \\n \\n SUMMER \\n Some restaurant. \\n \",\n \" SUMMER \\n The city or the firm? \\n \\n TOM \\n Both... Either. \\n \\n SUMMER \\n I'm happy. Still getting situated.\"\n ],\n [\n \" Tom wakes up. He gets his bearings and then quickly rolls \\n onto the floor and begins a brief push-up routine. \\n \\n NARRATOR (V.O.) \\n Most days of the year are entirely\",\n \" He works for the Republican party. \\n Very successful. Just not for me. \\n \\n TOM \\n Ok. And then? \\n \\n SUMMER \\n Well, for a short time in college,\",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" \\n TOM \\n (DEFLATED) \\n Oh. Got it... No problem. \\n \\n He turns back around and shakes that off, tries to refocus on\",\n \" one he's been looking for. \\n \\n CU Summer opening the door to the boardroom, about to come \\n face to face with Tom for the first time. \\n \\n NARRATOR\",\n \" shirt under his sports coat and Adidas tennis shoes to \\n balance out the corporate dress code. He looks pretty bored. \\n \\n NARRATOR \\n The boy, Tom Hansen of Margate, New\",\n \" TOM \\n Hey Mr. Vance. \\n \\n SUMMER \\n Yes, Mr. Vance? \\n \\n And they're all business. As Tom turns to go, however, Summer\",\n \" Tom had always been a devout \\n believer in the idea of \\\"true \\n love.\\\" \\n (BEAT) \\n The evidence did not support him. \\n \\n CUT TO: \\n \",\n \" \\n TOM \\n That son of a bitch. \\n \\n RACHEL \\n You see what I mean? \\n \\n The whistle blows again and Rachel gets up to go back on the \\n field.\",\n \" at his side, waits in the foyer of Allen, Prince, and Gethers \\n Architecture. From the room we can tell this firm is big \\n time. \\n \\n Tom waits. \\n \",\n \" It's unbelievable. There's a few seconds where Tom isn't sure \\n if he's dreaming or not. But then he realizes, suddenly, out \\n of the blue, his best case scenario really is actually \\n happening. \\n \",\n \" \\n TOM \\n You wanted to see me, Mr. Vance? \\n \\n VANCE \\n Yes Hansen. Sit down. \\n \\n TOM \\n Ok. \\n \",\n \" INT. APARTMENT - LATER \\n \\n Tom, almost with a full beard, is redecorating his apartment \\n again. We see him rearranging the furniture in the room. \\n \\n LATER. He hangs some new pictures.\",\n \" a little. \\n \\n The Women clutch their heart like they might faint. \\n \\n \\n INT RELIGIOUS HOLIDAYS WING - LATER \\n \\n Workers are again all gathered around Tom.\",\n \" \\n Tom jogs. \\n \\n TOM (V.O.) \\n \\\"One. Exercise. The body's release \\n of endorphins will assuage the \\n brain and provide a genuine sense\",\n \" TOM \\n He's very...loving. \\n \\n SUMMER \\n Does he hug all your friends? \\n \\n There's that word again. \\n \",\n \" TOM \\n Ok. Well, I'm sorry. Things for me \\n have been a little difficult. \\n \\n VANCE \\n That's ok. I understand that. I was \\n just thinking... perhaps you could\",\n \" \\n Tom starts to itch... \\n \\n \\n INT. APARTMENT - LATER \\n \\n Tom is painting the walls of his now nearly bare apartment. \\n \\n TOM (V.O.)\",\n \" Tom gets up and walks to the door. \\n \\n TOM \\n It's all crap. We make and peddle \\n crap. And sometimes people believe \\n in this crap. I just can't do it\",\n \" Tom. Everyone else in the class seems at peace. Tom can't \\n even get the breathing right. \\n \\n \\n INT. HOMELESS SHELTER - DAY \\n \"\n ],\n [\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party. \\n TIME CUTS reveal that Summer is talking with, laughing with, \\n drinking with, and possibly flirting with many of them. Tom\",\n \" \\n Summer starts walking ahead and Tom notices for the first \\n time she's furious. \\n \\n TOM \\n Hey. What is it? \\n \\n SUMMER\",\n \" Ok? \\n \\n Tom is visibly disappointed by this but he tries to hide it. \\n \\n TOM \\n Sure. \\n \\n SUMMER \\n (BEAT)\",\n \" Suddenly, Tom sees something at the front of the line. \\n \\n TOM \\n Oh shit. \\n \\n SUMMER \\n What? \\n \",\n \" Tom is awakened by a buzzer. He hits the \\\"sleep\\\" button but \\n the buzzing isn't coming from his alarm. It's his door. He \\n gets up, concerned, and goes to answer it. It's Summer. \\n \",\n \" (re: Summer's engagement) \\n I heard. \\n \\n TOM \\n Yeah. \\n \\n RACHEL \\n Sucks. \\n \\n TOM\",\n \" Tom is going apeshit in his room. He's ripping down posters, \\n taking pictures out of frames and tearing them apart. He \\n punches the wall. He drinks an entire bottle of red wine. He\",\n \" Right: Summer looks at her phone, willing it to ring. It \\n doesn't. \\n \\n \\n INT TOM'S BEDROOM - HOURS LATER \\n \",\n \" Tom looks at his food in disgust. He may never eat again. \\n \\n SUMMER \\n (INNOCENT) \\n What? \\n \\n Tom stands up to go. \\n \",\n \" music blaring from the club. Summer is in there. Tom is \\n alone. He can't believe it's come to this. \\n \\n \\n (251)\",\n \" \\n SUMMER \\n Ok. \\n \\n Tom puts his hands in his pockets and watches this exchange \\n go down. Not sure what else to do. At this point he's more \\n amused than concerned. \\n \",\n \" INT. APARTMENT - LATER \\n \\n Tom, almost with a full beard, is redecorating his apartment \\n again. We see him rearranging the furniture in the room. \\n \\n LATER. He hangs some new pictures.\",\n \" SUMMER \\n Tom! \\n \\n But when he doesn't turn around she just shakes it off and \\n starts dancing again. \\n \\n LATER. Tom is outside in the rain. We can still hear the\",\n \" In CU, Tom goes to hold Summer's hand. But something happens. \\n It could be a total coincidence, but just as his hand \\n approaches hers (in SLO-MO), she moves it away and keeps it\",\n \" and Summer are two of them. Tom takes this opportunity to put \\n a CD in his computer and play the song really loud. It's \\\"I \\n Want to Know What Love Is\\\" by Foreigner. No reaction from\",\n \" LATER. ANGLE ON Tom alone at the table. The band plays \\\"Lady \\n in Red\\\" and everyone's dancing. When we're back on Tom, he's \\n sitting with Summer. \\n \\n TOM\",\n \" I mean, who are you? They're happy. \\n Just mind your own business. \\n \\n Summer goes back to eating. Tom can't believe she snapped. \\n \\n \\n (31)\",\n \" Summer start to make out a bit, both keeping an eye on the \\n TV. \\n \\n CUT TO: \\n \\n \\n INT. SUMMER'S APARTMENT - 20 MINUTES LATER\",\n \" Rave music blares. Tom stands off to the side looking \\n miserable. Summer is on the dance floor. Though she's not \\n really dancing with anyone in particular, she's dancing with \\n everyone. Finally she comes over, white shirt dripping with\"\n ],\n [\n \" Tom is pleased. \\n \\n DOUCHE \\n You're serious? This guy? \\n \\n And now he's pissed. \\n \\n TOM \\n Hey buddy -- \\n \",\n \" TOM \\n (calling to her) \\n I just got my ass kicked! \\n \\n Only the CROWD outside the bar hear this. \\n \\n TOM \\n (to Onlookers)\",\n \" don't. I fight my own battles. \\n \\n TOM \\n Come on, that guy was an asshole! \\n \\n SUMMER \\n You didn't have to hit him. Why\",\n \" Tom comes charging out of the place with his friends \\n following behind. \\n \\n TOM \\n There's no fucking way! \\n \\n MCKENZIE \\n Tom. \\n \\n TOM\",\n \" It's a MAN racing down the street, fleeing from an unseen \\n assassin. When he turns around we see the man is TOM. Bullets \\n fly and he's hit repeatedly in the back while running away\",\n \" There's a beat of calm where Tom is actually sorta surprised. \\n And then the Douche spins around and starts PUMMELLING TOM. \\n \\n CUT TO: \\n \\n \",\n \" And with that he storms off. \\n \\n MCKENZIE \\n Tom! \\n \\n PAUL \\n Let him go. \\n \\n ANGLE ON Tom walking away from them. \\n \",\n \" great. Well done Hansen, you idiot. \\n \\n Tom walks a few more steps. \\n \\n And then, seemingly out of nowhere, without his even\",\n \" Tom is going apeshit in his room. He's ripping down posters, \\n taking pictures out of frames and tearing them apart. He \\n punches the wall. He drinks an entire bottle of red wine. He\",\n \" \\n TOM \\n That son of a bitch. \\n \\n RACHEL \\n You see what I mean? \\n \\n The whistle blows again and Rachel gets up to go back on the \\n field.\",\n \" Tom is getting excited. The rest of the room is growing \\n uncomfortable. \\n \\n TOM \\n I say to hell with it! Let's level \\n with America. Or at least make them\",\n \" \\n Summer starts walking ahead and Tom notices for the first \\n time she's furious. \\n \\n TOM \\n Hey. What is it? \\n \\n SUMMER\",\n \" (can't help himself) \\n Self-confidence! Ha! \\n \\n Tom elbows him in the ribs again. \\n \\n TOM \\n Anyway, I'm not near drunk enough\",\n \" \\n TOM \\n The right girl I guess. \\n \\n AUNT BETSY \\n There's girls everywhere. I bet you \\n have to beat em off with a stick. \\n \\n TOM\",\n \" Suddenly, Tom sees something at the front of the line. \\n \\n TOM \\n Oh shit. \\n \\n SUMMER \\n What? \\n \",\n \" Tom. Everyone else in the class seems at peace. Tom can't \\n even get the breathing right. \\n \\n \\n INT. HOMELESS SHELTER - DAY \\n \",\n \" \\n TOM \\n (DEFLATED) \\n Oh. Got it... No problem. \\n \\n He turns back around and shakes that off, tries to refocus on\",\n \" \\n SUMMER \\n Ok. \\n \\n Tom puts his hands in his pockets and watches this exchange \\n go down. Not sure what else to do. At this point he's more \\n amused than concerned. \\n \",\n \" TOM \\n Ok. Well, I'm sorry. Things for me \\n have been a little difficult. \\n \\n VANCE \\n That's ok. I understand that. I was \\n just thinking... perhaps you could\",\n \" \\n Tom and Alison. Alison is desperately trying to get a drink. \\n \\n ALISON \\n Waiter! \\n \\n TOM \\n Or... Christ, I don't know, maybe\"\n ],\n [\n \" \\n The elevator doors open and she gets off. \\n \\n TOM \\n (accidentally out loud) \\n Oh my god. \\n \\n \\n (8)\",\n \" towards an outdoor cafe. Her name is ALLISON. It's clear \\n right away that Tom can't wait for this night to end already. \\n \\n 70. \\n \\n \\n \\n ALISON\",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" and crying and bitching about for \\n weeks now? \\n \\n TOM \\n I have not been... \\n \\n PAUL \\n The same girl you said was way out\",\n \" My name's Tom. \\n \\n GIRL \\n Nice to meet you... \\n \\n She puts out her hand to meet his. They shake. \\n \\n GIRL\",\n \" She turns back to look at Tom on the way. She sticks out her \\n tongue to be cute. Co-Worker doesn't see. Tom is crazy about \\n her. \\n \\n \\n INT OFFICE - LATER \\n \",\n \" Tom walks over and sits down on a bench. He stares off, lost \\n in thought. And then, from out of nowhere, there's her voice. \\n \\n SUMMER (V.O.) \\n Hey. \\n \",\n \" look at her, to offer some sort of comfort, believing it to \\n be a response to the movie. She doesn't look back. \\n \\n \\n (409) \\n INT TOM'S BEDROOM - DAY \\n \",\n \" TOM \\n Summer! \\n \\n She stops and turns back. He takes in her face, most likely \\n for the last time ever. \\n \\n TOM \\n I really do hope you're happy.\",\n \" Tom watches her go. \\n \\n CUT TO: \\n \\n \\n (240)\",\n \" MAN \\n Come on back. \\n \\n TOM \\n Thank you. \\n \\n He starts to go. But halfway through the doorway, he pauses \\n and looks back at the girl. \\n \",\n \" \\n TOM \\n The right girl I guess. \\n \\n AUNT BETSY \\n There's girls everywhere. I bet you \\n have to beat em off with a stick. \\n \\n TOM\",\n \" \\n Tom is caught like a deer in headlights. What can he do? \\n \\n TOM \\n Well this is the girl friend I've \\n told you about. I don't know if\",\n \" And, honestly, he's a little surprised by it. \\n \\n TOM \\n So, uh... \\n \\n GIRL \\n Hmm? \\n \\n TOM\",\n \" 74. \\n \\n ALISON (cont'd) \\n You wanna get out of here? I know \\n this great... \\n \\n TOM \\n (suddenly excited)\",\n \" I mean you were practically \\n stalking her... \\n \\n TOM \\n Shhh! \\n \\n Suddenly, the sound of a toilet flushing is heard. From the\",\n \" Anyway, I should get back. \\n \\n TOM \\n Ok, well, I'll see you around. \\n \\n She walks back to her cubicle at the other end of the hall.\",\n \" during this time that something weird comes over Tom and we \\n can visibly see it in his face. He likes the look of this \\n girl. This girl is cute. He'd like to talk more with her.\",\n \" SUMMER \\n Tom! \\n \\n But when he doesn't turn around she just shakes it off and \\n starts dancing again. \\n \\n LATER. Tom is outside in the rain. We can still hear the\",\n \" \\n Tom and Alison. Alison is desperately trying to get a drink. \\n \\n ALISON \\n Waiter! \\n \\n TOM \\n Or... Christ, I don't know, maybe\"\n ],\n [\n \" He quickly ushers him out of the office. \\n \\n 87. \\n \\n \\n \\n \\n (383) \\n INT TOM'S BEDROOM - MORNING \\n \",\n \" Tom gets up and walks to the door. \\n \\n TOM \\n It's all crap. We make and peddle \\n crap. And sometimes people believe \\n in this crap. I just can't do it\",\n \" \\n TOM \\n You wanted to see me, Mr. Vance? \\n \\n VANCE \\n Yes Hansen. Sit down. \\n \\n TOM \\n Ok. \\n \",\n \" Tom walks to his cubicle, still on top of the world. \\n \\n 39. \\n \\n \\n \\n \\n INT TOM'S PLACE - THAT NIGHT \\n \",\n \" a little. \\n \\n The Women clutch their heart like they might faint. \\n \\n \\n INT RELIGIOUS HOLIDAYS WING - LATER \\n \\n Workers are again all gathered around Tom.\",\n \" \\n Tom actually wanders in to work, wearing sunglasses and the \\n clothes he slept in. People pass and say hello. He can't \\n muster responses. At his desk, \\n \\n MCKENZIE\",\n \" He miserably sits down at his desk, tries to work but he ends \\n up just staring into space. \\n \\n \\n INT VANCE'S OFFICE - DAY \\n \\n Tom has been called into the Principal's office.\",\n \" TOM \\n Ok. Well, I'm sorry. Things for me \\n have been a little difficult. \\n \\n VANCE \\n That's ok. I understand that. I was \\n just thinking... perhaps you could\",\n \" VANCE. \\n Has something happened to you \\n recently? \\n \\n TOM \\n What do you mean? \\n \\n VANCE \\n A death in the family, someone\",\n \" shirt under his sports coat and Adidas tennis shoes to \\n balance out the corporate dress code. He looks pretty bored. \\n \\n NARRATOR \\n The boy, Tom Hansen of Margate, New\",\n \" \\n Tom jogs. \\n \\n TOM (V.O.) \\n \\\"One. Exercise. The body's release \\n of endorphins will assuage the \\n brain and provide a genuine sense\",\n \" \\n TOM \\n (DEFLATED) \\n Oh. Got it... No problem. \\n \\n He turns back around and shakes that off, tries to refocus on\",\n \" We're a greeting card company. \\n \\n TOM \\n Yes but think about it! Why do \\n people buy these things? Not to say \\n how they feel. There's paper and\",\n \" And there's not much else to say after that. \\n \\n Tom gets up to leave. \\n \\n TOM \\n You know what sucks? Realizing that \\n everything you believe in is \\n complete bullshit.\",\n \" great. Well done Hansen, you idiot. \\n \\n Tom walks a few more steps. \\n \\n And then, seemingly out of nowhere, without his even\",\n \" Tom had always been a devout \\n believer in the idea of \\\"true \\n love.\\\" \\n (BEAT) \\n The evidence did not support him. \\n \\n CUT TO: \\n \",\n \" CUT TO: \\n \\n \\n (272-286) \\n INT. BOOKSTORE - DAY \\n \\n Tom, starting to get that unshaven, unkempt look, wanders\",\n \" But the line is dead. Tom's head sinks into his chest. Yet \\n another frustrating night... \\n \\n CUT TO: \\n \\n \",\n \" INT. APARTMENT - LATER \\n \\n Tom, almost with a full beard, is redecorating his apartment \\n again. We see him rearranging the furniture in the room. \\n \\n LATER. He hangs some new pictures.\",\n \" It's unbelievable. There's a few seconds where Tom isn't sure \\n if he's dreaming or not. But then he realizes, suddenly, out \\n of the blue, his best case scenario really is actually \\n happening. \\n \"\n ],\n [\n \" shirt under his sports coat and Adidas tennis shoes to \\n balance out the corporate dress code. He looks pretty bored. \\n \\n NARRATOR \\n The boy, Tom Hansen of Margate, New\",\n \" Eh, you know. Same old story. Moved \\n to the city to work for a company. \\n Company went under. Needed a job. \\n My friend worked here. Got me this. \\n \\n SUMMER\",\n \" interview. We can see he is frustrated but not deterred. In \\n the distance, his favorite spot in the city, where he took \\n Summer ages ago. \\n \\n \\n EXT. PARK - DAY \\n \",\n \" You should know up front, this is \\n not a love story. \\n \\n \\n (240) \\n EXT STREETS OF SAN FRAN - NIGHT \\n \",\n \" his wall (which is now composed of a dynamic cityscape of \\n futuristic looking structures). He crosses \\\"Abrams and \\n Abrams\\\" off the list. We notice several others are also \\n crossed off. \\n \\n \",\n \" 2. EXT CITY SIDEWALK - DAY \\n \\n Tom sits on a street corner drawing new additions to the \\n city's skyline. \\n \\n 2. INT LIBRARY - DAY \\n \",\n \" The phone rings. Tom stops his push-ups to answer it. \\n \\n NARRATOR (V.O.) \\n May 8th was a Saturday. \\n \\n \\n INT DELI - DAY \\n \",\n \" feelings are always getting hurt. \\n Who needs all that? We're young. \\n We're in one of the most beautiful \\n cities in the world. \\n (MORE) \\n \",\n \" at his side, waits in the foyer of Allen, Prince, and Gethers \\n Architecture. From the room we can tell this firm is big \\n time. \\n \\n Tom waits. \\n \",\n \" This is a story of boy meets girl. \\n \\n But before they do, \\n \\n CUT TO: \\n \\n BLACK. \\n \\n NARRATOR\",\n \" SUMMER \\n The city or the firm? \\n \\n TOM \\n Both... Either. \\n \\n SUMMER \\n I'm happy. Still getting situated.\",\n \" I know Atherton. Nice area. \\n \\n GIRL \\n Have I seen you before? \\n \\n 116. \\n \\n \\n \\n TOM\",\n \" We went shopping. \\n \\n \\n EXT COFFEE HOUSE - DAY \\n \\n Tom and Summer seated outside drinking coffee. He reads the \\n newspaper, she reads a novel. \\n \",\n \" Tom wakes up. He gets his bearings and then quickly rolls \\n onto the floor and begins a brief push-up routine. \\n \\n NARRATOR (V.O.) \\n Most days of the year are entirely\",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" 5. \\n \\n \\n \\n NARRATOR \\n Tom meets Summer on January 8th in \\n a San Francisco office building. In \\n an instant, he will know she's the\",\n \" The girl is SUMMER FINN. She files folders and answers phones \\n in a plain white office. She has cropped blonde hair almost \\n like a boy's but her face is feminine and pretty enough to \\n get away with it.\",\n \" He's sleeping like a baby, probably the best sleep he's had \\n in a long while. Summer lies next to him. Wide awake. Bored \\n and unfulfilled. \\n \\n \\n INT RESTAURANT - SAME\",\n \" Rave music blares. Tom stands off to the side looking \\n miserable. Summer is on the dance floor. Though she's not \\n really dancing with anyone in particular, she's dancing with \\n everyone. Finally she comes over, white shirt dripping with\",\n \" \\n Tom starts to itch... \\n \\n \\n INT. APARTMENT - LATER \\n \\n Tom is painting the walls of his now nearly bare apartment. \\n \\n TOM (V.O.)\"\n ],\n [\n \" \\n The elevator doors open and she gets off. \\n \\n TOM \\n (accidentally out loud) \\n Oh my god. \\n \\n \\n (8)\",\n \" \\n MCKENZIE \\n (as explanation) \\n Women. \\n \\n TOM \\n Ugh. You know what? Screw her! We \\n haven't even met and I can't stand\",\n \" TOM (V.O.) \\n I hate the way she laughs. \\n \\n OVER BLACK, play the middle 8 of \\\"Every Little Thing She Does \\n is Magic.\\\" \\n \",\n \" and crying and bitching about for \\n weeks now? \\n \\n TOM \\n I have not been... \\n \\n PAUL \\n The same girl you said was way out\",\n \" table, Tom sees a VERY UNATTRACTIVE COUPLE feeding each other \\n food. \\n \\n TOM \\n Check them out. \\n \\n Summer sees. She has no reaction. \\n \\n TOM\",\n \" She turns back to look at Tom on the way. She sticks out her \\n tongue to be cute. Co-Worker doesn't see. Tom is crazy about \\n her. \\n \\n \\n INT OFFICE - LATER \\n \",\n \" You really do? \\n \\n TOM \\n (BEAT) \\n God no. \\n \\n They both laugh a little. The tension begins to dissipate. \\n \\n SUMMER\",\n \" A lot of people have problems with \\n this, but to me, it makes both \\n structures so much more beautiful \\n side by side like that. \\n \\n Tom keeps talking. Summer turns and looks directly at the\",\n \" I hate her 1950s haircut. \\n \\n CU - SUMMER'S KNEES (as before) \\n \\n TOM (V.O.) \\n I hate her knobby knees. \\n \",\n \" The CLERK eyes him suspiciously. \\n \\n \\n EXT STREET - SAME \\n \\n Tom sees a COUPLE kissing on the sidewalk. He winces. He sees\",\n \" Tom watches her walk away, completely enamored. \\n \\n He sits down at his desk and sets out to work. But before he \\n does, his eyes fall on a sketch he drew of a house. It's\",\n \" My name's Tom. \\n \\n GIRL \\n Nice to meet you... \\n \\n She puts out her hand to meet his. They shake. \\n \\n GIRL\",\n \" Summer looks at Tom, like she's disappointed or even angry at \\n him for something. Then she walks ahead of him into the \\n theatre. He's forced to follow. Answer-less, as conflicted as \\n ever. Why is none of this easy?\",\n \" She doesn't notice Tom whose face looks like he's just seen \\n God. \\n \\n 15. \\n \\n \\n \\n \\n (3, 4, 5)\",\n \" Tom watches her go. \\n \\n CUT TO: \\n \\n \\n (240)\",\n \" I hate her crooked teeth. \\n \\n 45. \\n \\n \\n \\n CU - SUMMER'S HAIR (as before) \\n \\n TOM (V.O.)\",\n \" \\n Tom and Alison. Alison is desperately trying to get a drink. \\n \\n ALISON \\n Waiter! \\n \\n TOM \\n Or... Christ, I don't know, maybe\",\n \" Tom looks at his food in disgust. He may never eat again. \\n \\n SUMMER \\n (INNOCENT) \\n What? \\n \\n Tom stands up to go. \\n \",\n \" a little. \\n \\n The Women clutch their heart like they might faint. \\n \\n \\n INT RELIGIOUS HOLIDAYS WING - LATER \\n \\n Workers are again all gathered around Tom.\",\n \" For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a \\n park bench. Their names are TOM and SUMMER. Neither one says \\n a word. \\n \\n \"\n ]\n]"},"questions":{"kind":"list like","value":["Who is Summer Finn?","What secret does McKenzie revealafter the Karaoke night?","What causes Tom and Summer to have their first argument?","What happens on day 290 of their relationship?","Who helps Tom calm down following the break-up?","Where does Tom get moved in the greeting card company?","What does Tom find out at the party Summer invites him to?","What happens on day 488 of their relationship?","What happens on May 23 (the 500th day of Summer)?","Where does Tom work?","What city is mentioned as the focal point?","Who reveals that Tom likes Summer?","What did Summer and Tom watch and then break up?","What spoils the view at Toms favorite spot in the city?","Who catches a bouquet at a coworkers wedding?","When Tom quits, what job does he try next?","What day does Summer see Tom at his favorite spot in the city?","What is the girls name that Tom meets at the end of the story?","Who does Tom's friend call when he is upset about his breakup?","What sign of trouble is apparent early in Tom and Summer's relationship?","What causes Tom and Summer to disagree about \"The Graduate\"?","At what type of business do Tom and Summer work?","For what profession is Tom trained?","What makes Tom become upset when he attends the party at Summer's apartment?","What causes Tom to get into a fight with another man?","What is the name of the woman Tom asks out at the end of the story?","What leads Tom's boss to move him to the consolations department at the company?","In what city does the story take place?","What do Tom and the new woman he meets both dislike?"],"string":"[\n \"Who is Summer Finn?\",\n \"What secret does McKenzie revealafter the Karaoke night?\",\n \"What causes Tom and Summer to have their first argument?\",\n \"What happens on day 290 of their relationship?\",\n \"Who helps Tom calm down following the break-up?\",\n \"Where does Tom get moved in the greeting card company?\",\n \"What does Tom find out at the party Summer invites him to?\",\n \"What happens on day 488 of their relationship?\",\n \"What happens on May 23 (the 500th day of Summer)?\",\n \"Where does Tom work?\",\n \"What city is mentioned as the focal point?\",\n \"Who reveals that Tom likes Summer?\",\n \"What did Summer and Tom watch and then break up?\",\n \"What spoils the view at Toms favorite spot in the city?\",\n \"Who catches a bouquet at a coworkers wedding?\",\n \"When Tom quits, what job does he try next?\",\n \"What day does Summer see Tom at his favorite spot in the city?\",\n \"What is the girls name that Tom meets at the end of the story?\",\n \"Who does Tom's friend call when he is upset about his breakup?\",\n \"What sign of trouble is apparent early in Tom and Summer's relationship?\",\n \"What causes Tom and Summer to disagree about \\\"The Graduate\\\"?\",\n \"At what type of business do Tom and Summer work?\",\n \"For what profession is Tom trained?\",\n \"What makes Tom become upset when he attends the party at Summer's apartment?\",\n \"What causes Tom to get into a fight with another man?\",\n \"What is the name of the woman Tom asks out at the end of the story?\",\n \"What leads Tom's boss to move him to the consolations department at the company?\",\n \"In what city does the story take place?\",\n \"What do Tom and the new woman he meets both dislike?\"\n]"},"answers":{"kind":"list like","value":[["She is Tom's boss's new assistant.","Tom's boss's assistant"],["That Tom likes Summer.","Tom likes Summer"],["Tom steps in when a man flirts with Summer.","A man flirts with Summer "],["Summer breaks up with Tom after seeing the film The Graduate.","They break up"],["His younger sister Rachel.","His sister Rachel"],["Tom gets moved to the consolation department instead of greeting cards.","Consolations"],["That Summer is engaged to another man.","That she is engaged"],["Tom confronts Summer about her actions and Summer explains she found love with someone else.","Summer sees Tom at his favorite spot and explains that she has found love. "],["Tom goes to an inerview for an architecture firm and meets a girl named Autumn.","Tom attends a job interview and meets Autumn"],["A greeting card company","A greeting card company"],["Los Angeles ","Los Angeles"],["McKenzie","McKenzie "],["The Graduate","The Graduate, a movie"],["Parking lots","parking lots"],["Summer","Summer"],["Architecture ","Focusing on his architecure"],["Day 488","Day 488"],["Autumn","Autumn "],["Tom's sister","His sister"],["Summer says true love is not something she believes in.","Summer doesn't believe in love"],["Summer was deeply affected by it, while Tom was not.","He was unaffected by it and she was very moved by it "],["A greeting card company","A greeting card company "],["Architecture","Architect "],["He sees that she is wearing an engagement ring.","Seeing Summer's engagement ring."],["The man was flirting with Summer.","The man Fflirting with Summer"],["Autumn","Autumn "],["Tom was too depressed after his break-up counterpart with Summer to write happier cards.","He is depressed so he isn't doing well at his job"],["Los Angeles","Los Angeles"],["Parking lots","the parking lots "]],"string":"[\n [\n \"She is Tom's boss's new assistant.\",\n \"Tom's boss's assistant\"\n ],\n [\n \"That Tom likes Summer.\",\n \"Tom likes Summer\"\n ],\n [\n \"Tom steps in when a man flirts with Summer.\",\n \"A man flirts with Summer \"\n ],\n [\n \"Summer breaks up with Tom after seeing the film The Graduate.\",\n \"They break up\"\n ],\n [\n \"His younger sister Rachel.\",\n \"His sister Rachel\"\n ],\n [\n \"Tom gets moved to the consolation department instead of greeting cards.\",\n \"Consolations\"\n ],\n [\n \"That Summer is engaged to another man.\",\n \"That she is engaged\"\n ],\n [\n \"Tom confronts Summer about her actions and Summer explains she found love with someone else.\",\n \"Summer sees Tom at his favorite spot and explains that she has found love. \"\n ],\n [\n \"Tom goes to an inerview for an architecture firm and meets a girl named Autumn.\",\n \"Tom attends a job interview and meets Autumn\"\n ],\n [\n \"A greeting card company\",\n \"A greeting card company\"\n ],\n [\n \"Los Angeles \",\n \"Los Angeles\"\n ],\n [\n \"McKenzie\",\n \"McKenzie \"\n ],\n [\n \"The Graduate\",\n \"The Graduate, a movie\"\n ],\n [\n \"Parking lots\",\n \"parking lots\"\n ],\n [\n \"Summer\",\n \"Summer\"\n ],\n [\n \"Architecture \",\n \"Focusing on his architecure\"\n ],\n [\n \"Day 488\",\n \"Day 488\"\n ],\n [\n \"Autumn\",\n \"Autumn \"\n ],\n [\n \"Tom's sister\",\n \"His sister\"\n ],\n [\n \"Summer says true love is not something she believes in.\",\n \"Summer doesn't believe in love\"\n ],\n [\n \"Summer was deeply affected by it, while Tom was not.\",\n \"He was unaffected by it and she was very moved by it \"\n ],\n [\n \"A greeting card company\",\n \"A greeting card company \"\n ],\n [\n \"Architecture\",\n \"Architect \"\n ],\n [\n \"He sees that she is wearing an engagement ring.\",\n \"Seeing Summer's engagement ring.\"\n ],\n [\n \"The man was flirting with Summer.\",\n \"The man Fflirting with Summer\"\n ],\n [\n \"Autumn\",\n \"Autumn \"\n ],\n [\n \"Tom was too depressed after his break-up counterpart with Summer to write happier cards.\",\n \"He is depressed so he isn't doing well at his job\"\n ],\n [\n \"Los Angeles\",\n \"Los Angeles\"\n ],\n [\n \"Parking lots\",\n \"the parking lots \"\n ]\n]"},"document_id":{"kind":"string","value":"d079071fecafe63e2939d8e866c36819c21b907c"},"split":{"kind":"string","value":"train"}}},{"rowIdx":57,"cells":{"text":{"kind":"list like","value":[["died, and left him raving, disconsolate. Lydia had visited him \n then, taking Anna with her. It was when the girl was fourteen \n years old. Since then she had not seen him. She remembered him","returned to Warsaw a patriot. Her mother had married a German \n merchant and gone away. \n \n Lydia Lensky, married to the young doctor, became with him a \n patriot and an émancipée. They were poor, but they","refuge, where she could lie down and muse and muse. Sometimes \n Fred would read to her. But that did not mean much. She had so \n many dreams to dream over, such an unsifted store. She wanted \n time. \n","She was the widow of a Polish doctor, he gathered. Her \n husband had died, a refugee, in London. She spoke a bit \n foreign-like, but you could easily make out what she said. She","refuge. The young girl hated to be in the house with him when he \n was like this. \n \n After dinner, he retired into the parlour, continuing in the \n same state of abstraction, which was a burden intolerable to","husband wept aloud, unaware of everybody. But the war went on, \n and soon he was back at his work. A darkness had come over \n Lydia's mind. She walked always in a shadow, silenced, with a","country. There came into her mind now the memory of her home \n where she had been a child, the big house among the land, the \n peasants of the village. \n \n She was sent to Yorkshire, to nurse an old rector in his","the open for a moment, hurting the eyes before she plunged under \n cover of cloud again. \n \n \n \n CHAPTER II \n \n THEY LIVE AT THE MARSH \n \n She was the daughter of a Polish landowner who, deeply in","So she lived for some time. Then, with slight uneasiness, she \n used half to awake to the streets of London. She realized that \n there was something around her, very foreign, she realized she \n was in a strange place. And then, she was sent away into the","Muscovite. \n \n Lensky was something of a fire-eater also. Lydia, tempered by \n her German blood, coming of a different family, was obliterated, \n carried along in her husband's emphasis of declaration, and his","She must, it could not be otherwise. \n \n He had learned a little of her. She was poor, quite alone, \n and had had a hard time in London, both before and after her \n husband died. But in Poland she was a lady well born, a","had one little girl named Anna. Lensky was the woman's name, \n Mrs. Lensky. \n \n Brangwen felt that here was the unreality established at \n last. He felt also a curious certainty about her, as if she were","She, Lydia Brangwen, was sorry for him now. He was \n dead--he had scarcely lived. He had never known her. He had \n lain with her, but he had never known her. He had never received","Anna, watching, threw scraps of bread, and she felt the child \n flame within her. She seemed to remember again forgotten, \n burning, far-off things. \n \n \"Where was I born, mother?\" she asked. \n \n \"In London.\" \n","debt to the Jews, had married a German wife with money, and who \n had died just before the rebellion. Quite young, she had married \n Paul Lensky, an intellectual who had studied at Berlin, and had","place, and would tell him about herself. She seemed to be back \n again in the past, chiefly in her childhood or her girlhood, \n with her father. She very rarely talked of her first husband. \n But sometimes, all shining-eyed, she was back at her own home,","\"Yes, dark eyes. He was a clever man, as quick as a lion. He \n was never still.\" \n \n Lydia still resented Lensky. When she thought of him, she was \n always younger than he, she was always twenty, or twenty-five,","Lydia Brangwen, the mother, also came and saw the impressive, \n inviolable body of the dead man. She went pale, seeing death. He \n was beyond change or knowledge, absolute, laid in line with the","Then came the flight to London. Lensky, the little, thin man, \n had got all his life locked into a resistance and could not \n relax again. He lived in a sort of insane irritability, touchy,","to her. For she had never known it in her life, all her \n surroundings had been loose, lax, disordered, a welter. \n \n \"Miss Lydia, will you marry me?\" he had said to her in"],["Anna took her best clothes, recovered her best high-school \n manner, and arrived with her husband. Will Brangwen, ruddy, \n bright, with long limbs and a small head, like some uncouth \n bird, was not changed in the least. The little Baroness was","from far above, like a captive. And Anna did not sleep. There \n was a strange, dark tension about her husband. \n \n She became aware that he was trying to force his will upon \n her, something, there was something he wanted, as he lay there","After a long bout of hostility, Anna at last closed with him. \n She had now four children, all girls. For seven years she had \n been absorbed in wifehood and motherhood. For years he had gone \n on beside her, never really encroaching upon her. Then gradually","There was a horrible silence in the house. Anna kept out of \n sight as much as possible. She could be for hours alone. \n \n Will Brangwen came back, after stupid scenes at Nottingham.","Tilly was set to watch out for him as he passed by on his way \n home. The little party at table heard the woman's servant's \n shrill call: \n \n \"You've got to come in, Will. Anna's here.\" \n","itself to him: \n \n \"We'll get married, Anna.\" \n \n She was silent. \n \n \"We'll get married, Anna, shall we?\" \n \n She stopped in the field again and kissed him, clinging to","When she called, he answered, when he asked, her response came \n at once, or at length. \n \n Anna's soul was put at peace between them. She looked from \n one to the other, and she saw them established to her safety,","\"Anna,\" he said. \n \n But still she was motionless, like a curled up, oblivious \n creature. His heart beat with strange throes of pain. Then, by a \n motion under his hand, he knew she was crying, holding herself","The evening came on, he played with Anna, and then sat alone \n with his own wife. She was sewing. He sat very still, smoking, \n perturbed. He was aware of his wife's quiet figure, and quiet","to the little girl for her sympathy and her love, he appealed \n with all his power to the small Anna. So soon they were like \n lovers, father and child. \n \n For he was afraid of his wife. As she sat there with bent","and expressionless. She could not move him any more than a \n statue. \n \n She crept to bed, and cried. But she was going to be married \n to Will Brangwen, and then she need not bother any more.","Anna wriggled close into her mother's arms, clinging tight, \n hiding from the fact of the man. Brangwen lay still, and waited. \n There was a long silence. \n \n Then suddenly, Anna looked round, as if she thought he would","At the funeral, and after the funeral, Will Brangwen was \n madly in love with his wife. The death had shaken him. But death \n and all seemed to gather in him into a mad, over-whelming","talked, desultorily, both of them idle. He read very little. \n Anything he was drawn to read became a burning reality to him, \n another scene outside his window. Whereas Anna skimmed through a \n book to see what happened, then she had enough. \n","Anna loved to watch him. She liked the big, new, rambling \n vicarage, desolate and stark on its hill. It was so exposed, so \n bleak and bold after the Marsh. The Baron talked endlessly in","And Anna had a new reserve, a new independence. Suddenly she \n began to act independently of her parents, to live beyond them. \n Her mother had flashes of anger. \n \n But the courtship went on. Anna would find occasion to go","shouted Tom Brangwen. \"Strike a daisy, but if you're not off \n like a blink o' lightnin', you shanna go, you s'll sleep \n separate.\" \n \n Anna rose silently and went to change her dress. Will","Anna went more to her mother. \n \n Then suddenly the father died. \n \n It happened one springtime when Ursula was about eight years \n old, he, Tom Brangwen, drove off on a Saturday morning to the","He belonged to nowhere, to no society. \n \n Anna Brangwen had left her intimacy with her father \n undeveloped since the time of her marriage. At her marriage it \n had been abandoned. He and she had drawn a reserve between them.","Anna was absorbed in the child now, she left her husband to \n take his own way. She was willing now to postpone all adventure \n into unknown realities. She had the child, her palpable and \n immediate future was the child. If her soul had found no"],["of secret side-show to her life, never to be opened. She did not \n even think of it. It was the closed door she had not the \n strength to open. \n \n Once she was broken in to her teaching, Ursula began","enough.\" \n \n The matter was left there. But Ursula considered herself free \n to act. For some days she made no move. She was reluctant to \n take the cruel step of finding work, for she shrank with extreme","concerns of his life, not go projecting himself towards the \n ultimate. \n \n But Ursula was all for the ultimate. She was always in revolt \n against babies and muddled domesticity. To her Jesus was another","She was staunch for joy, for happiness, and permanency, in \n contrast with Maggie, who was for sadness, and the inevitable \n passing-away of things. Ursula suffered bitterly at the hands of \n life, Maggie was always single, always withheld, so she went in","suffered and enjoyed most keenly Maggie's fundamental sadness of \n enclosedness. Maggie enjoyed and suffered Ursula's struggles \n against the confines of her life. And then the two girls began \n to drift apart, as Ursula broke from that form of life wherein","The autumn passed away, the winter was at hand. Ursula became \n more and more an inhabitant of the world of work, and of what is \n called life. She could not see her future, but a little way off,","individuals, so much were they pervaded by the physical heat of \n breeding and rearing their young. \n \n How Ursula resented it, how she fought against the close, \n physical, limited life of herded domesticity! Calm, placid,","Her very bones seemed to bid him keep his distance from her. \n \n It was in these weeks that Ursula grew up. She stayed two \n weeks at Wiggiston, and she hated it. All was grey, dry ash,","life, to hold blind authority over the school. His teachers were \n his subjects as much as the scholars. Only, because they had \n some authority, his instinct was to detest them. \n \n Ursula could not make herself a favourite with him. From the","This attracted Ursula very much. She was so used to unsure \n people who took on a new being with every new influence. Her \n Uncle Tom was always more or less what the other person would \n have him. In consequence, one never knew the real Uncle Tom,","upbringing, they seemed to rush along their own lives without \n caring that they existed to other people. Never from the start \n did it occur to Ursula that other people might hold a low \n opinion of her. She thought that whosoever knew her, knew she","CHAPTER XII \n \n FIRST LOVE \n \n As Ursula passed from girlhood towards womanhood, gradually \n the cloud of self-responsibility gathered upon her. She became \n aware of herself, that she was a separate entity in the midst of","different. Yet she was always Ursula Brangwen. But what did it \n mean, Ursula Brangwen? She did not know what she was. Only she \n was full of rejection, of refusal. Always, always she was","\"It's no good her coming--her character's not good \n enough for her to make any trouble.\" \n \n Ursula shrank from the brutality and the scandal. But it had \n some vague, horrid fascination. How sordid everything seemed!","I shall be glad indeed to know that one more of my girls has \n provided for herself the means of freedom to choose for \n herself.\" \n \n It all sounded grim and desperate. Ursula rather hated it.","\"No,\" said Ursula, stubbornly and dully. \"No, I don't want to \n go to London, I want to be by myself.\" \n \n Winifred knew what this meant. She knew that Ursula was","the passion of Ursula to know her own maximum self, limited and \n so defined against him. She could limit and define herself \n against him, the male, she could be her maximum self, female, oh \n female, triumphant for one moment in exquisite assertion against","Ursula's heart sank. It was a cold, dreary satisfaction to \n think of. Yet her cold will acquiesced. This was what she \n wanted. \n \n \"You have an emotional nature,\" the letter went on, \"a quick","it was power, and power alone that mattered. \n \n Soon Ursula came to dread him, and at the bottom of her dread \n was a seed of hate, for she despised him, yet he was master of","class. Yet she was never certain. It might be that Miss Inger \n cared nothing for her. And yet, and yet, with blazing heart, \n Ursula felt that if only she could speak to her, touch her, she \n would know. \n"],["friend.\" \n \n But the two friends were hostile. It was as if Ursula \n wanted to divide herself from her acquaintances, in \n asserting her connection with Anton, as she now called him. \n","\"Kiss me, Anton, kiss me,\" she pleaded. \n \n He kissed her, but she knew he could not touch her. His arms \n were round her, but they had not got her. She could feel his","Anton. The other can only end badly.\" \n \n So out of fear of herself Ursula was to marry Skrebensky. \n \n He was very busy now, preparing to go to India. He must visit \n relatives and contract business. He was almost sure of Ursula","of the compression she would go mad. The compression was Anton \n and Anton's world, not the Anton she possessed, but the Anton \n she did not possess, that which was owned by some other \n influence, by the world. \n","Anton Skrebensky could not beg. He was in possession of himself, \n of that, and no more. Other people could not really give him \n anything nor take anything from him. His soul stood alone. \n \n She knew that her mother and father acknowledged him. The","itself? There are plenty of men who aren't Anton, whom I could \n love--whom I would like to love.\" \n \n \"Then you don't love him,\" said Dorothy. \n","armies had done with them. It seems just as much a game.\" \n \n \"If you call war a game.\" \n \n \"What is it?\" \n \n \"It's about the most serious business there is, \n fighting.\" \n","never sure under his feet, he was nowhere. His final downfall \n was his complete inability to attend to a question put without \n suggestion. If he had to write a formal composition on the Army, \n he did at last learn to repeat the few facts he knew: \"You can","loved Anton Skrebensky. But she did not forgive him that he had \n not been strong enough to acknowledge her. He had denied her. \n How then could she love him? How then was love so absolute? She","And she danced on and on with Skrebensky, while the great, white \n watching continued, balancing all in its revelation. \n \n \"The moon has risen,\" said Anton, as the music ceased, and","aristocrat. He was roughly, even cruelly received. But he never \n understood it. He remained a fiery aristocrat. Only he had to \n learn to avoid his parishioners. \n \n Anna was very much impressed by him. He was a smallish man","\"I tell you I do;--quite as much, and perhaps more than \n I should love any of the others. Only there are plenty of things \n that aren't in Anton that I would love in the other men.\" \n \n \"What, for instance?\" \n","And groping, she touched him. A fire like lightning drenched \n them. \n \n \"Anton?\" she said. \n \n \"What?\" he answered. \n \n She held him with her hands in the darkness, she felt his","might. With all her might she turned away from it. She was good, \n she was loving. Her heart was warm, her blood was dark and warm \n and soft. She laid her hand caressively on Anton's shoulder. \n","Baroness, yet mistrusting it, fascinated. The little baron was \n now quite white-haired, very brittle. He was wizened and \n wrinkled, yet fiery, unsubdued. Anna looked at his lean body, at","was now no self-bliss, only pain and confused anger. \n \n It was high summer, and the hay-harvest was almost over. It \n would be finished on Saturday. On Saturday, however, Skrebensky \n was going away. He could not stay any longer.","She was wildly thrilled. Then she saw Anthony coming across the \n snow, with his confident, slightly strutting stride. His face \n looked brown and hard against the snow, smiling with a sort of \n tense confidence. \n \n \"Hello!\" she called to him. \n","flush of sunburn on his hands and face. He was telling her how \n he had learned to shoe horses and select cattle fit for \n killing. \n \n \"Do you like to be a soldier?\" she asked. \n \n \"I am not exactly a soldier,\" he replied.","Anthony, that he was not one. But oh, ultimately and finally, \n she must go on and on, seeking the goal that she knew she did \n draw nearer to. \n \n She was wearing away her second and last cycle at St.","decision. When Anton talked to her, and seemed insidiously to \n suggest himself as a husband to her, she knew how utterly locked \n out he was. On the other hand, when she saw Dorothy, and \n discussed the matter, she felt she would marry him promptly, at"],["She was the widow of a Polish doctor, he gathered. Her \n husband had died, a refugee, in London. She spoke a bit \n foreign-like, but you could easily make out what she said. She","wife and family for a day or two, then returning to them. And \n no-one dared gainsay him, for he was a strong-willed, direct \n man, and he said he was a friend of this widow. \n","large--a splendid dining-room, drawing-room and kitchen, \n besides a very pleasant study downstairs. Everything was \n admirably appointed. The widow had settled herself in lavishly. \n She was a native of Beldover, and had intended to reign almost","\"Is she married and in service?\" asked Ursula. \n \n \"She is a widow. Her husband died of consumption a little \n while ago.\" Brangwen gave a sinister little laugh. \"He lay there","clear and dilated, so that the men could not look at her, and \n the women were elated by her, they served her. Very wonderful \n she was, as she bade farewell, her ugly wide mouth smiling with \n pride and recognition, her voice speaking softly and richly in","But there was a wound of sorrow, she had hurt herself, as if \n she had bruised herself, in annihilating him. She covered up her \n two young breasts with her hands, covering them to herself; and","CHAPTER X \n \n THE WIDENING CIRCLE \n \n It was very burdensome to Ursula, that she was the eldest of \n the family. By the time she was eleven, she had to take to","She must, it could not be otherwise. \n \n He had learned a little of her. She was poor, quite alone, \n and had had a hard time in London, both before and after her \n husband died. But in Poland she was a lady well born, a","wanted her to marry her Uncle Tom. Winifred knew this. She said \n she would come to Wiggiston. She would now let fate do as it \n liked with her, since there was nothing remaining to be done.","place, and would tell him about herself. She seemed to be back \n again in the past, chiefly in her childhood or her girlhood, \n with her father. She very rarely talked of her first husband. \n But sometimes, all shining-eyed, she was back at her own home,","distasteful to her. Her father was himself long and loosely \n built. What had he to do with so much \"good and substantial\" \n importance? \n \n They bought a fair amount also of the widow's furniture. It","His wife, as ever, had no acquaintances. Her hair was \n threaded now with grey, her face grew older in form without \n changing in expression. She seemed the same as when she had come \n to the Marsh twenty-five years ago, save that her health was","Tilly. \n \n \"Who might that be?\" he asked. \n \n Tilly, the cross-eyed woman of forty, who adored him, ran \n gladly to the window to look. She was glad when he asked her for","only Tilly, the cross-eyed woman-servant who had been with them \n for fifteen years. He felt things coming to a close. All the \n time, he had held himself stubbornly resistant to the action of","then. For it was remembering a dead self. All that was dead \n after Winifred. She knew the corpse of her young, loving self, \n she knew its grave. And the young living self she mourned for \n had scarcely existed, it was the creature of her","\"It's a horrible thing to get used to,\" said Winifred Inger, \n with a shudder. \n \n \"Yes,\" he said, still smiling. \"But that's how they are. \n She'll be getting married again directly. One man or","She was established in this stretch of life, she had come to \n herself. During her first marriage, she had not existed, except \n through him, he was the substance and she the shadow running at \n his feet. She was very glad she had come to her own self. She","She still adhered to Winifred Inger. But a sort of nausea was \n coming over her. She loved her mistress. But a heavy, clogged \n sense of deadness began to gather upon her, from the other","Soon, she felt sure of her husband. She knew his dark face \n and the extent of its passion. She knew his slim, vigorous body, \n she said it was hers. Then there was no denying her. She was a \n rich woman enjoying her riches. \n","who knew her. But something else denied bitterly. What was true \n of her ten years ago was not true now. And something else which \n she was, and must be, they could neither see nor allow. They \n felt it there nevertheless, something beyond them, and they were"],["The two women became intimate. Their lives seemed suddenly to \n fuse into one, inseparable. Ursula went to Winifred's lodging, \n she spent there her only living hours. Winifred was very fond of","Her chief friend at this period was Ursula. The little girl \n and the musing, fragile woman of sixty seemed to understand the \n same language. At Cossethay all was activity and passion, \n everything moved upon poles of passion. Then there were four","her. \n \n In hardness and bitterness of soul, Ursula knew that Winifred \n was become her uncle's lover. She was glad. She had loved them \n both. Now she wanted to be rid of them both. Their marshy,","intimacy with her mistress. Winifred had had a scientific \n education. She had known many clever people. She wanted to bring \n Ursula to her own position of thought. \n \n They took religion and rid it of its dogmas, its falsehoods.","telling Ursula of a friend, how she had died in childbirth, and \n what she had suffered; then she told of a prostitute, and of \n some of her experiences with men. \n","your own things, so long as you left other people's alone. \n \n Ursula caressed him and made love to him. Nevertheless he \n knew she wanted to react upon him and to destroy his being. She","in the girl, but always eager, eager. As she went home, Ursula \n dreamed of the schoolmistress, made infinite dreams of things \n she could give her, of how she might make the elder woman adore \n her. \n","intense, with an ivory face and dark hair looped plain over her \n ears. Ursula was very fond of her, but afraid of her. She seemed \n so old and so relentless towards herself. Yet she was only","[Ursula lay still in her mistress's arms, her forehead against the \n beloved, maddening breast. \n \n \"I shall put you in,\" said Winifred. \n \n But Ursula twined her body about her mistress.] \n","school, and took her to tea in the town. Then he had a motor-car \n to drive her home. \n \n Her excitement at riding in a motor-car was greatest of all. \n He too was very proud of this last coup. He saw Ursula kindle","Ursula was included. She was the danger that threatened his body \n with a blow, a fall. And blindly, thoroughly, moving from strong \n instinct of opposition, he set to work to expel her. \n \n When he punished one of her children as he had punished the","The girl could only laugh with revealed, open, glowing \n face. \n \n The love was now tacitly confessed. But it was some time \n before any further progress was made. Ursula continued in \n suspense, in inflamed bliss. \n","Ursula sat amused, but waiting. And he knew Ursula was \n waiting for him. It roused his blood. He had to go to her, to \n follow her call. \n \n Once he drove her to Derby in the dog-cart. He belonged to","Inger felt a hot delight in the lessons when Ursula was present, \n Ursula felt her whole life begin when Miss Inger came into the \n room. Then, with the beloved, subtly-intimate teacher present,","relation to anyone else. \n \n She was not clever at all. She thought Ursula clever enough \n for two. Ursula understood, so why should she, Gudrun, bother \n herself? The younger girl lived her religious, responsible life","towards Ursula. Her rust-red, thin tunic was clinging to her, \n the whole body was defined, firm and magnificent, as it seemed \n to the girl. \n \n \"I enjoyed our race, Ursula, did you?\" said Miss Inger. \n","entered the other corridor and found Ursula's room. She was lying awake, \n wide-eyed and suffering. She was glad he had come, if only for \n consolation. It was consolation to be held in his arms, to feel his body","She was staunch for joy, for happiness, and permanency, in \n contrast with Maggie, who was for sadness, and the inevitable \n passing-away of things. Ursula suffered bitterly at the hands of \n life, Maggie was always single, always withheld, so she went in","CHAPTER XII \n \n FIRST LOVE \n \n As Ursula passed from girlhood towards womanhood, gradually \n the cloud of self-responsibility gathered upon her. She became \n aware of herself, that she was a separate entity in the midst of","Dorothy. \"Is it just other men?\" \n \n Ursula was silenced. This was her own dread. Was she just \n promiscuous? \n \n \"Because if it is,\" continued Dorothy, \"you'd better marry"],["by the women, just because he didn't live at home and was a \n lace-designer and almost a gentleman. But Alfred was something \n of a Prometheus Bound, so the women loved him. Tom came later to \n understand his brother better. \n","when she had once set upon anything, which was not often, the \n family failed before her. \n \n So Tom went to school, an unwilling failure from the first. \n He believed his mother was right in decreeing school for him,","with her. She knew her Uncle Tom perceived what was going on. \n But she knew moreover that in spite of his criticism and \n condemnation, he still wanted the great machine. His only happy \n moments, his only moments of pure freedom were when he was","into the barn, whilst his wife was in labour with the young Tom. \n He remembered the soft, warm weight of the little girl on his \n arm, round his neck. Now she would say he was finished. She was","As youngest son, Tom felt some importance when the care of \n the farm devolved on to him. He was only eighteen, but he was \n quite capable of doing everything his father had done. And of \n course, his mother remained as centre to the house. \n","Tom was more restrained, reserved. He kept his body very \n still. But he troubled her even more. She could not but see the \n black depths of disintegration in his eyes, the sudden glance \n upon her, as if she could save him, as if he would reveal","\"Maybe you was never broken in,\" he said. \n \n \"No, I never was,\" said Alfred proudly. \n \n And Tom felt his elder brother despised him a little. He \n winced under it. \n","on a seat. A man hailed him. \n \n \"Good morning, Tom. That thine, then?\"--and the \n bearded farmer jerked his head at Anna. \n \n \"Ay,\" said Brangwen, deprecating. \n","and the Marsh, yet the two households remained separate, \n distinct. \n \n After Anna's marriage, the Marsh became the home of the two \n boys, Tom and Fred. Tom was a rather short, good-looking youth,","shouted Tom Brangwen. \n \n \"Hearth an' home, an' may ye enjoy it.\" \n \n There was a ragged shout of the company in response. \n \n \"Bed an' blessin', an' may ye enjoy it,\" shouted Frank","Now when Tom Brangwen, at nineteen, a youth fresh like a \n plant, rooted in his mother and his sister, found that he had \n lain with a prostitute woman in a common public house, he was","So the preparations were begun, directed by Tom Brangwen. A \n marquee was set up on the home close, two large bonfires were \n prepared. Musicians were hired, feast made ready. \n","\"let him talk.\" Mrs. Alfred darted indignant eyes at her \n husband. \n \n \"A man,\" continued Tom Brangwen, \"enjoys being a man: for \n what purpose was he made a man, if not to enjoy it?\" \n","He held her as thought they were one, and was silent. \n \n In the house, Tom Brangwen waited a while. Then he got up and \n went out. He went down the yard. He saw the curious misty shaft","\"It's th' cab,\" said somebody from the door. \n \n \"Walk in,\" shouted Tom Brangwen, and a red-faced grinning man \n entered. \n \n \"Now, you two, get yourselves ready an' off to blanket fair,\"","Tom Brangwen was glad to get back to the farm, where he was \n in his own again. \"I have got a turnip on my shoulders, let me \n stick to th' fallow,\" he said to his exasperated mother. He had","father and son, were supremely at ease with one another. Fred \n was succeeding to the farm. \n \n Between the elder brother and the younger existed an almost \n passionate love. Tom watched over Fred with a woman's poignant","\"Drive on,\" shouted Tom Brangwen. \n \n The cab rolled off. They saw the light diminish under the ash \n trees. Then the whole party, quietened, went indoors. \n","between them. Tom always felt very much the junior to \n Alfred. \n \n \"It's a long while since you left home,\" he said. \n \n \"Ay,\" said Alfred. \"I thought I was getting a bit","Was his life nothing? Had he nothing to show, no work? He did \n not count his work, anybody could have done it. What had he \n known, but the long, marital embrace with his wife! Curious,"],["friend.\" \n \n But the two friends were hostile. It was as if Ursula \n wanted to divide herself from her acquaintances, in \n asserting her connection with Anton, as she now called him. \n","Anton. The other can only end badly.\" \n \n So out of fear of herself Ursula was to marry Skrebensky. \n \n He was very busy now, preparing to go to India. He must visit \n relatives and contract business. He was almost sure of Ursula","\"You had a wet walk,\" he said to Ursula. \n \n \"Oh, I don't mind, I'm used to it,\" she replied, with a \n nervous little laugh. \n \n But already he was not listening. Her words sounded","Ursula resented it. It became distasteful to her. And she knew \n that if they understood the real relationship between her and \n Skrebensky, her parents, her father in particular, would go mad","of secret side-show to her life, never to be opened. She did not \n even think of it. It was the closed door she had not the \n strength to open. \n \n Once she was broken in to her teaching, Ursula began","\"It isn't a question of loving him,\" said Ursula. \"I love him \n well enough--certainly more than I love anybody else in the \n world. And I shall never love anybody else the same again. We","Ursula was included. She was the danger that threatened his body \n with a blow, a fall. And blindly, thoroughly, moving from strong \n instinct of opposition, he set to work to expel her. \n \n When he punished one of her children as he had punished the","her. \n \n In hardness and bitterness of soul, Ursula knew that Winifred \n was become her uncle's lover. She was glad. She had loved them \n both. Now she wanted to be rid of them both. Their marshy,","Ursula sat amused, but waiting. And he knew Ursula was \n waiting for him. It roused his blood. He had to go to her, to \n follow her call. \n \n Once he drove her to Derby in the dog-cart. He belonged to","some way, he was connected with her, as her father was connected \n with her. \n \n She had another self, another responsibility. She was no \n longer Ursula Brangwen, daughter of William Brangwen. She was","He loved with a hot heart the dark-haired little Ursula, and \n he waited for the child to come to consciousness. Now the mother \n monopolized the baby. But his heart waited in its darkness. His \n hour would come. \n","and Anthony were enemies by instinct. Ursula had to go back to \n her friend brimming with affection and a poignancy of pity. \n Which Maggie received with a little stiffness. Then poetry and \n books and learning took the place of Anthony, with his goats'","\"Kiss me, Anton, kiss me,\" she pleaded. \n \n He kissed her, but she knew he could not touch her. His arms \n were round her, but they had not got her. She could feel his","were not for Anna, and for this little Ursula, who had his \n brows, there would be no more left of him than of a broken \n vessel thrown away, and just remembered. \n \n Tom Brangwen had served her. He had come to her, and taken","As she waited at the tram-terminus she reverted swiftly to \n her childhood; her teasing grandfather, with his fair beard and \n blue eyes, and his big, monumental body; he had got drowned: her \n grandmother, whom Ursula would sometimes say she had loved more","frightening side of him, after this. \n \n He said \"Good-bye\" to his mother and went away at once. \n Ursula almost shrank from his kiss, now. She wanted it, \n nevertheless, and the little revulsion as well. \n","Ursula was present. There was a brief altercation, closed by \n Mrs. Brangwen's saying, in a tone of biting superiority and \n indifference: \n \n \"Let her find out what it's like. She'll soon have had","intense, with an ivory face and dark hair looped plain over her \n ears. Ursula was very fond of her, but afraid of her. She seemed \n so old and so relentless towards herself. Yet she was only","\"What's the matter?\" he roared. \n \n Ursula felt as if something were going to break in her. \n \n \"I've thrashed him,\" she said, her breast heaving, forcing","Ursula with a half-smile: cunning, subdued, ready to do as she \n told him. There was something about him that made her shiver. \n She loathed the idea of having laid hands on him. His elder"],["He died and went his way, but not before there was another \n child. And this little Ursula was his grandchild. She was glad \n of it. For she still honoured him, though he had been \n mistaken. \n","Ursula was frightened, hearing these things. Her heart sank, \n she felt she had no ground under her feet. She clung to her \n grandmother. Here was peace and security. Here, from her \n grandmother's peaceful room, the door opened on to the greater","off, from Poland, and that dark-bearded impressive man. Strange, \n her antecedents were, and she felt fate on either side of her \n terrible. \n \n Almost every day, Ursula saw her grandmother, and every time,","As she waited at the tram-terminus she reverted swiftly to \n her childhood; her teasing grandfather, with his fair beard and \n blue eyes, and his big, monumental body; he had got drowned: her \n grandmother, whom Ursula would sometimes say she had loved more","Ursula. She became elegant, really elegant, in figured cotton \n frocks she made for herself, and hats she bent to her fancy. An \n inspiration was upon her. \n \n He sat with a sort of languor in her grandmother's rocking","Ursula was included. She was the danger that threatened his body \n with a blow, a fall. And blindly, thoroughly, moving from strong \n instinct of opposition, he set to work to expel her. \n \n When he punished one of her children as he had punished the","\"Did you like my first grandfather best?\" asked Ursula. \n \n \"I liked them both,\" said the grandmother. \n \n And, thinking, she became again Lensky's girl-bride. He was","intense, with an ivory face and dark hair looped plain over her \n ears. Ursula was very fond of her, but afraid of her. She seemed \n so old and so relentless towards herself. Yet she was only","Her chief friend at this period was Ursula. The little girl \n and the musing, fragile woman of sixty seemed to understand the \n same language. At Cossethay all was activity and passion, \n everything moved upon poles of passion. Then there were four","\"This one? In Warsaw, I think.\" \n \n \"You didn't know my own grandfather then?\" \n \n \"Not this grandfather.\" \n \n Ursula pondered this fascinating intelligence. \n \n \"Did he have white whiskers as well?\" \n","Her very bones seemed to bid him keep his distance from her. \n \n It was in these weeks that Ursula grew up. She stayed two \n weeks at Wiggiston, and she hated it. All was grey, dry ash,","convention and fear, entirely indifferent to the world, standing \n by herself, without connection: her grandmother, who had come \n from so far and was centred in so wide an horizon: people must \n come up to these standards before they could be Ursula's \n people. \n","Miss Inger was a Bachelor of Arts, who had studied at \n Newnham. She was a clergyman's daughter, of good family. But \n what Ursula adored so much was her fine, upright, athletic","relation to anyone else. \n \n She was not clever at all. She thought Ursula clever enough \n for two. Ursula understood, so why should she, Gudrun, bother \n herself? The younger girl lived her religious, responsible life","wilted away, and wanted to break the old beast's neck. \n \n Instead he came glowering in fury to the house, and turned on \n Ursula. \n \n \"Why, you tiresome little monkey, can't you even come to","her. \n \n In hardness and bitterness of soul, Ursula knew that Winifred \n was become her uncle's lover. She was glad. She had loved them \n both. Now she wanted to be rid of them both. Their marshy,","To Ursula she had always given pleasure, because of her \n clear, decided, yet graceful appearance. She carried her head \n high, a little thrown back, and Ursula thought there was a look \n of nobility in the way she twisted her smooth brown hair upon","\"Ursula! Eh--our Ursula?\" the name was shouted now Still \n no answer. \n \n \"Mother, she won't answer,\" came the yell. \"She's dead.\" \n","CHAPTER X \n \n THE WIDENING CIRCLE \n \n It was very burdensome to Ursula, that she was the eldest of \n the family. By the time she was eleven, she had to take to","it. It was such an odd, exciting child. \n \n \"What's your name?\" the man suddenly asked of her. \n \n \"My name is Ursula--Ursula Brangwen,\" she replied. \n"],["After a long bout of hostility, Anna at last closed with him. \n She had now four children, all girls. For seven years she had \n been absorbed in wifehood and motherhood. For years he had gone \n on beside her, never really encroaching upon her. Then gradually","\"Yes, three years that he is dead--yes.\" \n \n Curiously quiet she was, almost abstracted, answering these \n questions. She looked at him again, with some maidenhood opening \n in her eyes. He felt he could not move, neither towards her nor","years before her. Her future was settled for two years. She \n returned to college to prepare for her final examination. \n \n But during this year the glamour began to depart from \n college. The professors were not priests initiated into the deep","than there was in the year naught. That's the story, my boy, if \n you understand it. There's no more to-day than there was a \n thousand years ago--nor no less either. You can't wear","When they came to themselves, the night was very dark. Two \n hours had gone by. They lay still and warm and weak, like the \n new-born, together. And there was a silence almost of the \n unborn. Only his heart was weeping happily, after the pain. He","\"I am twenty-eight,\" he said. \n \n \"Six years.\" \n \n She was oddly concerned, even as if it pleased her a little. \n He sat and listened and wondered. It was rather splendid, to be","\"We've been here above two hundred years,\" he said. Her eyes \n were on him all the time, wide-open and trying to grasp him. He \n felt that he was there for her. \n \n \"It is your own place, the house, the","months' time and would tell them all about it, he shook hands \n with her mother and took his leave. \n \n Ursula accompanied him into the lane. The night was windy, \n the yew trees seethed and hissed and vibrated. The wind seemed","The days went by--they were to have three weeks \n together--in perfect success. All the time, they themselves \n were reality, all outside was tribute to them. They were quite \n careless about money, but they did nothing very extravagant. He","Anna went more to her mother. \n \n Then suddenly the father died. \n \n It happened one springtime when Ursula was about eight years \n old, he, Tom Brangwen, drove off on a Saturday morning to the","and rubbing away again. There was a great heap of curled \n white-and-scribbled sheets on the table. \n \n \"Must you do so many?\" asked Ursula. \n \n Again the man glanced up sharply. He was about thirty or","long while they sat motionless. Only now and again her hand \n closed more closely, lovingly, over his hand, then gradually \n relaxed. \n \n The dusk began to fall. One or two lights appeared. The","days, he would leap again with her from the bridge, daringly, \n almost wickedly. Till at length, as he leapt, once, she dropped \n forward on to his head, and nearly broke his neck, so that they","were covered. And he dared not lift his face to look at her. \n \n Corn harvest came on. One evening they walked out through the \n farm buildings at nightfall. A large gold moon hung heavily to","place, and would tell him about herself. She seemed to be back \n again in the past, chiefly in her childhood or her girlhood, \n with her father. She very rarely talked of her first husband. \n But sometimes, all shining-eyed, she was back at her own home,","\"What did she do?\" \n \n \"She went to London, into a big shop. Ingram still goes up to \n see her.\" \n \n \"Does he love her?\" \n \n \"It's a year and a half he's been with her now.\"","only Tilly, the cross-eyed woman-servant who had been with them \n for fifteen years. He felt things coming to a close. All the \n time, he had held himself stubbornly resistant to the action of","character. At eighteen he married a little factory girl, a pale, \n plump, quiet thing with sly eyes and a wheedling voice, who \n insinuated herself into him and bore him a child every year and","was then no Jesus, no sentimentality. With all the bitter hatred \n of helplessness she hated sentimentality. \n \n At this period came the young Skrebensky. She was nearly \n sixteen years old, a slim, smouldering girl, deeply reticent,","During the next days Ursula went about bright and hard, \n singing to herself, making love to the children, but her soul \n hard and cold with regard to her parents. Nothing more was said. \n The hardness and brightness lasted for four days. Then it began"],["Tom Brangwen was glad to get back to the farm, where he was \n in his own again. \"I have got a turnip on my shoulders, let me \n stick to th' fallow,\" he said to his exasperated mother. He had","\"Sit you down,\" said Tom Brangwen, \"an' take a bit off your \n length.\" \n \n Will Brangwen sat down. He felt something strange in the \n atmosphere. He was dark browed, but his eyes had the keen,","Tom Brangwen was frightened. His heart always filled with \n fear, fear of the unknown, when he heard his women speak of \n their bygone men as of strangers they had known in passing and \n had taken leave of again. \n","shouted Tom Brangwen. \n \n \"Hearth an' home, an' may ye enjoy it.\" \n \n There was a ragged shout of the company in response. \n \n \"Bed an' blessin', an' may ye enjoy it,\" shouted Frank","and rough country beyond, and at the great, mathematical \n colliery on the other side. \n \n They saw Tom Brangwen walking up the curved drive. He was \n getting stouter, but with his bowler hat worn well set down on","\"Get your tea, lad,\" said Tom Brangwen. \"Are you itchin' to \n be off the moment you enter?\" \n \n They talked of trivial things. Through the open door the \n level rays of sunset poured in, shining on the floor. A grey hen","And Tom Brangwen, blue-eyed and warm, sat in opposition to \n the youth. \n \n \"How long are you stopping?\" the young husband asked his \n wife. \n \n \"Not very long,\" she said. \n","Brangwen, in his solid fashion, was letting himself go at \n last. \n \n These three brothers dominated the whole company. Tom \n Brangwen wanted to make a speech. For the first time in his \n life, he must spread himself wordily. \n","Now when Tom Brangwen, at nineteen, a youth fresh like a \n plant, rooted in his mother and his sister, found that he had \n lain with a prostitute woman in a common public house, he was","So a change in tone came over the Marsh. Tom Brangwen the \n father, as he grew older, seemed to mature into a \n gentleman-farmer. His figure lent itself: burly and handsome. \n His face remained fresh and his blue eyes as full of light, his","\"It's th' cab,\" said somebody from the door. \n \n \"Walk in,\" shouted Tom Brangwen, and a red-faced grinning man \n entered. \n \n \"Now, you two, get yourselves ready an' off to blanket fair,\"","winding streams, ragged with gorse, and heath, the darker woods \n in the distance. \n \n The whole place was just unreal, just unreal. Even now, when \n he had been there for two years, Tom Brangwen did not believe in","Tom Brangwen was now the fairy godfather. He was never happy \n unless he was buying something. Will Brangwen, with his interest \n in all wood-work, was getting the furniture. He was left to buy","Tom Brangwen had taken them a cottage at Cossethay, on a \n twenty-one years' lease. Will Brangwen's eyes lit up as he saw \n it. It was the cottage next the church, with dark yew-trees,","He held her as thought they were one, and was silent. \n \n In the house, Tom Brangwen waited a while. Then he got up and \n went out. He went down the yard. He saw the curious misty shaft","handles. He even read the name-plate, \"Tom Brangwen, of the \n Marsh Farm. Born ----. Died ----.\" \n \n The good-looking, still face of the young man crinkled up for","Tom Brangwen was so curious about the woman that the next \n time he was in Wirksworth he asked for her house. \n \n He found a beautiful cottage on the steep side of a hill, \n looking clean over the town, that lay in the bottom of the","\"let him talk.\" Mrs. Alfred darted indignant eyes at her \n husband. \n \n \"A man,\" continued Tom Brangwen, \"enjoys being a man: for \n what purpose was he made a man, if not to enjoy it?\" \n","Tom Brangwen also saw Ursula's intention. He too was at the end \n of his desires. He had done the things he had wanted to. They \n had all ended in a disintegrated lifelessness of soul, which he","on a seat. A man hailed him. \n \n \"Good morning, Tom. That thine, then?\"--and the \n bearded farmer jerked his head at Anna. \n \n \"Ay,\" said Brangwen, deprecating. \n"],["with her. She knew her Uncle Tom perceived what was going on. \n But she knew moreover that in spite of his criticism and \n condemnation, he still wanted the great machine. His only happy \n moments, his only moments of pure freedom were when he was","yourself, an' all?\" \n \n Tilly stealthily ushered her into the bedroom. The child \n entered with a strange, dragging hesitation characteristic of \n her when she was moved. Her grandmother was sitting up in bed, \n wearing a little grey woollen jacket.","into the barn, whilst his wife was in labour with the young Tom. \n He remembered the soft, warm weight of the little girl on his \n arm, round his neck. Now she would say he was finished. She was","\"We're taking you away from your studies,\" said her \n Uncle Tom. \n \n \"Oh, no,\" she replied quickly. \n \n Skrebensky laughed, young and inflammable. \n","\"Uncle Tom will give it me,\" she said. \n \n Again there was silence. This time she was triumphant. \n \n Then at length her father lifted his head. His face was \n abstracted, he seemed to be abstracting himself, to make a pure","A superficial readiness took her to her Uncle Tom, who kissed \n her, greeting her with warmth, making a show of intimate \n possession of her, and at the same time leaving evident his own \n complete detachment. \n","and the end. So I let him take all upon himself. Yet all did not \n depend on him. Life must go on, and I must marry your \n grandfather, and have your Uncle Tom, and your Uncle Fred. We \n cannot take so much upon ourselves.\" \n","He died and went his way, but not before there was another \n child. And this little Ursula was his grandchild. She was glad \n of it. For she still honoured him, though he had been \n mistaken. \n","over against hers. \n \n \"I don't think brains matter,\" she said. \n \n \"What does matter then?\" came her Uncle Tom's intimate, \n caressing, half-jeering voice. \n \n She turned to him. \n","and the Marsh, yet the two households remained separate, \n distinct. \n \n After Anna's marriage, the Marsh became the home of the two \n boys, Tom and Fred. Tom was a rather short, good-looking youth,","were watching her with some attention. She felt proud--her \n spirit leapt to life. \n \n \"You don't know Mr. Skrebensky, Ursula,\" came her Uncle Tom's \n intimate voice. She lifted her face with an impulsive flash to","being, within some utterly unliving shell, they passed \n meaninglessly along, with strange, isolated dignity. It was as \n if a hard, horny shell enclosed them all. \n \n Shocked and startled, Ursula was carried to her Uncle Tom's","Tom was more restrained, reserved. He kept his body very \n still. But he troubled her even more. She could not but see the \n black depths of disintegration in his eyes, the sudden glance \n upon her, as if she could save him, as if he would reveal","\"Tom!\" she cried, standing in her nightdress with the candle, \n calling into the darkness and the flood out of the doorway. \n \n \"Tom! Tom!\" \n \n And she listened. Fred appeared behind her, in trousers and \n shirt. \n","on a seat. A man hailed him. \n \n \"Good morning, Tom. That thine, then?\"--and the \n bearded farmer jerked his head at Anna. \n \n \"Ay,\" said Brangwen, deprecating. \n","wanted her to marry her Uncle Tom. Winifred knew this. She said \n she would come to Wiggiston. She would now let fate do as it \n liked with her, since there was nothing remaining to be done.","She affected, however, some esteem of Mrs. Tom, as she called \n the Polish woman, saying that at any rate she was a lady. \n \n Anna Brangwen was faintly excited at the news of her Cousin","Only afterwards Ursula, flitting between the currant bushes \n down the garden, saw her Uncle Tom standing in his black \n clothes, erect and fashionable, but his fists lifted, and his \n face distorted, his lips curled back from his teeth in a","Anna went more to her mother. \n \n Then suddenly the father died. \n \n It happened one springtime when Ursula was about eight years \n old, he, Tom Brangwen, drove off on a Saturday morning to the","voices, scarcely heeding the words. \n \n The first speaker was her Uncle Tom. She knew the naive \n candour covering the girding and savage misery of his soul. Who \n was the other speaker? Whose voice ran on so easy, yet with an"],["of secret side-show to her life, never to be opened. She did not \n even think of it. It was the closed door she had not the \n strength to open. \n \n Once she was broken in to her teaching, Ursula began","intense, with an ivory face and dark hair looped plain over her \n ears. Ursula was very fond of her, but afraid of her. She seemed \n so old and so relentless towards herself. Yet she was only","enough.\" \n \n The matter was left there. But Ursula considered herself free \n to act. For some days she made no move. She was reluctant to \n take the cruel step of finding work, for she shrank with extreme","The autumn passed away, the winter was at hand. Ursula became \n more and more an inhabitant of the world of work, and of what is \n called life. She could not see her future, but a little way off,","for her. But she hated any form of work, now her children had \n come, except the charge of them. \n \n When Ursula toddled about, she was an absorbed, busy child, \n always amusing herself, needing not much attention from other","Her chief friend at this period was Ursula. The little girl \n and the musing, fragile woman of sixty seemed to understand the \n same language. At Cossethay all was activity and passion, \n everything moved upon poles of passion. Then there were four","school, and took her to tea in the town. Then he had a motor-car \n to drive her home. \n \n Her excitement at riding in a motor-car was greatest of all. \n He too was very proud of this last coup. He saw Ursula kindle","it. It was such an odd, exciting child. \n \n \"What's your name?\" the man suddenly asked of her. \n \n \"My name is Ursula--Ursula Brangwen,\" she replied. \n","\"You had a wet walk,\" he said to Ursula. \n \n \"Oh, I don't mind, I'm used to it,\" she replied, with a \n nervous little laugh. \n \n But already he was not listening. Her words sounded","was neither a lady nor an ordinary working man's wife, but a \n creature separate from society. By her dress she was not \n poor. \n \n Ursula knew at once that she was Williams' mother, and that","position. He would be a specialist in his way. And he was an \n uncommon man. Ursula felt they were all getting a foothold at \n last. He was coming to his own. Who else that she knew could \n turn out from his own fingers the beautiful things her father","Ursula sat amused, but waiting. And he knew Ursula was \n waiting for him. It roused his blood. He had to go to her, to \n follow her call. \n \n Once he drove her to Derby in the dog-cart. He belonged to","telling Ursula of a friend, how she had died in childbirth, and \n what she had suffered; then she told of a prostitute, and of \n some of her experiences with men. \n","everywhere, and to take in his wife sufficiently. She did not \n love him. She was glad to live in a state of complacent \n self-deception with him, she worked according to him. \n \n Ursula was relieved to go home. She had still two peaceful","Ursula. She became elegant, really elegant, in figured cotton \n frocks she made for herself, and hats she bent to her fancy. An \n inspiration was upon her. \n \n He sat with a sort of languor in her grandmother's rocking","Ursula was present. There was a brief altercation, closed by \n Mrs. Brangwen's saying, in a tone of biting superiority and \n indifference: \n \n \"Let her find out what it's like. She'll soon have had","Ursula. \n \n \"I don't live on one altogether,\" said the woman \n cheerfully. \n \n \"She's got her parlour an' her plush suite in Loughborough,\" \n said her husband with just pride. \n","\"Aren't they done?\" asked Ursula gaily, breaking in on his \n tense absorption. \n \n She always kept a bright, blithe manner, and was pleasant to \n all the teachers. For she felt like the swan among the geese, of","\"Is she married and in service?\" asked Ursula. \n \n \"She is a widow. Her husband died of consumption a little \n while ago.\" Brangwen gave a sinister little laugh. \"He lay there","passed on, there was no Ursula Brangwen, free and jolly. There \n was only a girl of that name obsessed by the fact that she could \n not manage her class of children. At week-ends there came days"],["it curved back continually in an incomprehensible, strange laugh \n that exposed her rather prominent teeth. She was not beautiful, \n yet Tom Brangwen was immediately under her spell. She seemed to \n snuggle like a kitten within his warmth, whilst she was at the","up a friendship. \n \n The Miss who made up to Tom Brangwen, then twenty-four years \n old, was a handsome, reckless girl neglected for an afternoon by \n the man who had brought her out. She saw Brangwen and liked him,","Now when Tom Brangwen, at nineteen, a youth fresh like a \n plant, rooted in his mother and his sister, found that he had \n lain with a prostitute woman in a common public house, he was","with her. She knew her Uncle Tom perceived what was going on. \n But she knew moreover that in spite of his criticism and \n condemnation, he still wanted the great machine. His only happy \n moments, his only moments of pure freedom were when he was","by the women, just because he didn't live at home and was a \n lace-designer and almost a gentleman. But Alfred was something \n of a Prometheus Bound, so the women loved him. Tom came later to \n understand his brother better. \n","He held her as thought they were one, and was silent. \n \n In the house, Tom Brangwen waited a while. Then he got up and \n went out. He went down the yard. He saw the curious misty shaft","Tom Brangwen was so curious about the woman that the next \n time he was in Wirksworth he asked for her house. \n \n He found a beautiful cottage on the steep side of a hill, \n looking clean over the town, that lay in the bottom of the","when she had once set upon anything, which was not often, the \n family failed before her. \n \n So Tom went to school, an unwilling failure from the first. \n He believed his mother was right in decreeing school for him,","Tom was more restrained, reserved. He kept his body very \n still. But he troubled her even more. She could not but see the \n black depths of disintegration in his eyes, the sudden glance \n upon her, as if she could save him, as if he would reveal","partly helpless against it. She had lived so long in Tom \n Brangwen's love, beforehand. \n \n From the Skrebensky's, they went to Will Brangwen's beloved \n Lincoln Cathedral, because it was not far off. He had promised","over against hers. \n \n \"I don't think brains matter,\" she said. \n \n \"What does matter then?\" came her Uncle Tom's intimate, \n caressing, half-jeering voice. \n \n She turned to him. \n","A superficial readiness took her to her Uncle Tom, who kissed \n her, greeting her with warmth, making a show of intimate \n possession of her, and at the same time leaving evident his own \n complete detachment. \n","love. Her feet began to hurry. She wanted to get back to him. \n Her heart became tight with yearning for him. \n \n He had been making the garden in order, cutting the edges of \n the turf, laying the path with stones. He was a good, capable","Tom Brangwen was frightened. His heart always filled with \n fear, fear of the unknown, when he heard his women speak of \n their bygone men as of strangers they had known in passing and \n had taken leave of again. \n","Tilly. \n \n \"Who might that be?\" he asked. \n \n Tilly, the cross-eyed woman of forty, who adored him, ran \n gladly to the window to look. She was glad when he asked her for","attention and self-less care. Fred looked up to Tom as to \n something miraculous, that which he himself would aspire to be, \n were he great also. \n \n So that after Anna's departure, the Marsh began to take on a","Suddenly he saw that she was hurt. He had only seen her \n triumphant before. Suddenly his heart was torn with compassion \n for her. He became alive again, in an anguish of compassion. He \n could not bear to think of her tears--he could not bear it.","This attracted Ursula very much. She was so used to unsure \n people who took on a new being with every new influence. Her \n Uncle Tom was always more or less what the other person would \n have him. In consequence, one never knew the real Uncle Tom,","were watching her with some attention. She felt proud--her \n spirit leapt to life. \n \n \"You don't know Mr. Skrebensky, Ursula,\" came her Uncle Tom's \n intimate voice. She lifted her face with an impulsive flash to","\"What did she do?\" \n \n \"She went to London, into a big shop. Ingram still goes up to \n see her.\" \n \n \"Does he love her?\" \n \n \"It's a year and a half he's been with her now.\""],["died, and left him raving, disconsolate. Lydia had visited him \n then, taking Anna with her. It was when the girl was fourteen \n years old. Since then she had not seen him. She remembered him","had one little girl named Anna. Lensky was the woman's name, \n Mrs. Lensky. \n \n Brangwen felt that here was the unreality established at \n last. He felt also a curious certainty about her, as if she were","Lydia Brangwen, the mother, also came and saw the impressive, \n inviolable body of the dead man. She went pale, seeing death. He \n was beyond change or knowledge, absolute, laid in line with the","to her. For she had never known it in her life, all her \n surroundings had been loose, lax, disordered, a welter. \n \n \"Miss Lydia, will you marry me?\" he had said to her in","place, and would tell him about herself. She seemed to be back \n again in the past, chiefly in her childhood or her girlhood, \n with her father. She very rarely talked of her first husband. \n But sometimes, all shining-eyed, she was back at her own home,","They were silent for a time. \n \n \"Did you cry when my first grandfather died?\" the child \n asked. \n \n Lydia Brangwen rocked herself on the bed, thinking aloud. \n","Muscovite. \n \n Lensky was something of a fire-eater also. Lydia, tempered by \n her German blood, coming of a different family, was obliterated, \n carried along in her husband's emphasis of declaration, and his","\"What lass is that, then? I didn't know tha'd one o' that \n age.\" \n \n \"It belongs to my missis.\" \n \n Anna was very conscious of her derivation from her mother, in","She, Lydia Brangwen, was sorry for him now. He was \n dead--he had scarcely lived. He had never known her. He had \n lain with her, but he had never known her. He had never received","yourself, an' all?\" \n \n Tilly stealthily ushered her into the bedroom. The child \n entered with a strange, dragging hesitation characteristic of \n her when she was moved. Her grandmother was sitting up in bed, \n wearing a little grey woollen jacket.","and the Marsh, yet the two households remained separate, \n distinct. \n \n After Anna's marriage, the Marsh became the home of the two \n boys, Tom and Fred. Tom was a rather short, good-looking youth,","returned to Warsaw a patriot. Her mother had married a German \n merchant and gone away. \n \n Lydia Lensky, married to the young doctor, became with him a \n patriot and an émancipée. They were poor, but they","After a long bout of hostility, Anna at last closed with him. \n She had now four children, all girls. For seven years she had \n been absorbed in wifehood and motherhood. For years he had gone \n on beside her, never really encroaching upon her. Then gradually","They are gone--another lot! There begins to be more \n room. Anna comes down blushing and very shy, to be viewed in her \n white silk and her veil. Her mother-in-law surveys her","The children, Ursula and Gudrun and Theresa went by the \n garden gate on their way to school. The grandmother would have \n them call in each time they passed, she would have them come to \n the Marsh for dinner. She wanted children about her. \n","dancing about. Tilly always marvelled over her, more than she \n loved her. \n \n But always in the child was some anxious connection with the \n mother. So long as Mrs. Brangwen was all right, the little girl","school Gudrun and Theresa and Catherine. The boy, William, \n always called Billy, so that he should not be confused with his \n father, was a lovable, rather delicate child of three, so he \n stayed at home as yet. There was another baby girl, called","it. It was such an odd, exciting child. \n \n \"What's your name?\" the man suddenly asked of her. \n \n \"My name is Ursula--Ursula Brangwen,\" she replied. \n","The small bare feet approached swiftly. \n \n \"I wondered where you were,\" came the plaintive voice. The \n mother stretched out her arms. The child stood beside the high \n bed. Brangwen lightly lifted the tiny girl, with an","Hepburn's daughter wanted to marry him or not. \n \n There came a silence. Gudrun entered, and Skrebensky still \n rocked languidly on the chair. \n \n \"You look very lazy,\" said Gudrun. \n"],["itself to him: \n \n \"We'll get married, Anna.\" \n \n She was silent. \n \n \"We'll get married, Anna, shall we?\" \n \n She stopped in the field again and kissed him, clinging to","After a long bout of hostility, Anna at last closed with him. \n She had now four children, all girls. For seven years she had \n been absorbed in wifehood and motherhood. For years he had gone \n on beside her, never really encroaching upon her. Then gradually","and the Marsh, yet the two households remained separate, \n distinct. \n \n After Anna's marriage, the Marsh became the home of the two \n boys, Tom and Fred. Tom was a rather short, good-looking youth,","had one little girl named Anna. Lensky was the woman's name, \n Mrs. Lensky. \n \n Brangwen felt that here was the unreality established at \n last. He felt also a curious certainty about her, as if she were","\"Anna,\" he said. \n \n But still she was motionless, like a curled up, oblivious \n creature. His heart beat with strange throes of pain. Then, by a \n motion under his hand, he knew she was crying, holding herself","any more of his own dignity and importance. But his abandoning \n of claims, his living isolated upon his own interest, made him \n seem unreal, unimportant. \n \n Anna was not publicly proud of him. But very soon she learned","connection with Anna's mother, and had always preserved some \n officious interest in the young girl, because she was a pure \n Pole. \n \n When Baron Skrebensky was about forty years old, his wife","Anna took her best clothes, recovered her best high-school \n manner, and arrived with her husband. Will Brangwen, ruddy, \n bright, with long limbs and a small head, like some uncouth \n bird, was not changed in the least. The little Baroness was","When she called, he answered, when he asked, her response came \n at once, or at length. \n \n Anna's soul was put at peace between them. She looked from \n one to the other, and she saw them established to her safety,","Anna loved to watch him. She liked the big, new, rambling \n vicarage, desolate and stark on its hill. It was so exposed, so \n bleak and bold after the Marsh. The Baron talked endlessly in","Anna went more to her mother. \n \n Then suddenly the father died. \n \n It happened one springtime when Ursula was about eight years \n old, he, Tom Brangwen, drove off on a Saturday morning to the","When Anna was about ten years old, she went with her mother \n to spend a few days with the Baron Skrebensky. He was very \n unhappy in his red-brick vicarage. He was vicar of a country","as a small sharp clergyman who cried and talked and terrified \n her, whilst her mother was most strangely consoling, in a \n foreign language. \n \n The little Baron never quite approved of Anna, because she","The evening came on, he played with Anna, and then sat alone \n with his own wife. She was sewing. He sat very still, smoking, \n perturbed. He was aware of his wife's quiet figure, and quiet","And Anna had a new reserve, a new independence. Suddenly she \n began to act independently of her parents, to live beyond them. \n Her mother had flashes of anger. \n \n But the courtship went on. Anna would find occasion to go","\"Anna,\" he said, as if he answered her from a distance, \n unsure. \n \n \"My love.\" \n \n And he drew near, and she drew near. \n \n \"Anna,\" he said, in wonder and the birthpain of love.","absolved from it. He sat down and ate heartily. He was not \n tired. He seemed to take no notice of her. \n \n For Anna the moment was critical. She kept herself aloof, and","And she was indeed Anna Victrix. He could not combat her any \n more. He was out in the wilderness, alone with her. Having \n occasion to go to London, he marvelled, as he returned, thinking","with his home, not this man which he now was. Anna was sitting \n up for him. She saw the queer, absolved look on his face, a sort \n of latent, almost sinister smile, as if he were absolved from \n his \"good\" ties. \n","died, and left him raving, disconsolate. Lydia had visited him \n then, taking Anna with her. It was when the girl was fourteen \n years old. Since then she had not seen him. She remembered him"],["\"Ursula! Eh--our Ursula?\" the name was shouted now Still \n no answer. \n \n \"Mother, she won't answer,\" came the yell. \"She's dead.\" \n","Ursula resented it. It became distasteful to her. And she knew \n that if they understood the real relationship between her and \n Skrebensky, her parents, her father in particular, would go mad","\"The children must live, Ursula,\" said her mother. \n \n And Skrebensky was against Ursula in this. Why should she be \n so insistent? \n \n But then, as Ursula knew, he did not have the perpetual","Ursula was included. She was the danger that threatened his body \n with a blow, a fall. And blindly, thoroughly, moving from strong \n instinct of opposition, he set to work to expel her. \n \n When he punished one of her children as he had punished the","intense, with an ivory face and dark hair looped plain over her \n ears. Ursula was very fond of her, but afraid of her. She seemed \n so old and so relentless towards herself. Yet she was only","was neither a lady nor an ordinary working man's wife, but a \n creature separate from society. By her dress she was not \n poor. \n \n Ursula knew at once that she was Williams' mother, and that","\"I have to go where they want me,\" cried Ursula. \"And it's a \n good place to go to.\" \n \n \"What do you know about the place?\" said her father \n harshly. \n","\"It is Ursula, isn't it?\" said Ursula Brangwen. \n \n The father looked up at her, with an intimate, half-gallant, \n half-impudent, but wistful look. His captive soul loved her: but","\"It was Ursula who opened the door,\" said her mother. He had \n a duster in his hand. He turned and flapped the cloth hard \n across the girl's face. The cloth stung, for a moment the girl","During the next days Ursula went about bright and hard, \n singing to herself, making love to the children, but her soul \n hard and cold with regard to her parents. Nothing more was said. \n The hardness and brightness lasted for four days. Then it began","\"Why, he is a clergyman too--he is my guardian--one \n of them.\" \n \n Ursula knew that Skrebensky was an orphan. \n \n \"Where is really your home now?\" she asked. \n","\"You had a wet walk,\" he said to Ursula. \n \n \"Oh, I don't mind, I'm used to it,\" she replied, with a \n nervous little laugh. \n \n But already he was not listening. Her words sounded","\"And it doesn't matter whether they want you or not, if your \n father says you are not to go,\" said the mother calmly. \n \n How Ursula hated her! \n","\"What's the matter?\" he roared. \n \n Ursula felt as if something were going to break in her. \n \n \"I've thrashed him,\" she said, her breast heaving, forcing","were watching her with some attention. She felt proud--her \n spirit leapt to life. \n \n \"You don't know Mr. Skrebensky, Ursula,\" came her Uncle Tom's \n intimate voice. She lifted her face with an impulsive flash to","\"She'll laugh hard enough,\" said the father. \n \n \"What is her name?\" asked Ursula. \n \n \"She hasn't got a name, she's not worth one,\" said the man.","mother received fifty shillings a month for each of the \n children, she would have twenty pounds a month and no clothes to \n provide. Very well then. \n \n Ursula was independent of her parents. She now adhered","Ursula was present. There was a brief altercation, closed by \n Mrs. Brangwen's saying, in a tone of biting superiority and \n indifference: \n \n \"Let her find out what it's like. She'll soon have had","\"Her name's Ursula now,\" said the mother, smiling a \n little bit ingratiatingly from the door. And she came out to \n examine the jewel on the child's neck. \n","\"Aren't the children in bed?\" cried Ursula petulantly, as she \n came in with the young man. \n \n \"They will be in bed in half an hour,\" said the mother. \n \n \"There is no peace,\" cried Ursula. \n"],["\"Uncle Tom will give it me,\" she said. \n \n Again there was silence. This time she was triumphant. \n \n Then at length her father lifted his head. His face was \n abstracted, he seemed to be abstracting himself, to make a pure","Tom, the elder brother, at the dinner table, his hazel eyes \n bright with joy. \"Everybody stopped to look at you.\" Tom was in \n the choir. \n \n She was aware of Will's eyes shining steadily upon her,","between them. Tom always felt very much the junior to \n Alfred. \n \n \"It's a long while since you left home,\" he said. \n \n \"Ay,\" said Alfred. \"I thought I was getting a bit","father and son, were supremely at ease with one another. Fred \n was succeeding to the farm. \n \n Between the elder brother and the younger existed an almost \n passionate love. Tom watched over Fred with a woman's poignant","\"Sit you down,\" said Tom Brangwen, \"an' take a bit off your \n length.\" \n \n Will Brangwen sat down. He felt something strange in the \n atmosphere. He was dark browed, but his eyes had the keen,","Tom Brangwen was now the fairy godfather. He was never happy \n unless he was buying something. Will Brangwen, with his interest \n in all wood-work, was getting the furniture. He was left to buy","a dog as'll follow 'em.\" \n \n \"They can do without the dog,\" said his brother. And again \n Tom Brangwen was humble, thinking his brother was bigger than \n himself. But if he was, he was. And if it were finer to go","\"Maybe you was never broken in,\" he said. \n \n \"No, I never was,\" said Alfred proudly. \n \n And Tom felt his elder brother despised him a little. He \n winced under it. \n","Tilly was set to watch out for him as he passed by on his way \n home. The little party at table heard the woman's servant's \n shrill call: \n \n \"You've got to come in, Will. Anna's here.\" \n","Tom was more restrained, reserved. He kept his body very \n still. But he troubled her even more. She could not but see the \n black depths of disintegration in his eyes, the sudden glance \n upon her, as if she could save him, as if he would reveal","and the Marsh, yet the two households remained separate, \n distinct. \n \n After Anna's marriage, the Marsh became the home of the two \n boys, Tom and Fred. Tom was a rather short, good-looking youth,","frail in body, just as any man is little and frail beside a \n bull, and yet stronger than the bull, what was it? It was not \n money nor power nor position. What power had the vicar over Tom","with her. She knew her Uncle Tom perceived what was going on. \n But she knew moreover that in spite of his criticism and \n condemnation, he still wanted the great machine. His only happy \n moments, his only moments of pure freedom were when he was","called to him. \n \n \"I've mashed the tea, Will, are you coming?\" \n \n She herself could hear the sound of tears in her own voice, \n and she began to cry again. He did not answer, but went on with","wanted her to marry her Uncle Tom. Winifred knew this. She said \n she would come to Wiggiston. She would now let fate do as it \n liked with her, since there was nothing remaining to be done.","by the women, just because he didn't live at home and was a \n lace-designer and almost a gentleman. But Alfred was something \n of a Prometheus Bound, so the women loved him. Tom came later to \n understand his brother better. \n","\"Is he the--e--ere?\" came the maddening cry of the \n mother. \n \n \"No,\" was the sharp answer. \n \n \"To--om--To--o--om!\" came the piercing,","\"It's a fine night,\" said Tom. \n \n \"Ay,\" said Alfred. \n \n \"Nice to get out.\" \n \n \"Ay.\" \n \n The brothers walked close together, the bond of blood strong","A superficial readiness took her to her Uncle Tom, who kissed \n her, greeting her with warmth, making a show of intimate \n possession of her, and at the same time leaving evident his own \n complete detachment. \n","father was always uneasy and slightly deferential to his eldest \n son. Tom also formed the link that kept the Marsh in real \n connection with the Skrebenskys, now quite important people in \n their own district. \n"],["and tightening with anguish as the limit was reached, and the \n movement, at crises, turned and swept back. \n \n As the dance surged heavily on, Ursula was aware of some \n influence looking in upon her. Something was looking at her.","To Ursula, as she grew a little older, it became a nightmare. \n When she saw, later, a Rubens picture with storms of naked \n babies, and found this was called \"Fecundity\", she shuddered,","To Ursula it was wonderful. She felt she was a new being. The \n darkness seemed to breathe like the sides of some great beast, \n the haystacks loomed half-revealed, a crowd of them, a dark,","There was a moment of suspense. Ursula's heart was beating so \n fast, she clung to the rail, and could not move. Her dilated, \n warm, unfolded, glowing face turned to the mistress, as if to \n her very sun. \n","concerns of his life, not go projecting himself towards the \n ultimate. \n \n But Ursula was all for the ultimate. She was always in revolt \n against babies and muddled domesticity. To her Jesus was another","He looked at Ursula. Her face was wet with tears, very \n bright, like a transfiguration in the refulgent light. Nor was \n his the hand to wipe away the burning, bright tears. He stood \n apart, overcome by a cruel ineffectuality. \n","intense, with an ivory face and dark hair looped plain over her \n ears. Ursula was very fond of her, but afraid of her. She seemed \n so old and so relentless towards herself. Yet she was only","Ursula was included. She was the danger that threatened his body \n with a blow, a fall. And blindly, thoroughly, moving from strong \n instinct of opposition, he set to work to expel her. \n \n When he punished one of her children as he had punished the","telling Ursula of a friend, how she had died in childbirth, and \n what she had suffered; then she told of a prostitute, and of \n some of her experiences with men. \n","almost bestial look of torture, the teeth all showing, the nose \n wrinkled up, the eyes, unseeing, fixed. \n \n Terrified, Ursula slipped away. And when her Uncle Tom was in","to rush about among the chimneys and the church-tower. It was \n dark. \n \n The wind blew Ursula's face, and her clothes cleaved to her \n limbs. But it was a surging, turgid wind, instinct with","the multitude of illusions concerning herself, how she was truly \n a princess of Poland, how in England she was under a spell, she \n was not really this Ursula Brangwen; then the mirage of her","Ursula was frightened, hearing these things. Her heart sank, \n she felt she had no ground under her feet. She clung to her \n grandmother. Here was peace and security. Here, from her \n grandmother's peaceful room, the door opened on to the greater","Suddenly, cresting the heavy, sandy pass, Ursula lifted her \n head, and shrank back, momentarily frightened. There was a great \n whiteness confronting her, the moon was incandescent as a round","Ursula was present. There was a brief altercation, closed by \n Mrs. Brangwen's saying, in a tone of biting superiority and \n indifference: \n \n \"Let her find out what it's like. She'll soon have had","entered the other corridor and found Ursula's room. She was lying awake, \n wide-eyed and suffering. She was glad he had come, if only for \n consolation. It was consolation to be held in his arms, to feel his body","They saw the driver's strange, full, dark face peering into \n the lamps under drawn brows. Ursula shuddered. It was the face \n almost of an animal yet of a quick, strong, wary animal that had","Only afterwards Ursula, flitting between the currant bushes \n down the garden, saw her Uncle Tom standing in his black \n clothes, erect and fashionable, but his fists lifted, and his \n face distorted, his lips curled back from his teeth in a","thought of Ursula, not once, he gave her no sign. She was the \n darkness, the challenge, the horror. He turned to immediate \n things. He wanted to marry quickly, to screen himself from the \n darkness, the challenge of his own soul. He would marry his","Her chief friend at this period was Ursula. The little girl \n and the musing, fragile woman of sixty seemed to understand the \n same language. At Cossethay all was activity and passion, \n everything moved upon poles of passion. Then there were four"],["When they came to themselves, the night was very dark. Two \n hours had gone by. They lay still and warm and weak, like the \n new-born, together. And there was a silence almost of the \n unborn. Only his heart was weeping happily, after the pain. He","long while they sat motionless. Only now and again her hand \n closed more closely, lovingly, over his hand, then gradually \n relaxed. \n \n The dusk began to fall. One or two lights appeared. The","months' time and would tell them all about it, he shook hands \n with her mother and took his leave. \n \n Ursula accompanied him into the lane. The night was windy, \n the yew trees seethed and hissed and vibrated. The wind seemed","The days went by--they were to have three weeks \n together--in perfect success. All the time, they themselves \n were reality, all outside was tribute to them. They were quite \n careless about money, but they did nothing very extravagant. He","After a long bout of hostility, Anna at last closed with him. \n She had now four children, all girls. For seven years she had \n been absorbed in wifehood and motherhood. For years he had gone \n on beside her, never really encroaching upon her. Then gradually","days, he would leap again with her from the bridge, daringly, \n almost wickedly. Till at length, as he leapt, once, she dropped \n forward on to his head, and nearly broke his neck, so that they","During the next days Ursula went about bright and hard, \n singing to herself, making love to the children, but her soul \n hard and cold with regard to her parents. Nothing more was said. \n The hardness and brightness lasted for four days. Then it began","And after a few days, gradually she closed again, away from \n him, was sheathed over, impervious to him, oblivious. Then a \n black, bottomless despair became real to him, he knew what he","before long. She would be the gleaming sun of the school, the \n children would blossom like little weeds, the teachers like \n tall, hard plants would burst into rare flower. \n \n The Monday morning came. It was the end of September, and a","The hour passed away again, there was severance between them, \n and rage and misery and bereavement for her, and deposition and \n toiling at the mill with slaves for him. But no matter. They had","\"I am twenty-eight,\" he said. \n \n \"Six years.\" \n \n She was oddly concerned, even as if it pleased her a little. \n He sat and listened and wondered. It was rather splendid, to be","He did not count the days. But like a man who journeys in a \n ship, he was suspended till the coming to port. \n \n He worked at his carving, he worked in his office, he came to","a short time, but before he went, he would snatch a day at the \n Marsh. \n \n As if in a painful dream, she waited suspended, unresolved. \n She did not know, she could not understand. Only she felt that","Saturday came, her thoughts burned up like a fire. If only it \n were Saturday, if only it were Saturday. \n \n Then Saturday came, and she set out. Miss Inger met her in \n Sawley, and they walked about three miles to the bungalow. It","than there was in the year naught. That's the story, my boy, if \n you understand it. There's no more to-day than there was a \n thousand years ago--nor no less either. You can't wear","Soon, it began to snow again, and they were shut in. He was \n glad, for then they were immune in a shadowy silence, there was \n no world, no time. \n \n The snow lasted for some days. On the Sunday they went to","was now no self-bliss, only pain and confused anger. \n \n It was high summer, and the hay-harvest was almost over. It \n would be finished on Saturday. On Saturday, however, Skrebensky \n was going away. He could not stay any longer.","So she lived for some time. Then, with slight uneasiness, she \n used half to awake to the streets of London. She realized that \n there was something around her, very foreign, she realized she \n was in a strange place. And then, she was sent away into the","It surprised her, when it was over. She was shrinking and \n afraid. To what was she now exposed? She half wanted to tell her \n husband. Yet she shrank from him. \n \n All the time she ran on by herself. She liked the story of","Anna went more to her mother. \n \n Then suddenly the father died. \n \n It happened one springtime when Ursula was about eight years \n old, he, Tom Brangwen, drove off on a Saturday morning to the"],["Ursula was included. She was the danger that threatened his body \n with a blow, a fall. And blindly, thoroughly, moving from strong \n instinct of opposition, he set to work to expel her. \n \n When he punished one of her children as he had punished the","intense, with an ivory face and dark hair looped plain over her \n ears. Ursula was very fond of her, but afraid of her. She seemed \n so old and so relentless towards herself. Yet she was only","\"Ursula! Eh--our Ursula?\" the name was shouted now Still \n no answer. \n \n \"Mother, she won't answer,\" came the yell. \"She's dead.\" \n","This attracted Ursula very much. She was so used to unsure \n people who took on a new being with every new influence. Her \n Uncle Tom was always more or less what the other person would \n have him. In consequence, one never knew the real Uncle Tom,","Her chief friend at this period was Ursula. The little girl \n and the musing, fragile woman of sixty seemed to understand the \n same language. At Cossethay all was activity and passion, \n everything moved upon poles of passion. Then there were four","Winifred seemed to delight in having Ursula in her charge, in \n giving things to the girl, in filling and enrichening her \n life. \n \n So that Ursula developed rapidly during the few months of her","\"No,\" said Ursula, stubbornly and dully. \"No, I don't want to \n go to London, I want to be by myself.\" \n \n Winifred knew what this meant. She knew that Ursula was","\"You had a wet walk,\" he said to Ursula. \n \n \"Oh, I don't mind, I'm used to it,\" she replied, with a \n nervous little laugh. \n \n But already he was not listening. Her words sounded","Ursula was present. There was a brief altercation, closed by \n Mrs. Brangwen's saying, in a tone of biting superiority and \n indifference: \n \n \"Let her find out what it's like. She'll soon have had","it. It was such an odd, exciting child. \n \n \"What's your name?\" the man suddenly asked of her. \n \n \"My name is Ursula--Ursula Brangwen,\" she replied. \n","Ursula's heart sank. It was a cold, dreary satisfaction to \n think of. Yet her cold will acquiesced. This was what she \n wanted. \n \n \"You have an emotional nature,\" the letter went on, \"a quick","Ursula sat amused, but waiting. And he knew Ursula was \n waiting for him. It roused his blood. He had to go to her, to \n follow her call. \n \n Once he drove her to Derby in the dog-cart. He belonged to","concerns of his life, not go projecting himself towards the \n ultimate. \n \n But Ursula was all for the ultimate. She was always in revolt \n against babies and muddled domesticity. To her Jesus was another","telling Ursula of a friend, how she had died in childbirth, and \n what she had suffered; then she told of a prostitute, and of \n some of her experiences with men. \n","\"I will race you, Ursula,\" came the well-modulated voice. \n \n Ursula started violently. She turned to see the warm, \n unfolded face of her mistress looking at her, to her. She was","\"It was Ursula who opened the door,\" said her mother. He had \n a duster in his hand. He turned and flapped the cloth hard \n across the girl's face. The cloth stung, for a moment the girl","\"It's no good her coming--her character's not good \n enough for her to make any trouble.\" \n \n Ursula shrank from the brutality and the scandal. But it had \n some vague, horrid fascination. How sordid everything seemed!","There was a moment of suspense. Ursula's heart was beating so \n fast, she clung to the rail, and could not move. Her dilated, \n warm, unfolded, glowing face turned to the mistress, as if to \n her very sun. \n","She was staunch for joy, for happiness, and permanency, in \n contrast with Maggie, who was for sadness, and the inevitable \n passing-away of things. Ursula suffered bitterly at the hands of \n life, Maggie was always single, always withheld, so she went in","Ursula was introduced by her friend to various women and men, \n educated, unsatisfied people, who still moved within the smug \n provincial society as if they were nearly as tame as their \n outward behaviour showed, but who were inwardly raging and \n mad."],["Anton. The other can only end badly.\" \n \n So out of fear of herself Ursula was to marry Skrebensky. \n \n He was very busy now, preparing to go to India. He must visit \n relatives and contract business. He was almost sure of Ursula","Anton Skrebensky could not beg. He was in possession of himself, \n of that, and no more. Other people could not really give him \n anything nor take anything from him. His soul stood alone. \n \n She knew that her mother and father acknowledged him. The","loved Anton Skrebensky. But she did not forgive him that he had \n not been strong enough to acknowledge her. He had denied her. \n How then could she love him? How then was love so absolute? She","connection with Anna's mother, and had always preserved some \n officious interest in the young girl, because she was a pure \n Pole. \n \n When Baron Skrebensky was about forty years old, his wife","again from Skrebensky. He had written to her once or twice from \n South Africa, during the first months of his service out there \n in the war, and since had sent her a post-card every now and \n then, at ever longer intervals. He had become a first","were watching her with some attention. She felt proud--her \n spirit leapt to life. \n \n \"You don't know Mr. Skrebensky, Ursula,\" came her Uncle Tom's \n intimate voice. She lifted her face with an impulsive flash to","Skrebensky was to come, arriving in the morning. Ursula had a \n new white dress of soft crepe, and a white hat. She liked to \n wear white. With her black hair and clear golden skin, she","was then no Jesus, no sentimentality. With all the bitter hatred \n of helplessness she hated sentimentality. \n \n At this period came the young Skrebensky. She was nearly \n sixteen years old, a slim, smouldering girl, deeply reticent,","Skrebensky. The contact made her aware of him. With a swift, \n foraging impulse she sought for his hand and clasped it in her \n own, so close, so combined, as if they were two children. \n","groomed person, and of an unyielding mind. Yet there was an \n infinite poignancy about her, a great pathos in her lonely, \n proudly closed mouth. \n \n It was after Skrebensky had gone that there sprang up between","bound, aching and cramped with the bondage, to Skrebensky and \n Skrebensky's world? Anton's world: it became in her feverish \n brain a compression which enclosed her. If she could not get out","might have tea together. Will you let me know? I shall look for \n your answer. \n \n Anton Skrebensky \n \n Ursula had taken this letter from the rack in the hall at","\"We're taking you away from your studies,\" said her \n Uncle Tom. \n \n \"Oh, no,\" she replied quickly. \n \n Skrebensky laughed, young and inflammable. \n","She had recognized the Baron Skrebensky as a real person, he \n had had some regard for her. But when she did not see him any \n more, he faded and became a memory. But as a memory he was \n always alive to her. \n","see her father retreating into himself against the young \n man. \n \n She was proud of Skrebensky in the house. His lounging, \n languorous indifference irritated her and yet cast a spell over","great, blistering, transcendent night did not really exist. She \n was overcome with slow horror. Where was she? What was this \n nothingness she felt? The nothingness was Skrebensky. Was he","The next day she went down to the Marsh according to \n invitation. The two men were not come home. Then, looking \n through the window, she saw the dogcart drive up, and Skrebensky \n leapt down. She saw him draw himself together, jump, laugh to","child, it would have made little difference, however. She would \n have kept the child and herself, she would not have gone to \n Skrebensky. Anton belonged to the past. \n \n There came the cablegram from Skrebensky: \"I am married.\" An","drove away into the crowd. He had let her go. She had been \n afraid. \n \n Skrebensky turned with her into the park. A band was still \n playing and the place was thronged with people. They listened to","Skrebensky, of that she was resolved. She would allow nothing \n else. \n \n She read his long, obsessed letter about getting married and \n going to India, without any particular response. She seemed to"],["died, and left him raving, disconsolate. Lydia had visited him \n then, taking Anna with her. It was when the girl was fourteen \n years old. Since then she had not seen him. She remembered him","to her. For she had never known it in her life, all her \n surroundings had been loose, lax, disordered, a welter. \n \n \"Miss Lydia, will you marry me?\" he had said to her in","She, Lydia Brangwen, was sorry for him now. He was \n dead--he had scarcely lived. He had never known her. He had \n lain with her, but he had never known her. He had never received","Lydia Brangwen, the mother, also came and saw the impressive, \n inviolable body of the dead man. She went pale, seeing death. He \n was beyond change or knowledge, absolute, laid in line with the","\"Yes, dark eyes. He was a clever man, as quick as a lion. He \n was never still.\" \n \n Lydia still resented Lensky. When she thought of him, she was \n always younger than he, she was always twenty, or twenty-five,","Muscovite. \n \n Lensky was something of a fire-eater also. Lydia, tempered by \n her German blood, coming of a different family, was obliterated, \n carried along in her husband's emphasis of declaration, and his","had one little girl named Anna. Lensky was the woman's name, \n Mrs. Lensky. \n \n Brangwen felt that here was the unreality established at \n last. He felt also a curious certainty about her, as if she were","whirl of patriotism. He was indeed a brave man, but no bravery \n could quite have equalled the vividness of his talk. He worked \n very hard, till nothing lived in him but his eyes. And Lydia, as","husband wept aloud, unaware of everybody. But the war went on, \n and soon he was back at his work. A darkness had come over \n Lydia's mind. She walked always in a shadow, silenced, with a","\"I s'd think so--they say so.\" \n \n \"Who told you about her?\" \n \n \"Why, Lizzie--a-Monday--we seed her goin' \n past.\" \n","returned to Warsaw a patriot. Her mother had married a German \n merchant and gone away. \n \n Lydia Lensky, married to the young doctor, became with him a \n patriot and an émancipée. They were poor, but they","and Fred, fair and responsive, whom she adored but did not \n consider as a real, separate thing. She was too much the centre \n of her own universe, too little aware of anything outside. \n \n The first person she met, who affected her as a real,","\"Will you come in?\" she said. \"My father is lying down.\" \n \n She took him into a drawing-room, full of books, with a piano \n and a violin-stand. And they talked, she simply and easily. She","because of the vain spectacle she made: \n \n \"Anna Theresa Lensky.\" \n \n \"Anna Theresa Lensky\"--what a vain, independent minx she \n was! The bridegroom, slender in his black swallow-tail and grey","lived vividly, swift and intense. She always thought of him with \n that black, keen, blind head. And she considered him odd. \n \n He appeared at the Marsh one Sunday morning: a rather long, \n thin youth with a bright face and a curious self-possession","were watching her with some attention. She felt proud--her \n spirit leapt to life. \n \n \"You don't know Mr. Skrebensky, Ursula,\" came her Uncle Tom's \n intimate voice. She lifted her face with an impulsive flash to","\"They think you don't live here,\" he said. \n \n Later he found her at the gate calling shrilly and \n imperiously: \n \n \"My name is Anna, Anna Lensky, and I live here, because Mr.","They were silent for a time. \n \n \"Did you cry when my first grandfather died?\" the child \n asked. \n \n Lydia Brangwen rocked herself on the bed, thinking aloud. \n","Tilly. \n \n \"Who might that be?\" he asked. \n \n Tilly, the cross-eyed woman of forty, who adored him, ran \n gladly to the window to look. She was glad when he asked her for","\"That's her,\" he said involuntarily. As the cart passed by, \n splashing through the thin mud, she stood back against the bank. \n Then, as he walked still beside his britching horse, his eyes"],["to her. For she had never known it in her life, all her \n surroundings had been loose, lax, disordered, a welter. \n \n \"Miss Lydia, will you marry me?\" he had said to her in","She, Lydia Brangwen, was sorry for him now. He was \n dead--he had scarcely lived. He had never known her. He had \n lain with her, but he had never known her. He had never received","died, and left him raving, disconsolate. Lydia had visited him \n then, taking Anna with her. It was when the girl was fourteen \n years old. Since then she had not seen him. She remembered him","\"Yes, dark eyes. He was a clever man, as quick as a lion. He \n was never still.\" \n \n Lydia still resented Lensky. When she thought of him, she was \n always younger than he, she was always twenty, or twenty-five,","\"I knew you did, my sweet--and I will marry him. You're \n fond of him, aren't you?\" \n \n \"I've been awfully fond of him--ever since I was \n a child.\" \n","whirl of patriotism. He was indeed a brave man, but no bravery \n could quite have equalled the vividness of his talk. He worked \n very hard, till nothing lived in him but his eyes. And Lydia, as","Suddenly he saw that she was hurt. He had only seen her \n triumphant before. Suddenly his heart was torn with compassion \n for her. He became alive again, in an anguish of compassion. He \n could not bear to think of her tears--he could not bear it.","But he did not care, whilst she was so close. \n \n \"I am a landowner--a little one,\" he said. \n \n \"Yes,\" she said. \n \n He had not dared to move. He sat there with his arms round","Having decided to go he became very tender and loving to her, \n kissing her gently, with such soft, sweet, insidious closeness \n that they were both of them intoxicated. \n \n The very last Friday of his stay he met her coming out of","it curved back continually in an incomprehensible, strange laugh \n that exposed her rather prominent teeth. She was not beautiful, \n yet Tom Brangwen was immediately under her spell. She seemed to \n snuggle like a kitten within his warmth, whilst she was at the","days, he would leap again with her from the bridge, daringly, \n almost wickedly. Till at length, as he leapt, once, she dropped \n forward on to his head, and nearly broke his neck, so that they","\"Will you come in?\" she said. \"My father is lying down.\" \n \n She took him into a drawing-room, full of books, with a piano \n and a violin-stand. And they talked, she simply and easily. She","love. Her feet began to hurry. She wanted to get back to him. \n Her heart became tight with yearning for him. \n \n He had been making the garden in order, cutting the edges of \n the turf, laying the path with stones. He was a good, capable","\"Very well.\" \n \n \"So did I.\" \n \n There was a pause. \n \n \"And do you love me?\" he asked. \n \n She turned and looked at him searchingly. He seemed outside \n her. \n","before him. \n \n \"No,\" he said slowly. \"What other woman should I want?\" \n \n \"Like your brother,\" she said. \n \n He was silent for some time, ashamed also. \n","with an incredibly quick, delicate movement, he put his arms \n round her and drew her to him. It was quick, cleanly done, like \n a bird that swoops and sinks close, closer. \n \n He was kissing her throat. She turned and looked at him. Her","He looked at her in amazement. She evidently had a new idea \n of his brother: she evidently appreciated him. He looked again \n at the woman. She was about forty, straight, rather hard, a \n curious, separate creature. Himself, he was not in love with","was not with him, she was against him. But her making love to \n him, her complete admiration of him, in open life, gratified \n him. \n \n She caught him out of himself, and they were lovers, in a","She had lunch with him in his hotel; every evening she spent \n with him, either in town, at his rooms, or in the country. She \n made the excuse at home of evening study for her degree. But she \n paid not the slightest attention to her study. \n","Something fixed in him for ever. He was hers. And he was very \n glad and afraid. He did not know what to do, as they stood there \n in the open, moonlit field. He looked through her hair at the \n moon, which seemed to swim liquid-bright."],["There was great preparation made for the removal of the whole \n Brangwen family, ten in all. The house in Beldover was prepared, \n the house in Cossethay was dismantled. Come the end of the \n school-term the removal would begin. \n","Anna went more to her mother. \n \n Then suddenly the father died. \n \n It happened one springtime when Ursula was about eight years \n old, he, Tom Brangwen, drove off on a Saturday morning to the","than on her. Gradually the child was freed. She became an \n independent, forgetful little soul, loving from her own \n centre. \n \n Of her own choice, she then loved Brangwen most, or most","TO ELSE \n \n \n \n CONTENTS \n \n I How Tom Brangwen Married a Polish Lady \n II They Live at the Marsh \n III Childhood of Anna Lensky \n IV Girlhood of Anna Brangwen","struggle with the furniture, upstairs. Towards five o'clock, \n appeared the last loads, consisting also of Mrs. Brangwen and \n the younger children, driven by Uncle Fred in the trap. Gudrun \n had walked with Margaret from the station. The whole family had","always children, and the patrimony was divided every time. But \n always, at the Marsh, there was ample. \n \n So the Brangwens came and went without fear of necessity, \n working hard because of the life that was in them, not for want","Brangwens and the Marsh. Indeed, Mrs. Alfred, having inherited \n three thousand pounds, and having occasion to be dissatisfied \n with her husband, held aloof from all the Brangwens whatsoever.","mother had, at this time, the power to irritate and madden the \n girl continuously. There were already seven children, yet Mrs. \n Brangwen was again with child, the ninth she had borne. One had \n died of diphtheria in infancy.","\"How many more Brangwens?\" said Tom Brangwen, ashamed of the \n too-frequent recurrence of his family name. \n \n When they were out again in the sunshine, and he saw the","Anna wriggled close into her mother's arms, clinging tight, \n hiding from the fact of the man. Brangwen lay still, and waited. \n There was a long silence. \n \n Then suddenly, Anna looked round, as if she thought he would","Brangwen's my father now. He is, yes he is. And I \n live here.\" \n \n This pleased Brangwen very much. And gradually, without \n knowing it herself, she clung to him, in her lost, childish,","Sometimes there sounded, long and remote in the house, \n vibrating through everything, the moaning cry of a woman in \n labour. Brangwen, sitting downstairs, was divided. His lower, \n deeper self was with her, bound to her, suffering. But the big","and Theresa was Billy's, and even the tiny Katie had to be Eddie \n Ant'ny's sweetheart. There was the closest union. At every \n possible moment the little gang of Brangwens and Phillipses flew","later on, when his heart and his feet were heavy, his brain \n dead, his life stopped. \n \n One afternoon, the pains began, Mrs. Brangwen was put to bed, \n the midwife came. Night fell, the shutters were closed, Brangwen","unknown. Her feet and hands beat like a madness, her breast \n strained as if in bonds. \n \n The music began, and the bonds began to slip. Tom Brangwen \n was dancing with the bride, quick and fluid and as if in another","Brangwen, in his solid fashion, was letting himself go at \n last. \n \n These three brothers dominated the whole company. Tom \n Brangwen wanted to make a speech. For the first time in his \n life, he must spread himself wordily. \n","as a man nor a woman amongst them, then it seems to me as a \n married couple makes one Angel.\" \n \n \"It's the brandy,\" said Alfred Brangwen wearily. \n \n \"For,\" said Tom Brangwen, and the company was listening to","\"I know your father is drowned,\" she said, in a curious \n dismay. \n \n The flood rose through the night, till it washed the kettle \n off the hob in the kitchen. Mrs. Brangwen sat alone at a window","which would have liked to put her down. But Brangwen was having \n no such thing. If she chose to be royal, royal she should be. He \n stood like a rock between her and the world. \n \n After the fashion of his family, he grew stout and handsome.","people. At evening, towards six o'clock, Anna very often went \n across the lane to the stile, lifted Ursula over into the field, \n with a: \"Go and meet Daddy.\" Then Brangwen, coming up the steep"],["There was great preparation made for the removal of the whole \n Brangwen family, ten in all. The house in Beldover was prepared, \n the house in Cossethay was dismantled. Come the end of the \n school-term the removal would begin. \n","Tom Brangwen had taken them a cottage at Cossethay, on a \n twenty-one years' lease. Will Brangwen's eyes lit up as he saw \n it. It was the cottage next the church, with dark yew-trees,","towards Southwell, and Sherwood Forest. There it was so lovely \n and romantic. But out into the world meant out into the world. \n Will Brangwen must become modern. \n \n He bought, with his wife's money, a fairly large house in the","most central for Brangwen. It was an old, quiet village on the \n edge of the thronged colliery-district. So that it served, in \n its quaintness of odd old cottages lingering in their sunny","and to the side of Anna's house. The lights were out, only on \n the blinds of the rooms downstairs, and of a bedroom upstairs, \n firelight flickered. \n \n \"We'd better leave 'em alone,\" said Alfred Brangwen. \n","intensity, in which passion worked its inevitable conclusions. \n There was in the house a sort of richness, a deep, inarticulate \n interchange which made other places seem thin and unsatisfying. \n Brangwen could sit silent, smoking in his chair, the mother","Tom Brangwen was so curious about the woman that the next \n time he was in Wirksworth he asked for her house. \n \n He found a beautiful cottage on the steep side of a hill, \n looking clean over the town, that lay in the bottom of the","Brangwen's my father now. He is, yes he is. And I \n live here.\" \n \n This pleased Brangwen very much. And gradually, without \n knowing it herself, she clung to him, in her lost, childish,","The days went on as before, Brangwen went out to his work, \n his wife nursed her child and attended in some measure to the \n farm. They did not think of each other-why should they? Only \n when she touched him, he knew her instantly, that she was with","\"There'll be no need to have a clock,\" said Will Brangwen, \n peeping out at the white clock-face on the tower, his \n neighbour. \n \n At the back of the house was a garden adjoining the paddock,","winding streams, ragged with gorse, and heath, the darker woods \n in the distance. \n \n The whole place was just unreal, just unreal. Even now, when \n he had been there for two years, Tom Brangwen did not believe in","range and freedom; whereas the Brangwen men faced inwards to the \n teeming life of creation, which poured unresolved into their \n veins. \n \n Looking out, as she must, from the front of her house towards","struggle with the furniture, upstairs. Towards five o'clock, \n appeared the last loads, consisting also of Mrs. Brangwen and \n the younger children, driven by Uncle Fred in the trap. Gudrun \n had walked with Margaret from the station. The whole family had","Nevertheless Brangwen was uneasy about the girl, the whole \n house continued to be disturbed. She had a pathetic, baffled \n appeal. She was hostile to her parents, even whilst she lived \n entirely with them, within their spell. \n","In Willey Green stood the Grammar School where Brangwen was \n occupied for two days during the week, and where experiments in \n education were being carried on. \n \n Ursula wanted to live in Willey Green on the remoter side,","Sometimes there sounded, long and remote in the house, \n vibrating through everything, the moaning cry of a woman in \n labour. Brangwen, sitting downstairs, was divided. His lower, \n deeper self was with her, bound to her, suffering. But the big","laughing, insidious grace. They all loved him, he was kin to \n them. His raillery, his warm, voluptuous mocking presence was \n meat and joy to the Brangwen household. For this house was","HOW TOM BRANGWEN MARRIED A POLISH LADY \n \n I \n \n The Brangwens had lived for generations on the Marsh Farm, in \n the meadows where the Erewash twisted sluggishly through alder","which would have liked to put her down. But Brangwen was having \n no such thing. If she chose to be royal, royal she should be. He \n stood like a rock between her and the world. \n \n After the fashion of his family, he grew stout and handsome.","spacious. Come college, and she would have broken from the \n confines of all the life she had known. For her father was also \n going to move. They were all going to leave Cossethay. \n \n Brangwen had kept his carelessness about his circumstances."],["\"let him talk.\" Mrs. Alfred darted indignant eyes at her \n husband. \n \n \"A man,\" continued Tom Brangwen, \"enjoys being a man: for \n what purpose was he made a man, if not to enjoy it?\" \n","He held her as thought they were one, and was silent. \n \n In the house, Tom Brangwen waited a while. Then he got up and \n went out. He went down the yard. He saw the curious misty shaft","winding streams, ragged with gorse, and heath, the darker woods \n in the distance. \n \n The whole place was just unreal, just unreal. Even now, when \n he had been there for two years, Tom Brangwen did not believe in","\"Sit you down,\" said Tom Brangwen, \"an' take a bit off your \n length.\" \n \n Will Brangwen sat down. He felt something strange in the \n atmosphere. He was dark browed, but his eyes had the keen,","And Tom Brangwen, blue-eyed and warm, sat in opposition to \n the youth. \n \n \"How long are you stopping?\" the young husband asked his \n wife. \n \n \"Not very long,\" she said. \n","and rough country beyond, and at the great, mathematical \n colliery on the other side. \n \n They saw Tom Brangwen walking up the curved drive. He was \n getting stouter, but with his bowler hat worn well set down on","Tom Brangwen had taken them a cottage at Cossethay, on a \n twenty-one years' lease. Will Brangwen's eyes lit up as he saw \n it. It was the cottage next the church, with dark yew-trees,","Tom Brangwen was frightened. His heart always filled with \n fear, fear of the unknown, when he heard his women speak of \n their bygone men as of strangers they had known in passing and \n had taken leave of again. \n","Tom Brangwen was now the fairy godfather. He was never happy \n unless he was buying something. Will Brangwen, with his interest \n in all wood-work, was getting the furniture. He was left to buy","shouted Tom Brangwen. \n \n \"Hearth an' home, an' may ye enjoy it.\" \n \n There was a ragged shout of the company in response. \n \n \"Bed an' blessin', an' may ye enjoy it,\" shouted Frank","\"It's th' cab,\" said somebody from the door. \n \n \"Walk in,\" shouted Tom Brangwen, and a red-faced grinning man \n entered. \n \n \"Now, you two, get yourselves ready an' off to blanket fair,\"","Tom Brangwen was glad to get back to the farm, where he was \n in his own again. \"I have got a turnip on my shoulders, let me \n stick to th' fallow,\" he said to his exasperated mother. He had","So a change in tone came over the Marsh. Tom Brangwen the \n father, as he grew older, seemed to mature into a \n gentleman-farmer. His figure lent itself: burly and handsome. \n His face remained fresh and his blue eyes as full of light, his","Now when Tom Brangwen, at nineteen, a youth fresh like a \n plant, rooted in his mother and his sister, found that he had \n lain with a prostitute woman in a common public house, he was","Tom Brangwen was so curious about the woman that the next \n time he was in Wirksworth he asked for her house. \n \n He found a beautiful cottage on the steep side of a hill, \n looking clean over the town, that lay in the bottom of the","woman gets the bit the shop can't digest. What is he at home, a \n man? He is a meaningless lump--a standing machine, a \n machine out of work.\" \n \n \"They know they are sold,\" said Tom Brangwen. \"That's where","\"Get your tea, lad,\" said Tom Brangwen. \"Are you itchin' to \n be off the moment you enter?\" \n \n They talked of trivial things. Through the open door the \n level rays of sunset poured in, shining on the floor. A grey hen","handles. He even read the name-plate, \"Tom Brangwen, of the \n Marsh Farm. Born ----. Died ----.\" \n \n The good-looking, still face of the young man crinkled up for","continued Tom Brangwen. \n \n \"All speak up, men,\" chimed in a feminine voice. \n \n \"Therefore we have marriage,\" continued Tom Brangwen. \n","to do with me. They all break down. You've got to go on by \n yourself, if it's only to perdition. There's nobody going \n alongside even there.\" \n \n Tom Brangwen meditated this. \n"],["He had loved one warm, clever boy who was frail in body, a \n consumptive type. The two had had an almost classic friendship, \n David and Jonathan, wherein Brangwen was the Jonathan, the \n server. But he had never felt equal with his friend, because the","She came to him again, with the same lifting of her mouth as \n had driven him almost mad with trammelled passion at first. She \n came to him again, and, his heart delirious in delight and \n readiness, he took her. And it was almost as before.","he was drunk at a public house, he went upstairs with a \n prostitute who seduced him. He was then nineteen. \n \n The thing was something of a shock to him. In the close \n intimacy of the farm kitchen, the woman occupied the supreme","Then suddenly, out of nowhere, there was connection between them \n again. It came on him as he was working in the fields. The \n tension, the bond, burst, and the passionate flood broke forward \n into a tremendous, magnificent rush, so that he felt he could","and he with only one man's capacity. \n \n He lived in a passion of sensual discovery with her for some \n time--it was a duel: no love, no words, no kisses even, \n only the maddening perception of beauty consummate, absolute","was not with him, she was against him. But her making love to \n him, her complete admiration of him, in open life, gratified \n him. \n \n She caught him out of himself, and they were lovers, in a","good-for-nothing. So he was humble. \n \n But at the same time his feelings were more discriminating \n than those of most of the boys, and he was confused. He was more \n sensuously developed, more refined in instinct than they. For","suffered much. And she was too deeply hurt to submit. \n \n She had her blind agonies, when she wanted him, she wanted \n him. But from the moment of his departure, he had become a","to know her. And they would not. They remained intent, and far, \n and proud, like a hawk's naive and inhuman as a hawk's. So she \n loved him and caressed him and roused him like a hawk, till he","had already left them. They left her very much alone. \n \n She went with him for the three days in the country house \n near Oxford. It was delicious, and she was very happy. But the \n thing she remembered most was when, getting up in the morning","by that which he discovered in her. He was another man revelling \n over her. There was no tenderness, no love between them any \n more, only the maddening, sensuous lust for discovery and the","she dreaded and resisted. She was subject to him as to the Angel \n of the Presence. She waited upon him and heard his will, and she \n trembled in his service. \n \n Then all this passed away. Then he loved her for her","\"It is too many,\" she said sympathetically. \n \n \"You'll get about the same,\" he said. \n \n That was all she received. She sat rather blank, not knowing \n how to feel. Still she liked him. He seemed so cross. There was","As a little animal, she loved and adored it and was happy. \n She loved her husband, she kissed his eyes and nose and mouth, \n and made much of him, she said his limbs were beautiful, she was \n fascinated by the physical form of him. \n","he was a virgin. And why, when all women were different? Why, \n when he would only live once? He wanted the other life. His own \n life was barren, not enough. He wanted the other. \n","And he waited, intent, obsessed, for the moment when he could \n come to her. \n \n She enjoyed him, she made much of him. She liked to put her \n fingers on the soft skin of his sides, or on the softness of his","The only man she knew was her father; and, as he was \n something large, looming, a kind of Godhead, he embraced all \n manhood for her, and other men were just incidental. \n \n She remembered her cousin Will. He had town clothes and was","excitement of it, and accepted. During the courtship, his kisses \n were a wonder to her. She always thought about them, and \n wondered over them. She never wanted to kiss him back. In her \n idea, the man kissed, and the woman examined in her soul the","So they were together in a darkness, passionate, electric, \n for ever haunting the back of the common day, never in the \n light. In the light, he seemed to sleep, unknowing. Only she \n knew him when the darkness set him free, and he could see with","was, dangerous to a degree, even whilst he gave himself to it. \n It was pure darkness, also. All the shameful things of the body \n revealed themselves to him now with a sort of sinister, tropical \n beauty. All the shameful, natural and unnatural acts of sensual"]],"string":"[\n [\n \"died, and left him raving, disconsolate. Lydia had visited him \\n then, taking Anna with her. It was when the girl was fourteen \\n years old. Since then she had not seen him. She remembered him\",\n \"returned to Warsaw a patriot. Her mother had married a German \\n merchant and gone away. \\n \\n Lydia Lensky, married to the young doctor, became with him a \\n patriot and an émancipée. They were poor, but they\",\n \"refuge, where she could lie down and muse and muse. Sometimes \\n Fred would read to her. But that did not mean much. She had so \\n many dreams to dream over, such an unsifted store. She wanted \\n time. \\n\",\n \"She was the widow of a Polish doctor, he gathered. Her \\n husband had died, a refugee, in London. She spoke a bit \\n foreign-like, but you could easily make out what she said. She\",\n \"refuge. The young girl hated to be in the house with him when he \\n was like this. \\n \\n After dinner, he retired into the parlour, continuing in the \\n same state of abstraction, which was a burden intolerable to\",\n \"husband wept aloud, unaware of everybody. But the war went on, \\n and soon he was back at his work. A darkness had come over \\n Lydia's mind. She walked always in a shadow, silenced, with a\",\n \"country. There came into her mind now the memory of her home \\n where she had been a child, the big house among the land, the \\n peasants of the village. \\n \\n She was sent to Yorkshire, to nurse an old rector in his\",\n \"the open for a moment, hurting the eyes before she plunged under \\n cover of cloud again. \\n \\n \\n \\n CHAPTER II \\n \\n THEY LIVE AT THE MARSH \\n \\n She was the daughter of a Polish landowner who, deeply in\",\n \"So she lived for some time. Then, with slight uneasiness, she \\n used half to awake to the streets of London. She realized that \\n there was something around her, very foreign, she realized she \\n was in a strange place. And then, she was sent away into the\",\n \"Muscovite. \\n \\n Lensky was something of a fire-eater also. Lydia, tempered by \\n her German blood, coming of a different family, was obliterated, \\n carried along in her husband's emphasis of declaration, and his\",\n \"She must, it could not be otherwise. \\n \\n He had learned a little of her. She was poor, quite alone, \\n and had had a hard time in London, both before and after her \\n husband died. But in Poland she was a lady well born, a\",\n \"had one little girl named Anna. Lensky was the woman's name, \\n Mrs. Lensky. \\n \\n Brangwen felt that here was the unreality established at \\n last. He felt also a curious certainty about her, as if she were\",\n \"She, Lydia Brangwen, was sorry for him now. He was \\n dead--he had scarcely lived. He had never known her. He had \\n lain with her, but he had never known her. He had never received\",\n \"Anna, watching, threw scraps of bread, and she felt the child \\n flame within her. She seemed to remember again forgotten, \\n burning, far-off things. \\n \\n \\\"Where was I born, mother?\\\" she asked. \\n \\n \\\"In London.\\\" \\n\",\n \"debt to the Jews, had married a German wife with money, and who \\n had died just before the rebellion. Quite young, she had married \\n Paul Lensky, an intellectual who had studied at Berlin, and had\",\n \"place, and would tell him about herself. She seemed to be back \\n again in the past, chiefly in her childhood or her girlhood, \\n with her father. She very rarely talked of her first husband. \\n But sometimes, all shining-eyed, she was back at her own home,\",\n \"\\\"Yes, dark eyes. He was a clever man, as quick as a lion. He \\n was never still.\\\" \\n \\n Lydia still resented Lensky. When she thought of him, she was \\n always younger than he, she was always twenty, or twenty-five,\",\n \"Lydia Brangwen, the mother, also came and saw the impressive, \\n inviolable body of the dead man. She went pale, seeing death. He \\n was beyond change or knowledge, absolute, laid in line with the\",\n \"Then came the flight to London. Lensky, the little, thin man, \\n had got all his life locked into a resistance and could not \\n relax again. He lived in a sort of insane irritability, touchy,\",\n \"to her. For she had never known it in her life, all her \\n surroundings had been loose, lax, disordered, a welter. \\n \\n \\\"Miss Lydia, will you marry me?\\\" he had said to her in\"\n ],\n [\n \"Anna took her best clothes, recovered her best high-school \\n manner, and arrived with her husband. Will Brangwen, ruddy, \\n bright, with long limbs and a small head, like some uncouth \\n bird, was not changed in the least. The little Baroness was\",\n \"from far above, like a captive. And Anna did not sleep. There \\n was a strange, dark tension about her husband. \\n \\n She became aware that he was trying to force his will upon \\n her, something, there was something he wanted, as he lay there\",\n \"After a long bout of hostility, Anna at last closed with him. \\n She had now four children, all girls. For seven years she had \\n been absorbed in wifehood and motherhood. For years he had gone \\n on beside her, never really encroaching upon her. Then gradually\",\n \"There was a horrible silence in the house. Anna kept out of \\n sight as much as possible. She could be for hours alone. \\n \\n Will Brangwen came back, after stupid scenes at Nottingham.\",\n \"Tilly was set to watch out for him as he passed by on his way \\n home. The little party at table heard the woman's servant's \\n shrill call: \\n \\n \\\"You've got to come in, Will. Anna's here.\\\" \\n\",\n \"itself to him: \\n \\n \\\"We'll get married, Anna.\\\" \\n \\n She was silent. \\n \\n \\\"We'll get married, Anna, shall we?\\\" \\n \\n She stopped in the field again and kissed him, clinging to\",\n \"When she called, he answered, when he asked, her response came \\n at once, or at length. \\n \\n Anna's soul was put at peace between them. She looked from \\n one to the other, and she saw them established to her safety,\",\n \"\\\"Anna,\\\" he said. \\n \\n But still she was motionless, like a curled up, oblivious \\n creature. His heart beat with strange throes of pain. Then, by a \\n motion under his hand, he knew she was crying, holding herself\",\n \"The evening came on, he played with Anna, and then sat alone \\n with his own wife. She was sewing. He sat very still, smoking, \\n perturbed. He was aware of his wife's quiet figure, and quiet\",\n \"to the little girl for her sympathy and her love, he appealed \\n with all his power to the small Anna. So soon they were like \\n lovers, father and child. \\n \\n For he was afraid of his wife. As she sat there with bent\",\n \"and expressionless. She could not move him any more than a \\n statue. \\n \\n She crept to bed, and cried. But she was going to be married \\n to Will Brangwen, and then she need not bother any more.\",\n \"Anna wriggled close into her mother's arms, clinging tight, \\n hiding from the fact of the man. Brangwen lay still, and waited. \\n There was a long silence. \\n \\n Then suddenly, Anna looked round, as if she thought he would\",\n \"At the funeral, and after the funeral, Will Brangwen was \\n madly in love with his wife. The death had shaken him. But death \\n and all seemed to gather in him into a mad, over-whelming\",\n \"talked, desultorily, both of them idle. He read very little. \\n Anything he was drawn to read became a burning reality to him, \\n another scene outside his window. Whereas Anna skimmed through a \\n book to see what happened, then she had enough. \\n\",\n \"Anna loved to watch him. She liked the big, new, rambling \\n vicarage, desolate and stark on its hill. It was so exposed, so \\n bleak and bold after the Marsh. The Baron talked endlessly in\",\n \"And Anna had a new reserve, a new independence. Suddenly she \\n began to act independently of her parents, to live beyond them. \\n Her mother had flashes of anger. \\n \\n But the courtship went on. Anna would find occasion to go\",\n \"shouted Tom Brangwen. \\\"Strike a daisy, but if you're not off \\n like a blink o' lightnin', you shanna go, you s'll sleep \\n separate.\\\" \\n \\n Anna rose silently and went to change her dress. Will\",\n \"Anna went more to her mother. \\n \\n Then suddenly the father died. \\n \\n It happened one springtime when Ursula was about eight years \\n old, he, Tom Brangwen, drove off on a Saturday morning to the\",\n \"He belonged to nowhere, to no society. \\n \\n Anna Brangwen had left her intimacy with her father \\n undeveloped since the time of her marriage. At her marriage it \\n had been abandoned. He and she had drawn a reserve between them.\",\n \"Anna was absorbed in the child now, she left her husband to \\n take his own way. She was willing now to postpone all adventure \\n into unknown realities. She had the child, her palpable and \\n immediate future was the child. If her soul had found no\"\n ],\n [\n \"of secret side-show to her life, never to be opened. She did not \\n even think of it. It was the closed door she had not the \\n strength to open. \\n \\n Once she was broken in to her teaching, Ursula began\",\n \"enough.\\\" \\n \\n The matter was left there. But Ursula considered herself free \\n to act. For some days she made no move. She was reluctant to \\n take the cruel step of finding work, for she shrank with extreme\",\n \"concerns of his life, not go projecting himself towards the \\n ultimate. \\n \\n But Ursula was all for the ultimate. She was always in revolt \\n against babies and muddled domesticity. To her Jesus was another\",\n \"She was staunch for joy, for happiness, and permanency, in \\n contrast with Maggie, who was for sadness, and the inevitable \\n passing-away of things. Ursula suffered bitterly at the hands of \\n life, Maggie was always single, always withheld, so she went in\",\n \"suffered and enjoyed most keenly Maggie's fundamental sadness of \\n enclosedness. Maggie enjoyed and suffered Ursula's struggles \\n against the confines of her life. And then the two girls began \\n to drift apart, as Ursula broke from that form of life wherein\",\n \"The autumn passed away, the winter was at hand. Ursula became \\n more and more an inhabitant of the world of work, and of what is \\n called life. She could not see her future, but a little way off,\",\n \"individuals, so much were they pervaded by the physical heat of \\n breeding and rearing their young. \\n \\n How Ursula resented it, how she fought against the close, \\n physical, limited life of herded domesticity! Calm, placid,\",\n \"Her very bones seemed to bid him keep his distance from her. \\n \\n It was in these weeks that Ursula grew up. She stayed two \\n weeks at Wiggiston, and she hated it. All was grey, dry ash,\",\n \"life, to hold blind authority over the school. His teachers were \\n his subjects as much as the scholars. Only, because they had \\n some authority, his instinct was to detest them. \\n \\n Ursula could not make herself a favourite with him. From the\",\n \"This attracted Ursula very much. She was so used to unsure \\n people who took on a new being with every new influence. Her \\n Uncle Tom was always more or less what the other person would \\n have him. In consequence, one never knew the real Uncle Tom,\",\n \"upbringing, they seemed to rush along their own lives without \\n caring that they existed to other people. Never from the start \\n did it occur to Ursula that other people might hold a low \\n opinion of her. She thought that whosoever knew her, knew she\",\n \"CHAPTER XII \\n \\n FIRST LOVE \\n \\n As Ursula passed from girlhood towards womanhood, gradually \\n the cloud of self-responsibility gathered upon her. She became \\n aware of herself, that she was a separate entity in the midst of\",\n \"different. Yet she was always Ursula Brangwen. But what did it \\n mean, Ursula Brangwen? She did not know what she was. Only she \\n was full of rejection, of refusal. Always, always she was\",\n \"\\\"It's no good her coming--her character's not good \\n enough for her to make any trouble.\\\" \\n \\n Ursula shrank from the brutality and the scandal. But it had \\n some vague, horrid fascination. How sordid everything seemed!\",\n \"I shall be glad indeed to know that one more of my girls has \\n provided for herself the means of freedom to choose for \\n herself.\\\" \\n \\n It all sounded grim and desperate. Ursula rather hated it.\",\n \"\\\"No,\\\" said Ursula, stubbornly and dully. \\\"No, I don't want to \\n go to London, I want to be by myself.\\\" \\n \\n Winifred knew what this meant. She knew that Ursula was\",\n \"the passion of Ursula to know her own maximum self, limited and \\n so defined against him. She could limit and define herself \\n against him, the male, she could be her maximum self, female, oh \\n female, triumphant for one moment in exquisite assertion against\",\n \"Ursula's heart sank. It was a cold, dreary satisfaction to \\n think of. Yet her cold will acquiesced. This was what she \\n wanted. \\n \\n \\\"You have an emotional nature,\\\" the letter went on, \\\"a quick\",\n \"it was power, and power alone that mattered. \\n \\n Soon Ursula came to dread him, and at the bottom of her dread \\n was a seed of hate, for she despised him, yet he was master of\",\n \"class. Yet she was never certain. It might be that Miss Inger \\n cared nothing for her. And yet, and yet, with blazing heart, \\n Ursula felt that if only she could speak to her, touch her, she \\n would know. \\n\"\n ],\n [\n \"friend.\\\" \\n \\n But the two friends were hostile. It was as if Ursula \\n wanted to divide herself from her acquaintances, in \\n asserting her connection with Anton, as she now called him. \\n\",\n \"\\\"Kiss me, Anton, kiss me,\\\" she pleaded. \\n \\n He kissed her, but she knew he could not touch her. His arms \\n were round her, but they had not got her. She could feel his\",\n \"Anton. The other can only end badly.\\\" \\n \\n So out of fear of herself Ursula was to marry Skrebensky. \\n \\n He was very busy now, preparing to go to India. He must visit \\n relatives and contract business. He was almost sure of Ursula\",\n \"of the compression she would go mad. The compression was Anton \\n and Anton's world, not the Anton she possessed, but the Anton \\n she did not possess, that which was owned by some other \\n influence, by the world. \\n\",\n \"Anton Skrebensky could not beg. He was in possession of himself, \\n of that, and no more. Other people could not really give him \\n anything nor take anything from him. His soul stood alone. \\n \\n She knew that her mother and father acknowledged him. The\",\n \"itself? There are plenty of men who aren't Anton, whom I could \\n love--whom I would like to love.\\\" \\n \\n \\\"Then you don't love him,\\\" said Dorothy. \\n\",\n \"armies had done with them. It seems just as much a game.\\\" \\n \\n \\\"If you call war a game.\\\" \\n \\n \\\"What is it?\\\" \\n \\n \\\"It's about the most serious business there is, \\n fighting.\\\" \\n\",\n \"never sure under his feet, he was nowhere. His final downfall \\n was his complete inability to attend to a question put without \\n suggestion. If he had to write a formal composition on the Army, \\n he did at last learn to repeat the few facts he knew: \\\"You can\",\n \"loved Anton Skrebensky. But she did not forgive him that he had \\n not been strong enough to acknowledge her. He had denied her. \\n How then could she love him? How then was love so absolute? She\",\n \"And she danced on and on with Skrebensky, while the great, white \\n watching continued, balancing all in its revelation. \\n \\n \\\"The moon has risen,\\\" said Anton, as the music ceased, and\",\n \"aristocrat. He was roughly, even cruelly received. But he never \\n understood it. He remained a fiery aristocrat. Only he had to \\n learn to avoid his parishioners. \\n \\n Anna was very much impressed by him. He was a smallish man\",\n \"\\\"I tell you I do;--quite as much, and perhaps more than \\n I should love any of the others. Only there are plenty of things \\n that aren't in Anton that I would love in the other men.\\\" \\n \\n \\\"What, for instance?\\\" \\n\",\n \"And groping, she touched him. A fire like lightning drenched \\n them. \\n \\n \\\"Anton?\\\" she said. \\n \\n \\\"What?\\\" he answered. \\n \\n She held him with her hands in the darkness, she felt his\",\n \"might. With all her might she turned away from it. She was good, \\n she was loving. Her heart was warm, her blood was dark and warm \\n and soft. She laid her hand caressively on Anton's shoulder. \\n\",\n \"Baroness, yet mistrusting it, fascinated. The little baron was \\n now quite white-haired, very brittle. He was wizened and \\n wrinkled, yet fiery, unsubdued. Anna looked at his lean body, at\",\n \"was now no self-bliss, only pain and confused anger. \\n \\n It was high summer, and the hay-harvest was almost over. It \\n would be finished on Saturday. On Saturday, however, Skrebensky \\n was going away. He could not stay any longer.\",\n \"She was wildly thrilled. Then she saw Anthony coming across the \\n snow, with his confident, slightly strutting stride. His face \\n looked brown and hard against the snow, smiling with a sort of \\n tense confidence. \\n \\n \\\"Hello!\\\" she called to him. \\n\",\n \"flush of sunburn on his hands and face. He was telling her how \\n he had learned to shoe horses and select cattle fit for \\n killing. \\n \\n \\\"Do you like to be a soldier?\\\" she asked. \\n \\n \\\"I am not exactly a soldier,\\\" he replied.\",\n \"Anthony, that he was not one. But oh, ultimately and finally, \\n she must go on and on, seeking the goal that she knew she did \\n draw nearer to. \\n \\n She was wearing away her second and last cycle at St.\",\n \"decision. When Anton talked to her, and seemed insidiously to \\n suggest himself as a husband to her, she knew how utterly locked \\n out he was. On the other hand, when she saw Dorothy, and \\n discussed the matter, she felt she would marry him promptly, at\"\n ],\n [\n \"She was the widow of a Polish doctor, he gathered. Her \\n husband had died, a refugee, in London. She spoke a bit \\n foreign-like, but you could easily make out what she said. She\",\n \"wife and family for a day or two, then returning to them. And \\n no-one dared gainsay him, for he was a strong-willed, direct \\n man, and he said he was a friend of this widow. \\n\",\n \"large--a splendid dining-room, drawing-room and kitchen, \\n besides a very pleasant study downstairs. Everything was \\n admirably appointed. The widow had settled herself in lavishly. \\n She was a native of Beldover, and had intended to reign almost\",\n \"\\\"Is she married and in service?\\\" asked Ursula. \\n \\n \\\"She is a widow. Her husband died of consumption a little \\n while ago.\\\" Brangwen gave a sinister little laugh. \\\"He lay there\",\n \"clear and dilated, so that the men could not look at her, and \\n the women were elated by her, they served her. Very wonderful \\n she was, as she bade farewell, her ugly wide mouth smiling with \\n pride and recognition, her voice speaking softly and richly in\",\n \"But there was a wound of sorrow, she had hurt herself, as if \\n she had bruised herself, in annihilating him. She covered up her \\n two young breasts with her hands, covering them to herself; and\",\n \"CHAPTER X \\n \\n THE WIDENING CIRCLE \\n \\n It was very burdensome to Ursula, that she was the eldest of \\n the family. By the time she was eleven, she had to take to\",\n \"She must, it could not be otherwise. \\n \\n He had learned a little of her. She was poor, quite alone, \\n and had had a hard time in London, both before and after her \\n husband died. But in Poland she was a lady well born, a\",\n \"wanted her to marry her Uncle Tom. Winifred knew this. She said \\n she would come to Wiggiston. She would now let fate do as it \\n liked with her, since there was nothing remaining to be done.\",\n \"place, and would tell him about herself. She seemed to be back \\n again in the past, chiefly in her childhood or her girlhood, \\n with her father. She very rarely talked of her first husband. \\n But sometimes, all shining-eyed, she was back at her own home,\",\n \"distasteful to her. Her father was himself long and loosely \\n built. What had he to do with so much \\\"good and substantial\\\" \\n importance? \\n \\n They bought a fair amount also of the widow's furniture. It\",\n \"His wife, as ever, had no acquaintances. Her hair was \\n threaded now with grey, her face grew older in form without \\n changing in expression. She seemed the same as when she had come \\n to the Marsh twenty-five years ago, save that her health was\",\n \"Tilly. \\n \\n \\\"Who might that be?\\\" he asked. \\n \\n Tilly, the cross-eyed woman of forty, who adored him, ran \\n gladly to the window to look. She was glad when he asked her for\",\n \"only Tilly, the cross-eyed woman-servant who had been with them \\n for fifteen years. He felt things coming to a close. All the \\n time, he had held himself stubbornly resistant to the action of\",\n \"then. For it was remembering a dead self. All that was dead \\n after Winifred. She knew the corpse of her young, loving self, \\n she knew its grave. And the young living self she mourned for \\n had scarcely existed, it was the creature of her\",\n \"\\\"It's a horrible thing to get used to,\\\" said Winifred Inger, \\n with a shudder. \\n \\n \\\"Yes,\\\" he said, still smiling. \\\"But that's how they are. \\n She'll be getting married again directly. One man or\",\n \"She was established in this stretch of life, she had come to \\n herself. During her first marriage, she had not existed, except \\n through him, he was the substance and she the shadow running at \\n his feet. She was very glad she had come to her own self. She\",\n \"She still adhered to Winifred Inger. But a sort of nausea was \\n coming over her. She loved her mistress. But a heavy, clogged \\n sense of deadness began to gather upon her, from the other\",\n \"Soon, she felt sure of her husband. She knew his dark face \\n and the extent of its passion. She knew his slim, vigorous body, \\n she said it was hers. Then there was no denying her. She was a \\n rich woman enjoying her riches. \\n\",\n \"who knew her. But something else denied bitterly. What was true \\n of her ten years ago was not true now. And something else which \\n she was, and must be, they could neither see nor allow. They \\n felt it there nevertheless, something beyond them, and they were\"\n ],\n [\n \"The two women became intimate. Their lives seemed suddenly to \\n fuse into one, inseparable. Ursula went to Winifred's lodging, \\n she spent there her only living hours. Winifred was very fond of\",\n \"Her chief friend at this period was Ursula. The little girl \\n and the musing, fragile woman of sixty seemed to understand the \\n same language. At Cossethay all was activity and passion, \\n everything moved upon poles of passion. Then there were four\",\n \"her. \\n \\n In hardness and bitterness of soul, Ursula knew that Winifred \\n was become her uncle's lover. She was glad. She had loved them \\n both. Now she wanted to be rid of them both. Their marshy,\",\n \"intimacy with her mistress. Winifred had had a scientific \\n education. She had known many clever people. She wanted to bring \\n Ursula to her own position of thought. \\n \\n They took religion and rid it of its dogmas, its falsehoods.\",\n \"telling Ursula of a friend, how she had died in childbirth, and \\n what she had suffered; then she told of a prostitute, and of \\n some of her experiences with men. \\n\",\n \"your own things, so long as you left other people's alone. \\n \\n Ursula caressed him and made love to him. Nevertheless he \\n knew she wanted to react upon him and to destroy his being. She\",\n \"in the girl, but always eager, eager. As she went home, Ursula \\n dreamed of the schoolmistress, made infinite dreams of things \\n she could give her, of how she might make the elder woman adore \\n her. \\n\",\n \"intense, with an ivory face and dark hair looped plain over her \\n ears. Ursula was very fond of her, but afraid of her. She seemed \\n so old and so relentless towards herself. Yet she was only\",\n \"[Ursula lay still in her mistress's arms, her forehead against the \\n beloved, maddening breast. \\n \\n \\\"I shall put you in,\\\" said Winifred. \\n \\n But Ursula twined her body about her mistress.] \\n\",\n \"school, and took her to tea in the town. Then he had a motor-car \\n to drive her home. \\n \\n Her excitement at riding in a motor-car was greatest of all. \\n He too was very proud of this last coup. He saw Ursula kindle\",\n \"Ursula was included. She was the danger that threatened his body \\n with a blow, a fall. And blindly, thoroughly, moving from strong \\n instinct of opposition, he set to work to expel her. \\n \\n When he punished one of her children as he had punished the\",\n \"The girl could only laugh with revealed, open, glowing \\n face. \\n \\n The love was now tacitly confessed. But it was some time \\n before any further progress was made. Ursula continued in \\n suspense, in inflamed bliss. \\n\",\n \"Ursula sat amused, but waiting. And he knew Ursula was \\n waiting for him. It roused his blood. He had to go to her, to \\n follow her call. \\n \\n Once he drove her to Derby in the dog-cart. He belonged to\",\n \"Inger felt a hot delight in the lessons when Ursula was present, \\n Ursula felt her whole life begin when Miss Inger came into the \\n room. Then, with the beloved, subtly-intimate teacher present,\",\n \"relation to anyone else. \\n \\n She was not clever at all. She thought Ursula clever enough \\n for two. Ursula understood, so why should she, Gudrun, bother \\n herself? The younger girl lived her religious, responsible life\",\n \"towards Ursula. Her rust-red, thin tunic was clinging to her, \\n the whole body was defined, firm and magnificent, as it seemed \\n to the girl. \\n \\n \\\"I enjoyed our race, Ursula, did you?\\\" said Miss Inger. \\n\",\n \"entered the other corridor and found Ursula's room. She was lying awake, \\n wide-eyed and suffering. She was glad he had come, if only for \\n consolation. It was consolation to be held in his arms, to feel his body\",\n \"She was staunch for joy, for happiness, and permanency, in \\n contrast with Maggie, who was for sadness, and the inevitable \\n passing-away of things. Ursula suffered bitterly at the hands of \\n life, Maggie was always single, always withheld, so she went in\",\n \"CHAPTER XII \\n \\n FIRST LOVE \\n \\n As Ursula passed from girlhood towards womanhood, gradually \\n the cloud of self-responsibility gathered upon her. She became \\n aware of herself, that she was a separate entity in the midst of\",\n \"Dorothy. \\\"Is it just other men?\\\" \\n \\n Ursula was silenced. This was her own dread. Was she just \\n promiscuous? \\n \\n \\\"Because if it is,\\\" continued Dorothy, \\\"you'd better marry\"\n ],\n [\n \"by the women, just because he didn't live at home and was a \\n lace-designer and almost a gentleman. But Alfred was something \\n of a Prometheus Bound, so the women loved him. Tom came later to \\n understand his brother better. \\n\",\n \"when she had once set upon anything, which was not often, the \\n family failed before her. \\n \\n So Tom went to school, an unwilling failure from the first. \\n He believed his mother was right in decreeing school for him,\",\n \"with her. She knew her Uncle Tom perceived what was going on. \\n But she knew moreover that in spite of his criticism and \\n condemnation, he still wanted the great machine. His only happy \\n moments, his only moments of pure freedom were when he was\",\n \"into the barn, whilst his wife was in labour with the young Tom. \\n He remembered the soft, warm weight of the little girl on his \\n arm, round his neck. Now she would say he was finished. She was\",\n \"As youngest son, Tom felt some importance when the care of \\n the farm devolved on to him. He was only eighteen, but he was \\n quite capable of doing everything his father had done. And of \\n course, his mother remained as centre to the house. \\n\",\n \"Tom was more restrained, reserved. He kept his body very \\n still. But he troubled her even more. She could not but see the \\n black depths of disintegration in his eyes, the sudden glance \\n upon her, as if she could save him, as if he would reveal\",\n \"\\\"Maybe you was never broken in,\\\" he said. \\n \\n \\\"No, I never was,\\\" said Alfred proudly. \\n \\n And Tom felt his elder brother despised him a little. He \\n winced under it. \\n\",\n \"on a seat. A man hailed him. \\n \\n \\\"Good morning, Tom. That thine, then?\\\"--and the \\n bearded farmer jerked his head at Anna. \\n \\n \\\"Ay,\\\" said Brangwen, deprecating. \\n\",\n \"and the Marsh, yet the two households remained separate, \\n distinct. \\n \\n After Anna's marriage, the Marsh became the home of the two \\n boys, Tom and Fred. Tom was a rather short, good-looking youth,\",\n \"shouted Tom Brangwen. \\n \\n \\\"Hearth an' home, an' may ye enjoy it.\\\" \\n \\n There was a ragged shout of the company in response. \\n \\n \\\"Bed an' blessin', an' may ye enjoy it,\\\" shouted Frank\",\n \"Now when Tom Brangwen, at nineteen, a youth fresh like a \\n plant, rooted in his mother and his sister, found that he had \\n lain with a prostitute woman in a common public house, he was\",\n \"So the preparations were begun, directed by Tom Brangwen. A \\n marquee was set up on the home close, two large bonfires were \\n prepared. Musicians were hired, feast made ready. \\n\",\n \"\\\"let him talk.\\\" Mrs. Alfred darted indignant eyes at her \\n husband. \\n \\n \\\"A man,\\\" continued Tom Brangwen, \\\"enjoys being a man: for \\n what purpose was he made a man, if not to enjoy it?\\\" \\n\",\n \"He held her as thought they were one, and was silent. \\n \\n In the house, Tom Brangwen waited a while. Then he got up and \\n went out. He went down the yard. He saw the curious misty shaft\",\n \"\\\"It's th' cab,\\\" said somebody from the door. \\n \\n \\\"Walk in,\\\" shouted Tom Brangwen, and a red-faced grinning man \\n entered. \\n \\n \\\"Now, you two, get yourselves ready an' off to blanket fair,\\\"\",\n \"Tom Brangwen was glad to get back to the farm, where he was \\n in his own again. \\\"I have got a turnip on my shoulders, let me \\n stick to th' fallow,\\\" he said to his exasperated mother. He had\",\n \"father and son, were supremely at ease with one another. Fred \\n was succeeding to the farm. \\n \\n Between the elder brother and the younger existed an almost \\n passionate love. Tom watched over Fred with a woman's poignant\",\n \"\\\"Drive on,\\\" shouted Tom Brangwen. \\n \\n The cab rolled off. They saw the light diminish under the ash \\n trees. Then the whole party, quietened, went indoors. \\n\",\n \"between them. Tom always felt very much the junior to \\n Alfred. \\n \\n \\\"It's a long while since you left home,\\\" he said. \\n \\n \\\"Ay,\\\" said Alfred. \\\"I thought I was getting a bit\",\n \"Was his life nothing? Had he nothing to show, no work? He did \\n not count his work, anybody could have done it. What had he \\n known, but the long, marital embrace with his wife! Curious,\"\n ],\n [\n \"friend.\\\" \\n \\n But the two friends were hostile. It was as if Ursula \\n wanted to divide herself from her acquaintances, in \\n asserting her connection with Anton, as she now called him. \\n\",\n \"Anton. The other can only end badly.\\\" \\n \\n So out of fear of herself Ursula was to marry Skrebensky. \\n \\n He was very busy now, preparing to go to India. He must visit \\n relatives and contract business. He was almost sure of Ursula\",\n \"\\\"You had a wet walk,\\\" he said to Ursula. \\n \\n \\\"Oh, I don't mind, I'm used to it,\\\" she replied, with a \\n nervous little laugh. \\n \\n But already he was not listening. Her words sounded\",\n \"Ursula resented it. It became distasteful to her. And she knew \\n that if they understood the real relationship between her and \\n Skrebensky, her parents, her father in particular, would go mad\",\n \"of secret side-show to her life, never to be opened. She did not \\n even think of it. It was the closed door she had not the \\n strength to open. \\n \\n Once she was broken in to her teaching, Ursula began\",\n \"\\\"It isn't a question of loving him,\\\" said Ursula. \\\"I love him \\n well enough--certainly more than I love anybody else in the \\n world. And I shall never love anybody else the same again. We\",\n \"Ursula was included. She was the danger that threatened his body \\n with a blow, a fall. And blindly, thoroughly, moving from strong \\n instinct of opposition, he set to work to expel her. \\n \\n When he punished one of her children as he had punished the\",\n \"her. \\n \\n In hardness and bitterness of soul, Ursula knew that Winifred \\n was become her uncle's lover. She was glad. She had loved them \\n both. Now she wanted to be rid of them both. Their marshy,\",\n \"Ursula sat amused, but waiting. And he knew Ursula was \\n waiting for him. It roused his blood. He had to go to her, to \\n follow her call. \\n \\n Once he drove her to Derby in the dog-cart. He belonged to\",\n \"some way, he was connected with her, as her father was connected \\n with her. \\n \\n She had another self, another responsibility. She was no \\n longer Ursula Brangwen, daughter of William Brangwen. She was\",\n \"He loved with a hot heart the dark-haired little Ursula, and \\n he waited for the child to come to consciousness. Now the mother \\n monopolized the baby. But his heart waited in its darkness. His \\n hour would come. \\n\",\n \"and Anthony were enemies by instinct. Ursula had to go back to \\n her friend brimming with affection and a poignancy of pity. \\n Which Maggie received with a little stiffness. Then poetry and \\n books and learning took the place of Anthony, with his goats'\",\n \"\\\"Kiss me, Anton, kiss me,\\\" she pleaded. \\n \\n He kissed her, but she knew he could not touch her. His arms \\n were round her, but they had not got her. She could feel his\",\n \"were not for Anna, and for this little Ursula, who had his \\n brows, there would be no more left of him than of a broken \\n vessel thrown away, and just remembered. \\n \\n Tom Brangwen had served her. He had come to her, and taken\",\n \"As she waited at the tram-terminus she reverted swiftly to \\n her childhood; her teasing grandfather, with his fair beard and \\n blue eyes, and his big, monumental body; he had got drowned: her \\n grandmother, whom Ursula would sometimes say she had loved more\",\n \"frightening side of him, after this. \\n \\n He said \\\"Good-bye\\\" to his mother and went away at once. \\n Ursula almost shrank from his kiss, now. She wanted it, \\n nevertheless, and the little revulsion as well. \\n\",\n \"Ursula was present. There was a brief altercation, closed by \\n Mrs. Brangwen's saying, in a tone of biting superiority and \\n indifference: \\n \\n \\\"Let her find out what it's like. She'll soon have had\",\n \"intense, with an ivory face and dark hair looped plain over her \\n ears. Ursula was very fond of her, but afraid of her. She seemed \\n so old and so relentless towards herself. Yet she was only\",\n \"\\\"What's the matter?\\\" he roared. \\n \\n Ursula felt as if something were going to break in her. \\n \\n \\\"I've thrashed him,\\\" she said, her breast heaving, forcing\",\n \"Ursula with a half-smile: cunning, subdued, ready to do as she \\n told him. There was something about him that made her shiver. \\n She loathed the idea of having laid hands on him. His elder\"\n ],\n [\n \"He died and went his way, but not before there was another \\n child. And this little Ursula was his grandchild. She was glad \\n of it. For she still honoured him, though he had been \\n mistaken. \\n\",\n \"Ursula was frightened, hearing these things. Her heart sank, \\n she felt she had no ground under her feet. She clung to her \\n grandmother. Here was peace and security. Here, from her \\n grandmother's peaceful room, the door opened on to the greater\",\n \"off, from Poland, and that dark-bearded impressive man. Strange, \\n her antecedents were, and she felt fate on either side of her \\n terrible. \\n \\n Almost every day, Ursula saw her grandmother, and every time,\",\n \"As she waited at the tram-terminus she reverted swiftly to \\n her childhood; her teasing grandfather, with his fair beard and \\n blue eyes, and his big, monumental body; he had got drowned: her \\n grandmother, whom Ursula would sometimes say she had loved more\",\n \"Ursula. She became elegant, really elegant, in figured cotton \\n frocks she made for herself, and hats she bent to her fancy. An \\n inspiration was upon her. \\n \\n He sat with a sort of languor in her grandmother's rocking\",\n \"Ursula was included. She was the danger that threatened his body \\n with a blow, a fall. And blindly, thoroughly, moving from strong \\n instinct of opposition, he set to work to expel her. \\n \\n When he punished one of her children as he had punished the\",\n \"\\\"Did you like my first grandfather best?\\\" asked Ursula. \\n \\n \\\"I liked them both,\\\" said the grandmother. \\n \\n And, thinking, she became again Lensky's girl-bride. He was\",\n \"intense, with an ivory face and dark hair looped plain over her \\n ears. Ursula was very fond of her, but afraid of her. She seemed \\n so old and so relentless towards herself. Yet she was only\",\n \"Her chief friend at this period was Ursula. The little girl \\n and the musing, fragile woman of sixty seemed to understand the \\n same language. At Cossethay all was activity and passion, \\n everything moved upon poles of passion. Then there were four\",\n \"\\\"This one? In Warsaw, I think.\\\" \\n \\n \\\"You didn't know my own grandfather then?\\\" \\n \\n \\\"Not this grandfather.\\\" \\n \\n Ursula pondered this fascinating intelligence. \\n \\n \\\"Did he have white whiskers as well?\\\" \\n\",\n \"Her very bones seemed to bid him keep his distance from her. \\n \\n It was in these weeks that Ursula grew up. She stayed two \\n weeks at Wiggiston, and she hated it. All was grey, dry ash,\",\n \"convention and fear, entirely indifferent to the world, standing \\n by herself, without connection: her grandmother, who had come \\n from so far and was centred in so wide an horizon: people must \\n come up to these standards before they could be Ursula's \\n people. \\n\",\n \"Miss Inger was a Bachelor of Arts, who had studied at \\n Newnham. She was a clergyman's daughter, of good family. But \\n what Ursula adored so much was her fine, upright, athletic\",\n \"relation to anyone else. \\n \\n She was not clever at all. She thought Ursula clever enough \\n for two. Ursula understood, so why should she, Gudrun, bother \\n herself? The younger girl lived her religious, responsible life\",\n \"wilted away, and wanted to break the old beast's neck. \\n \\n Instead he came glowering in fury to the house, and turned on \\n Ursula. \\n \\n \\\"Why, you tiresome little monkey, can't you even come to\",\n \"her. \\n \\n In hardness and bitterness of soul, Ursula knew that Winifred \\n was become her uncle's lover. She was glad. She had loved them \\n both. Now she wanted to be rid of them both. Their marshy,\",\n \"To Ursula she had always given pleasure, because of her \\n clear, decided, yet graceful appearance. She carried her head \\n high, a little thrown back, and Ursula thought there was a look \\n of nobility in the way she twisted her smooth brown hair upon\",\n \"\\\"Ursula! Eh--our Ursula?\\\" the name was shouted now Still \\n no answer. \\n \\n \\\"Mother, she won't answer,\\\" came the yell. \\\"She's dead.\\\" \\n\",\n \"CHAPTER X \\n \\n THE WIDENING CIRCLE \\n \\n It was very burdensome to Ursula, that she was the eldest of \\n the family. By the time she was eleven, she had to take to\",\n \"it. It was such an odd, exciting child. \\n \\n \\\"What's your name?\\\" the man suddenly asked of her. \\n \\n \\\"My name is Ursula--Ursula Brangwen,\\\" she replied. \\n\"\n ],\n [\n \"After a long bout of hostility, Anna at last closed with him. \\n She had now four children, all girls. For seven years she had \\n been absorbed in wifehood and motherhood. For years he had gone \\n on beside her, never really encroaching upon her. Then gradually\",\n \"\\\"Yes, three years that he is dead--yes.\\\" \\n \\n Curiously quiet she was, almost abstracted, answering these \\n questions. She looked at him again, with some maidenhood opening \\n in her eyes. He felt he could not move, neither towards her nor\",\n \"years before her. Her future was settled for two years. She \\n returned to college to prepare for her final examination. \\n \\n But during this year the glamour began to depart from \\n college. The professors were not priests initiated into the deep\",\n \"than there was in the year naught. That's the story, my boy, if \\n you understand it. There's no more to-day than there was a \\n thousand years ago--nor no less either. You can't wear\",\n \"When they came to themselves, the night was very dark. Two \\n hours had gone by. They lay still and warm and weak, like the \\n new-born, together. And there was a silence almost of the \\n unborn. Only his heart was weeping happily, after the pain. He\",\n \"\\\"I am twenty-eight,\\\" he said. \\n \\n \\\"Six years.\\\" \\n \\n She was oddly concerned, even as if it pleased her a little. \\n He sat and listened and wondered. It was rather splendid, to be\",\n \"\\\"We've been here above two hundred years,\\\" he said. Her eyes \\n were on him all the time, wide-open and trying to grasp him. He \\n felt that he was there for her. \\n \\n \\\"It is your own place, the house, the\",\n \"months' time and would tell them all about it, he shook hands \\n with her mother and took his leave. \\n \\n Ursula accompanied him into the lane. The night was windy, \\n the yew trees seethed and hissed and vibrated. The wind seemed\",\n \"The days went by--they were to have three weeks \\n together--in perfect success. All the time, they themselves \\n were reality, all outside was tribute to them. They were quite \\n careless about money, but they did nothing very extravagant. He\",\n \"Anna went more to her mother. \\n \\n Then suddenly the father died. \\n \\n It happened one springtime when Ursula was about eight years \\n old, he, Tom Brangwen, drove off on a Saturday morning to the\",\n \"and rubbing away again. There was a great heap of curled \\n white-and-scribbled sheets on the table. \\n \\n \\\"Must you do so many?\\\" asked Ursula. \\n \\n Again the man glanced up sharply. He was about thirty or\",\n \"long while they sat motionless. Only now and again her hand \\n closed more closely, lovingly, over his hand, then gradually \\n relaxed. \\n \\n The dusk began to fall. One or two lights appeared. The\",\n \"days, he would leap again with her from the bridge, daringly, \\n almost wickedly. Till at length, as he leapt, once, she dropped \\n forward on to his head, and nearly broke his neck, so that they\",\n \"were covered. And he dared not lift his face to look at her. \\n \\n Corn harvest came on. One evening they walked out through the \\n farm buildings at nightfall. A large gold moon hung heavily to\",\n \"place, and would tell him about herself. She seemed to be back \\n again in the past, chiefly in her childhood or her girlhood, \\n with her father. She very rarely talked of her first husband. \\n But sometimes, all shining-eyed, she was back at her own home,\",\n \"\\\"What did she do?\\\" \\n \\n \\\"She went to London, into a big shop. Ingram still goes up to \\n see her.\\\" \\n \\n \\\"Does he love her?\\\" \\n \\n \\\"It's a year and a half he's been with her now.\\\"\",\n \"only Tilly, the cross-eyed woman-servant who had been with them \\n for fifteen years. He felt things coming to a close. All the \\n time, he had held himself stubbornly resistant to the action of\",\n \"character. At eighteen he married a little factory girl, a pale, \\n plump, quiet thing with sly eyes and a wheedling voice, who \\n insinuated herself into him and bore him a child every year and\",\n \"was then no Jesus, no sentimentality. With all the bitter hatred \\n of helplessness she hated sentimentality. \\n \\n At this period came the young Skrebensky. She was nearly \\n sixteen years old, a slim, smouldering girl, deeply reticent,\",\n \"During the next days Ursula went about bright and hard, \\n singing to herself, making love to the children, but her soul \\n hard and cold with regard to her parents. Nothing more was said. \\n The hardness and brightness lasted for four days. Then it began\"\n ],\n [\n \"Tom Brangwen was glad to get back to the farm, where he was \\n in his own again. \\\"I have got a turnip on my shoulders, let me \\n stick to th' fallow,\\\" he said to his exasperated mother. He had\",\n \"\\\"Sit you down,\\\" said Tom Brangwen, \\\"an' take a bit off your \\n length.\\\" \\n \\n Will Brangwen sat down. He felt something strange in the \\n atmosphere. He was dark browed, but his eyes had the keen,\",\n \"Tom Brangwen was frightened. His heart always filled with \\n fear, fear of the unknown, when he heard his women speak of \\n their bygone men as of strangers they had known in passing and \\n had taken leave of again. \\n\",\n \"shouted Tom Brangwen. \\n \\n \\\"Hearth an' home, an' may ye enjoy it.\\\" \\n \\n There was a ragged shout of the company in response. \\n \\n \\\"Bed an' blessin', an' may ye enjoy it,\\\" shouted Frank\",\n \"and rough country beyond, and at the great, mathematical \\n colliery on the other side. \\n \\n They saw Tom Brangwen walking up the curved drive. He was \\n getting stouter, but with his bowler hat worn well set down on\",\n \"\\\"Get your tea, lad,\\\" said Tom Brangwen. \\\"Are you itchin' to \\n be off the moment you enter?\\\" \\n \\n They talked of trivial things. Through the open door the \\n level rays of sunset poured in, shining on the floor. A grey hen\",\n \"And Tom Brangwen, blue-eyed and warm, sat in opposition to \\n the youth. \\n \\n \\\"How long are you stopping?\\\" the young husband asked his \\n wife. \\n \\n \\\"Not very long,\\\" she said. \\n\",\n \"Brangwen, in his solid fashion, was letting himself go at \\n last. \\n \\n These three brothers dominated the whole company. Tom \\n Brangwen wanted to make a speech. For the first time in his \\n life, he must spread himself wordily. \\n\",\n \"Now when Tom Brangwen, at nineteen, a youth fresh like a \\n plant, rooted in his mother and his sister, found that he had \\n lain with a prostitute woman in a common public house, he was\",\n \"So a change in tone came over the Marsh. Tom Brangwen the \\n father, as he grew older, seemed to mature into a \\n gentleman-farmer. His figure lent itself: burly and handsome. \\n His face remained fresh and his blue eyes as full of light, his\",\n \"\\\"It's th' cab,\\\" said somebody from the door. \\n \\n \\\"Walk in,\\\" shouted Tom Brangwen, and a red-faced grinning man \\n entered. \\n \\n \\\"Now, you two, get yourselves ready an' off to blanket fair,\\\"\",\n \"winding streams, ragged with gorse, and heath, the darker woods \\n in the distance. \\n \\n The whole place was just unreal, just unreal. Even now, when \\n he had been there for two years, Tom Brangwen did not believe in\",\n \"Tom Brangwen was now the fairy godfather. He was never happy \\n unless he was buying something. Will Brangwen, with his interest \\n in all wood-work, was getting the furniture. He was left to buy\",\n \"Tom Brangwen had taken them a cottage at Cossethay, on a \\n twenty-one years' lease. Will Brangwen's eyes lit up as he saw \\n it. It was the cottage next the church, with dark yew-trees,\",\n \"He held her as thought they were one, and was silent. \\n \\n In the house, Tom Brangwen waited a while. Then he got up and \\n went out. He went down the yard. He saw the curious misty shaft\",\n \"handles. He even read the name-plate, \\\"Tom Brangwen, of the \\n Marsh Farm. Born ----. Died ----.\\\" \\n \\n The good-looking, still face of the young man crinkled up for\",\n \"Tom Brangwen was so curious about the woman that the next \\n time he was in Wirksworth he asked for her house. \\n \\n He found a beautiful cottage on the steep side of a hill, \\n looking clean over the town, that lay in the bottom of the\",\n \"\\\"let him talk.\\\" Mrs. Alfred darted indignant eyes at her \\n husband. \\n \\n \\\"A man,\\\" continued Tom Brangwen, \\\"enjoys being a man: for \\n what purpose was he made a man, if not to enjoy it?\\\" \\n\",\n \"Tom Brangwen also saw Ursula's intention. He too was at the end \\n of his desires. He had done the things he had wanted to. They \\n had all ended in a disintegrated lifelessness of soul, which he\",\n \"on a seat. A man hailed him. \\n \\n \\\"Good morning, Tom. That thine, then?\\\"--and the \\n bearded farmer jerked his head at Anna. \\n \\n \\\"Ay,\\\" said Brangwen, deprecating. \\n\"\n ],\n [\n \"with her. She knew her Uncle Tom perceived what was going on. \\n But she knew moreover that in spite of his criticism and \\n condemnation, he still wanted the great machine. His only happy \\n moments, his only moments of pure freedom were when he was\",\n \"yourself, an' all?\\\" \\n \\n Tilly stealthily ushered her into the bedroom. The child \\n entered with a strange, dragging hesitation characteristic of \\n her when she was moved. Her grandmother was sitting up in bed, \\n wearing a little grey woollen jacket.\",\n \"into the barn, whilst his wife was in labour with the young Tom. \\n He remembered the soft, warm weight of the little girl on his \\n arm, round his neck. Now she would say he was finished. She was\",\n \"\\\"We're taking you away from your studies,\\\" said her \\n Uncle Tom. \\n \\n \\\"Oh, no,\\\" she replied quickly. \\n \\n Skrebensky laughed, young and inflammable. \\n\",\n \"\\\"Uncle Tom will give it me,\\\" she said. \\n \\n Again there was silence. This time she was triumphant. \\n \\n Then at length her father lifted his head. His face was \\n abstracted, he seemed to be abstracting himself, to make a pure\",\n \"A superficial readiness took her to her Uncle Tom, who kissed \\n her, greeting her with warmth, making a show of intimate \\n possession of her, and at the same time leaving evident his own \\n complete detachment. \\n\",\n \"and the end. So I let him take all upon himself. Yet all did not \\n depend on him. Life must go on, and I must marry your \\n grandfather, and have your Uncle Tom, and your Uncle Fred. We \\n cannot take so much upon ourselves.\\\" \\n\",\n \"He died and went his way, but not before there was another \\n child. And this little Ursula was his grandchild. She was glad \\n of it. For she still honoured him, though he had been \\n mistaken. \\n\",\n \"over against hers. \\n \\n \\\"I don't think brains matter,\\\" she said. \\n \\n \\\"What does matter then?\\\" came her Uncle Tom's intimate, \\n caressing, half-jeering voice. \\n \\n She turned to him. \\n\",\n \"and the Marsh, yet the two households remained separate, \\n distinct. \\n \\n After Anna's marriage, the Marsh became the home of the two \\n boys, Tom and Fred. Tom was a rather short, good-looking youth,\",\n \"were watching her with some attention. She felt proud--her \\n spirit leapt to life. \\n \\n \\\"You don't know Mr. Skrebensky, Ursula,\\\" came her Uncle Tom's \\n intimate voice. She lifted her face with an impulsive flash to\",\n \"being, within some utterly unliving shell, they passed \\n meaninglessly along, with strange, isolated dignity. It was as \\n if a hard, horny shell enclosed them all. \\n \\n Shocked and startled, Ursula was carried to her Uncle Tom's\",\n \"Tom was more restrained, reserved. He kept his body very \\n still. But he troubled her even more. She could not but see the \\n black depths of disintegration in his eyes, the sudden glance \\n upon her, as if she could save him, as if he would reveal\",\n \"\\\"Tom!\\\" she cried, standing in her nightdress with the candle, \\n calling into the darkness and the flood out of the doorway. \\n \\n \\\"Tom! Tom!\\\" \\n \\n And she listened. Fred appeared behind her, in trousers and \\n shirt. \\n\",\n \"on a seat. A man hailed him. \\n \\n \\\"Good morning, Tom. That thine, then?\\\"--and the \\n bearded farmer jerked his head at Anna. \\n \\n \\\"Ay,\\\" said Brangwen, deprecating. \\n\",\n \"wanted her to marry her Uncle Tom. Winifred knew this. She said \\n she would come to Wiggiston. She would now let fate do as it \\n liked with her, since there was nothing remaining to be done.\",\n \"She affected, however, some esteem of Mrs. Tom, as she called \\n the Polish woman, saying that at any rate she was a lady. \\n \\n Anna Brangwen was faintly excited at the news of her Cousin\",\n \"Only afterwards Ursula, flitting between the currant bushes \\n down the garden, saw her Uncle Tom standing in his black \\n clothes, erect and fashionable, but his fists lifted, and his \\n face distorted, his lips curled back from his teeth in a\",\n \"Anna went more to her mother. \\n \\n Then suddenly the father died. \\n \\n It happened one springtime when Ursula was about eight years \\n old, he, Tom Brangwen, drove off on a Saturday morning to the\",\n \"voices, scarcely heeding the words. \\n \\n The first speaker was her Uncle Tom. She knew the naive \\n candour covering the girding and savage misery of his soul. Who \\n was the other speaker? Whose voice ran on so easy, yet with an\"\n ],\n [\n \"of secret side-show to her life, never to be opened. She did not \\n even think of it. It was the closed door she had not the \\n strength to open. \\n \\n Once she was broken in to her teaching, Ursula began\",\n \"intense, with an ivory face and dark hair looped plain over her \\n ears. Ursula was very fond of her, but afraid of her. She seemed \\n so old and so relentless towards herself. Yet she was only\",\n \"enough.\\\" \\n \\n The matter was left there. But Ursula considered herself free \\n to act. For some days she made no move. She was reluctant to \\n take the cruel step of finding work, for she shrank with extreme\",\n \"The autumn passed away, the winter was at hand. Ursula became \\n more and more an inhabitant of the world of work, and of what is \\n called life. She could not see her future, but a little way off,\",\n \"for her. But she hated any form of work, now her children had \\n come, except the charge of them. \\n \\n When Ursula toddled about, she was an absorbed, busy child, \\n always amusing herself, needing not much attention from other\",\n \"Her chief friend at this period was Ursula. The little girl \\n and the musing, fragile woman of sixty seemed to understand the \\n same language. At Cossethay all was activity and passion, \\n everything moved upon poles of passion. Then there were four\",\n \"school, and took her to tea in the town. Then he had a motor-car \\n to drive her home. \\n \\n Her excitement at riding in a motor-car was greatest of all. \\n He too was very proud of this last coup. He saw Ursula kindle\",\n \"it. It was such an odd, exciting child. \\n \\n \\\"What's your name?\\\" the man suddenly asked of her. \\n \\n \\\"My name is Ursula--Ursula Brangwen,\\\" she replied. \\n\",\n \"\\\"You had a wet walk,\\\" he said to Ursula. \\n \\n \\\"Oh, I don't mind, I'm used to it,\\\" she replied, with a \\n nervous little laugh. \\n \\n But already he was not listening. Her words sounded\",\n \"was neither a lady nor an ordinary working man's wife, but a \\n creature separate from society. By her dress she was not \\n poor. \\n \\n Ursula knew at once that she was Williams' mother, and that\",\n \"position. He would be a specialist in his way. And he was an \\n uncommon man. Ursula felt they were all getting a foothold at \\n last. He was coming to his own. Who else that she knew could \\n turn out from his own fingers the beautiful things her father\",\n \"Ursula sat amused, but waiting. And he knew Ursula was \\n waiting for him. It roused his blood. He had to go to her, to \\n follow her call. \\n \\n Once he drove her to Derby in the dog-cart. He belonged to\",\n \"telling Ursula of a friend, how she had died in childbirth, and \\n what she had suffered; then she told of a prostitute, and of \\n some of her experiences with men. \\n\",\n \"everywhere, and to take in his wife sufficiently. She did not \\n love him. She was glad to live in a state of complacent \\n self-deception with him, she worked according to him. \\n \\n Ursula was relieved to go home. She had still two peaceful\",\n \"Ursula. She became elegant, really elegant, in figured cotton \\n frocks she made for herself, and hats she bent to her fancy. An \\n inspiration was upon her. \\n \\n He sat with a sort of languor in her grandmother's rocking\",\n \"Ursula was present. There was a brief altercation, closed by \\n Mrs. Brangwen's saying, in a tone of biting superiority and \\n indifference: \\n \\n \\\"Let her find out what it's like. She'll soon have had\",\n \"Ursula. \\n \\n \\\"I don't live on one altogether,\\\" said the woman \\n cheerfully. \\n \\n \\\"She's got her parlour an' her plush suite in Loughborough,\\\" \\n said her husband with just pride. \\n\",\n \"\\\"Aren't they done?\\\" asked Ursula gaily, breaking in on his \\n tense absorption. \\n \\n She always kept a bright, blithe manner, and was pleasant to \\n all the teachers. For she felt like the swan among the geese, of\",\n \"\\\"Is she married and in service?\\\" asked Ursula. \\n \\n \\\"She is a widow. Her husband died of consumption a little \\n while ago.\\\" Brangwen gave a sinister little laugh. \\\"He lay there\",\n \"passed on, there was no Ursula Brangwen, free and jolly. There \\n was only a girl of that name obsessed by the fact that she could \\n not manage her class of children. At week-ends there came days\"\n ],\n [\n \"it curved back continually in an incomprehensible, strange laugh \\n that exposed her rather prominent teeth. She was not beautiful, \\n yet Tom Brangwen was immediately under her spell. She seemed to \\n snuggle like a kitten within his warmth, whilst she was at the\",\n \"up a friendship. \\n \\n The Miss who made up to Tom Brangwen, then twenty-four years \\n old, was a handsome, reckless girl neglected for an afternoon by \\n the man who had brought her out. She saw Brangwen and liked him,\",\n \"Now when Tom Brangwen, at nineteen, a youth fresh like a \\n plant, rooted in his mother and his sister, found that he had \\n lain with a prostitute woman in a common public house, he was\",\n \"with her. She knew her Uncle Tom perceived what was going on. \\n But she knew moreover that in spite of his criticism and \\n condemnation, he still wanted the great machine. His only happy \\n moments, his only moments of pure freedom were when he was\",\n \"by the women, just because he didn't live at home and was a \\n lace-designer and almost a gentleman. But Alfred was something \\n of a Prometheus Bound, so the women loved him. Tom came later to \\n understand his brother better. \\n\",\n \"He held her as thought they were one, and was silent. \\n \\n In the house, Tom Brangwen waited a while. Then he got up and \\n went out. He went down the yard. He saw the curious misty shaft\",\n \"Tom Brangwen was so curious about the woman that the next \\n time he was in Wirksworth he asked for her house. \\n \\n He found a beautiful cottage on the steep side of a hill, \\n looking clean over the town, that lay in the bottom of the\",\n \"when she had once set upon anything, which was not often, the \\n family failed before her. \\n \\n So Tom went to school, an unwilling failure from the first. \\n He believed his mother was right in decreeing school for him,\",\n \"Tom was more restrained, reserved. He kept his body very \\n still. But he troubled her even more. She could not but see the \\n black depths of disintegration in his eyes, the sudden glance \\n upon her, as if she could save him, as if he would reveal\",\n \"partly helpless against it. She had lived so long in Tom \\n Brangwen's love, beforehand. \\n \\n From the Skrebensky's, they went to Will Brangwen's beloved \\n Lincoln Cathedral, because it was not far off. He had promised\",\n \"over against hers. \\n \\n \\\"I don't think brains matter,\\\" she said. \\n \\n \\\"What does matter then?\\\" came her Uncle Tom's intimate, \\n caressing, half-jeering voice. \\n \\n She turned to him. \\n\",\n \"A superficial readiness took her to her Uncle Tom, who kissed \\n her, greeting her with warmth, making a show of intimate \\n possession of her, and at the same time leaving evident his own \\n complete detachment. \\n\",\n \"love. Her feet began to hurry. She wanted to get back to him. \\n Her heart became tight with yearning for him. \\n \\n He had been making the garden in order, cutting the edges of \\n the turf, laying the path with stones. He was a good, capable\",\n \"Tom Brangwen was frightened. His heart always filled with \\n fear, fear of the unknown, when he heard his women speak of \\n their bygone men as of strangers they had known in passing and \\n had taken leave of again. \\n\",\n \"Tilly. \\n \\n \\\"Who might that be?\\\" he asked. \\n \\n Tilly, the cross-eyed woman of forty, who adored him, ran \\n gladly to the window to look. She was glad when he asked her for\",\n \"attention and self-less care. Fred looked up to Tom as to \\n something miraculous, that which he himself would aspire to be, \\n were he great also. \\n \\n So that after Anna's departure, the Marsh began to take on a\",\n \"Suddenly he saw that she was hurt. He had only seen her \\n triumphant before. Suddenly his heart was torn with compassion \\n for her. He became alive again, in an anguish of compassion. He \\n could not bear to think of her tears--he could not bear it.\",\n \"This attracted Ursula very much. She was so used to unsure \\n people who took on a new being with every new influence. Her \\n Uncle Tom was always more or less what the other person would \\n have him. In consequence, one never knew the real Uncle Tom,\",\n \"were watching her with some attention. She felt proud--her \\n spirit leapt to life. \\n \\n \\\"You don't know Mr. Skrebensky, Ursula,\\\" came her Uncle Tom's \\n intimate voice. She lifted her face with an impulsive flash to\",\n \"\\\"What did she do?\\\" \\n \\n \\\"She went to London, into a big shop. Ingram still goes up to \\n see her.\\\" \\n \\n \\\"Does he love her?\\\" \\n \\n \\\"It's a year and a half he's been with her now.\\\"\"\n ],\n [\n \"died, and left him raving, disconsolate. Lydia had visited him \\n then, taking Anna with her. It was when the girl was fourteen \\n years old. Since then she had not seen him. She remembered him\",\n \"had one little girl named Anna. Lensky was the woman's name, \\n Mrs. Lensky. \\n \\n Brangwen felt that here was the unreality established at \\n last. He felt also a curious certainty about her, as if she were\",\n \"Lydia Brangwen, the mother, also came and saw the impressive, \\n inviolable body of the dead man. She went pale, seeing death. He \\n was beyond change or knowledge, absolute, laid in line with the\",\n \"to her. For she had never known it in her life, all her \\n surroundings had been loose, lax, disordered, a welter. \\n \\n \\\"Miss Lydia, will you marry me?\\\" he had said to her in\",\n \"place, and would tell him about herself. She seemed to be back \\n again in the past, chiefly in her childhood or her girlhood, \\n with her father. She very rarely talked of her first husband. \\n But sometimes, all shining-eyed, she was back at her own home,\",\n \"They were silent for a time. \\n \\n \\\"Did you cry when my first grandfather died?\\\" the child \\n asked. \\n \\n Lydia Brangwen rocked herself on the bed, thinking aloud. \\n\",\n \"Muscovite. \\n \\n Lensky was something of a fire-eater also. Lydia, tempered by \\n her German blood, coming of a different family, was obliterated, \\n carried along in her husband's emphasis of declaration, and his\",\n \"\\\"What lass is that, then? I didn't know tha'd one o' that \\n age.\\\" \\n \\n \\\"It belongs to my missis.\\\" \\n \\n Anna was very conscious of her derivation from her mother, in\",\n \"She, Lydia Brangwen, was sorry for him now. He was \\n dead--he had scarcely lived. He had never known her. He had \\n lain with her, but he had never known her. He had never received\",\n \"yourself, an' all?\\\" \\n \\n Tilly stealthily ushered her into the bedroom. The child \\n entered with a strange, dragging hesitation characteristic of \\n her when she was moved. Her grandmother was sitting up in bed, \\n wearing a little grey woollen jacket.\",\n \"and the Marsh, yet the two households remained separate, \\n distinct. \\n \\n After Anna's marriage, the Marsh became the home of the two \\n boys, Tom and Fred. Tom was a rather short, good-looking youth,\",\n \"returned to Warsaw a patriot. Her mother had married a German \\n merchant and gone away. \\n \\n Lydia Lensky, married to the young doctor, became with him a \\n patriot and an émancipée. They were poor, but they\",\n \"After a long bout of hostility, Anna at last closed with him. \\n She had now four children, all girls. For seven years she had \\n been absorbed in wifehood and motherhood. For years he had gone \\n on beside her, never really encroaching upon her. Then gradually\",\n \"They are gone--another lot! There begins to be more \\n room. Anna comes down blushing and very shy, to be viewed in her \\n white silk and her veil. Her mother-in-law surveys her\",\n \"The children, Ursula and Gudrun and Theresa went by the \\n garden gate on their way to school. The grandmother would have \\n them call in each time they passed, she would have them come to \\n the Marsh for dinner. She wanted children about her. \\n\",\n \"dancing about. Tilly always marvelled over her, more than she \\n loved her. \\n \\n But always in the child was some anxious connection with the \\n mother. So long as Mrs. Brangwen was all right, the little girl\",\n \"school Gudrun and Theresa and Catherine. The boy, William, \\n always called Billy, so that he should not be confused with his \\n father, was a lovable, rather delicate child of three, so he \\n stayed at home as yet. There was another baby girl, called\",\n \"it. It was such an odd, exciting child. \\n \\n \\\"What's your name?\\\" the man suddenly asked of her. \\n \\n \\\"My name is Ursula--Ursula Brangwen,\\\" she replied. \\n\",\n \"The small bare feet approached swiftly. \\n \\n \\\"I wondered where you were,\\\" came the plaintive voice. The \\n mother stretched out her arms. The child stood beside the high \\n bed. Brangwen lightly lifted the tiny girl, with an\",\n \"Hepburn's daughter wanted to marry him or not. \\n \\n There came a silence. Gudrun entered, and Skrebensky still \\n rocked languidly on the chair. \\n \\n \\\"You look very lazy,\\\" said Gudrun. \\n\"\n ],\n [\n \"itself to him: \\n \\n \\\"We'll get married, Anna.\\\" \\n \\n She was silent. \\n \\n \\\"We'll get married, Anna, shall we?\\\" \\n \\n She stopped in the field again and kissed him, clinging to\",\n \"After a long bout of hostility, Anna at last closed with him. \\n She had now four children, all girls. For seven years she had \\n been absorbed in wifehood and motherhood. For years he had gone \\n on beside her, never really encroaching upon her. Then gradually\",\n \"and the Marsh, yet the two households remained separate, \\n distinct. \\n \\n After Anna's marriage, the Marsh became the home of the two \\n boys, Tom and Fred. Tom was a rather short, good-looking youth,\",\n \"had one little girl named Anna. Lensky was the woman's name, \\n Mrs. Lensky. \\n \\n Brangwen felt that here was the unreality established at \\n last. He felt also a curious certainty about her, as if she were\",\n \"\\\"Anna,\\\" he said. \\n \\n But still she was motionless, like a curled up, oblivious \\n creature. His heart beat with strange throes of pain. Then, by a \\n motion under his hand, he knew she was crying, holding herself\",\n \"any more of his own dignity and importance. But his abandoning \\n of claims, his living isolated upon his own interest, made him \\n seem unreal, unimportant. \\n \\n Anna was not publicly proud of him. But very soon she learned\",\n \"connection with Anna's mother, and had always preserved some \\n officious interest in the young girl, because she was a pure \\n Pole. \\n \\n When Baron Skrebensky was about forty years old, his wife\",\n \"Anna took her best clothes, recovered her best high-school \\n manner, and arrived with her husband. Will Brangwen, ruddy, \\n bright, with long limbs and a small head, like some uncouth \\n bird, was not changed in the least. The little Baroness was\",\n \"When she called, he answered, when he asked, her response came \\n at once, or at length. \\n \\n Anna's soul was put at peace between them. She looked from \\n one to the other, and she saw them established to her safety,\",\n \"Anna loved to watch him. She liked the big, new, rambling \\n vicarage, desolate and stark on its hill. It was so exposed, so \\n bleak and bold after the Marsh. The Baron talked endlessly in\",\n \"Anna went more to her mother. \\n \\n Then suddenly the father died. \\n \\n It happened one springtime when Ursula was about eight years \\n old, he, Tom Brangwen, drove off on a Saturday morning to the\",\n \"When Anna was about ten years old, she went with her mother \\n to spend a few days with the Baron Skrebensky. He was very \\n unhappy in his red-brick vicarage. He was vicar of a country\",\n \"as a small sharp clergyman who cried and talked and terrified \\n her, whilst her mother was most strangely consoling, in a \\n foreign language. \\n \\n The little Baron never quite approved of Anna, because she\",\n \"The evening came on, he played with Anna, and then sat alone \\n with his own wife. She was sewing. He sat very still, smoking, \\n perturbed. He was aware of his wife's quiet figure, and quiet\",\n \"And Anna had a new reserve, a new independence. Suddenly she \\n began to act independently of her parents, to live beyond them. \\n Her mother had flashes of anger. \\n \\n But the courtship went on. Anna would find occasion to go\",\n \"\\\"Anna,\\\" he said, as if he answered her from a distance, \\n unsure. \\n \\n \\\"My love.\\\" \\n \\n And he drew near, and she drew near. \\n \\n \\\"Anna,\\\" he said, in wonder and the birthpain of love.\",\n \"absolved from it. He sat down and ate heartily. He was not \\n tired. He seemed to take no notice of her. \\n \\n For Anna the moment was critical. She kept herself aloof, and\",\n \"And she was indeed Anna Victrix. He could not combat her any \\n more. He was out in the wilderness, alone with her. Having \\n occasion to go to London, he marvelled, as he returned, thinking\",\n \"with his home, not this man which he now was. Anna was sitting \\n up for him. She saw the queer, absolved look on his face, a sort \\n of latent, almost sinister smile, as if he were absolved from \\n his \\\"good\\\" ties. \\n\",\n \"died, and left him raving, disconsolate. Lydia had visited him \\n then, taking Anna with her. It was when the girl was fourteen \\n years old. Since then she had not seen him. She remembered him\"\n ],\n [\n \"\\\"Ursula! Eh--our Ursula?\\\" the name was shouted now Still \\n no answer. \\n \\n \\\"Mother, she won't answer,\\\" came the yell. \\\"She's dead.\\\" \\n\",\n \"Ursula resented it. It became distasteful to her. And she knew \\n that if they understood the real relationship between her and \\n Skrebensky, her parents, her father in particular, would go mad\",\n \"\\\"The children must live, Ursula,\\\" said her mother. \\n \\n And Skrebensky was against Ursula in this. Why should she be \\n so insistent? \\n \\n But then, as Ursula knew, he did not have the perpetual\",\n \"Ursula was included. She was the danger that threatened his body \\n with a blow, a fall. And blindly, thoroughly, moving from strong \\n instinct of opposition, he set to work to expel her. \\n \\n When he punished one of her children as he had punished the\",\n \"intense, with an ivory face and dark hair looped plain over her \\n ears. Ursula was very fond of her, but afraid of her. She seemed \\n so old and so relentless towards herself. Yet she was only\",\n \"was neither a lady nor an ordinary working man's wife, but a \\n creature separate from society. By her dress she was not \\n poor. \\n \\n Ursula knew at once that she was Williams' mother, and that\",\n \"\\\"I have to go where they want me,\\\" cried Ursula. \\\"And it's a \\n good place to go to.\\\" \\n \\n \\\"What do you know about the place?\\\" said her father \\n harshly. \\n\",\n \"\\\"It is Ursula, isn't it?\\\" said Ursula Brangwen. \\n \\n The father looked up at her, with an intimate, half-gallant, \\n half-impudent, but wistful look. His captive soul loved her: but\",\n \"\\\"It was Ursula who opened the door,\\\" said her mother. He had \\n a duster in his hand. He turned and flapped the cloth hard \\n across the girl's face. The cloth stung, for a moment the girl\",\n \"During the next days Ursula went about bright and hard, \\n singing to herself, making love to the children, but her soul \\n hard and cold with regard to her parents. Nothing more was said. \\n The hardness and brightness lasted for four days. Then it began\",\n \"\\\"Why, he is a clergyman too--he is my guardian--one \\n of them.\\\" \\n \\n Ursula knew that Skrebensky was an orphan. \\n \\n \\\"Where is really your home now?\\\" she asked. \\n\",\n \"\\\"You had a wet walk,\\\" he said to Ursula. \\n \\n \\\"Oh, I don't mind, I'm used to it,\\\" she replied, with a \\n nervous little laugh. \\n \\n But already he was not listening. Her words sounded\",\n \"\\\"And it doesn't matter whether they want you or not, if your \\n father says you are not to go,\\\" said the mother calmly. \\n \\n How Ursula hated her! \\n\",\n \"\\\"What's the matter?\\\" he roared. \\n \\n Ursula felt as if something were going to break in her. \\n \\n \\\"I've thrashed him,\\\" she said, her breast heaving, forcing\",\n \"were watching her with some attention. She felt proud--her \\n spirit leapt to life. \\n \\n \\\"You don't know Mr. Skrebensky, Ursula,\\\" came her Uncle Tom's \\n intimate voice. She lifted her face with an impulsive flash to\",\n \"\\\"She'll laugh hard enough,\\\" said the father. \\n \\n \\\"What is her name?\\\" asked Ursula. \\n \\n \\\"She hasn't got a name, she's not worth one,\\\" said the man.\",\n \"mother received fifty shillings a month for each of the \\n children, she would have twenty pounds a month and no clothes to \\n provide. Very well then. \\n \\n Ursula was independent of her parents. She now adhered\",\n \"Ursula was present. There was a brief altercation, closed by \\n Mrs. Brangwen's saying, in a tone of biting superiority and \\n indifference: \\n \\n \\\"Let her find out what it's like. She'll soon have had\",\n \"\\\"Her name's Ursula now,\\\" said the mother, smiling a \\n little bit ingratiatingly from the door. And she came out to \\n examine the jewel on the child's neck. \\n\",\n \"\\\"Aren't the children in bed?\\\" cried Ursula petulantly, as she \\n came in with the young man. \\n \\n \\\"They will be in bed in half an hour,\\\" said the mother. \\n \\n \\\"There is no peace,\\\" cried Ursula. \\n\"\n ],\n [\n \"\\\"Uncle Tom will give it me,\\\" she said. \\n \\n Again there was silence. This time she was triumphant. \\n \\n Then at length her father lifted his head. His face was \\n abstracted, he seemed to be abstracting himself, to make a pure\",\n \"Tom, the elder brother, at the dinner table, his hazel eyes \\n bright with joy. \\\"Everybody stopped to look at you.\\\" Tom was in \\n the choir. \\n \\n She was aware of Will's eyes shining steadily upon her,\",\n \"between them. Tom always felt very much the junior to \\n Alfred. \\n \\n \\\"It's a long while since you left home,\\\" he said. \\n \\n \\\"Ay,\\\" said Alfred. \\\"I thought I was getting a bit\",\n \"father and son, were supremely at ease with one another. Fred \\n was succeeding to the farm. \\n \\n Between the elder brother and the younger existed an almost \\n passionate love. Tom watched over Fred with a woman's poignant\",\n \"\\\"Sit you down,\\\" said Tom Brangwen, \\\"an' take a bit off your \\n length.\\\" \\n \\n Will Brangwen sat down. He felt something strange in the \\n atmosphere. He was dark browed, but his eyes had the keen,\",\n \"Tom Brangwen was now the fairy godfather. He was never happy \\n unless he was buying something. Will Brangwen, with his interest \\n in all wood-work, was getting the furniture. He was left to buy\",\n \"a dog as'll follow 'em.\\\" \\n \\n \\\"They can do without the dog,\\\" said his brother. And again \\n Tom Brangwen was humble, thinking his brother was bigger than \\n himself. But if he was, he was. And if it were finer to go\",\n \"\\\"Maybe you was never broken in,\\\" he said. \\n \\n \\\"No, I never was,\\\" said Alfred proudly. \\n \\n And Tom felt his elder brother despised him a little. He \\n winced under it. \\n\",\n \"Tilly was set to watch out for him as he passed by on his way \\n home. The little party at table heard the woman's servant's \\n shrill call: \\n \\n \\\"You've got to come in, Will. Anna's here.\\\" \\n\",\n \"Tom was more restrained, reserved. He kept his body very \\n still. But he troubled her even more. She could not but see the \\n black depths of disintegration in his eyes, the sudden glance \\n upon her, as if she could save him, as if he would reveal\",\n \"and the Marsh, yet the two households remained separate, \\n distinct. \\n \\n After Anna's marriage, the Marsh became the home of the two \\n boys, Tom and Fred. Tom was a rather short, good-looking youth,\",\n \"frail in body, just as any man is little and frail beside a \\n bull, and yet stronger than the bull, what was it? It was not \\n money nor power nor position. What power had the vicar over Tom\",\n \"with her. She knew her Uncle Tom perceived what was going on. \\n But she knew moreover that in spite of his criticism and \\n condemnation, he still wanted the great machine. His only happy \\n moments, his only moments of pure freedom were when he was\",\n \"called to him. \\n \\n \\\"I've mashed the tea, Will, are you coming?\\\" \\n \\n She herself could hear the sound of tears in her own voice, \\n and she began to cry again. He did not answer, but went on with\",\n \"wanted her to marry her Uncle Tom. Winifred knew this. She said \\n she would come to Wiggiston. She would now let fate do as it \\n liked with her, since there was nothing remaining to be done.\",\n \"by the women, just because he didn't live at home and was a \\n lace-designer and almost a gentleman. But Alfred was something \\n of a Prometheus Bound, so the women loved him. Tom came later to \\n understand his brother better. \\n\",\n \"\\\"Is he the--e--ere?\\\" came the maddening cry of the \\n mother. \\n \\n \\\"No,\\\" was the sharp answer. \\n \\n \\\"To--om--To--o--om!\\\" came the piercing,\",\n \"\\\"It's a fine night,\\\" said Tom. \\n \\n \\\"Ay,\\\" said Alfred. \\n \\n \\\"Nice to get out.\\\" \\n \\n \\\"Ay.\\\" \\n \\n The brothers walked close together, the bond of blood strong\",\n \"A superficial readiness took her to her Uncle Tom, who kissed \\n her, greeting her with warmth, making a show of intimate \\n possession of her, and at the same time leaving evident his own \\n complete detachment. \\n\",\n \"father was always uneasy and slightly deferential to his eldest \\n son. Tom also formed the link that kept the Marsh in real \\n connection with the Skrebenskys, now quite important people in \\n their own district. \\n\"\n ],\n [\n \"and tightening with anguish as the limit was reached, and the \\n movement, at crises, turned and swept back. \\n \\n As the dance surged heavily on, Ursula was aware of some \\n influence looking in upon her. Something was looking at her.\",\n \"To Ursula, as she grew a little older, it became a nightmare. \\n When she saw, later, a Rubens picture with storms of naked \\n babies, and found this was called \\\"Fecundity\\\", she shuddered,\",\n \"To Ursula it was wonderful. She felt she was a new being. The \\n darkness seemed to breathe like the sides of some great beast, \\n the haystacks loomed half-revealed, a crowd of them, a dark,\",\n \"There was a moment of suspense. Ursula's heart was beating so \\n fast, she clung to the rail, and could not move. Her dilated, \\n warm, unfolded, glowing face turned to the mistress, as if to \\n her very sun. \\n\",\n \"concerns of his life, not go projecting himself towards the \\n ultimate. \\n \\n But Ursula was all for the ultimate. She was always in revolt \\n against babies and muddled domesticity. To her Jesus was another\",\n \"He looked at Ursula. Her face was wet with tears, very \\n bright, like a transfiguration in the refulgent light. Nor was \\n his the hand to wipe away the burning, bright tears. He stood \\n apart, overcome by a cruel ineffectuality. \\n\",\n \"intense, with an ivory face and dark hair looped plain over her \\n ears. Ursula was very fond of her, but afraid of her. She seemed \\n so old and so relentless towards herself. Yet she was only\",\n \"Ursula was included. She was the danger that threatened his body \\n with a blow, a fall. And blindly, thoroughly, moving from strong \\n instinct of opposition, he set to work to expel her. \\n \\n When he punished one of her children as he had punished the\",\n \"telling Ursula of a friend, how she had died in childbirth, and \\n what she had suffered; then she told of a prostitute, and of \\n some of her experiences with men. \\n\",\n \"almost bestial look of torture, the teeth all showing, the nose \\n wrinkled up, the eyes, unseeing, fixed. \\n \\n Terrified, Ursula slipped away. And when her Uncle Tom was in\",\n \"to rush about among the chimneys and the church-tower. It was \\n dark. \\n \\n The wind blew Ursula's face, and her clothes cleaved to her \\n limbs. But it was a surging, turgid wind, instinct with\",\n \"the multitude of illusions concerning herself, how she was truly \\n a princess of Poland, how in England she was under a spell, she \\n was not really this Ursula Brangwen; then the mirage of her\",\n \"Ursula was frightened, hearing these things. Her heart sank, \\n she felt she had no ground under her feet. She clung to her \\n grandmother. Here was peace and security. Here, from her \\n grandmother's peaceful room, the door opened on to the greater\",\n \"Suddenly, cresting the heavy, sandy pass, Ursula lifted her \\n head, and shrank back, momentarily frightened. There was a great \\n whiteness confronting her, the moon was incandescent as a round\",\n \"Ursula was present. There was a brief altercation, closed by \\n Mrs. Brangwen's saying, in a tone of biting superiority and \\n indifference: \\n \\n \\\"Let her find out what it's like. She'll soon have had\",\n \"entered the other corridor and found Ursula's room. She was lying awake, \\n wide-eyed and suffering. She was glad he had come, if only for \\n consolation. It was consolation to be held in his arms, to feel his body\",\n \"They saw the driver's strange, full, dark face peering into \\n the lamps under drawn brows. Ursula shuddered. It was the face \\n almost of an animal yet of a quick, strong, wary animal that had\",\n \"Only afterwards Ursula, flitting between the currant bushes \\n down the garden, saw her Uncle Tom standing in his black \\n clothes, erect and fashionable, but his fists lifted, and his \\n face distorted, his lips curled back from his teeth in a\",\n \"thought of Ursula, not once, he gave her no sign. She was the \\n darkness, the challenge, the horror. He turned to immediate \\n things. He wanted to marry quickly, to screen himself from the \\n darkness, the challenge of his own soul. He would marry his\",\n \"Her chief friend at this period was Ursula. The little girl \\n and the musing, fragile woman of sixty seemed to understand the \\n same language. At Cossethay all was activity and passion, \\n everything moved upon poles of passion. Then there were four\"\n ],\n [\n \"When they came to themselves, the night was very dark. Two \\n hours had gone by. They lay still and warm and weak, like the \\n new-born, together. And there was a silence almost of the \\n unborn. Only his heart was weeping happily, after the pain. He\",\n \"long while they sat motionless. Only now and again her hand \\n closed more closely, lovingly, over his hand, then gradually \\n relaxed. \\n \\n The dusk began to fall. One or two lights appeared. The\",\n \"months' time and would tell them all about it, he shook hands \\n with her mother and took his leave. \\n \\n Ursula accompanied him into the lane. The night was windy, \\n the yew trees seethed and hissed and vibrated. The wind seemed\",\n \"The days went by--they were to have three weeks \\n together--in perfect success. All the time, they themselves \\n were reality, all outside was tribute to them. They were quite \\n careless about money, but they did nothing very extravagant. He\",\n \"After a long bout of hostility, Anna at last closed with him. \\n She had now four children, all girls. For seven years she had \\n been absorbed in wifehood and motherhood. For years he had gone \\n on beside her, never really encroaching upon her. Then gradually\",\n \"days, he would leap again with her from the bridge, daringly, \\n almost wickedly. Till at length, as he leapt, once, she dropped \\n forward on to his head, and nearly broke his neck, so that they\",\n \"During the next days Ursula went about bright and hard, \\n singing to herself, making love to the children, but her soul \\n hard and cold with regard to her parents. Nothing more was said. \\n The hardness and brightness lasted for four days. Then it began\",\n \"And after a few days, gradually she closed again, away from \\n him, was sheathed over, impervious to him, oblivious. Then a \\n black, bottomless despair became real to him, he knew what he\",\n \"before long. She would be the gleaming sun of the school, the \\n children would blossom like little weeds, the teachers like \\n tall, hard plants would burst into rare flower. \\n \\n The Monday morning came. It was the end of September, and a\",\n \"The hour passed away again, there was severance between them, \\n and rage and misery and bereavement for her, and deposition and \\n toiling at the mill with slaves for him. But no matter. They had\",\n \"\\\"I am twenty-eight,\\\" he said. \\n \\n \\\"Six years.\\\" \\n \\n She was oddly concerned, even as if it pleased her a little. \\n He sat and listened and wondered. It was rather splendid, to be\",\n \"He did not count the days. But like a man who journeys in a \\n ship, he was suspended till the coming to port. \\n \\n He worked at his carving, he worked in his office, he came to\",\n \"a short time, but before he went, he would snatch a day at the \\n Marsh. \\n \\n As if in a painful dream, she waited suspended, unresolved. \\n She did not know, she could not understand. Only she felt that\",\n \"Saturday came, her thoughts burned up like a fire. If only it \\n were Saturday, if only it were Saturday. \\n \\n Then Saturday came, and she set out. Miss Inger met her in \\n Sawley, and they walked about three miles to the bungalow. It\",\n \"than there was in the year naught. That's the story, my boy, if \\n you understand it. There's no more to-day than there was a \\n thousand years ago--nor no less either. You can't wear\",\n \"Soon, it began to snow again, and they were shut in. He was \\n glad, for then they were immune in a shadowy silence, there was \\n no world, no time. \\n \\n The snow lasted for some days. On the Sunday they went to\",\n \"was now no self-bliss, only pain and confused anger. \\n \\n It was high summer, and the hay-harvest was almost over. It \\n would be finished on Saturday. On Saturday, however, Skrebensky \\n was going away. He could not stay any longer.\",\n \"So she lived for some time. Then, with slight uneasiness, she \\n used half to awake to the streets of London. She realized that \\n there was something around her, very foreign, she realized she \\n was in a strange place. And then, she was sent away into the\",\n \"It surprised her, when it was over. She was shrinking and \\n afraid. To what was she now exposed? She half wanted to tell her \\n husband. Yet she shrank from him. \\n \\n All the time she ran on by herself. She liked the story of\",\n \"Anna went more to her mother. \\n \\n Then suddenly the father died. \\n \\n It happened one springtime when Ursula was about eight years \\n old, he, Tom Brangwen, drove off on a Saturday morning to the\"\n ],\n [\n \"Ursula was included. She was the danger that threatened his body \\n with a blow, a fall. And blindly, thoroughly, moving from strong \\n instinct of opposition, he set to work to expel her. \\n \\n When he punished one of her children as he had punished the\",\n \"intense, with an ivory face and dark hair looped plain over her \\n ears. Ursula was very fond of her, but afraid of her. She seemed \\n so old and so relentless towards herself. Yet she was only\",\n \"\\\"Ursula! Eh--our Ursula?\\\" the name was shouted now Still \\n no answer. \\n \\n \\\"Mother, she won't answer,\\\" came the yell. \\\"She's dead.\\\" \\n\",\n \"This attracted Ursula very much. She was so used to unsure \\n people who took on a new being with every new influence. Her \\n Uncle Tom was always more or less what the other person would \\n have him. In consequence, one never knew the real Uncle Tom,\",\n \"Her chief friend at this period was Ursula. The little girl \\n and the musing, fragile woman of sixty seemed to understand the \\n same language. At Cossethay all was activity and passion, \\n everything moved upon poles of passion. Then there were four\",\n \"Winifred seemed to delight in having Ursula in her charge, in \\n giving things to the girl, in filling and enrichening her \\n life. \\n \\n So that Ursula developed rapidly during the few months of her\",\n \"\\\"No,\\\" said Ursula, stubbornly and dully. \\\"No, I don't want to \\n go to London, I want to be by myself.\\\" \\n \\n Winifred knew what this meant. She knew that Ursula was\",\n \"\\\"You had a wet walk,\\\" he said to Ursula. \\n \\n \\\"Oh, I don't mind, I'm used to it,\\\" she replied, with a \\n nervous little laugh. \\n \\n But already he was not listening. Her words sounded\",\n \"Ursula was present. There was a brief altercation, closed by \\n Mrs. Brangwen's saying, in a tone of biting superiority and \\n indifference: \\n \\n \\\"Let her find out what it's like. She'll soon have had\",\n \"it. It was such an odd, exciting child. \\n \\n \\\"What's your name?\\\" the man suddenly asked of her. \\n \\n \\\"My name is Ursula--Ursula Brangwen,\\\" she replied. \\n\",\n \"Ursula's heart sank. It was a cold, dreary satisfaction to \\n think of. Yet her cold will acquiesced. This was what she \\n wanted. \\n \\n \\\"You have an emotional nature,\\\" the letter went on, \\\"a quick\",\n \"Ursula sat amused, but waiting. And he knew Ursula was \\n waiting for him. It roused his blood. He had to go to her, to \\n follow her call. \\n \\n Once he drove her to Derby in the dog-cart. He belonged to\",\n \"concerns of his life, not go projecting himself towards the \\n ultimate. \\n \\n But Ursula was all for the ultimate. She was always in revolt \\n against babies and muddled domesticity. To her Jesus was another\",\n \"telling Ursula of a friend, how she had died in childbirth, and \\n what she had suffered; then she told of a prostitute, and of \\n some of her experiences with men. \\n\",\n \"\\\"I will race you, Ursula,\\\" came the well-modulated voice. \\n \\n Ursula started violently. She turned to see the warm, \\n unfolded face of her mistress looking at her, to her. She was\",\n \"\\\"It was Ursula who opened the door,\\\" said her mother. He had \\n a duster in his hand. He turned and flapped the cloth hard \\n across the girl's face. The cloth stung, for a moment the girl\",\n \"\\\"It's no good her coming--her character's not good \\n enough for her to make any trouble.\\\" \\n \\n Ursula shrank from the brutality and the scandal. But it had \\n some vague, horrid fascination. How sordid everything seemed!\",\n \"There was a moment of suspense. Ursula's heart was beating so \\n fast, she clung to the rail, and could not move. Her dilated, \\n warm, unfolded, glowing face turned to the mistress, as if to \\n her very sun. \\n\",\n \"She was staunch for joy, for happiness, and permanency, in \\n contrast with Maggie, who was for sadness, and the inevitable \\n passing-away of things. Ursula suffered bitterly at the hands of \\n life, Maggie was always single, always withheld, so she went in\",\n \"Ursula was introduced by her friend to various women and men, \\n educated, unsatisfied people, who still moved within the smug \\n provincial society as if they were nearly as tame as their \\n outward behaviour showed, but who were inwardly raging and \\n mad.\"\n ],\n [\n \"Anton. The other can only end badly.\\\" \\n \\n So out of fear of herself Ursula was to marry Skrebensky. \\n \\n He was very busy now, preparing to go to India. He must visit \\n relatives and contract business. He was almost sure of Ursula\",\n \"Anton Skrebensky could not beg. He was in possession of himself, \\n of that, and no more. Other people could not really give him \\n anything nor take anything from him. His soul stood alone. \\n \\n She knew that her mother and father acknowledged him. The\",\n \"loved Anton Skrebensky. But she did not forgive him that he had \\n not been strong enough to acknowledge her. He had denied her. \\n How then could she love him? How then was love so absolute? She\",\n \"connection with Anna's mother, and had always preserved some \\n officious interest in the young girl, because she was a pure \\n Pole. \\n \\n When Baron Skrebensky was about forty years old, his wife\",\n \"again from Skrebensky. He had written to her once or twice from \\n South Africa, during the first months of his service out there \\n in the war, and since had sent her a post-card every now and \\n then, at ever longer intervals. He had become a first\",\n \"were watching her with some attention. She felt proud--her \\n spirit leapt to life. \\n \\n \\\"You don't know Mr. Skrebensky, Ursula,\\\" came her Uncle Tom's \\n intimate voice. She lifted her face with an impulsive flash to\",\n \"Skrebensky was to come, arriving in the morning. Ursula had a \\n new white dress of soft crepe, and a white hat. She liked to \\n wear white. With her black hair and clear golden skin, she\",\n \"was then no Jesus, no sentimentality. With all the bitter hatred \\n of helplessness she hated sentimentality. \\n \\n At this period came the young Skrebensky. She was nearly \\n sixteen years old, a slim, smouldering girl, deeply reticent,\",\n \"Skrebensky. The contact made her aware of him. With a swift, \\n foraging impulse she sought for his hand and clasped it in her \\n own, so close, so combined, as if they were two children. \\n\",\n \"groomed person, and of an unyielding mind. Yet there was an \\n infinite poignancy about her, a great pathos in her lonely, \\n proudly closed mouth. \\n \\n It was after Skrebensky had gone that there sprang up between\",\n \"bound, aching and cramped with the bondage, to Skrebensky and \\n Skrebensky's world? Anton's world: it became in her feverish \\n brain a compression which enclosed her. If she could not get out\",\n \"might have tea together. Will you let me know? I shall look for \\n your answer. \\n \\n Anton Skrebensky \\n \\n Ursula had taken this letter from the rack in the hall at\",\n \"\\\"We're taking you away from your studies,\\\" said her \\n Uncle Tom. \\n \\n \\\"Oh, no,\\\" she replied quickly. \\n \\n Skrebensky laughed, young and inflammable. \\n\",\n \"She had recognized the Baron Skrebensky as a real person, he \\n had had some regard for her. But when she did not see him any \\n more, he faded and became a memory. But as a memory he was \\n always alive to her. \\n\",\n \"see her father retreating into himself against the young \\n man. \\n \\n She was proud of Skrebensky in the house. His lounging, \\n languorous indifference irritated her and yet cast a spell over\",\n \"great, blistering, transcendent night did not really exist. She \\n was overcome with slow horror. Where was she? What was this \\n nothingness she felt? The nothingness was Skrebensky. Was he\",\n \"The next day she went down to the Marsh according to \\n invitation. The two men were not come home. Then, looking \\n through the window, she saw the dogcart drive up, and Skrebensky \\n leapt down. She saw him draw himself together, jump, laugh to\",\n \"child, it would have made little difference, however. She would \\n have kept the child and herself, she would not have gone to \\n Skrebensky. Anton belonged to the past. \\n \\n There came the cablegram from Skrebensky: \\\"I am married.\\\" An\",\n \"drove away into the crowd. He had let her go. She had been \\n afraid. \\n \\n Skrebensky turned with her into the park. A band was still \\n playing and the place was thronged with people. They listened to\",\n \"Skrebensky, of that she was resolved. She would allow nothing \\n else. \\n \\n She read his long, obsessed letter about getting married and \\n going to India, without any particular response. She seemed to\"\n ],\n [\n \"died, and left him raving, disconsolate. Lydia had visited him \\n then, taking Anna with her. It was when the girl was fourteen \\n years old. Since then she had not seen him. She remembered him\",\n \"to her. For she had never known it in her life, all her \\n surroundings had been loose, lax, disordered, a welter. \\n \\n \\\"Miss Lydia, will you marry me?\\\" he had said to her in\",\n \"She, Lydia Brangwen, was sorry for him now. He was \\n dead--he had scarcely lived. He had never known her. He had \\n lain with her, but he had never known her. He had never received\",\n \"Lydia Brangwen, the mother, also came and saw the impressive, \\n inviolable body of the dead man. She went pale, seeing death. He \\n was beyond change or knowledge, absolute, laid in line with the\",\n \"\\\"Yes, dark eyes. He was a clever man, as quick as a lion. He \\n was never still.\\\" \\n \\n Lydia still resented Lensky. When she thought of him, she was \\n always younger than he, she was always twenty, or twenty-five,\",\n \"Muscovite. \\n \\n Lensky was something of a fire-eater also. Lydia, tempered by \\n her German blood, coming of a different family, was obliterated, \\n carried along in her husband's emphasis of declaration, and his\",\n \"had one little girl named Anna. Lensky was the woman's name, \\n Mrs. Lensky. \\n \\n Brangwen felt that here was the unreality established at \\n last. He felt also a curious certainty about her, as if she were\",\n \"whirl of patriotism. He was indeed a brave man, but no bravery \\n could quite have equalled the vividness of his talk. He worked \\n very hard, till nothing lived in him but his eyes. And Lydia, as\",\n \"husband wept aloud, unaware of everybody. But the war went on, \\n and soon he was back at his work. A darkness had come over \\n Lydia's mind. She walked always in a shadow, silenced, with a\",\n \"\\\"I s'd think so--they say so.\\\" \\n \\n \\\"Who told you about her?\\\" \\n \\n \\\"Why, Lizzie--a-Monday--we seed her goin' \\n past.\\\" \\n\",\n \"returned to Warsaw a patriot. Her mother had married a German \\n merchant and gone away. \\n \\n Lydia Lensky, married to the young doctor, became with him a \\n patriot and an émancipée. They were poor, but they\",\n \"and Fred, fair and responsive, whom she adored but did not \\n consider as a real, separate thing. She was too much the centre \\n of her own universe, too little aware of anything outside. \\n \\n The first person she met, who affected her as a real,\",\n \"\\\"Will you come in?\\\" she said. \\\"My father is lying down.\\\" \\n \\n She took him into a drawing-room, full of books, with a piano \\n and a violin-stand. And they talked, she simply and easily. She\",\n \"because of the vain spectacle she made: \\n \\n \\\"Anna Theresa Lensky.\\\" \\n \\n \\\"Anna Theresa Lensky\\\"--what a vain, independent minx she \\n was! The bridegroom, slender in his black swallow-tail and grey\",\n \"lived vividly, swift and intense. She always thought of him with \\n that black, keen, blind head. And she considered him odd. \\n \\n He appeared at the Marsh one Sunday morning: a rather long, \\n thin youth with a bright face and a curious self-possession\",\n \"were watching her with some attention. She felt proud--her \\n spirit leapt to life. \\n \\n \\\"You don't know Mr. Skrebensky, Ursula,\\\" came her Uncle Tom's \\n intimate voice. She lifted her face with an impulsive flash to\",\n \"\\\"They think you don't live here,\\\" he said. \\n \\n Later he found her at the gate calling shrilly and \\n imperiously: \\n \\n \\\"My name is Anna, Anna Lensky, and I live here, because Mr.\",\n \"They were silent for a time. \\n \\n \\\"Did you cry when my first grandfather died?\\\" the child \\n asked. \\n \\n Lydia Brangwen rocked herself on the bed, thinking aloud. \\n\",\n \"Tilly. \\n \\n \\\"Who might that be?\\\" he asked. \\n \\n Tilly, the cross-eyed woman of forty, who adored him, ran \\n gladly to the window to look. She was glad when he asked her for\",\n \"\\\"That's her,\\\" he said involuntarily. As the cart passed by, \\n splashing through the thin mud, she stood back against the bank. \\n Then, as he walked still beside his britching horse, his eyes\"\n ],\n [\n \"to her. For she had never known it in her life, all her \\n surroundings had been loose, lax, disordered, a welter. \\n \\n \\\"Miss Lydia, will you marry me?\\\" he had said to her in\",\n \"She, Lydia Brangwen, was sorry for him now. He was \\n dead--he had scarcely lived. He had never known her. He had \\n lain with her, but he had never known her. He had never received\",\n \"died, and left him raving, disconsolate. Lydia had visited him \\n then, taking Anna with her. It was when the girl was fourteen \\n years old. Since then she had not seen him. She remembered him\",\n \"\\\"Yes, dark eyes. He was a clever man, as quick as a lion. He \\n was never still.\\\" \\n \\n Lydia still resented Lensky. When she thought of him, she was \\n always younger than he, she was always twenty, or twenty-five,\",\n \"\\\"I knew you did, my sweet--and I will marry him. You're \\n fond of him, aren't you?\\\" \\n \\n \\\"I've been awfully fond of him--ever since I was \\n a child.\\\" \\n\",\n \"whirl of patriotism. He was indeed a brave man, but no bravery \\n could quite have equalled the vividness of his talk. He worked \\n very hard, till nothing lived in him but his eyes. And Lydia, as\",\n \"Suddenly he saw that she was hurt. He had only seen her \\n triumphant before. Suddenly his heart was torn with compassion \\n for her. He became alive again, in an anguish of compassion. He \\n could not bear to think of her tears--he could not bear it.\",\n \"But he did not care, whilst she was so close. \\n \\n \\\"I am a landowner--a little one,\\\" he said. \\n \\n \\\"Yes,\\\" she said. \\n \\n He had not dared to move. He sat there with his arms round\",\n \"Having decided to go he became very tender and loving to her, \\n kissing her gently, with such soft, sweet, insidious closeness \\n that they were both of them intoxicated. \\n \\n The very last Friday of his stay he met her coming out of\",\n \"it curved back continually in an incomprehensible, strange laugh \\n that exposed her rather prominent teeth. She was not beautiful, \\n yet Tom Brangwen was immediately under her spell. She seemed to \\n snuggle like a kitten within his warmth, whilst she was at the\",\n \"days, he would leap again with her from the bridge, daringly, \\n almost wickedly. Till at length, as he leapt, once, she dropped \\n forward on to his head, and nearly broke his neck, so that they\",\n \"\\\"Will you come in?\\\" she said. \\\"My father is lying down.\\\" \\n \\n She took him into a drawing-room, full of books, with a piano \\n and a violin-stand. And they talked, she simply and easily. She\",\n \"love. Her feet began to hurry. She wanted to get back to him. \\n Her heart became tight with yearning for him. \\n \\n He had been making the garden in order, cutting the edges of \\n the turf, laying the path with stones. He was a good, capable\",\n \"\\\"Very well.\\\" \\n \\n \\\"So did I.\\\" \\n \\n There was a pause. \\n \\n \\\"And do you love me?\\\" he asked. \\n \\n She turned and looked at him searchingly. He seemed outside \\n her. \\n\",\n \"before him. \\n \\n \\\"No,\\\" he said slowly. \\\"What other woman should I want?\\\" \\n \\n \\\"Like your brother,\\\" she said. \\n \\n He was silent for some time, ashamed also. \\n\",\n \"with an incredibly quick, delicate movement, he put his arms \\n round her and drew her to him. It was quick, cleanly done, like \\n a bird that swoops and sinks close, closer. \\n \\n He was kissing her throat. She turned and looked at him. Her\",\n \"He looked at her in amazement. She evidently had a new idea \\n of his brother: she evidently appreciated him. He looked again \\n at the woman. She was about forty, straight, rather hard, a \\n curious, separate creature. Himself, he was not in love with\",\n \"was not with him, she was against him. But her making love to \\n him, her complete admiration of him, in open life, gratified \\n him. \\n \\n She caught him out of himself, and they were lovers, in a\",\n \"She had lunch with him in his hotel; every evening she spent \\n with him, either in town, at his rooms, or in the country. She \\n made the excuse at home of evening study for her degree. But she \\n paid not the slightest attention to her study. \\n\",\n \"Something fixed in him for ever. He was hers. And he was very \\n glad and afraid. He did not know what to do, as they stood there \\n in the open, moonlit field. He looked through her hair at the \\n moon, which seemed to swim liquid-bright.\"\n ],\n [\n \"There was great preparation made for the removal of the whole \\n Brangwen family, ten in all. The house in Beldover was prepared, \\n the house in Cossethay was dismantled. Come the end of the \\n school-term the removal would begin. \\n\",\n \"Anna went more to her mother. \\n \\n Then suddenly the father died. \\n \\n It happened one springtime when Ursula was about eight years \\n old, he, Tom Brangwen, drove off on a Saturday morning to the\",\n \"than on her. Gradually the child was freed. She became an \\n independent, forgetful little soul, loving from her own \\n centre. \\n \\n Of her own choice, she then loved Brangwen most, or most\",\n \"TO ELSE \\n \\n \\n \\n CONTENTS \\n \\n I How Tom Brangwen Married a Polish Lady \\n II They Live at the Marsh \\n III Childhood of Anna Lensky \\n IV Girlhood of Anna Brangwen\",\n \"struggle with the furniture, upstairs. Towards five o'clock, \\n appeared the last loads, consisting also of Mrs. Brangwen and \\n the younger children, driven by Uncle Fred in the trap. Gudrun \\n had walked with Margaret from the station. The whole family had\",\n \"always children, and the patrimony was divided every time. But \\n always, at the Marsh, there was ample. \\n \\n So the Brangwens came and went without fear of necessity, \\n working hard because of the life that was in them, not for want\",\n \"Brangwens and the Marsh. Indeed, Mrs. Alfred, having inherited \\n three thousand pounds, and having occasion to be dissatisfied \\n with her husband, held aloof from all the Brangwens whatsoever.\",\n \"mother had, at this time, the power to irritate and madden the \\n girl continuously. There were already seven children, yet Mrs. \\n Brangwen was again with child, the ninth she had borne. One had \\n died of diphtheria in infancy.\",\n \"\\\"How many more Brangwens?\\\" said Tom Brangwen, ashamed of the \\n too-frequent recurrence of his family name. \\n \\n When they were out again in the sunshine, and he saw the\",\n \"Anna wriggled close into her mother's arms, clinging tight, \\n hiding from the fact of the man. Brangwen lay still, and waited. \\n There was a long silence. \\n \\n Then suddenly, Anna looked round, as if she thought he would\",\n \"Brangwen's my father now. He is, yes he is. And I \\n live here.\\\" \\n \\n This pleased Brangwen very much. And gradually, without \\n knowing it herself, she clung to him, in her lost, childish,\",\n \"Sometimes there sounded, long and remote in the house, \\n vibrating through everything, the moaning cry of a woman in \\n labour. Brangwen, sitting downstairs, was divided. His lower, \\n deeper self was with her, bound to her, suffering. But the big\",\n \"and Theresa was Billy's, and even the tiny Katie had to be Eddie \\n Ant'ny's sweetheart. There was the closest union. At every \\n possible moment the little gang of Brangwens and Phillipses flew\",\n \"later on, when his heart and his feet were heavy, his brain \\n dead, his life stopped. \\n \\n One afternoon, the pains began, Mrs. Brangwen was put to bed, \\n the midwife came. Night fell, the shutters were closed, Brangwen\",\n \"unknown. Her feet and hands beat like a madness, her breast \\n strained as if in bonds. \\n \\n The music began, and the bonds began to slip. Tom Brangwen \\n was dancing with the bride, quick and fluid and as if in another\",\n \"Brangwen, in his solid fashion, was letting himself go at \\n last. \\n \\n These three brothers dominated the whole company. Tom \\n Brangwen wanted to make a speech. For the first time in his \\n life, he must spread himself wordily. \\n\",\n \"as a man nor a woman amongst them, then it seems to me as a \\n married couple makes one Angel.\\\" \\n \\n \\\"It's the brandy,\\\" said Alfred Brangwen wearily. \\n \\n \\\"For,\\\" said Tom Brangwen, and the company was listening to\",\n \"\\\"I know your father is drowned,\\\" she said, in a curious \\n dismay. \\n \\n The flood rose through the night, till it washed the kettle \\n off the hob in the kitchen. Mrs. Brangwen sat alone at a window\",\n \"which would have liked to put her down. But Brangwen was having \\n no such thing. If she chose to be royal, royal she should be. He \\n stood like a rock between her and the world. \\n \\n After the fashion of his family, he grew stout and handsome.\",\n \"people. At evening, towards six o'clock, Anna very often went \\n across the lane to the stile, lifted Ursula over into the field, \\n with a: \\\"Go and meet Daddy.\\\" Then Brangwen, coming up the steep\"\n ],\n [\n \"There was great preparation made for the removal of the whole \\n Brangwen family, ten in all. The house in Beldover was prepared, \\n the house in Cossethay was dismantled. Come the end of the \\n school-term the removal would begin. \\n\",\n \"Tom Brangwen had taken them a cottage at Cossethay, on a \\n twenty-one years' lease. Will Brangwen's eyes lit up as he saw \\n it. It was the cottage next the church, with dark yew-trees,\",\n \"towards Southwell, and Sherwood Forest. There it was so lovely \\n and romantic. But out into the world meant out into the world. \\n Will Brangwen must become modern. \\n \\n He bought, with his wife's money, a fairly large house in the\",\n \"most central for Brangwen. It was an old, quiet village on the \\n edge of the thronged colliery-district. So that it served, in \\n its quaintness of odd old cottages lingering in their sunny\",\n \"and to the side of Anna's house. The lights were out, only on \\n the blinds of the rooms downstairs, and of a bedroom upstairs, \\n firelight flickered. \\n \\n \\\"We'd better leave 'em alone,\\\" said Alfred Brangwen. \\n\",\n \"intensity, in which passion worked its inevitable conclusions. \\n There was in the house a sort of richness, a deep, inarticulate \\n interchange which made other places seem thin and unsatisfying. \\n Brangwen could sit silent, smoking in his chair, the mother\",\n \"Tom Brangwen was so curious about the woman that the next \\n time he was in Wirksworth he asked for her house. \\n \\n He found a beautiful cottage on the steep side of a hill, \\n looking clean over the town, that lay in the bottom of the\",\n \"Brangwen's my father now. He is, yes he is. And I \\n live here.\\\" \\n \\n This pleased Brangwen very much. And gradually, without \\n knowing it herself, she clung to him, in her lost, childish,\",\n \"The days went on as before, Brangwen went out to his work, \\n his wife nursed her child and attended in some measure to the \\n farm. They did not think of each other-why should they? Only \\n when she touched him, he knew her instantly, that she was with\",\n \"\\\"There'll be no need to have a clock,\\\" said Will Brangwen, \\n peeping out at the white clock-face on the tower, his \\n neighbour. \\n \\n At the back of the house was a garden adjoining the paddock,\",\n \"winding streams, ragged with gorse, and heath, the darker woods \\n in the distance. \\n \\n The whole place was just unreal, just unreal. Even now, when \\n he had been there for two years, Tom Brangwen did not believe in\",\n \"range and freedom; whereas the Brangwen men faced inwards to the \\n teeming life of creation, which poured unresolved into their \\n veins. \\n \\n Looking out, as she must, from the front of her house towards\",\n \"struggle with the furniture, upstairs. Towards five o'clock, \\n appeared the last loads, consisting also of Mrs. Brangwen and \\n the younger children, driven by Uncle Fred in the trap. Gudrun \\n had walked with Margaret from the station. The whole family had\",\n \"Nevertheless Brangwen was uneasy about the girl, the whole \\n house continued to be disturbed. She had a pathetic, baffled \\n appeal. She was hostile to her parents, even whilst she lived \\n entirely with them, within their spell. \\n\",\n \"In Willey Green stood the Grammar School where Brangwen was \\n occupied for two days during the week, and where experiments in \\n education were being carried on. \\n \\n Ursula wanted to live in Willey Green on the remoter side,\",\n \"Sometimes there sounded, long and remote in the house, \\n vibrating through everything, the moaning cry of a woman in \\n labour. Brangwen, sitting downstairs, was divided. His lower, \\n deeper self was with her, bound to her, suffering. But the big\",\n \"laughing, insidious grace. They all loved him, he was kin to \\n them. His raillery, his warm, voluptuous mocking presence was \\n meat and joy to the Brangwen household. For this house was\",\n \"HOW TOM BRANGWEN MARRIED A POLISH LADY \\n \\n I \\n \\n The Brangwens had lived for generations on the Marsh Farm, in \\n the meadows where the Erewash twisted sluggishly through alder\",\n \"which would have liked to put her down. But Brangwen was having \\n no such thing. If she chose to be royal, royal she should be. He \\n stood like a rock between her and the world. \\n \\n After the fashion of his family, he grew stout and handsome.\",\n \"spacious. Come college, and she would have broken from the \\n confines of all the life she had known. For her father was also \\n going to move. They were all going to leave Cossethay. \\n \\n Brangwen had kept his carelessness about his circumstances.\"\n ],\n [\n \"\\\"let him talk.\\\" Mrs. Alfred darted indignant eyes at her \\n husband. \\n \\n \\\"A man,\\\" continued Tom Brangwen, \\\"enjoys being a man: for \\n what purpose was he made a man, if not to enjoy it?\\\" \\n\",\n \"He held her as thought they were one, and was silent. \\n \\n In the house, Tom Brangwen waited a while. Then he got up and \\n went out. He went down the yard. He saw the curious misty shaft\",\n \"winding streams, ragged with gorse, and heath, the darker woods \\n in the distance. \\n \\n The whole place was just unreal, just unreal. Even now, when \\n he had been there for two years, Tom Brangwen did not believe in\",\n \"\\\"Sit you down,\\\" said Tom Brangwen, \\\"an' take a bit off your \\n length.\\\" \\n \\n Will Brangwen sat down. He felt something strange in the \\n atmosphere. He was dark browed, but his eyes had the keen,\",\n \"And Tom Brangwen, blue-eyed and warm, sat in opposition to \\n the youth. \\n \\n \\\"How long are you stopping?\\\" the young husband asked his \\n wife. \\n \\n \\\"Not very long,\\\" she said. \\n\",\n \"and rough country beyond, and at the great, mathematical \\n colliery on the other side. \\n \\n They saw Tom Brangwen walking up the curved drive. He was \\n getting stouter, but with his bowler hat worn well set down on\",\n \"Tom Brangwen had taken them a cottage at Cossethay, on a \\n twenty-one years' lease. Will Brangwen's eyes lit up as he saw \\n it. It was the cottage next the church, with dark yew-trees,\",\n \"Tom Brangwen was frightened. His heart always filled with \\n fear, fear of the unknown, when he heard his women speak of \\n their bygone men as of strangers they had known in passing and \\n had taken leave of again. \\n\",\n \"Tom Brangwen was now the fairy godfather. He was never happy \\n unless he was buying something. Will Brangwen, with his interest \\n in all wood-work, was getting the furniture. He was left to buy\",\n \"shouted Tom Brangwen. \\n \\n \\\"Hearth an' home, an' may ye enjoy it.\\\" \\n \\n There was a ragged shout of the company in response. \\n \\n \\\"Bed an' blessin', an' may ye enjoy it,\\\" shouted Frank\",\n \"\\\"It's th' cab,\\\" said somebody from the door. \\n \\n \\\"Walk in,\\\" shouted Tom Brangwen, and a red-faced grinning man \\n entered. \\n \\n \\\"Now, you two, get yourselves ready an' off to blanket fair,\\\"\",\n \"Tom Brangwen was glad to get back to the farm, where he was \\n in his own again. \\\"I have got a turnip on my shoulders, let me \\n stick to th' fallow,\\\" he said to his exasperated mother. He had\",\n \"So a change in tone came over the Marsh. Tom Brangwen the \\n father, as he grew older, seemed to mature into a \\n gentleman-farmer. His figure lent itself: burly and handsome. \\n His face remained fresh and his blue eyes as full of light, his\",\n \"Now when Tom Brangwen, at nineteen, a youth fresh like a \\n plant, rooted in his mother and his sister, found that he had \\n lain with a prostitute woman in a common public house, he was\",\n \"Tom Brangwen was so curious about the woman that the next \\n time he was in Wirksworth he asked for her house. \\n \\n He found a beautiful cottage on the steep side of a hill, \\n looking clean over the town, that lay in the bottom of the\",\n \"woman gets the bit the shop can't digest. What is he at home, a \\n man? He is a meaningless lump--a standing machine, a \\n machine out of work.\\\" \\n \\n \\\"They know they are sold,\\\" said Tom Brangwen. \\\"That's where\",\n \"\\\"Get your tea, lad,\\\" said Tom Brangwen. \\\"Are you itchin' to \\n be off the moment you enter?\\\" \\n \\n They talked of trivial things. Through the open door the \\n level rays of sunset poured in, shining on the floor. A grey hen\",\n \"handles. He even read the name-plate, \\\"Tom Brangwen, of the \\n Marsh Farm. Born ----. Died ----.\\\" \\n \\n The good-looking, still face of the young man crinkled up for\",\n \"continued Tom Brangwen. \\n \\n \\\"All speak up, men,\\\" chimed in a feminine voice. \\n \\n \\\"Therefore we have marriage,\\\" continued Tom Brangwen. \\n\",\n \"to do with me. They all break down. You've got to go on by \\n yourself, if it's only to perdition. There's nobody going \\n alongside even there.\\\" \\n \\n Tom Brangwen meditated this. \\n\"\n ],\n [\n \"He had loved one warm, clever boy who was frail in body, a \\n consumptive type. The two had had an almost classic friendship, \\n David and Jonathan, wherein Brangwen was the Jonathan, the \\n server. But he had never felt equal with his friend, because the\",\n \"She came to him again, with the same lifting of her mouth as \\n had driven him almost mad with trammelled passion at first. She \\n came to him again, and, his heart delirious in delight and \\n readiness, he took her. And it was almost as before.\",\n \"he was drunk at a public house, he went upstairs with a \\n prostitute who seduced him. He was then nineteen. \\n \\n The thing was something of a shock to him. In the close \\n intimacy of the farm kitchen, the woman occupied the supreme\",\n \"Then suddenly, out of nowhere, there was connection between them \\n again. It came on him as he was working in the fields. The \\n tension, the bond, burst, and the passionate flood broke forward \\n into a tremendous, magnificent rush, so that he felt he could\",\n \"and he with only one man's capacity. \\n \\n He lived in a passion of sensual discovery with her for some \\n time--it was a duel: no love, no words, no kisses even, \\n only the maddening perception of beauty consummate, absolute\",\n \"was not with him, she was against him. But her making love to \\n him, her complete admiration of him, in open life, gratified \\n him. \\n \\n She caught him out of himself, and they were lovers, in a\",\n \"good-for-nothing. So he was humble. \\n \\n But at the same time his feelings were more discriminating \\n than those of most of the boys, and he was confused. He was more \\n sensuously developed, more refined in instinct than they. For\",\n \"suffered much. And she was too deeply hurt to submit. \\n \\n She had her blind agonies, when she wanted him, she wanted \\n him. But from the moment of his departure, he had become a\",\n \"to know her. And they would not. They remained intent, and far, \\n and proud, like a hawk's naive and inhuman as a hawk's. So she \\n loved him and caressed him and roused him like a hawk, till he\",\n \"had already left them. They left her very much alone. \\n \\n She went with him for the three days in the country house \\n near Oxford. It was delicious, and she was very happy. But the \\n thing she remembered most was when, getting up in the morning\",\n \"by that which he discovered in her. He was another man revelling \\n over her. There was no tenderness, no love between them any \\n more, only the maddening, sensuous lust for discovery and the\",\n \"she dreaded and resisted. She was subject to him as to the Angel \\n of the Presence. She waited upon him and heard his will, and she \\n trembled in his service. \\n \\n Then all this passed away. Then he loved her for her\",\n \"\\\"It is too many,\\\" she said sympathetically. \\n \\n \\\"You'll get about the same,\\\" he said. \\n \\n That was all she received. She sat rather blank, not knowing \\n how to feel. Still she liked him. He seemed so cross. There was\",\n \"As a little animal, she loved and adored it and was happy. \\n She loved her husband, she kissed his eyes and nose and mouth, \\n and made much of him, she said his limbs were beautiful, she was \\n fascinated by the physical form of him. \\n\",\n \"he was a virgin. And why, when all women were different? Why, \\n when he would only live once? He wanted the other life. His own \\n life was barren, not enough. He wanted the other. \\n\",\n \"And he waited, intent, obsessed, for the moment when he could \\n come to her. \\n \\n She enjoyed him, she made much of him. She liked to put her \\n fingers on the soft skin of his sides, or on the softness of his\",\n \"The only man she knew was her father; and, as he was \\n something large, looming, a kind of Godhead, he embraced all \\n manhood for her, and other men were just incidental. \\n \\n She remembered her cousin Will. He had town clothes and was\",\n \"excitement of it, and accepted. During the courtship, his kisses \\n were a wonder to her. She always thought about them, and \\n wondered over them. She never wanted to kiss him back. In her \\n idea, the man kissed, and the woman examined in her soul the\",\n \"So they were together in a darkness, passionate, electric, \\n for ever haunting the back of the common day, never in the \\n light. In the light, he seemed to sleep, unknowing. Only she \\n knew him when the darkness set him free, and he could see with\",\n \"was, dangerous to a degree, even whilst he gave himself to it. \\n It was pure darkness, also. All the shameful things of the body \\n revealed themselves to him now with a sort of sinister, tropical \\n beauty. All the shameful, natural and unnatural acts of sensual\"\n ]\n]"},"questions":{"kind":"list like","value":["Where was Lydia a refugee from?","What was the relationship like between Anna and her husband Will?","What made Ursula struggle to get what she wanted out of life?","What army was Anton in?","Who was a widow?","With who did Ursula have a same sex relationship?","What did Tom do for a living?","What was Anton once to Ursula?","Who was Ursula granddaughter of?","How many years does the story basically cover?","What is Tom Brngwen's occupation?","Who is Tom's granddaughter?","What is Ursula's occupation?","Who does Tom fall in love with?","What is the name of Lydia's daughter by her first marriage?","Who was Anna married to?","Who are Ursula' said parents?","What was Tom to Will?","What does Ursula have a vision of?","How long does the story span?","Who is Ursula?","Who is Anton Skrebensky?","Who is Lydia?","Who fell in love with Lydia?","How many generations of the Brangwen family are there? ","Where does the Brangwen family live?","What does Tom Brangwen do for a living?","Who experienced a same-sex relationship?"],"string":"[\n \"Where was Lydia a refugee from?\",\n \"What was the relationship like between Anna and her husband Will?\",\n \"What made Ursula struggle to get what she wanted out of life?\",\n \"What army was Anton in?\",\n \"Who was a widow?\",\n \"With who did Ursula have a same sex relationship?\",\n \"What did Tom do for a living?\",\n \"What was Anton once to Ursula?\",\n \"Who was Ursula granddaughter of?\",\n \"How many years does the story basically cover?\",\n \"What is Tom Brngwen's occupation?\",\n \"Who is Tom's granddaughter?\",\n \"What is Ursula's occupation?\",\n \"Who does Tom fall in love with?\",\n \"What is the name of Lydia's daughter by her first marriage?\",\n \"Who was Anna married to?\",\n \"Who are Ursula' said parents?\",\n \"What was Tom to Will?\",\n \"What does Ursula have a vision of?\",\n \"How long does the story span?\",\n \"Who is Ursula?\",\n \"Who is Anton Skrebensky?\",\n \"Who is Lydia?\",\n \"Who fell in love with Lydia?\",\n \"How many generations of the Brangwen family are there? \",\n \"Where does the Brangwen family live?\",\n \"What does Tom Brangwen do for a living?\",\n \"Who experienced a same-sex relationship?\"\n]"},"answers":{"kind":"list like","value":[["Poland.","polish"],["A bad relationship.","Poor, destructive and brokem"],["Society with its established practices.","the confines of a materialistic and conformist society"],["The British Army.","British"],["Lydia.","Lydia"],["A teacher.","A teacher"],["He was a farmer.","farms"],["A man she had a love affair with.","Lover."],["Tom.","Tom Brangwen."],["65","65"],["A farmer","A farmer"],["Ursula","Urusla"],["A teacher","A teacher."],["Lydia","Lydia."],["Anna","Anna"],["Will","will"],["Will and Anna","Will and Anna."],["His uncle","The uncle."],["A rainbow","Rainbow over earth."],["65 years. ","65 years"],["His granddaughter. ","Anna and Will's daughter."],["A British soldier of Polish ancestry.","A soldier"],["A Polish refugee and widow. ","anna's mom"],["Tom Brangwen.","Tom Brangwen"],["There are three generations. ","Three."],["The east Midlands. ","East Midlands of England"],["He is a farmer. ","farmer"],["Ursula. ","Ursula."]],"string":"[\n [\n \"Poland.\",\n \"polish\"\n ],\n [\n \"A bad relationship.\",\n \"Poor, destructive and brokem\"\n ],\n [\n \"Society with its established practices.\",\n \"the confines of a materialistic and conformist society\"\n ],\n [\n \"The British Army.\",\n \"British\"\n ],\n [\n \"Lydia.\",\n \"Lydia\"\n ],\n [\n \"A teacher.\",\n \"A teacher\"\n ],\n [\n \"He was a farmer.\",\n \"farms\"\n ],\n [\n \"A man she had a love affair with.\",\n \"Lover.\"\n ],\n [\n \"Tom.\",\n \"Tom Brangwen.\"\n ],\n [\n \"65\",\n \"65\"\n ],\n [\n \"A farmer\",\n \"A farmer\"\n ],\n [\n \"Ursula\",\n \"Urusla\"\n ],\n [\n \"A teacher\",\n \"A teacher.\"\n ],\n [\n \"Lydia\",\n \"Lydia.\"\n ],\n [\n \"Anna\",\n \"Anna\"\n ],\n [\n \"Will\",\n \"will\"\n ],\n [\n \"Will and Anna\",\n \"Will and Anna.\"\n ],\n [\n \"His uncle\",\n \"The uncle.\"\n ],\n [\n \"A rainbow\",\n \"Rainbow over earth.\"\n ],\n [\n \"65 years. \",\n \"65 years\"\n ],\n [\n \"His granddaughter. \",\n \"Anna and Will's daughter.\"\n ],\n [\n \"A British soldier of Polish ancestry.\",\n \"A soldier\"\n ],\n [\n \"A Polish refugee and widow. \",\n \"anna's mom\"\n ],\n [\n \"Tom Brangwen.\",\n \"Tom Brangwen\"\n ],\n [\n \"There are three generations. \",\n \"Three.\"\n ],\n [\n \"The east Midlands. \",\n \"East Midlands of England\"\n ],\n [\n \"He is a farmer. \",\n \"farmer\"\n ],\n [\n \"Ursula. \",\n \"Ursula.\"\n ]\n]"},"document_id":{"kind":"string","value":"d56d2864cceb811c9b29e3aa547374ebf7b26be3"},"split":{"kind":"string","value":"train"}}},{"rowIdx":58,"cells":{"text":{"kind":"list like","value":[["It is autumn, the EMPEROR PENGUINS for the mating season. \n \n It is just like the GREAT GATHERING we saw at the beginning \n of our story. Males and females sing their Heartsongs. And"," Your Heartsong. Yes. The melody you hear \n inside, the thing that makes you \n different from every other penguin. So. \n Let's all be very still now and listen. \n And when you hear your song, let it come"," MUMBLE (VO) \n With them it was love at first song. \n \n Close up on the two penguins as their necks intertwine. \n \n MUMBLE (VO) (CONT'D)","...trying to top each other, they add HIPPITY-HOPS they've just \n learned from Mumble. The females are intrigued. \n \n A FEMALE \n Hey. Cool. Where'd you learn that? \n"," ...Watch and learn tallboy. \n \n One of the Adelies calls to a pair of YOUNG FEMALES he sees \n walking by. \n \n THE ADELIES (CONT'D) \n ...Hola Conchita!"," KEEN MALE \n (trying to connect) \n \"Babe...I got you Babe...\" \n \n She ignores him \n \n NEXT MALE \n (giving it his all)"," ...What a peach! \n ...What a bruiser! \n \n Amongst the excited crowd of males and hatchlings we find \n WISHFUL staring down at his egg still balanced on his feet. \n"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS"," Follow a female penguin as she waddles through the massive \n crowd past an assortment of crooning males \n \n \n (CONTINUED) \n 2. \n CONTINUED: \n"," Anyone else? \n \n Mumble looks astonished. What's more important than that \n \n ELLA \n It's our Heartsong, Miss. \n \n TEACHER"," \"When a man loves a woman...\" \n \n She keeps moving, until she sees the male of her dreams: \n \n WISHFUL \n \"Love me tender love me true, all my \n dreams fulfil. \n"," LOVEDAY (CONT'D) \n Now. The Mating Season starts today so \n here's what everybody should do: go forth \n and multiply! If you'll excuse I myself \n must retire for a moment to the couch of","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA","The singing ADELIE joins in...acapella, very rhythmic \n \n THE ADELIE \n \"...turn around you fool \n You know I love you more and more...\" \n"," When the Sun vanishes... \n \n CHORUS \n We Remain. \n \n INSIDE THE HUDDLE \n \n The adult males are packed shoulder to shoulder, looking \n downwards at the eggs balanced on their feet. \n","The distant females look exhausted as they totter unsteadily \n across the ice towards their partners. The MALES break ranks \n and rush towards the distressed females. \n \n MALE PENGUINS \n ...Barbra-Ann!","ONE SONG stands out from all the others. \n \n Where NORMA J. once sang, stands ELLA, now sleek and fully \n mature. Gathered around her in a semi-circle, a half a dozen \n adoring MALES. \n","We find MUMBLE on his own small ice-floe separate from the \n others on their iceberg. \n \n As their singing drifts across to him, MUMBLE does an \n exquisite little SOFT-SHOE SHUFFLE. \n"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n"," Mumble, that's just cheap \n \n She turns and heads off. The Adelie starts after her. \n \n THE ADELIE \n Wait up! You and me baby, we can make"],["As he speaks, his eyes are drawn to the huge number of FLUFFY \n CHICKS following behind her \n \n MUMBLE (CONT'D) \n Are these all yours? \n \n ELLA","The little girl who is pointing at mumbles feet. Mumble looks \n down, realizes what his feet are doing, looks up again. \n \n MUMBLE (CONT'D) \n You like that? Well how about this. \n","Over WISHFUL' shoulder, she sees the infant Mumble HIPPITY- \n HOPPING towards them. \n \n NORMA J \n But who's this. \n \n WISHFUL","In the confusion of penguins we find MUMBLE, ELLA and their \n chick \n \n MUMBLE (V.O.) \n Ella's gave up teaching to look after our \n chick. We take turns looking after her"," 84. \n CONTINUED: \n \n MUMBLE covers his chick protectively, watrching his wife walk \n away. \n \n MUMBLE (V.O.)","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit."," On you go then, buddy \n \n MUMBLE \n Thanks Pop. See ya Ma. \n \n He races off, Norma J calling after him: \n \n NORMA J \n (calling after)"," (CONTINUED) \n 29. \n CONTINUED: \n \n ELLA \n Thank you Mumble, but it's yours. \n \n MUMBLE","Mumble SNUGGLES contentedly between his father's legs, \n surveying his new world. The friend's chick, ELLA is staring \n at him fascinated \n \n ELLA \n Get him to do it again Daddy \n","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA"," MUMBLE \n (laughs) \n That doesn't make any sense. \n \n TEACHER \n Well Mumble...perhaps you can do better \n \n MUMBLE"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from"," Mumble, that's just cheap \n \n She turns and heads off. The Adelie starts after her. \n \n THE ADELIE \n Wait up! You and me baby, we can make","...trying to top each other, they add HIPPITY-HOPS they've just \n learned from Mumble. The females are intrigued. \n \n A FEMALE \n Hey. Cool. Where'd you learn that? \n"," MUMBLE (CONT'D) \n Yes I do. \n \n A brief moment then. \n \n MALE PENGUIN \n Hi Ella. \n \n \n \n"," NORMA J \n Aw. But isn't he just a darling? \n \n MUMBLE \n (yells ecstatically) \n I got one! I got a mum everyone. I got a \n MUM!!"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS"],["The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA","MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n"," MUMBLE (VO) \n With them it was love at first song. \n \n Close up on the two penguins as their necks intertwine. \n \n MUMBLE (VO) (CONT'D)"," MUMBLE \n (laughs) \n That doesn't make any sense. \n \n TEACHER \n Well Mumble...perhaps you can do better \n \n MUMBLE"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE","He starts tap dancing. The penguins are torn, between \n Caruso's instructions and Mumbles. \n \n MUMBLES \n Its what they understand. They can't \n talk, they can't sing. They speak with","The little girl who is pointing at mumbles feet. Mumble looks \n down, realizes what his feet are doing, looks up again. \n \n MUMBLE (CONT'D) \n You like that? Well how about this. \n"," That thing with The feet. \n (to the others) \n ¡Hola muchachos! \n (to Mumble) \n Show them! \n \n MUMBLE","...trying to top each other, they add HIPPITY-HOPS they've just \n learned from Mumble. The females are intrigued. \n \n A FEMALE \n Hey. Cool. Where'd you learn that? \n","Mumble is looking around, trying to figure it out \n \n PENGUIN (CONT'D) \n Fish! \n \n MUMBLE \n Where? \n \n \n (CONTINUED)"," (CONTINUED) \n 29. \n CONTINUED: \n \n ELLA \n Thank you Mumble, but it's yours. \n \n MUMBLE"," sweet music. I may be short but I'm a \n love god...Ooww! \n \n Mumble smacks him with the back of a flipper and goes off \n after Ella himself. \n \n MUMBLE"," (pushing in) \n ...He has abandoned the faith. \n ...He has driven the fish away. \n \n THE ADELIES \n (protecting Mumble) \n ...Come on hombre, loosen up,","Music over: Walk on By as he wanders through the vast colony \n head down against the wind, little feet padding over the ice, \n \n Gradually the colony begins to thin. \n \n MUMBLE (CONT'D)","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit.","We find MUMBLE on his own small ice-floe separate from the \n others on their iceberg. \n \n As their singing drifts across to him, MUMBLE does an \n exquisite little SOFT-SHOE SHUFFLE. \n","Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \n the air, landing on a THIN PANCAKE OF ICE that cannot support \n his weight. \n \n MUMBLE (CONT'D)"],["He indicates the SIX-PACK PLASTIC around LOVEDAY'S neck. \n \n SEAL 1 lowers it's massive head down to face LOVEDAY. \n Wheezing he examines the plastic with first with one eye,"," 42. \n CONTINUED: (2) \n \n In fact Mumble is mesmerised by the luight catching LOVEDAY's \n six pack holder. He bends forwards to study it more closely \n","by the SIX-PACK PLASTIC and he is DRAGGED AWAY, tethered to \n the KILLER WHALE like Captain Ahab. \n \n The WHALE thrashes around wildly trying to dislodge the","At the head of this queue stands LOVEDAY - guardian of a huge \n pile of pebbles. His head pokes through one of the rings a \n PLASTIC SIX-PACK CAN HOLDER festooned with seaweed like a"," AN ADELIE \n Why don't he speak? \n \n LOVEDAY gurgles and points wildly to the SIX-PACK PLASTIC \n round his neck. \n \n AN ADELIE (CONT'D)"," ...Hold on we gonna take it off. \n ...You pull that side, I pull this side. \n \n They tug at the SIX-PACK PLASTIC. LOVEDAY GASPS AND WINCES. \n \n MUMBLE"," (CONTINUED) \n 63. \n CONTINUED: \n \n MUMBLE \n What is it? \n \n There, imbedded in the ice: another six pack holder. \n","He swims back. The KILLER WHALE is about to take them both in \n one bite. MUMBLE pulls LOVEDAY aside, but he's not quite \n quick enough: one of the Whale's outer teeth catches LOVEDAY"," MUMBLE \n You looked up and...... It just got caught \n around your neck? \n \n \n (CONTINUED) \n 56. \n CONTINUED: (3) \n","LOVEDAY is FLUNG high, high into the air and...SPLASHES DOWN \n some distance away. \n \n The KILLER WHALE is left with the SIX-PACK PLASTIC lodged in \n its teeth. \n"," So who fixed him up with this. \n \n She turns him around to reveal some kind of circuit board \n glued to his back: a small aerial, winking red lights. A \n TRANSMITTER. \n","puts out a wing to steady himself and notices a metal tag on \n it. This place is beginning to upset him. \n \n \n \n \n (CONTINUED) \n 75. \n CONTINUED:"," ...Of course it's not! It's sacred! \n \n MUMBLE \n LOVEDAY, where did you get it? \n \n THE ADELIES \n ...It was bestowed on him.","LOVEDAY mimes the talisman going over his head. \n \n AN ADELIE \n ...Well to me that's gotta be bestowing. \n \n LOVEDAY shakes his head, `no'. He stretches his neck. \n","uninhibited and unselfconscious. \n \n After some time, he remembers himself, stops and turns to the \n Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. \n"," ..Me! \n ..No Me ! \n \n LOVEDAY \n One at a time! And don't touch the \n Talisman! \n \n ADELIES \n ....I liked him better when he was just","LOVEDAY chokes out a `yes'. \n \n ADELIES \n ....The way I feel\": the \"frostbitten\" \n shore \n ....So what are those black things?. \n","opens his eyes to the brilliant glare of an examination lamp. \n \n There is movement around him. Voices whispering in an alien \n tongue. A FIGURE IN WHITE bends over him cleaning the oil"," ...He don't know what he's saying. \n \n MUMBLE \n If it wasn't bestowed, what happened? \n \n LOVEDAY mimes swimming. \n \n THE ADELIES"," Talisman, bestowed upon me by the Mystic \n Beings... \n \n MUMBLE \n Looks like they bestowed it very tight. \n \n LOVEDAY \n ...during my Epic Journey of"],["The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE","He touches Mumble and recoils as if burnt \n \n ADELIE \n Yow! \n \n MUMBLE \n You really think so? \n \n THE ADELIES"," THE ADELIES \n (wincing) \n ...Ouch! \n ...That's gotta hurt! \n ...Who ordered seal? \n \n Mumble is quickly on his feet and out of the Leopard Seal's"," (pushing in) \n ...He has abandoned the faith. \n ...He has driven the fish away. \n \n THE ADELIES \n (protecting Mumble) \n ...Come on hombre, loosen up,"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n"," MUMBLE \n (laughs) \n That doesn't make any sense. \n \n TEACHER \n Well Mumble...perhaps you can do better \n \n MUMBLE","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n"," PENGUINS \n ...Who's doing all the shouting \n ...Its Mumble. He's worse than before. \n \n MUMBLE \n No, honestly Aliens will be here soon!"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE"," ...You found them, you found Aliens! \n ...Now we go back tell everybody who's \n taking the fish. \n \n \n Mumble's eyes remain fixed on the horizon. \n \n","As he launches himself into space... \n \n WIDE SHOT \n \n The tiny penguin soaring off the top of the ICEBERG. \n \n THE ADELIES rush to the edge as, far below Mumble HITS THE","Choking, thrashing and gulping air, Mumble SCRAMBLES to get \n back onto the ice. \n \n MUMBLE \n Everybody out!! LEOPARD SEAL!! (glub) \n","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit.","Mumble is looking around, trying to figure it out \n \n PENGUIN (CONT'D) \n Fish! \n \n MUMBLE \n Where? \n \n \n (CONTINUED)","Music over: Walk on By as he wanders through the vast colony \n head down against the wind, little feet padding over the ice, \n \n Gradually the colony begins to thin. \n \n MUMBLE (CONT'D)","The Adelies are heading back to their colony as fast as their \n little legs will carry then. Mumble Hippity hops after them \n \n ADELIES \n ...Forget it \n ...We're not going back there \n ...Never","sea around him erupts in churning foam. \n \n Swamped by the wake, Mumble goes under. When he resurfaces, \n THE SHIP is already on its way. \n \n \n \n \n (CONTINUED)"],["MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO"," (pushing in) \n ...He has abandoned the faith. \n ...He has driven the fish away. \n \n THE ADELIES \n (protecting Mumble) \n ...Come on hombre, loosen up,"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE","Music over: Walk on By as he wanders through the vast colony \n head down against the wind, little feet padding over the ice, \n \n Gradually the colony begins to thin. \n \n MUMBLE (CONT'D)"," (CONTINUED) \n 29. \n CONTINUED: \n \n ELLA \n Thank you Mumble, but it's yours. \n \n MUMBLE","He touches Mumble and recoils as if burnt \n \n ADELIE \n Yow! \n \n MUMBLE \n You really think so? \n \n THE ADELIES","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA"," 84. \n CONTINUED: \n \n MUMBLE covers his chick protectively, watrching his wife walk \n away. \n \n MUMBLE (V.O.)"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n"," THE ADELIES \n (wincing) \n ...Ouch! \n ...That's gotta hurt! \n ...Who ordered seal? \n \n Mumble is quickly on his feet and out of the Leopard Seal's","gumboots RUN AWAY, shouting something unintelligible. \n \n With great difficulty, Mumble raises his head to try to see \n more. Sunlight flares, bleaching to white, as he LOSES \n CONSCIOUSNESS.","Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \n the air, landing on a THIN PANCAKE OF ICE that cannot support \n his weight. \n \n MUMBLE (CONT'D)"," (CONTINUED) \n 9. \n CONTINUED: \n \n Caruso waddles past: A stern glance down at little Mumble as \n he carries on along the line \n \n WISHFUL"," sweet music. I may be short but I'm a \n love god...Ooww! \n \n Mumble smacks him with the back of a flipper and goes off \n after Ella himself. \n \n MUMBLE"," MUMBLE (V.O.) \n Aliens everywhere, watching you eat, \n watching you sleep \n \n Mumble backs away and knocks into the PAINTED HORIZON. He","Choking, thrashing and gulping air, Mumble SCRAMBLES to get \n back onto the ice. \n \n MUMBLE \n Everybody out!! LEOPARD SEAL!! (glub) \n"],["sea around him erupts in churning foam. \n \n Swamped by the wake, Mumble goes under. When he resurfaces, \n THE SHIP is already on its way. \n \n \n \n \n (CONTINUED)","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \n the air, landing on a THIN PANCAKE OF ICE that cannot support \n his weight. \n \n MUMBLE (CONT'D)","The PENGUINS head for shore , swimming for their lives. \n LOVEDAY, thrashing and wheezing, is unable to keep up. \n \n MUMBLE \n (stops) \n LOVEDAY! LOVEDAY!! \n","MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE","to where Mumble and Loveday stand, gazing into the distance. \n \n They have finally reached the sea again \n \n MUMBLE \n You think this is it? The Forbidden \n Shore? \n"," ...he's certainly not eating \n \n Leaning forward to take the fish \n \n PENGUIN \n ...Maybe I should just... \n \n Mumble regains consciousness \n \n (CONTINUED)"," (CONTINUED) \n 17. \n CONTINUED: (2) \n \n Mumble inhales, his eyes are shining, his body is shaking. \n"," ...You found them, you found Aliens! \n ...Now we go back tell everybody who's \n taking the fish. \n \n \n Mumble's eyes remain fixed on the horizon. \n \n","Music over: Walk on By as he wanders through the vast colony \n head down against the wind, little feet padding over the ice, \n \n Gradually the colony begins to thin. \n \n MUMBLE (CONT'D)","Choking, thrashing and gulping air, Mumble SCRAMBLES to get \n back onto the ice. \n \n MUMBLE \n Everybody out!! LEOPARD SEAL!! (glub) \n"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n"," (pushing in) \n ...He has abandoned the faith. \n ...He has driven the fish away. \n \n THE ADELIES \n (protecting Mumble) \n ...Come on hombre, loosen up,","As he launches himself into space... \n \n WIDE SHOT \n \n The tiny penguin soaring off the top of the ICEBERG. \n \n THE ADELIES rush to the edge as, far below Mumble HITS THE"," THE ADELIES \n (wincing) \n ...Ouch! \n ...That's gotta hurt! \n ...Who ordered seal? \n \n Mumble is quickly on his feet and out of the Leopard Seal's"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n","gumboots RUN AWAY, shouting something unintelligible. \n \n With great difficulty, Mumble raises his head to try to see \n more. Sunlight flares, bleaching to white, as he LOSES \n CONSCIOUSNESS."],["The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,"," ...You found them, you found Aliens! \n ...Now we go back tell everybody who's \n taking the fish. \n \n \n Mumble's eyes remain fixed on the horizon. \n \n"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n","The Adelies are heading back to their colony as fast as their \n little legs will carry then. Mumble Hippity hops after them \n \n ADELIES \n ...Forget it \n ...We're not going back there \n ...Never"," Stop! Please!.... \n \n From a safe distance the ADELIES stop and look on in \n amazement as Mumble stands his ground, shouting up at THE \n SHIP as it advances towards him. \n \n MUMBLE (CONT'D)"," THE ADELIES \n (wincing) \n ...Ouch! \n ...That's gotta hurt! \n ...Who ordered seal? \n \n Mumble is quickly on his feet and out of the Leopard Seal's","sea around him erupts in churning foam. \n \n Swamped by the wake, Mumble goes under. When he resurfaces, \n THE SHIP is already on its way. \n \n \n \n \n (CONTINUED)"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n","They scurry back into a straight line behind Mumble who cops \n the FULL BLAST of the GALE. \n \n He gives up and marches off into the driving snow. \n \n THE ADELIES \n ...Hey!"," ADELIES \n Ramos! \n \n Mumble pops his head out from between the jaws \n \n MUMBLE \n Oh! There you are \n \n Terrified the Adelies scatter and shoot to the surface like","the Adelies dwindle to specks and disappear into the mist. \n \n THE ICE SHELF \n \n Mumble and the Adelies have put the colony far behind, \n trekking homewards \n \n ADELIES"," (pushing in) \n ...He has abandoned the faith. \n ...He has driven the fish away. \n \n THE ADELIES \n (protecting Mumble) \n ...Come on hombre, loosen up,","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit.","As he launches himself into space... \n \n WIDE SHOT \n \n The tiny penguin soaring off the top of the ICEBERG. \n \n THE ADELIES rush to the edge as, far below Mumble HITS THE","Mumble POWERS ahead, the ice above growing thicker, the \n angled ceiling forcing him down, deeper into the BLACKNESS. \n \n The Leopard Seal opens its mouth. Its GAPING JAWS are about \n to engulf Mumble when... \n"," (CONTINUED) \n 29. \n CONTINUED: \n \n ELLA \n Thank you Mumble, but it's yours. \n \n MUMBLE","Choking, thrashing and gulping air, Mumble SCRAMBLES to get \n back onto the ice. \n \n MUMBLE \n Everybody out!! LEOPARD SEAL!! (glub) \n"],["MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,"," ...You found them, you found Aliens! \n ...Now we go back tell everybody who's \n taking the fish. \n \n \n Mumble's eyes remain fixed on the horizon. \n \n"," (pushing in) \n ...He has abandoned the faith. \n ...He has driven the fish away. \n \n THE ADELIES \n (protecting Mumble) \n ...Come on hombre, loosen up,","sea around him erupts in churning foam. \n \n Swamped by the wake, Mumble goes under. When he resurfaces, \n THE SHIP is already on its way. \n \n \n \n \n (CONTINUED)"," (CONTINUED) \n 29. \n CONTINUED: \n \n ELLA \n Thank you Mumble, but it's yours. \n \n MUMBLE","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit.","Choking, thrashing and gulping air, Mumble SCRAMBLES to get \n back onto the ice. \n \n MUMBLE \n Everybody out!! LEOPARD SEAL!! (glub) \n"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE","Mumble POWERS ahead, the ice above growing thicker, the \n angled ceiling forcing him down, deeper into the BLACKNESS. \n \n The Leopard Seal opens its mouth. Its GAPING JAWS are about \n to engulf Mumble when... \n"," THE ADELIES \n (wincing) \n ...Ouch! \n ...That's gotta hurt! \n ...Who ordered seal? \n \n Mumble is quickly on his feet and out of the Leopard Seal's"," ...he's certainly not eating \n \n Leaning forward to take the fish \n \n PENGUIN \n ...Maybe I should just... \n \n Mumble regains consciousness \n \n (CONTINUED)"," MUMBLE \n (laughs) \n That doesn't make any sense. \n \n TEACHER \n Well Mumble...perhaps you can do better \n \n MUMBLE"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from"," ADELIES \n Ramos! \n \n Mumble pops his head out from between the jaws \n \n MUMBLE \n Oh! There you are \n \n Terrified the Adelies scatter and shoot to the surface like"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n","He touches Mumble and recoils as if burnt \n \n ADELIE \n Yow! \n \n MUMBLE \n You really think so? \n \n THE ADELIES"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n"," (CONTINUED) \n 9. \n CONTINUED: \n \n Caruso waddles past: A stern glance down at little Mumble as \n he carries on along the line \n \n WISHFUL"],["Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \n the air, landing on a THIN PANCAKE OF ICE that cannot support \n his weight. \n \n MUMBLE (CONT'D)","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO"," MUMBLE \n (laughs) \n That doesn't make any sense. \n \n TEACHER \n Well Mumble...perhaps you can do better \n \n MUMBLE","Mumble sighs and his little shoulders sink, no way he'll ever \n be able to sing like that. \n \n MUMBLE \n Its tough when you realise you'll never \n fit in. Plus I was beginning to moult \n","MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,","He starts tap dancing. The penguins are torn, between \n Caruso's instructions and Mumbles. \n \n MUMBLES \n Its what they understand. They can't \n talk, they can't sing. They speak with"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from","Mumble is looking around, trying to figure it out \n \n PENGUIN (CONT'D) \n Fish! \n \n MUMBLE \n Where? \n \n \n (CONTINUED)","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE","As he launches himself into space... \n \n WIDE SHOT \n \n The tiny penguin soaring off the top of the ICEBERG. \n \n THE ADELIES rush to the edge as, far below Mumble HITS THE"," (CONTINUED) \n 17. \n CONTINUED: (2) \n \n Mumble inhales, his eyes are shining, his body is shaking. \n"," That thing with The feet. \n (to the others) \n ¡Hola muchachos! \n (to Mumble) \n Show them! \n \n MUMBLE","sea around him erupts in churning foam. \n \n Swamped by the wake, Mumble goes under. When he resurfaces, \n THE SHIP is already on its way. \n \n \n \n \n (CONTINUED)"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS","We find MUMBLE on his own small ice-floe separate from the \n others on their iceberg. \n \n As their singing drifts across to him, MUMBLE does an \n exquisite little SOFT-SHOE SHUFFLE. \n"," I called him Mumble. \n \n Mumbles feet start to tap involuntarily, Then he catches his \n dad's warning look. \n \n MUMBLE \n Did she get one. Did she bring one back. \n"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n"],[" But that's what we have to find out. \n Don't you see. Things like that could be \n eating the fish. \n \n The idea is so stunningly original it stops them in their \n tracks. \n \n ADELIES"," ...Kiss my frozen toosh, rubber butt \n \n They fall about laughing. The Leopard Seal returns to the \n water. \n \n LEOPARD SEAL \n I know where you live. \n \n THE ADELIES"," and going to get the fish. \n \n As we watch, Ella moves off, joining the great to and fro of \n penguins along the highway to the sea. \n \n \n \n (CONTINUED)","Before him, a wasteland of discoloured ice covered with \n broken eggs and bits of feather. There are very few penguins \n here and the ones he can see are all, frankly, weird. \n"," it happened, but the black icebergs began \n to disappear and the fish became abundant \n once more. \n \n A CONFERENCE ROOM \n \n Suited figures are seated round a large table, watching as"," On the black iceberg. The ones taking all \n the fish! \n \n ALBATROSS \n Them. Fish is just the start of it Mate. \n Them aliens is the ones who took out the \n whales."," ...You found them, you found Aliens! \n ...Now we go back tell everybody who's \n taking the fish. \n \n \n Mumble's eyes remain fixed on the horizon. \n \n"," (getting desperate) \n Wait. Look. \n \n The Adelies all start DANCING MADLY, but it is too frenetic, \n too desperate. \n \n ADELIES \n ...You like it"," Wait. Wait. You think it's my fault that \n there are no fish?!! Doing Happy Feet \n can't cause a food shortage. \n \n AN ELDER \n ...then what did?! \n"," Stop. You're hurting him. \n \n The Adelies back off. \n \n \n \n (CONTINUED) \n 55. \n CONTINUED: (2) \n","WATER. And vanishes. \n \n THE ADELIES \n ...can you believe that \n ...brought us all this way and killed \n himself \n ...no he didn't! look! \n"," Knows. \n \n A hush falls over the gathering. \n \n LOVEDAY (CONT'D) \n The reason there are not enough fish is \n simple: There is not enough love in the \n world. Love is the answer!"," ...he's certainly not eating \n \n Leaning forward to take the fish \n \n PENGUIN \n ...Maybe I should just... \n \n Mumble regains consciousness \n \n (CONTINUED)","THE SEA ICE \n \n Mumble and the Adelies venture out onto the weak ice beyond \n the whaling station, finding more and more of the strange \n artefacts: a piece of nylon rope, a soda can, a boot. \n"," ...Yeah, back when you could still catch a \n fish. \n \n MUMBLE \n The shortage has affected you too?! \n \n AN ADELIE \n ...Who you calling shortish?","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,"," So we all step up policing of the pirate \n factory ships. And we pressure that \n country to stop their so-called \n `experimental' fishing. \n \n DELEGATE#3 \n Yes, if our government asks your"," THE ADELIES \n (wincing) \n ...Ouch! \n ...That's gotta hurt! \n ...Who ordered seal? \n \n Mumble is quickly on his feet and out of the Leopard Seal's","They've reached the edge of the sea-ice. LOVEDAY croaks a \n warning. He points out to sea. \n \n AN ADELIE \n What is that? \n"," years now we have known nothing but \n famine. But you are our hope. Upon your \n survival depends the very future of the \n entire Penguin Nation. Dive deep, swim \n far. May the Great Penguinus go with you."],[" PENGUINS \n ... So Who's this? \n ...Kinda small for an emperor. \n ...(suspicious) Where did you say you were \n from? \n"," ...¡Riba Riba! Shake those hips! \n ...Yo penguino, bust a move! \n \n They COPY HIM, improvising little riffs on his dance step. \n The LEOPARD SEAL inches up behind them. \n"," Yeah guys, in your dreams \n \n THE ADELIES \n ...You see. Some penguins got it, some \n don't And the Amigos, (in unison) WE GOT \n IT! \n","A Penguin walks in an endless figure of eight muttering to \n himself. Another has his flippers wrapped tightly around \n himself like a straightjacket. A troubled Penguin sings \n angrily...\"There's no business like show business. \n","The huddled penguins are engaged in ritual chanting \n \n LEAD VOICE \n When all others leave... \n \n CHORUS \n We Remain. \n \n LEAD VOICE","They punch and bump each other playfully. \n \n MUMBLE \n ....you think I could get some of it? \n \n AN ADELIE \n Hombre, you got so much already, you \n dangerous. \n"," ...Watch and learn tallboy. \n \n One of the Adelies calls to a pair of YOUNG FEMALES he sees \n walking by. \n \n THE ADELIES (CONT'D) \n ...Hola Conchita!"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n"," FRIENDLY PENGUIN \n Shh. Quiet \n \n \n (CONTINUED) \n 8. \n CONTINUED: (2) \n","Right on cue, the rest of the AMIGOS appear on either side of \n him, singing back-up. \n \n \n \n \n (CONTINUED) \n 49."," ...Where? \n ...Coming from the Inland! \n \n A couple of Penguins watch the approaching figure. \n \n PENGUINS \n ...Is it a Penguin? \n ...Is it one of ours? \n","A MOUNTAIN RIDGE \n \n The Adelies labour uphill into the wind. LOVEDAY is lagging \n behind, breathing hard. \n \n Even MUMBLE and the AMIGOS are puffing with the effort of the \n climb.","A vast, boisterous ADELIE PENGUIN COMMUNITY. Thousands of \n them, stretching as far as the eye can see. Its very Rio, \n very samba, worlds away from the sedate Emperor colony. \n"," THE ADELIES \n ...The big guy. \n ...He from out of town. \n ...He with us. \n \n FEMALE \n Do it again. \n \n THE ADELIES"," ...Kiss my frozen toosh, rubber butt \n \n They fall about laughing. The Leopard Seal returns to the \n water. \n \n LEOPARD SEAL \n I know where you live. \n \n THE ADELIES","Spectators come and go. The penguins stand like statues. \n \n Though bubbles begin to appear above Mumbles head, snapshots \n of his past experiences \n \n MUMBLE (V.O.)","They scurry back into a straight line behind Mumble who cops \n the FULL BLAST of the GALE. \n \n He gives up and marches off into the driving snow. \n \n THE ADELIES \n ...Hey!"," THE ADELIES \n ...Their loss, guys. \n ...Ramon, where you going? \n \n Ramon is SEARCHING frantically for PEBBLES. \n \n RAMON"," (CONTINUED) \n 82. \n CONTINUED: (5) \n \n Now the entire emperor community are dancing for all they are \n worth. \n \n PENGUINS","PENGUINS: Chinstraps, Rock-hoppers, Adelies, King penguins, \n emerging from holes in the rock face \n \n PENGUINS \n Fish time. Fish time! \n"],["MUMBLE between his father's feet, follows his father's \n concentrated gaze. \n \n MUMBLE \n Gee I'm hungry \n \n WISHFUL \n Everyone's hungry son. The mommas are"," MUMBLE \n But I haven't had any answers yet! \n \n LOVEDAY \n SILENCIO!! The Mystic Beings are \n speaking. They say show some respect \n stranger. Especially to the One who","The little girl who is pointing at mumbles feet. Mumble looks \n down, realizes what his feet are doing, looks up again. \n \n MUMBLE (CONT'D) \n You like that? Well how about this. \n"," I called him Mumble. \n \n Mumbles feet start to tap involuntarily, Then he catches his \n dad's warning look. \n \n MUMBLE \n Did she get one. Did she bring one back. \n"," (CONTINUED) \n 26. \n CONTINUED: \n \n Suddenly the little dark figure of MUMBLE barrels through the \n pack, yelling \n \n MUMBLE"," (CONTINUED) \n 31. \n CONTINUED: \n \n MUMBLE \n \"...AaahhhhHhhhhhhhhhhhhHhhhhhh...\" \n"," MUMBLE \n You said they didn't exist. \n \n CARUSO \n They'll slaughter us. Head for the sea! \n \n MUMBLE \n No. Do this. Do Happy feet.","Mumble pursues one of them. \n \n MUMBLE \n Sometime you got a live one but there was \n nowhere really to chase it \n \n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES"," MUMBLE (CONT'D) \n That's it! Excellent! ¡Riba Riba, \n penguinos! \n Shake those hips. Come on, bust a move!! \n \n CARUSO."," MUMBLE (CONT'D) \n Excuse me, where are we. \n \n PENGUIN \n Heaven. Where d'you think? \n \n MUMBLE"," MUMBLE (CONT'D) \n Yes I do. \n \n A brief moment then. \n \n MALE PENGUIN \n Hi Ella. \n \n \n \n"," MUMBLE \n ... and he said he was abducted by \n Aliens. \n \n LOVEDAY \n (starts to wheeze and cough) \n Listen friend, this is my Sacred","Spectators come and go. The penguins stand like statues. \n \n Though bubbles begin to appear above Mumbles head, snapshots \n of his past experiences \n \n MUMBLE (V.O.)"," MUMBLE \n Wow. They brought me home \n \n His voice ECHOES back at him, with a mocking edge. There is \n something unusual about this place. A plump penguin waddles \n by \n"," Mumble? \n \n MUMBLE \n Ella? \n \n They scramble to their feet...but the ice is slippery.They \n clutch together, slipping and sliding. \n \n ELLA","MUMBLE does a little SOFT SHOE SHUFFLE. \n \n WISHFUL (CONT'D) \n (sharply) \n Hey. Thought I told you not to do that \n \n MUMBLE"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE"," (CONTINUED) \n 17. \n CONTINUED: (2) \n \n Mumble inhales, his eyes are shining, his body is shaking. \n"," MUMBLE \n This is it Ella! This is the song inside \n me! \n \n ELLA is ecstatic. Just when we think the WHOLE COLONY will be"],["The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO"," MUMBLE \n (laughs) \n That doesn't make any sense. \n \n TEACHER \n Well Mumble...perhaps you can do better \n \n MUMBLE"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS","MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n","We find MUMBLE on his own small ice-floe separate from the \n others on their iceberg. \n \n As their singing drifts across to him, MUMBLE does an \n exquisite little SOFT-SHOE SHUFFLE. \n","He starts tap dancing. The penguins are torn, between \n Caruso's instructions and Mumbles. \n \n MUMBLES \n Its what they understand. They can't \n talk, they can't sing. They speak with","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA","Mumble is looking around, trying to figure it out \n \n PENGUIN (CONT'D) \n Fish! \n \n MUMBLE \n Where? \n \n \n (CONTINUED)"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE"," (CONTINUED) \n 29. \n CONTINUED: \n \n ELLA \n Thank you Mumble, but it's yours. \n \n MUMBLE"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n"," That thing with The feet. \n (to the others) \n ¡Hola muchachos! \n (to Mumble) \n Show them! \n \n MUMBLE"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n","The little girl who is pointing at mumbles feet. Mumble looks \n down, realizes what his feet are doing, looks up again. \n \n MUMBLE (CONT'D) \n You like that? Well how about this. \n","He touches Mumble and recoils as if burnt \n \n ADELIE \n Yow! \n \n MUMBLE \n You really think so? \n \n THE ADELIES"," (CONTINUED) \n 9. \n CONTINUED: \n \n Caruso waddles past: A stern glance down at little Mumble as \n he carries on along the line \n \n WISHFUL"," MUMBLE (VO) \n With them it was love at first song. \n \n Close up on the two penguins as their necks intertwine. \n \n MUMBLE (VO) (CONT'D)","Music over: Walk on By as he wanders through the vast colony \n head down against the wind, little feet padding over the ice, \n \n Gradually the colony begins to thin. \n \n MUMBLE (CONT'D)"],["LOVEDAY chokes out a `yes'. \n \n ADELIES \n ....The way I feel\": the \"frostbitten\" \n shore \n ....So what are those black things?. \n","uninhibited and unselfconscious. \n \n After some time, he remembers himself, stops and turns to the \n Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. \n"," MUMBLE \n No. He's choking! The Talisman's gotten \n way too tight. \n \n THE ADELIES \n ...Why din' you say so?"," (CONTINUED) \n 17. \n CONTINUED: (2) \n \n Mumble inhales, his eyes are shining, his body is shaking. \n","He swims back. The KILLER WHALE is about to take them both in \n one bite. MUMBLE pulls LOVEDAY aside, but he's not quite \n quick enough: one of the Whale's outer teeth catches LOVEDAY","He indicates the SIX-PACK PLASTIC around LOVEDAY'S neck. \n \n SEAL 1 lowers it's massive head down to face LOVEDAY. \n Wheezing he examines the plastic with first with one eye,"," 42. \n CONTINUED: (2) \n \n In fact Mumble is mesmerised by the luight catching LOVEDAY's \n six pack holder. He bends forwards to study it more closely \n","The PENGUINS head for shore , swimming for their lives. \n LOVEDAY, thrashing and wheezing, is unable to keep up. \n \n MUMBLE \n (stops) \n LOVEDAY! LOVEDAY!! \n","puts out a wing to steady himself and notices a metal tag on \n it. This place is beginning to upset him. \n \n \n \n \n (CONTINUED) \n 75. \n CONTINUED:"," MUMBLE \n ... and he said he was abducted by \n Aliens. \n \n LOVEDAY \n (starts to wheeze and cough) \n Listen friend, this is my Sacred","LOVEDAY holds up a flipper for silence and a hush falls over \n the gospel choir \n \n LOVEDAY (CONT'D) \n A moment... \n (composing himself) \n ... and your question? \n","LOVEDAY mimes the talisman going over his head. \n \n AN ADELIE \n ...Well to me that's gotta be bestowing. \n \n LOVEDAY shakes his head, `no'. He stretches his neck. \n"," Talisman...sounds like Talisman!! \n \n LOVEDAY coughs. His eyes bulge. \n \n ADELIES \n ...He's possessed! \n ...It's a seizure! \n"," FIRST IN QUEUE \n Señor Loveday, My wife is one of the \n Disappeared ones Tell me is she alive? \n \n Loveday hyperventillates, his eyes roll up in his head \n"," Knows. \n \n A hush falls over the gathering. \n \n LOVEDAY (CONT'D) \n The reason there are not enough fish is \n simple: There is not enough love in the \n world. Love is the answer!","LOVEDAY nods `YES!!' and falls back in exhaustion. \n \n MUMBLE (CONT'D) \n So who's coming \n \n LOVEDAY \n Oi \n"," 74. \n CONTINUED: \n \n A fish hits him on the head. \n \n A moment later he's knocked flat by a sudden rush of"," 84. \n CONTINUED: \n \n MUMBLE covers his chick protectively, watrching his wife walk \n away. \n \n MUMBLE (V.O.)"," LOVEDAY (CONT'D) \n Now. The Mating Season starts today so \n here's what everybody should do: go forth \n and multiply! If you'll excuse I myself \n must retire for a moment to the couch of"," Oh my! Now he thinks he's an Elephant \n Seal \n \n LOVEDAY nods and points towards the mountains. \n \n AN ADELIE (CONT'D) \n He wants to go to the top of the"],["MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE"," MUMBLE \n (laughs) \n That doesn't make any sense. \n \n TEACHER \n Well Mumble...perhaps you can do better \n \n MUMBLE","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n","He touches Mumble and recoils as if burnt \n \n ADELIE \n Yow! \n \n MUMBLE \n You really think so? \n \n THE ADELIES"," MUMBLE (VO) \n With them it was love at first song. \n \n Close up on the two penguins as their necks intertwine. \n \n MUMBLE (VO) (CONT'D)"," (CONTINUED) \n 29. \n CONTINUED: \n \n ELLA \n Thank you Mumble, but it's yours. \n \n MUMBLE","Mumble sighs and his little shoulders sink, no way he'll ever \n be able to sing like that. \n \n MUMBLE \n Its tough when you realise you'll never \n fit in. Plus I was beginning to moult \n"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from","Mumble is looking around, trying to figure it out \n \n PENGUIN (CONT'D) \n Fish! \n \n MUMBLE \n Where? \n \n \n (CONTINUED)","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit."," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n","He starts tap dancing. The penguins are torn, between \n Caruso's instructions and Mumbles. \n \n MUMBLES \n Its what they understand. They can't \n talk, they can't sing. They speak with","The little girl who is pointing at mumbles feet. Mumble looks \n down, realizes what his feet are doing, looks up again. \n \n MUMBLE (CONT'D) \n You like that? Well how about this. \n"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS"," Mumble, that's just cheap \n \n She turns and heads off. The Adelie starts after her. \n \n THE ADELIE \n Wait up! You and me baby, we can make","We find MUMBLE on his own small ice-floe separate from the \n others on their iceberg. \n \n As their singing drifts across to him, MUMBLE does an \n exquisite little SOFT-SHOE SHUFFLE. \n"," (CONTINUED) \n 9. \n CONTINUED: \n \n Caruso waddles past: A stern glance down at little Mumble as \n he carries on along the line \n \n WISHFUL"],[" PENGUINS \n ... So Who's this? \n ...Kinda small for an emperor. \n ...(suspicious) Where did you say you were \n from? \n","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit."," goes `Aaaah' \n \n Ella turns to see: a PENGUIN backlit by the sun, standing \n HEROICALLY on a little rise, just as WISHFUL did. \n"," Follow a female penguin as she waddles through the massive \n crowd past an assortment of crooning males \n \n \n (CONTINUED) \n 2. \n CONTINUED: \n"," MUMBLE (CONT'D) \n Yes I do. \n \n A brief moment then. \n \n MALE PENGUIN \n Hi Ella. \n \n \n \n","A Penguin walks in an endless figure of eight muttering to \n himself. Another has his flippers wrapped tightly around \n himself like a straightjacket. A troubled Penguin sings \n angrily...\"There's no business like show business. \n"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n"," Looking for what? I don't know? A \n different type of penguin? \n \n The noise of the colony has faded behind him. He stops and \n looks up. \n \n \n (CONTINUED)","In the confusion of penguins we find MUMBLE, ELLA and their \n chick \n \n MUMBLE (V.O.) \n Ella's gave up teaching to look after our \n chick. We take turns looking after her"," (CONTINUED) \n 82. \n CONTINUED: (5) \n \n Now the entire emperor community are dancing for all they are \n worth. \n \n PENGUINS"," ...Where? \n ...Coming from the Inland! \n \n A couple of Penguins watch the approaching figure. \n \n PENGUINS \n ...Is it a Penguin? \n ...Is it one of ours? \n","PENGUINS: Chinstraps, Rock-hoppers, Adelies, King penguins, \n emerging from holes in the rock face \n \n PENGUINS \n Fish time. Fish time! \n","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA","CONTINUED: \n \n PENGUINS \n This is it. I guess \n \n MUMBLE \n This is all that's left? \n \n Other penguins are gathering to scrutinise the stranger.","A gasp of fear and astonishment from the penguins. Caruso is \n momentarily speechless. \n \n PENGUINS \n ...Does it hurt? \n ....Its not made of feathers thats for \n sure","A vast, boisterous ADELIE PENGUIN COMMUNITY. Thousands of \n them, stretching as far as the eye can see. Its very Rio, \n very samba, worlds away from the sedate Emperor colony. \n"," ...¡Riba Riba! Shake those hips! \n ...Yo penguino, bust a move! \n \n They COPY HIM, improvising little riffs on his dance step. \n The LEOPARD SEAL inches up behind them. \n","helicopter rises over the hirizon, its massive rotors mashing \n the air. \n \n It swoops down over the penguin nation and lands a little \n distance away. \n \n Music Over: Wanna Dance with Somebody. \n \n \n","Before him, a wasteland of discoloured ice covered with \n broken eggs and bits of feather. There are very few penguins \n here and the ones he can see are all, frankly, weird. \n"],["As he launches himself into space... \n \n WIDE SHOT \n \n The tiny penguin soaring off the top of the ICEBERG. \n \n THE ADELIES rush to the edge as, far below Mumble HITS THE","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n"," goes `Aaaah' \n \n Ella turns to see: a PENGUIN backlit by the sun, standing \n HEROICALLY on a little rise, just as WISHFUL did. \n","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,","Before him, a wasteland of discoloured ice covered with \n broken eggs and bits of feather. There are very few penguins \n here and the ones he can see are all, frankly, weird. \n","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit."," ...he's certainly not eating \n \n Leaning forward to take the fish \n \n PENGUIN \n ...Maybe I should just... \n \n Mumble regains consciousness \n \n (CONTINUED)"," (muffled) \n I want you to have it. \n \n MALE PENGUIN \n Why don't I have it \n \n \n Suddenly, A SKUA BIRD swoops down and grabs it. \n","PENGUINS: Chinstraps, Rock-hoppers, Adelies, King penguins, \n emerging from holes in the rock face \n \n PENGUINS \n Fish time. Fish time! \n"," THE ADELIES \n (wincing) \n ...Ouch! \n ...That's gotta hurt! \n ...Who ordered seal? \n \n Mumble is quickly on his feet and out of the Leopard Seal's","The PENGUINS head for shore , swimming for their lives. \n LOVEDAY, thrashing and wheezing, is unable to keep up. \n \n MUMBLE \n (stops) \n LOVEDAY! LOVEDAY!! \n","A LONG LINE of male penguins, thousands of them, all with \n their chicks, stand staring expectantly across the ice shelf. \n \n At the front, we find WISHFUL and MUMBLE, who is jiggling","helicopter rises over the hirizon, its massive rotors mashing \n the air. \n \n It swoops down over the penguin nation and lands a little \n distance away. \n \n Music Over: Wanna Dance with Somebody. \n \n \n","The Adelies are heading back to their colony as fast as their \n little legs will carry then. Mumble Hippity hops after them \n \n ADELIES \n ...Forget it \n ...We're not going back there \n ...Never","Mumble is looking around, trying to figure it out \n \n PENGUIN (CONT'D) \n Fish! \n \n MUMBLE \n Where? \n \n \n (CONTINUED)"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n"," ADELIES \n Ramos! \n \n Mumble pops his head out from between the jaws \n \n MUMBLE \n Oh! There you are \n \n Terrified the Adelies scatter and shoot to the surface like","CONTINUED: \n \n PENGUINS \n This is it. I guess \n \n MUMBLE \n This is all that's left? \n \n Other penguins are gathering to scrutinise the stranger.","They scurry back into a straight line behind Mumble who cops \n the FULL BLAST of the GALE. \n \n He gives up and marches off into the driving snow. \n \n THE ADELIES \n ...Hey!"],["The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS","Spectators come and go. The penguins stand like statues. \n \n Though bubbles begin to appear above Mumbles head, snapshots \n of his past experiences \n \n MUMBLE (V.O.)","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit.","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,","A Penguin walks in an endless figure of eight muttering to \n himself. Another has his flippers wrapped tightly around \n himself like a straightjacket. A troubled Penguin sings \n angrily...\"There's no business like show business. \n","Mumble is looking around, trying to figure it out \n \n PENGUIN (CONT'D) \n Fish! \n \n MUMBLE \n Where? \n \n \n (CONTINUED)","He starts tap dancing. The penguins are torn, between \n Caruso's instructions and Mumbles. \n \n MUMBLES \n Its what they understand. They can't \n talk, they can't sing. They speak with"," MUMBLE (VO) \n With them it was love at first song. \n \n Close up on the two penguins as their necks intertwine. \n \n MUMBLE (VO) (CONT'D)"," THE ADELIES \n (wincing) \n ...Ouch! \n ...That's gotta hurt! \n ...Who ordered seal? \n \n Mumble is quickly on his feet and out of the Leopard Seal's"," PENGUINS \n ...Who's doing all the shouting \n ...Its Mumble. He's worse than before. \n \n MUMBLE \n No, honestly Aliens will be here soon!"," MUMBLE (CONT'D) \n Yes I do. \n \n A brief moment then. \n \n MALE PENGUIN \n Hi Ella. \n \n \n \n","CONTINUED: \n \n PENGUINS \n This is it. I guess \n \n MUMBLE \n This is all that's left? \n \n Other penguins are gathering to scrutinise the stranger."," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n"," (pushing in) \n ...He has abandoned the faith. \n ...He has driven the fish away. \n \n THE ADELIES \n (protecting Mumble) \n ...Come on hombre, loosen up,","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA","The Adelies are heading back to their colony as fast as their \n little legs will carry then. Mumble Hippity hops after them \n \n ADELIES \n ...Forget it \n ...We're not going back there \n ...Never","The Adelies and Mumble form a conga, weaving in and out of \n the nest builders, aiming a kick here and there at their \n industrious brethren \n 38. \n \n \n UNDERWATER","As he launches himself into space... \n \n WIDE SHOT \n \n The tiny penguin soaring off the top of the ICEBERG. \n \n THE ADELIES rush to the edge as, far below Mumble HITS THE"],[" Your Heartsong. Yes. The melody you hear \n inside, the thing that makes you \n different from every other penguin. So. \n Let's all be very still now and listen. \n And when you hear your song, let it come","It is autumn, the EMPEROR PENGUINS for the mating season. \n \n It is just like the GREAT GATHERING we saw at the beginning \n of our story. Males and females sing their Heartsongs. And"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n","A Penguin walks in an endless figure of eight muttering to \n himself. Another has his flippers wrapped tightly around \n himself like a straightjacket. A troubled Penguin sings \n angrily...\"There's no business like show business. \n","The singing ADELIE joins in...acapella, very rhythmic \n \n THE ADELIE \n \"...turn around you fool \n You know I love you more and more...\" \n"," (CONTINUED) \n 82. \n CONTINUED: (5) \n \n Now the entire emperor community are dancing for all they are \n worth. \n \n PENGUINS"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS"," AN ADELIE \n Man. You're an emperor all right, You're \n a king among emperors. The singing we can \n fix. \n \n \n \n (CONTINUED)","THOUSANDS OF EMPEROR PENGUIN DANCING WITH PURE, ABANDONED \n JOY. \n \n MUMBLE (VO) \n From that day on, No one quite knows how","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA"," MUMBLE (VO) \n With them it was love at first song. \n \n Close up on the two penguins as their necks intertwine. \n \n MUMBLE (VO) (CONT'D)"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n","He starts tap dancing. The penguins are torn, between \n Caruso's instructions and Mumbles. \n \n MUMBLES \n Its what they understand. They can't \n talk, they can't sing. They speak with","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","Music over: Walk on By as he wanders through the vast colony \n head down against the wind, little feet padding over the ice, \n \n Gradually the colony begins to thin. \n \n MUMBLE (CONT'D)","background, singing a soulful song of adoration as the \n Penguin ahead of Mumble steps forward. \n \n LOVEDAY \n First, the devotion... \n \n The PENGUIN adds his pebble to the pile. \n","ON AN ICEBERG. NIGHT \n \n The entire sky is ablaze with the shimmering LIGHTS of the \n AURORA AUSTRALIS. \n \n The PENGUINS stand below, looking up in wonder. They sing: \n","THE EMPEROR COLONY \n \n Silence, then across the vast expanse a TINY FIGURE appears \n on the horizon. \n \n PENGUIN V/O'S \n ...What's that?","Then a female penguin bursts out of the crowd. \n \n ELLA \n Mumble?! Its Mumble!! \n \n MUMBLE \n Ella! Is it you. You haven't changed a \n bit."," (pushing in) \n ...He has abandoned the faith. \n ...He has driven the fish away. \n \n THE ADELIES \n (protecting Mumble) \n ...Come on hombre, loosen up,"],[" (CONTINUED) \n 25. \n CONTINUED: \n \n Watching from a distance, Norma J wipes away tears \n \n NORMA J (CONT'D)","Norma J is having difficulty tearing herself away. Finally \n she pads off after the others. \n \n WISHFUL \n Safe home baby.... \n \n As he watches her dwindle into the distance, where huge STORM"," NORMA J. \n WISHFUL? \n \n WISHFUL \n (overcome) \n O Honey. O Baby. You made it! \n \n She staggers into his waiting flippers. \n","to the communal imagination: An image of Norma J \n \n NORMA J. \n (Sings) \n \"I wanna be loved by you, alone and \n nobody else by you boo boo pee doo\" \n"," On you go then, buddy \n \n MUMBLE \n Thanks Pop. See ya Ma. \n \n He races off, Norma J calling after him: \n \n NORMA J \n (calling after)","He stands a bit apart from the rest. And what a voice. What a \n hip movement. She sings along. \n \n NORMA J. AND WISHFUL \n ...for my darling I love you and I always \n will. \n","ONE SONG stands out from all the others. \n \n Where NORMA J. once sang, stands ELLA, now sleek and fully \n mature. Gathered around her in a semi-circle, a half a dozen \n adoring MALES. \n"," WISHFUL (CONT'D) \n You hurt? \n \n NORMA J. \n (breathless) \n Just tired and hungry is all. \n It was dreadful out there.... \n"," NORMA J \n Aw. But isn't he just a darling? \n \n MUMBLE \n (yells ecstatically) \n I got one! I got a mum everyone. I got a \n MUM!!"," Oh my. Stupid. I'm sorry... \n \n Wishful pats her comfortingly \n \n NORMA J. \n (quietly to WISHFUL) \n ...You think we'll ever see him again \n","Over WISHFUL' shoulder, she sees the infant Mumble HIPPITY- \n HOPPING towards them. \n \n NORMA J \n But who's this. \n \n WISHFUL","Ella recognizes those TAPPING FEET. Could this be MUMBLE?She \n moves closer to investigate. \n \n MUMBLE (CONT'D) \n Oh, and I want her so badly"," Woah! \n \n MUMBLE \n I've got you! No I don't. \n \n Leaning against each other, they manage to stand up, close \n now, eyes meeting. \n"," NORMA J \n Just a little krill that's all \n \n MUMBLE \n Can I see it? \n \n WISHFUL \n Later, bud. Give your ma time to \n regurgitate","Music Over: Schools Out by Alice Cooper \n \n MUMBLE \n Dad, Ma, can I go with the others \n \n NORMA J. puts a protective flipper around her son. \n \n NORMA-J"," ...Hey Paula! \n ...Roxanne!! \n \n A tumult of re-unions as partners find each other. But no \n luck for WISHFUL. \n \n WISHFUL \n NORMA J.?! \n","The little girl who is pointing at mumbles feet. Mumble looks \n down, realizes what his feet are doing, looks up again. \n \n MUMBLE (CONT'D) \n You like that? Well how about this. \n"," Knows. \n \n A hush falls over the gathering. \n \n LOVEDAY (CONT'D) \n The reason there are not enough fish is \n simple: There is not enough love in the \n world. Love is the answer!"," Ella. Wait! \n \n She stops. He takes her by the shoulders Shes upset. \n \n MUMBLE (CONT'D) \n I'm sorry. \n \n ELLA"," \"When a man loves a woman...\" \n \n She keeps moving, until she sees the male of her dreams: \n \n WISHFUL \n \"Love me tender love me true, all my \n dreams fulfil. \n"],["Mumble shoots out of the way, just avoiding being caught as. \n \n UP AHEAD The great NET FULL OF FISH breaks the surface of the \n water and is winched on board. \n \n MUMBLE \n (yells)"," 74. \n CONTINUED: \n \n A fish hits him on the head. \n \n A moment later he's knocked flat by a sudden rush of"," and going to get the fish. \n \n As we watch, Ella moves off, joining the great to and fro of \n penguins along the highway to the sea. \n \n \n \n (CONTINUED)","first thrown in. In an instant...all the fish are taken. \n \n ON THE SURFACE \n \n MUMBLE surfaces with a fish in his beak \n \n MUMBLE \n (muffled)"," 84. \n CONTINUED: \n \n MUMBLE covers his chick protectively, watrching his wife walk \n away. \n \n MUMBLE (V.O.)","ELLA leans forward, takes the fish, and daintily gulps it \n down. \n \n ELLA \n Thank you. \n \n MUMBLE \n (spent) \n You're welcome.","puts out a wing to steady himself and notices a metal tag on \n it. This place is beginning to upset him. \n \n \n \n \n (CONTINUED) \n 75. \n CONTINUED:","Mumble hesitates, bobbing on the water, weighing the \n warnings. \n \n He makes up his mind and strikes out again swimming towards \n the convergence. \n \n The Albatross, hovering on the wing, watches. \n"," years now we have known nothing but \n famine. But you are our hope. Upon your \n survival depends the very future of the \n entire Penguin Nation. Dive deep, swim \n far. May the Great Penguinus go with you.","Music over: Walk on By as he wanders through the vast colony \n head down against the wind, little feet padding over the ice, \n \n Gradually the colony begins to thin. \n \n MUMBLE (CONT'D)","Mumble pursues one of them. \n \n MUMBLE \n Sometime you got a live one but there was \n nowhere really to chase it \n \n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES","LATER \n \n He's getting closer. The ships are only half a mile away when \n Something rises from the deep, threatening to engulf him: a \n HUGE NET, TEEMING WITH FISH. \n","He stops some distance away, listening to the other kids who \n are now performing with increasing virtuosity. \n \n Ella is among them, her clear high voice borne to him on the \n wind. \n"," When the Sun vanishes... \n \n CHORUS \n We Remain. \n \n INSIDE THE HUDDLE \n \n The adult males are packed shoulder to shoulder, looking \n downwards at the eggs balanced on their feet. \n"," bringing fish soon. \n \n Long pause \n \n MUMBLE \n What's fish look like. \n \n WISHFUL \n You'll see it when she brings one \n \n STILL LATER \n","Lying on his back he sees fish tumble from the sky. It's \n RAINING FISH! \n \n MUMBLE (VO) \n Every day after that, it rained fish in \n the afternoon. \n","CONTINUED: \n \n MUMBLE (CONT'D) \n Afterwards Mum went off to the sea to \n keep warm. Dad stayed home like dad's do, \n incubating. \n"," Knows. \n \n A hush falls over the gathering. \n \n LOVEDAY (CONT'D) \n The reason there are not enough fish is \n simple: There is not enough love in the \n world. Love is the answer!","She disappears under his brood pouch \n \n MUMBLE \n (looks up) \n So What happens now, Dad? \n \n WISHFUL \n We Wait \n \n \n THE ICE \n"," ...Señor! That's not his question. He's new \n here. \n (prompting Mumble) \n ...The yellow thing \n ...Ask him what's taking the fish? \n \n MUMBLE"],[" MUMBLE \n (laughs) \n That doesn't make any sense. \n \n TEACHER \n Well Mumble...perhaps you can do better \n \n MUMBLE","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","He starts tap dancing. The penguins are torn, between \n Caruso's instructions and Mumbles. \n \n MUMBLES \n Its what they understand. They can't \n talk, they can't sing. They speak with","Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \n the air, landing on a THIN PANCAKE OF ICE that cannot support \n his weight. \n \n MUMBLE (CONT'D)","MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE"," is , well... We sing \n \n AN ADELIE \n ...Easy as that? \n ...So why aren't you over there? \n \n Mumble looks at them. Then opens his beak and demonstrates: \n","Mumble sighs and his little shoulders sink, no way he'll ever \n be able to sing like that. \n \n MUMBLE \n Its tough when you realise you'll never \n fit in. Plus I was beginning to moult \n","Mumble is looking around, trying to figure it out \n \n PENGUIN (CONT'D) \n Fish! \n \n MUMBLE \n Where? \n \n \n (CONTINUED)"," MUMBLE (CONT'D) \n But each day when she walks to the sea, \n She looks straight ahead not at me....\" \n \n ELLA \n Mumble? \n \n SINGING VOICE"," ...Oh yeah, nice. \n ...That's definitely better. \n ...Good call big guy. \n \n MUMBLE \n I said a circle! \n \n They form a little huddle, but as soon as Mumble moves from","We find MUMBLE on his own small ice-floe separate from the \n others on their iceberg. \n \n As their singing drifts across to him, MUMBLE does an \n exquisite little SOFT-SHOE SHUFFLE. \n"," MUMBLE \n (very loud and tuneless) \n \"...Good, Good, Good...Good VibRatiOns...\" \n \n The singing STOPS. \n \n MALE PENGUINS","view. She moves further tound and sees: \n \n THE ADELIE \n ¡Hola bonita! \n \n Obviously he's been singing while Mumble mimes \n \n ELLA"," (CONTINUED) \n 17. \n CONTINUED: (2) \n \n Mumble inhales, his eyes are shining, his body is shaking. \n"," Remember `Stranger Danger'! Never talk to \n a seal! \n \n \n Mumble turns to wave, falls over, gets up and races on after \n the others with his strange hippity-hop little gait. \n \n","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,"," That thing with The feet. \n (to the others) \n ¡Hola muchachos! \n (to Mumble) \n Show them! \n \n MUMBLE"," I called him Mumble. \n \n Mumbles feet start to tap involuntarily, Then he catches his \n dad's warning look. \n \n MUMBLE \n Did she get one. Did she bring one back. \n","Mumble pursues one of them. \n \n MUMBLE \n Sometime you got a live one but there was \n nowhere really to chase it \n \n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES"," MUMBLE (V.O.) \n Aliens everywhere, watching you eat, \n watching you sleep \n \n Mumble backs away and knocks into the PAINTED HORIZON. He"],["A vast, boisterous ADELIE PENGUIN COMMUNITY. Thousands of \n them, stretching as far as the eye can see. Its very Rio, \n very samba, worlds away from the sedate Emperor colony. \n","the Adelies dwindle to specks and disappear into the mist. \n \n THE ICE SHELF \n \n Mumble and the Adelies have put the colony far behind, \n trekking homewards \n \n ADELIES"," 61. \n CONTINUED: \n \n MUMBLE \n We need to huddle! \n \n THE ADELIES \n Huddle??! \n \n MUMBLE","The Adelies are heading back to their colony as fast as their \n little legs will carry then. Mumble Hippity hops after them \n \n ADELIES \n ...Forget it \n ...We're not going back there \n ...Never"," (big-bellied, booming southern \n voice) \n Well roll me over and call me a dugong. \n What the heck have we got here \n \n The Adelies bunch up behind Mumble \n"," MUMBLE \n ...We were a team \n \n the Adelies swoop and dive, corralling a FEW SMALL FISH into \n a CREVICE. \n \n The fish, darting to and fro are suddenly confronted by","The huddled penguins are engaged in ritual chanting \n \n LEAD VOICE \n When all others leave... \n \n CHORUS \n We Remain. \n \n LEAD VOICE"," ANOTHER ADELIE \n Ramon. That was embarrassing, man. \n \n And reluctantly, he trails after them. As do... \n \n THE OTHER ADELIES \n ...Oh no, don' do this to us.","They scurry back into a straight line behind Mumble who cops \n the FULL BLAST of the GALE. \n \n He gives up and marches off into the driving snow. \n \n THE ADELIES \n ...Hey!"," THE ADELIES \n ...The big guy. \n ...He from out of town. \n ...He with us. \n \n FEMALE \n Do it again. \n \n THE ADELIES","MUMBLE and the ADELIE AMIGOS are bunched together, near the \n head of a LONG QUEUE of Adelies each with a stone or in their \n beak. \n","MUMBLE and the ADELIES are jostled aside in the STAMPEDE of \n FEMALES as the gospel group break ranks and mob him \n \n FEMALE ADELIES \n ..Me Loveday."," ...Kiss my frozen toosh, rubber butt \n \n They fall about laughing. The Leopard Seal returns to the \n water. \n \n LEOPARD SEAL \n I know where you live. \n \n THE ADELIES"," 46. \n CONTINUED: (6) \n \n MUMBLE \n You can?! \n \n AN ADELIE \n No problem. Which way's this colony of \n yours?"," Form a moving circle! Share the cold, \n share the warmth! \n \n He turns his back to the wind. Immediately the Adelies form a \n STRAIGHT LINE down-wind from him. \n \n THE ADELIES"," THE ADELIES \n ...Oh man! This is no place for a penguin! \n ...We should be migrating out to sea by \n now! \n \n (CONTINUED)"," ADELIES \n You say Hi. Come back and say Hi to her \n yourself \n \n Mumble turns, takes a few paces back. \n \n MUMBLE \n Oh. One other thing. You guys \n"," MUMBLE \n Wow, there are so many of you! \n \n THE ADELIES \n ...Hey, this is nothin'. \n ...Used to be twice as many of us."," THE ADELIES \n ...¡Hola Baby! Get your chica boom-boom \n here. \n ... Turn round, look at us!. \n \n A couple of females look up from the scrum \n \n FEMALE","A small group of ADELIE PENGUINS recoil as MUMBLE explodes \n out of the hole, closely followed by the LEOPARD SEAL. \n \n WHAM! THUMP! They belly-flop on the ice . \n"],["He indicates the SIX-PACK PLASTIC around LOVEDAY'S neck. \n \n SEAL 1 lowers it's massive head down to face LOVEDAY. \n Wheezing he examines the plastic with first with one eye,","LOVEDAY mimes the talisman going over his head. \n \n AN ADELIE \n ...Well to me that's gotta be bestowing. \n \n LOVEDAY shakes his head, `no'. He stretches his neck. \n"," 42. \n CONTINUED: (2) \n \n In fact Mumble is mesmerised by the luight catching LOVEDAY's \n six pack holder. He bends forwards to study it more closely \n","At the head of this queue stands LOVEDAY - guardian of a huge \n pile of pebbles. His head pokes through one of the rings a \n PLASTIC SIX-PACK CAN HOLDER festooned with seaweed like a","uninhibited and unselfconscious. \n \n After some time, he remembers himself, stops and turns to the \n Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. \n","puts out a wing to steady himself and notices a metal tag on \n it. This place is beginning to upset him. \n \n \n \n \n (CONTINUED) \n 75. \n CONTINUED:"," MUMBLE \n You looked up and...... It just got caught \n around your neck? \n \n \n (CONTINUED) \n 56. \n CONTINUED: (3) \n","He swims back. The KILLER WHALE is about to take them both in \n one bite. MUMBLE pulls LOVEDAY aside, but he's not quite \n quick enough: one of the Whale's outer teeth catches LOVEDAY"," AN ADELIE \n Why don't he speak? \n \n LOVEDAY gurgles and points wildly to the SIX-PACK PLASTIC \n round his neck. \n \n AN ADELIE (CONT'D)"," THE ADELIES \n ...No need to shout. \n ...Yeah, somebody might hear you. \n ...I think we seen all there is to see \n round here. \n \n LOVEDAY is looking at something at his feet. \n"," (CONTINUED) \n 17. \n CONTINUED: (2) \n \n Mumble inhales, his eyes are shining, his body is shaking. \n","opens his eyes to the brilliant glare of an examination lamp. \n \n There is movement around him. Voices whispering in an alien \n tongue. A FIGURE IN WHITE bends over him cleaning the oil","LOVEDAY holds up a flipper for silence and a hush falls over \n the gospel choir \n \n LOVEDAY (CONT'D) \n A moment... \n (composing himself) \n ... and your question? \n","One cue the gospel choir start singing: All you need is Love \n \n LOVEDAY (CONT'D) \n (over this) \n Okay, everybody, turn around to the \n penguin next to you and give them a great","The PENGUINS head for shore , swimming for their lives. \n LOVEDAY, thrashing and wheezing, is unable to keep up. \n \n MUMBLE \n (stops) \n LOVEDAY! LOVEDAY!! \n","LOVEDAY chokes out a `yes'. \n \n ADELIES \n ....The way I feel\": the \"frostbitten\" \n shore \n ....So what are those black things?. \n","LOVEDAY nods `YES!!' and falls back in exhaustion. \n \n MUMBLE (CONT'D) \n So who's coming \n \n LOVEDAY \n Oi \n"," Oh my! Now he thinks he's an Elephant \n Seal \n \n LOVEDAY nods and points towards the mountains. \n \n AN ADELIE (CONT'D) \n He wants to go to the top of the"," LOVEDAY (CONT'D) \n Now. The Mating Season starts today so \n here's what everybody should do: go forth \n and multiply! If you'll excuse I myself \n must retire for a moment to the couch of"," LOVEDAY \n One pebble, one question. Next! \n \n The AMIGOS push MUMBLE forward. He is at least a head taller \n than the others. \n \n LOVEDAY (CONT'D)"],["MUMBLE walks away. The community part to let him go. Ella \n chases after him. \n \n ELLA \n Wait! Mumble! \n \n Catching up with him \n \n MUMBLE"," ....Its all Mumbles fault. I told you \n \n Wishful rounds on them angrily. \n \n WISHFUL \n Just do what the kid says. \n \n They start dancing. \n \n \n"," MUMBLE \n You said they didn't exist. \n \n CARUSO \n They'll slaughter us. Head for the sea! \n \n MUMBLE \n No. Do this. Do Happy feet.","Spectators come and go. The penguins stand like statues. \n \n Though bubbles begin to appear above Mumbles head, snapshots \n of his past experiences \n \n MUMBLE (V.O.)","Mumble pursues one of them. \n \n MUMBLE \n Sometime you got a live one but there was \n nowhere really to chase it \n \n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES"," Too loud. \n \n He surfaces, spluttering. \n \n MUMBLE (CONT'D) \n Too loud! \n \n A VOICE calls to him from above. Mumble looks up. An","We find MUMBLE on his own small ice-floe separate from the \n others on their iceberg. \n \n As their singing drifts across to him, MUMBLE does an \n exquisite little SOFT-SHOE SHUFFLE. \n","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","sea around him erupts in churning foam. \n \n Swamped by the wake, Mumble goes under. When he resurfaces, \n THE SHIP is already on its way. \n \n \n \n \n (CONTINUED)"," MUMBLE (CONT'D) \n Excuse me, where are we. \n \n PENGUIN \n Heaven. Where d'you think? \n \n MUMBLE"," MUMBLE \n ... and he said he was abducted by \n Aliens. \n \n LOVEDAY \n (starts to wheeze and cough) \n Listen friend, this is my Sacred"," MUMBLE \n But I haven't had any answers yet! \n \n LOVEDAY \n SILENCIO!! The Mystic Beings are \n speaking. They say show some respect \n stranger. Especially to the One who","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,","Mumble sighs and his little shoulders sink, no way he'll ever \n be able to sing like that. \n \n MUMBLE \n Its tough when you realise you'll never \n fit in. Plus I was beginning to moult \n"," (CONTINUED) \n 26. \n CONTINUED: \n \n Suddenly the little dark figure of MUMBLE barrels through the \n pack, yelling \n \n MUMBLE"," MUMBLE (V.O.) \n Aliens everywhere, watching you eat, \n watching you sleep \n \n Mumble backs away and knocks into the PAINTED HORIZON. He","to where Mumble and Loveday stand, gazing into the distance. \n \n They have finally reached the sea again \n \n MUMBLE \n You think this is it? The Forbidden \n Shore? \n"," MUMBLE \n Excuse me, we need directions...to the \n Forbidden Shore. \n \n ELEPHANT SEAL 2 \n Sure. Just git yourselves over them there"," MUMBLE (CONT'D) \n ...In the land of the Elephant Seals!!? \n \n LOVEDAY gestures wildly with his flippers! \n \n MUMBLE (CONT'D)"," MUMBLE \n No. He's choking! The Talisman's gotten \n way too tight. \n \n THE ADELIES \n ...Why din' you say so?"],["to where Mumble and Loveday stand, gazing into the distance. \n \n They have finally reached the sea again \n \n MUMBLE \n You think this is it? The Forbidden \n Shore? \n"," MUMBLE \n Excuse me, we need directions...to the \n Forbidden Shore. \n \n ELEPHANT SEAL 2 \n Sure. Just git yourselves over them there","The SEAS are MOUNTAINOUS. There is no sign of the ship now, \n nor of land. \n \n MUMBLE swims up the side of each wave, over its foaming crest \n and down into the deep dark valley below. \n"," Enlightenment to the Forbidden Shore! \n \n MUMBLE \n So these Mystic Beings, did you see them? \n \n LOVEDAY \n I hear them. They talk to me all the time","sea around him erupts in churning foam. \n \n Swamped by the wake, Mumble goes under. When he resurfaces, \n THE SHIP is already on its way. \n \n \n \n \n (CONTINUED)","slick, we see what looks like a dead animal. It is MUMBLE. \n \n A creature in RED GUMBOOTS approaches. Its small hand reaches \n down and nudges him with a stick. MUMBLE moans and the","MUMBLE PLOUGHS THROUGH a rolling sea: towering waves block \n everything from view but on the crests he catches sight of... \n \n THREE BLACK SHIPS, far ahead, but stationary, as if waiting \n for him. \n","Mumble shoots out of the way, just avoiding being caught as. \n \n UP AHEAD The great NET FULL OF FISH breaks the surface of the \n water and is winched on board. \n \n MUMBLE \n (yells)"," mountain. \n \n LOVEDAY shakes his head. \n \n MUMBLE \n The forbidden place is over the \n mountains... \n \n LOVEDAY nods. \n","Mumble, dwarfed by it, contemplates it for a while, then \n ventures inside, into the body of the BEAST. \n \n INSIDE THE BULLDOZER \n \n A rusting steering column, a perforated dashboard. \n","MUMBLE looks out at the endless sea of floating ice-pancakes, \n all the way to the horizon. Nothing... \n \n He shrugs and hurries off after his new friends. \n \n FURTHER ON \n","The PENGUINS head for shore , swimming for their lives. \n LOVEDAY, thrashing and wheezing, is unable to keep up. \n \n MUMBLE \n (stops) \n LOVEDAY! LOVEDAY!! \n","We find MUMBLE on his own small ice-floe separate from the \n others on their iceberg. \n \n As their singing drifts across to him, MUMBLE does an \n exquisite little SOFT-SHOE SHUFFLE. \n"," MUMBLE (CONT'D) \n ......aaarghH! \n \n As he recoils, slips and tumbles into the WATER. \n \n UNDERWATER/ SURFACE \n"," ...It's very important! \n \n The ICE beneath his feet OPENS UP, Mumble topples into the \n gap and The SHIP PASSES OVER HIM, huge propellers churning, \n leaving a channel ninety feet wide. \n","Mumble hesitates, bobbing on the water, weighing the \n warnings. \n \n He makes up his mind and strikes out again swimming towards \n the convergence. \n \n The Albatross, hovering on the wing, watches. \n","Mumble pursues one of them. \n \n MUMBLE \n Sometime you got a live one but there was \n nowhere really to chase it \n \n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES"," ...You found them, you found Aliens! \n ...Now we go back tell everybody who's \n taking the fish. \n \n \n Mumble's eyes remain fixed on the horizon. \n \n"," ...Oh, this one's easy. \n ...He swam.... \n ...On his Hectic Journey of Delightenment... \n ...To the Forbidding Shore. \n \n MUMBLE \n And then....?"," (CONTINUED) \n 17. \n CONTINUED: (2) \n \n Mumble inhales, his eyes are shining, his body is shaking. \n"],["slick, we see what looks like a dead animal. It is MUMBLE. \n \n A creature in RED GUMBOOTS approaches. Its small hand reaches \n down and nudges him with a stick. MUMBLE moans and the","Mumble pursues one of them. \n \n MUMBLE \n Sometime you got a live one but there was \n nowhere really to chase it \n \n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES","MUMBLE, LOVEDAY and the ADELIES are tiny specks, struggling \n over a series of great ridges. \n \n MUMBLE \n So we walked ... and walked .. and kept","Spectators come and go. The penguins stand like statues. \n \n Though bubbles begin to appear above Mumbles head, snapshots \n of his past experiences \n \n MUMBLE (V.O.)","As they shoot off the slippery-dip and into the sea mumble \n whacks his head on the edge of the ice \n \n UNDERWATER \n \n The Adelies shoot back up to the surface. Mumble sinks,","The other penguins in the enclosure have moved back, giving \n Mumble more space. Every specattor is focussed on him. Mumble \n is focussed on the spectators. \n \n MUMBLE (VO","to where Mumble and Loveday stand, gazing into the distance. \n \n They have finally reached the sea again \n \n MUMBLE \n You think this is it? The Forbidden \n Shore? \n"," MUMBLE (CONT'D) \n ...In the land of the Elephant Seals!!? \n \n LOVEDAY gestures wildly with his flippers! \n \n MUMBLE (CONT'D)"," MUMBLE \n Wow. They brought me home \n \n His voice ECHOES back at him, with a mocking edge. There is \n something unusual about this place. A plump penguin waddles \n by \n","gumboots RUN AWAY, shouting something unintelligible. \n \n With great difficulty, Mumble raises his head to try to see \n more. Sunlight flares, bleaching to white, as he LOSES \n CONSCIOUSNESS.","sea around him erupts in churning foam. \n \n Swamped by the wake, Mumble goes under. When he resurfaces, \n THE SHIP is already on its way. \n \n \n \n \n (CONTINUED)","LATER \n \n Mumble approaches the two sentries. The colony is much \n diminished: only small groups scattered here and there. \n \n MUMBLE \n Hi, where is everybody!? \n \n PENGUINS"," MUMBLE \n I was wondering. Have You ever been \n abducted by Aliens? \n \n LOVEDAY \n No time wasters. Next! \n \n THE ADELIES"," MUMBLE (CONT'D) \n So where do we Go, Loveday \n \n Loveday Then he makes a strange \"Oi, Oi, Oi\" sound. \n \n AN ADELIE","The SEAS are MOUNTAINOUS. There is no sign of the ship now, \n nor of land. \n \n MUMBLE swims up the side of each wave, over its foaming crest \n and down into the deep dark valley below. \n"," fly. The great southland's swarming with \n em \n \n MUMBLE \n Where's that. Do you think the Whale \n would take me there? \n \n","CONTINUED: \n \n MUMBLE (CONT'D) \n Afterwards Mum went off to the sea to \n keep warm. Dad stayed home like dad's do, \n incubating. \n","CONTINUED: (3) \n \n MUMBLE \n Come on Loveday, lets go \n \n ADELIES \n (running to catch up) \n ...Go where?"," 42. \n CONTINUED: (2) \n \n In fact Mumble is mesmerised by the luight catching LOVEDAY's \n six pack holder. He bends forwards to study it more closely \n","strikes. MUMBLE avoids the lunge and the creature's face \n comes down hard on the ice \n \n THE ADELIES \n (to the winded Seal) \n ...Eat my ice, lardface."],["A very pretty FEMALE SCIENTIST is smiling down at him. \n \n MUMBLE (VO) (CONT'D) \n ... frontways eyes, no feathers. Big teeth \n with blood around them. Strange fleshy"," their feet. Do it. \n \n A few adventurous souls begin to copy him, out of fear if \n nothing else. \n \n As they do so, the sky begins to darken. A strange whirling","We TRAVEL WITH THE SKIDOOS across the ICE-SHELF to the colony \n \n Scientists POV: As they stop, lower their hoods and gaze in \n astonishment. One of them lifts a video cam to record \n"," VOICE#2 \n Well. Exactly. But what we didn't know \n about before was these things here \n \n An image of the dancing penguins appears. \n \n VOICE#2 (CONT'D)","slick, we see what looks like a dead animal. It is MUMBLE. \n \n A creature in RED GUMBOOTS approaches. Its small hand reaches \n down and nudges him with a stick. MUMBLE moans and the"," (CONTINUED) \n 83. \n CONTINUED: \n \n EXPERT \n Yes, quite extraordinary. (stares at the \n screen) some kind of neurological","The bomb sight moves away from our galaxy to another part of \n the universe \n \n With that the two figures head off across the great shadowy \n interior. \n \n The projector beam catches them, briefly, throwing up the","The little girl who is pointing at mumbles feet. Mumble looks \n down, realizes what his feet are doing, looks up again. \n \n MUMBLE (CONT'D) \n You like that? Well how about this. \n"," WISHFUL \n (Shrugs) \n Its out of our flippers \n \n THE HIGHWAY TO THE SEA \n \n A high shot reveals the miles of frozen ice that the","puts out a wing to steady himself and notices a metal tag on \n it. This place is beginning to upset him. \n \n \n \n \n (CONTINUED) \n 75. \n CONTINUED:"," MUMBLE \n You said they didn't exist. \n \n CARUSO \n They'll slaughter us. Head for the sea! \n \n MUMBLE \n No. Do this. Do Happy feet."," But that's what we have to find out. \n Don't you see. Things like that could be \n eating the fish. \n \n The idea is so stunningly original it stops them in their \n tracks. \n \n ADELIES"," MUMBLE \n ...We were a team \n \n the Adelies swoop and dive, corralling a FEW SMALL FISH into \n a CREVICE. \n \n The fish, darting to and fro are suddenly confronted by"," MUMBLE (CONT'D) \n Oh no! Not the pointy thing! \n \n Drowsy now, he is eased into a PADDED CAGE. The SCIENTISTS \n close the lid, and secure it with straps.","IMAGES of the DANCING PENGUIN COLONY play on a video screen. \n \n Without the music it's less obviously a dance. \n \n CHAIRMAN \n ...So what do you reckon? \n"," So who fixed him up with this. \n \n She turns him around to reveal some kind of circuit board \n glued to his back: a small aerial, winking red lights. A \n TRANSMITTER. \n"," (CONTINUED) \n 25. \n CONTINUED: \n \n Watching from a distance, Norma J wipes away tears \n \n NORMA J (CONT'D)"," 54. \n CONTINUED: \n \n They find LOVEDAY at the back of what is left of his PEBBLE \n PILE. He sits leaning against it...exhausted. \n \n THE ADELIES"," (dancing) \n Know him? He ees my star pupol! \n I TEACH HIM EVERYTHINGK! \n \n BY THE CHINOOK \n \n HUMAN scientists disembark. Skidoos are kicked into life.","Moving beyond the crowd, WISHFUL sees a last few stragglers. \n Amongst them... \n \n \n (CONTINUED) \n 11. \n CONTINUED: (2) \n"]],"string":"[\n [\n \"It is autumn, the EMPEROR PENGUINS for the mating season. \\n \\n It is just like the GREAT GATHERING we saw at the beginning \\n of our story. Males and females sing their Heartsongs. And\",\n \" Your Heartsong. Yes. The melody you hear \\n inside, the thing that makes you \\n different from every other penguin. So. \\n Let's all be very still now and listen. \\n And when you hear your song, let it come\",\n \" MUMBLE (VO) \\n With them it was love at first song. \\n \\n Close up on the two penguins as their necks intertwine. \\n \\n MUMBLE (VO) (CONT'D)\",\n \"...trying to top each other, they add HIPPITY-HOPS they've just \\n learned from Mumble. The females are intrigued. \\n \\n A FEMALE \\n Hey. Cool. Where'd you learn that? \\n\",\n \" ...Watch and learn tallboy. \\n \\n One of the Adelies calls to a pair of YOUNG FEMALES he sees \\n walking by. \\n \\n THE ADELIES (CONT'D) \\n ...Hola Conchita!\",\n \" KEEN MALE \\n (trying to connect) \\n \\\"Babe...I got you Babe...\\\" \\n \\n She ignores him \\n \\n NEXT MALE \\n (giving it his all)\",\n \" ...What a peach! \\n ...What a bruiser! \\n \\n Amongst the excited crowd of males and hatchlings we find \\n WISHFUL staring down at his egg still balanced on his feet. \\n\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\",\n \" Follow a female penguin as she waddles through the massive \\n crowd past an assortment of crooning males \\n \\n \\n (CONTINUED) \\n 2. \\n CONTINUED: \\n\",\n \" Anyone else? \\n \\n Mumble looks astonished. What's more important than that \\n \\n ELLA \\n It's our Heartsong, Miss. \\n \\n TEACHER\",\n \" \\\"When a man loves a woman...\\\" \\n \\n She keeps moving, until she sees the male of her dreams: \\n \\n WISHFUL \\n \\\"Love me tender love me true, all my \\n dreams fulfil. \\n\",\n \" LOVEDAY (CONT'D) \\n Now. The Mating Season starts today so \\n here's what everybody should do: go forth \\n and multiply! If you'll excuse I myself \\n must retire for a moment to the couch of\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \"The singing ADELIE joins in...acapella, very rhythmic \\n \\n THE ADELIE \\n \\\"...turn around you fool \\n You know I love you more and more...\\\" \\n\",\n \" When the Sun vanishes... \\n \\n CHORUS \\n We Remain. \\n \\n INSIDE THE HUDDLE \\n \\n The adult males are packed shoulder to shoulder, looking \\n downwards at the eggs balanced on their feet. \\n\",\n \"The distant females look exhausted as they totter unsteadily \\n across the ice towards their partners. The MALES break ranks \\n and rush towards the distressed females. \\n \\n MALE PENGUINS \\n ...Barbra-Ann!\",\n \"ONE SONG stands out from all the others. \\n \\n Where NORMA J. once sang, stands ELLA, now sleek and fully \\n mature. Gathered around her in a semi-circle, a half a dozen \\n adoring MALES. \\n\",\n \"We find MUMBLE on his own small ice-floe separate from the \\n others on their iceberg. \\n \\n As their singing drifts across to him, MUMBLE does an \\n exquisite little SOFT-SHOE SHUFFLE. \\n\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \" Mumble, that's just cheap \\n \\n She turns and heads off. The Adelie starts after her. \\n \\n THE ADELIE \\n Wait up! You and me baby, we can make\"\n ],\n [\n \"As he speaks, his eyes are drawn to the huge number of FLUFFY \\n CHICKS following behind her \\n \\n MUMBLE (CONT'D) \\n Are these all yours? \\n \\n ELLA\",\n \"The little girl who is pointing at mumbles feet. Mumble looks \\n down, realizes what his feet are doing, looks up again. \\n \\n MUMBLE (CONT'D) \\n You like that? Well how about this. \\n\",\n \"Over WISHFUL' shoulder, she sees the infant Mumble HIPPITY- \\n HOPPING towards them. \\n \\n NORMA J \\n But who's this. \\n \\n WISHFUL\",\n \"In the confusion of penguins we find MUMBLE, ELLA and their \\n chick \\n \\n MUMBLE (V.O.) \\n Ella's gave up teaching to look after our \\n chick. We take turns looking after her\",\n \" 84. \\n CONTINUED: \\n \\n MUMBLE covers his chick protectively, watrching his wife walk \\n away. \\n \\n MUMBLE (V.O.)\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \" On you go then, buddy \\n \\n MUMBLE \\n Thanks Pop. See ya Ma. \\n \\n He races off, Norma J calling after him: \\n \\n NORMA J \\n (calling after)\",\n \" (CONTINUED) \\n 29. \\n CONTINUED: \\n \\n ELLA \\n Thank you Mumble, but it's yours. \\n \\n MUMBLE\",\n \"Mumble SNUGGLES contentedly between his father's legs, \\n surveying his new world. The friend's chick, ELLA is staring \\n at him fascinated \\n \\n ELLA \\n Get him to do it again Daddy \\n\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \" MUMBLE \\n (laughs) \\n That doesn't make any sense. \\n \\n TEACHER \\n Well Mumble...perhaps you can do better \\n \\n MUMBLE\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \" Mumble, that's just cheap \\n \\n She turns and heads off. The Adelie starts after her. \\n \\n THE ADELIE \\n Wait up! You and me baby, we can make\",\n \"...trying to top each other, they add HIPPITY-HOPS they've just \\n learned from Mumble. The females are intrigued. \\n \\n A FEMALE \\n Hey. Cool. Where'd you learn that? \\n\",\n \" MUMBLE (CONT'D) \\n Yes I do. \\n \\n A brief moment then. \\n \\n MALE PENGUIN \\n Hi Ella. \\n \\n \\n \\n\",\n \" NORMA J \\n Aw. But isn't he just a darling? \\n \\n MUMBLE \\n (yells ecstatically) \\n I got one! I got a mum everyone. I got a \\n MUM!!\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\"\n ],\n [\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \" MUMBLE (VO) \\n With them it was love at first song. \\n \\n Close up on the two penguins as their necks intertwine. \\n \\n MUMBLE (VO) (CONT'D)\",\n \" MUMBLE \\n (laughs) \\n That doesn't make any sense. \\n \\n TEACHER \\n Well Mumble...perhaps you can do better \\n \\n MUMBLE\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \"He starts tap dancing. The penguins are torn, between \\n Caruso's instructions and Mumbles. \\n \\n MUMBLES \\n Its what they understand. They can't \\n talk, they can't sing. They speak with\",\n \"The little girl who is pointing at mumbles feet. Mumble looks \\n down, realizes what his feet are doing, looks up again. \\n \\n MUMBLE (CONT'D) \\n You like that? Well how about this. \\n\",\n \" That thing with The feet. \\n (to the others) \\n ¡Hola muchachos! \\n (to Mumble) \\n Show them! \\n \\n MUMBLE\",\n \"...trying to top each other, they add HIPPITY-HOPS they've just \\n learned from Mumble. The females are intrigued. \\n \\n A FEMALE \\n Hey. Cool. Where'd you learn that? \\n\",\n \"Mumble is looking around, trying to figure it out \\n \\n PENGUIN (CONT'D) \\n Fish! \\n \\n MUMBLE \\n Where? \\n \\n \\n (CONTINUED)\",\n \" (CONTINUED) \\n 29. \\n CONTINUED: \\n \\n ELLA \\n Thank you Mumble, but it's yours. \\n \\n MUMBLE\",\n \" sweet music. I may be short but I'm a \\n love god...Ooww! \\n \\n Mumble smacks him with the back of a flipper and goes off \\n after Ella himself. \\n \\n MUMBLE\",\n \" (pushing in) \\n ...He has abandoned the faith. \\n ...He has driven the fish away. \\n \\n THE ADELIES \\n (protecting Mumble) \\n ...Come on hombre, loosen up,\",\n \"Music over: Walk on By as he wanders through the vast colony \\n head down against the wind, little feet padding over the ice, \\n \\n Gradually the colony begins to thin. \\n \\n MUMBLE (CONT'D)\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \"We find MUMBLE on his own small ice-floe separate from the \\n others on their iceberg. \\n \\n As their singing drifts across to him, MUMBLE does an \\n exquisite little SOFT-SHOE SHUFFLE. \\n\",\n \"Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \\n the air, landing on a THIN PANCAKE OF ICE that cannot support \\n his weight. \\n \\n MUMBLE (CONT'D)\"\n ],\n [\n \"He indicates the SIX-PACK PLASTIC around LOVEDAY'S neck. \\n \\n SEAL 1 lowers it's massive head down to face LOVEDAY. \\n Wheezing he examines the plastic with first with one eye,\",\n \" 42. \\n CONTINUED: (2) \\n \\n In fact Mumble is mesmerised by the luight catching LOVEDAY's \\n six pack holder. He bends forwards to study it more closely \\n\",\n \"by the SIX-PACK PLASTIC and he is DRAGGED AWAY, tethered to \\n the KILLER WHALE like Captain Ahab. \\n \\n The WHALE thrashes around wildly trying to dislodge the\",\n \"At the head of this queue stands LOVEDAY - guardian of a huge \\n pile of pebbles. His head pokes through one of the rings a \\n PLASTIC SIX-PACK CAN HOLDER festooned with seaweed like a\",\n \" AN ADELIE \\n Why don't he speak? \\n \\n LOVEDAY gurgles and points wildly to the SIX-PACK PLASTIC \\n round his neck. \\n \\n AN ADELIE (CONT'D)\",\n \" ...Hold on we gonna take it off. \\n ...You pull that side, I pull this side. \\n \\n They tug at the SIX-PACK PLASTIC. LOVEDAY GASPS AND WINCES. \\n \\n MUMBLE\",\n \" (CONTINUED) \\n 63. \\n CONTINUED: \\n \\n MUMBLE \\n What is it? \\n \\n There, imbedded in the ice: another six pack holder. \\n\",\n \"He swims back. The KILLER WHALE is about to take them both in \\n one bite. MUMBLE pulls LOVEDAY aside, but he's not quite \\n quick enough: one of the Whale's outer teeth catches LOVEDAY\",\n \" MUMBLE \\n You looked up and...... It just got caught \\n around your neck? \\n \\n \\n (CONTINUED) \\n 56. \\n CONTINUED: (3) \\n\",\n \"LOVEDAY is FLUNG high, high into the air and...SPLASHES DOWN \\n some distance away. \\n \\n The KILLER WHALE is left with the SIX-PACK PLASTIC lodged in \\n its teeth. \\n\",\n \" So who fixed him up with this. \\n \\n She turns him around to reveal some kind of circuit board \\n glued to his back: a small aerial, winking red lights. A \\n TRANSMITTER. \\n\",\n \"puts out a wing to steady himself and notices a metal tag on \\n it. This place is beginning to upset him. \\n \\n \\n \\n \\n (CONTINUED) \\n 75. \\n CONTINUED:\",\n \" ...Of course it's not! It's sacred! \\n \\n MUMBLE \\n LOVEDAY, where did you get it? \\n \\n THE ADELIES \\n ...It was bestowed on him.\",\n \"LOVEDAY mimes the talisman going over his head. \\n \\n AN ADELIE \\n ...Well to me that's gotta be bestowing. \\n \\n LOVEDAY shakes his head, `no'. He stretches his neck. \\n\",\n \"uninhibited and unselfconscious. \\n \\n After some time, he remembers himself, stops and turns to the \\n Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. \\n\",\n \" ..Me! \\n ..No Me ! \\n \\n LOVEDAY \\n One at a time! And don't touch the \\n Talisman! \\n \\n ADELIES \\n ....I liked him better when he was just\",\n \"LOVEDAY chokes out a `yes'. \\n \\n ADELIES \\n ....The way I feel\\\": the \\\"frostbitten\\\" \\n shore \\n ....So what are those black things?. \\n\",\n \"opens his eyes to the brilliant glare of an examination lamp. \\n \\n There is movement around him. Voices whispering in an alien \\n tongue. A FIGURE IN WHITE bends over him cleaning the oil\",\n \" ...He don't know what he's saying. \\n \\n MUMBLE \\n If it wasn't bestowed, what happened? \\n \\n LOVEDAY mimes swimming. \\n \\n THE ADELIES\",\n \" Talisman, bestowed upon me by the Mystic \\n Beings... \\n \\n MUMBLE \\n Looks like they bestowed it very tight. \\n \\n LOVEDAY \\n ...during my Epic Journey of\"\n ],\n [\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \"He touches Mumble and recoils as if burnt \\n \\n ADELIE \\n Yow! \\n \\n MUMBLE \\n You really think so? \\n \\n THE ADELIES\",\n \" THE ADELIES \\n (wincing) \\n ...Ouch! \\n ...That's gotta hurt! \\n ...Who ordered seal? \\n \\n Mumble is quickly on his feet and out of the Leopard Seal's\",\n \" (pushing in) \\n ...He has abandoned the faith. \\n ...He has driven the fish away. \\n \\n THE ADELIES \\n (protecting Mumble) \\n ...Come on hombre, loosen up,\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \" MUMBLE \\n (laughs) \\n That doesn't make any sense. \\n \\n TEACHER \\n Well Mumble...perhaps you can do better \\n \\n MUMBLE\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \" PENGUINS \\n ...Who's doing all the shouting \\n ...Its Mumble. He's worse than before. \\n \\n MUMBLE \\n No, honestly Aliens will be here soon!\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \" ...You found them, you found Aliens! \\n ...Now we go back tell everybody who's \\n taking the fish. \\n \\n \\n Mumble's eyes remain fixed on the horizon. \\n \\n\",\n \"As he launches himself into space... \\n \\n WIDE SHOT \\n \\n The tiny penguin soaring off the top of the ICEBERG. \\n \\n THE ADELIES rush to the edge as, far below Mumble HITS THE\",\n \"Choking, thrashing and gulping air, Mumble SCRAMBLES to get \\n back onto the ice. \\n \\n MUMBLE \\n Everybody out!! LEOPARD SEAL!! (glub) \\n\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \"Mumble is looking around, trying to figure it out \\n \\n PENGUIN (CONT'D) \\n Fish! \\n \\n MUMBLE \\n Where? \\n \\n \\n (CONTINUED)\",\n \"Music over: Walk on By as he wanders through the vast colony \\n head down against the wind, little feet padding over the ice, \\n \\n Gradually the colony begins to thin. \\n \\n MUMBLE (CONT'D)\",\n \"The Adelies are heading back to their colony as fast as their \\n little legs will carry then. Mumble Hippity hops after them \\n \\n ADELIES \\n ...Forget it \\n ...We're not going back there \\n ...Never\",\n \"sea around him erupts in churning foam. \\n \\n Swamped by the wake, Mumble goes under. When he resurfaces, \\n THE SHIP is already on its way. \\n \\n \\n \\n \\n (CONTINUED)\"\n ],\n [\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \" (pushing in) \\n ...He has abandoned the faith. \\n ...He has driven the fish away. \\n \\n THE ADELIES \\n (protecting Mumble) \\n ...Come on hombre, loosen up,\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \"Music over: Walk on By as he wanders through the vast colony \\n head down against the wind, little feet padding over the ice, \\n \\n Gradually the colony begins to thin. \\n \\n MUMBLE (CONT'D)\",\n \" (CONTINUED) \\n 29. \\n CONTINUED: \\n \\n ELLA \\n Thank you Mumble, but it's yours. \\n \\n MUMBLE\",\n \"He touches Mumble and recoils as if burnt \\n \\n ADELIE \\n Yow! \\n \\n MUMBLE \\n You really think so? \\n \\n THE ADELIES\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \" 84. \\n CONTINUED: \\n \\n MUMBLE covers his chick protectively, watrching his wife walk \\n away. \\n \\n MUMBLE (V.O.)\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \" THE ADELIES \\n (wincing) \\n ...Ouch! \\n ...That's gotta hurt! \\n ...Who ordered seal? \\n \\n Mumble is quickly on his feet and out of the Leopard Seal's\",\n \"gumboots RUN AWAY, shouting something unintelligible. \\n \\n With great difficulty, Mumble raises his head to try to see \\n more. Sunlight flares, bleaching to white, as he LOSES \\n CONSCIOUSNESS.\",\n \"Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \\n the air, landing on a THIN PANCAKE OF ICE that cannot support \\n his weight. \\n \\n MUMBLE (CONT'D)\",\n \" (CONTINUED) \\n 9. \\n CONTINUED: \\n \\n Caruso waddles past: A stern glance down at little Mumble as \\n he carries on along the line \\n \\n WISHFUL\",\n \" sweet music. I may be short but I'm a \\n love god...Ooww! \\n \\n Mumble smacks him with the back of a flipper and goes off \\n after Ella himself. \\n \\n MUMBLE\",\n \" MUMBLE (V.O.) \\n Aliens everywhere, watching you eat, \\n watching you sleep \\n \\n Mumble backs away and knocks into the PAINTED HORIZON. He\",\n \"Choking, thrashing and gulping air, Mumble SCRAMBLES to get \\n back onto the ice. \\n \\n MUMBLE \\n Everybody out!! LEOPARD SEAL!! (glub) \\n\"\n ],\n [\n \"sea around him erupts in churning foam. \\n \\n Swamped by the wake, Mumble goes under. When he resurfaces, \\n THE SHIP is already on its way. \\n \\n \\n \\n \\n (CONTINUED)\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \\n the air, landing on a THIN PANCAKE OF ICE that cannot support \\n his weight. \\n \\n MUMBLE (CONT'D)\",\n \"The PENGUINS head for shore , swimming for their lives. \\n LOVEDAY, thrashing and wheezing, is unable to keep up. \\n \\n MUMBLE \\n (stops) \\n LOVEDAY! LOVEDAY!! \\n\",\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \"to where Mumble and Loveday stand, gazing into the distance. \\n \\n They have finally reached the sea again \\n \\n MUMBLE \\n You think this is it? The Forbidden \\n Shore? \\n\",\n \" ...he's certainly not eating \\n \\n Leaning forward to take the fish \\n \\n PENGUIN \\n ...Maybe I should just... \\n \\n Mumble regains consciousness \\n \\n (CONTINUED)\",\n \" (CONTINUED) \\n 17. \\n CONTINUED: (2) \\n \\n Mumble inhales, his eyes are shining, his body is shaking. \\n\",\n \" ...You found them, you found Aliens! \\n ...Now we go back tell everybody who's \\n taking the fish. \\n \\n \\n Mumble's eyes remain fixed on the horizon. \\n \\n\",\n \"Music over: Walk on By as he wanders through the vast colony \\n head down against the wind, little feet padding over the ice, \\n \\n Gradually the colony begins to thin. \\n \\n MUMBLE (CONT'D)\",\n \"Choking, thrashing and gulping air, Mumble SCRAMBLES to get \\n back onto the ice. \\n \\n MUMBLE \\n Everybody out!! LEOPARD SEAL!! (glub) \\n\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \" (pushing in) \\n ...He has abandoned the faith. \\n ...He has driven the fish away. \\n \\n THE ADELIES \\n (protecting Mumble) \\n ...Come on hombre, loosen up,\",\n \"As he launches himself into space... \\n \\n WIDE SHOT \\n \\n The tiny penguin soaring off the top of the ICEBERG. \\n \\n THE ADELIES rush to the edge as, far below Mumble HITS THE\",\n \" THE ADELIES \\n (wincing) \\n ...Ouch! \\n ...That's gotta hurt! \\n ...Who ordered seal? \\n \\n Mumble is quickly on his feet and out of the Leopard Seal's\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \"gumboots RUN AWAY, shouting something unintelligible. \\n \\n With great difficulty, Mumble raises his head to try to see \\n more. Sunlight flares, bleaching to white, as he LOSES \\n CONSCIOUSNESS.\"\n ],\n [\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \" ...You found them, you found Aliens! \\n ...Now we go back tell everybody who's \\n taking the fish. \\n \\n \\n Mumble's eyes remain fixed on the horizon. \\n \\n\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \"The Adelies are heading back to their colony as fast as their \\n little legs will carry then. Mumble Hippity hops after them \\n \\n ADELIES \\n ...Forget it \\n ...We're not going back there \\n ...Never\",\n \" Stop! Please!.... \\n \\n From a safe distance the ADELIES stop and look on in \\n amazement as Mumble stands his ground, shouting up at THE \\n SHIP as it advances towards him. \\n \\n MUMBLE (CONT'D)\",\n \" THE ADELIES \\n (wincing) \\n ...Ouch! \\n ...That's gotta hurt! \\n ...Who ordered seal? \\n \\n Mumble is quickly on his feet and out of the Leopard Seal's\",\n \"sea around him erupts in churning foam. \\n \\n Swamped by the wake, Mumble goes under. When he resurfaces, \\n THE SHIP is already on its way. \\n \\n \\n \\n \\n (CONTINUED)\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \"They scurry back into a straight line behind Mumble who cops \\n the FULL BLAST of the GALE. \\n \\n He gives up and marches off into the driving snow. \\n \\n THE ADELIES \\n ...Hey!\",\n \" ADELIES \\n Ramos! \\n \\n Mumble pops his head out from between the jaws \\n \\n MUMBLE \\n Oh! There you are \\n \\n Terrified the Adelies scatter and shoot to the surface like\",\n \"the Adelies dwindle to specks and disappear into the mist. \\n \\n THE ICE SHELF \\n \\n Mumble and the Adelies have put the colony far behind, \\n trekking homewards \\n \\n ADELIES\",\n \" (pushing in) \\n ...He has abandoned the faith. \\n ...He has driven the fish away. \\n \\n THE ADELIES \\n (protecting Mumble) \\n ...Come on hombre, loosen up,\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \"As he launches himself into space... \\n \\n WIDE SHOT \\n \\n The tiny penguin soaring off the top of the ICEBERG. \\n \\n THE ADELIES rush to the edge as, far below Mumble HITS THE\",\n \"Mumble POWERS ahead, the ice above growing thicker, the \\n angled ceiling forcing him down, deeper into the BLACKNESS. \\n \\n The Leopard Seal opens its mouth. Its GAPING JAWS are about \\n to engulf Mumble when... \\n\",\n \" (CONTINUED) \\n 29. \\n CONTINUED: \\n \\n ELLA \\n Thank you Mumble, but it's yours. \\n \\n MUMBLE\",\n \"Choking, thrashing and gulping air, Mumble SCRAMBLES to get \\n back onto the ice. \\n \\n MUMBLE \\n Everybody out!! LEOPARD SEAL!! (glub) \\n\"\n ],\n [\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \" ...You found them, you found Aliens! \\n ...Now we go back tell everybody who's \\n taking the fish. \\n \\n \\n Mumble's eyes remain fixed on the horizon. \\n \\n\",\n \" (pushing in) \\n ...He has abandoned the faith. \\n ...He has driven the fish away. \\n \\n THE ADELIES \\n (protecting Mumble) \\n ...Come on hombre, loosen up,\",\n \"sea around him erupts in churning foam. \\n \\n Swamped by the wake, Mumble goes under. When he resurfaces, \\n THE SHIP is already on its way. \\n \\n \\n \\n \\n (CONTINUED)\",\n \" (CONTINUED) \\n 29. \\n CONTINUED: \\n \\n ELLA \\n Thank you Mumble, but it's yours. \\n \\n MUMBLE\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \"Choking, thrashing and gulping air, Mumble SCRAMBLES to get \\n back onto the ice. \\n \\n MUMBLE \\n Everybody out!! LEOPARD SEAL!! (glub) \\n\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \"Mumble POWERS ahead, the ice above growing thicker, the \\n angled ceiling forcing him down, deeper into the BLACKNESS. \\n \\n The Leopard Seal opens its mouth. Its GAPING JAWS are about \\n to engulf Mumble when... \\n\",\n \" THE ADELIES \\n (wincing) \\n ...Ouch! \\n ...That's gotta hurt! \\n ...Who ordered seal? \\n \\n Mumble is quickly on his feet and out of the Leopard Seal's\",\n \" ...he's certainly not eating \\n \\n Leaning forward to take the fish \\n \\n PENGUIN \\n ...Maybe I should just... \\n \\n Mumble regains consciousness \\n \\n (CONTINUED)\",\n \" MUMBLE \\n (laughs) \\n That doesn't make any sense. \\n \\n TEACHER \\n Well Mumble...perhaps you can do better \\n \\n MUMBLE\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \" ADELIES \\n Ramos! \\n \\n Mumble pops his head out from between the jaws \\n \\n MUMBLE \\n Oh! There you are \\n \\n Terrified the Adelies scatter and shoot to the surface like\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \"He touches Mumble and recoils as if burnt \\n \\n ADELIE \\n Yow! \\n \\n MUMBLE \\n You really think so? \\n \\n THE ADELIES\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \" (CONTINUED) \\n 9. \\n CONTINUED: \\n \\n Caruso waddles past: A stern glance down at little Mumble as \\n he carries on along the line \\n \\n WISHFUL\"\n ],\n [\n \"Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \\n the air, landing on a THIN PANCAKE OF ICE that cannot support \\n his weight. \\n \\n MUMBLE (CONT'D)\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \" MUMBLE \\n (laughs) \\n That doesn't make any sense. \\n \\n TEACHER \\n Well Mumble...perhaps you can do better \\n \\n MUMBLE\",\n \"Mumble sighs and his little shoulders sink, no way he'll ever \\n be able to sing like that. \\n \\n MUMBLE \\n Its tough when you realise you'll never \\n fit in. Plus I was beginning to moult \\n\",\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \"He starts tap dancing. The penguins are torn, between \\n Caruso's instructions and Mumbles. \\n \\n MUMBLES \\n Its what they understand. They can't \\n talk, they can't sing. They speak with\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \"Mumble is looking around, trying to figure it out \\n \\n PENGUIN (CONT'D) \\n Fish! \\n \\n MUMBLE \\n Where? \\n \\n \\n (CONTINUED)\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \"As he launches himself into space... \\n \\n WIDE SHOT \\n \\n The tiny penguin soaring off the top of the ICEBERG. \\n \\n THE ADELIES rush to the edge as, far below Mumble HITS THE\",\n \" (CONTINUED) \\n 17. \\n CONTINUED: (2) \\n \\n Mumble inhales, his eyes are shining, his body is shaking. \\n\",\n \" That thing with The feet. \\n (to the others) \\n ¡Hola muchachos! \\n (to Mumble) \\n Show them! \\n \\n MUMBLE\",\n \"sea around him erupts in churning foam. \\n \\n Swamped by the wake, Mumble goes under. When he resurfaces, \\n THE SHIP is already on its way. \\n \\n \\n \\n \\n (CONTINUED)\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\",\n \"We find MUMBLE on his own small ice-floe separate from the \\n others on their iceberg. \\n \\n As their singing drifts across to him, MUMBLE does an \\n exquisite little SOFT-SHOE SHUFFLE. \\n\",\n \" I called him Mumble. \\n \\n Mumbles feet start to tap involuntarily, Then he catches his \\n dad's warning look. \\n \\n MUMBLE \\n Did she get one. Did she bring one back. \\n\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\"\n ],\n [\n \" But that's what we have to find out. \\n Don't you see. Things like that could be \\n eating the fish. \\n \\n The idea is so stunningly original it stops them in their \\n tracks. \\n \\n ADELIES\",\n \" ...Kiss my frozen toosh, rubber butt \\n \\n They fall about laughing. The Leopard Seal returns to the \\n water. \\n \\n LEOPARD SEAL \\n I know where you live. \\n \\n THE ADELIES\",\n \" and going to get the fish. \\n \\n As we watch, Ella moves off, joining the great to and fro of \\n penguins along the highway to the sea. \\n \\n \\n \\n (CONTINUED)\",\n \"Before him, a wasteland of discoloured ice covered with \\n broken eggs and bits of feather. There are very few penguins \\n here and the ones he can see are all, frankly, weird. \\n\",\n \" it happened, but the black icebergs began \\n to disappear and the fish became abundant \\n once more. \\n \\n A CONFERENCE ROOM \\n \\n Suited figures are seated round a large table, watching as\",\n \" On the black iceberg. The ones taking all \\n the fish! \\n \\n ALBATROSS \\n Them. Fish is just the start of it Mate. \\n Them aliens is the ones who took out the \\n whales.\",\n \" ...You found them, you found Aliens! \\n ...Now we go back tell everybody who's \\n taking the fish. \\n \\n \\n Mumble's eyes remain fixed on the horizon. \\n \\n\",\n \" (getting desperate) \\n Wait. Look. \\n \\n The Adelies all start DANCING MADLY, but it is too frenetic, \\n too desperate. \\n \\n ADELIES \\n ...You like it\",\n \" Wait. Wait. You think it's my fault that \\n there are no fish?!! Doing Happy Feet \\n can't cause a food shortage. \\n \\n AN ELDER \\n ...then what did?! \\n\",\n \" Stop. You're hurting him. \\n \\n The Adelies back off. \\n \\n \\n \\n (CONTINUED) \\n 55. \\n CONTINUED: (2) \\n\",\n \"WATER. And vanishes. \\n \\n THE ADELIES \\n ...can you believe that \\n ...brought us all this way and killed \\n himself \\n ...no he didn't! look! \\n\",\n \" Knows. \\n \\n A hush falls over the gathering. \\n \\n LOVEDAY (CONT'D) \\n The reason there are not enough fish is \\n simple: There is not enough love in the \\n world. Love is the answer!\",\n \" ...he's certainly not eating \\n \\n Leaning forward to take the fish \\n \\n PENGUIN \\n ...Maybe I should just... \\n \\n Mumble regains consciousness \\n \\n (CONTINUED)\",\n \"THE SEA ICE \\n \\n Mumble and the Adelies venture out onto the weak ice beyond \\n the whaling station, finding more and more of the strange \\n artefacts: a piece of nylon rope, a soda can, a boot. \\n\",\n \" ...Yeah, back when you could still catch a \\n fish. \\n \\n MUMBLE \\n The shortage has affected you too?! \\n \\n AN ADELIE \\n ...Who you calling shortish?\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \" So we all step up policing of the pirate \\n factory ships. And we pressure that \\n country to stop their so-called \\n `experimental' fishing. \\n \\n DELEGATE#3 \\n Yes, if our government asks your\",\n \" THE ADELIES \\n (wincing) \\n ...Ouch! \\n ...That's gotta hurt! \\n ...Who ordered seal? \\n \\n Mumble is quickly on his feet and out of the Leopard Seal's\",\n \"They've reached the edge of the sea-ice. LOVEDAY croaks a \\n warning. He points out to sea. \\n \\n AN ADELIE \\n What is that? \\n\",\n \" years now we have known nothing but \\n famine. But you are our hope. Upon your \\n survival depends the very future of the \\n entire Penguin Nation. Dive deep, swim \\n far. May the Great Penguinus go with you.\"\n ],\n [\n \" PENGUINS \\n ... So Who's this? \\n ...Kinda small for an emperor. \\n ...(suspicious) Where did you say you were \\n from? \\n\",\n \" ...¡Riba Riba! Shake those hips! \\n ...Yo penguino, bust a move! \\n \\n They COPY HIM, improvising little riffs on his dance step. \\n The LEOPARD SEAL inches up behind them. \\n\",\n \" Yeah guys, in your dreams \\n \\n THE ADELIES \\n ...You see. Some penguins got it, some \\n don't And the Amigos, (in unison) WE GOT \\n IT! \\n\",\n \"A Penguin walks in an endless figure of eight muttering to \\n himself. Another has his flippers wrapped tightly around \\n himself like a straightjacket. A troubled Penguin sings \\n angrily...\\\"There's no business like show business. \\n\",\n \"The huddled penguins are engaged in ritual chanting \\n \\n LEAD VOICE \\n When all others leave... \\n \\n CHORUS \\n We Remain. \\n \\n LEAD VOICE\",\n \"They punch and bump each other playfully. \\n \\n MUMBLE \\n ....you think I could get some of it? \\n \\n AN ADELIE \\n Hombre, you got so much already, you \\n dangerous. \\n\",\n \" ...Watch and learn tallboy. \\n \\n One of the Adelies calls to a pair of YOUNG FEMALES he sees \\n walking by. \\n \\n THE ADELIES (CONT'D) \\n ...Hola Conchita!\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \" FRIENDLY PENGUIN \\n Shh. Quiet \\n \\n \\n (CONTINUED) \\n 8. \\n CONTINUED: (2) \\n\",\n \"Right on cue, the rest of the AMIGOS appear on either side of \\n him, singing back-up. \\n \\n \\n \\n \\n (CONTINUED) \\n 49.\",\n \" ...Where? \\n ...Coming from the Inland! \\n \\n A couple of Penguins watch the approaching figure. \\n \\n PENGUINS \\n ...Is it a Penguin? \\n ...Is it one of ours? \\n\",\n \"A MOUNTAIN RIDGE \\n \\n The Adelies labour uphill into the wind. LOVEDAY is lagging \\n behind, breathing hard. \\n \\n Even MUMBLE and the AMIGOS are puffing with the effort of the \\n climb.\",\n \"A vast, boisterous ADELIE PENGUIN COMMUNITY. Thousands of \\n them, stretching as far as the eye can see. Its very Rio, \\n very samba, worlds away from the sedate Emperor colony. \\n\",\n \" THE ADELIES \\n ...The big guy. \\n ...He from out of town. \\n ...He with us. \\n \\n FEMALE \\n Do it again. \\n \\n THE ADELIES\",\n \" ...Kiss my frozen toosh, rubber butt \\n \\n They fall about laughing. The Leopard Seal returns to the \\n water. \\n \\n LEOPARD SEAL \\n I know where you live. \\n \\n THE ADELIES\",\n \"Spectators come and go. The penguins stand like statues. \\n \\n Though bubbles begin to appear above Mumbles head, snapshots \\n of his past experiences \\n \\n MUMBLE (V.O.)\",\n \"They scurry back into a straight line behind Mumble who cops \\n the FULL BLAST of the GALE. \\n \\n He gives up and marches off into the driving snow. \\n \\n THE ADELIES \\n ...Hey!\",\n \" THE ADELIES \\n ...Their loss, guys. \\n ...Ramon, where you going? \\n \\n Ramon is SEARCHING frantically for PEBBLES. \\n \\n RAMON\",\n \" (CONTINUED) \\n 82. \\n CONTINUED: (5) \\n \\n Now the entire emperor community are dancing for all they are \\n worth. \\n \\n PENGUINS\",\n \"PENGUINS: Chinstraps, Rock-hoppers, Adelies, King penguins, \\n emerging from holes in the rock face \\n \\n PENGUINS \\n Fish time. Fish time! \\n\"\n ],\n [\n \"MUMBLE between his father's feet, follows his father's \\n concentrated gaze. \\n \\n MUMBLE \\n Gee I'm hungry \\n \\n WISHFUL \\n Everyone's hungry son. The mommas are\",\n \" MUMBLE \\n But I haven't had any answers yet! \\n \\n LOVEDAY \\n SILENCIO!! The Mystic Beings are \\n speaking. They say show some respect \\n stranger. Especially to the One who\",\n \"The little girl who is pointing at mumbles feet. Mumble looks \\n down, realizes what his feet are doing, looks up again. \\n \\n MUMBLE (CONT'D) \\n You like that? Well how about this. \\n\",\n \" I called him Mumble. \\n \\n Mumbles feet start to tap involuntarily, Then he catches his \\n dad's warning look. \\n \\n MUMBLE \\n Did she get one. Did she bring one back. \\n\",\n \" (CONTINUED) \\n 26. \\n CONTINUED: \\n \\n Suddenly the little dark figure of MUMBLE barrels through the \\n pack, yelling \\n \\n MUMBLE\",\n \" (CONTINUED) \\n 31. \\n CONTINUED: \\n \\n MUMBLE \\n \\\"...AaahhhhHhhhhhhhhhhhhHhhhhhh...\\\" \\n\",\n \" MUMBLE \\n You said they didn't exist. \\n \\n CARUSO \\n They'll slaughter us. Head for the sea! \\n \\n MUMBLE \\n No. Do this. Do Happy feet.\",\n \"Mumble pursues one of them. \\n \\n MUMBLE \\n Sometime you got a live one but there was \\n nowhere really to chase it \\n \\n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES\",\n \" MUMBLE (CONT'D) \\n That's it! Excellent! ¡Riba Riba, \\n penguinos! \\n Shake those hips. Come on, bust a move!! \\n \\n CARUSO.\",\n \" MUMBLE (CONT'D) \\n Excuse me, where are we. \\n \\n PENGUIN \\n Heaven. Where d'you think? \\n \\n MUMBLE\",\n \" MUMBLE (CONT'D) \\n Yes I do. \\n \\n A brief moment then. \\n \\n MALE PENGUIN \\n Hi Ella. \\n \\n \\n \\n\",\n \" MUMBLE \\n ... and he said he was abducted by \\n Aliens. \\n \\n LOVEDAY \\n (starts to wheeze and cough) \\n Listen friend, this is my Sacred\",\n \"Spectators come and go. The penguins stand like statues. \\n \\n Though bubbles begin to appear above Mumbles head, snapshots \\n of his past experiences \\n \\n MUMBLE (V.O.)\",\n \" MUMBLE \\n Wow. They brought me home \\n \\n His voice ECHOES back at him, with a mocking edge. There is \\n something unusual about this place. A plump penguin waddles \\n by \\n\",\n \" Mumble? \\n \\n MUMBLE \\n Ella? \\n \\n They scramble to their feet...but the ice is slippery.They \\n clutch together, slipping and sliding. \\n \\n ELLA\",\n \"MUMBLE does a little SOFT SHOE SHUFFLE. \\n \\n WISHFUL (CONT'D) \\n (sharply) \\n Hey. Thought I told you not to do that \\n \\n MUMBLE\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \" (CONTINUED) \\n 17. \\n CONTINUED: (2) \\n \\n Mumble inhales, his eyes are shining, his body is shaking. \\n\",\n \" MUMBLE \\n This is it Ella! This is the song inside \\n me! \\n \\n ELLA is ecstatic. Just when we think the WHOLE COLONY will be\"\n ],\n [\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \" MUMBLE \\n (laughs) \\n That doesn't make any sense. \\n \\n TEACHER \\n Well Mumble...perhaps you can do better \\n \\n MUMBLE\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\",\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \"We find MUMBLE on his own small ice-floe separate from the \\n others on their iceberg. \\n \\n As their singing drifts across to him, MUMBLE does an \\n exquisite little SOFT-SHOE SHUFFLE. \\n\",\n \"He starts tap dancing. The penguins are torn, between \\n Caruso's instructions and Mumbles. \\n \\n MUMBLES \\n Its what they understand. They can't \\n talk, they can't sing. They speak with\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \"Mumble is looking around, trying to figure it out \\n \\n PENGUIN (CONT'D) \\n Fish! \\n \\n MUMBLE \\n Where? \\n \\n \\n (CONTINUED)\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \" (CONTINUED) \\n 29. \\n CONTINUED: \\n \\n ELLA \\n Thank you Mumble, but it's yours. \\n \\n MUMBLE\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \" That thing with The feet. \\n (to the others) \\n ¡Hola muchachos! \\n (to Mumble) \\n Show them! \\n \\n MUMBLE\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \"The little girl who is pointing at mumbles feet. Mumble looks \\n down, realizes what his feet are doing, looks up again. \\n \\n MUMBLE (CONT'D) \\n You like that? Well how about this. \\n\",\n \"He touches Mumble and recoils as if burnt \\n \\n ADELIE \\n Yow! \\n \\n MUMBLE \\n You really think so? \\n \\n THE ADELIES\",\n \" (CONTINUED) \\n 9. \\n CONTINUED: \\n \\n Caruso waddles past: A stern glance down at little Mumble as \\n he carries on along the line \\n \\n WISHFUL\",\n \" MUMBLE (VO) \\n With them it was love at first song. \\n \\n Close up on the two penguins as their necks intertwine. \\n \\n MUMBLE (VO) (CONT'D)\",\n \"Music over: Walk on By as he wanders through the vast colony \\n head down against the wind, little feet padding over the ice, \\n \\n Gradually the colony begins to thin. \\n \\n MUMBLE (CONT'D)\"\n ],\n [\n \"LOVEDAY chokes out a `yes'. \\n \\n ADELIES \\n ....The way I feel\\\": the \\\"frostbitten\\\" \\n shore \\n ....So what are those black things?. \\n\",\n \"uninhibited and unselfconscious. \\n \\n After some time, he remembers himself, stops and turns to the \\n Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. \\n\",\n \" MUMBLE \\n No. He's choking! The Talisman's gotten \\n way too tight. \\n \\n THE ADELIES \\n ...Why din' you say so?\",\n \" (CONTINUED) \\n 17. \\n CONTINUED: (2) \\n \\n Mumble inhales, his eyes are shining, his body is shaking. \\n\",\n \"He swims back. The KILLER WHALE is about to take them both in \\n one bite. MUMBLE pulls LOVEDAY aside, but he's not quite \\n quick enough: one of the Whale's outer teeth catches LOVEDAY\",\n \"He indicates the SIX-PACK PLASTIC around LOVEDAY'S neck. \\n \\n SEAL 1 lowers it's massive head down to face LOVEDAY. \\n Wheezing he examines the plastic with first with one eye,\",\n \" 42. \\n CONTINUED: (2) \\n \\n In fact Mumble is mesmerised by the luight catching LOVEDAY's \\n six pack holder. He bends forwards to study it more closely \\n\",\n \"The PENGUINS head for shore , swimming for their lives. \\n LOVEDAY, thrashing and wheezing, is unable to keep up. \\n \\n MUMBLE \\n (stops) \\n LOVEDAY! LOVEDAY!! \\n\",\n \"puts out a wing to steady himself and notices a metal tag on \\n it. This place is beginning to upset him. \\n \\n \\n \\n \\n (CONTINUED) \\n 75. \\n CONTINUED:\",\n \" MUMBLE \\n ... and he said he was abducted by \\n Aliens. \\n \\n LOVEDAY \\n (starts to wheeze and cough) \\n Listen friend, this is my Sacred\",\n \"LOVEDAY holds up a flipper for silence and a hush falls over \\n the gospel choir \\n \\n LOVEDAY (CONT'D) \\n A moment... \\n (composing himself) \\n ... and your question? \\n\",\n \"LOVEDAY mimes the talisman going over his head. \\n \\n AN ADELIE \\n ...Well to me that's gotta be bestowing. \\n \\n LOVEDAY shakes his head, `no'. He stretches his neck. \\n\",\n \" Talisman...sounds like Talisman!! \\n \\n LOVEDAY coughs. His eyes bulge. \\n \\n ADELIES \\n ...He's possessed! \\n ...It's a seizure! \\n\",\n \" FIRST IN QUEUE \\n Señor Loveday, My wife is one of the \\n Disappeared ones Tell me is she alive? \\n \\n Loveday hyperventillates, his eyes roll up in his head \\n\",\n \" Knows. \\n \\n A hush falls over the gathering. \\n \\n LOVEDAY (CONT'D) \\n The reason there are not enough fish is \\n simple: There is not enough love in the \\n world. Love is the answer!\",\n \"LOVEDAY nods `YES!!' and falls back in exhaustion. \\n \\n MUMBLE (CONT'D) \\n So who's coming \\n \\n LOVEDAY \\n Oi \\n\",\n \" 74. \\n CONTINUED: \\n \\n A fish hits him on the head. \\n \\n A moment later he's knocked flat by a sudden rush of\",\n \" 84. \\n CONTINUED: \\n \\n MUMBLE covers his chick protectively, watrching his wife walk \\n away. \\n \\n MUMBLE (V.O.)\",\n \" LOVEDAY (CONT'D) \\n Now. The Mating Season starts today so \\n here's what everybody should do: go forth \\n and multiply! If you'll excuse I myself \\n must retire for a moment to the couch of\",\n \" Oh my! Now he thinks he's an Elephant \\n Seal \\n \\n LOVEDAY nods and points towards the mountains. \\n \\n AN ADELIE (CONT'D) \\n He wants to go to the top of the\"\n ],\n [\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \" MUMBLE \\n (laughs) \\n That doesn't make any sense. \\n \\n TEACHER \\n Well Mumble...perhaps you can do better \\n \\n MUMBLE\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \"He touches Mumble and recoils as if burnt \\n \\n ADELIE \\n Yow! \\n \\n MUMBLE \\n You really think so? \\n \\n THE ADELIES\",\n \" MUMBLE (VO) \\n With them it was love at first song. \\n \\n Close up on the two penguins as their necks intertwine. \\n \\n MUMBLE (VO) (CONT'D)\",\n \" (CONTINUED) \\n 29. \\n CONTINUED: \\n \\n ELLA \\n Thank you Mumble, but it's yours. \\n \\n MUMBLE\",\n \"Mumble sighs and his little shoulders sink, no way he'll ever \\n be able to sing like that. \\n \\n MUMBLE \\n Its tough when you realise you'll never \\n fit in. Plus I was beginning to moult \\n\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \"Mumble is looking around, trying to figure it out \\n \\n PENGUIN (CONT'D) \\n Fish! \\n \\n MUMBLE \\n Where? \\n \\n \\n (CONTINUED)\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \"He starts tap dancing. The penguins are torn, between \\n Caruso's instructions and Mumbles. \\n \\n MUMBLES \\n Its what they understand. They can't \\n talk, they can't sing. They speak with\",\n \"The little girl who is pointing at mumbles feet. Mumble looks \\n down, realizes what his feet are doing, looks up again. \\n \\n MUMBLE (CONT'D) \\n You like that? Well how about this. \\n\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\",\n \" Mumble, that's just cheap \\n \\n She turns and heads off. The Adelie starts after her. \\n \\n THE ADELIE \\n Wait up! You and me baby, we can make\",\n \"We find MUMBLE on his own small ice-floe separate from the \\n others on their iceberg. \\n \\n As their singing drifts across to him, MUMBLE does an \\n exquisite little SOFT-SHOE SHUFFLE. \\n\",\n \" (CONTINUED) \\n 9. \\n CONTINUED: \\n \\n Caruso waddles past: A stern glance down at little Mumble as \\n he carries on along the line \\n \\n WISHFUL\"\n ],\n [\n \" PENGUINS \\n ... So Who's this? \\n ...Kinda small for an emperor. \\n ...(suspicious) Where did you say you were \\n from? \\n\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \" goes `Aaaah' \\n \\n Ella turns to see: a PENGUIN backlit by the sun, standing \\n HEROICALLY on a little rise, just as WISHFUL did. \\n\",\n \" Follow a female penguin as she waddles through the massive \\n crowd past an assortment of crooning males \\n \\n \\n (CONTINUED) \\n 2. \\n CONTINUED: \\n\",\n \" MUMBLE (CONT'D) \\n Yes I do. \\n \\n A brief moment then. \\n \\n MALE PENGUIN \\n Hi Ella. \\n \\n \\n \\n\",\n \"A Penguin walks in an endless figure of eight muttering to \\n himself. Another has his flippers wrapped tightly around \\n himself like a straightjacket. A troubled Penguin sings \\n angrily...\\\"There's no business like show business. \\n\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \" Looking for what? I don't know? A \\n different type of penguin? \\n \\n The noise of the colony has faded behind him. He stops and \\n looks up. \\n \\n \\n (CONTINUED)\",\n \"In the confusion of penguins we find MUMBLE, ELLA and their \\n chick \\n \\n MUMBLE (V.O.) \\n Ella's gave up teaching to look after our \\n chick. We take turns looking after her\",\n \" (CONTINUED) \\n 82. \\n CONTINUED: (5) \\n \\n Now the entire emperor community are dancing for all they are \\n worth. \\n \\n PENGUINS\",\n \" ...Where? \\n ...Coming from the Inland! \\n \\n A couple of Penguins watch the approaching figure. \\n \\n PENGUINS \\n ...Is it a Penguin? \\n ...Is it one of ours? \\n\",\n \"PENGUINS: Chinstraps, Rock-hoppers, Adelies, King penguins, \\n emerging from holes in the rock face \\n \\n PENGUINS \\n Fish time. Fish time! \\n\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \"CONTINUED: \\n \\n PENGUINS \\n This is it. I guess \\n \\n MUMBLE \\n This is all that's left? \\n \\n Other penguins are gathering to scrutinise the stranger.\",\n \"A gasp of fear and astonishment from the penguins. Caruso is \\n momentarily speechless. \\n \\n PENGUINS \\n ...Does it hurt? \\n ....Its not made of feathers thats for \\n sure\",\n \"A vast, boisterous ADELIE PENGUIN COMMUNITY. Thousands of \\n them, stretching as far as the eye can see. Its very Rio, \\n very samba, worlds away from the sedate Emperor colony. \\n\",\n \" ...¡Riba Riba! Shake those hips! \\n ...Yo penguino, bust a move! \\n \\n They COPY HIM, improvising little riffs on his dance step. \\n The LEOPARD SEAL inches up behind them. \\n\",\n \"helicopter rises over the hirizon, its massive rotors mashing \\n the air. \\n \\n It swoops down over the penguin nation and lands a little \\n distance away. \\n \\n Music Over: Wanna Dance with Somebody. \\n \\n \\n\",\n \"Before him, a wasteland of discoloured ice covered with \\n broken eggs and bits of feather. There are very few penguins \\n here and the ones he can see are all, frankly, weird. \\n\"\n ],\n [\n \"As he launches himself into space... \\n \\n WIDE SHOT \\n \\n The tiny penguin soaring off the top of the ICEBERG. \\n \\n THE ADELIES rush to the edge as, far below Mumble HITS THE\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \" goes `Aaaah' \\n \\n Ella turns to see: a PENGUIN backlit by the sun, standing \\n HEROICALLY on a little rise, just as WISHFUL did. \\n\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \"Before him, a wasteland of discoloured ice covered with \\n broken eggs and bits of feather. There are very few penguins \\n here and the ones he can see are all, frankly, weird. \\n\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \" ...he's certainly not eating \\n \\n Leaning forward to take the fish \\n \\n PENGUIN \\n ...Maybe I should just... \\n \\n Mumble regains consciousness \\n \\n (CONTINUED)\",\n \" (muffled) \\n I want you to have it. \\n \\n MALE PENGUIN \\n Why don't I have it \\n \\n \\n Suddenly, A SKUA BIRD swoops down and grabs it. \\n\",\n \"PENGUINS: Chinstraps, Rock-hoppers, Adelies, King penguins, \\n emerging from holes in the rock face \\n \\n PENGUINS \\n Fish time. Fish time! \\n\",\n \" THE ADELIES \\n (wincing) \\n ...Ouch! \\n ...That's gotta hurt! \\n ...Who ordered seal? \\n \\n Mumble is quickly on his feet and out of the Leopard Seal's\",\n \"The PENGUINS head for shore , swimming for their lives. \\n LOVEDAY, thrashing and wheezing, is unable to keep up. \\n \\n MUMBLE \\n (stops) \\n LOVEDAY! LOVEDAY!! \\n\",\n \"A LONG LINE of male penguins, thousands of them, all with \\n their chicks, stand staring expectantly across the ice shelf. \\n \\n At the front, we find WISHFUL and MUMBLE, who is jiggling\",\n \"helicopter rises over the hirizon, its massive rotors mashing \\n the air. \\n \\n It swoops down over the penguin nation and lands a little \\n distance away. \\n \\n Music Over: Wanna Dance with Somebody. \\n \\n \\n\",\n \"The Adelies are heading back to their colony as fast as their \\n little legs will carry then. Mumble Hippity hops after them \\n \\n ADELIES \\n ...Forget it \\n ...We're not going back there \\n ...Never\",\n \"Mumble is looking around, trying to figure it out \\n \\n PENGUIN (CONT'D) \\n Fish! \\n \\n MUMBLE \\n Where? \\n \\n \\n (CONTINUED)\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \" ADELIES \\n Ramos! \\n \\n Mumble pops his head out from between the jaws \\n \\n MUMBLE \\n Oh! There you are \\n \\n Terrified the Adelies scatter and shoot to the surface like\",\n \"CONTINUED: \\n \\n PENGUINS \\n This is it. I guess \\n \\n MUMBLE \\n This is all that's left? \\n \\n Other penguins are gathering to scrutinise the stranger.\",\n \"They scurry back into a straight line behind Mumble who cops \\n the FULL BLAST of the GALE. \\n \\n He gives up and marches off into the driving snow. \\n \\n THE ADELIES \\n ...Hey!\"\n ],\n [\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\",\n \"Spectators come and go. The penguins stand like statues. \\n \\n Though bubbles begin to appear above Mumbles head, snapshots \\n of his past experiences \\n \\n MUMBLE (V.O.)\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \"A Penguin walks in an endless figure of eight muttering to \\n himself. Another has his flippers wrapped tightly around \\n himself like a straightjacket. A troubled Penguin sings \\n angrily...\\\"There's no business like show business. \\n\",\n \"Mumble is looking around, trying to figure it out \\n \\n PENGUIN (CONT'D) \\n Fish! \\n \\n MUMBLE \\n Where? \\n \\n \\n (CONTINUED)\",\n \"He starts tap dancing. The penguins are torn, between \\n Caruso's instructions and Mumbles. \\n \\n MUMBLES \\n Its what they understand. They can't \\n talk, they can't sing. They speak with\",\n \" MUMBLE (VO) \\n With them it was love at first song. \\n \\n Close up on the two penguins as their necks intertwine. \\n \\n MUMBLE (VO) (CONT'D)\",\n \" THE ADELIES \\n (wincing) \\n ...Ouch! \\n ...That's gotta hurt! \\n ...Who ordered seal? \\n \\n Mumble is quickly on his feet and out of the Leopard Seal's\",\n \" PENGUINS \\n ...Who's doing all the shouting \\n ...Its Mumble. He's worse than before. \\n \\n MUMBLE \\n No, honestly Aliens will be here soon!\",\n \" MUMBLE (CONT'D) \\n Yes I do. \\n \\n A brief moment then. \\n \\n MALE PENGUIN \\n Hi Ella. \\n \\n \\n \\n\",\n \"CONTINUED: \\n \\n PENGUINS \\n This is it. I guess \\n \\n MUMBLE \\n This is all that's left? \\n \\n Other penguins are gathering to scrutinise the stranger.\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \" (pushing in) \\n ...He has abandoned the faith. \\n ...He has driven the fish away. \\n \\n THE ADELIES \\n (protecting Mumble) \\n ...Come on hombre, loosen up,\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \"The Adelies are heading back to their colony as fast as their \\n little legs will carry then. Mumble Hippity hops after them \\n \\n ADELIES \\n ...Forget it \\n ...We're not going back there \\n ...Never\",\n \"The Adelies and Mumble form a conga, weaving in and out of \\n the nest builders, aiming a kick here and there at their \\n industrious brethren \\n 38. \\n \\n \\n UNDERWATER\",\n \"As he launches himself into space... \\n \\n WIDE SHOT \\n \\n The tiny penguin soaring off the top of the ICEBERG. \\n \\n THE ADELIES rush to the edge as, far below Mumble HITS THE\"\n ],\n [\n \" Your Heartsong. Yes. The melody you hear \\n inside, the thing that makes you \\n different from every other penguin. So. \\n Let's all be very still now and listen. \\n And when you hear your song, let it come\",\n \"It is autumn, the EMPEROR PENGUINS for the mating season. \\n \\n It is just like the GREAT GATHERING we saw at the beginning \\n of our story. Males and females sing their Heartsongs. And\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \"A Penguin walks in an endless figure of eight muttering to \\n himself. Another has his flippers wrapped tightly around \\n himself like a straightjacket. A troubled Penguin sings \\n angrily...\\\"There's no business like show business. \\n\",\n \"The singing ADELIE joins in...acapella, very rhythmic \\n \\n THE ADELIE \\n \\\"...turn around you fool \\n You know I love you more and more...\\\" \\n\",\n \" (CONTINUED) \\n 82. \\n CONTINUED: (5) \\n \\n Now the entire emperor community are dancing for all they are \\n worth. \\n \\n PENGUINS\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\",\n \" AN ADELIE \\n Man. You're an emperor all right, You're \\n a king among emperors. The singing we can \\n fix. \\n \\n \\n \\n (CONTINUED)\",\n \"THOUSANDS OF EMPEROR PENGUIN DANCING WITH PURE, ABANDONED \\n JOY. \\n \\n MUMBLE (VO) \\n From that day on, No one quite knows how\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \" MUMBLE (VO) \\n With them it was love at first song. \\n \\n Close up on the two penguins as their necks intertwine. \\n \\n MUMBLE (VO) (CONT'D)\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \"He starts tap dancing. The penguins are torn, between \\n Caruso's instructions and Mumbles. \\n \\n MUMBLES \\n Its what they understand. They can't \\n talk, they can't sing. They speak with\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"Music over: Walk on By as he wanders through the vast colony \\n head down against the wind, little feet padding over the ice, \\n \\n Gradually the colony begins to thin. \\n \\n MUMBLE (CONT'D)\",\n \"background, singing a soulful song of adoration as the \\n Penguin ahead of Mumble steps forward. \\n \\n LOVEDAY \\n First, the devotion... \\n \\n The PENGUIN adds his pebble to the pile. \\n\",\n \"ON AN ICEBERG. NIGHT \\n \\n The entire sky is ablaze with the shimmering LIGHTS of the \\n AURORA AUSTRALIS. \\n \\n The PENGUINS stand below, looking up in wonder. They sing: \\n\",\n \"THE EMPEROR COLONY \\n \\n Silence, then across the vast expanse a TINY FIGURE appears \\n on the horizon. \\n \\n PENGUIN V/O'S \\n ...What's that?\",\n \"Then a female penguin bursts out of the crowd. \\n \\n ELLA \\n Mumble?! Its Mumble!! \\n \\n MUMBLE \\n Ella! Is it you. You haven't changed a \\n bit.\",\n \" (pushing in) \\n ...He has abandoned the faith. \\n ...He has driven the fish away. \\n \\n THE ADELIES \\n (protecting Mumble) \\n ...Come on hombre, loosen up,\"\n ],\n [\n \" (CONTINUED) \\n 25. \\n CONTINUED: \\n \\n Watching from a distance, Norma J wipes away tears \\n \\n NORMA J (CONT'D)\",\n \"Norma J is having difficulty tearing herself away. Finally \\n she pads off after the others. \\n \\n WISHFUL \\n Safe home baby.... \\n \\n As he watches her dwindle into the distance, where huge STORM\",\n \" NORMA J. \\n WISHFUL? \\n \\n WISHFUL \\n (overcome) \\n O Honey. O Baby. You made it! \\n \\n She staggers into his waiting flippers. \\n\",\n \"to the communal imagination: An image of Norma J \\n \\n NORMA J. \\n (Sings) \\n \\\"I wanna be loved by you, alone and \\n nobody else by you boo boo pee doo\\\" \\n\",\n \" On you go then, buddy \\n \\n MUMBLE \\n Thanks Pop. See ya Ma. \\n \\n He races off, Norma J calling after him: \\n \\n NORMA J \\n (calling after)\",\n \"He stands a bit apart from the rest. And what a voice. What a \\n hip movement. She sings along. \\n \\n NORMA J. AND WISHFUL \\n ...for my darling I love you and I always \\n will. \\n\",\n \"ONE SONG stands out from all the others. \\n \\n Where NORMA J. once sang, stands ELLA, now sleek and fully \\n mature. Gathered around her in a semi-circle, a half a dozen \\n adoring MALES. \\n\",\n \" WISHFUL (CONT'D) \\n You hurt? \\n \\n NORMA J. \\n (breathless) \\n Just tired and hungry is all. \\n It was dreadful out there.... \\n\",\n \" NORMA J \\n Aw. But isn't he just a darling? \\n \\n MUMBLE \\n (yells ecstatically) \\n I got one! I got a mum everyone. I got a \\n MUM!!\",\n \" Oh my. Stupid. I'm sorry... \\n \\n Wishful pats her comfortingly \\n \\n NORMA J. \\n (quietly to WISHFUL) \\n ...You think we'll ever see him again \\n\",\n \"Over WISHFUL' shoulder, she sees the infant Mumble HIPPITY- \\n HOPPING towards them. \\n \\n NORMA J \\n But who's this. \\n \\n WISHFUL\",\n \"Ella recognizes those TAPPING FEET. Could this be MUMBLE?She \\n moves closer to investigate. \\n \\n MUMBLE (CONT'D) \\n Oh, and I want her so badly\",\n \" Woah! \\n \\n MUMBLE \\n I've got you! No I don't. \\n \\n Leaning against each other, they manage to stand up, close \\n now, eyes meeting. \\n\",\n \" NORMA J \\n Just a little krill that's all \\n \\n MUMBLE \\n Can I see it? \\n \\n WISHFUL \\n Later, bud. Give your ma time to \\n regurgitate\",\n \"Music Over: Schools Out by Alice Cooper \\n \\n MUMBLE \\n Dad, Ma, can I go with the others \\n \\n NORMA J. puts a protective flipper around her son. \\n \\n NORMA-J\",\n \" ...Hey Paula! \\n ...Roxanne!! \\n \\n A tumult of re-unions as partners find each other. But no \\n luck for WISHFUL. \\n \\n WISHFUL \\n NORMA J.?! \\n\",\n \"The little girl who is pointing at mumbles feet. Mumble looks \\n down, realizes what his feet are doing, looks up again. \\n \\n MUMBLE (CONT'D) \\n You like that? Well how about this. \\n\",\n \" Knows. \\n \\n A hush falls over the gathering. \\n \\n LOVEDAY (CONT'D) \\n The reason there are not enough fish is \\n simple: There is not enough love in the \\n world. Love is the answer!\",\n \" Ella. Wait! \\n \\n She stops. He takes her by the shoulders Shes upset. \\n \\n MUMBLE (CONT'D) \\n I'm sorry. \\n \\n ELLA\",\n \" \\\"When a man loves a woman...\\\" \\n \\n She keeps moving, until she sees the male of her dreams: \\n \\n WISHFUL \\n \\\"Love me tender love me true, all my \\n dreams fulfil. \\n\"\n ],\n [\n \"Mumble shoots out of the way, just avoiding being caught as. \\n \\n UP AHEAD The great NET FULL OF FISH breaks the surface of the \\n water and is winched on board. \\n \\n MUMBLE \\n (yells)\",\n \" 74. \\n CONTINUED: \\n \\n A fish hits him on the head. \\n \\n A moment later he's knocked flat by a sudden rush of\",\n \" and going to get the fish. \\n \\n As we watch, Ella moves off, joining the great to and fro of \\n penguins along the highway to the sea. \\n \\n \\n \\n (CONTINUED)\",\n \"first thrown in. In an instant...all the fish are taken. \\n \\n ON THE SURFACE \\n \\n MUMBLE surfaces with a fish in his beak \\n \\n MUMBLE \\n (muffled)\",\n \" 84. \\n CONTINUED: \\n \\n MUMBLE covers his chick protectively, watrching his wife walk \\n away. \\n \\n MUMBLE (V.O.)\",\n \"ELLA leans forward, takes the fish, and daintily gulps it \\n down. \\n \\n ELLA \\n Thank you. \\n \\n MUMBLE \\n (spent) \\n You're welcome.\",\n \"puts out a wing to steady himself and notices a metal tag on \\n it. This place is beginning to upset him. \\n \\n \\n \\n \\n (CONTINUED) \\n 75. \\n CONTINUED:\",\n \"Mumble hesitates, bobbing on the water, weighing the \\n warnings. \\n \\n He makes up his mind and strikes out again swimming towards \\n the convergence. \\n \\n The Albatross, hovering on the wing, watches. \\n\",\n \" years now we have known nothing but \\n famine. But you are our hope. Upon your \\n survival depends the very future of the \\n entire Penguin Nation. Dive deep, swim \\n far. May the Great Penguinus go with you.\",\n \"Music over: Walk on By as he wanders through the vast colony \\n head down against the wind, little feet padding over the ice, \\n \\n Gradually the colony begins to thin. \\n \\n MUMBLE (CONT'D)\",\n \"Mumble pursues one of them. \\n \\n MUMBLE \\n Sometime you got a live one but there was \\n nowhere really to chase it \\n \\n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES\",\n \"LATER \\n \\n He's getting closer. The ships are only half a mile away when \\n Something rises from the deep, threatening to engulf him: a \\n HUGE NET, TEEMING WITH FISH. \\n\",\n \"He stops some distance away, listening to the other kids who \\n are now performing with increasing virtuosity. \\n \\n Ella is among them, her clear high voice borne to him on the \\n wind. \\n\",\n \" When the Sun vanishes... \\n \\n CHORUS \\n We Remain. \\n \\n INSIDE THE HUDDLE \\n \\n The adult males are packed shoulder to shoulder, looking \\n downwards at the eggs balanced on their feet. \\n\",\n \" bringing fish soon. \\n \\n Long pause \\n \\n MUMBLE \\n What's fish look like. \\n \\n WISHFUL \\n You'll see it when she brings one \\n \\n STILL LATER \\n\",\n \"Lying on his back he sees fish tumble from the sky. It's \\n RAINING FISH! \\n \\n MUMBLE (VO) \\n Every day after that, it rained fish in \\n the afternoon. \\n\",\n \"CONTINUED: \\n \\n MUMBLE (CONT'D) \\n Afterwards Mum went off to the sea to \\n keep warm. Dad stayed home like dad's do, \\n incubating. \\n\",\n \" Knows. \\n \\n A hush falls over the gathering. \\n \\n LOVEDAY (CONT'D) \\n The reason there are not enough fish is \\n simple: There is not enough love in the \\n world. Love is the answer!\",\n \"She disappears under his brood pouch \\n \\n MUMBLE \\n (looks up) \\n So What happens now, Dad? \\n \\n WISHFUL \\n We Wait \\n \\n \\n THE ICE \\n\",\n \" ...Señor! That's not his question. He's new \\n here. \\n (prompting Mumble) \\n ...The yellow thing \\n ...Ask him what's taking the fish? \\n \\n MUMBLE\"\n ],\n [\n \" MUMBLE \\n (laughs) \\n That doesn't make any sense. \\n \\n TEACHER \\n Well Mumble...perhaps you can do better \\n \\n MUMBLE\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"He starts tap dancing. The penguins are torn, between \\n Caruso's instructions and Mumbles. \\n \\n MUMBLES \\n Its what they understand. They can't \\n talk, they can't sing. They speak with\",\n \"Mumble just CAN'T SHAKE HIM OFF. Desperate, he shoots up into \\n the air, landing on a THIN PANCAKE OF ICE that cannot support \\n his weight. \\n \\n MUMBLE (CONT'D)\",\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \" is , well... We sing \\n \\n AN ADELIE \\n ...Easy as that? \\n ...So why aren't you over there? \\n \\n Mumble looks at them. Then opens his beak and demonstrates: \\n\",\n \"Mumble sighs and his little shoulders sink, no way he'll ever \\n be able to sing like that. \\n \\n MUMBLE \\n Its tough when you realise you'll never \\n fit in. Plus I was beginning to moult \\n\",\n \"Mumble is looking around, trying to figure it out \\n \\n PENGUIN (CONT'D) \\n Fish! \\n \\n MUMBLE \\n Where? \\n \\n \\n (CONTINUED)\",\n \" MUMBLE (CONT'D) \\n But each day when she walks to the sea, \\n She looks straight ahead not at me....\\\" \\n \\n ELLA \\n Mumble? \\n \\n SINGING VOICE\",\n \" ...Oh yeah, nice. \\n ...That's definitely better. \\n ...Good call big guy. \\n \\n MUMBLE \\n I said a circle! \\n \\n They form a little huddle, but as soon as Mumble moves from\",\n \"We find MUMBLE on his own small ice-floe separate from the \\n others on their iceberg. \\n \\n As their singing drifts across to him, MUMBLE does an \\n exquisite little SOFT-SHOE SHUFFLE. \\n\",\n \" MUMBLE \\n (very loud and tuneless) \\n \\\"...Good, Good, Good...Good VibRatiOns...\\\" \\n \\n The singing STOPS. \\n \\n MALE PENGUINS\",\n \"view. She moves further tound and sees: \\n \\n THE ADELIE \\n ¡Hola bonita! \\n \\n Obviously he's been singing while Mumble mimes \\n \\n ELLA\",\n \" (CONTINUED) \\n 17. \\n CONTINUED: (2) \\n \\n Mumble inhales, his eyes are shining, his body is shaking. \\n\",\n \" Remember `Stranger Danger'! Never talk to \\n a seal! \\n \\n \\n Mumble turns to wave, falls over, gets up and races on after \\n the others with his strange hippity-hop little gait. \\n \\n\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \" That thing with The feet. \\n (to the others) \\n ¡Hola muchachos! \\n (to Mumble) \\n Show them! \\n \\n MUMBLE\",\n \" I called him Mumble. \\n \\n Mumbles feet start to tap involuntarily, Then he catches his \\n dad's warning look. \\n \\n MUMBLE \\n Did she get one. Did she bring one back. \\n\",\n \"Mumble pursues one of them. \\n \\n MUMBLE \\n Sometime you got a live one but there was \\n nowhere really to chase it \\n \\n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES\",\n \" MUMBLE (V.O.) \\n Aliens everywhere, watching you eat, \\n watching you sleep \\n \\n Mumble backs away and knocks into the PAINTED HORIZON. He\"\n ],\n [\n \"A vast, boisterous ADELIE PENGUIN COMMUNITY. Thousands of \\n them, stretching as far as the eye can see. Its very Rio, \\n very samba, worlds away from the sedate Emperor colony. \\n\",\n \"the Adelies dwindle to specks and disappear into the mist. \\n \\n THE ICE SHELF \\n \\n Mumble and the Adelies have put the colony far behind, \\n trekking homewards \\n \\n ADELIES\",\n \" 61. \\n CONTINUED: \\n \\n MUMBLE \\n We need to huddle! \\n \\n THE ADELIES \\n Huddle??! \\n \\n MUMBLE\",\n \"The Adelies are heading back to their colony as fast as their \\n little legs will carry then. Mumble Hippity hops after them \\n \\n ADELIES \\n ...Forget it \\n ...We're not going back there \\n ...Never\",\n \" (big-bellied, booming southern \\n voice) \\n Well roll me over and call me a dugong. \\n What the heck have we got here \\n \\n The Adelies bunch up behind Mumble \\n\",\n \" MUMBLE \\n ...We were a team \\n \\n the Adelies swoop and dive, corralling a FEW SMALL FISH into \\n a CREVICE. \\n \\n The fish, darting to and fro are suddenly confronted by\",\n \"The huddled penguins are engaged in ritual chanting \\n \\n LEAD VOICE \\n When all others leave... \\n \\n CHORUS \\n We Remain. \\n \\n LEAD VOICE\",\n \" ANOTHER ADELIE \\n Ramon. That was embarrassing, man. \\n \\n And reluctantly, he trails after them. As do... \\n \\n THE OTHER ADELIES \\n ...Oh no, don' do this to us.\",\n \"They scurry back into a straight line behind Mumble who cops \\n the FULL BLAST of the GALE. \\n \\n He gives up and marches off into the driving snow. \\n \\n THE ADELIES \\n ...Hey!\",\n \" THE ADELIES \\n ...The big guy. \\n ...He from out of town. \\n ...He with us. \\n \\n FEMALE \\n Do it again. \\n \\n THE ADELIES\",\n \"MUMBLE and the ADELIE AMIGOS are bunched together, near the \\n head of a LONG QUEUE of Adelies each with a stone or in their \\n beak. \\n\",\n \"MUMBLE and the ADELIES are jostled aside in the STAMPEDE of \\n FEMALES as the gospel group break ranks and mob him \\n \\n FEMALE ADELIES \\n ..Me Loveday.\",\n \" ...Kiss my frozen toosh, rubber butt \\n \\n They fall about laughing. The Leopard Seal returns to the \\n water. \\n \\n LEOPARD SEAL \\n I know where you live. \\n \\n THE ADELIES\",\n \" 46. \\n CONTINUED: (6) \\n \\n MUMBLE \\n You can?! \\n \\n AN ADELIE \\n No problem. Which way's this colony of \\n yours?\",\n \" Form a moving circle! Share the cold, \\n share the warmth! \\n \\n He turns his back to the wind. Immediately the Adelies form a \\n STRAIGHT LINE down-wind from him. \\n \\n THE ADELIES\",\n \" THE ADELIES \\n ...Oh man! This is no place for a penguin! \\n ...We should be migrating out to sea by \\n now! \\n \\n (CONTINUED)\",\n \" ADELIES \\n You say Hi. Come back and say Hi to her \\n yourself \\n \\n Mumble turns, takes a few paces back. \\n \\n MUMBLE \\n Oh. One other thing. You guys \\n\",\n \" MUMBLE \\n Wow, there are so many of you! \\n \\n THE ADELIES \\n ...Hey, this is nothin'. \\n ...Used to be twice as many of us.\",\n \" THE ADELIES \\n ...¡Hola Baby! Get your chica boom-boom \\n here. \\n ... Turn round, look at us!. \\n \\n A couple of females look up from the scrum \\n \\n FEMALE\",\n \"A small group of ADELIE PENGUINS recoil as MUMBLE explodes \\n out of the hole, closely followed by the LEOPARD SEAL. \\n \\n WHAM! THUMP! They belly-flop on the ice . \\n\"\n ],\n [\n \"He indicates the SIX-PACK PLASTIC around LOVEDAY'S neck. \\n \\n SEAL 1 lowers it's massive head down to face LOVEDAY. \\n Wheezing he examines the plastic with first with one eye,\",\n \"LOVEDAY mimes the talisman going over his head. \\n \\n AN ADELIE \\n ...Well to me that's gotta be bestowing. \\n \\n LOVEDAY shakes his head, `no'. He stretches his neck. \\n\",\n \" 42. \\n CONTINUED: (2) \\n \\n In fact Mumble is mesmerised by the luight catching LOVEDAY's \\n six pack holder. He bends forwards to study it more closely \\n\",\n \"At the head of this queue stands LOVEDAY - guardian of a huge \\n pile of pebbles. His head pokes through one of the rings a \\n PLASTIC SIX-PACK CAN HOLDER festooned with seaweed like a\",\n \"uninhibited and unselfconscious. \\n \\n After some time, he remembers himself, stops and turns to the \\n Mrs Astrakhan who is BANGING HER HEAD against a lump of ice. \\n\",\n \"puts out a wing to steady himself and notices a metal tag on \\n it. This place is beginning to upset him. \\n \\n \\n \\n \\n (CONTINUED) \\n 75. \\n CONTINUED:\",\n \" MUMBLE \\n You looked up and...... It just got caught \\n around your neck? \\n \\n \\n (CONTINUED) \\n 56. \\n CONTINUED: (3) \\n\",\n \"He swims back. The KILLER WHALE is about to take them both in \\n one bite. MUMBLE pulls LOVEDAY aside, but he's not quite \\n quick enough: one of the Whale's outer teeth catches LOVEDAY\",\n \" AN ADELIE \\n Why don't he speak? \\n \\n LOVEDAY gurgles and points wildly to the SIX-PACK PLASTIC \\n round his neck. \\n \\n AN ADELIE (CONT'D)\",\n \" THE ADELIES \\n ...No need to shout. \\n ...Yeah, somebody might hear you. \\n ...I think we seen all there is to see \\n round here. \\n \\n LOVEDAY is looking at something at his feet. \\n\",\n \" (CONTINUED) \\n 17. \\n CONTINUED: (2) \\n \\n Mumble inhales, his eyes are shining, his body is shaking. \\n\",\n \"opens his eyes to the brilliant glare of an examination lamp. \\n \\n There is movement around him. Voices whispering in an alien \\n tongue. A FIGURE IN WHITE bends over him cleaning the oil\",\n \"LOVEDAY holds up a flipper for silence and a hush falls over \\n the gospel choir \\n \\n LOVEDAY (CONT'D) \\n A moment... \\n (composing himself) \\n ... and your question? \\n\",\n \"One cue the gospel choir start singing: All you need is Love \\n \\n LOVEDAY (CONT'D) \\n (over this) \\n Okay, everybody, turn around to the \\n penguin next to you and give them a great\",\n \"The PENGUINS head for shore , swimming for their lives. \\n LOVEDAY, thrashing and wheezing, is unable to keep up. \\n \\n MUMBLE \\n (stops) \\n LOVEDAY! LOVEDAY!! \\n\",\n \"LOVEDAY chokes out a `yes'. \\n \\n ADELIES \\n ....The way I feel\\\": the \\\"frostbitten\\\" \\n shore \\n ....So what are those black things?. \\n\",\n \"LOVEDAY nods `YES!!' and falls back in exhaustion. \\n \\n MUMBLE (CONT'D) \\n So who's coming \\n \\n LOVEDAY \\n Oi \\n\",\n \" Oh my! Now he thinks he's an Elephant \\n Seal \\n \\n LOVEDAY nods and points towards the mountains. \\n \\n AN ADELIE (CONT'D) \\n He wants to go to the top of the\",\n \" LOVEDAY (CONT'D) \\n Now. The Mating Season starts today so \\n here's what everybody should do: go forth \\n and multiply! If you'll excuse I myself \\n must retire for a moment to the couch of\",\n \" LOVEDAY \\n One pebble, one question. Next! \\n \\n The AMIGOS push MUMBLE forward. He is at least a head taller \\n than the others. \\n \\n LOVEDAY (CONT'D)\"\n ],\n [\n \"MUMBLE walks away. The community part to let him go. Ella \\n chases after him. \\n \\n ELLA \\n Wait! Mumble! \\n \\n Catching up with him \\n \\n MUMBLE\",\n \" ....Its all Mumbles fault. I told you \\n \\n Wishful rounds on them angrily. \\n \\n WISHFUL \\n Just do what the kid says. \\n \\n They start dancing. \\n \\n \\n\",\n \" MUMBLE \\n You said they didn't exist. \\n \\n CARUSO \\n They'll slaughter us. Head for the sea! \\n \\n MUMBLE \\n No. Do this. Do Happy feet.\",\n \"Spectators come and go. The penguins stand like statues. \\n \\n Though bubbles begin to appear above Mumbles head, snapshots \\n of his past experiences \\n \\n MUMBLE (V.O.)\",\n \"Mumble pursues one of them. \\n \\n MUMBLE \\n Sometime you got a live one but there was \\n nowhere really to chase it \\n \\n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES\",\n \" Too loud. \\n \\n He surfaces, spluttering. \\n \\n MUMBLE (CONT'D) \\n Too loud! \\n \\n A VOICE calls to him from above. Mumble looks up. An\",\n \"We find MUMBLE on his own small ice-floe separate from the \\n others on their iceberg. \\n \\n As their singing drifts across to him, MUMBLE does an \\n exquisite little SOFT-SHOE SHUFFLE. \\n\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"sea around him erupts in churning foam. \\n \\n Swamped by the wake, Mumble goes under. When he resurfaces, \\n THE SHIP is already on its way. \\n \\n \\n \\n \\n (CONTINUED)\",\n \" MUMBLE (CONT'D) \\n Excuse me, where are we. \\n \\n PENGUIN \\n Heaven. Where d'you think? \\n \\n MUMBLE\",\n \" MUMBLE \\n ... and he said he was abducted by \\n Aliens. \\n \\n LOVEDAY \\n (starts to wheeze and cough) \\n Listen friend, this is my Sacred\",\n \" MUMBLE \\n But I haven't had any answers yet! \\n \\n LOVEDAY \\n SILENCIO!! The Mystic Beings are \\n speaking. They say show some respect \\n stranger. Especially to the One who\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \"Mumble sighs and his little shoulders sink, no way he'll ever \\n be able to sing like that. \\n \\n MUMBLE \\n Its tough when you realise you'll never \\n fit in. Plus I was beginning to moult \\n\",\n \" (CONTINUED) \\n 26. \\n CONTINUED: \\n \\n Suddenly the little dark figure of MUMBLE barrels through the \\n pack, yelling \\n \\n MUMBLE\",\n \" MUMBLE (V.O.) \\n Aliens everywhere, watching you eat, \\n watching you sleep \\n \\n Mumble backs away and knocks into the PAINTED HORIZON. He\",\n \"to where Mumble and Loveday stand, gazing into the distance. \\n \\n They have finally reached the sea again \\n \\n MUMBLE \\n You think this is it? The Forbidden \\n Shore? \\n\",\n \" MUMBLE \\n Excuse me, we need directions...to the \\n Forbidden Shore. \\n \\n ELEPHANT SEAL 2 \\n Sure. Just git yourselves over them there\",\n \" MUMBLE (CONT'D) \\n ...In the land of the Elephant Seals!!? \\n \\n LOVEDAY gestures wildly with his flippers! \\n \\n MUMBLE (CONT'D)\",\n \" MUMBLE \\n No. He's choking! The Talisman's gotten \\n way too tight. \\n \\n THE ADELIES \\n ...Why din' you say so?\"\n ],\n [\n \"to where Mumble and Loveday stand, gazing into the distance. \\n \\n They have finally reached the sea again \\n \\n MUMBLE \\n You think this is it? The Forbidden \\n Shore? \\n\",\n \" MUMBLE \\n Excuse me, we need directions...to the \\n Forbidden Shore. \\n \\n ELEPHANT SEAL 2 \\n Sure. Just git yourselves over them there\",\n \"The SEAS are MOUNTAINOUS. There is no sign of the ship now, \\n nor of land. \\n \\n MUMBLE swims up the side of each wave, over its foaming crest \\n and down into the deep dark valley below. \\n\",\n \" Enlightenment to the Forbidden Shore! \\n \\n MUMBLE \\n So these Mystic Beings, did you see them? \\n \\n LOVEDAY \\n I hear them. They talk to me all the time\",\n \"sea around him erupts in churning foam. \\n \\n Swamped by the wake, Mumble goes under. When he resurfaces, \\n THE SHIP is already on its way. \\n \\n \\n \\n \\n (CONTINUED)\",\n \"slick, we see what looks like a dead animal. It is MUMBLE. \\n \\n A creature in RED GUMBOOTS approaches. Its small hand reaches \\n down and nudges him with a stick. MUMBLE moans and the\",\n \"MUMBLE PLOUGHS THROUGH a rolling sea: towering waves block \\n everything from view but on the crests he catches sight of... \\n \\n THREE BLACK SHIPS, far ahead, but stationary, as if waiting \\n for him. \\n\",\n \"Mumble shoots out of the way, just avoiding being caught as. \\n \\n UP AHEAD The great NET FULL OF FISH breaks the surface of the \\n water and is winched on board. \\n \\n MUMBLE \\n (yells)\",\n \" mountain. \\n \\n LOVEDAY shakes his head. \\n \\n MUMBLE \\n The forbidden place is over the \\n mountains... \\n \\n LOVEDAY nods. \\n\",\n \"Mumble, dwarfed by it, contemplates it for a while, then \\n ventures inside, into the body of the BEAST. \\n \\n INSIDE THE BULLDOZER \\n \\n A rusting steering column, a perforated dashboard. \\n\",\n \"MUMBLE looks out at the endless sea of floating ice-pancakes, \\n all the way to the horizon. Nothing... \\n \\n He shrugs and hurries off after his new friends. \\n \\n FURTHER ON \\n\",\n \"The PENGUINS head for shore , swimming for their lives. \\n LOVEDAY, thrashing and wheezing, is unable to keep up. \\n \\n MUMBLE \\n (stops) \\n LOVEDAY! LOVEDAY!! \\n\",\n \"We find MUMBLE on his own small ice-floe separate from the \\n others on their iceberg. \\n \\n As their singing drifts across to him, MUMBLE does an \\n exquisite little SOFT-SHOE SHUFFLE. \\n\",\n \" MUMBLE (CONT'D) \\n ......aaarghH! \\n \\n As he recoils, slips and tumbles into the WATER. \\n \\n UNDERWATER/ SURFACE \\n\",\n \" ...It's very important! \\n \\n The ICE beneath his feet OPENS UP, Mumble topples into the \\n gap and The SHIP PASSES OVER HIM, huge propellers churning, \\n leaving a channel ninety feet wide. \\n\",\n \"Mumble hesitates, bobbing on the water, weighing the \\n warnings. \\n \\n He makes up his mind and strikes out again swimming towards \\n the convergence. \\n \\n The Albatross, hovering on the wing, watches. \\n\",\n \"Mumble pursues one of them. \\n \\n MUMBLE \\n Sometime you got a live one but there was \\n nowhere really to chase it \\n \\n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES\",\n \" ...You found them, you found Aliens! \\n ...Now we go back tell everybody who's \\n taking the fish. \\n \\n \\n Mumble's eyes remain fixed on the horizon. \\n \\n\",\n \" ...Oh, this one's easy. \\n ...He swam.... \\n ...On his Hectic Journey of Delightenment... \\n ...To the Forbidding Shore. \\n \\n MUMBLE \\n And then....?\",\n \" (CONTINUED) \\n 17. \\n CONTINUED: (2) \\n \\n Mumble inhales, his eyes are shining, his body is shaking. \\n\"\n ],\n [\n \"slick, we see what looks like a dead animal. It is MUMBLE. \\n \\n A creature in RED GUMBOOTS approaches. Its small hand reaches \\n down and nudges him with a stick. MUMBLE moans and the\",\n \"Mumble pursues one of them. \\n \\n MUMBLE \\n Sometime you got a live one but there was \\n nowhere really to chase it \\n \\n He swims SLAP BANG into a sheet of thick glass. ALIEN FACES\",\n \"MUMBLE, LOVEDAY and the ADELIES are tiny specks, struggling \\n over a series of great ridges. \\n \\n MUMBLE \\n So we walked ... and walked .. and kept\",\n \"Spectators come and go. The penguins stand like statues. \\n \\n Though bubbles begin to appear above Mumbles head, snapshots \\n of his past experiences \\n \\n MUMBLE (V.O.)\",\n \"As they shoot off the slippery-dip and into the sea mumble \\n whacks his head on the edge of the ice \\n \\n UNDERWATER \\n \\n The Adelies shoot back up to the surface. Mumble sinks,\",\n \"The other penguins in the enclosure have moved back, giving \\n Mumble more space. Every specattor is focussed on him. Mumble \\n is focussed on the spectators. \\n \\n MUMBLE (VO\",\n \"to where Mumble and Loveday stand, gazing into the distance. \\n \\n They have finally reached the sea again \\n \\n MUMBLE \\n You think this is it? The Forbidden \\n Shore? \\n\",\n \" MUMBLE (CONT'D) \\n ...In the land of the Elephant Seals!!? \\n \\n LOVEDAY gestures wildly with his flippers! \\n \\n MUMBLE (CONT'D)\",\n \" MUMBLE \\n Wow. They brought me home \\n \\n His voice ECHOES back at him, with a mocking edge. There is \\n something unusual about this place. A plump penguin waddles \\n by \\n\",\n \"gumboots RUN AWAY, shouting something unintelligible. \\n \\n With great difficulty, Mumble raises his head to try to see \\n more. Sunlight flares, bleaching to white, as he LOSES \\n CONSCIOUSNESS.\",\n \"sea around him erupts in churning foam. \\n \\n Swamped by the wake, Mumble goes under. When he resurfaces, \\n THE SHIP is already on its way. \\n \\n \\n \\n \\n (CONTINUED)\",\n \"LATER \\n \\n Mumble approaches the two sentries. The colony is much \\n diminished: only small groups scattered here and there. \\n \\n MUMBLE \\n Hi, where is everybody!? \\n \\n PENGUINS\",\n \" MUMBLE \\n I was wondering. Have You ever been \\n abducted by Aliens? \\n \\n LOVEDAY \\n No time wasters. Next! \\n \\n THE ADELIES\",\n \" MUMBLE (CONT'D) \\n So where do we Go, Loveday \\n \\n Loveday Then he makes a strange \\\"Oi, Oi, Oi\\\" sound. \\n \\n AN ADELIE\",\n \"The SEAS are MOUNTAINOUS. There is no sign of the ship now, \\n nor of land. \\n \\n MUMBLE swims up the side of each wave, over its foaming crest \\n and down into the deep dark valley below. \\n\",\n \" fly. The great southland's swarming with \\n em \\n \\n MUMBLE \\n Where's that. Do you think the Whale \\n would take me there? \\n \\n\",\n \"CONTINUED: \\n \\n MUMBLE (CONT'D) \\n Afterwards Mum went off to the sea to \\n keep warm. Dad stayed home like dad's do, \\n incubating. \\n\",\n \"CONTINUED: (3) \\n \\n MUMBLE \\n Come on Loveday, lets go \\n \\n ADELIES \\n (running to catch up) \\n ...Go where?\",\n \" 42. \\n CONTINUED: (2) \\n \\n In fact Mumble is mesmerised by the luight catching LOVEDAY's \\n six pack holder. He bends forwards to study it more closely \\n\",\n \"strikes. MUMBLE avoids the lunge and the creature's face \\n comes down hard on the ice \\n \\n THE ADELIES \\n (to the winded Seal) \\n ...Eat my ice, lardface.\"\n ],\n [\n \"A very pretty FEMALE SCIENTIST is smiling down at him. \\n \\n MUMBLE (VO) (CONT'D) \\n ... frontways eyes, no feathers. Big teeth \\n with blood around them. Strange fleshy\",\n \" their feet. Do it. \\n \\n A few adventurous souls begin to copy him, out of fear if \\n nothing else. \\n \\n As they do so, the sky begins to darken. A strange whirling\",\n \"We TRAVEL WITH THE SKIDOOS across the ICE-SHELF to the colony \\n \\n Scientists POV: As they stop, lower their hoods and gaze in \\n astonishment. One of them lifts a video cam to record \\n\",\n \" VOICE#2 \\n Well. Exactly. But what we didn't know \\n about before was these things here \\n \\n An image of the dancing penguins appears. \\n \\n VOICE#2 (CONT'D)\",\n \"slick, we see what looks like a dead animal. It is MUMBLE. \\n \\n A creature in RED GUMBOOTS approaches. Its small hand reaches \\n down and nudges him with a stick. MUMBLE moans and the\",\n \" (CONTINUED) \\n 83. \\n CONTINUED: \\n \\n EXPERT \\n Yes, quite extraordinary. (stares at the \\n screen) some kind of neurological\",\n \"The bomb sight moves away from our galaxy to another part of \\n the universe \\n \\n With that the two figures head off across the great shadowy \\n interior. \\n \\n The projector beam catches them, briefly, throwing up the\",\n \"The little girl who is pointing at mumbles feet. Mumble looks \\n down, realizes what his feet are doing, looks up again. \\n \\n MUMBLE (CONT'D) \\n You like that? Well how about this. \\n\",\n \" WISHFUL \\n (Shrugs) \\n Its out of our flippers \\n \\n THE HIGHWAY TO THE SEA \\n \\n A high shot reveals the miles of frozen ice that the\",\n \"puts out a wing to steady himself and notices a metal tag on \\n it. This place is beginning to upset him. \\n \\n \\n \\n \\n (CONTINUED) \\n 75. \\n CONTINUED:\",\n \" MUMBLE \\n You said they didn't exist. \\n \\n CARUSO \\n They'll slaughter us. Head for the sea! \\n \\n MUMBLE \\n No. Do this. Do Happy feet.\",\n \" But that's what we have to find out. \\n Don't you see. Things like that could be \\n eating the fish. \\n \\n The idea is so stunningly original it stops them in their \\n tracks. \\n \\n ADELIES\",\n \" MUMBLE \\n ...We were a team \\n \\n the Adelies swoop and dive, corralling a FEW SMALL FISH into \\n a CREVICE. \\n \\n The fish, darting to and fro are suddenly confronted by\",\n \" MUMBLE (CONT'D) \\n Oh no! Not the pointy thing! \\n \\n Drowsy now, he is eased into a PADDED CAGE. The SCIENTISTS \\n close the lid, and secure it with straps.\",\n \"IMAGES of the DANCING PENGUIN COLONY play on a video screen. \\n \\n Without the music it's less obviously a dance. \\n \\n CHAIRMAN \\n ...So what do you reckon? \\n\",\n \" So who fixed him up with this. \\n \\n She turns him around to reveal some kind of circuit board \\n glued to his back: a small aerial, winking red lights. A \\n TRANSMITTER. \\n\",\n \" (CONTINUED) \\n 25. \\n CONTINUED: \\n \\n Watching from a distance, Norma J wipes away tears \\n \\n NORMA J (CONT'D)\",\n \" 54. \\n CONTINUED: \\n \\n They find LOVEDAY at the back of what is left of his PEBBLE \\n PILE. He sits leaning against it...exhausted. \\n \\n THE ADELIES\",\n \" (dancing) \\n Know him? He ees my star pupol! \\n I TEACH HIM EVERYTHINGK! \\n \\n BY THE CHINOOK \\n \\n HUMAN scientists disembark. Skidoos are kicked into life.\",\n \"Moving beyond the crowd, WISHFUL sees a last few stragglers. \\n Amongst them... \\n \\n \\n (CONTINUED) \\n 11. \\n CONTINUED: (2) \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["What happens when a male song matches a female?","What is different about Norma Jean and Memphis' chick, Mumble?","How did Mumble attempt to win over Gloria?","How did Lovelace get the six pack ring around his neck?","Why was Mumble exiled?","Why did Mumble drive Gloria away?","How did Mumble become exhausted while at the forbidden shore?","Where did Mumble's rescuers take him?","What led to Mumble being released back into the wild?","Because of being dropped, what was Mumble unable to do?","What lead to a ban on all Antarctic fishing?","What type of penguins are the \"Amigos\"?","Who is Memphis to Mumble?","What was Mumble really good at?","What was choking Lovelace?","Why did Mumble not want to mate with Gloria?","What type of penguin is Gloria?","What was the name of the rockhopper penguin?","What type of penguins was Mumble with at Marine World in Australia?","What is the song that an Emperor Penguin sings?","Who does Norma Jean fall for?","Who leaves the nest to fish?","What can't Mumble do?","What is the group of Adelie penguins known as?","What does Lovelace have around his neck?","Why is Mumbles exiled?","What kind of boat does Mumbles find at the Forbidden shore?","Where is Mumbles kept in Australia?","What does the research teams footage lead to?"],"string":"[\n \"What happens when a male song matches a female?\",\n \"What is different about Norma Jean and Memphis' chick, Mumble?\",\n \"How did Mumble attempt to win over Gloria?\",\n \"How did Lovelace get the six pack ring around his neck?\",\n \"Why was Mumble exiled?\",\n \"Why did Mumble drive Gloria away?\",\n \"How did Mumble become exhausted while at the forbidden shore?\",\n \"Where did Mumble's rescuers take him?\",\n \"What led to Mumble being released back into the wild?\",\n \"Because of being dropped, what was Mumble unable to do?\",\n \"What lead to a ban on all Antarctic fishing?\",\n \"What type of penguins are the \\\"Amigos\\\"?\",\n \"Who is Memphis to Mumble?\",\n \"What was Mumble really good at?\",\n \"What was choking Lovelace?\",\n \"Why did Mumble not want to mate with Gloria?\",\n \"What type of penguin is Gloria?\",\n \"What was the name of the rockhopper penguin?\",\n \"What type of penguins was Mumble with at Marine World in Australia?\",\n \"What is the song that an Emperor Penguin sings?\",\n \"Who does Norma Jean fall for?\",\n \"Who leaves the nest to fish?\",\n \"What can't Mumble do?\",\n \"What is the group of Adelie penguins known as?\",\n \"What does Lovelace have around his neck?\",\n \"Why is Mumbles exiled?\",\n \"What kind of boat does Mumbles find at the Forbidden shore?\",\n \"Where is Mumbles kept in Australia?\",\n \"What does the research teams footage lead to?\"\n]"},"answers":{"kind":"list like","value":[["They mate.","the male and female mate"],["He can't sing but he can tap dance.","He can't sing, but he can dance."],["By lip syncing a song sung by Ramon.","By lipsyncing"],["By swimming in the forbidden shores.","While swimming near the forbidden shore"],["The elders thought he was the reason for their lean fishing season.","He refuses to stop dancing"],["Because he feared for her safety.","He feared for her safety."],["Because he was trying to reach the fishing boat.","pursuing a fishing boat"],["To Marine World with Magellanic penguins. ","Marine World"],["He began tap dancing and attracted a large crowd.","Crowds of people see him dance."],["Sing","sing"],["Overfishing","they are overfishing"],["Adelie penguins","emperor penguin"],["His father","father"],["Tap dancing","dancing"],["Plastic rings around his neck","plastic rings"],["Feared for her safety","Because of her singing"],["An emperor penguin","Female penguin."],["Lovelace","Lovelace"],["Megellanic penguins","Magellanic penguins"],["The heartsong.","a \"heartsong\" to attract a mate"],["Memphis.","Memphis"],["Norma Jean.","Norma Jean"],["Sing.","He can't sing."],["The Amigos.","The Amigos."],["The plastic ring from a six pack.","a six pack ring, which he called a talisman "],["He refuses to stop dancing.","He will not stop dancing"],["A fishing boat.","A fishing boat."],["Marine World.","Marine World."],["A ban on Antarctic fishing.","People realize they are overfishing"]],"string":"[\n [\n \"They mate.\",\n \"the male and female mate\"\n ],\n [\n \"He can't sing but he can tap dance.\",\n \"He can't sing, but he can dance.\"\n ],\n [\n \"By lip syncing a song sung by Ramon.\",\n \"By lipsyncing\"\n ],\n [\n \"By swimming in the forbidden shores.\",\n \"While swimming near the forbidden shore\"\n ],\n [\n \"The elders thought he was the reason for their lean fishing season.\",\n \"He refuses to stop dancing\"\n ],\n [\n \"Because he feared for her safety.\",\n \"He feared for her safety.\"\n ],\n [\n \"Because he was trying to reach the fishing boat.\",\n \"pursuing a fishing boat\"\n ],\n [\n \"To Marine World with Magellanic penguins. \",\n \"Marine World\"\n ],\n [\n \"He began tap dancing and attracted a large crowd.\",\n \"Crowds of people see him dance.\"\n ],\n [\n \"Sing\",\n \"sing\"\n ],\n [\n \"Overfishing\",\n \"they are overfishing\"\n ],\n [\n \"Adelie penguins\",\n \"emperor penguin\"\n ],\n [\n \"His father\",\n \"father\"\n ],\n [\n \"Tap dancing\",\n \"dancing\"\n ],\n [\n \"Plastic rings around his neck\",\n \"plastic rings\"\n ],\n [\n \"Feared for her safety\",\n \"Because of her singing\"\n ],\n [\n \"An emperor penguin\",\n \"Female penguin.\"\n ],\n [\n \"Lovelace\",\n \"Lovelace\"\n ],\n [\n \"Megellanic penguins\",\n \"Magellanic penguins\"\n ],\n [\n \"The heartsong.\",\n \"a \\\"heartsong\\\" to attract a mate\"\n ],\n [\n \"Memphis.\",\n \"Memphis\"\n ],\n [\n \"Norma Jean.\",\n \"Norma Jean\"\n ],\n [\n \"Sing.\",\n \"He can't sing.\"\n ],\n [\n \"The Amigos.\",\n \"The Amigos.\"\n ],\n [\n \"The plastic ring from a six pack.\",\n \"a six pack ring, which he called a talisman \"\n ],\n [\n \"He refuses to stop dancing.\",\n \"He will not stop dancing\"\n ],\n [\n \"A fishing boat.\",\n \"A fishing boat.\"\n ],\n [\n \"Marine World.\",\n \"Marine World.\"\n ],\n [\n \"A ban on Antarctic fishing.\",\n \"People realize they are overfishing\"\n ]\n]"},"document_id":{"kind":"string","value":"d9df8732f4fad8d4ffa6d8b2f7af12ea374a5be2"},"split":{"kind":"string","value":"train"}}},{"rowIdx":59,"cells":{"text":{"kind":"list like","value":[["Most of the spectators testified to having seen, on the breast of the \n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \n Hester Prynneâimprinted in the flesh. As regarded its origin, there","child's whole appearance, that it irresistibly and inevitably reminded \n the beholder of the token which Hester Prynne was doomed to wear upon \n her bosom. It was the scarlet letter in another form; the scarlet","Hester, that wear the scarlet letter openly upon your bosom! Mine \n burns in secret! Thou little knowest what a relief it is, after the \n torment of a seven years' cheat, to look into an eye that recognizes","they beheld her for the first time,âwas that SCARLET LETTER, so \n fantastically embroidered and illuminated upon her bosom. It had the \n effect of a spell, taking her out of the ordinary relations with","society that was indicated by itâon the mind of Hester Prynne \n herself, was powerful and peculiar. All the light and graceful foliage \n of her character had been withered up by this red-hot brand, and had","âwho, be her demerits what they may, hath none of that mystery of \n hidden sinfulness which you deem so grievous to be borne. Is Hester \n Prynne the less miserable, think you, for that scarlet letter on her","heart, they have doomed Mistress Prynne to stand only a space of three \n hours on the platform of the pillory, and then and thereafter, for the \n remainder of her natural life, to wear a mark of shame upon her \n bosom.â \n","shame may still blaze upon thy bosom?â As he spoke, he laid his long \n forefinger on the scarlet letter, which forthwith seemed to scorch \n into Hester's breast, as if it had been red-hot. He noticed her","sake of its gold-thread.â \n \n In all the seven bygone years, Hester Prynne had never before been \n false to the symbol on her bosom. It may be that it was the talisman","âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \n \n âEven so!â she answered. âIn such life as has been mine these seven","forest, and entered this settlement of Christian men, the very first \n object to meet my eyes would be thyself, Hester Prynne, standing up, a \n statue of ignominy, before the people. Nay, from the moment when we","close of his Election Sermon. Meanwhile Hester Prynne was standing \n beside the scaffold of the pillory, with the scarlet letter still \n burning on her breast! \n \n Now was heard again the clangor of the music, and the measured tramp","centre of more remark and excitement, and was thus made to sear her \n breast more painfully, than at any time since the first day she put it \n on. \n \n While Hester stood in that magic circle of ignominy, where the cunning","âThou knowest,â said Hester,âfor, depressed as she was, she could not \n endure this last quiet stab at the token of her shame,ââthou knowest","thou do for the child, in this kind?â \n \n âI can teach my little Pearl what I have learned from this!â answered \n Hester Prynne, laying her finger on the red token. \n","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","âI must reveal the secret,â answered Hester, firmly. âHe must discern \n thee in thy true character. What may be the result, I know not. But \n this long debt of confidence, due from me to him, whose bane and ruin","which they will have imposed upon her as the warm reality. But Hester \n ought long ago to have done with this injustice. What did it betoken? \n Had seven long years, under the torture of the scarlet letter,","as yet only half his victim, that the outward guise of purity was but \n a lie, and that, if truth were everywhere to be shown, a scarlet \n letter would blaze forth on many a bosom besides Hester Prynne's? Or,","âMother,â said she, âwhat does the scarlet letter mean?â \n \n And the next morning, the first indication the child gave of being \n awake was by popping up her head from the pillow, and making that"],["before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","to repentance, and to confession, as a proof and consequence thereof.â \n \n The directness of this appeal drew the eyes of the whole crowd upon \n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one","thine own, in whose charge hers is. Exhort her to confess the truth!â \n \n The Reverend Mr. Dimmesdale bent his head, in silent prayer, as it \n seemed, and then came forward. \n","âYet some men bury their secrets thus,â observed the calm physician. \n \n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to","faintly from a world which they had quitted,âI, your pastor, whom you \n so reverence and trust, am utterly a pollution and a lie!â \n \n More than once, Mr. Dimmesdale had gone into the pulpit, with a","Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \n \n After a brief pause, the physician turned away. \n \n But, with what a wild look of wonder, joy, and horror! With what a","Bellingham, for the last few moments, had kept an anxious eye upon \n him. He now left his own place in the procession, and advanced to give \n assistance; judging, from Mr. Dimmesdale's aspect, that he must","While thus suffering under bodily disease, and gnawed and tortured by \n some black trouble of the soul, and given over to the machinations of \n his deadliest enemy, the Reverend Mr. Dimmesdale had achieved a","she would gladly have lain down on the forest-leaves, and died there, \n at Arthur Dimmesdale's feet. \n \n âO Arthur,â cried she, âforgive me! In all things else, I have striven","the agony of heaven-defying guilt and vain repentance. \n \n And thus, while standing on the scaffold, in this vain show of \n expiation, Mr. Dimmesdale was overcome with a great horror of mind, as","it forth. What say you to it, once again, Brother Dimmesdale? Must it \n be thou, or I, that shall deal with this poor sinner's soul?â \n \n There was a murmur among the dignified and reverend occupants of the","âAnd I!âhow am I to live longer, breathing the same air with this \n deadly enemy?â exclaimed Arthur Dimmesdale, shrinking within himself, \n and pressing his hand nervously against his heart,âa gesture that had","better to confess during his lifetime.â \n \n âPerchance,â said Mr. Dimmesdale, âhe earnestly desired it, but could \n not.â \n","âI will go home with you,â said Mr. Dimmesdale. \n \n With a chill despondency, like one awaking, all nerveless, from an \n ugly dream, he yielded himself to the physician, and was led away. \n","âA good evening to you, venerable Father Wilson! Come up hither, I \n pray you, and pass a pleasant hour with me!â \n \n Good heavens! Had Mr. Dimmesdale actually spoken? For one instant, he","of his own servants, signed and sealed, so shy of owning to the bond \n as is the Reverend Mr. Dimmesdale, he hath a way of ordering matters \n so that the mark shall be disclosed in open daylight to the eyes of","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","doorstep. The Reverend Mr. Dimmesdale noted all these minute \n particulars, even while firmly convinced that the doom of his \n existence was stealing onward, in the footsteps which he now heard;","Dimmesdale. âYe have both been here before, but I was not with you. \n Come up hither once again, and we will stand all three together!â \n \n She silently ascended the steps, and stood on the platform, holding","To sum up the matter, it grew to be a widely diffused opinion, that \n the Reverend Arthur Dimmesdale, like many other personages of especial \n sanctity, in all ages of the Christian world, was haunted either by"],["heart, they have doomed Mistress Prynne to stand only a space of three \n hours on the platform of the pillory, and then and thereafter, for the \n remainder of her natural life, to wear a mark of shame upon her \n bosom.â \n","reached the spot where, now so long since, Hester Prynne had lived \n through her first hours of public ignominy. The same platform or \n scaffold, black and weather-stained with the storm or sunshine of","During all this time, Hester stood, statue-like, at the foot of the \n scaffold. If the minister's voice had not kept her there, there would \n nevertheless have been an inevitable magnetism in that spot, whence","the rude market-place of the Puritan settlement, with all the \n towns-people assembled and levelling their stern regards at Hester \n Prynne,âyes, at herself,âwho stood on the scaffold of the pillory,","centre of more remark and excitement, and was thus made to sear her \n breast more painfully, than at any time since the first day she put it \n on. \n \n While Hester stood in that magic circle of ignominy, where the cunning","close of his Election Sermon. Meanwhile Hester Prynne was standing \n beside the scaffold of the pillory, with the scarlet letter still \n burning on her breast! \n \n Now was heard again the clangor of the music, and the measured tramp","judgment which Providence seemed about to work. They beheld the \n minister, leaning on Hester's shoulder, and supported by her arm \n around him, approach the scaffold, and ascend its steps; while still","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","torture, but chiefly by the pang that rankles after it. With almost a \n serene deportment, therefore, Hester Prynne passed through this \n portion of her ordeal, and came to a sort of scaffold, at the western","stood, with a flush of triumph in his face, as one who, in the \n crisis of acutest pain, had won a victory. Then, down he sank upon the \n scaffold! Hester partly raised him, and supported his head against her","her name more than once, in a loud and solemn tone, audible to the \n whole multitude. \n \n âHearken unto me, Hester Prynne!â said the voice. \n","forest, and entered this settlement of Christian men, the very first \n object to meet my eyes would be thyself, Hester Prynne, standing up, a \n statue of ignominy, before the people. Nay, from the moment when we","strove in vain to do so. Hester would not set him free, lest he should \n look her sternly in the face. All the world had frowned on her,âfor \n seven long years had it frowned upon this lonely woman,âand still she","shame may still blaze upon thy bosom?â As he spoke, he laid his long \n forefinger on the scarlet letter, which forthwith seemed to scorch \n into Hester's breast, as if it had been red-hot. He noticed her","heard commencing his discourse. An irresistible feeling kept Hester \n near the spot. As the sacred edifice was too much thronged to admit \n another auditor, she took up her position close beside the scaffold of","which they will have imposed upon her as the warm reality. But Hester \n ought long ago to have done with this injustice. What did it betoken? \n Had seven long years, under the torture of the scarlet letter,","by the beadle, and attended by an irregular procession of \n stern-browed men and unkindly visaged women, Hester Prynne set forth \n towards the place appointed for her punishment. A crowd of eager and","from the flames of the infernal pit. Hester Prynne, meanwhile, kept \n her place upon the pedestal of shame, with glazed eyes, and an air of \n weary indifference. She had borne, that morning, all that nature could","Most of the spectators testified to having seen, on the breast of the \n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \n Hester Prynneâimprinted in the flesh. As regarded its origin, there","they beheld her for the first time,âwas that SCARLET LETTER, so \n fantastically embroidered and illuminated upon her bosom. It had the \n effect of a spell, taking her out of the ordinary relations with"],["In pursuance of this resolve, he took up his residence in the Puritan \n town, as Roger Chillingworth, without other introduction than the \n learning and intelligence of which he possessed more than a common \n measure. As his studies, at a previous period of his life, had made","All this time, Roger Chillingworth was looking at the minister with \n the grave and intent regard of a physician towards his patient. But, \n in spite of this outward show, the latter was almost convinced of the","rising from his chair. âYou deal not, I take it, in medicine for the \n soul!â \n \n âThus, a sickness,â continued Roger Chillingworth, going on, in an","intense, that the bodily infirmity would be likely to have its \n groundwork there. So Roger Chillingworthâthe man of skill, the kind \n and friendly physicianâstrove to go deep into his patient's bosom,","well-skilled physician, whether, in good sooth, he deems me to have \n profited by his kindly care of this weak frame of mine?â \n \n Before Roger Chillingworth could answer, they heard the clear, wild","Roger Chillingworth possessed all, or most, of the attributes above \n enumerated. Nevertheless, time went on; a kind of intimacy, as we have \n said, grew up between these two cultivated minds, which had as wide a","Under the appellation of Roger Chillingworth, the reader will \n remember, was hidden another name, which its former wearer had \n resolved should never more be spoken. It has been related, how, in the","âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \n the topic, and were glad of an opportunity to discuss it with the only \n person of whom he could make a confidant. âNot to hide the truth,","continue the care, which, if not successful in restoring him to \n health, had, in all probability, been the means of prolonging his \n feeble existence to that hour. Roger Chillingworth readily assented, \n and went on with his medical supervision of the minister; doing his","Such was the young clergyman's condition, and so imminent the prospect \n that his dawning light would be extinguished, all untimely, when Roger \n Chillingworth made his advent to the town. His first entry on the","With a frantic gesture he rushed out of the room. \n \n âIt is as well to have made this step,â said Roger Chillingworth to \n himself, looking after the minister with a grave smile. âThere is","[Illustration: The Minister and Leech] \n \n In this manner, the mysterious old Roger Chillingworth became the \n medical adviser of the Reverend Mr. Dimmesdale. As not only the \n disease interested the physician, but he was strongly moved to look","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","Satan himself, or Satan's emissary, in the guise of old Roger \n Chillingworth. This diabolical agent had the Divine permission, for a \n season, to burrow into the clergyman's intimacy, and plot against his","noble art with the daily and habitual flourish of a razor. To such a \n professional body Roger Chillingworth was a brilliant acquisition. He \n soon manifested his familiarity with the ponderous and imposing \n machinery of antique physic; in which every remedy contained a","taken a brief and reluctant part in the scene of Hester Prynne's \n disgrace; and, in close companionship with him, old Roger \n Chillingworth, a person of great skill in physic, who, for two or","âWhy, know you not,â cried the shipmaster, âthat this physician \n hereâChillingworth, he calls himselfâis minded to try my cabin-fare","Old Roger Chillingworth, throughout life, had been calm in \n temperament, kindly, though not of warm affections, but ever, and in \n all his relations with the world, a pure and upright man. He had begun","with me to my eternal state, rather than that you should put your \n skill to the proof in my behalf.â \n \n âAh,â replied Roger Chillingworth, with that quietness which, whether","âThese men deceive themselves,â said Roger Chillingworth, with \n somewhat more emphasis than usual, and making a slight gesture with \n his forefinger. âThey fear to take up the shame that rightfully"],["[Illustration: The Minister and Leech] \n \n In this manner, the mysterious old Roger Chillingworth became the \n medical adviser of the Reverend Mr. Dimmesdale. As not only the \n disease interested the physician, but he was strongly moved to look","intense, that the bodily infirmity would be likely to have its \n groundwork there. So Roger Chillingworthâthe man of skill, the kind \n and friendly physicianâstrove to go deep into his patient's bosom,","All this time, Roger Chillingworth was looking at the minister with \n the grave and intent regard of a physician towards his patient. But, \n in spite of this outward show, the latter was almost convinced of the","Wherever there is a heart and an intellect, the diseases of the \n physical frame are tinged with the peculiarities of these. In Arthur \n Dimmesdale, thought and imagination were so active, and sensibility so","physician fancied must exist there, ever stole out of the minister's \n consciousness into his companion's ear. The latter had his suspicions, \n indeed, that even the nature of Mr. Dimmesdale's bodily disease had","Dimmesdale's presence, but grew strongly evident as the physician \n crossed the threshold. \n \n âA rare case!â he muttered. âI must needs look deeper into it. A","While thus suffering under bodily disease, and gnawed and tortured by \n some black trouble of the soul, and given over to the machinations of \n his deadliest enemy, the Reverend Mr. Dimmesdale had achieved a","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","rising from his chair. âYou deal not, I take it, in medicine for the \n soul!â \n \n âThus, a sickness,â continued Roger Chillingworth, going on, in an","the Christian faith. About this period, however, the health of Mr. \n Dimmesdale had evidently begun to fail. By those best acquainted with \n his habits, the paleness of the young minister's cheek was accounted","âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \n the topic, and were glad of an opportunity to discuss it with the only \n person of whom he could make a confidant. âNot to hide the truth,","Such was the young clergyman's condition, and so imminent the prospect \n that his dawning light would be extinguished, all untimely, when Roger \n Chillingworth made his advent to the town. His first entry on the","well-skilled physician, whether, in good sooth, he deems me to have \n profited by his kindly care of this weak frame of mine?â \n \n Before Roger Chillingworth could answer, they heard the clear, wild","eyes towards him, there the physician sat; his kind, watchful, \n sympathizing, but never intrusive friend. \n \n Yet Mr. Dimmesdale would perhaps have seen this individual's character \n more perfectly, if a certain morbidness, to which, sick hearts are","continue the care, which, if not successful in restoring him to \n health, had, in all probability, been the means of prolonging his \n feeble existence to that hour. Roger Chillingworth readily assented, \n and went on with his medical supervision of the minister; doing his","âThese men deceive themselves,â said Roger Chillingworth, with \n somewhat more emphasis than usual, and making a slight gesture with \n his forefinger. âThey fear to take up the shame that rightfully","immediately after Mr. Dimmesdale's death, in the appearance and \n demeanor of the old man known as Roger Chillingworth. All his strength \n and energyâall his vital and intellectual forceâseemed at once to","never fairly been revealed to him. It was a strange reserve! \n \n After a time, at a hint from Roger Chillingworth, the friends of Mr. \n Dimmesdale effected an arrangement by which the two were lodged in the","Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \n \n After a brief pause, the physician turned away. \n \n But, with what a wild look of wonder, joy, and horror! With what a","âYou would tell me, then, that I know all?â said Roger Chillingworth, \n deliberately, and fixing an eye, bright with intense and concentrated \n intelligence, on the minister's face. âBe it so! But, again! He to"],["thou do for the child, in this kind?â \n \n âI can teach my little Pearl what I have learned from this!â answered \n Hester Prynne, laying her finger on the red token. \n","âCome thou and take it up!â answered Pearl. \n \n âWas ever such a child!â observed Hester, aside to the minister. âO, I","Now Pearl knew well enough who made her; for Hester Prynne, the \n daughter of a pious home, very soon after her talk with the child \n about her Heavenly Father, had begun to inform her of those truths","âLet her see nothing strangeâno passion nor eagernessâin thy way of \n accosting her,â whispered Hester. âOur Pearl is a fitful and fantastic","âGod gave her into my keeping,â repeated Hester Prynne, raising her \n voice almost to a shriek. âI will not give her up!ââAnd here, by a"," THE CHILD AT THE BROOK-SIDE. \n \n \n âThou wilt love her dearly,â repeated Hester Prynne, as she and the \n minister sat watching little Pearl. âDost thou not think her","âA story, child!â said Hester. âAnd about what?â \n \n âO, a story about the Black Man,â answered Pearl, taking hold of her","âYes; now I will!â answered the child, bounding across the brook, and \n clasping Hester in her arms. âNow thou art my mother indeed! And I am \n thy little Pearl!â \n","little Pearl. \n \n âPearl! Little Pearl!â cried he after a moment's pause; then, \n suppressing his voice,ââHester! Hester Prynne! Are you there?â \n","Hester caught hold of Pearl, and drew her forcibly into her arms, \n confronting the old Puritan magistrate with almost a fierce \n expression. Alone in the world, cast off by it, and with this sole","part of some of the leading inhabitants, cherishing the more rigid \n order of principles in religion and government, to deprive her of her \n child. On the supposition that Pearl, as already hinted, was of demon \n origin, these good people not unreasonably argued that a Christian","sphere in which she and her mother dwelt together, and was now vainly \n seeking to return to it. \n \n There was both truth and error in the impression; the child and \n mother were estranged, but through Hester's fault, not Pearl's. Since","and am now going homeward to my dwelling.â \n \n âCome up hither, Hester, thou and little Pearl,â said the Reverend Mr.","that she would most joyfully have entertained that sad and lonely \n mother at her fireside. \n \n But there was a more real life for Hester Prynne here, in New England, \n than in that unknown region where Pearl had found a home. Here had","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","Christian man hath a title to show a father's kindness towards the \n poor, deserted babe.â \n \n The affair being so satisfactorily concluded, Hester Prynne, with","âWhat wouldst thou say, child?â asked Mr. Dimmesdale. \n \n âWilt thou stand here with mother and me, to-morrow noontide?â \n inquired Pearl. \n","both here and in England, to little Pearl, the daughter of Hester \n Prynne. \n \n So Pearlâthe elf-child,âthe demon offspring, as some people, up to","mother, too, Pearl's errand as a messenger of anguish was all \n fulfilled. \n \n âHester,â said the clergyman, âfarewell!â \n","close to little Pearl. The shadow of the curtain fell on Hester \n Prynne, and partially concealed her. \n \n âWhat have we here?â said Governor Bellingham, looking with surprise"],["âI must reveal the secret,â answered Hester, firmly. âHe must discern \n thee in thy true character. What may be the result, I know not. But \n this long debt of confidence, due from me to him, whose bane and ruin","life, will be in my hands. Beware!â \n \n âI will keep thy secret, as I have his,â said Hester. \n \n âSwear it!â rejoined he. \n","your purpose to reveal his true character. Will he continue, then, to \n keep our secret? What will now be the course of his revenge?â \n \n âThere is a strange secrecy in his nature,â replied Hester,","âAsk me not!â replied Hester Prynne, looking firmly into his face. \n âThat thou shalt never know!â \n","false to God and man, might be, for one moment, true! \n \n He started at a thought that suddenly occurred to him. \n \n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows","And she took the oath. \n \n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \n hereafter to be named, âI leave thee alone; alone with thy infant, and","never fairly been revealed to him. It was a strange reserve! \n \n After a time, at a hint from Roger Chillingworth, the friends of Mr. \n Dimmesdale effected an arrangement by which the two were lodged in the","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","such miserable secrets as you speak of will yield them up, at that \n last day, not with reluctance, but with a joy unutterable.â \n \n âThen why not reveal them here?â asked Roger Chillingworth, glancing","Hester, that wear the scarlet letter openly upon your bosom! Mine \n burns in secret! Thou little knowest what a relief it is, after the \n torment of a seven years' cheat, to look into an eye that recognizes","âThou knowest,â said Hester,âfor, depressed as she was, she could not \n endure this last quiet stab at the token of her shame,ââthou knowest","âGod gave her into my keeping,â repeated Hester Prynne, raising her \n voice almost to a shriek. âI will not give her up!ââAnd here, by a","âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \n the topic, and were glad of an opportunity to discuss it with the only \n person of whom he could make a confidant. âNot to hide the truth,","world to breathe in, while they talked together,âfor all these \n reasons, Hester never thought of meeting him in any narrower privacy \n than beneath the open sky. \n \n At last, while attending in a sick-chamber, whither the Reverend Mr.","Hester Prynne was now fully sensible of the deep injury for which she \n was responsible to this unhappy man, in permitting him to lie for so \n many years, or, indeed, for a single moment, at the mercy of one whose","calmness, though in the utmost consternation. âThey have long dwelt \n together.â \n \n Nothing further passed between the mariner and Hester Prynne. But, at","grown involuntary with him. \n \n âThink for me, Hester! Thou art strong. Resolve for me!â \n \n âThou must dwell no longer with this man,â said Hester, slowly and","secret told me, in the natural recoil of my heart, at the first sight \n of him, and as often as I have seen him since? Why did I not \n understand? O Hester Prynne, thou little, little knowest all the","strove in vain to do so. Hester would not set him free, lest he should \n look her sternly in the face. All the world had frowned on her,âfor \n seven long years had it frowned upon this lonely woman,âand still she","time when her heart knew no better, he had persuaded her to fancy \n herself happy by his side. \n \n âYes, I hate him!â repeated Hester, more bitterly than before. âHe"],["point. The old man, on the other hand, had brought himself nearer to \n her level, or perhaps below it, by the revenge which he had stooped \n for. \n \n In fine, Hester Prynne resolved to meet her former husband, and do","âIt has avenged thee!â answered Hester Prynne. \n \n âI judged no less,â said the physician. âAnd now, what wouldst thou \n with me touching this man?â","your purpose to reveal his true character. Will he continue, then, to \n keep our secret? What will now be the course of his revenge?â \n \n âThere is a strange secrecy in his nature,â replied Hester,","Now, however, her interview with the Reverend Mr. Dimmesdale, on the \n night of his vigil, had given her a new theme of reflection, and held \n up to her an object that appeared worthy of any exertion and sacrifice","grown involuntary with him. \n \n âThink for me, Hester! Thou art strong. Resolve for me!â \n \n âThou must dwell no longer with this man,â said Hester, slowly and","âI must reveal the secret,â answered Hester, firmly. âHe must discern \n thee in thy true character. What may be the result, I know not. But \n this long debt of confidence, due from me to him, whose bane and ruin","life, will be in my hands. Beware!â \n \n âI will keep thy secret, as I have his,â said Hester. \n \n âSwear it!â rejoined he. \n","âI have left thee to the scarlet letter,â replied Roger Chillingworth. \n âIf that have not avenged me, I can do no more!â \n \n He laid his finger on it, with a smile. \n","never fairly been revealed to him. It was a strange reserve! \n \n After a time, at a hint from Roger Chillingworth, the friends of Mr. \n Dimmesdale effected an arrangement by which the two were lodged in the","time when her heart knew no better, he had persuaded her to fancy \n herself happy by his side. \n \n âYes, I hate him!â repeated Hester, more bitterly than before. âHe","âThou wilt go!â said Hester, calmly, as he met her glance. \n \n The decision once made, a glow of strange enjoyment threw its \n flickering brightness over the trouble of his breast. It was the","calmness, though in the utmost consternation. âThey have long dwelt \n together.â \n \n Nothing further passed between the mariner and Hester Prynne. But, at","thine own, in whose charge hers is. Exhort her to confess the truth!â \n \n The Reverend Mr. Dimmesdale bent his head, in silent prayer, as it \n seemed, and then came forward. \n","world to breathe in, while they talked together,âfor all these \n reasons, Hester never thought of meeting him in any narrower privacy \n than beneath the open sky. \n \n At last, while attending in a sick-chamber, whither the Reverend Mr.","more thoroughly defined the plans which Hester and himself had \n sketched for their departure. It had been determined between them, \n that the Old World, with its crowds and cities, offered them a more \n eligible shelter and concealment than the wilds of New England, or all","terror. âI shiver at him! Dost thou know the man? I hate him, Hester!â \n \n She remembered her oath, and was silent. \n","âAnd I thee,â answered Hester Prynne, âfor the hatred that has \n transformed a wise and just man to a fiend! Wilt thou yet purge it out","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","backward to the settlement, where Hester Prynne must take up again the \n burden of her ignominy, and the minister the hollow mockery of his \n good name! So they lingered an instant longer. No golden light had","Hester Prynne was now fully sensible of the deep injury for which she \n was responsible to this unhappy man, in permitting him to lie for so \n many years, or, indeed, for a single moment, at the mercy of one whose"],["spectators of the whole scene, and professed never once to have \n removed their eyes from the Reverend Mr. Dimmesdale, denied that there \n was any mark whatever on his breast, more than on a new-born infant's.","Most of the spectators testified to having seen, on the breast of the \n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \n Hester Prynneâimprinted in the flesh. As regarded its origin, there","Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \n \n After a brief pause, the physician turned away. \n \n But, with what a wild look of wonder, joy, and horror! With what a","âYet some men bury their secrets thus,â observed the calm physician. \n \n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","immediately after Mr. Dimmesdale's death, in the appearance and \n demeanor of the old man known as Roger Chillingworth. All his strength \n and energyâall his vital and intellectual forceâseemed at once to","Bellingham, for the last few moments, had kept an anxious eye upon \n him. He now left his own place in the procession, and advanced to give \n assistance; judging, from Mr. Dimmesdale's aspect, that he must","he missed his heavenly kindred! Now, at the death-hour, he stands up \n before you! He bids you look again at Hester's scarlet letter! He \n tells you, that, with all its mysterious horror, it is but the shadow","of his own servants, signed and sealed, so shy of owning to the bond \n as is the Reverend Mr. Dimmesdale, he hath a way of ordering matters \n so that the mark shall be disclosed in open daylight to the eyes of","hillock over his frame, no matter whether there were life in it or no. \n Death was too definite an object to be wished for, or avoided. \n \n To Hester's eye, the Reverend Mr. Dimmesdale exhibited no symptom of","visages around the scaffold. Whom would they discern there, with the \n red eastern light upon his brow? Whom, but the Reverend Arthur \n Dimmesdale, half frozen to death, overwhelmed with shame, and standing","At the moment when the Reverend Mr. Dimmesdale thus communed with \n himself, and struck his forehead with his hand, old Mistress Hibbins, \n the reputed witch-lady, is said to have been passing by. She made a","faintly from a world which they had quitted,âI, your pastor, whom you \n so reverence and trust, am utterly a pollution and a lie!â \n \n More than once, Mr. Dimmesdale had gone into the pulpit, with a","own. We felt it so! We said so to each other! Hast thou forgotten it?â \n \n âHush, Hester!â said Arthur Dimmesdale, rising from the ground. âNo; I","âO Hester!â cried Arthur Dimmesdale, in whose eyes a fitful light, \n kindled by her enthusiasm, flashed up and died away, âthou tellest of","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","To sum up the matter, it grew to be a widely diffused opinion, that \n the Reverend Arthur Dimmesdale, like many other personages of especial \n sanctity, in all ages of the Christian world, was haunted either by","false light, becomes a shadow, or, indeed, ceases to exist. The only \n truth that continued to give Mr. Dimmesdale a real existence on this \n earth, was the anguish in his inmost soul, and the undissembled","to repentance, and to confession, as a proof and consequence thereof.â \n \n The directness of this appeal drew the eyes of the whole crowd upon \n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one","it forth. What say you to it, once again, Brother Dimmesdale? Must it \n be thou, or I, that shall deal with this poor sinner's soul?â \n \n There was a murmur among the dignified and reverend occupants of the"],["stern a dignity as the punishment of death itself. \n \n It was a circumstance to be noted, on the summer morning when our \n story begins its course, that the women, of whom there were several in \n the crowd, appeared to take a peculiar interest in whatever penal","A throng of bearded men, in sad-colored garments, and gray, \n steeple-crowned hats, intermixed with women, some wearing hoods and \n others bareheaded, was assembled in front of a wooden edifice, the","by the beadle, and attended by an irregular procession of \n stern-browed men and unkindly visaged women, Hester Prynne set forth \n towards the place appointed for her punishment. A crowd of eager and","âThey wait to see the procession pass,â said Hester. âFor the Governor \n and the magistrates are to go by, and the ministers, and all the great \n people and good people, with the music and the soldiers marching","and wedging their not unsubstantial persons, if occasion were, into \n the throng nearest to the scaffold at an execution. Morally, as well \n as materially, there was a coarser fibre in those wives and maidens of","crowd,âor, perhaps, so dark, disturbed, and evil, was his look, he \n rose up out of some nether region,âto snatch back his victim from \n what he sought to do! Be that as it might, the old man rushed forward,","her by the undying, the ever-active sentence of the Puritan tribunal. \n Clergymen paused in the street to address words of exhortation, that \n brought a crowd, with its mingled grin and frown, around the poor,","crowd was sombre and grave. The unhappy culprit sustained herself as \n best a woman might, under the heavy weight of a thousand unrelenting \n eyes, all fastened upon her, and concentrated at her bosom. It was","As the ranks of military men and civil fathers moved onward, all eyes \n were turned towards the point where the minister was seen to approach \n among them. The shout died into a murmur, as one portion of the crowd","The crowd, meanwhile, looked on with awe and wonder. This earthly \n faintness was, in their view, only another phase of the minister's \n celestial strength; nor would it have seemed a miracle too high to be","people would have augured some awful business in hand. It could have \n betokened nothing short of the anticipated execution of some noted \n culprit, on whom the sentence of a legal tribunal had but confirmed \n the verdict of public sentiment. But, in that early severity of the","Hester stood, a small vacant areaâa sort of magic circleâhad formed \n itself about her, into which, though the people were elbowing one \n another at a little distance, none ventured, or felt disposed to","been made terrific by a hundred false or exaggerated rumors, but who \n had never beheld it with their own bodily eyes. These, after \n exhausting other modes of amusement, now thronged about Hester Prynne","He bowed courteously to the communicative townsman, and, whispering a \n few words to his Indian attendant, they both made their way through \n the crowd. \n \n While this passed, Hester Prynne had been standing on her pedestal,"," CONCLUSION. \n \n \n After many days, when time sufficed for the people to arrange their \n thoughts in reference to the foregoing scene, there was more than one \n account of what had been witnessed on the scaffold. \n","and wise men, the holy ministers, and all that were eminent and \n renowned, advanced into the midst of them. When they were fairly in \n the market-place, their presence was greeted by a shout. Thisâthough","fiend's! Come, Hester, come! Support me up yonder scaffold!â \n \n The crowd was in a tumult. The men of rank and dignity, who stood more \n immediately around the clergyman, were so taken by surprise, and so","the Massachusetts, where iniquity is dragged out into the sunshine! \n Come along, Madam Hester, and show your scarlet letter in the \n market-place!â \n \n A lane was forthwith opened through the crowd of spectators. Preceded","crowd that witnessed Hester Prynne's ignominious exposure, stood a \n man, elderly, travel-worn, who, just emerging from the perilous \n wilderness, beheld the woman, in whom he hoped to find embodied the","before his breast. It was revealed! But it were irreverent to describe \n that revelation. For an instant, the gaze of the horror-stricken \n multitude was concentred on the ghastly miracle; while the minister"],["Most of the spectators testified to having seen, on the breast of the \n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \n Hester Prynneâimprinted in the flesh. As regarded its origin, there","they beheld her for the first time,âwas that SCARLET LETTER, so \n fantastically embroidered and illuminated upon her bosom. It had the \n effect of a spell, taking her out of the ordinary relations with","Hester, that wear the scarlet letter openly upon your bosom! Mine \n burns in secret! Thou little knowest what a relief it is, after the \n torment of a seven years' cheat, to look into an eye that recognizes","âMother,â said she, âwhat does the scarlet letter mean?â \n \n And the next morning, the first indication the child gave of being \n awake was by popping up her head from the pillow, and making that","helpfulness was found in her,âso much power to do, and power to \n sympathize,âthat many people refused to interpret the scarlet A by \n its original signification. They said that it meant Able; so strong","âwho, be her demerits what they may, hath none of that mystery of \n hidden sinfulness which you deem so grievous to be borne. Is Hester \n Prynne the less miserable, think you, for that scarlet letter on her","embody their images of woman's frailty and sinful passion. Thus the \n young and pure would be taught to look at her, with the scarlet letter \n flaming on her breast,âat her, the child of honorable parents,âat","This rag of scarlet cloth,âfor time and wear and a sacrilegious moth \n had reduced it to little other than a rag,âon careful examination, \n assumed the shape of a letter. It was the capital letter A. By an","shame may still blaze upon thy bosom?â As he spoke, he laid his long \n forefinger on the scarlet letter, which forthwith seemed to scorch \n into Hester's breast, as if it had been red-hot. He noticed her","child's whole appearance, that it irresistibly and inevitably reminded \n the beholder of the token which Hester Prynne was doomed to wear upon \n her bosom. It was the scarlet letter in another form; the scarlet","as yet only half his victim, that the outward guise of purity was but \n a lie, and that, if truth were everywhere to be shown, a scarlet \n letter would blaze forth on many a bosom besides Hester Prynne's? Or,","âI have left thee to the scarlet letter,â replied Roger Chillingworth. \n âIf that have not avenged me, I can do no more!â \n \n He laid his finger on it, with a smile. \n","âSilly Pearl,â said she, âwhat questions are these? There are many \n things in this world that a child must not ask about. What know I of \n the minister's heart? And as for the scarlet letter, I wear it for the","he missed his heavenly kindred! Now, at the death-hour, he stands up \n before you! He bids you look again at Hester's scarlet letter! He \n tells you, that, with all its mysterious horror, it is but the shadow","âThy mother is yonder woman with the scarlet letter,â said the seaman. \n âWilt thou carry her a message from me?â \n","hast heard. Speak out the name! That, and thy repentance, may avail to \n take the scarlet letter off thy breast.â \n","them. And that ugly-tempered lady, old Mistress Hibbins, was one. And, \n mother, the old dame said that this scarlet letter was the Black Man's \n mark on thee, and that it glows like a red flame when thou meetest","whisper the black scandal of bygone years. It was none the less a \n fact, however, that, in the eyes of the very men who spoke thus, the \n scarlet letter had the effect of the cross on a nun's bosom. It","knew not whether it were a woman or a shadow. It may be, that his \n pathway through life was haunted thus, by a spectre that had stolen \n out from among his thoughts. \n \n He made a step nigher, and discovered the scarlet letter. \n","was the scarlet misery, glittering on the old spot! So it ever is, \n whether thus typified or no, that an evil deed invests itself with the \n character of doom. Hester next gathered up the heavy tresses of her"],["thank themselves if their own wives and daughters go astray!â \n \n âMercy on us, goodwife,â exclaimed a man in the crowd, âis there no","stern a dignity as the punishment of death itself. \n \n It was a circumstance to be noted, on the summer morning when our \n story begins its course, that the women, of whom there were several in \n the crowd, appeared to take a peculiar interest in whatever penal","and wedging their not unsubstantial persons, if occasion were, into \n the throng nearest to the scaffold at an execution. Morally, as well \n as materially, there was a coarser fibre in those wives and maidens of","her by the undying, the ever-active sentence of the Puritan tribunal. \n Clergymen paused in the street to address words of exhortation, that \n brought a crowd, with its mingled grin and frown, around the poor,","alone as she was in her childish and unreasonable wrath, it seemed as \n if a hidden multitude were lending her their sympathy and \n encouragement. Seen in the brook, once more, was the shadowy wrath of","crowd was sombre and grave. The unhappy culprit sustained herself as \n best a woman might, under the heavy weight of a thousand unrelenting \n eyes, all fastened upon her, and concentrated at her bosom. It was","by the beadle, and attended by an irregular procession of \n stern-browed men and unkindly visaged women, Hester Prynne set forth \n towards the place appointed for her punishment. A crowd of eager and","fiend's! Come, Hester, come! Support me up yonder scaffold!â \n \n The crowd was in a tumult. The men of rank and dignity, who stood more \n immediately around the clergyman, were so taken by surprise, and so","pass, they pursued her at a distance with shrill cries, and the \n utterance of a word that had no distinct purport to their own \n minds, but was none the less terrible to her, as proceeding from lips","now did, with the hot, mid-day sun burning down upon her face, and \n lighting up its shame; with the scarlet token of infamy on her breast; \n with the sin-born infant in her arms; with a whole people, drawn forth","gesticulating violently, and throwing her small figure into the most \n extravagant contortions. She accompanied this wild outbreak with \n piercing shrieks, which the woods reverberated on all sides; so that,","shrill, incoherent exclamations, that made her mother tremble, because \n they had so much the sound of a witch's anathemas in some unknown \n tongue. \n \n The truth was, that the little Puritans, being of the most intolerant","face to face with the woman, whose absorbed notice of him, in the \n crowd, had intimated so close a relation between himself and her. His \n first care was given to the child; whose cries, indeed, as she lay","and wise men, the holy ministers, and all that were eminent and \n renowned, advanced into the midst of them. When they were fairly in \n the market-place, their presence was greeted by a shout. Thisâthough","curious school-boys, understanding little of the matter in hand, \n except that it gave them a half-holiday, ran before her progress, \n turning their heads continually to stare into her face, and at the","off, revealed the expression of her sour and discontented face. She \n thrust forth her head from the lattice, and looked anxiously upward. \n Beyond the shadow of a doubt, this venerable witch-lady had heard Mr.","her vivid self-perception, like a new anguish, by the rudest touch \n upon the tenderest spot. The poor, as we have already said, whom she \n sought out to be the objects of her bounty, often reviled the hand","A throng of bearded men, in sad-colored garments, and gray, \n steeple-crowned hats, intermixed with women, some wearing hoods and \n others bareheaded, was assembled in front of a wooden edifice, the","conscious, indeed, that whatever sympathy she might expect lay in the \n larger and warmer heart of the multitude; for, as she lifted her eyes \n towards the balcony, the unhappy woman grew pale and trembled. \n","the latter,âthe dread inspired by Mistress Hibbins was doubled, and \n caused a general movement from that part of the market-place in which \n the two women stood. \n"],["her name more than once, in a loud and solemn tone, audible to the \n whole multitude. \n \n âHearken unto me, Hester Prynne!â said the voice. \n","He bowed courteously to the communicative townsman, and, whispering a \n few words to his Indian attendant, they both made their way through \n the crowd. \n \n While this passed, Hester Prynne had been standing on her pedestal,","âYes; it is Hester Prynne!â she replied, in a tone of surprise; and \n the minister heard her footsteps approaching from the sidewalk, along \n which she had been passing. âIt is I, and my little Pearl.â","with their cool, well-acquainted gaze at her familiar shame. Hester \n saw and recognized the selfsame faces of that group of matrons, who \n had awaited her forthcoming from the prison-door, seven years ago; all","crowd that witnessed Hester Prynne's ignominious exposure, stood a \n man, elderly, travel-worn, who, just emerging from the perilous \n wilderness, beheld the woman, in whom he hoped to find embodied the","From this intense consciousness of being the object of severe and \n universal observation, the wearer of the scarlet letter was at length \n relieved, by discerning, on the outskirts of the crowd, a figure which","by the beadle, and attended by an irregular procession of \n stern-browed men and unkindly visaged women, Hester Prynne set forth \n towards the place appointed for her punishment. A crowd of eager and","fiend's! Come, Hester, come! Support me up yonder scaffold!â \n \n The crowd was in a tumult. The men of rank and dignity, who stood more \n immediately around the clergyman, were so taken by surprise, and so","strolled idly through the market-place; until, happening to approach \n the spot where Hester Prynne was standing, he appeared to recognize, \n and did not hesitate to address her. As was usually the case wherever","At his arrival in the market-place, and some time before she saw him, \n the stranger had bent his eyes on Hester Prynne. It was carelessly, at \n first, like a man chiefly accustomed to look inward, and to whom","to repentance, and to confession, as a proof and consequence thereof.â \n \n The directness of this appeal drew the eyes of the whole crowd upon \n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one","peculiarity. But the point which drew all eyes, and, as it were, \n transfigured the wearer,âso that both men and women, who had been \n familiarly acquainted with Hester Prynne, were now impressed as if","little Pearl. \n \n âPearl! Little Pearl!â cried he after a moment's pause; then, \n suppressing his voice,ââHester! Hester Prynne! Are you there?â \n","âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \n \n âEven so!â she answered. âIn such life as has been mine these seven","from the crowd about the scaffold. âSpeak; and give your child a \n father!â \n \n âI will not speak!â answered Hester, turning pale as death, but","forest, and entered this settlement of Christian men, the very first \n object to meet my eyes would be thyself, Hester Prynne, standing up, a \n statue of ignominy, before the people. Nay, from the moment when we","the rude market-place of the Puritan settlement, with all the \n towns-people assembled and levelling their stern regards at Hester \n Prynne,âyes, at herself,âwho stood on the scaffold of the pillory,","object. Had a roar of laughter burst from the multitude,âeach man, \n each woman, each little shrill-voiced child, contributing their \n individual parts,âHester Prynne might have repaid them all with a","been made terrific by a hundred false or exaggerated rumors, but who \n had never beheld it with their own bodily eyes. These, after \n exhausting other modes of amusement, now thronged about Hester Prynne","âMother,â cried she, âI see you here. Look! Look!â \n \n Hester looked, by way of humoring the child; and she saw that, owing"],["life, will be in my hands. Beware!â \n \n âI will keep thy secret, as I have his,â said Hester. \n \n âSwear it!â rejoined he. \n","âWere it God's will,â said the Reverend Mr. Dimmesdale, when, in \n fulfilment of this pledge, he requested old Roger Chillingworth's","with me to my eternal state, rather than that you should put your \n skill to the proof in my behalf.â \n \n âAh,â replied Roger Chillingworth, with that quietness which, whether","âI have left thee to the scarlet letter,â replied Roger Chillingworth. \n âIf that have not avenged me, I can do no more!â \n \n He laid his finger on it, with a smile. \n","alternative of the two. She determined to redeem her error, so far as \n it might yet be possible. Strengthened by years of hard and solemn \n trial, she felt herself no longer so inadequate to cope with Roger","And she took the oath. \n \n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \n hereafter to be named, âI leave thee alone; alone with thy infant, and","sake, then, and no less for the poor child's sake, let us leave them \n as Providence hath seen fit to place them!â \n \n âYou speak, my friend, with a strange earnestness,â said old Roger","such miserable secrets as you speak of will yield them up, at that \n last day, not with reluctance, but with a joy unutterable.â \n \n âThen why not reveal them here?â asked Roger Chillingworth, glancing","With a frantic gesture he rushed out of the room. \n \n âIt is as well to have made this step,â said Roger Chillingworth to \n himself, looking after the minister with a grave smile. âThere is","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","âThese men deceive themselves,â said Roger Chillingworth, with \n somewhat more emphasis than usual, and making a slight gesture with \n his forefinger. âThey fear to take up the shame that rightfully","continue the care, which, if not successful in restoring him to \n health, had, in all probability, been the means of prolonging his \n feeble existence to that hour. Roger Chillingworth readily assented, \n and went on with his medical supervision of the minister; doing his","with a kind of fierceness, on old Roger Chillingworth. âNot to thee! \n But if it be the soul's disease, then do I commit myself to the one \n Physician of the soul! He, if it stand with his good pleasure, can","terror. âI shiver at him! Dost thou know the man? I hate him, Hester!â \n \n She remembered her oath, and was silent. \n","âYou would tell me, then, that I know all?â said Roger Chillingworth, \n deliberately, and fixing an eye, bright with intense and concentrated \n intelligence, on the minister's face. âBe it so! But, again! He to","false to God and man, might be, for one moment, true! \n \n He started at a thought that suddenly occurred to him. \n \n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows","âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \n the topic, and were glad of an opportunity to discuss it with the only \n person of whom he could make a confidant. âNot to hide the truth,","believed that these words had passed his lips. But they were uttered \n only within his imagination. The venerable Father Wilson continued to \n step slowly onward, looking carefully at the muddy pathway before his \n feet, and never once turning his head towards the guilty platform.","âAha! and is it Mistress Hester that has a word for old Roger \n Chillingworth?â answered he, raising himself from his stooping \n posture. âWith all my heart! Why, Mistress, I hear good tidings of you","Such was the young clergyman's condition, and so imminent the prospect \n that his dawning light would be extinguished, all untimely, when Roger \n Chillingworth made his advent to the town. His first entry on the"],["âAha! and is it Mistress Hester that has a word for old Roger \n Chillingworth?â answered he, raising himself from his stooping \n posture. âWith all my heart! Why, Mistress, I hear good tidings of you","âHush, Hester, hush!â said he, with tremulous solemnity. âThe law we \n broke!âthe sin here so awfully revealed!âlet these alone be in thy","life, will be in my hands. Beware!â \n \n âI will keep thy secret, as I have his,â said Hester. \n \n âSwear it!â rejoined he. \n","terror. âI shiver at him! Dost thou know the man? I hate him, Hester!â \n \n She remembered her oath, and was silent. \n","grown involuntary with him. \n \n âThink for me, Hester! Thou art strong. Resolve for me!â \n \n âThou must dwell no longer with this man,â said Hester, slowly and","and disclosed the earth, with an awfulness that admonished Hester \n Prynne and the clergyman of the day of judgment, then might Roger \n Chillingworth have passed with them for the arch-fiend, standing there","Hester absolutely refuseth to speak, and the magistrates have laid \n their heads together in vain. Peradventure the guilty one stands \n looking on at this sad spectacle, unknown of man, and forgetting that \n God sees him.â \n","false to God and man, might be, for one moment, true! \n \n He started at a thought that suddenly occurred to him. \n \n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows","âPeace, Hester, peace!â replied the old man, with gloomy sternness. \n âIt is not granted me to pardon. I have no such power as thou tellest","âHester Prynne,â said he, leaning over the balcony and looking down \n steadfastly into her eyes, âthou hearest what this good man says, and","Mistress Hester, my thoughts happen just now to be busy with the \n gentleman. So speak freely; and I will make answer.â \n \n âWhen we last spake together,â said Hester, ânow seven years ago, it","âI must reveal the secret,â answered Hester, firmly. âHe must discern \n thee in thy true character. What may be the result, I know not. But \n this long debt of confidence, due from me to him, whose bane and ruin","âYou must needs be a stranger in this region, friend,â answered the \n townsman, looking curiously at the questioner and his savage \n companion, âelse you would surely have heard of Mistress Hester","âThese men deceive themselves,â said Roger Chillingworth, with \n somewhat more emphasis than usual, and making a slight gesture with \n his forefinger. âThey fear to take up the shame that rightfully","save me! But, now, it is all falsehood!âall emptiness!âall death!â \n \n Hester Prynne looked into his face, but hesitated to speak. Yet,","your purpose to reveal his true character. Will he continue, then, to \n keep our secret? What will now be the course of his revenge?â \n \n âThere is a strange secrecy in his nature,â replied Hester,","such miserable secrets as you speak of will yield them up, at that \n last day, not with reluctance, but with a joy unutterable.â \n \n âThen why not reveal them here?â asked Roger Chillingworth, glancing","time when her heart knew no better, he had persuaded her to fancy \n herself happy by his side. \n \n âYes, I hate him!â repeated Hester, more bitterly than before. âHe","âA story, child!â said Hester. âAnd about what?â \n \n âO, a story about the Black Man,â answered Pearl, taking hold of her","on all hands! No longer ago than yester-eve, a magistrate, a wise and \n godly man, was discoursing of your affairs, Mistress Hester, and \n whispered me that there had been question concerning you in the"],["dearly, and thou her. She is not far off. I will call her! Pearl! \n Pearl!â \n \n âI see the child,â observed the minister. âYonder she is, standing in","âThou must know Pearl!â said she. âOur little Pearl! Thou hast seen \n her,âyes, I know it!âbut thou wilt see her now with other eyes. She","intelligence, that her mother half doubted whether she were not \n acquainted with the secret spell of her existence, and might not now \n reveal herself. \n \n âYes; I am little Pearl!â repeated the child, continuing her antics. \n","that my Pearl?â Yet she knew that there was love in the child's heart, \n although it mostly revealed itself in passion, and hardly twice in her \n lifetime had been softened by such gentleness as now. The","so imagined itâfrom the unsearchable abyss of her black eyes. \n \n âChild, what art thou?â cried the mother. \n \n âO, I am your little Pearl!â answered the child. \n","mother. âI remember it; and so shall little Pearl. Fear nothing! She \n may be strange and shy at first, but will soon learn to love thee!â \n \n By this time Pearl had reached the margin of the brook, and stood on","âA story, child!â said Hester. âAnd about what?â \n \n âO, a story about the Black Man,â answered Pearl, taking hold of her","hand in a vain attempt to pat little Pearl on the cheek. âBut where is \n this mother of thine? Ah! I see,â he added; and, turning to Governor \n Bellingham, whispered, âThis is the selfsame child of whom we have","both here and in England, to little Pearl, the daughter of Hester \n Prynne. \n \n So Pearlâthe elf-child,âthe demon offspring, as some people, up to","Now Pearl knew well enough who made her; for Hester Prynne, the \n daughter of a pious home, very soon after her talk with the child \n about her Heavenly Father, had begun to inform her of those truths","many hours of morbid ingenuity, to create an analogy between the \n object of her affection and the emblem of her guilt and torture. But, \n in truth, Pearl was the one, as well as the other; and only in","little Pearl. \n \n âPearl! Little Pearl!â cried he after a moment's pause; then, \n suppressing his voice,ââHester! Hester Prynne! Are you there?â \n","judgment-seat, thy mother, and thou, and I must stand together. But \n the daylight of this world shall not see our meeting!â \n \n Pearl laughed again. \n","It was with a feeling which neither of them had ever before \n experienced, that they sat and watched Pearl's slow advance. In her \n was visible the tie that united them. She had been offered to the \n world, these seven years past, as the living hieroglyphic, in which","part of some of the leading inhabitants, cherishing the more rigid \n order of principles in religion and government, to deprive her of her \n child. On the supposition that Pearl, as already hinted, was of demon \n origin, these good people not unreasonably argued that a Christian","little Pearl! I hear voices in the garden. The Governor is coming, and \n gentlemen along with him!â \n \n In fact, adown the vista of the garden avenue a number of persons were \n seen approaching towards the house. Pearl, in utter scorn of her","âThou art not my child! Thou art no Pearl of mine!â said the mother, \n half playfully; for it was often the case that a sportive impulse came","made investigations a century later, believed,âand one of his recent \n successors in office, moreover, faithfully believes,âthat Pearl was \n not only alive, but married, and happy, and mindful of her mother, and","the reality. This image, so nearly identical with the living Pearl, \n seemed to communicate somewhat of its own shadowy and intangible \n quality to the child herself. It was strange, the way in which Pearl \n stood, looking so steadfastly at them through the dim medium of the","heart, little Pearl might or might not be within its reach, in \n accordance with the caprice that ruled the moment. Her mother, while \n Pearl was yet an infant, grew acquainted with a certain peculiar look, \n that warned her when it would be labor thrown away to insist,"],["All this time, Roger Chillingworth was looking at the minister with \n the grave and intent regard of a physician towards his patient. But, \n in spite of this outward show, the latter was almost convinced of the","âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \n the topic, and were glad of an opportunity to discuss it with the only \n person of whom he could make a confidant. âNot to hide the truth,","never fairly been revealed to him. It was a strange reserve! \n \n After a time, at a hint from Roger Chillingworth, the friends of Mr. \n Dimmesdale effected an arrangement by which the two were lodged in the","physician fancied must exist there, ever stole out of the minister's \n consciousness into his companion's ear. The latter had his suspicions, \n indeed, that even the nature of Mr. Dimmesdale's bodily disease had","âYou would tell me, then, that I know all?â said Roger Chillingworth, \n deliberately, and fixing an eye, bright with intense and concentrated \n intelligence, on the minister's face. âBe it so! But, again! He to","false to God and man, might be, for one moment, true! \n \n He started at a thought that suddenly occurred to him. \n \n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows","intense, that the bodily infirmity would be likely to have its \n groundwork there. So Roger Chillingworthâthe man of skill, the kind \n and friendly physicianâstrove to go deep into his patient's bosom,","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","âThese men deceive themselves,â said Roger Chillingworth, with \n somewhat more emphasis than usual, and making a slight gesture with \n his forefinger. âThey fear to take up the shame that rightfully","Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \n \n After a brief pause, the physician turned away. \n \n But, with what a wild look of wonder, joy, and horror! With what a","immediately after Mr. Dimmesdale's death, in the appearance and \n demeanor of the old man known as Roger Chillingworth. All his strength \n and energyâall his vital and intellectual forceâseemed at once to","With a frantic gesture he rushed out of the room. \n \n âIt is as well to have made this step,â said Roger Chillingworth to \n himself, looking after the minister with a grave smile. âThere is","been valuable, in other mattersâaffirmed that Roger Chillingworth's \n aspect had undergone a remarkable change while he had dwelt in town, \n and especially since his abode with Mr. Dimmesdale. At first, his","[Illustration: The Minister and Leech] \n \n In this manner, the mysterious old Roger Chillingworth became the \n medical adviser of the Reverend Mr. Dimmesdale. As not only the \n disease interested the physician, but he was strongly moved to look","Roger Chillingworth possessed all, or most, of the attributes above \n enumerated. Nevertheless, time went on; a kind of intimacy, as we have \n said, grew up between these two cultivated minds, which had as wide a","Under the appellation of Roger Chillingworth, the reader will \n remember, was hidden another name, which its former wearer had \n resolved should never more be spoken. It has been related, how, in the","often produced the effect of spiritual intuition, would become vaguely \n aware that something inimical to his peace had thrust itself into \n relation with him. But old Roger Chillingworth, too, had perceptions \n that were almost intuitive; and when the minister threw his startled","âYet some men bury their secrets thus,â observed the calm physician. \n \n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to","vigil, all her sympathies towards him had been both softened and \n invigorated. She now read his heart more accurately. She doubted not, \n that the continual presence of Roger Chillingworth,âthe secret poison","such miserable secrets as you speak of will yield them up, at that \n last day, not with reluctance, but with a joy unutterable.â \n \n âThen why not reveal them here?â asked Roger Chillingworth, glancing"],["thine own, in whose charge hers is. Exhort her to confess the truth!â \n \n The Reverend Mr. Dimmesdale bent his head, in silent prayer, as it \n seemed, and then came forward. \n","âO Hester!â cried Arthur Dimmesdale, in whose eyes a fitful light, \n kindled by her enthusiasm, flashed up and died away, âthou tellest of","own. We felt it so! We said so to each other! Hast thou forgotten it?â \n \n âHush, Hester!â said Arthur Dimmesdale, rising from the ground. âNo; I","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","life, will be in my hands. Beware!â \n \n âI will keep thy secret, as I have his,â said Hester. \n \n âSwear it!â rejoined he. \n","grown involuntary with him. \n \n âThink for me, Hester! Thou art strong. Resolve for me!â \n \n âThou must dwell no longer with this man,â said Hester, slowly and","âI must reveal the secret,â answered Hester, firmly. âHe must discern \n thee in thy true character. What may be the result, I know not. But \n this long debt of confidence, due from me to him, whose bane and ruin","Now, however, her interview with the Reverend Mr. Dimmesdale, on the \n night of his vigil, had given her a new theme of reflection, and held \n up to her an object that appeared worthy of any exertion and sacrifice","to repentance, and to confession, as a proof and consequence thereof.â \n \n The directness of this appeal drew the eyes of the whole crowd upon \n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one","âO, not so!ânot so!â continued Mr. Dimmesdale. âShe recognizes, \n believe me, the solemn miracle which God hath wrought, in the","âThou wilt go!â said Hester, calmly, as he met her glance. \n \n The decision once made, a glow of strange enjoyment threw its \n flickering brightness over the trouble of his breast. It was the","âIt has avenged thee!â answered Hester Prynne. \n \n âI judged no less,â said the physician. âAnd now, what wouldst thou \n with me touching this man?â","point. The old man, on the other hand, had brought himself nearer to \n her level, or perhaps below it, by the revenge which he had stooped \n for. \n \n In fine, Hester Prynne resolved to meet her former husband, and do","she would gladly have lain down on the forest-leaves, and died there, \n at Arthur Dimmesdale's feet. \n \n âO Arthur,â cried she, âforgive me! In all things else, I have striven","Dimmesdale, at whatever risk of present pain or ulterior consequences, \n the true character of the man who had crept into his intimacy. For \n several days, however, she vainly sought an opportunity of addressing","time when her heart knew no better, he had persuaded her to fancy \n herself happy by his side. \n \n âYes, I hate him!â repeated Hester, more bitterly than before. âHe","âAnd I thee,â answered Hester Prynne, âfor the hatred that has \n transformed a wise and just man to a fiend! Wilt thou yet purge it out","springs of Mr. Dimmesdale's nature. Hester could not but ask herself, \n whether there had not originally been a defect of truth, courage, and \n loyalty, on her own part, in allowing the minister to be thrown into a","âI will go home with you,â said Mr. Dimmesdale. \n \n With a chill despondency, like one awaking, all nerveless, from an \n ugly dream, he yielded himself to the physician, and was led away. \n"," \n \n XIII. \n \n ANOTHER VIEW OF HESTER. \n \n \n In her late singular interview with Mr. Dimmesdale, Hester Prynne was"],["spectators of the whole scene, and professed never once to have \n removed their eyes from the Reverend Mr. Dimmesdale, denied that there \n was any mark whatever on his breast, more than on a new-born infant's.","it forth. What say you to it, once again, Brother Dimmesdale? Must it \n be thou, or I, that shall deal with this poor sinner's soul?â \n \n There was a murmur among the dignified and reverend occupants of the","âPeople say,â said another, âthat the Reverend Master Dimmesdale, her \n godly pastor, takes it very grievously to heart that such a scandal \n should have come upon his congregation.â \n","to repentance, and to confession, as a proof and consequence thereof.â \n \n The directness of this appeal drew the eyes of the whole crowd upon \n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one","of his own servants, signed and sealed, so shy of owning to the bond \n as is the Reverend Mr. Dimmesdale, he hath a way of ordering matters \n so that the mark shall be disclosed in open daylight to the eyes of","own. We felt it so! We said so to each other! Hast thou forgotten it?â \n \n âHush, Hester!â said Arthur Dimmesdale, rising from the ground. âNo; I","faintly from a world which they had quitted,âI, your pastor, whom you \n so reverence and trust, am utterly a pollution and a lie!â \n \n More than once, Mr. Dimmesdale had gone into the pulpit, with a","thine own, in whose charge hers is. Exhort her to confess the truth!â \n \n The Reverend Mr. Dimmesdale bent his head, in silent prayer, as it \n seemed, and then came forward. \n","life, will be in my hands. Beware!â \n \n âI will keep thy secret, as I have his,â said Hester. \n \n âSwear it!â rejoined he. \n","âO, not so!ânot so!â continued Mr. Dimmesdale. âShe recognizes, \n believe me, the solemn miracle which God hath wrought, in the","âYet some men bury their secrets thus,â observed the calm physician. \n \n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to","Bellingham, for the last few moments, had kept an anxious eye upon \n him. He now left his own place in the procession, and advanced to give \n assistance; judging, from Mr. Dimmesdale's aspect, that he must","At the moment when the Reverend Mr. Dimmesdale thus communed with \n himself, and struck his forehead with his hand, old Mistress Hibbins, \n the reputed witch-lady, is said to have been passing by. She made a","years past! And thou, Arthur Dimmesdale, dost thou yet live?â \n \n It was no wonder that they thus questioned one another's actual and \n bodily existence, and even doubted of their own. So strangely did they","Dimmesdale. âYe have both been here before, but I was not with you. \n Come up hither once again, and we will stand all three together!â \n \n She silently ascended the steps, and stood on the platform, holding","And she took the oath. \n \n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \n hereafter to be named, âI leave thee alone; alone with thy infant, and","Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \n \n After a brief pause, the physician turned away. \n \n But, with what a wild look of wonder, joy, and horror! With what a","âShe will not speak!â murmured Mr. Dimmesdale, who, leaning over the \n balcony, with his hand upon his heart, had awaited the result of his \n appeal. He now drew back, with a long respiration. âWondrous strength","passing from one apartment to the other, and bestowing a mutual and \n not incurious inspection into one another's business. \n \n And the Reverend Arthur Dimmesdale's best discerning friends, as we","I achieve this cure!â \n \n âI thank you from my heart, most watchful friend,â said the Reverend \n Mr. Dimmesdale, with a solemn smile. âI thank you, and can but requite"],["âwho, be her demerits what they may, hath none of that mystery of \n hidden sinfulness which you deem so grievous to be borne. Is Hester \n Prynne the less miserable, think you, for that scarlet letter on her","by the beadle, and attended by an irregular procession of \n stern-browed men and unkindly visaged women, Hester Prynne set forth \n towards the place appointed for her punishment. A crowd of eager and","the rude market-place of the Puritan settlement, with all the \n towns-people assembled and levelling their stern regards at Hester \n Prynne,âyes, at herself,âwho stood on the scaffold of the pillory,","society that was indicated by itâon the mind of Hester Prynne \n herself, was powerful and peculiar. All the light and graceful foliage \n of her character had been withered up by this red-hot brand, and had","strove in vain to do so. Hester would not set him free, lest he should \n look her sternly in the face. All the world had frowned on her,âfor \n seven long years had it frowned upon this lonely woman,âand still she","Most of the spectators testified to having seen, on the breast of the \n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \n Hester Prynneâimprinted in the flesh. As regarded its origin, there","at this man, would have hurled him from his pulpit into a \n dungeon,âthence, peradventure, to the gallows!â \n \n âIt had been better so!â said Hester Prynne.","which continually betokened that she had been born amiss,âthe \n effluence of her mother's lawless passion,âand often impelled Hester \n to ask, in bitterness of heart, whether it were for ill or good that","the way of punishment for actual offences, but as a wholesome regimen \n for the growth and promotion of all childish virtues. Hester Prynne, \n nevertheless, the lonely mother of this one child, ran little risk of","âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \n \n âEven so!â she answered. âIn such life as has been mine these seven","âBe it sin or no,â said Hester Prynne, bitterly, as she still gazed \n after him, âI hate the man!â \n \n She upbraided herself for the sentiment, but could not overcome or","I cannot forgive thee!â \n \n âThou shalt forgive me!â cried Hester, flinging herself on the fallen \n leaves beside him. âLet God punish! Thou shalt forgive!â \n","of an unhealed wound, he might have been supposed safer within the \n line of virtue than if he had never sinned at all. \n \n Thus, we seem to see that, as regarded Hester Prynne, the whole seven","me of Hester Prynne's,âhave I her name rightly?âof this woman's \n offences, and what has brought her to yonder scaffold?â \n","common nature,âwhatever be the delinquencies of the individual,âno \n outrage more flagrant than to forbid the culprit to hide his face for \n shame; as it was the essence of this punishment to do. In Hester","shame may still blaze upon thy bosom?â As he spoke, he laid his long \n forefinger on the scarlet letter, which forthwith seemed to scorch \n into Hester's breast, as if it had been red-hot. He noticed her","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little"," HESTER AT HER NEEDLE. \n \n \n Hester Prynne's term of confinement was now at an end. Her prison-door \n was thrown open, and she came forth into the sunshine, which, falling","centre of more remark and excitement, and was thus made to sear her \n breast more painfully, than at any time since the first day she put it \n on. \n \n While Hester stood in that magic circle of ignominy, where the cunning","which they will have imposed upon her as the warm reality. But Hester \n ought long ago to have done with this injustice. What did it betoken? \n Had seven long years, under the torture of the scarlet letter,"],["Most of the spectators testified to having seen, on the breast of the \n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \n Hester Prynneâimprinted in the flesh. As regarded its origin, there","they beheld her for the first time,âwas that SCARLET LETTER, so \n fantastically embroidered and illuminated upon her bosom. It had the \n effect of a spell, taking her out of the ordinary relations with","Hester, that wear the scarlet letter openly upon your bosom! Mine \n burns in secret! Thou little knowest what a relief it is, after the \n torment of a seven years' cheat, to look into an eye that recognizes","child's whole appearance, that it irresistibly and inevitably reminded \n the beholder of the token which Hester Prynne was doomed to wear upon \n her bosom. It was the scarlet letter in another form; the scarlet","sake of its gold-thread.â \n \n In all the seven bygone years, Hester Prynne had never before been \n false to the symbol on her bosom. It may be that it was the talisman","shame may still blaze upon thy bosom?â As he spoke, he laid his long \n forefinger on the scarlet letter, which forthwith seemed to scorch \n into Hester's breast, as if it had been red-hot. He noticed her","âwho, be her demerits what they may, hath none of that mystery of \n hidden sinfulness which you deem so grievous to be borne. Is Hester \n Prynne the less miserable, think you, for that scarlet letter on her","it,âresumed the symbol of which we have related so dark a tale. Never \n afterwards did it quit her bosom. But, in the lapse of the toilsome, \n thoughtful, and self-devoted years that made up Hester's life, the","heart, they have doomed Mistress Prynne to stand only a space of three \n hours on the platform of the pillory, and then and thereafter, for the \n remainder of her natural life, to wear a mark of shame upon her \n bosom.â \n","terrific legend. They averred, that the symbol was not mere scarlet \n cloth, tinged in an earthly dye-pot, but was red-hot with infernal \n fire, and could be seen glowing all alight, whenever Hester Prynne","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","âThou knowest,â said Hester,âfor, depressed as she was, she could not \n endure this last quiet stab at the token of her shame,ââthou knowest","âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \n \n âEven so!â she answered. âIn such life as has been mine these seven","society that was indicated by itâon the mind of Hester Prynne \n herself, was powerful and peculiar. All the light and graceful foliage \n of her character had been withered up by this red-hot brand, and had","embody their images of woman's frailty and sinful passion. Thus the \n young and pure would be taught to look at her, with the scarlet letter \n flaming on her breast,âat her, the child of honorable parents,âat","âLet us not look back,â answered Hester Prynne. âThe past is gone! \n Wherefore should we linger upon it now? See! With this symbol, I undo","as yet only half his victim, that the outward guise of purity was but \n a lie, and that, if truth were everywhere to be shown, a scarlet \n letter would blaze forth on many a bosom besides Hester Prynne's? Or,","The child turned her eyes to the point indicated; and there lay the \n scarlet letter, so close upon the margin of the stream, that the gold \n embroidery was reflected in it. \n \n âBring it hither!â said Hester.","where, long since, with all that dreary lapse of time between, Hester \n Prynne had encountered the world's ignominious stare. There stood \n Hester, holding little Pearl by the hand! And there was the scarlet","With these words, she advanced to the margin of the brook, took up the \n scarlet letter, and fastened it again into her bosom. Hopefully, but a \n moment ago, as Hester had spoken of drowning it in the deep sea, there"],["Under the appellation of Roger Chillingworth, the reader will \n remember, was hidden another name, which its former wearer had \n resolved should never more be spoken. It has been related, how, in the","little Pearl. \n \n âPearl! Little Pearl!â cried he after a moment's pause; then, \n suppressing his voice,ââHester! Hester Prynne! Are you there?â \n","her name more than once, in a loud and solemn tone, audible to the \n whole multitude. \n \n âHearken unto me, Hester Prynne!â said the voice. \n","In pursuance of this resolve, he took up his residence in the Puritan \n town, as Roger Chillingworth, without other introduction than the \n learning and intelligence of which he possessed more than a common \n measure. As his studies, at a previous period of his life, had made","âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \n \n âEven so!â she answered. âIn such life as has been mine these seven","his heterogeneous garb, he had endeavored to conceal or abate the \n peculiarity, it was sufficiently evident to Hester Prynne, that one of \n this man's shoulders rose higher than the other. Again, at the first","him hide himself in outward honor, if he may! Not the less he shall be \n mine!â \n \n âThy acts are like mercy,â said Hester, bewildered and appalled. âBut","âIt has avenged thee!â answered Hester Prynne. \n \n âI judged no less,â said the physician. âAnd now, what wouldst thou \n with me touching this man?â","âI must reveal the secret,â answered Hester, firmly. âHe must discern \n thee in thy true character. What may be the result, I know not. But \n this long debt of confidence, due from me to him, whose bane and ruin","âYes; it is Hester Prynne!â she replied, in a tone of surprise; and \n the minister heard her footsteps approaching from the sidewalk, along \n which she had been passing. âIt is I, and my little Pearl.â","effect as if the street and all things else were at once annihilated. \n \n âWho is that man, Hester?â gasped Mr. Dimmesdale, overcome with","save me! But, now, it is all falsehood!âall emptiness!âall death!â \n \n Hester Prynne looked into his face, but hesitated to speak. Yet,","to treat with her as the man whom she had most deeply and irreparably \n injured. \n \n âHester,â said he, âI ask not wherefore, nor how, thou hast fallen","false to God and man, might be, for one moment, true! \n \n He started at a thought that suddenly occurred to him. \n \n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows","point. The old man, on the other hand, had brought himself nearer to \n her level, or perhaps below it, by the revenge which he had stooped \n for. \n \n In fine, Hester Prynne resolved to meet her former husband, and do","calmness, though in the utmost consternation. âThey have long dwelt \n together.â \n \n Nothing further passed between the mariner and Hester Prynne. But, at","At his arrival in the market-place, and some time before she saw him, \n the stranger had bent his eyes on Hester Prynne. It was carelessly, at \n first, like a man chiefly accustomed to look inward, and to whom","Hester Prynne was now fully sensible of the deep injury for which she \n was responsible to this unhappy man, in permitting him to lie for so \n many years, or, indeed, for a single moment, at the mercy of one whose","And she took the oath. \n \n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \n hereafter to be named, âI leave thee alone; alone with thy infant, and","close to little Pearl. The shadow of the curtain fell on Hester \n Prynne, and partially concealed her. \n \n âWhat have we here?â said Governor Bellingham, looking with surprise"],["âThese men deceive themselves,â said Roger Chillingworth, with \n somewhat more emphasis than usual, and making a slight gesture with \n his forefinger. âThey fear to take up the shame that rightfully","âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \n the topic, and were glad of an opportunity to discuss it with the only \n person of whom he could make a confidant. âNot to hide the truth,","and disclosed the earth, with an awfulness that admonished Hester \n Prynne and the clergyman of the day of judgment, then might Roger \n Chillingworth have passed with them for the arch-fiend, standing there","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","âI have left thee to the scarlet letter,â replied Roger Chillingworth. \n âIf that have not avenged me, I can do no more!â \n \n He laid his finger on it, with a smile. \n","false to God and man, might be, for one moment, true! \n \n He started at a thought that suddenly occurred to him. \n \n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows","Roger Chillingworth, however, was inclined to be hardly, if at all, \n less satisfied with the aspect of affairs, which Providenceâusing the \n avenger and his victim for its own purposes, and, perchance, pardoning","taken a brief and reluctant part in the scene of Hester Prynne's \n disgrace; and, in close companionship with him, old Roger \n Chillingworth, a person of great skill in physic, who, for two or","âWhat evil have I done the man?â asked Roger Chillingworth again. âI \n tell thee, Hester Prynne, the richest fee that ever physician earned \n from monarch could not have bought such care as I have wasted on this","Hester Prynne was now fully sensible of the deep injury for which she \n was responsible to this unhappy man, in permitting him to lie for so \n many years, or, indeed, for a single moment, at the mercy of one whose","âIt has avenged thee!â answered Hester Prynne. \n \n âI judged no less,â said the physician. âAnd now, what wouldst thou \n with me touching this man?â","âI have greatly wronged thee,â murmured Hester. \n \n âWe have wronged each other,â answered he. âMine was the first wrong,","âI must reveal the secret,â answered Hester, firmly. âHe must discern \n thee in thy true character. What may be the result, I know not. But \n this long debt of confidence, due from me to him, whose bane and ruin","with a kind of fierceness, on old Roger Chillingworth. âNot to thee! \n But if it be the soul's disease, then do I commit myself to the one \n Physician of the soul! He, if it stand with his good pleasure, can","âYou would tell me, then, that I know all?â said Roger Chillingworth, \n deliberately, and fixing an eye, bright with intense and concentrated \n intelligence, on the minister's face. âBe it so! But, again! He to","at this man, would have hurled him from his pulpit into a \n dungeon,âthence, peradventure, to the gallows!â \n \n âIt had been better so!â said Hester Prynne.","âBe it sin or no,â said Hester Prynne, bitterly, as she still gazed \n after him, âI hate the man!â \n \n She upbraided herself for the sentiment, but could not overcome or","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little"," \n \n XV. \n \n HESTER AND PEARL. \n \n \n So Roger Chillingworthâa deformed old figure, with a face that","And she took the oath. \n \n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \n hereafter to be named, âI leave thee alone; alone with thy infant, and"],["Now Pearl knew well enough who made her; for Hester Prynne, the \n daughter of a pious home, very soon after her talk with the child \n about her Heavenly Father, had begun to inform her of those truths","that my Pearl?â Yet she knew that there was love in the child's heart, \n although it mostly revealed itself in passion, and hardly twice in her \n lifetime had been softened by such gentleness as now. The","hand in a vain attempt to pat little Pearl on the cheek. âBut where is \n this mother of thine? Ah! I see,â he added; and, turning to Governor \n Bellingham, whispered, âThis is the selfsame child of whom we have","dearly, and thou her. She is not far off. I will call her! Pearl! \n Pearl!â \n \n âI see the child,â observed the minister. âYonder she is, standing in","little Pearl! I hear voices in the garden. The Governor is coming, and \n gentlemen along with him!â \n \n In fact, adown the vista of the garden avenue a number of persons were \n seen approaching towards the house. Pearl, in utter scorn of her","The old minister seated himself in an arm-chair, and made an effort to \n draw Pearl betwixt his knees. But the child, unaccustomed to the touch \n or familiarity of any but her mother, escaped through the open window,","entreat his blessing! He loves thee, my little Pearl, and loves thy \n mother too. Wilt thou not love him? Come! he longs to greet thee!â \n","âHush, Pearl, hush! Thou must not talk so!â answered the mother, \n suppressing a groan. âHe sent us all into this world. He sent even me,","of personage, and usually a vast favorite with children,âessayed, \n however, to proceed with the examination. \n \n âPearl,â said he, with great solemnity, âthou must take heed to","judgment-seat, thy mother, and thou, and I must stand together. But \n the daylight of this world shall not see our meeting!â \n \n Pearl laughed again. \n","both here and in England, to little Pearl, the daughter of Hester \n Prynne. \n \n So Pearlâthe elf-child,âthe demon offspring, as some people, up to","âNay; not so, my little Pearl,â answered the minister; for, with the \n new energy of the moment, all the dread of public exposure, that had \n so long been the anguish of his life, had returned upon him; and he","so imagined itâfrom the unsearchable abyss of her black eyes. \n \n âChild, what art thou?â cried the mother. \n \n âO, I am your little Pearl!â answered the child. \n","made investigations a century later, believed,âand one of his recent \n successors in office, moreover, faithfully believes,âthat Pearl was \n not only alive, but married, and happy, and mindful of her mother, and","mother. âI remember it; and so shall little Pearl. Fear nothing! She \n may be strange and shy at first, but will soon learn to love thee!â \n \n By this time Pearl had reached the margin of the brook, and stood on","tortured, though less vividly, by the same illusion. \n \n In the afternoon of a certain summer's day, after Pearl grew big \n enough to run about, she amused herself with gathering handfuls of","âHester,â said he, âcome hither! Come, my little Pearl!â \n \n It was a ghastly look with which he regarded them; but there was","intelligence, that her mother half doubted whether she were not \n acquainted with the secret spell of her existence, and might not now \n reveal herself. \n \n âYes; I am little Pearl!â repeated the child, continuing her antics. \n","âThou art not my child! Thou art no Pearl of mine!â said the mother, \n half playfully; for it was often the case that a sportive impulse came","âThou must know Pearl!â said she. âOur little Pearl! Thou hast seen \n her,âyes, I know it!âbut thou wilt see her now with other eyes. She"],["life, will be in my hands. Beware!â \n \n âI will keep thy secret, as I have his,â said Hester. \n \n âSwear it!â rejoined he. \n","terror. âI shiver at him! Dost thou know the man? I hate him, Hester!â \n \n She remembered her oath, and was silent. \n","grown involuntary with him. \n \n âThink for me, Hester! Thou art strong. Resolve for me!â \n \n âThou must dwell no longer with this man,â said Hester, slowly and","âAha! and is it Mistress Hester that has a word for old Roger \n Chillingworth?â answered he, raising himself from his stooping \n posture. âWith all my heart! Why, Mistress, I hear good tidings of you","And she took the oath. \n \n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \n hereafter to be named, âI leave thee alone; alone with thy infant, and","âI must reveal the secret,â answered Hester, firmly. âHe must discern \n thee in thy true character. What may be the result, I know not. But \n this long debt of confidence, due from me to him, whose bane and ruin","âHush, Hester, hush!â said he, with tremulous solemnity. âThe law we \n broke!âthe sin here so awfully revealed!âlet these alone be in thy","âPeace, Hester, peace!â replied the old man, with gloomy sternness. \n âIt is not granted me to pardon. I have no such power as thou tellest","Mistress Hester, my thoughts happen just now to be busy with the \n gentleman. So speak freely; and I will make answer.â \n \n âWhen we last spake together,â said Hester, ânow seven years ago, it","Hester Prynne fastened on his own, and saw that she appeared to \n recognize him, he slowly and calmly raised his finger, made a gesture \n with it in the air, and laid it on his lips. \n","was your pleasure to extort a promise of secrecy, as touching the \n former relation betwixt yourself and me. As the life and good fame of \n yonder man were in your hands, there seemed no choice to me, save to","time when her heart knew no better, he had persuaded her to fancy \n herself happy by his side. \n \n âYes, I hate him!â repeated Hester, more bitterly than before. âHe","âThou wilt go!â said Hester, calmly, as he met her glance. \n \n The decision once made, a glow of strange enjoyment threw its \n flickering brightness over the trouble of his breast. It was the","âHester Prynne,â said he, leaning over the balcony and looking down \n steadfastly into her eyes, âthou hearest what this good man says, and","Hester absolutely refuseth to speak, and the magistrates have laid \n their heads together in vain. Peradventure the guilty one stands \n looking on at this sad spectacle, unknown of man, and forgetting that \n God sees him.â \n","âA story, child!â said Hester. âAnd about what?â \n \n âO, a story about the Black Man,â answered Pearl, taking hold of her","with me to my eternal state, rather than that you should put your \n skill to the proof in my behalf.â \n \n âAh,â replied Roger Chillingworth, with that quietness which, whether","âWhy dost thou smile so at me?â inquired Hester, troubled at the \n expression of his eyes. âArt thou like the Black Man that haunts the \n forest round about us? Hast thou enticed me into a bond that will","your purpose to reveal his true character. Will he continue, then, to \n keep our secret? What will now be the course of his revenge?â \n \n âThere is a strange secrecy in his nature,â replied Hester,","âWere it God's will,â said the Reverend Mr. Dimmesdale, when, in \n fulfilment of this pledge, he requested old Roger Chillingworth's"],["close to little Pearl. The shadow of the curtain fell on Hester \n Prynne, and partially concealed her. \n \n âWhat have we here?â said Governor Bellingham, looking with surprise","hand in a vain attempt to pat little Pearl on the cheek. âBut where is \n this mother of thine? Ah! I see,â he added; and, turning to Governor \n Bellingham, whispered, âThis is the selfsame child of whom we have","âCome thou and take it up!â answered Pearl. \n \n âWas ever such a child!â observed Hester, aside to the minister. âO, I","Now Pearl knew well enough who made her; for Hester Prynne, the \n daughter of a pious home, very soon after her talk with the child \n about her Heavenly Father, had begun to inform her of those truths","thou do for the child, in this kind?â \n \n âI can teach my little Pearl what I have learned from this!â answered \n Hester Prynne, laying her finger on the red token. \n","fairer prospect of these advantages, by being transferred to wiser and \n better guardianship than Hester Prynne's. Among those who promoted the \n design, Governor Bellingham was said to be one of the most busy. It","âYes; now I will!â answered the child, bounding across the brook, and \n clasping Hester in her arms. âNow thou art my mother indeed! And I am \n thy little Pearl!â \n","Christian man hath a title to show a father's kindness towards the \n poor, deserted babe.â \n \n The affair being so satisfactorily concluded, Hester Prynne, with","âA story, child!â said Hester. âAnd about what?â \n \n âO, a story about the Black Man,â answered Pearl, taking hold of her","âIs the worshipful Governor Bellingham within?â inquired Hester. \n \n âYea, forsooth,â replied the bond-servant, staring with wide-open eyes","âLet her see nothing strangeâno passion nor eagernessâin thy way of \n accosting her,â whispered Hester. âOur Pearl is a fitful and fantastic","âGod gave her into my keeping,â repeated Hester Prynne, raising her \n voice almost to a shriek. âI will not give her up!ââAnd here, by a","held speech together; and behold here the unhappy woman, Hester \n Prynne, her mother!â \n \n âSayest thou so?â cried the Governor. âNay, we might have judged that"," \n \n VII. \n \n THE GOVERNOR'S HALL. \n \n \n \n \n Hester Prynne went, one day, to the mansion of Governor Bellingham,"," THE CHILD AT THE BROOK-SIDE. \n \n \n âThou wilt love her dearly,â repeated Hester Prynne, as she and the \n minister sat watching little Pearl. âDost thou not think her","Hester caught hold of Pearl, and drew her forcibly into her arms, \n confronting the old Puritan magistrate with almost a fierce \n expression. Alone in the world, cast off by it, and with this sole","little Pearl. \n \n âPearl! Little Pearl!â cried he after a moment's pause; then, \n suppressing his voice,ââHester! Hester Prynne! Are you there?â \n","mother, too, Pearl's errand as a messenger of anguish was all \n fulfilled. \n \n âHester,â said the clergyman, âfarewell!â \n","and am now going homeward to my dwelling.â \n \n âCome up hither, Hester, thou and little Pearl,â said the Reverend Mr.","that she would most joyfully have entertained that sad and lonely \n mother at her fireside. \n \n But there was a more real life for Hester Prynne here, in New England, \n than in that unknown region where Pearl had found a home. Here had"],["In pursuance of this resolve, he took up his residence in the Puritan \n town, as Roger Chillingworth, without other introduction than the \n learning and intelligence of which he possessed more than a common \n measure. As his studies, at a previous period of his life, had made","All this time, Roger Chillingworth was looking at the minister with \n the grave and intent regard of a physician towards his patient. But, \n in spite of this outward show, the latter was almost convinced of the","intense, that the bodily infirmity would be likely to have its \n groundwork there. So Roger Chillingworthâthe man of skill, the kind \n and friendly physicianâstrove to go deep into his patient's bosom,","rising from his chair. âYou deal not, I take it, in medicine for the \n soul!â \n \n âThus, a sickness,â continued Roger Chillingworth, going on, in an","âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \n the topic, and were glad of an opportunity to discuss it with the only \n person of whom he could make a confidant. âNot to hide the truth,","Under the appellation of Roger Chillingworth, the reader will \n remember, was hidden another name, which its former wearer had \n resolved should never more be spoken. It has been related, how, in the","Roger Chillingworth possessed all, or most, of the attributes above \n enumerated. Nevertheless, time went on; a kind of intimacy, as we have \n said, grew up between these two cultivated minds, which had as wide a","Old Roger Chillingworth, throughout life, had been calm in \n temperament, kindly, though not of warm affections, but ever, and in \n all his relations with the world, a pure and upright man. He had begun","well-skilled physician, whether, in good sooth, he deems me to have \n profited by his kindly care of this weak frame of mine?â \n \n Before Roger Chillingworth could answer, they heard the clear, wild","Such was the young clergyman's condition, and so imminent the prospect \n that his dawning light would be extinguished, all untimely, when Roger \n Chillingworth made his advent to the town. His first entry on the","been valuable, in other mattersâaffirmed that Roger Chillingworth's \n aspect had undergone a remarkable change while he had dwelt in town, \n and especially since his abode with Mr. Dimmesdale. At first, his","âThese men deceive themselves,â said Roger Chillingworth, with \n somewhat more emphasis than usual, and making a slight gesture with \n his forefinger. âThey fear to take up the shame that rightfully","taken a brief and reluctant part in the scene of Hester Prynne's \n disgrace; and, in close companionship with him, old Roger \n Chillingworth, a person of great skill in physic, who, for two or","continue the care, which, if not successful in restoring him to \n health, had, in all probability, been the means of prolonging his \n feeble existence to that hour. Roger Chillingworth readily assented, \n and went on with his medical supervision of the minister; doing his","[Illustration: The Minister and Leech] \n \n In this manner, the mysterious old Roger Chillingworth became the \n medical adviser of the Reverend Mr. Dimmesdale. As not only the \n disease interested the physician, but he was strongly moved to look","With a frantic gesture he rushed out of the room. \n \n âIt is as well to have made this step,â said Roger Chillingworth to \n himself, looking after the minister with a grave smile. âThere is","âYou would tell me, then, that I know all?â said Roger Chillingworth, \n deliberately, and fixing an eye, bright with intense and concentrated \n intelligence, on the minister's face. âBe it so! But, again! He to","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","with a kind of fierceness, on old Roger Chillingworth. âNot to thee! \n But if it be the soul's disease, then do I commit myself to the one \n Physician of the soul! He, if it stand with his good pleasure, can","Satan himself, or Satan's emissary, in the guise of old Roger \n Chillingworth. This diabolical agent had the Divine permission, for a \n season, to burrow into the clergyman's intimacy, and plot against his"],["never fairly been revealed to him. It was a strange reserve! \n \n After a time, at a hint from Roger Chillingworth, the friends of Mr. \n Dimmesdale effected an arrangement by which the two were lodged in the","[Illustration: The Minister and Leech] \n \n In this manner, the mysterious old Roger Chillingworth became the \n medical adviser of the Reverend Mr. Dimmesdale. As not only the \n disease interested the physician, but he was strongly moved to look","In pursuance of this resolve, he took up his residence in the Puritan \n town, as Roger Chillingworth, without other introduction than the \n learning and intelligence of which he possessed more than a common \n measure. As his studies, at a previous period of his life, had made"," THE MINISTER'S VIGIL. \n \n \n Walking in the shadow of a dream, as it were, and perhaps actually \n under the influence of a species of somnambulism, Mr. Dimmesdale","With a frantic gesture he rushed out of the room. \n \n âIt is as well to have made this step,â said Roger Chillingworth to \n himself, looking after the minister with a grave smile. âThere is","âI will go home with you,â said Mr. Dimmesdale. \n \n With a chill despondency, like one awaking, all nerveless, from an \n ugly dream, he yielded himself to the physician, and was led away. \n","Such was the young clergyman's condition, and so imminent the prospect \n that his dawning light would be extinguished, all untimely, when Roger \n Chillingworth made his advent to the town. His first entry on the","been valuable, in other mattersâaffirmed that Roger Chillingworth's \n aspect had undergone a remarkable change while he had dwelt in town, \n and especially since his abode with Mr. Dimmesdale. At first, his","to repentance, and to confession, as a proof and consequence thereof.â \n \n The directness of this appeal drew the eyes of the whole crowd upon \n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one","world to breathe in, while they talked together,âfor all these \n reasons, Hester never thought of meeting him in any narrower privacy \n than beneath the open sky. \n \n At last, while attending in a sick-chamber, whither the Reverend Mr.","Bellingham, for the last few moments, had kept an anxious eye upon \n him. He now left his own place in the procession, and advanced to give \n assistance; judging, from Mr. Dimmesdale's aspect, that he must","life had won him warmer affection than was accorded to any of his \n professional contemporaries. \n \n Behind the Governor and Mr. Wilson came two other guests: one the \n Reverend Arthur Dimmesdale, whom the reader may remember as having","faintly from a world which they had quitted,âI, your pastor, whom you \n so reverence and trust, am utterly a pollution and a lie!â \n \n More than once, Mr. Dimmesdale had gone into the pulpit, with a","passing from one apartment to the other, and bestowing a mutual and \n not incurious inspection into one another's business. \n \n And the Reverend Arthur Dimmesdale's best discerning friends, as we","All this time, Roger Chillingworth was looking at the minister with \n the grave and intent regard of a physician towards his patient. But, \n in spite of this outward show, the latter was almost convinced of the","region. By its aid, in all the subsequent relations betwixt him and \n Mr. Dimmesdale, not merely the external presence, but the very inmost \n soul, of the latter, seemed to be brought out before his eyes, so that","âPeople say,â said another, âthat the Reverend Master Dimmesdale, her \n godly pastor, takes it very grievously to heart that such a scandal \n should have come upon his congregation.â \n","continue the care, which, if not successful in restoring him to \n health, had, in all probability, been the means of prolonging his \n feeble existence to that hour. Roger Chillingworth readily assented, \n and went on with his medical supervision of the minister; doing his","immediately after Mr. Dimmesdale's death, in the appearance and \n demeanor of the old man known as Roger Chillingworth. All his strength \n and energyâall his vital and intellectual forceâseemed at once to","While thus suffering under bodily disease, and gnawed and tortured by \n some black trouble of the soul, and given over to the machinations of \n his deadliest enemy, the Reverend Mr. Dimmesdale had achieved a"],["spectators of the whole scene, and professed never once to have \n removed their eyes from the Reverend Mr. Dimmesdale, denied that there \n was any mark whatever on his breast, more than on a new-born infant's.","Most of the spectators testified to having seen, on the breast of the \n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \n Hester Prynneâimprinted in the flesh. As regarded its origin, there","âYet some men bury their secrets thus,â observed the calm physician. \n \n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to","hillock over his frame, no matter whether there were life in it or no. \n Death was too definite an object to be wished for, or avoided. \n \n To Hester's eye, the Reverend Mr. Dimmesdale exhibited no symptom of","he missed his heavenly kindred! Now, at the death-hour, he stands up \n before you! He bids you look again at Hester's scarlet letter! He \n tells you, that, with all its mysterious horror, it is but the shadow","before my sight. For, Hester, I am a dying man. So let me make haste \n to take my shame upon me!â \n \n Partly supported by Hester Prynne, and holding one hand of little","of his own servants, signed and sealed, so shy of owning to the bond \n as is the Reverend Mr. Dimmesdale, he hath a way of ordering matters \n so that the mark shall be disclosed in open daylight to the eyes of","To sum up the matter, it grew to be a widely diffused opinion, that \n the Reverend Arthur Dimmesdale, like many other personages of especial \n sanctity, in all ages of the Christian world, was haunted either by","Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \n \n After a brief pause, the physician turned away. \n \n But, with what a wild look of wonder, joy, and horror! With what a","âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \n letting the lurid fire of his heart blaze out before her eyes. âBetter \n had he died at once! Never did mortal suffer what this man has","to repentance, and to confession, as a proof and consequence thereof.â \n \n The directness of this appeal drew the eyes of the whole crowd upon \n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one","Bellingham, for the last few moments, had kept an anxious eye upon \n him. He now left his own place in the procession, and advanced to give \n assistance; judging, from Mr. Dimmesdale's aspect, that he must","visages around the scaffold. Whom would they discern there, with the \n red eastern light upon his brow? Whom, but the Reverend Arthur \n Dimmesdale, half frozen to death, overwhelmed with shame, and standing","faintly from a world which they had quitted,âI, your pastor, whom you \n so reverence and trust, am utterly a pollution and a lie!â \n \n More than once, Mr. Dimmesdale had gone into the pulpit, with a","âO Hester!â cried Arthur Dimmesdale, in whose eyes a fitful light, \n kindled by her enthusiasm, flashed up and died away, âthou tellest of","immediately after Mr. Dimmesdale's death, in the appearance and \n demeanor of the old man known as Roger Chillingworth. All his strength \n and energyâall his vital and intellectual forceâseemed at once to","shape as his guilty imagination gave it; or, at least, with so little \n definiteness, that another's guilt might have seen another symbol in \n it. \n \n There was a singular circumstance that characterized Mr. Dimmesdale's","While thus suffering under bodily disease, and gnawed and tortured by \n some black trouble of the soul, and given over to the machinations of \n his deadliest enemy, the Reverend Mr. Dimmesdale had achieved a","were various explanations, all of which must necessarily have been \n conjectural. Some affirmed that the Reverend Mr. Dimmesdale, on the \n very day when Hester Prynne first wore her ignominious badge, had","own. We felt it so! We said so to each other! Hast thou forgotten it?â \n \n âHush, Hester!â said Arthur Dimmesdale, rising from the ground. âNo; I"]],"string":"[\n [\n \"Most of the spectators testified to having seen, on the breast of the \\n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \\n Hester Prynneâimprinted in the flesh. As regarded its origin, there\",\n \"child's whole appearance, that it irresistibly and inevitably reminded \\n the beholder of the token which Hester Prynne was doomed to wear upon \\n her bosom. It was the scarlet letter in another form; the scarlet\",\n \"Hester, that wear the scarlet letter openly upon your bosom! Mine \\n burns in secret! Thou little knowest what a relief it is, after the \\n torment of a seven years' cheat, to look into an eye that recognizes\",\n \"they beheld her for the first time,âwas that SCARLET LETTER, so \\n fantastically embroidered and illuminated upon her bosom. It had the \\n effect of a spell, taking her out of the ordinary relations with\",\n \"society that was indicated by itâon the mind of Hester Prynne \\n herself, was powerful and peculiar. All the light and graceful foliage \\n of her character had been withered up by this red-hot brand, and had\",\n \"âwho, be her demerits what they may, hath none of that mystery of \\n hidden sinfulness which you deem so grievous to be borne. Is Hester \\n Prynne the less miserable, think you, for that scarlet letter on her\",\n \"heart, they have doomed Mistress Prynne to stand only a space of three \\n hours on the platform of the pillory, and then and thereafter, for the \\n remainder of her natural life, to wear a mark of shame upon her \\n bosom.â \\n\",\n \"shame may still blaze upon thy bosom?â As he spoke, he laid his long \\n forefinger on the scarlet letter, which forthwith seemed to scorch \\n into Hester's breast, as if it had been red-hot. He noticed her\",\n \"sake of its gold-thread.â \\n \\n In all the seven bygone years, Hester Prynne had never before been \\n false to the symbol on her bosom. It may be that it was the talisman\",\n \"âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \\n \\n âEven so!â she answered. âIn such life as has been mine these seven\",\n \"forest, and entered this settlement of Christian men, the very first \\n object to meet my eyes would be thyself, Hester Prynne, standing up, a \\n statue of ignominy, before the people. Nay, from the moment when we\",\n \"close of his Election Sermon. Meanwhile Hester Prynne was standing \\n beside the scaffold of the pillory, with the scarlet letter still \\n burning on her breast! \\n \\n Now was heard again the clangor of the music, and the measured tramp\",\n \"centre of more remark and excitement, and was thus made to sear her \\n breast more painfully, than at any time since the first day she put it \\n on. \\n \\n While Hester stood in that magic circle of ignominy, where the cunning\",\n \"âThou knowest,â said Hester,âfor, depressed as she was, she could not \\n endure this last quiet stab at the token of her shame,ââthou knowest\",\n \"thou do for the child, in this kind?â \\n \\n âI can teach my little Pearl what I have learned from this!â answered \\n Hester Prynne, laying her finger on the red token. \\n\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"âI must reveal the secret,â answered Hester, firmly. âHe must discern \\n thee in thy true character. What may be the result, I know not. But \\n this long debt of confidence, due from me to him, whose bane and ruin\",\n \"which they will have imposed upon her as the warm reality. But Hester \\n ought long ago to have done with this injustice. What did it betoken? \\n Had seven long years, under the torture of the scarlet letter,\",\n \"as yet only half his victim, that the outward guise of purity was but \\n a lie, and that, if truth were everywhere to be shown, a scarlet \\n letter would blaze forth on many a bosom besides Hester Prynne's? Or,\",\n \"âMother,â said she, âwhat does the scarlet letter mean?â \\n \\n And the next morning, the first indication the child gave of being \\n awake was by popping up her head from the pillow, and making that\"\n ],\n [\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"to repentance, and to confession, as a proof and consequence thereof.â \\n \\n The directness of this appeal drew the eyes of the whole crowd upon \\n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one\",\n \"thine own, in whose charge hers is. Exhort her to confess the truth!â \\n \\n The Reverend Mr. Dimmesdale bent his head, in silent prayer, as it \\n seemed, and then came forward. \\n\",\n \"âYet some men bury their secrets thus,â observed the calm physician. \\n \\n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to\",\n \"faintly from a world which they had quitted,âI, your pastor, whom you \\n so reverence and trust, am utterly a pollution and a lie!â \\n \\n More than once, Mr. Dimmesdale had gone into the pulpit, with a\",\n \"Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \\n \\n After a brief pause, the physician turned away. \\n \\n But, with what a wild look of wonder, joy, and horror! With what a\",\n \"Bellingham, for the last few moments, had kept an anxious eye upon \\n him. He now left his own place in the procession, and advanced to give \\n assistance; judging, from Mr. Dimmesdale's aspect, that he must\",\n \"While thus suffering under bodily disease, and gnawed and tortured by \\n some black trouble of the soul, and given over to the machinations of \\n his deadliest enemy, the Reverend Mr. Dimmesdale had achieved a\",\n \"she would gladly have lain down on the forest-leaves, and died there, \\n at Arthur Dimmesdale's feet. \\n \\n âO Arthur,â cried she, âforgive me! In all things else, I have striven\",\n \"the agony of heaven-defying guilt and vain repentance. \\n \\n And thus, while standing on the scaffold, in this vain show of \\n expiation, Mr. Dimmesdale was overcome with a great horror of mind, as\",\n \"it forth. What say you to it, once again, Brother Dimmesdale? Must it \\n be thou, or I, that shall deal with this poor sinner's soul?â \\n \\n There was a murmur among the dignified and reverend occupants of the\",\n \"âAnd I!âhow am I to live longer, breathing the same air with this \\n deadly enemy?â exclaimed Arthur Dimmesdale, shrinking within himself, \\n and pressing his hand nervously against his heart,âa gesture that had\",\n \"better to confess during his lifetime.â \\n \\n âPerchance,â said Mr. Dimmesdale, âhe earnestly desired it, but could \\n not.â \\n\",\n \"âI will go home with you,â said Mr. Dimmesdale. \\n \\n With a chill despondency, like one awaking, all nerveless, from an \\n ugly dream, he yielded himself to the physician, and was led away. \\n\",\n \"âA good evening to you, venerable Father Wilson! Come up hither, I \\n pray you, and pass a pleasant hour with me!â \\n \\n Good heavens! Had Mr. Dimmesdale actually spoken? For one instant, he\",\n \"of his own servants, signed and sealed, so shy of owning to the bond \\n as is the Reverend Mr. Dimmesdale, he hath a way of ordering matters \\n so that the mark shall be disclosed in open daylight to the eyes of\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"doorstep. The Reverend Mr. Dimmesdale noted all these minute \\n particulars, even while firmly convinced that the doom of his \\n existence was stealing onward, in the footsteps which he now heard;\",\n \"Dimmesdale. âYe have both been here before, but I was not with you. \\n Come up hither once again, and we will stand all three together!â \\n \\n She silently ascended the steps, and stood on the platform, holding\",\n \"To sum up the matter, it grew to be a widely diffused opinion, that \\n the Reverend Arthur Dimmesdale, like many other personages of especial \\n sanctity, in all ages of the Christian world, was haunted either by\"\n ],\n [\n \"heart, they have doomed Mistress Prynne to stand only a space of three \\n hours on the platform of the pillory, and then and thereafter, for the \\n remainder of her natural life, to wear a mark of shame upon her \\n bosom.â \\n\",\n \"reached the spot where, now so long since, Hester Prynne had lived \\n through her first hours of public ignominy. The same platform or \\n scaffold, black and weather-stained with the storm or sunshine of\",\n \"During all this time, Hester stood, statue-like, at the foot of the \\n scaffold. If the minister's voice had not kept her there, there would \\n nevertheless have been an inevitable magnetism in that spot, whence\",\n \"the rude market-place of the Puritan settlement, with all the \\n towns-people assembled and levelling their stern regards at Hester \\n Prynne,âyes, at herself,âwho stood on the scaffold of the pillory,\",\n \"centre of more remark and excitement, and was thus made to sear her \\n breast more painfully, than at any time since the first day she put it \\n on. \\n \\n While Hester stood in that magic circle of ignominy, where the cunning\",\n \"close of his Election Sermon. Meanwhile Hester Prynne was standing \\n beside the scaffold of the pillory, with the scarlet letter still \\n burning on her breast! \\n \\n Now was heard again the clangor of the music, and the measured tramp\",\n \"judgment which Providence seemed about to work. They beheld the \\n minister, leaning on Hester's shoulder, and supported by her arm \\n around him, approach the scaffold, and ascend its steps; while still\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"torture, but chiefly by the pang that rankles after it. With almost a \\n serene deportment, therefore, Hester Prynne passed through this \\n portion of her ordeal, and came to a sort of scaffold, at the western\",\n \"stood, with a flush of triumph in his face, as one who, in the \\n crisis of acutest pain, had won a victory. Then, down he sank upon the \\n scaffold! Hester partly raised him, and supported his head against her\",\n \"her name more than once, in a loud and solemn tone, audible to the \\n whole multitude. \\n \\n âHearken unto me, Hester Prynne!â said the voice. \\n\",\n \"forest, and entered this settlement of Christian men, the very first \\n object to meet my eyes would be thyself, Hester Prynne, standing up, a \\n statue of ignominy, before the people. Nay, from the moment when we\",\n \"strove in vain to do so. Hester would not set him free, lest he should \\n look her sternly in the face. All the world had frowned on her,âfor \\n seven long years had it frowned upon this lonely woman,âand still she\",\n \"shame may still blaze upon thy bosom?â As he spoke, he laid his long \\n forefinger on the scarlet letter, which forthwith seemed to scorch \\n into Hester's breast, as if it had been red-hot. He noticed her\",\n \"heard commencing his discourse. An irresistible feeling kept Hester \\n near the spot. As the sacred edifice was too much thronged to admit \\n another auditor, she took up her position close beside the scaffold of\",\n \"which they will have imposed upon her as the warm reality. But Hester \\n ought long ago to have done with this injustice. What did it betoken? \\n Had seven long years, under the torture of the scarlet letter,\",\n \"by the beadle, and attended by an irregular procession of \\n stern-browed men and unkindly visaged women, Hester Prynne set forth \\n towards the place appointed for her punishment. A crowd of eager and\",\n \"from the flames of the infernal pit. Hester Prynne, meanwhile, kept \\n her place upon the pedestal of shame, with glazed eyes, and an air of \\n weary indifference. She had borne, that morning, all that nature could\",\n \"Most of the spectators testified to having seen, on the breast of the \\n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \\n Hester Prynneâimprinted in the flesh. As regarded its origin, there\",\n \"they beheld her for the first time,âwas that SCARLET LETTER, so \\n fantastically embroidered and illuminated upon her bosom. It had the \\n effect of a spell, taking her out of the ordinary relations with\"\n ],\n [\n \"In pursuance of this resolve, he took up his residence in the Puritan \\n town, as Roger Chillingworth, without other introduction than the \\n learning and intelligence of which he possessed more than a common \\n measure. As his studies, at a previous period of his life, had made\",\n \"All this time, Roger Chillingworth was looking at the minister with \\n the grave and intent regard of a physician towards his patient. But, \\n in spite of this outward show, the latter was almost convinced of the\",\n \"rising from his chair. âYou deal not, I take it, in medicine for the \\n soul!â \\n \\n âThus, a sickness,â continued Roger Chillingworth, going on, in an\",\n \"intense, that the bodily infirmity would be likely to have its \\n groundwork there. So Roger Chillingworthâthe man of skill, the kind \\n and friendly physicianâstrove to go deep into his patient's bosom,\",\n \"well-skilled physician, whether, in good sooth, he deems me to have \\n profited by his kindly care of this weak frame of mine?â \\n \\n Before Roger Chillingworth could answer, they heard the clear, wild\",\n \"Roger Chillingworth possessed all, or most, of the attributes above \\n enumerated. Nevertheless, time went on; a kind of intimacy, as we have \\n said, grew up between these two cultivated minds, which had as wide a\",\n \"Under the appellation of Roger Chillingworth, the reader will \\n remember, was hidden another name, which its former wearer had \\n resolved should never more be spoken. It has been related, how, in the\",\n \"âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \\n the topic, and were glad of an opportunity to discuss it with the only \\n person of whom he could make a confidant. âNot to hide the truth,\",\n \"continue the care, which, if not successful in restoring him to \\n health, had, in all probability, been the means of prolonging his \\n feeble existence to that hour. Roger Chillingworth readily assented, \\n and went on with his medical supervision of the minister; doing his\",\n \"Such was the young clergyman's condition, and so imminent the prospect \\n that his dawning light would be extinguished, all untimely, when Roger \\n Chillingworth made his advent to the town. His first entry on the\",\n \"With a frantic gesture he rushed out of the room. \\n \\n âIt is as well to have made this step,â said Roger Chillingworth to \\n himself, looking after the minister with a grave smile. âThere is\",\n \"[Illustration: The Minister and Leech] \\n \\n In this manner, the mysterious old Roger Chillingworth became the \\n medical adviser of the Reverend Mr. Dimmesdale. As not only the \\n disease interested the physician, but he was strongly moved to look\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"Satan himself, or Satan's emissary, in the guise of old Roger \\n Chillingworth. This diabolical agent had the Divine permission, for a \\n season, to burrow into the clergyman's intimacy, and plot against his\",\n \"noble art with the daily and habitual flourish of a razor. To such a \\n professional body Roger Chillingworth was a brilliant acquisition. He \\n soon manifested his familiarity with the ponderous and imposing \\n machinery of antique physic; in which every remedy contained a\",\n \"taken a brief and reluctant part in the scene of Hester Prynne's \\n disgrace; and, in close companionship with him, old Roger \\n Chillingworth, a person of great skill in physic, who, for two or\",\n \"âWhy, know you not,â cried the shipmaster, âthat this physician \\n hereâChillingworth, he calls himselfâis minded to try my cabin-fare\",\n \"Old Roger Chillingworth, throughout life, had been calm in \\n temperament, kindly, though not of warm affections, but ever, and in \\n all his relations with the world, a pure and upright man. He had begun\",\n \"with me to my eternal state, rather than that you should put your \\n skill to the proof in my behalf.â \\n \\n âAh,â replied Roger Chillingworth, with that quietness which, whether\",\n \"âThese men deceive themselves,â said Roger Chillingworth, with \\n somewhat more emphasis than usual, and making a slight gesture with \\n his forefinger. âThey fear to take up the shame that rightfully\"\n ],\n [\n \"[Illustration: The Minister and Leech] \\n \\n In this manner, the mysterious old Roger Chillingworth became the \\n medical adviser of the Reverend Mr. Dimmesdale. As not only the \\n disease interested the physician, but he was strongly moved to look\",\n \"intense, that the bodily infirmity would be likely to have its \\n groundwork there. So Roger Chillingworthâthe man of skill, the kind \\n and friendly physicianâstrove to go deep into his patient's bosom,\",\n \"All this time, Roger Chillingworth was looking at the minister with \\n the grave and intent regard of a physician towards his patient. But, \\n in spite of this outward show, the latter was almost convinced of the\",\n \"Wherever there is a heart and an intellect, the diseases of the \\n physical frame are tinged with the peculiarities of these. In Arthur \\n Dimmesdale, thought and imagination were so active, and sensibility so\",\n \"physician fancied must exist there, ever stole out of the minister's \\n consciousness into his companion's ear. The latter had his suspicions, \\n indeed, that even the nature of Mr. Dimmesdale's bodily disease had\",\n \"Dimmesdale's presence, but grew strongly evident as the physician \\n crossed the threshold. \\n \\n âA rare case!â he muttered. âI must needs look deeper into it. A\",\n \"While thus suffering under bodily disease, and gnawed and tortured by \\n some black trouble of the soul, and given over to the machinations of \\n his deadliest enemy, the Reverend Mr. Dimmesdale had achieved a\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"rising from his chair. âYou deal not, I take it, in medicine for the \\n soul!â \\n \\n âThus, a sickness,â continued Roger Chillingworth, going on, in an\",\n \"the Christian faith. About this period, however, the health of Mr. \\n Dimmesdale had evidently begun to fail. By those best acquainted with \\n his habits, the paleness of the young minister's cheek was accounted\",\n \"âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \\n the topic, and were glad of an opportunity to discuss it with the only \\n person of whom he could make a confidant. âNot to hide the truth,\",\n \"Such was the young clergyman's condition, and so imminent the prospect \\n that his dawning light would be extinguished, all untimely, when Roger \\n Chillingworth made his advent to the town. His first entry on the\",\n \"well-skilled physician, whether, in good sooth, he deems me to have \\n profited by his kindly care of this weak frame of mine?â \\n \\n Before Roger Chillingworth could answer, they heard the clear, wild\",\n \"eyes towards him, there the physician sat; his kind, watchful, \\n sympathizing, but never intrusive friend. \\n \\n Yet Mr. Dimmesdale would perhaps have seen this individual's character \\n more perfectly, if a certain morbidness, to which, sick hearts are\",\n \"continue the care, which, if not successful in restoring him to \\n health, had, in all probability, been the means of prolonging his \\n feeble existence to that hour. Roger Chillingworth readily assented, \\n and went on with his medical supervision of the minister; doing his\",\n \"âThese men deceive themselves,â said Roger Chillingworth, with \\n somewhat more emphasis than usual, and making a slight gesture with \\n his forefinger. âThey fear to take up the shame that rightfully\",\n \"immediately after Mr. Dimmesdale's death, in the appearance and \\n demeanor of the old man known as Roger Chillingworth. All his strength \\n and energyâall his vital and intellectual forceâseemed at once to\",\n \"never fairly been revealed to him. It was a strange reserve! \\n \\n After a time, at a hint from Roger Chillingworth, the friends of Mr. \\n Dimmesdale effected an arrangement by which the two were lodged in the\",\n \"Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \\n \\n After a brief pause, the physician turned away. \\n \\n But, with what a wild look of wonder, joy, and horror! With what a\",\n \"âYou would tell me, then, that I know all?â said Roger Chillingworth, \\n deliberately, and fixing an eye, bright with intense and concentrated \\n intelligence, on the minister's face. âBe it so! But, again! He to\"\n ],\n [\n \"thou do for the child, in this kind?â \\n \\n âI can teach my little Pearl what I have learned from this!â answered \\n Hester Prynne, laying her finger on the red token. \\n\",\n \"âCome thou and take it up!â answered Pearl. \\n \\n âWas ever such a child!â observed Hester, aside to the minister. âO, I\",\n \"Now Pearl knew well enough who made her; for Hester Prynne, the \\n daughter of a pious home, very soon after her talk with the child \\n about her Heavenly Father, had begun to inform her of those truths\",\n \"âLet her see nothing strangeâno passion nor eagernessâin thy way of \\n accosting her,â whispered Hester. âOur Pearl is a fitful and fantastic\",\n \"âGod gave her into my keeping,â repeated Hester Prynne, raising her \\n voice almost to a shriek. âI will not give her up!ââAnd here, by a\",\n \" THE CHILD AT THE BROOK-SIDE. \\n \\n \\n âThou wilt love her dearly,â repeated Hester Prynne, as she and the \\n minister sat watching little Pearl. âDost thou not think her\",\n \"âA story, child!â said Hester. âAnd about what?â \\n \\n âO, a story about the Black Man,â answered Pearl, taking hold of her\",\n \"âYes; now I will!â answered the child, bounding across the brook, and \\n clasping Hester in her arms. âNow thou art my mother indeed! And I am \\n thy little Pearl!â \\n\",\n \"little Pearl. \\n \\n âPearl! Little Pearl!â cried he after a moment's pause; then, \\n suppressing his voice,ââHester! Hester Prynne! Are you there?â \\n\",\n \"Hester caught hold of Pearl, and drew her forcibly into her arms, \\n confronting the old Puritan magistrate with almost a fierce \\n expression. Alone in the world, cast off by it, and with this sole\",\n \"part of some of the leading inhabitants, cherishing the more rigid \\n order of principles in religion and government, to deprive her of her \\n child. On the supposition that Pearl, as already hinted, was of demon \\n origin, these good people not unreasonably argued that a Christian\",\n \"sphere in which she and her mother dwelt together, and was now vainly \\n seeking to return to it. \\n \\n There was both truth and error in the impression; the child and \\n mother were estranged, but through Hester's fault, not Pearl's. Since\",\n \"and am now going homeward to my dwelling.â \\n \\n âCome up hither, Hester, thou and little Pearl,â said the Reverend Mr.\",\n \"that she would most joyfully have entertained that sad and lonely \\n mother at her fireside. \\n \\n But there was a more real life for Hester Prynne here, in New England, \\n than in that unknown region where Pearl had found a home. Here had\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"Christian man hath a title to show a father's kindness towards the \\n poor, deserted babe.â \\n \\n The affair being so satisfactorily concluded, Hester Prynne, with\",\n \"âWhat wouldst thou say, child?â asked Mr. Dimmesdale. \\n \\n âWilt thou stand here with mother and me, to-morrow noontide?â \\n inquired Pearl. \\n\",\n \"both here and in England, to little Pearl, the daughter of Hester \\n Prynne. \\n \\n So Pearlâthe elf-child,âthe demon offspring, as some people, up to\",\n \"mother, too, Pearl's errand as a messenger of anguish was all \\n fulfilled. \\n \\n âHester,â said the clergyman, âfarewell!â \\n\",\n \"close to little Pearl. The shadow of the curtain fell on Hester \\n Prynne, and partially concealed her. \\n \\n âWhat have we here?â said Governor Bellingham, looking with surprise\"\n ],\n [\n \"âI must reveal the secret,â answered Hester, firmly. âHe must discern \\n thee in thy true character. What may be the result, I know not. But \\n this long debt of confidence, due from me to him, whose bane and ruin\",\n \"life, will be in my hands. Beware!â \\n \\n âI will keep thy secret, as I have his,â said Hester. \\n \\n âSwear it!â rejoined he. \\n\",\n \"your purpose to reveal his true character. Will he continue, then, to \\n keep our secret? What will now be the course of his revenge?â \\n \\n âThere is a strange secrecy in his nature,â replied Hester,\",\n \"âAsk me not!â replied Hester Prynne, looking firmly into his face. \\n âThat thou shalt never know!â \\n\",\n \"false to God and man, might be, for one moment, true! \\n \\n He started at a thought that suddenly occurred to him. \\n \\n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows\",\n \"And she took the oath. \\n \\n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \\n hereafter to be named, âI leave thee alone; alone with thy infant, and\",\n \"never fairly been revealed to him. It was a strange reserve! \\n \\n After a time, at a hint from Roger Chillingworth, the friends of Mr. \\n Dimmesdale effected an arrangement by which the two were lodged in the\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"such miserable secrets as you speak of will yield them up, at that \\n last day, not with reluctance, but with a joy unutterable.â \\n \\n âThen why not reveal them here?â asked Roger Chillingworth, glancing\",\n \"Hester, that wear the scarlet letter openly upon your bosom! Mine \\n burns in secret! Thou little knowest what a relief it is, after the \\n torment of a seven years' cheat, to look into an eye that recognizes\",\n \"âThou knowest,â said Hester,âfor, depressed as she was, she could not \\n endure this last quiet stab at the token of her shame,ââthou knowest\",\n \"âGod gave her into my keeping,â repeated Hester Prynne, raising her \\n voice almost to a shriek. âI will not give her up!ââAnd here, by a\",\n \"âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \\n the topic, and were glad of an opportunity to discuss it with the only \\n person of whom he could make a confidant. âNot to hide the truth,\",\n \"world to breathe in, while they talked together,âfor all these \\n reasons, Hester never thought of meeting him in any narrower privacy \\n than beneath the open sky. \\n \\n At last, while attending in a sick-chamber, whither the Reverend Mr.\",\n \"Hester Prynne was now fully sensible of the deep injury for which she \\n was responsible to this unhappy man, in permitting him to lie for so \\n many years, or, indeed, for a single moment, at the mercy of one whose\",\n \"calmness, though in the utmost consternation. âThey have long dwelt \\n together.â \\n \\n Nothing further passed between the mariner and Hester Prynne. But, at\",\n \"grown involuntary with him. \\n \\n âThink for me, Hester! Thou art strong. Resolve for me!â \\n \\n âThou must dwell no longer with this man,â said Hester, slowly and\",\n \"secret told me, in the natural recoil of my heart, at the first sight \\n of him, and as often as I have seen him since? Why did I not \\n understand? O Hester Prynne, thou little, little knowest all the\",\n \"strove in vain to do so. Hester would not set him free, lest he should \\n look her sternly in the face. All the world had frowned on her,âfor \\n seven long years had it frowned upon this lonely woman,âand still she\",\n \"time when her heart knew no better, he had persuaded her to fancy \\n herself happy by his side. \\n \\n âYes, I hate him!â repeated Hester, more bitterly than before. âHe\"\n ],\n [\n \"point. The old man, on the other hand, had brought himself nearer to \\n her level, or perhaps below it, by the revenge which he had stooped \\n for. \\n \\n In fine, Hester Prynne resolved to meet her former husband, and do\",\n \"âIt has avenged thee!â answered Hester Prynne. \\n \\n âI judged no less,â said the physician. âAnd now, what wouldst thou \\n with me touching this man?â\",\n \"your purpose to reveal his true character. Will he continue, then, to \\n keep our secret? What will now be the course of his revenge?â \\n \\n âThere is a strange secrecy in his nature,â replied Hester,\",\n \"Now, however, her interview with the Reverend Mr. Dimmesdale, on the \\n night of his vigil, had given her a new theme of reflection, and held \\n up to her an object that appeared worthy of any exertion and sacrifice\",\n \"grown involuntary with him. \\n \\n âThink for me, Hester! Thou art strong. Resolve for me!â \\n \\n âThou must dwell no longer with this man,â said Hester, slowly and\",\n \"âI must reveal the secret,â answered Hester, firmly. âHe must discern \\n thee in thy true character. What may be the result, I know not. But \\n this long debt of confidence, due from me to him, whose bane and ruin\",\n \"life, will be in my hands. Beware!â \\n \\n âI will keep thy secret, as I have his,â said Hester. \\n \\n âSwear it!â rejoined he. \\n\",\n \"âI have left thee to the scarlet letter,â replied Roger Chillingworth. \\n âIf that have not avenged me, I can do no more!â \\n \\n He laid his finger on it, with a smile. \\n\",\n \"never fairly been revealed to him. It was a strange reserve! \\n \\n After a time, at a hint from Roger Chillingworth, the friends of Mr. \\n Dimmesdale effected an arrangement by which the two were lodged in the\",\n \"time when her heart knew no better, he had persuaded her to fancy \\n herself happy by his side. \\n \\n âYes, I hate him!â repeated Hester, more bitterly than before. âHe\",\n \"âThou wilt go!â said Hester, calmly, as he met her glance. \\n \\n The decision once made, a glow of strange enjoyment threw its \\n flickering brightness over the trouble of his breast. It was the\",\n \"calmness, though in the utmost consternation. âThey have long dwelt \\n together.â \\n \\n Nothing further passed between the mariner and Hester Prynne. But, at\",\n \"thine own, in whose charge hers is. Exhort her to confess the truth!â \\n \\n The Reverend Mr. Dimmesdale bent his head, in silent prayer, as it \\n seemed, and then came forward. \\n\",\n \"world to breathe in, while they talked together,âfor all these \\n reasons, Hester never thought of meeting him in any narrower privacy \\n than beneath the open sky. \\n \\n At last, while attending in a sick-chamber, whither the Reverend Mr.\",\n \"more thoroughly defined the plans which Hester and himself had \\n sketched for their departure. It had been determined between them, \\n that the Old World, with its crowds and cities, offered them a more \\n eligible shelter and concealment than the wilds of New England, or all\",\n \"terror. âI shiver at him! Dost thou know the man? I hate him, Hester!â \\n \\n She remembered her oath, and was silent. \\n\",\n \"âAnd I thee,â answered Hester Prynne, âfor the hatred that has \\n transformed a wise and just man to a fiend! Wilt thou yet purge it out\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"backward to the settlement, where Hester Prynne must take up again the \\n burden of her ignominy, and the minister the hollow mockery of his \\n good name! So they lingered an instant longer. No golden light had\",\n \"Hester Prynne was now fully sensible of the deep injury for which she \\n was responsible to this unhappy man, in permitting him to lie for so \\n many years, or, indeed, for a single moment, at the mercy of one whose\"\n ],\n [\n \"spectators of the whole scene, and professed never once to have \\n removed their eyes from the Reverend Mr. Dimmesdale, denied that there \\n was any mark whatever on his breast, more than on a new-born infant's.\",\n \"Most of the spectators testified to having seen, on the breast of the \\n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \\n Hester Prynneâimprinted in the flesh. As regarded its origin, there\",\n \"Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \\n \\n After a brief pause, the physician turned away. \\n \\n But, with what a wild look of wonder, joy, and horror! With what a\",\n \"âYet some men bury their secrets thus,â observed the calm physician. \\n \\n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"immediately after Mr. Dimmesdale's death, in the appearance and \\n demeanor of the old man known as Roger Chillingworth. All his strength \\n and energyâall his vital and intellectual forceâseemed at once to\",\n \"Bellingham, for the last few moments, had kept an anxious eye upon \\n him. He now left his own place in the procession, and advanced to give \\n assistance; judging, from Mr. Dimmesdale's aspect, that he must\",\n \"he missed his heavenly kindred! Now, at the death-hour, he stands up \\n before you! He bids you look again at Hester's scarlet letter! He \\n tells you, that, with all its mysterious horror, it is but the shadow\",\n \"of his own servants, signed and sealed, so shy of owning to the bond \\n as is the Reverend Mr. Dimmesdale, he hath a way of ordering matters \\n so that the mark shall be disclosed in open daylight to the eyes of\",\n \"hillock over his frame, no matter whether there were life in it or no. \\n Death was too definite an object to be wished for, or avoided. \\n \\n To Hester's eye, the Reverend Mr. Dimmesdale exhibited no symptom of\",\n \"visages around the scaffold. Whom would they discern there, with the \\n red eastern light upon his brow? Whom, but the Reverend Arthur \\n Dimmesdale, half frozen to death, overwhelmed with shame, and standing\",\n \"At the moment when the Reverend Mr. Dimmesdale thus communed with \\n himself, and struck his forehead with his hand, old Mistress Hibbins, \\n the reputed witch-lady, is said to have been passing by. She made a\",\n \"faintly from a world which they had quitted,âI, your pastor, whom you \\n so reverence and trust, am utterly a pollution and a lie!â \\n \\n More than once, Mr. Dimmesdale had gone into the pulpit, with a\",\n \"own. We felt it so! We said so to each other! Hast thou forgotten it?â \\n \\n âHush, Hester!â said Arthur Dimmesdale, rising from the ground. âNo; I\",\n \"âO Hester!â cried Arthur Dimmesdale, in whose eyes a fitful light, \\n kindled by her enthusiasm, flashed up and died away, âthou tellest of\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"To sum up the matter, it grew to be a widely diffused opinion, that \\n the Reverend Arthur Dimmesdale, like many other personages of especial \\n sanctity, in all ages of the Christian world, was haunted either by\",\n \"false light, becomes a shadow, or, indeed, ceases to exist. The only \\n truth that continued to give Mr. Dimmesdale a real existence on this \\n earth, was the anguish in his inmost soul, and the undissembled\",\n \"to repentance, and to confession, as a proof and consequence thereof.â \\n \\n The directness of this appeal drew the eyes of the whole crowd upon \\n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one\",\n \"it forth. What say you to it, once again, Brother Dimmesdale? Must it \\n be thou, or I, that shall deal with this poor sinner's soul?â \\n \\n There was a murmur among the dignified and reverend occupants of the\"\n ],\n [\n \"stern a dignity as the punishment of death itself. \\n \\n It was a circumstance to be noted, on the summer morning when our \\n story begins its course, that the women, of whom there were several in \\n the crowd, appeared to take a peculiar interest in whatever penal\",\n \"A throng of bearded men, in sad-colored garments, and gray, \\n steeple-crowned hats, intermixed with women, some wearing hoods and \\n others bareheaded, was assembled in front of a wooden edifice, the\",\n \"by the beadle, and attended by an irregular procession of \\n stern-browed men and unkindly visaged women, Hester Prynne set forth \\n towards the place appointed for her punishment. A crowd of eager and\",\n \"âThey wait to see the procession pass,â said Hester. âFor the Governor \\n and the magistrates are to go by, and the ministers, and all the great \\n people and good people, with the music and the soldiers marching\",\n \"and wedging their not unsubstantial persons, if occasion were, into \\n the throng nearest to the scaffold at an execution. Morally, as well \\n as materially, there was a coarser fibre in those wives and maidens of\",\n \"crowd,âor, perhaps, so dark, disturbed, and evil, was his look, he \\n rose up out of some nether region,âto snatch back his victim from \\n what he sought to do! Be that as it might, the old man rushed forward,\",\n \"her by the undying, the ever-active sentence of the Puritan tribunal. \\n Clergymen paused in the street to address words of exhortation, that \\n brought a crowd, with its mingled grin and frown, around the poor,\",\n \"crowd was sombre and grave. The unhappy culprit sustained herself as \\n best a woman might, under the heavy weight of a thousand unrelenting \\n eyes, all fastened upon her, and concentrated at her bosom. It was\",\n \"As the ranks of military men and civil fathers moved onward, all eyes \\n were turned towards the point where the minister was seen to approach \\n among them. The shout died into a murmur, as one portion of the crowd\",\n \"The crowd, meanwhile, looked on with awe and wonder. This earthly \\n faintness was, in their view, only another phase of the minister's \\n celestial strength; nor would it have seemed a miracle too high to be\",\n \"people would have augured some awful business in hand. It could have \\n betokened nothing short of the anticipated execution of some noted \\n culprit, on whom the sentence of a legal tribunal had but confirmed \\n the verdict of public sentiment. But, in that early severity of the\",\n \"Hester stood, a small vacant areaâa sort of magic circleâhad formed \\n itself about her, into which, though the people were elbowing one \\n another at a little distance, none ventured, or felt disposed to\",\n \"been made terrific by a hundred false or exaggerated rumors, but who \\n had never beheld it with their own bodily eyes. These, after \\n exhausting other modes of amusement, now thronged about Hester Prynne\",\n \"He bowed courteously to the communicative townsman, and, whispering a \\n few words to his Indian attendant, they both made their way through \\n the crowd. \\n \\n While this passed, Hester Prynne had been standing on her pedestal,\",\n \" CONCLUSION. \\n \\n \\n After many days, when time sufficed for the people to arrange their \\n thoughts in reference to the foregoing scene, there was more than one \\n account of what had been witnessed on the scaffold. \\n\",\n \"and wise men, the holy ministers, and all that were eminent and \\n renowned, advanced into the midst of them. When they were fairly in \\n the market-place, their presence was greeted by a shout. Thisâthough\",\n \"fiend's! Come, Hester, come! Support me up yonder scaffold!â \\n \\n The crowd was in a tumult. The men of rank and dignity, who stood more \\n immediately around the clergyman, were so taken by surprise, and so\",\n \"the Massachusetts, where iniquity is dragged out into the sunshine! \\n Come along, Madam Hester, and show your scarlet letter in the \\n market-place!â \\n \\n A lane was forthwith opened through the crowd of spectators. Preceded\",\n \"crowd that witnessed Hester Prynne's ignominious exposure, stood a \\n man, elderly, travel-worn, who, just emerging from the perilous \\n wilderness, beheld the woman, in whom he hoped to find embodied the\",\n \"before his breast. It was revealed! But it were irreverent to describe \\n that revelation. For an instant, the gaze of the horror-stricken \\n multitude was concentred on the ghastly miracle; while the minister\"\n ],\n [\n \"Most of the spectators testified to having seen, on the breast of the \\n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \\n Hester Prynneâimprinted in the flesh. As regarded its origin, there\",\n \"they beheld her for the first time,âwas that SCARLET LETTER, so \\n fantastically embroidered and illuminated upon her bosom. It had the \\n effect of a spell, taking her out of the ordinary relations with\",\n \"Hester, that wear the scarlet letter openly upon your bosom! Mine \\n burns in secret! Thou little knowest what a relief it is, after the \\n torment of a seven years' cheat, to look into an eye that recognizes\",\n \"âMother,â said she, âwhat does the scarlet letter mean?â \\n \\n And the next morning, the first indication the child gave of being \\n awake was by popping up her head from the pillow, and making that\",\n \"helpfulness was found in her,âso much power to do, and power to \\n sympathize,âthat many people refused to interpret the scarlet A by \\n its original signification. They said that it meant Able; so strong\",\n \"âwho, be her demerits what they may, hath none of that mystery of \\n hidden sinfulness which you deem so grievous to be borne. Is Hester \\n Prynne the less miserable, think you, for that scarlet letter on her\",\n \"embody their images of woman's frailty and sinful passion. Thus the \\n young and pure would be taught to look at her, with the scarlet letter \\n flaming on her breast,âat her, the child of honorable parents,âat\",\n \"This rag of scarlet cloth,âfor time and wear and a sacrilegious moth \\n had reduced it to little other than a rag,âon careful examination, \\n assumed the shape of a letter. It was the capital letter A. By an\",\n \"shame may still blaze upon thy bosom?â As he spoke, he laid his long \\n forefinger on the scarlet letter, which forthwith seemed to scorch \\n into Hester's breast, as if it had been red-hot. He noticed her\",\n \"child's whole appearance, that it irresistibly and inevitably reminded \\n the beholder of the token which Hester Prynne was doomed to wear upon \\n her bosom. It was the scarlet letter in another form; the scarlet\",\n \"as yet only half his victim, that the outward guise of purity was but \\n a lie, and that, if truth were everywhere to be shown, a scarlet \\n letter would blaze forth on many a bosom besides Hester Prynne's? Or,\",\n \"âI have left thee to the scarlet letter,â replied Roger Chillingworth. \\n âIf that have not avenged me, I can do no more!â \\n \\n He laid his finger on it, with a smile. \\n\",\n \"âSilly Pearl,â said she, âwhat questions are these? There are many \\n things in this world that a child must not ask about. What know I of \\n the minister's heart? And as for the scarlet letter, I wear it for the\",\n \"he missed his heavenly kindred! Now, at the death-hour, he stands up \\n before you! He bids you look again at Hester's scarlet letter! He \\n tells you, that, with all its mysterious horror, it is but the shadow\",\n \"âThy mother is yonder woman with the scarlet letter,â said the seaman. \\n âWilt thou carry her a message from me?â \\n\",\n \"hast heard. Speak out the name! That, and thy repentance, may avail to \\n take the scarlet letter off thy breast.â \\n\",\n \"them. And that ugly-tempered lady, old Mistress Hibbins, was one. And, \\n mother, the old dame said that this scarlet letter was the Black Man's \\n mark on thee, and that it glows like a red flame when thou meetest\",\n \"whisper the black scandal of bygone years. It was none the less a \\n fact, however, that, in the eyes of the very men who spoke thus, the \\n scarlet letter had the effect of the cross on a nun's bosom. It\",\n \"knew not whether it were a woman or a shadow. It may be, that his \\n pathway through life was haunted thus, by a spectre that had stolen \\n out from among his thoughts. \\n \\n He made a step nigher, and discovered the scarlet letter. \\n\",\n \"was the scarlet misery, glittering on the old spot! So it ever is, \\n whether thus typified or no, that an evil deed invests itself with the \\n character of doom. Hester next gathered up the heavy tresses of her\"\n ],\n [\n \"thank themselves if their own wives and daughters go astray!â \\n \\n âMercy on us, goodwife,â exclaimed a man in the crowd, âis there no\",\n \"stern a dignity as the punishment of death itself. \\n \\n It was a circumstance to be noted, on the summer morning when our \\n story begins its course, that the women, of whom there were several in \\n the crowd, appeared to take a peculiar interest in whatever penal\",\n \"and wedging their not unsubstantial persons, if occasion were, into \\n the throng nearest to the scaffold at an execution. Morally, as well \\n as materially, there was a coarser fibre in those wives and maidens of\",\n \"her by the undying, the ever-active sentence of the Puritan tribunal. \\n Clergymen paused in the street to address words of exhortation, that \\n brought a crowd, with its mingled grin and frown, around the poor,\",\n \"alone as she was in her childish and unreasonable wrath, it seemed as \\n if a hidden multitude were lending her their sympathy and \\n encouragement. Seen in the brook, once more, was the shadowy wrath of\",\n \"crowd was sombre and grave. The unhappy culprit sustained herself as \\n best a woman might, under the heavy weight of a thousand unrelenting \\n eyes, all fastened upon her, and concentrated at her bosom. It was\",\n \"by the beadle, and attended by an irregular procession of \\n stern-browed men and unkindly visaged women, Hester Prynne set forth \\n towards the place appointed for her punishment. A crowd of eager and\",\n \"fiend's! Come, Hester, come! Support me up yonder scaffold!â \\n \\n The crowd was in a tumult. The men of rank and dignity, who stood more \\n immediately around the clergyman, were so taken by surprise, and so\",\n \"pass, they pursued her at a distance with shrill cries, and the \\n utterance of a word that had no distinct purport to their own \\n minds, but was none the less terrible to her, as proceeding from lips\",\n \"now did, with the hot, mid-day sun burning down upon her face, and \\n lighting up its shame; with the scarlet token of infamy on her breast; \\n with the sin-born infant in her arms; with a whole people, drawn forth\",\n \"gesticulating violently, and throwing her small figure into the most \\n extravagant contortions. She accompanied this wild outbreak with \\n piercing shrieks, which the woods reverberated on all sides; so that,\",\n \"shrill, incoherent exclamations, that made her mother tremble, because \\n they had so much the sound of a witch's anathemas in some unknown \\n tongue. \\n \\n The truth was, that the little Puritans, being of the most intolerant\",\n \"face to face with the woman, whose absorbed notice of him, in the \\n crowd, had intimated so close a relation between himself and her. His \\n first care was given to the child; whose cries, indeed, as she lay\",\n \"and wise men, the holy ministers, and all that were eminent and \\n renowned, advanced into the midst of them. When they were fairly in \\n the market-place, their presence was greeted by a shout. Thisâthough\",\n \"curious school-boys, understanding little of the matter in hand, \\n except that it gave them a half-holiday, ran before her progress, \\n turning their heads continually to stare into her face, and at the\",\n \"off, revealed the expression of her sour and discontented face. She \\n thrust forth her head from the lattice, and looked anxiously upward. \\n Beyond the shadow of a doubt, this venerable witch-lady had heard Mr.\",\n \"her vivid self-perception, like a new anguish, by the rudest touch \\n upon the tenderest spot. The poor, as we have already said, whom she \\n sought out to be the objects of her bounty, often reviled the hand\",\n \"A throng of bearded men, in sad-colored garments, and gray, \\n steeple-crowned hats, intermixed with women, some wearing hoods and \\n others bareheaded, was assembled in front of a wooden edifice, the\",\n \"conscious, indeed, that whatever sympathy she might expect lay in the \\n larger and warmer heart of the multitude; for, as she lifted her eyes \\n towards the balcony, the unhappy woman grew pale and trembled. \\n\",\n \"the latter,âthe dread inspired by Mistress Hibbins was doubled, and \\n caused a general movement from that part of the market-place in which \\n the two women stood. \\n\"\n ],\n [\n \"her name more than once, in a loud and solemn tone, audible to the \\n whole multitude. \\n \\n âHearken unto me, Hester Prynne!â said the voice. \\n\",\n \"He bowed courteously to the communicative townsman, and, whispering a \\n few words to his Indian attendant, they both made their way through \\n the crowd. \\n \\n While this passed, Hester Prynne had been standing on her pedestal,\",\n \"âYes; it is Hester Prynne!â she replied, in a tone of surprise; and \\n the minister heard her footsteps approaching from the sidewalk, along \\n which she had been passing. âIt is I, and my little Pearl.â\",\n \"with their cool, well-acquainted gaze at her familiar shame. Hester \\n saw and recognized the selfsame faces of that group of matrons, who \\n had awaited her forthcoming from the prison-door, seven years ago; all\",\n \"crowd that witnessed Hester Prynne's ignominious exposure, stood a \\n man, elderly, travel-worn, who, just emerging from the perilous \\n wilderness, beheld the woman, in whom he hoped to find embodied the\",\n \"From this intense consciousness of being the object of severe and \\n universal observation, the wearer of the scarlet letter was at length \\n relieved, by discerning, on the outskirts of the crowd, a figure which\",\n \"by the beadle, and attended by an irregular procession of \\n stern-browed men and unkindly visaged women, Hester Prynne set forth \\n towards the place appointed for her punishment. A crowd of eager and\",\n \"fiend's! Come, Hester, come! Support me up yonder scaffold!â \\n \\n The crowd was in a tumult. The men of rank and dignity, who stood more \\n immediately around the clergyman, were so taken by surprise, and so\",\n \"strolled idly through the market-place; until, happening to approach \\n the spot where Hester Prynne was standing, he appeared to recognize, \\n and did not hesitate to address her. As was usually the case wherever\",\n \"At his arrival in the market-place, and some time before she saw him, \\n the stranger had bent his eyes on Hester Prynne. It was carelessly, at \\n first, like a man chiefly accustomed to look inward, and to whom\",\n \"to repentance, and to confession, as a proof and consequence thereof.â \\n \\n The directness of this appeal drew the eyes of the whole crowd upon \\n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one\",\n \"peculiarity. But the point which drew all eyes, and, as it were, \\n transfigured the wearer,âso that both men and women, who had been \\n familiarly acquainted with Hester Prynne, were now impressed as if\",\n \"little Pearl. \\n \\n âPearl! Little Pearl!â cried he after a moment's pause; then, \\n suppressing his voice,ââHester! Hester Prynne! Are you there?â \\n\",\n \"âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \\n \\n âEven so!â she answered. âIn such life as has been mine these seven\",\n \"from the crowd about the scaffold. âSpeak; and give your child a \\n father!â \\n \\n âI will not speak!â answered Hester, turning pale as death, but\",\n \"forest, and entered this settlement of Christian men, the very first \\n object to meet my eyes would be thyself, Hester Prynne, standing up, a \\n statue of ignominy, before the people. Nay, from the moment when we\",\n \"the rude market-place of the Puritan settlement, with all the \\n towns-people assembled and levelling their stern regards at Hester \\n Prynne,âyes, at herself,âwho stood on the scaffold of the pillory,\",\n \"object. Had a roar of laughter burst from the multitude,âeach man, \\n each woman, each little shrill-voiced child, contributing their \\n individual parts,âHester Prynne might have repaid them all with a\",\n \"been made terrific by a hundred false or exaggerated rumors, but who \\n had never beheld it with their own bodily eyes. These, after \\n exhausting other modes of amusement, now thronged about Hester Prynne\",\n \"âMother,â cried she, âI see you here. Look! Look!â \\n \\n Hester looked, by way of humoring the child; and she saw that, owing\"\n ],\n [\n \"life, will be in my hands. Beware!â \\n \\n âI will keep thy secret, as I have his,â said Hester. \\n \\n âSwear it!â rejoined he. \\n\",\n \"âWere it God's will,â said the Reverend Mr. Dimmesdale, when, in \\n fulfilment of this pledge, he requested old Roger Chillingworth's\",\n \"with me to my eternal state, rather than that you should put your \\n skill to the proof in my behalf.â \\n \\n âAh,â replied Roger Chillingworth, with that quietness which, whether\",\n \"âI have left thee to the scarlet letter,â replied Roger Chillingworth. \\n âIf that have not avenged me, I can do no more!â \\n \\n He laid his finger on it, with a smile. \\n\",\n \"alternative of the two. She determined to redeem her error, so far as \\n it might yet be possible. Strengthened by years of hard and solemn \\n trial, she felt herself no longer so inadequate to cope with Roger\",\n \"And she took the oath. \\n \\n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \\n hereafter to be named, âI leave thee alone; alone with thy infant, and\",\n \"sake, then, and no less for the poor child's sake, let us leave them \\n as Providence hath seen fit to place them!â \\n \\n âYou speak, my friend, with a strange earnestness,â said old Roger\",\n \"such miserable secrets as you speak of will yield them up, at that \\n last day, not with reluctance, but with a joy unutterable.â \\n \\n âThen why not reveal them here?â asked Roger Chillingworth, glancing\",\n \"With a frantic gesture he rushed out of the room. \\n \\n âIt is as well to have made this step,â said Roger Chillingworth to \\n himself, looking after the minister with a grave smile. âThere is\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"âThese men deceive themselves,â said Roger Chillingworth, with \\n somewhat more emphasis than usual, and making a slight gesture with \\n his forefinger. âThey fear to take up the shame that rightfully\",\n \"continue the care, which, if not successful in restoring him to \\n health, had, in all probability, been the means of prolonging his \\n feeble existence to that hour. Roger Chillingworth readily assented, \\n and went on with his medical supervision of the minister; doing his\",\n \"with a kind of fierceness, on old Roger Chillingworth. âNot to thee! \\n But if it be the soul's disease, then do I commit myself to the one \\n Physician of the soul! He, if it stand with his good pleasure, can\",\n \"terror. âI shiver at him! Dost thou know the man? I hate him, Hester!â \\n \\n She remembered her oath, and was silent. \\n\",\n \"âYou would tell me, then, that I know all?â said Roger Chillingworth, \\n deliberately, and fixing an eye, bright with intense and concentrated \\n intelligence, on the minister's face. âBe it so! But, again! He to\",\n \"false to God and man, might be, for one moment, true! \\n \\n He started at a thought that suddenly occurred to him. \\n \\n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows\",\n \"âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \\n the topic, and were glad of an opportunity to discuss it with the only \\n person of whom he could make a confidant. âNot to hide the truth,\",\n \"believed that these words had passed his lips. But they were uttered \\n only within his imagination. The venerable Father Wilson continued to \\n step slowly onward, looking carefully at the muddy pathway before his \\n feet, and never once turning his head towards the guilty platform.\",\n \"âAha! and is it Mistress Hester that has a word for old Roger \\n Chillingworth?â answered he, raising himself from his stooping \\n posture. âWith all my heart! Why, Mistress, I hear good tidings of you\",\n \"Such was the young clergyman's condition, and so imminent the prospect \\n that his dawning light would be extinguished, all untimely, when Roger \\n Chillingworth made his advent to the town. His first entry on the\"\n ],\n [\n \"âAha! and is it Mistress Hester that has a word for old Roger \\n Chillingworth?â answered he, raising himself from his stooping \\n posture. âWith all my heart! Why, Mistress, I hear good tidings of you\",\n \"âHush, Hester, hush!â said he, with tremulous solemnity. âThe law we \\n broke!âthe sin here so awfully revealed!âlet these alone be in thy\",\n \"life, will be in my hands. Beware!â \\n \\n âI will keep thy secret, as I have his,â said Hester. \\n \\n âSwear it!â rejoined he. \\n\",\n \"terror. âI shiver at him! Dost thou know the man? I hate him, Hester!â \\n \\n She remembered her oath, and was silent. \\n\",\n \"grown involuntary with him. \\n \\n âThink for me, Hester! Thou art strong. Resolve for me!â \\n \\n âThou must dwell no longer with this man,â said Hester, slowly and\",\n \"and disclosed the earth, with an awfulness that admonished Hester \\n Prynne and the clergyman of the day of judgment, then might Roger \\n Chillingworth have passed with them for the arch-fiend, standing there\",\n \"Hester absolutely refuseth to speak, and the magistrates have laid \\n their heads together in vain. Peradventure the guilty one stands \\n looking on at this sad spectacle, unknown of man, and forgetting that \\n God sees him.â \\n\",\n \"false to God and man, might be, for one moment, true! \\n \\n He started at a thought that suddenly occurred to him. \\n \\n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows\",\n \"âPeace, Hester, peace!â replied the old man, with gloomy sternness. \\n âIt is not granted me to pardon. I have no such power as thou tellest\",\n \"âHester Prynne,â said he, leaning over the balcony and looking down \\n steadfastly into her eyes, âthou hearest what this good man says, and\",\n \"Mistress Hester, my thoughts happen just now to be busy with the \\n gentleman. So speak freely; and I will make answer.â \\n \\n âWhen we last spake together,â said Hester, ânow seven years ago, it\",\n \"âI must reveal the secret,â answered Hester, firmly. âHe must discern \\n thee in thy true character. What may be the result, I know not. But \\n this long debt of confidence, due from me to him, whose bane and ruin\",\n \"âYou must needs be a stranger in this region, friend,â answered the \\n townsman, looking curiously at the questioner and his savage \\n companion, âelse you would surely have heard of Mistress Hester\",\n \"âThese men deceive themselves,â said Roger Chillingworth, with \\n somewhat more emphasis than usual, and making a slight gesture with \\n his forefinger. âThey fear to take up the shame that rightfully\",\n \"save me! But, now, it is all falsehood!âall emptiness!âall death!â \\n \\n Hester Prynne looked into his face, but hesitated to speak. Yet,\",\n \"your purpose to reveal his true character. Will he continue, then, to \\n keep our secret? What will now be the course of his revenge?â \\n \\n âThere is a strange secrecy in his nature,â replied Hester,\",\n \"such miserable secrets as you speak of will yield them up, at that \\n last day, not with reluctance, but with a joy unutterable.â \\n \\n âThen why not reveal them here?â asked Roger Chillingworth, glancing\",\n \"time when her heart knew no better, he had persuaded her to fancy \\n herself happy by his side. \\n \\n âYes, I hate him!â repeated Hester, more bitterly than before. âHe\",\n \"âA story, child!â said Hester. âAnd about what?â \\n \\n âO, a story about the Black Man,â answered Pearl, taking hold of her\",\n \"on all hands! No longer ago than yester-eve, a magistrate, a wise and \\n godly man, was discoursing of your affairs, Mistress Hester, and \\n whispered me that there had been question concerning you in the\"\n ],\n [\n \"dearly, and thou her. She is not far off. I will call her! Pearl! \\n Pearl!â \\n \\n âI see the child,â observed the minister. âYonder she is, standing in\",\n \"âThou must know Pearl!â said she. âOur little Pearl! Thou hast seen \\n her,âyes, I know it!âbut thou wilt see her now with other eyes. She\",\n \"intelligence, that her mother half doubted whether she were not \\n acquainted with the secret spell of her existence, and might not now \\n reveal herself. \\n \\n âYes; I am little Pearl!â repeated the child, continuing her antics. \\n\",\n \"that my Pearl?â Yet she knew that there was love in the child's heart, \\n although it mostly revealed itself in passion, and hardly twice in her \\n lifetime had been softened by such gentleness as now. The\",\n \"so imagined itâfrom the unsearchable abyss of her black eyes. \\n \\n âChild, what art thou?â cried the mother. \\n \\n âO, I am your little Pearl!â answered the child. \\n\",\n \"mother. âI remember it; and so shall little Pearl. Fear nothing! She \\n may be strange and shy at first, but will soon learn to love thee!â \\n \\n By this time Pearl had reached the margin of the brook, and stood on\",\n \"âA story, child!â said Hester. âAnd about what?â \\n \\n âO, a story about the Black Man,â answered Pearl, taking hold of her\",\n \"hand in a vain attempt to pat little Pearl on the cheek. âBut where is \\n this mother of thine? Ah! I see,â he added; and, turning to Governor \\n Bellingham, whispered, âThis is the selfsame child of whom we have\",\n \"both here and in England, to little Pearl, the daughter of Hester \\n Prynne. \\n \\n So Pearlâthe elf-child,âthe demon offspring, as some people, up to\",\n \"Now Pearl knew well enough who made her; for Hester Prynne, the \\n daughter of a pious home, very soon after her talk with the child \\n about her Heavenly Father, had begun to inform her of those truths\",\n \"many hours of morbid ingenuity, to create an analogy between the \\n object of her affection and the emblem of her guilt and torture. But, \\n in truth, Pearl was the one, as well as the other; and only in\",\n \"little Pearl. \\n \\n âPearl! Little Pearl!â cried he after a moment's pause; then, \\n suppressing his voice,ââHester! Hester Prynne! Are you there?â \\n\",\n \"judgment-seat, thy mother, and thou, and I must stand together. But \\n the daylight of this world shall not see our meeting!â \\n \\n Pearl laughed again. \\n\",\n \"It was with a feeling which neither of them had ever before \\n experienced, that they sat and watched Pearl's slow advance. In her \\n was visible the tie that united them. She had been offered to the \\n world, these seven years past, as the living hieroglyphic, in which\",\n \"part of some of the leading inhabitants, cherishing the more rigid \\n order of principles in religion and government, to deprive her of her \\n child. On the supposition that Pearl, as already hinted, was of demon \\n origin, these good people not unreasonably argued that a Christian\",\n \"little Pearl! I hear voices in the garden. The Governor is coming, and \\n gentlemen along with him!â \\n \\n In fact, adown the vista of the garden avenue a number of persons were \\n seen approaching towards the house. Pearl, in utter scorn of her\",\n \"âThou art not my child! Thou art no Pearl of mine!â said the mother, \\n half playfully; for it was often the case that a sportive impulse came\",\n \"made investigations a century later, believed,âand one of his recent \\n successors in office, moreover, faithfully believes,âthat Pearl was \\n not only alive, but married, and happy, and mindful of her mother, and\",\n \"the reality. This image, so nearly identical with the living Pearl, \\n seemed to communicate somewhat of its own shadowy and intangible \\n quality to the child herself. It was strange, the way in which Pearl \\n stood, looking so steadfastly at them through the dim medium of the\",\n \"heart, little Pearl might or might not be within its reach, in \\n accordance with the caprice that ruled the moment. Her mother, while \\n Pearl was yet an infant, grew acquainted with a certain peculiar look, \\n that warned her when it would be labor thrown away to insist,\"\n ],\n [\n \"All this time, Roger Chillingworth was looking at the minister with \\n the grave and intent regard of a physician towards his patient. But, \\n in spite of this outward show, the latter was almost convinced of the\",\n \"âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \\n the topic, and were glad of an opportunity to discuss it with the only \\n person of whom he could make a confidant. âNot to hide the truth,\",\n \"never fairly been revealed to him. It was a strange reserve! \\n \\n After a time, at a hint from Roger Chillingworth, the friends of Mr. \\n Dimmesdale effected an arrangement by which the two were lodged in the\",\n \"physician fancied must exist there, ever stole out of the minister's \\n consciousness into his companion's ear. The latter had his suspicions, \\n indeed, that even the nature of Mr. Dimmesdale's bodily disease had\",\n \"âYou would tell me, then, that I know all?â said Roger Chillingworth, \\n deliberately, and fixing an eye, bright with intense and concentrated \\n intelligence, on the minister's face. âBe it so! But, again! He to\",\n \"false to God and man, might be, for one moment, true! \\n \\n He started at a thought that suddenly occurred to him. \\n \\n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows\",\n \"intense, that the bodily infirmity would be likely to have its \\n groundwork there. So Roger Chillingworthâthe man of skill, the kind \\n and friendly physicianâstrove to go deep into his patient's bosom,\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"âThese men deceive themselves,â said Roger Chillingworth, with \\n somewhat more emphasis than usual, and making a slight gesture with \\n his forefinger. âThey fear to take up the shame that rightfully\",\n \"Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \\n \\n After a brief pause, the physician turned away. \\n \\n But, with what a wild look of wonder, joy, and horror! With what a\",\n \"immediately after Mr. Dimmesdale's death, in the appearance and \\n demeanor of the old man known as Roger Chillingworth. All his strength \\n and energyâall his vital and intellectual forceâseemed at once to\",\n \"With a frantic gesture he rushed out of the room. \\n \\n âIt is as well to have made this step,â said Roger Chillingworth to \\n himself, looking after the minister with a grave smile. âThere is\",\n \"been valuable, in other mattersâaffirmed that Roger Chillingworth's \\n aspect had undergone a remarkable change while he had dwelt in town, \\n and especially since his abode with Mr. Dimmesdale. At first, his\",\n \"[Illustration: The Minister and Leech] \\n \\n In this manner, the mysterious old Roger Chillingworth became the \\n medical adviser of the Reverend Mr. Dimmesdale. As not only the \\n disease interested the physician, but he was strongly moved to look\",\n \"Roger Chillingworth possessed all, or most, of the attributes above \\n enumerated. Nevertheless, time went on; a kind of intimacy, as we have \\n said, grew up between these two cultivated minds, which had as wide a\",\n \"Under the appellation of Roger Chillingworth, the reader will \\n remember, was hidden another name, which its former wearer had \\n resolved should never more be spoken. It has been related, how, in the\",\n \"often produced the effect of spiritual intuition, would become vaguely \\n aware that something inimical to his peace had thrust itself into \\n relation with him. But old Roger Chillingworth, too, had perceptions \\n that were almost intuitive; and when the minister threw his startled\",\n \"âYet some men bury their secrets thus,â observed the calm physician. \\n \\n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to\",\n \"vigil, all her sympathies towards him had been both softened and \\n invigorated. She now read his heart more accurately. She doubted not, \\n that the continual presence of Roger Chillingworth,âthe secret poison\",\n \"such miserable secrets as you speak of will yield them up, at that \\n last day, not with reluctance, but with a joy unutterable.â \\n \\n âThen why not reveal them here?â asked Roger Chillingworth, glancing\"\n ],\n [\n \"thine own, in whose charge hers is. Exhort her to confess the truth!â \\n \\n The Reverend Mr. Dimmesdale bent his head, in silent prayer, as it \\n seemed, and then came forward. \\n\",\n \"âO Hester!â cried Arthur Dimmesdale, in whose eyes a fitful light, \\n kindled by her enthusiasm, flashed up and died away, âthou tellest of\",\n \"own. We felt it so! We said so to each other! Hast thou forgotten it?â \\n \\n âHush, Hester!â said Arthur Dimmesdale, rising from the ground. âNo; I\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"life, will be in my hands. Beware!â \\n \\n âI will keep thy secret, as I have his,â said Hester. \\n \\n âSwear it!â rejoined he. \\n\",\n \"grown involuntary with him. \\n \\n âThink for me, Hester! Thou art strong. Resolve for me!â \\n \\n âThou must dwell no longer with this man,â said Hester, slowly and\",\n \"âI must reveal the secret,â answered Hester, firmly. âHe must discern \\n thee in thy true character. What may be the result, I know not. But \\n this long debt of confidence, due from me to him, whose bane and ruin\",\n \"Now, however, her interview with the Reverend Mr. Dimmesdale, on the \\n night of his vigil, had given her a new theme of reflection, and held \\n up to her an object that appeared worthy of any exertion and sacrifice\",\n \"to repentance, and to confession, as a proof and consequence thereof.â \\n \\n The directness of this appeal drew the eyes of the whole crowd upon \\n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one\",\n \"âO, not so!ânot so!â continued Mr. Dimmesdale. âShe recognizes, \\n believe me, the solemn miracle which God hath wrought, in the\",\n \"âThou wilt go!â said Hester, calmly, as he met her glance. \\n \\n The decision once made, a glow of strange enjoyment threw its \\n flickering brightness over the trouble of his breast. It was the\",\n \"âIt has avenged thee!â answered Hester Prynne. \\n \\n âI judged no less,â said the physician. âAnd now, what wouldst thou \\n with me touching this man?â\",\n \"point. The old man, on the other hand, had brought himself nearer to \\n her level, or perhaps below it, by the revenge which he had stooped \\n for. \\n \\n In fine, Hester Prynne resolved to meet her former husband, and do\",\n \"she would gladly have lain down on the forest-leaves, and died there, \\n at Arthur Dimmesdale's feet. \\n \\n âO Arthur,â cried she, âforgive me! In all things else, I have striven\",\n \"Dimmesdale, at whatever risk of present pain or ulterior consequences, \\n the true character of the man who had crept into his intimacy. For \\n several days, however, she vainly sought an opportunity of addressing\",\n \"time when her heart knew no better, he had persuaded her to fancy \\n herself happy by his side. \\n \\n âYes, I hate him!â repeated Hester, more bitterly than before. âHe\",\n \"âAnd I thee,â answered Hester Prynne, âfor the hatred that has \\n transformed a wise and just man to a fiend! Wilt thou yet purge it out\",\n \"springs of Mr. Dimmesdale's nature. Hester could not but ask herself, \\n whether there had not originally been a defect of truth, courage, and \\n loyalty, on her own part, in allowing the minister to be thrown into a\",\n \"âI will go home with you,â said Mr. Dimmesdale. \\n \\n With a chill despondency, like one awaking, all nerveless, from an \\n ugly dream, he yielded himself to the physician, and was led away. \\n\",\n \" \\n \\n XIII. \\n \\n ANOTHER VIEW OF HESTER. \\n \\n \\n In her late singular interview with Mr. Dimmesdale, Hester Prynne was\"\n ],\n [\n \"spectators of the whole scene, and professed never once to have \\n removed their eyes from the Reverend Mr. Dimmesdale, denied that there \\n was any mark whatever on his breast, more than on a new-born infant's.\",\n \"it forth. What say you to it, once again, Brother Dimmesdale? Must it \\n be thou, or I, that shall deal with this poor sinner's soul?â \\n \\n There was a murmur among the dignified and reverend occupants of the\",\n \"âPeople say,â said another, âthat the Reverend Master Dimmesdale, her \\n godly pastor, takes it very grievously to heart that such a scandal \\n should have come upon his congregation.â \\n\",\n \"to repentance, and to confession, as a proof and consequence thereof.â \\n \\n The directness of this appeal drew the eyes of the whole crowd upon \\n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one\",\n \"of his own servants, signed and sealed, so shy of owning to the bond \\n as is the Reverend Mr. Dimmesdale, he hath a way of ordering matters \\n so that the mark shall be disclosed in open daylight to the eyes of\",\n \"own. We felt it so! We said so to each other! Hast thou forgotten it?â \\n \\n âHush, Hester!â said Arthur Dimmesdale, rising from the ground. âNo; I\",\n \"faintly from a world which they had quitted,âI, your pastor, whom you \\n so reverence and trust, am utterly a pollution and a lie!â \\n \\n More than once, Mr. Dimmesdale had gone into the pulpit, with a\",\n \"thine own, in whose charge hers is. Exhort her to confess the truth!â \\n \\n The Reverend Mr. Dimmesdale bent his head, in silent prayer, as it \\n seemed, and then came forward. \\n\",\n \"life, will be in my hands. Beware!â \\n \\n âI will keep thy secret, as I have his,â said Hester. \\n \\n âSwear it!â rejoined he. \\n\",\n \"âO, not so!ânot so!â continued Mr. Dimmesdale. âShe recognizes, \\n believe me, the solemn miracle which God hath wrought, in the\",\n \"âYet some men bury their secrets thus,â observed the calm physician. \\n \\n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to\",\n \"Bellingham, for the last few moments, had kept an anxious eye upon \\n him. He now left his own place in the procession, and advanced to give \\n assistance; judging, from Mr. Dimmesdale's aspect, that he must\",\n \"At the moment when the Reverend Mr. Dimmesdale thus communed with \\n himself, and struck his forehead with his hand, old Mistress Hibbins, \\n the reputed witch-lady, is said to have been passing by. She made a\",\n \"years past! And thou, Arthur Dimmesdale, dost thou yet live?â \\n \\n It was no wonder that they thus questioned one another's actual and \\n bodily existence, and even doubted of their own. So strangely did they\",\n \"Dimmesdale. âYe have both been here before, but I was not with you. \\n Come up hither once again, and we will stand all three together!â \\n \\n She silently ascended the steps, and stood on the platform, holding\",\n \"And she took the oath. \\n \\n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \\n hereafter to be named, âI leave thee alone; alone with thy infant, and\",\n \"Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \\n \\n After a brief pause, the physician turned away. \\n \\n But, with what a wild look of wonder, joy, and horror! With what a\",\n \"âShe will not speak!â murmured Mr. Dimmesdale, who, leaning over the \\n balcony, with his hand upon his heart, had awaited the result of his \\n appeal. He now drew back, with a long respiration. âWondrous strength\",\n \"passing from one apartment to the other, and bestowing a mutual and \\n not incurious inspection into one another's business. \\n \\n And the Reverend Arthur Dimmesdale's best discerning friends, as we\",\n \"I achieve this cure!â \\n \\n âI thank you from my heart, most watchful friend,â said the Reverend \\n Mr. Dimmesdale, with a solemn smile. âI thank you, and can but requite\"\n ],\n [\n \"âwho, be her demerits what they may, hath none of that mystery of \\n hidden sinfulness which you deem so grievous to be borne. Is Hester \\n Prynne the less miserable, think you, for that scarlet letter on her\",\n \"by the beadle, and attended by an irregular procession of \\n stern-browed men and unkindly visaged women, Hester Prynne set forth \\n towards the place appointed for her punishment. A crowd of eager and\",\n \"the rude market-place of the Puritan settlement, with all the \\n towns-people assembled and levelling their stern regards at Hester \\n Prynne,âyes, at herself,âwho stood on the scaffold of the pillory,\",\n \"society that was indicated by itâon the mind of Hester Prynne \\n herself, was powerful and peculiar. All the light and graceful foliage \\n of her character had been withered up by this red-hot brand, and had\",\n \"strove in vain to do so. Hester would not set him free, lest he should \\n look her sternly in the face. All the world had frowned on her,âfor \\n seven long years had it frowned upon this lonely woman,âand still she\",\n \"Most of the spectators testified to having seen, on the breast of the \\n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \\n Hester Prynneâimprinted in the flesh. As regarded its origin, there\",\n \"at this man, would have hurled him from his pulpit into a \\n dungeon,âthence, peradventure, to the gallows!â \\n \\n âIt had been better so!â said Hester Prynne.\",\n \"which continually betokened that she had been born amiss,âthe \\n effluence of her mother's lawless passion,âand often impelled Hester \\n to ask, in bitterness of heart, whether it were for ill or good that\",\n \"the way of punishment for actual offences, but as a wholesome regimen \\n for the growth and promotion of all childish virtues. Hester Prynne, \\n nevertheless, the lonely mother of this one child, ran little risk of\",\n \"âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \\n \\n âEven so!â she answered. âIn such life as has been mine these seven\",\n \"âBe it sin or no,â said Hester Prynne, bitterly, as she still gazed \\n after him, âI hate the man!â \\n \\n She upbraided herself for the sentiment, but could not overcome or\",\n \"I cannot forgive thee!â \\n \\n âThou shalt forgive me!â cried Hester, flinging herself on the fallen \\n leaves beside him. âLet God punish! Thou shalt forgive!â \\n\",\n \"of an unhealed wound, he might have been supposed safer within the \\n line of virtue than if he had never sinned at all. \\n \\n Thus, we seem to see that, as regarded Hester Prynne, the whole seven\",\n \"me of Hester Prynne's,âhave I her name rightly?âof this woman's \\n offences, and what has brought her to yonder scaffold?â \\n\",\n \"common nature,âwhatever be the delinquencies of the individual,âno \\n outrage more flagrant than to forbid the culprit to hide his face for \\n shame; as it was the essence of this punishment to do. In Hester\",\n \"shame may still blaze upon thy bosom?â As he spoke, he laid his long \\n forefinger on the scarlet letter, which forthwith seemed to scorch \\n into Hester's breast, as if it had been red-hot. He noticed her\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \" HESTER AT HER NEEDLE. \\n \\n \\n Hester Prynne's term of confinement was now at an end. Her prison-door \\n was thrown open, and she came forth into the sunshine, which, falling\",\n \"centre of more remark and excitement, and was thus made to sear her \\n breast more painfully, than at any time since the first day she put it \\n on. \\n \\n While Hester stood in that magic circle of ignominy, where the cunning\",\n \"which they will have imposed upon her as the warm reality. But Hester \\n ought long ago to have done with this injustice. What did it betoken? \\n Had seven long years, under the torture of the scarlet letter,\"\n ],\n [\n \"Most of the spectators testified to having seen, on the breast of the \\n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \\n Hester Prynneâimprinted in the flesh. As regarded its origin, there\",\n \"they beheld her for the first time,âwas that SCARLET LETTER, so \\n fantastically embroidered and illuminated upon her bosom. It had the \\n effect of a spell, taking her out of the ordinary relations with\",\n \"Hester, that wear the scarlet letter openly upon your bosom! Mine \\n burns in secret! Thou little knowest what a relief it is, after the \\n torment of a seven years' cheat, to look into an eye that recognizes\",\n \"child's whole appearance, that it irresistibly and inevitably reminded \\n the beholder of the token which Hester Prynne was doomed to wear upon \\n her bosom. It was the scarlet letter in another form; the scarlet\",\n \"sake of its gold-thread.â \\n \\n In all the seven bygone years, Hester Prynne had never before been \\n false to the symbol on her bosom. It may be that it was the talisman\",\n \"shame may still blaze upon thy bosom?â As he spoke, he laid his long \\n forefinger on the scarlet letter, which forthwith seemed to scorch \\n into Hester's breast, as if it had been red-hot. He noticed her\",\n \"âwho, be her demerits what they may, hath none of that mystery of \\n hidden sinfulness which you deem so grievous to be borne. Is Hester \\n Prynne the less miserable, think you, for that scarlet letter on her\",\n \"it,âresumed the symbol of which we have related so dark a tale. Never \\n afterwards did it quit her bosom. But, in the lapse of the toilsome, \\n thoughtful, and self-devoted years that made up Hester's life, the\",\n \"heart, they have doomed Mistress Prynne to stand only a space of three \\n hours on the platform of the pillory, and then and thereafter, for the \\n remainder of her natural life, to wear a mark of shame upon her \\n bosom.â \\n\",\n \"terrific legend. They averred, that the symbol was not mere scarlet \\n cloth, tinged in an earthly dye-pot, but was red-hot with infernal \\n fire, and could be seen glowing all alight, whenever Hester Prynne\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"âThou knowest,â said Hester,âfor, depressed as she was, she could not \\n endure this last quiet stab at the token of her shame,ââthou knowest\",\n \"âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \\n \\n âEven so!â she answered. âIn such life as has been mine these seven\",\n \"society that was indicated by itâon the mind of Hester Prynne \\n herself, was powerful and peculiar. All the light and graceful foliage \\n of her character had been withered up by this red-hot brand, and had\",\n \"embody their images of woman's frailty and sinful passion. Thus the \\n young and pure would be taught to look at her, with the scarlet letter \\n flaming on her breast,âat her, the child of honorable parents,âat\",\n \"âLet us not look back,â answered Hester Prynne. âThe past is gone! \\n Wherefore should we linger upon it now? See! With this symbol, I undo\",\n \"as yet only half his victim, that the outward guise of purity was but \\n a lie, and that, if truth were everywhere to be shown, a scarlet \\n letter would blaze forth on many a bosom besides Hester Prynne's? Or,\",\n \"The child turned her eyes to the point indicated; and there lay the \\n scarlet letter, so close upon the margin of the stream, that the gold \\n embroidery was reflected in it. \\n \\n âBring it hither!â said Hester.\",\n \"where, long since, with all that dreary lapse of time between, Hester \\n Prynne had encountered the world's ignominious stare. There stood \\n Hester, holding little Pearl by the hand! And there was the scarlet\",\n \"With these words, she advanced to the margin of the brook, took up the \\n scarlet letter, and fastened it again into her bosom. Hopefully, but a \\n moment ago, as Hester had spoken of drowning it in the deep sea, there\"\n ],\n [\n \"Under the appellation of Roger Chillingworth, the reader will \\n remember, was hidden another name, which its former wearer had \\n resolved should never more be spoken. It has been related, how, in the\",\n \"little Pearl. \\n \\n âPearl! Little Pearl!â cried he after a moment's pause; then, \\n suppressing his voice,ââHester! Hester Prynne! Are you there?â \\n\",\n \"her name more than once, in a loud and solemn tone, audible to the \\n whole multitude. \\n \\n âHearken unto me, Hester Prynne!â said the voice. \\n\",\n \"In pursuance of this resolve, he took up his residence in the Puritan \\n town, as Roger Chillingworth, without other introduction than the \\n learning and intelligence of which he possessed more than a common \\n measure. As his studies, at a previous period of his life, had made\",\n \"âHester! Hester Prynne!â said he. âIs it thou? Art thou in life?â \\n \\n âEven so!â she answered. âIn such life as has been mine these seven\",\n \"his heterogeneous garb, he had endeavored to conceal or abate the \\n peculiarity, it was sufficiently evident to Hester Prynne, that one of \\n this man's shoulders rose higher than the other. Again, at the first\",\n \"him hide himself in outward honor, if he may! Not the less he shall be \\n mine!â \\n \\n âThy acts are like mercy,â said Hester, bewildered and appalled. âBut\",\n \"âIt has avenged thee!â answered Hester Prynne. \\n \\n âI judged no less,â said the physician. âAnd now, what wouldst thou \\n with me touching this man?â\",\n \"âI must reveal the secret,â answered Hester, firmly. âHe must discern \\n thee in thy true character. What may be the result, I know not. But \\n this long debt of confidence, due from me to him, whose bane and ruin\",\n \"âYes; it is Hester Prynne!â she replied, in a tone of surprise; and \\n the minister heard her footsteps approaching from the sidewalk, along \\n which she had been passing. âIt is I, and my little Pearl.â\",\n \"effect as if the street and all things else were at once annihilated. \\n \\n âWho is that man, Hester?â gasped Mr. Dimmesdale, overcome with\",\n \"save me! But, now, it is all falsehood!âall emptiness!âall death!â \\n \\n Hester Prynne looked into his face, but hesitated to speak. Yet,\",\n \"to treat with her as the man whom she had most deeply and irreparably \\n injured. \\n \\n âHester,â said he, âI ask not wherefore, nor how, thou hast fallen\",\n \"false to God and man, might be, for one moment, true! \\n \\n He started at a thought that suddenly occurred to him. \\n \\n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows\",\n \"point. The old man, on the other hand, had brought himself nearer to \\n her level, or perhaps below it, by the revenge which he had stooped \\n for. \\n \\n In fine, Hester Prynne resolved to meet her former husband, and do\",\n \"calmness, though in the utmost consternation. âThey have long dwelt \\n together.â \\n \\n Nothing further passed between the mariner and Hester Prynne. But, at\",\n \"At his arrival in the market-place, and some time before she saw him, \\n the stranger had bent his eyes on Hester Prynne. It was carelessly, at \\n first, like a man chiefly accustomed to look inward, and to whom\",\n \"Hester Prynne was now fully sensible of the deep injury for which she \\n was responsible to this unhappy man, in permitting him to lie for so \\n many years, or, indeed, for a single moment, at the mercy of one whose\",\n \"And she took the oath. \\n \\n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \\n hereafter to be named, âI leave thee alone; alone with thy infant, and\",\n \"close to little Pearl. The shadow of the curtain fell on Hester \\n Prynne, and partially concealed her. \\n \\n âWhat have we here?â said Governor Bellingham, looking with surprise\"\n ],\n [\n \"âThese men deceive themselves,â said Roger Chillingworth, with \\n somewhat more emphasis than usual, and making a slight gesture with \\n his forefinger. âThey fear to take up the shame that rightfully\",\n \"âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \\n the topic, and were glad of an opportunity to discuss it with the only \\n person of whom he could make a confidant. âNot to hide the truth,\",\n \"and disclosed the earth, with an awfulness that admonished Hester \\n Prynne and the clergyman of the day of judgment, then might Roger \\n Chillingworth have passed with them for the arch-fiend, standing there\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"âI have left thee to the scarlet letter,â replied Roger Chillingworth. \\n âIf that have not avenged me, I can do no more!â \\n \\n He laid his finger on it, with a smile. \\n\",\n \"false to God and man, might be, for one moment, true! \\n \\n He started at a thought that suddenly occurred to him. \\n \\n âHester,â cried he, âhere is a new horror! Roger Chillingworth knows\",\n \"Roger Chillingworth, however, was inclined to be hardly, if at all, \\n less satisfied with the aspect of affairs, which Providenceâusing the \\n avenger and his victim for its own purposes, and, perchance, pardoning\",\n \"taken a brief and reluctant part in the scene of Hester Prynne's \\n disgrace; and, in close companionship with him, old Roger \\n Chillingworth, a person of great skill in physic, who, for two or\",\n \"âWhat evil have I done the man?â asked Roger Chillingworth again. âI \\n tell thee, Hester Prynne, the richest fee that ever physician earned \\n from monarch could not have bought such care as I have wasted on this\",\n \"Hester Prynne was now fully sensible of the deep injury for which she \\n was responsible to this unhappy man, in permitting him to lie for so \\n many years, or, indeed, for a single moment, at the mercy of one whose\",\n \"âIt has avenged thee!â answered Hester Prynne. \\n \\n âI judged no less,â said the physician. âAnd now, what wouldst thou \\n with me touching this man?â\",\n \"âI have greatly wronged thee,â murmured Hester. \\n \\n âWe have wronged each other,â answered he. âMine was the first wrong,\",\n \"âI must reveal the secret,â answered Hester, firmly. âHe must discern \\n thee in thy true character. What may be the result, I know not. But \\n this long debt of confidence, due from me to him, whose bane and ruin\",\n \"with a kind of fierceness, on old Roger Chillingworth. âNot to thee! \\n But if it be the soul's disease, then do I commit myself to the one \\n Physician of the soul! He, if it stand with his good pleasure, can\",\n \"âYou would tell me, then, that I know all?â said Roger Chillingworth, \\n deliberately, and fixing an eye, bright with intense and concentrated \\n intelligence, on the minister's face. âBe it so! But, again! He to\",\n \"at this man, would have hurled him from his pulpit into a \\n dungeon,âthence, peradventure, to the gallows!â \\n \\n âIt had been better so!â said Hester Prynne.\",\n \"âBe it sin or no,â said Hester Prynne, bitterly, as she still gazed \\n after him, âI hate the man!â \\n \\n She upbraided herself for the sentiment, but could not overcome or\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \" \\n \\n XV. \\n \\n HESTER AND PEARL. \\n \\n \\n So Roger Chillingworthâa deformed old figure, with a face that\",\n \"And she took the oath. \\n \\n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \\n hereafter to be named, âI leave thee alone; alone with thy infant, and\"\n ],\n [\n \"Now Pearl knew well enough who made her; for Hester Prynne, the \\n daughter of a pious home, very soon after her talk with the child \\n about her Heavenly Father, had begun to inform her of those truths\",\n \"that my Pearl?â Yet she knew that there was love in the child's heart, \\n although it mostly revealed itself in passion, and hardly twice in her \\n lifetime had been softened by such gentleness as now. The\",\n \"hand in a vain attempt to pat little Pearl on the cheek. âBut where is \\n this mother of thine? Ah! I see,â he added; and, turning to Governor \\n Bellingham, whispered, âThis is the selfsame child of whom we have\",\n \"dearly, and thou her. She is not far off. I will call her! Pearl! \\n Pearl!â \\n \\n âI see the child,â observed the minister. âYonder she is, standing in\",\n \"little Pearl! I hear voices in the garden. The Governor is coming, and \\n gentlemen along with him!â \\n \\n In fact, adown the vista of the garden avenue a number of persons were \\n seen approaching towards the house. Pearl, in utter scorn of her\",\n \"The old minister seated himself in an arm-chair, and made an effort to \\n draw Pearl betwixt his knees. But the child, unaccustomed to the touch \\n or familiarity of any but her mother, escaped through the open window,\",\n \"entreat his blessing! He loves thee, my little Pearl, and loves thy \\n mother too. Wilt thou not love him? Come! he longs to greet thee!â \\n\",\n \"âHush, Pearl, hush! Thou must not talk so!â answered the mother, \\n suppressing a groan. âHe sent us all into this world. He sent even me,\",\n \"of personage, and usually a vast favorite with children,âessayed, \\n however, to proceed with the examination. \\n \\n âPearl,â said he, with great solemnity, âthou must take heed to\",\n \"judgment-seat, thy mother, and thou, and I must stand together. But \\n the daylight of this world shall not see our meeting!â \\n \\n Pearl laughed again. \\n\",\n \"both here and in England, to little Pearl, the daughter of Hester \\n Prynne. \\n \\n So Pearlâthe elf-child,âthe demon offspring, as some people, up to\",\n \"âNay; not so, my little Pearl,â answered the minister; for, with the \\n new energy of the moment, all the dread of public exposure, that had \\n so long been the anguish of his life, had returned upon him; and he\",\n \"so imagined itâfrom the unsearchable abyss of her black eyes. \\n \\n âChild, what art thou?â cried the mother. \\n \\n âO, I am your little Pearl!â answered the child. \\n\",\n \"made investigations a century later, believed,âand one of his recent \\n successors in office, moreover, faithfully believes,âthat Pearl was \\n not only alive, but married, and happy, and mindful of her mother, and\",\n \"mother. âI remember it; and so shall little Pearl. Fear nothing! She \\n may be strange and shy at first, but will soon learn to love thee!â \\n \\n By this time Pearl had reached the margin of the brook, and stood on\",\n \"tortured, though less vividly, by the same illusion. \\n \\n In the afternoon of a certain summer's day, after Pearl grew big \\n enough to run about, she amused herself with gathering handfuls of\",\n \"âHester,â said he, âcome hither! Come, my little Pearl!â \\n \\n It was a ghastly look with which he regarded them; but there was\",\n \"intelligence, that her mother half doubted whether she were not \\n acquainted with the secret spell of her existence, and might not now \\n reveal herself. \\n \\n âYes; I am little Pearl!â repeated the child, continuing her antics. \\n\",\n \"âThou art not my child! Thou art no Pearl of mine!â said the mother, \\n half playfully; for it was often the case that a sportive impulse came\",\n \"âThou must know Pearl!â said she. âOur little Pearl! Thou hast seen \\n her,âyes, I know it!âbut thou wilt see her now with other eyes. She\"\n ],\n [\n \"life, will be in my hands. Beware!â \\n \\n âI will keep thy secret, as I have his,â said Hester. \\n \\n âSwear it!â rejoined he. \\n\",\n \"terror. âI shiver at him! Dost thou know the man? I hate him, Hester!â \\n \\n She remembered her oath, and was silent. \\n\",\n \"grown involuntary with him. \\n \\n âThink for me, Hester! Thou art strong. Resolve for me!â \\n \\n âThou must dwell no longer with this man,â said Hester, slowly and\",\n \"âAha! and is it Mistress Hester that has a word for old Roger \\n Chillingworth?â answered he, raising himself from his stooping \\n posture. âWith all my heart! Why, Mistress, I hear good tidings of you\",\n \"And she took the oath. \\n \\n âAnd now, Mistress Prynne,â said old Roger Chillingworth, as he was \\n hereafter to be named, âI leave thee alone; alone with thy infant, and\",\n \"âI must reveal the secret,â answered Hester, firmly. âHe must discern \\n thee in thy true character. What may be the result, I know not. But \\n this long debt of confidence, due from me to him, whose bane and ruin\",\n \"âHush, Hester, hush!â said he, with tremulous solemnity. âThe law we \\n broke!âthe sin here so awfully revealed!âlet these alone be in thy\",\n \"âPeace, Hester, peace!â replied the old man, with gloomy sternness. \\n âIt is not granted me to pardon. I have no such power as thou tellest\",\n \"Mistress Hester, my thoughts happen just now to be busy with the \\n gentleman. So speak freely; and I will make answer.â \\n \\n âWhen we last spake together,â said Hester, ânow seven years ago, it\",\n \"Hester Prynne fastened on his own, and saw that she appeared to \\n recognize him, he slowly and calmly raised his finger, made a gesture \\n with it in the air, and laid it on his lips. \\n\",\n \"was your pleasure to extort a promise of secrecy, as touching the \\n former relation betwixt yourself and me. As the life and good fame of \\n yonder man were in your hands, there seemed no choice to me, save to\",\n \"time when her heart knew no better, he had persuaded her to fancy \\n herself happy by his side. \\n \\n âYes, I hate him!â repeated Hester, more bitterly than before. âHe\",\n \"âThou wilt go!â said Hester, calmly, as he met her glance. \\n \\n The decision once made, a glow of strange enjoyment threw its \\n flickering brightness over the trouble of his breast. It was the\",\n \"âHester Prynne,â said he, leaning over the balcony and looking down \\n steadfastly into her eyes, âthou hearest what this good man says, and\",\n \"Hester absolutely refuseth to speak, and the magistrates have laid \\n their heads together in vain. Peradventure the guilty one stands \\n looking on at this sad spectacle, unknown of man, and forgetting that \\n God sees him.â \\n\",\n \"âA story, child!â said Hester. âAnd about what?â \\n \\n âO, a story about the Black Man,â answered Pearl, taking hold of her\",\n \"with me to my eternal state, rather than that you should put your \\n skill to the proof in my behalf.â \\n \\n âAh,â replied Roger Chillingworth, with that quietness which, whether\",\n \"âWhy dost thou smile so at me?â inquired Hester, troubled at the \\n expression of his eyes. âArt thou like the Black Man that haunts the \\n forest round about us? Hast thou enticed me into a bond that will\",\n \"your purpose to reveal his true character. Will he continue, then, to \\n keep our secret? What will now be the course of his revenge?â \\n \\n âThere is a strange secrecy in his nature,â replied Hester,\",\n \"âWere it God's will,â said the Reverend Mr. Dimmesdale, when, in \\n fulfilment of this pledge, he requested old Roger Chillingworth's\"\n ],\n [\n \"close to little Pearl. The shadow of the curtain fell on Hester \\n Prynne, and partially concealed her. \\n \\n âWhat have we here?â said Governor Bellingham, looking with surprise\",\n \"hand in a vain attempt to pat little Pearl on the cheek. âBut where is \\n this mother of thine? Ah! I see,â he added; and, turning to Governor \\n Bellingham, whispered, âThis is the selfsame child of whom we have\",\n \"âCome thou and take it up!â answered Pearl. \\n \\n âWas ever such a child!â observed Hester, aside to the minister. âO, I\",\n \"Now Pearl knew well enough who made her; for Hester Prynne, the \\n daughter of a pious home, very soon after her talk with the child \\n about her Heavenly Father, had begun to inform her of those truths\",\n \"thou do for the child, in this kind?â \\n \\n âI can teach my little Pearl what I have learned from this!â answered \\n Hester Prynne, laying her finger on the red token. \\n\",\n \"fairer prospect of these advantages, by being transferred to wiser and \\n better guardianship than Hester Prynne's. Among those who promoted the \\n design, Governor Bellingham was said to be one of the most busy. It\",\n \"âYes; now I will!â answered the child, bounding across the brook, and \\n clasping Hester in her arms. âNow thou art my mother indeed! And I am \\n thy little Pearl!â \\n\",\n \"Christian man hath a title to show a father's kindness towards the \\n poor, deserted babe.â \\n \\n The affair being so satisfactorily concluded, Hester Prynne, with\",\n \"âA story, child!â said Hester. âAnd about what?â \\n \\n âO, a story about the Black Man,â answered Pearl, taking hold of her\",\n \"âIs the worshipful Governor Bellingham within?â inquired Hester. \\n \\n âYea, forsooth,â replied the bond-servant, staring with wide-open eyes\",\n \"âLet her see nothing strangeâno passion nor eagernessâin thy way of \\n accosting her,â whispered Hester. âOur Pearl is a fitful and fantastic\",\n \"âGod gave her into my keeping,â repeated Hester Prynne, raising her \\n voice almost to a shriek. âI will not give her up!ââAnd here, by a\",\n \"held speech together; and behold here the unhappy woman, Hester \\n Prynne, her mother!â \\n \\n âSayest thou so?â cried the Governor. âNay, we might have judged that\",\n \" \\n \\n VII. \\n \\n THE GOVERNOR'S HALL. \\n \\n \\n \\n \\n Hester Prynne went, one day, to the mansion of Governor Bellingham,\",\n \" THE CHILD AT THE BROOK-SIDE. \\n \\n \\n âThou wilt love her dearly,â repeated Hester Prynne, as she and the \\n minister sat watching little Pearl. âDost thou not think her\",\n \"Hester caught hold of Pearl, and drew her forcibly into her arms, \\n confronting the old Puritan magistrate with almost a fierce \\n expression. Alone in the world, cast off by it, and with this sole\",\n \"little Pearl. \\n \\n âPearl! Little Pearl!â cried he after a moment's pause; then, \\n suppressing his voice,ââHester! Hester Prynne! Are you there?â \\n\",\n \"mother, too, Pearl's errand as a messenger of anguish was all \\n fulfilled. \\n \\n âHester,â said the clergyman, âfarewell!â \\n\",\n \"and am now going homeward to my dwelling.â \\n \\n âCome up hither, Hester, thou and little Pearl,â said the Reverend Mr.\",\n \"that she would most joyfully have entertained that sad and lonely \\n mother at her fireside. \\n \\n But there was a more real life for Hester Prynne here, in New England, \\n than in that unknown region where Pearl had found a home. Here had\"\n ],\n [\n \"In pursuance of this resolve, he took up his residence in the Puritan \\n town, as Roger Chillingworth, without other introduction than the \\n learning and intelligence of which he possessed more than a common \\n measure. As his studies, at a previous period of his life, had made\",\n \"All this time, Roger Chillingworth was looking at the minister with \\n the grave and intent regard of a physician towards his patient. But, \\n in spite of this outward show, the latter was almost convinced of the\",\n \"intense, that the bodily infirmity would be likely to have its \\n groundwork there. So Roger Chillingworthâthe man of skill, the kind \\n and friendly physicianâstrove to go deep into his patient's bosom,\",\n \"rising from his chair. âYou deal not, I take it, in medicine for the \\n soul!â \\n \\n âThus, a sickness,â continued Roger Chillingworth, going on, in an\",\n \"âAnd what of him?â cried Roger Chillingworth, eagerly, as if he loved \\n the topic, and were glad of an opportunity to discuss it with the only \\n person of whom he could make a confidant. âNot to hide the truth,\",\n \"Under the appellation of Roger Chillingworth, the reader will \\n remember, was hidden another name, which its former wearer had \\n resolved should never more be spoken. It has been related, how, in the\",\n \"Roger Chillingworth possessed all, or most, of the attributes above \\n enumerated. Nevertheless, time went on; a kind of intimacy, as we have \\n said, grew up between these two cultivated minds, which had as wide a\",\n \"Old Roger Chillingworth, throughout life, had been calm in \\n temperament, kindly, though not of warm affections, but ever, and in \\n all his relations with the world, a pure and upright man. He had begun\",\n \"well-skilled physician, whether, in good sooth, he deems me to have \\n profited by his kindly care of this weak frame of mine?â \\n \\n Before Roger Chillingworth could answer, they heard the clear, wild\",\n \"Such was the young clergyman's condition, and so imminent the prospect \\n that his dawning light would be extinguished, all untimely, when Roger \\n Chillingworth made his advent to the town. His first entry on the\",\n \"been valuable, in other mattersâaffirmed that Roger Chillingworth's \\n aspect had undergone a remarkable change while he had dwelt in town, \\n and especially since his abode with Mr. Dimmesdale. At first, his\",\n \"âThese men deceive themselves,â said Roger Chillingworth, with \\n somewhat more emphasis than usual, and making a slight gesture with \\n his forefinger. âThey fear to take up the shame that rightfully\",\n \"taken a brief and reluctant part in the scene of Hester Prynne's \\n disgrace; and, in close companionship with him, old Roger \\n Chillingworth, a person of great skill in physic, who, for two or\",\n \"continue the care, which, if not successful in restoring him to \\n health, had, in all probability, been the means of prolonging his \\n feeble existence to that hour. Roger Chillingworth readily assented, \\n and went on with his medical supervision of the minister; doing his\",\n \"[Illustration: The Minister and Leech] \\n \\n In this manner, the mysterious old Roger Chillingworth became the \\n medical adviser of the Reverend Mr. Dimmesdale. As not only the \\n disease interested the physician, but he was strongly moved to look\",\n \"With a frantic gesture he rushed out of the room. \\n \\n âIt is as well to have made this step,â said Roger Chillingworth to \\n himself, looking after the minister with a grave smile. âThere is\",\n \"âYou would tell me, then, that I know all?â said Roger Chillingworth, \\n deliberately, and fixing an eye, bright with intense and concentrated \\n intelligence, on the minister's face. âBe it so! But, again! He to\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"with a kind of fierceness, on old Roger Chillingworth. âNot to thee! \\n But if it be the soul's disease, then do I commit myself to the one \\n Physician of the soul! He, if it stand with his good pleasure, can\",\n \"Satan himself, or Satan's emissary, in the guise of old Roger \\n Chillingworth. This diabolical agent had the Divine permission, for a \\n season, to burrow into the clergyman's intimacy, and plot against his\"\n ],\n [\n \"never fairly been revealed to him. It was a strange reserve! \\n \\n After a time, at a hint from Roger Chillingworth, the friends of Mr. \\n Dimmesdale effected an arrangement by which the two were lodged in the\",\n \"[Illustration: The Minister and Leech] \\n \\n In this manner, the mysterious old Roger Chillingworth became the \\n medical adviser of the Reverend Mr. Dimmesdale. As not only the \\n disease interested the physician, but he was strongly moved to look\",\n \"In pursuance of this resolve, he took up his residence in the Puritan \\n town, as Roger Chillingworth, without other introduction than the \\n learning and intelligence of which he possessed more than a common \\n measure. As his studies, at a previous period of his life, had made\",\n \" THE MINISTER'S VIGIL. \\n \\n \\n Walking in the shadow of a dream, as it were, and perhaps actually \\n under the influence of a species of somnambulism, Mr. Dimmesdale\",\n \"With a frantic gesture he rushed out of the room. \\n \\n âIt is as well to have made this step,â said Roger Chillingworth to \\n himself, looking after the minister with a grave smile. âThere is\",\n \"âI will go home with you,â said Mr. Dimmesdale. \\n \\n With a chill despondency, like one awaking, all nerveless, from an \\n ugly dream, he yielded himself to the physician, and was led away. \\n\",\n \"Such was the young clergyman's condition, and so imminent the prospect \\n that his dawning light would be extinguished, all untimely, when Roger \\n Chillingworth made his advent to the town. His first entry on the\",\n \"been valuable, in other mattersâaffirmed that Roger Chillingworth's \\n aspect had undergone a remarkable change while he had dwelt in town, \\n and especially since his abode with Mr. Dimmesdale. At first, his\",\n \"to repentance, and to confession, as a proof and consequence thereof.â \\n \\n The directness of this appeal drew the eyes of the whole crowd upon \\n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one\",\n \"world to breathe in, while they talked together,âfor all these \\n reasons, Hester never thought of meeting him in any narrower privacy \\n than beneath the open sky. \\n \\n At last, while attending in a sick-chamber, whither the Reverend Mr.\",\n \"Bellingham, for the last few moments, had kept an anxious eye upon \\n him. He now left his own place in the procession, and advanced to give \\n assistance; judging, from Mr. Dimmesdale's aspect, that he must\",\n \"life had won him warmer affection than was accorded to any of his \\n professional contemporaries. \\n \\n Behind the Governor and Mr. Wilson came two other guests: one the \\n Reverend Arthur Dimmesdale, whom the reader may remember as having\",\n \"faintly from a world which they had quitted,âI, your pastor, whom you \\n so reverence and trust, am utterly a pollution and a lie!â \\n \\n More than once, Mr. Dimmesdale had gone into the pulpit, with a\",\n \"passing from one apartment to the other, and bestowing a mutual and \\n not incurious inspection into one another's business. \\n \\n And the Reverend Arthur Dimmesdale's best discerning friends, as we\",\n \"All this time, Roger Chillingworth was looking at the minister with \\n the grave and intent regard of a physician towards his patient. But, \\n in spite of this outward show, the latter was almost convinced of the\",\n \"region. By its aid, in all the subsequent relations betwixt him and \\n Mr. Dimmesdale, not merely the external presence, but the very inmost \\n soul, of the latter, seemed to be brought out before his eyes, so that\",\n \"âPeople say,â said another, âthat the Reverend Master Dimmesdale, her \\n godly pastor, takes it very grievously to heart that such a scandal \\n should have come upon his congregation.â \\n\",\n \"continue the care, which, if not successful in restoring him to \\n health, had, in all probability, been the means of prolonging his \\n feeble existence to that hour. Roger Chillingworth readily assented, \\n and went on with his medical supervision of the minister; doing his\",\n \"immediately after Mr. Dimmesdale's death, in the appearance and \\n demeanor of the old man known as Roger Chillingworth. All his strength \\n and energyâall his vital and intellectual forceâseemed at once to\",\n \"While thus suffering under bodily disease, and gnawed and tortured by \\n some black trouble of the soul, and given over to the machinations of \\n his deadliest enemy, the Reverend Mr. Dimmesdale had achieved a\"\n ],\n [\n \"spectators of the whole scene, and professed never once to have \\n removed their eyes from the Reverend Mr. Dimmesdale, denied that there \\n was any mark whatever on his breast, more than on a new-born infant's.\",\n \"Most of the spectators testified to having seen, on the breast of the \\n unhappy minister, a SCARLET LETTERâthe very semblance of that worn by \\n Hester Prynneâimprinted in the flesh. As regarded its origin, there\",\n \"âYet some men bury their secrets thus,â observed the calm physician. \\n \\n âTrue; there are such men,â answered Mr. Dimmesdale. âBut, not to\",\n \"hillock over his frame, no matter whether there were life in it or no. \\n Death was too definite an object to be wished for, or avoided. \\n \\n To Hester's eye, the Reverend Mr. Dimmesdale exhibited no symptom of\",\n \"he missed his heavenly kindred! Now, at the death-hour, he stands up \\n before you! He bids you look again at Hester's scarlet letter! He \\n tells you, that, with all its mysterious horror, it is but the shadow\",\n \"before my sight. For, Hester, I am a dying man. So let me make haste \\n to take my shame upon me!â \\n \\n Partly supported by Hester Prynne, and holding one hand of little\",\n \"of his own servants, signed and sealed, so shy of owning to the bond \\n as is the Reverend Mr. Dimmesdale, he hath a way of ordering matters \\n so that the mark shall be disclosed in open daylight to the eyes of\",\n \"To sum up the matter, it grew to be a widely diffused opinion, that \\n the Reverend Arthur Dimmesdale, like many other personages of especial \\n sanctity, in all ages of the Christian world, was haunted either by\",\n \"Then, indeed, Mr. Dimmesdale shuddered, and slightly stirred. \\n \\n After a brief pause, the physician turned away. \\n \\n But, with what a wild look of wonder, joy, and horror! With what a\",\n \"âYea, woman, thou sayest truly!â cried old Roger Chillingworth, \\n letting the lurid fire of his heart blaze out before her eyes. âBetter \\n had he died at once! Never did mortal suffer what this man has\",\n \"to repentance, and to confession, as a proof and consequence thereof.â \\n \\n The directness of this appeal drew the eyes of the whole crowd upon \\n the Reverend Mr. Dimmesdale; a young clergyman, who had come from one\",\n \"Bellingham, for the last few moments, had kept an anxious eye upon \\n him. He now left his own place in the procession, and advanced to give \\n assistance; judging, from Mr. Dimmesdale's aspect, that he must\",\n \"visages around the scaffold. Whom would they discern there, with the \\n red eastern light upon his brow? Whom, but the Reverend Arthur \\n Dimmesdale, half frozen to death, overwhelmed with shame, and standing\",\n \"faintly from a world which they had quitted,âI, your pastor, whom you \\n so reverence and trust, am utterly a pollution and a lie!â \\n \\n More than once, Mr. Dimmesdale had gone into the pulpit, with a\",\n \"âO Hester!â cried Arthur Dimmesdale, in whose eyes a fitful light, \\n kindled by her enthusiasm, flashed up and died away, âthou tellest of\",\n \"immediately after Mr. Dimmesdale's death, in the appearance and \\n demeanor of the old man known as Roger Chillingworth. All his strength \\n and energyâall his vital and intellectual forceâseemed at once to\",\n \"shape as his guilty imagination gave it; or, at least, with so little \\n definiteness, that another's guilt might have seen another symbol in \\n it. \\n \\n There was a singular circumstance that characterized Mr. Dimmesdale's\",\n \"While thus suffering under bodily disease, and gnawed and tortured by \\n some black trouble of the soul, and given over to the machinations of \\n his deadliest enemy, the Reverend Mr. Dimmesdale had achieved a\",\n \"were various explanations, all of which must necessarily have been \\n conjectural. Some affirmed that the Reverend Mr. Dimmesdale, on the \\n very day when Hester Prynne first wore her ignominious badge, had\",\n \"own. We felt it so! We said so to each other! Hast thou forgotten it?â \\n \\n âHush, Hester!â said Arthur Dimmesdale, rising from the ground. âNo; I\"\n ]\n]"},"questions":{"kind":"list like","value":["What is the meaning of the \"A\" that Hester Prynne must wear?","What does Rev. Dimmesdale do just before dying?","Why must Hester stand on the scaffold for 3 hours?","What is Chillingworth's profession?","Why does Chillingworth believe Dimmesdale is ill?","Who advocates for Hester to maintain custody of Pearl?","What secret does Chillingworth force Hester to keep?","What plan do Hester and Dimmesdale make after Hester reveals her husband's plan for revenge?","What do witnesses claim to see on Dimmesdale's chest just after he dies?","What has the crowd gathered to witness?","What does the scarlet A stand for?","What angered the women in the crowd?","Who does Hester recognize among the crowd?","What does Roger vow?","What does Roger warn Hester of?","Who is Pearl?","What does Chillingworth suspect of Dimmesdale?","What does Hester convince Dimmesdale to do?","What do witnesses swear about Dimmesdale?","Why is Hester being punished?","What is the symbol Hester has to wear to show she is guilty of adultery?","Hester's long lost husband disguises himself with what name?","Roger Chillingworth believes who also should be punished with Hester for committing adultery?","Who is Pear's father?","What does Roger make Hester vow?","Who successfully persuades Governor Bellingham to let Hester keep custody of Pearl?","What is Roger Chillingworth's occupation?","Why does Roger start living with Minister Dimmesdale?","When Dimmesdale dies, some witnesses say they saw what symbol on his chest?"],"string":"[\n \"What is the meaning of the \\\"A\\\" that Hester Prynne must wear?\",\n \"What does Rev. Dimmesdale do just before dying?\",\n \"Why must Hester stand on the scaffold for 3 hours?\",\n \"What is Chillingworth's profession?\",\n \"Why does Chillingworth believe Dimmesdale is ill?\",\n \"Who advocates for Hester to maintain custody of Pearl?\",\n \"What secret does Chillingworth force Hester to keep?\",\n \"What plan do Hester and Dimmesdale make after Hester reveals her husband's plan for revenge?\",\n \"What do witnesses claim to see on Dimmesdale's chest just after he dies?\",\n \"What has the crowd gathered to witness?\",\n \"What does the scarlet A stand for?\",\n \"What angered the women in the crowd?\",\n \"Who does Hester recognize among the crowd?\",\n \"What does Roger vow?\",\n \"What does Roger warn Hester of?\",\n \"Who is Pearl?\",\n \"What does Chillingworth suspect of Dimmesdale?\",\n \"What does Hester convince Dimmesdale to do?\",\n \"What do witnesses swear about Dimmesdale?\",\n \"Why is Hester being punished?\",\n \"What is the symbol Hester has to wear to show she is guilty of adultery?\",\n \"Hester's long lost husband disguises himself with what name?\",\n \"Roger Chillingworth believes who also should be punished with Hester for committing adultery?\",\n \"Who is Pear's father?\",\n \"What does Roger make Hester vow?\",\n \"Who successfully persuades Governor Bellingham to let Hester keep custody of Pearl?\",\n \"What is Roger Chillingworth's occupation?\",\n \"Why does Roger start living with Minister Dimmesdale?\",\n \"When Dimmesdale dies, some witnesses say they saw what symbol on his chest?\"\n]"},"answers":{"kind":"list like","value":[["It stands for adultery","Adultress"],["Confesses he is Pearl's father","Confesses his sin."],["Public humiliation as punishment for her adultery ","So she is publicly humiliated."],["Physician ","Doctor"],["Unconfessed guilt","guilt over hiding something"],["Dimmesdale","Minister Dimmesdale"],["Hester and Chillingworth are married","That they were married"],["To start a new life together in Europe","to run away and start a new life"],["A scarlet \"A\"","A scarlet \"A\""],["Punishment of Hester Prynne","The punishment of an adulterer"],["Adulteress","Adulteress"],["Hester's beauty ","Hester's behavior as she was being punished"],["Her lost huband","Her long lost husband, Roger Chillingworth"],["To find the father","To find the child's father."],["He will destroy the child's father","That he will destroy the child's father."],["The daughter","Hester's daughter."],["His guilt","that he is Pearls father"],["Flee to Europe","Let Pearl remain in Hester's care."],["They saw the letter A on his chest","They saw a stigma in the form of letter A on his chest."],["She committed adultery.","for adultery"],["Scarlet letter A.","a letter A"],["Roger Chillingworth.","Roger Chillingworth"],["The child's father.","the man she had the child with"],["Arthur Dimmesdale.","Dimmesdale."],["Hester cannot reveal Roger's identity as her long lost husband.","that she won't reveal he is her husband"],["Minister Dimmesdale.","Arthur Dimmesdale"],["A physician.","Physician."],["Dimmesdale's health is failing.","To care for the minister's health"],["An \"A\".","A scarlet \"A\"."]],"string":"[\n [\n \"It stands for adultery\",\n \"Adultress\"\n ],\n [\n \"Confesses he is Pearl's father\",\n \"Confesses his sin.\"\n ],\n [\n \"Public humiliation as punishment for her adultery \",\n \"So she is publicly humiliated.\"\n ],\n [\n \"Physician \",\n \"Doctor\"\n ],\n [\n \"Unconfessed guilt\",\n \"guilt over hiding something\"\n ],\n [\n \"Dimmesdale\",\n \"Minister Dimmesdale\"\n ],\n [\n \"Hester and Chillingworth are married\",\n \"That they were married\"\n ],\n [\n \"To start a new life together in Europe\",\n \"to run away and start a new life\"\n ],\n [\n \"A scarlet \\\"A\\\"\",\n \"A scarlet \\\"A\\\"\"\n ],\n [\n \"Punishment of Hester Prynne\",\n \"The punishment of an adulterer\"\n ],\n [\n \"Adulteress\",\n \"Adulteress\"\n ],\n [\n \"Hester's beauty \",\n \"Hester's behavior as she was being punished\"\n ],\n [\n \"Her lost huband\",\n \"Her long lost husband, Roger Chillingworth\"\n ],\n [\n \"To find the father\",\n \"To find the child's father.\"\n ],\n [\n \"He will destroy the child's father\",\n \"That he will destroy the child's father.\"\n ],\n [\n \"The daughter\",\n \"Hester's daughter.\"\n ],\n [\n \"His guilt\",\n \"that he is Pearls father\"\n ],\n [\n \"Flee to Europe\",\n \"Let Pearl remain in Hester's care.\"\n ],\n [\n \"They saw the letter A on his chest\",\n \"They saw a stigma in the form of letter A on his chest.\"\n ],\n [\n \"She committed adultery.\",\n \"for adultery\"\n ],\n [\n \"Scarlet letter A.\",\n \"a letter A\"\n ],\n [\n \"Roger Chillingworth.\",\n \"Roger Chillingworth\"\n ],\n [\n \"The child's father.\",\n \"the man she had the child with\"\n ],\n [\n \"Arthur Dimmesdale.\",\n \"Dimmesdale.\"\n ],\n [\n \"Hester cannot reveal Roger's identity as her long lost husband.\",\n \"that she won't reveal he is her husband\"\n ],\n [\n \"Minister Dimmesdale.\",\n \"Arthur Dimmesdale\"\n ],\n [\n \"A physician.\",\n \"Physician.\"\n ],\n [\n \"Dimmesdale's health is failing.\",\n \"To care for the minister's health\"\n ],\n [\n \"An \\\"A\\\".\",\n \"A scarlet \\\"A\\\".\"\n ]\n]"},"document_id":{"kind":"string","value":"dd4a1cd4565be9c7141a8196e05235e873eafaf3"},"split":{"kind":"string","value":"train"}}},{"rowIdx":60,"cells":{"text":{"kind":"list like","value":[["\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","planets, ships were fewer and farther between. The big, cigar-shaped \n freighter drifted helplessly on in a broad curve toward the dreaded \n area, the green light-speck of Neptune swinging to their left. \n","Mars or Venus on their bows. Wrecked freighters from Saturn or Earth \n floated beside rotund grain-boats from Jupiter. \n \n The debris among the pack's wrecks was just as varied, holding fragments","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","a space-ship, and as such can legally try you and sentence you to death \n here without further formalities.\" \n \n Krell did not answer, but Kent intervened. \"There's hardly time for that","instruments under Captain Crain's orders, the weak calls of the \n auxiliary set raised no response. \n \n Had they been on the Venus or Mars run, Kent told himself, there would \n be some chance, but out here in the vast spaces, between the outer"," * * * * * \n \n They climbed back, up to the ship's top, and leapt off it toward a \n Jupiter freighter lying a little farther inside the pack. As they","to the _Pallas_ with us?\" he asked. \"I'm sure you'd be more comfortable \n there.\" \n \n \"She doesn't go,\" grunted Jandron. Kent turned in quick wrath toward \n him, but Krell intervened. \n","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","Their ship floated at the wreck-pack's edge. Directly to its right \n floated a sleek, shining Uranus-Jupiter passenger-ship whose bows had \n been smashed in by a meteor. On their left bobbed an unmarked freighter","fascinated interest that even knowledge of their own peril could not \n kill. They could see swift-lined passenger-ships of the Pluto and \n Neptune runs shouldering against small space-yachts with the insignia of","around it, and, with feet braced against its side, propelled themselves \n on through space along the border of the wreck-pack. \n \n They passed a half-dozen wrecks thus, before coming to the _Martian","\"We'll have her out, never fear,\" Crain reassured him. \"The main thing \n is to determine our course toward Krell and Jandron.\" \n \n Kent thought. \"As I see it, Krell can help us immeasurably in our search","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar","\"Perfectly,\" she said. \n \n \"Then go down and tie together as many space-helmets as you can manage, \n get out of the airlock, and try to get over here to the _Martian Queen_","\"They've back-blasted from being fired too fast,\" he said. \"Who was \n controlling the ship when this happened?\" \n \n \"Galling, our second-officer,\" answered Krell. \"He had found us routed","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n"],["Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power.","Crain told him. \"You're living on one of the wrecks?\" \n \n The other nodded. \"Yes, on the _Martian Queen_, a quarter-mile along the","the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was","around it, and, with feet braced against its side, propelled themselves \n on through space along the border of the wreck-pack. \n \n They passed a half-dozen wrecks thus, before coming to the _Martian","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","against a ship's side to send them floating over the wrecks. They came \n to the wreck-pack's edge at a little distance from the _Pallas_, and \n hastened toward it. \n","Crain nodded thoughtfully. \"I think you're right. Then you and Liggett \n and Krell can head our search-party to-morrow.\" \n \n Crain established watches on a new schedule, and Kent and Liggett and","and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the","Kent found the slowness with which they floated forward torturing. He \n glimpsed Crain and Liggett ahead, Marta beside him, Krell floating \n behind him to the left. They reached the projecting freighters, climbed","Kent's muscles ached from the arduous work of climbing over and \n exploring the wrecks. He and Liggett had become accustomed to the sight \n of frozen, motionless bodies. \n","exploded. Eighteen of us escaped the explosion, the ship's walls still \n being tight; and we drifted into the pack here, and have been living \n here ever since.\" \n","over and around them, braced against them and shot on. They sighted the \n _Pallas_ ahead now. Suddenly they discerned another group of eleven \n figures in space-suits approaching it from the wreck-pack's interior,","The radio-operators' vain calls had ceased. The _Pallas_ drifted on into \n the dreaded area like some dumb ship laden with damned souls. It drifted \n on, Kent told himself, as many a wrecked and disabled ship had done","\"The best we can do is leave them here,\" Kent told him. \"Best for them, \n too, for at Neptune they'd be executed, while they can live indefinitely \n in the wreck-pack.\" \n","Kent reached the lower-deck just as Krell entered from the airlock, his \n swarthy face smiling as he removed his helmet. He carried a pointed \n steel bar. Liggett and the others were donning their suits. \n","\"Right ahead there, about fifteen degrees left,\" Liggett told Kent and \n Crain, pointing. \"Do you see it?\" \n \n Kent stared; nodded. The wreck-pack was a distant, disk-like mass","\"No, they're living men!\" Liggett cried. \"They're coming straight toward \n us--come down and see!\" \n \n * * * * * \n","this stupendous mass of dead ships floating motionless in the depths of \n space, with the burning stars above and below them. \n \n His companions and the other men clambering over the neighboring wrecks","On the third ship-day Kent and Captain Crain stood in the pilot-house \n behind Liggett, who sat at the now useless rocket-tube controls. Their \n eyes were on the big glass screen of the gravograph. The black dot on it"],["his men must be starting to pump that fuel into the _Pallas_ by now! \n They'll be sailing off as soon as they do it!\" \n \n Crain's face was sad. \"I'm afraid this is the end, Kent. Without","He then extended his hand to the girl. \"Good-by, Miss Mallen. I hope we \n can have a talk soon.\" \n \n He had said the words with double meaning, and saw understanding in her \n eyes. \"I hope we can, too,\" she said. \n","and he turned to find it was Liggett. \n \n \"They're beaten!\" Liggett's voice came to him! \"They're all killed but \n those four!\" \n","Krell, securing his hands like those of the others. \n \n \"Have you gone crazy, Jandron?\" cried Krell, his face red with anger and \n surprise. \n","Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","Liggett with the cold, suspicious eyes of an animal. \n \n \"My comrade and fellow-ruler here, Wald Jandron,\" said Krell. To Jandron \n he explained rapidly. \"The whole crew of the _Pallas_ is alive, and they","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","that she must have spent the night without sleeping. \"Krell left a few \n minutes ago,\" she said. \n \n \"Yes, he's coming now. You heard nothing of their plans?\" \n","\"No,\" Jandron replied impassively; \"but the men are as tired as I am of \n your bossing ways, and have chosen me as their sole leader.\" \n \n \"You dirty double-crosser!\" Krell raged. \"Are you men going to let him","cracked, and he caught a glimpse of the man's hate-distorted face frozen \n instantly in death. \n \n Kent released him and propelled himself toward a struggling trio nearby. \n As he floated toward them, he saw Jandron beyond them making wild","got my own account to settle with Jandron!\" \n \n \"Let him have it!\" Liggett cried. \"We've no time now to argue!\" \n \n Kent reached toward the girl. \"Marta, give one of the men your helmet,\"","Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \n Krell. \"You said one of your passengers had escaped the explosion?\" \n \n To Kent's amazement a girl stepped from behind the group of men, a slim","like you on this ship!\" \n \n \"Miss Mallen happened to be on the upper-deck at the time of the \n explosion and, so, escaped when the other passengers were killed,\" Krell \n explained smoothly. \"Isn't that so, Miss Mallen?\" \n","\"If Galling was at the controls in the pilot-house, how did the \n explosion kill him?\" asked Liggett skeptically. Krell turned quickly. \n \n \"The shock threw him against the pilot-house wall and fractured his","behind Jandron's men. But a sweep of Jandron's arm brushed her rudely \n back. Kent strained madly at his bonds. Krell's face had a triumphant \n look. \n","\"Let that go! We'll not have you with us when we haven't enough helmets \n for our own men!\" \n \n \"You'll have me or kill me here!\" Krell cried, his eyes hate-mad. \"I've","charge and have been keeping order.\" \n \n \"What about your passengers?\" Liggett asked. \n \n \"All killed but one,\" Krell answered. \"When the tubes let go they \n smashed up the whole lower two decks.\" \n","\"I hope so,\" she said. \"Rance, be careful with Krell in the wreck-pack. \n He's dangerous.\" \n \n \"I'll be watching him,\" he promised. \"Good-by, Marta.\" \n","There was silence again, and Kent and the men grouped round him were \n tense. All were envisioning the same thing--the air rushing out of the \n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten","\"What about Jandron himself?\" Kent cried. Liggett pointed to two \n space-suited bodies twisting together in space, with bars still in their \n lifeless grasp. \n \n Kent saw through their shattered helmets the stiffened faces of Jandron"],["They reached the after-deck whose stair's head gave a view of the \n wrecked tube-rooms beneath. The lower decks had been smashed by terrific \n forces. Kent's practiced eyes ran rapidly over the shattered \n rocket-tubes. \n","in the wreck-pack for the _Pallas_. And now we'd best get back.\" \n \n As they returned up the dim corridor Kent managed to walk beside Marta \n Mallen, and, without being seen, he contrived to detach his","\"Let's get back and let them know about it,\" Liggett urged, and they \n climbed back out of the liner. \n \n They worked their way out of the wreck-pack with much greater speed than \n that with which they had entered, needing only an occasional brace","the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was","and he turned to find it was Liggett. \n \n \"They're beaten!\" Liggett's voice came to him! \"They're all killed but \n those four!\" \n","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked","Kent's muscles ached from the arduous work of climbing over and \n exploring the wrecks. He and Liggett had become accustomed to the sight \n of frozen, motionless bodies. \n","least: there's enough wrecks in this cursed place to make it possible \n to find almost anything. \n \n \"You'd better not start exploring, though,\" he added, \"without some of","Crain told him. \"You're living on one of the wrecks?\" \n \n The other nodded. \"Yes, on the _Martian Queen_, a quarter-mile along the","skull--he died in an hour,\" he said. Liggett was silent. \n \n \"Well, this ship will never move again,\" Kent said. \"It's too bad that \n the explosion blew out your tanks, but we ought to find fuel somewhere","The girl's eyes had not left Kent's, but at Krell's words she nodded. \n \"Yes, that is so,\" she said mechanically. \n \n Kent collected his whirling thoughts. \"But wouldn't you rather go back","They went on, working deeper into the wreck-pack. Kent almost forgot the \n paramount importance of their search in the fascination of it. They \n explored almost every known type of ship--freighters, liners,","for a moment, indecisive, Jandron's stare upon him. After a moment's \n thought he turned to Krell. \n \n \"You were going to show me the damage the exploding tubes did,\" he said, \n and Krell nodded quickly.","around it, and, with feet braced against its side, propelled themselves \n on through space along the border of the wreck-pack. \n \n They passed a half-dozen wrecks thus, before coming to the _Martian","and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","back out, taking a different section of the pack as we do.\" \n \n Kent nodded. \"It may change our luck,\" he said. \n \n It did; for when they had gone not more than a half-mile back, they","glassite helmets, meant instant death. But Krell seemed quite intent on \n the search for fuel. \n \n The big Jupiter freighter seemed intact from above, but, when they \n penetrated into it, they found its whole under-side blown away,","They found their quest there useless, for the tanks had been strained by \n the meteor's shock, and were empty. Kent felt Liggett grasp his hand and \n heard him speak, the sound-vibrations coming through their contacting \n suits. \n","Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power."],["officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only"," * * * * * \n \n They found Captain Crain awaiting them anxiously. Briefly Kent reported \n everything. \n \n \"I'm certain there has been foul play aboard the _Martian Queen_,\" he","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","agreed. \"We'll be getting back to the _Martian Queen_ now and give the \n good news to Jandron and the rest.\" \n \n \"Wouldn't mind if Liggett and I came along, would you?\" Kent asked. \"I'd","Queen_. It was a silvery, glistening ship whose stern and lower walls \n were bulging and strained, but not cracked. Kent told himself that Krell \n had spoken truth about the exploding rocket-tubes, at least. \n","passenger-ship beside the _Pallas_. They braced their feet against its \n side and propelled themselves on through the void like swimmers under \n water, toward the _Pallas_. \n \n \"They must be survivors from some wreck that drifted in here as we did!\"","orders to them, and even as he struck out furiously he comprehended. \n Jandron and the men of the _Martian Queen_ had somehow captured the \n _Pallas_ from Crain and had been awaiting their return! \n","around it, and, with feet braced against its side, propelled themselves \n on through space along the border of the wreck-pack. \n \n They passed a half-dozen wrecks thus, before coming to the _Martian","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","\"They've back-blasted from being fired too fast,\" he said. \"Who was \n controlling the ship when this happened?\" \n \n \"Galling, our second-officer,\" answered Krell. \"He had found us routed","came from the crew. With gathering speed the ship arrowed out, its \n rocket-tubes blasting now in steady succession. \n \n Kent, with his arm across Marta's shoulders, watched the wreck-pack grow","stopped! They must have pumped all the fuel into the _Pallas_!\" \n \n \"Then Jandron and the rest will be coming back to the _Pallas_ at once!\" \n Kent cried. \"Hurry, Marta!\" \n","Their ship floated at the wreck-pack's edge. Directly to its right \n floated a sleek, shining Uranus-Jupiter passenger-ship whose bows had \n been smashed in by a meteor. On their left bobbed an unmarked freighter","\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels"],["and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the","around it, and, with feet braced against its side, propelled themselves \n on through space along the border of the wreck-pack. \n \n They passed a half-dozen wrecks thus, before coming to the _Martian","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power.","Kent reached the lower-deck just as Krell entered from the airlock, his \n swarthy face smiling as he removed his helmet. He carried a pointed \n steel bar. Liggett and the others were donning their suits. \n","over and around them, braced against them and shot on. They sighted the \n _Pallas_ ahead now. Suddenly they discerned another group of eleven \n figures in space-suits approaching it from the wreck-pack's interior,","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","along the wreck-pack's edge to the ship's right. \n \n Six floating shapes, men in space-suits, were approaching along the \n pack's border. They floated smoothly through space, reaching the wrecked","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","against the star-flecked heavens, a mass that glinted here and there in \n the feeble sunlight of space. It did not seem large, but, as they \n drifted steadily closer in the next hours, they saw that in reality the","On the third ship-day Kent and Captain Crain stood in the pilot-house \n behind Liggett, who sat at the now useless rocket-tube controls. Their \n eyes were on the big glass screen of the gravograph. The black dot on it","Crain and Kent followed Liggett quickly down to the airlock room, where \n the men who had started donning their space-suits were now peering \n excitedly from the windows. Crain and Kent looked where Liggett pointed,","Kent exclaimed. \"Maybe they've lived here for months!\" \n \n \"It's evident that they saw the _Pallas_ drift into the pack, and have \n come to investigate,\" Crain estimated. \"Open the airlock for them, men,","When all were in, the outer door was closed, and air hissed in to fill \n the lock. The airlock's inner door then slid open and the newcomers \n stepped into the ship's interior, unscrewing their transparent helmets","\"Well, we're in at last,\" Kent commented. \"There seems to be no change \n in anything, either.\" \n \n Crain pointed to the instrument-panel. \"Look at the gravitometers.\" \n","screwed tight, stepped into the airlock with the rest. The airlock's \n inner door closed, the outer one opened, and as the air puffed out into \n space, Kent and Krell and Liggett leapt out into the void, the others \n following.","came from the crew. With gathering speed the ship arrowed out, its \n rocket-tubes blasting now in steady succession. \n \n Kent, with his arm across Marta's shoulders, watched the wreck-pack grow","the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was"],["as they did so. For a few moments the visitors silently surveyed their \n new surroundings. \n \n Their leader was a swarthy individual with sardonic black eyes who, on \n noticing Crain's captain-insignia, came toward him with outstretched","Krell and Liggett were descending into the ship's interior through the \n great opening smashed in its bows, and Kent followed. \n \n They found themselves in the liner's upper navigation-rooms. Officers","Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","open as they were doing this, and from inside almost a score of men \n leapt upon them! \n \n Kent, stunned for a moment, saw Jandron among their attackers, bellowing","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked","space-pirates.\" \n \n The _Pallas_ by then was drifting along the wreck-pack's rim at a \n half-mile distance, and Kent's eyes were running over the mass. \n","There was silence again, and Kent and the men grouped round him were \n tense. All were envisioning the same thing--the air rushing out of the \n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten","started back toward the _Pallas_ with the helmets of Kent and his \n companions. \n \n Kent and the others soon found Crain and his half-dozen men who rapidly","\"Good! Now, can you get up to the pilot-house? There's no one guarding \n it or the upper-deck? Hurry up there, then, at once.\" \n \n Crain and the rest were staring at Kent. \"Kent, what are you going to","this stupendous mass of dead ships floating motionless in the depths of \n space, with the burning stars above and below them. \n \n His companions and the other men clambering over the neighboring wrecks","and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the","efforts to reach the _Pallas_. Kent and his companions, propelling \n themselves frenziedly on from another wreck, reached the ship's side at \n the same time as Jandron's men. The two groups mixed and mingled,","skull--he died in an hour,\" he said. Liggett was silent. \n \n \"Well, this ship will never move again,\" Kent said. \"It's too bad that \n the explosion blew out your tanks, but we ought to find fuel somewhere","Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power.","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","\"No, they're living men!\" Liggett cried. \"They're coming straight toward \n us--come down and see!\" \n \n * * * * * \n","they shut me in my cabin as soon as you left,\" she said. \"I've heard \n them talking and arguing excitedly, though. I know that if you do find \n fuel, they'll try to kill you all and escape from here in your ship.\" \n","the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was","Kent reached the lower-deck just as Krell entered from the airlock, his \n swarthy face smiling as he removed his helmet. He carried a pointed \n steel bar. Liggett and the others were donning their suits. \n","They went on, working deeper into the wreck-pack. Kent almost forgot the \n paramount importance of their search in the fascination of it. They \n explored almost every known type of ship--freighters, liners,"],["space-pirates.\" \n \n The _Pallas_ by then was drifting along the wreck-pack's rim at a \n half-mile distance, and Kent's eyes were running over the mass. \n","Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","against a ship's side to send them floating over the wrecks. They came \n to the wreck-pack's edge at a little distance from the _Pallas_, and \n hastened toward it. \n","inward to follow its rim. In the next hours it continued to sail slowly \n around the great pack, approaching closer and closer to its edge. \n \n In those hours Kent and Crain and all in the ship watched with a","his men must be starting to pump that fuel into the _Pallas_ by now! \n They'll be sailing off as soon as they do it!\" \n \n Crain's face was sad. \"I'm afraid this is the end, Kent. Without","floated toward it, Kent saw their men moving on with them from ship to \n ship, progressing inward into the pack. Both Kent and Liggett kept Krell \n always ahead of them, knowing that a blow from his bar, shattering their","came from the crew. With gathering speed the ship arrowed out, its \n rocket-tubes blasting now in steady succession. \n \n Kent, with his arm across Marta's shoulders, watched the wreck-pack grow","this stupendous mass of dead ships floating motionless in the depths of \n space, with the burning stars above and below them. \n \n His companions and the other men clambering over the neighboring wrecks","\"Look, we're beginning to curve in around the pack now!\" Liggett \n exclaimed. \n \n The _Pallas_, as though loath to pass the wreck-pack, was curving","fascinated interest that even knowledge of their own peril could not \n kill. They could see swift-lined passenger-ships of the Pluto and \n Neptune runs shouldering against small space-yachts with the insignia of","ought to meet justice.\" He hastened up to the pilot-house after Liggett. \n \n In a moment came the familiar blast of the rocket-tubes, and the \n _Pallas_ shot out cleanly from the wreck-pack's edge. A scattered cheer"," * * * * * \n \n They climbed back, up to the ship's top, and leapt off it toward a \n Jupiter freighter lying a little farther inside the pack. As they","neighboring wrecks in parties of two and three. From the top of the \n passenger-ship, when they gained it, Kent and his two companions could \n look far out over the wreck-pack. It was an extraordinary spectacle,","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","completely around the wreck-pack, finally struck the wrecks at its edge \n with a jarring shock; then bobbed for a while and lay still. From \n pilot-house and deck windows the men looked eagerly forth. \n \n * * * * *","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked","efforts to reach the _Pallas_. Kent and his companions, propelling \n themselves frenziedly on from another wreck, reached the ship's side at \n the same time as Jandron's men. The two groups mixed and mingled,","\"I'll do my best,\" Kent was saying, when Liggett's excited face \n reappeared suddenly at the stair. \n \n \"There are men coming toward the _Pallas_ along the wreck-pack's edge!\"","of wreckage, meteors, small and large, and space-debris of every sort. \n \n The _Pallas_ was drifting, not straight toward the wreck-pack, but in a \n course that promised to take the ship past it. \n","\"Good! Now, can you get up to the pilot-house? There's no one guarding \n it or the upper-deck? Hurry up there, then, at once.\" \n \n Crain and the rest were staring at Kent. \"Kent, what are you going to"],["\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n","\"There's not a single space-helmet on the _Martian Queen_.\" \n \n \"You've searched?\" Liggett asked. \n \n \"Every cubic inch of the ship,\" Crain told him. \"No, Jandron's men made","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","freighter _Pallas_ made no answer, and Crain continued: \n \n \"We left Jupiter with full tanks, more than enough fuel to take us to \n Neptune. But the leaks in the starboard tanks lost us half our supply,","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar","Crain told him. \"You're living on one of the wrecks?\" \n \n The other nodded. \"Yes, on the _Martian Queen_, a quarter-mile along the","agreed. \"We'll be getting back to the _Martian Queen_ now and give the \n good news to Jandron and the rest.\" \n \n \"Wouldn't mind if Liggett and I came along, would you?\" Kent asked. \"I'd","planets, ships were fewer and farther between. The big, cigar-shaped \n freighter drifted helplessly on in a broad curve toward the dreaded \n area, the green light-speck of Neptune swinging to their left. \n","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","\"Liggett and I will close the _Pallas'_ exhaust-valves and release new \n air in it. You take over helmets for the rest of our men in the _Martian \n Queen_.\" \n \n * * * * *","instruments under Captain Crain's orders, the weak calls of the \n auxiliary set raised no response. \n \n Had they been on the Venus or Mars run, Kent told himself, there would \n be some chance, but out here in the vast spaces, between the outer","\"Perfectly,\" she said. \n \n \"Then go down and tie together as many space-helmets as you can manage, \n get out of the airlock, and try to get over here to the _Martian Queen_","Mars or Venus on their bows. Wrecked freighters from Saturn or Earth \n floated beside rotund grain-boats from Jupiter. \n \n The debris among the pack's wrecks was just as varied, holding fragments","fascinated interest that even knowledge of their own peril could not \n kill. They could see swift-lined passenger-ships of the Pluto and \n Neptune runs shouldering against small space-yachts with the insignia of","They were towed helplessly along the wreck-pack's rim toward the \n _Martian Queen_. Once inside its airlock, Jandron's men removed the \n prisoners' space-helmets and then used the duplicate-control inside the","the pulls of the sun and the outer planets exactly balance each other. \n Because of that, anything in the dead-area, will stay in there until \n time ends, unless it has power of its own. Many wrecked space-ships have"],["It was no novelty to Kent to float in a space-suit in the empty void. He \n and the others now floated as smoothly as though under water toward a \n wrecked liner at the _Pallas'_ right. They reached it, pulled themselves","Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \n Krell. \"You said one of your passengers had escaped the explosion?\" \n \n To Kent's amazement a girl stepped from behind the group of men, a slim","toward his superior. \n \n \"There's a very real chance of your becoming lost in this huge \n wreck-pack, Kent,\" Crain told him: \"so be very careful to keep your \n bearings at all times. I know I can depend on you.\" \n","cracked, and he caught a glimpse of the man's hate-distorted face frozen \n instantly in death. \n \n Kent released him and propelled himself toward a struggling trio nearby. \n As he floated toward them, he saw Jandron beyond them making wild","Kent reached the lower-deck just as Krell entered from the airlock, his \n swarthy face smiling as he removed his helmet. He carried a pointed \n steel bar. Liggett and the others were donning their suits. \n","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","\"Are the others guarding you?\" Kent asked quickly. \n \n \"They're down in the lower deck at the tanks and airlocks. They won't \n allow me down on that deck. I'm up here in the middle-deck, absolutely \n alone. \n","There was silence again, and Kent and the men grouped round him were \n tense. All were envisioning the same thing--the air rushing out of the \n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten","\"I'm all right. It was just that I had to go over those guards that were \n all frozen.... Terrible!\" \n \n \"Get these helmets on!\" Crain was crying. \"There's a dozen of them, and","\"Jandron and ten of the others have gone to that wreck in which you \n found the fuel,\" she added swiftly. \"They unreeled a tube-line behind \n them as they went, and I can hear them pumping in the fuel now.\" \n","He then extended his hand to the girl. \"Good-by, Miss Mallen. I hope we \n can have a talk soon.\" \n \n He had said the words with double meaning, and saw understanding in her \n eyes. \"I hope we can, too,\" she said. \n","\"You don't understand,\" said Crain. \"That attraction from ahead is the \n pull of the wreck-pack at the dead-area's center.\" \n \n \"And it's pulling the _Pallas_ toward it?\" Kent exclaimed. \n","Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power.","Kent found the slowness with which they floated forward torturing. He \n glimpsed Crain and Liggett ahead, Marta beside him, Krell floating \n behind him to the left. They reached the projecting freighters, climbed","\"Right ahead there, about fifteen degrees left,\" Liggett told Kent and \n Crain, pointing. \"Do you see it?\" \n \n Kent stared; nodded. The wreck-pack was a distant, disk-like mass","\"What about Jandron himself?\" Kent cried. Liggett pointed to two \n space-suited bodies twisting together in space, with bars still in their \n lifeless grasp. \n \n Kent saw through their shattered helmets the stiffened faces of Jandron","Kent rose from the instrument with the smile still in his eyes, but with \n his lips compressed. \"Damn it, there's the bravest and finest girl in \n the solar system!\" he exclaimed. \"Over there with those brutes!\" \n","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked","that represented their ship was crawling steadily toward the bright red \n circle that stood for the dead-area.... \n \n They watched silently until the dot had crawled over the circle's red \n line, heading toward its center. \n","Liggett with the cold, suspicious eyes of an animal. \n \n \"My comrade and fellow-ruler here, Wald Jandron,\" said Krell. To Jandron \n he explained rapidly. \"The whole crew of the _Pallas_ is alive, and they"],["Queen_. It was a silvery, glistening ship whose stern and lower walls \n were bulging and strained, but not cracked. Kent told himself that Krell \n had spoken truth about the exploding rocket-tubes, at least. \n","the stern of a projecting wreck and shot on toward the _Martian Queen_. \n \n The airlock's door was open for her, and, when she was inside it, the \n outer door closed and air hissed into the lock. In a moment she was in","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","Crain told him. \"You're living on one of the wrecks?\" \n \n The other nodded. \"Yes, on the _Martian Queen_, a quarter-mile along the","\"There's not a single space-helmet on the _Martian Queen_.\" \n \n \"You've searched?\" Liggett asked. \n \n \"Every cubic inch of the ship,\" Crain told him. \"No, Jandron's men made","\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n","\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","Kent rose from the instrument with the smile still in his eyes, but with \n his lips compressed. \"Damn it, there's the bravest and finest girl in \n the solar system!\" he exclaimed. \"Over there with those brutes!\" \n"," * * * * * \n \n They found Captain Crain awaiting them anxiously. Briefly Kent reported \n everything. \n \n \"I'm certain there has been foul play aboard the _Martian Queen_,\" he","helmets, the space between the _Martian Queen_ and the _Pallas_ is a \n greater barrier to us than a mile-thick wall of steel. In this ship \n we'll stay, until the air and food give out, and death releases us.\" \n","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","\"Liggett and I will close the _Pallas'_ exhaust-valves and release new \n air in it. You take over helmets for the rest of our men in the _Martian \n Queen_.\" \n \n * * * * *","\"Perfectly,\" she said. \n \n \"Then go down and tie together as many space-helmets as you can manage, \n get out of the airlock, and try to get over here to the _Martian Queen_","against the star-flecked heavens, a mass that glinted here and there in \n the feeble sunlight of space. It did not seem large, but, as they \n drifted steadily closer in the next hours, they saw that in reality the","fascinated interest that even knowledge of their own peril could not \n kill. They could see swift-lined passenger-ships of the Pluto and \n Neptune runs shouldering against small space-yachts with the insignia of","Mars or Venus on their bows. Wrecked freighters from Saturn or Earth \n floated beside rotund grain-boats from Jupiter. \n \n The debris among the pack's wrecks was just as varied, holding fragments"],["\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","\"We'll have her out, never fear,\" Crain reassured him. \"The main thing \n is to determine our course toward Krell and Jandron.\" \n \n Kent thought. \"As I see it, Krell can help us immeasurably in our search","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","planets, ships were fewer and farther between. The big, cigar-shaped \n freighter drifted helplessly on in a broad curve toward the dreaded \n area, the green light-speck of Neptune swinging to their left. \n","\"Marta just told me that Krell and Jandron have been plotting \n something,\" he told the captain; \"so I'd keep a close watch outside.\" \n \n \"Don't worry, Kent. We'll let no one inside the _Pallas_ until you and","to the _Pallas_ with us?\" he asked. \"I'm sure you'd be more comfortable \n there.\" \n \n \"She doesn't go,\" grunted Jandron. Kent turned in quick wrath toward \n him, but Krell intervened. \n","a space-ship, and as such can legally try you and sentence you to death \n here without further formalities.\" \n \n Krell did not answer, but Kent intervened. \"There's hardly time for that","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","instruments under Captain Crain's orders, the weak calls of the \n auxiliary set raised no response. \n \n Had they been on the Venus or Mars run, Kent told himself, there would \n be some chance, but out here in the vast spaces, between the outer","us to the right. That attraction alters our course so that in three \n ship-days we shall drift into the dead-area.\" \n \n Rance Kent, first-officer of the _Pallas_, asked a question: \"Couldn't","\"Kent, look sharp when you get over on that ship,\" Crain told him. \"I \n don't like the look of this Krell, and his story about all the officers \n being killed in the explosion sounds fishy to me.\" \n","\"Just what is this dead-area, sir?\" he asked. \"I've heard of it, but as \n this is my first outer-planet voyage, I know nothing about it.\" \n"," * * * * * \n \n They climbed back, up to the ship's top, and leapt off it toward a \n Jupiter freighter lying a little farther inside the pack. As they","\"What about Jandron himself?\" Kent cried. Liggett pointed to two \n space-suited bodies twisting together in space, with bars still in their \n lifeless grasp. \n \n Kent saw through their shattered helmets the stiffened faces of Jandron","\"Perfectly,\" she said. \n \n \"Then go down and tie together as many space-helmets as you can manage, \n get out of the airlock, and try to get over here to the _Martian Queen_","fascinated interest that even knowledge of their own peril could not \n kill. They could see swift-lined passenger-ships of the Pluto and \n Neptune runs shouldering against small space-yachts with the insignia of"],["Crain nodded thoughtfully. \"I think you're right. Then you and Liggett \n and Krell can head our search-party to-morrow.\" \n \n Crain established watches on a new schedule, and Kent and Liggett and","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was","exploded. Eighteen of us escaped the explosion, the ship's walls still \n being tight; and we drifted into the pack here, and have been living \n here ever since.\" \n","They went on, working deeper into the wreck-pack. Kent almost forgot the \n paramount importance of their search in the fascination of it. They \n explored almost every known type of ship--freighters, liners,","\"Jandron and ten of the others have gone to that wreck in which you \n found the fuel,\" she added swiftly. \"They unreeled a tube-line behind \n them as they went, and I can hear them pumping in the fuel now.\" \n","against a ship's side to send them floating over the wrecks. They came \n to the wreck-pack's edge at a little distance from the _Pallas_, and \n hastened toward it. \n","for a moment, indecisive, Jandron's stare upon him. After a moment's \n thought he turned to Krell. \n \n \"You were going to show me the damage the exploding tubes did,\" he said, \n and Krell nodded quickly.","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","Kent exclaimed. \"Maybe they've lived here for months!\" \n \n \"It's evident that they saw the _Pallas_ drift into the pack, and have \n come to investigate,\" Crain estimated. \"Open the airlock for them, men,","\"Get down to the lower airlock and into your space-suits at once, then,\" \n Kent told them. \"Mr. Liggett, will you supervise that?\" \n \n As Liggett and the men trooped down to the airlock, Kent turned back","Crain and Kent followed Liggett quickly down to the airlock room, where \n the men who had started donning their space-suits were now peering \n excitedly from the windows. Crain and Kent looked where Liggett pointed,","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked","he ordered; but she shook her head. \n \n \"I'm going with you!\" Before Kent could dispute she had the helmet on \n again, and Crain was pushing them into the airlock. The nine or ten left","\"Let's get back and let them know about it,\" Liggett urged, and they \n climbed back out of the liner. \n \n They worked their way out of the wreck-pack with much greater speed than \n that with which they had entered, needing only an occasional brace","Liggett and the men get back.\" \n \n * * * * * \n \n In a few minutes they were out of the ship, with Krell and Kent and","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","The girl's eyes had not left Kent's, but at Krell's words she nodded. \n \"Yes, that is so,\" she said mechanically. \n \n Kent collected his whirling thoughts. \"But wouldn't you rather go back"],["\"Kent, look sharp when you get over on that ship,\" Crain told him. \"I \n don't like the look of this Krell, and his story about all the officers \n being killed in the explosion sounds fishy to me.\" \n","Liggett with the cold, suspicious eyes of an animal. \n \n \"My comrade and fellow-ruler here, Wald Jandron,\" said Krell. To Jandron \n he explained rapidly. \"The whole crew of the _Pallas_ is alive, and they","they shut me in my cabin as soon as you left,\" she said. \"I've heard \n them talking and arguing excitedly, though. I know that if you do find \n fuel, they'll try to kill you all and escape from here in your ship.\" \n","There was silence again, and Kent and the men grouped round him were \n tense. All were envisioning the same thing--the air rushing out of the \n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten"," * * * * * \n \n They found Captain Crain awaiting them anxiously. Briefly Kent reported \n everything. \n \n \"I'm certain there has been foul play aboard the _Martian Queen_,\" he","like you on this ship!\" \n \n \"Miss Mallen happened to be on the upper-deck at the time of the \n explosion and, so, escaped when the other passengers were killed,\" Krell \n explained smoothly. \"Isn't that so, Miss Mallen?\" \n","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","\"I thought that was it, and that's why I left the suit-phone for you,\" \n Kent said. \"Just what is the truth?\" \n \n \"Krell and Jandron and these men of theirs are the ones who killed the","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","Crain nodded thoughtfully. \"I think you're right. Then you and Liggett \n and Krell can head our search-party to-morrow.\" \n \n Crain established watches on a new schedule, and Kent and Liggett and","Kent briefly explained Jandron's treachery toward Krell, and Crain's \n brows drew ominously together. \n \n \"So Jandron put you here with us! Krell, I am a commissioned captain of","\"If Galling was at the controls in the pilot-house, how did the \n explosion kill him?\" asked Liggett skeptically. Krell turned quickly. \n \n \"The shock threw him against the pilot-house wall and fractured his","\"My name's Krell,\" he added, \"and I was a tube-man on the ship. I and \n another of the tube-men, named Jandron, were the highest in rank left, \n all the officers and other tube-men having been killed, so we took","his men must be starting to pump that fuel into the _Pallas_ by now! \n They'll be sailing off as soon as they do it!\" \n \n Crain's face was sad. \"I'm afraid this is the end, Kent. Without","Kent understood, and cursed Krell's cunning. Crain, seeing the fifteen \n figures approaching from the wreck-pack, had naturally thought they were \n Kent's party, and had let them enter to overwhelm his half-dozen men. \n","charge and have been keeping order.\" \n \n \"What about your passengers?\" Liggett asked. \n \n \"All killed but one,\" Krell answered. \"When the tubes let go they \n smashed up the whole lower two decks.\" \n","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked","\"Marta just told me that Krell and Jandron have been plotting \n something,\" he told the captain; \"so I'd keep a close watch outside.\" \n \n \"Don't worry, Kent. We'll let no one inside the _Pallas_ until you and","\"They've back-blasted from being fired too fast,\" he said. \"Who was \n controlling the ship when this happened?\" \n \n \"Galling, our second-officer,\" answered Krell. \"He had found us routed","as they did so. For a few moments the visitors silently surveyed their \n new surroundings. \n \n Their leader was a swarthy individual with sardonic black eyes who, on \n noticing Crain's captain-insignia, came toward him with outstretched"],["\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n","agreed. \"We'll be getting back to the _Martian Queen_ now and give the \n good news to Jandron and the rest.\" \n \n \"Wouldn't mind if Liggett and I came along, would you?\" Kent asked. \"I'd","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","around it, and, with feet braced against its side, propelled themselves \n on through space along the border of the wreck-pack. \n \n They passed a half-dozen wrecks thus, before coming to the _Martian"," * * * * * \n \n They found Captain Crain awaiting them anxiously. Briefly Kent reported \n everything. \n \n \"I'm certain there has been foul play aboard the _Martian Queen_,\" he","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","started back toward the _Pallas_ with the helmets of Kent and his \n companions. \n \n Kent and the others soon found Crain and his half-dozen men who rapidly","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","in the wreck-pack for the _Pallas_. And now we'd best get back.\" \n \n As they returned up the dim corridor Kent managed to walk beside Marta \n Mallen, and, without being seen, he contrived to detach his","orders to them, and even as he struck out furiously he comprehended. \n Jandron and the men of the _Martian Queen_ had somehow captured the \n _Pallas_ from Crain and had been awaiting their return! \n","and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the","over and around them, braced against them and shot on. They sighted the \n _Pallas_ ahead now. Suddenly they discerned another group of eleven \n figures in space-suits approaching it from the wreck-pack's interior,","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar","\"Jandron and ten of the others have gone to that wreck in which you \n found the fuel,\" she added swiftly. \"They unreeled a tube-line behind \n them as they went, and I can hear them pumping in the fuel now.\" \n","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","stopped! They must have pumped all the fuel into the _Pallas_!\" \n \n \"Then Jandron and the rest will be coming back to the _Pallas_ at once!\" \n Kent cried. \"Hurry, Marta!\" \n","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","say if they can find fuel in the wreck-pack their ship can get out of \n here.\" \n \n \"Good,\" grunted Jandron. \"The sooner they can do it, the better it will \n be for us.\" \n"],["and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with"," * * * * * \n \n They found Captain Crain awaiting them anxiously. Briefly Kent reported \n everything. \n \n \"I'm certain there has been foul play aboard the _Martian Queen_,\" he","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar","Queen_. It was a silvery, glistening ship whose stern and lower walls \n were bulging and strained, but not cracked. Kent told himself that Krell \n had spoken truth about the exploding rocket-tubes, at least. \n","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","orders to them, and even as he struck out furiously he comprehended. \n Jandron and the men of the _Martian Queen_ had somehow captured the \n _Pallas_ from Crain and had been awaiting their return! \n","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n","\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","They were towed helplessly along the wreck-pack's rim toward the \n _Martian Queen_. Once inside its airlock, Jandron's men removed the \n prisoners' space-helmets and then used the duplicate-control inside the"," * * * * * \n \n They climbed back, up to the ship's top, and leapt off it toward a \n Jupiter freighter lying a little farther inside the pack. As they","as they did so. For a few moments the visitors silently surveyed their \n new surroundings. \n \n Their leader was a swarthy individual with sardonic black eyes who, on \n noticing Crain's captain-insignia, came toward him with outstretched","\"Did it all work as I told you it would, Jandron?\" he asked. \n \n \"It worked,\" Jandron answered impassively. \"When they saw fifteen of us \n coming from the wreck-pack in space-suits, they opened right up to us.\"","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","\"There's not a single space-helmet on the _Martian Queen_.\" \n \n \"You've searched?\" Liggett asked. \n \n \"Every cubic inch of the ship,\" Crain told him. \"No, Jandron's men made","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","the stern of a projecting wreck and shot on toward the _Martian Queen_. \n \n The airlock's door was open for her, and, when she was inside it, the \n outer door closed and air hissed into the lock. In a moment she was in","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","Crain told him. \"You're living on one of the wrecks?\" \n \n The other nodded. \"Yes, on the _Martian Queen_, a quarter-mile along the"],["\"We'll have her out, never fear,\" Crain reassured him. \"The main thing \n is to determine our course toward Krell and Jandron.\" \n \n Kent thought. \"As I see it, Krell can help us immeasurably in our search","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power.","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","ought to meet justice.\" He hastened up to the pilot-house after Liggett. \n \n In a moment came the familiar blast of the rocket-tubes, and the \n _Pallas_ shot out cleanly from the wreck-pack's edge. A scattered cheer","efforts to reach the _Pallas_. Kent and his companions, propelling \n themselves frenziedly on from another wreck, reached the ship's side at \n the same time as Jandron's men. The two groups mixed and mingled,","\"They've back-blasted from being fired too fast,\" he said. \"Who was \n controlling the ship when this happened?\" \n \n \"Galling, our second-officer,\" answered Krell. \"He had found us routed","they shut me in my cabin as soon as you left,\" she said. \"I've heard \n them talking and arguing excitedly, though. I know that if you do find \n fuel, they'll try to kill you all and escape from here in your ship.\" \n","came from the crew. With gathering speed the ship arrowed out, its \n rocket-tubes blasting now in steady succession. \n \n Kent, with his arm across Marta's shoulders, watched the wreck-pack grow","\"My name's Krell,\" he added, \"and I was a tube-man on the ship. I and \n another of the tube-men, named Jandron, were the highest in rank left, \n all the officers and other tube-men having been killed, so we took","supplies,\" Crain answered. \"I would prefer, myself, a quicker end.\" \n \n \"So would I,\" said Kent. \"Well, there's nothing left but to pray for \n some kind of ship to cross our path in the next day or two.\" \n","\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels"," * * * * * \n \n Krell and his followers replaced their helmets and returned into the \n airlock. Liggett followed them, and, as Kent struggled hastily into a \n space-suit, he found Captain Crain at his side.","ones killed by it were some of the tube-men and three passengers. \n \n \"Then, while the ship was drifting into the dead-area, Krell told the \n men that the fewer aboard, the longer they could live on the ship's food","Liggett with the cold, suspicious eyes of an animal. \n \n \"My comrade and fellow-ruler here, Wald Jandron,\" said Krell. To Jandron \n he explained rapidly. \"The whole crew of the _Pallas_ is alive, and they","\"Good! Now, can you get up to the pilot-house? There's no one guarding \n it or the upper-deck? Hurry up there, then, at once.\" \n \n Crain and the rest were staring at Kent. \"Kent, what are you going to","Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \n Krell. \"You said one of your passengers had escaped the explosion?\" \n \n To Kent's amazement a girl stepped from behind the group of men, a slim","sure there were no helmets left here, and without helmets this ship is \n an inescapable prison.\" \n \n \"Damn it, there must be some way out!\" Kent exclaimed. \"Why, Jandron and","his men must be starting to pump that fuel into the _Pallas_ by now! \n They'll be sailing off as soon as they do it!\" \n \n Crain's face was sad. \"I'm afraid this is the end, Kent. Without"],["\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","Kent reached the lower-deck just as Krell entered from the airlock, his \n swarthy face smiling as he removed his helmet. He carried a pointed \n steel bar. Liggett and the others were donning their suits. \n","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","they shut me in my cabin as soon as you left,\" she said. \"I've heard \n them talking and arguing excitedly, though. I know that if you do find \n fuel, they'll try to kill you all and escape from here in your ship.\" \n","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","\"The best we can do is leave them here,\" Kent told him. \"Best for them, \n too, for at Neptune they'd be executed, while they can live indefinitely \n in the wreck-pack.\" \n","a space-ship, and as such can legally try you and sentence you to death \n here without further formalities.\" \n \n Krell did not answer, but Kent intervened. \"There's hardly time for that","for they'll want to come inside.\" \n \n Two of the men spun the wheels that slid aside the airlock's outer door. \n In a moment the half-dozen men outside had reached the ship's side, and \n had pulled themselves down inside the airlock.","Liggett with the cold, suspicious eyes of an animal. \n \n \"My comrade and fellow-ruler here, Wald Jandron,\" said Krell. To Jandron \n he explained rapidly. \"The whole crew of the _Pallas_ is alive, and they","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","\"Did it all work as I told you it would, Jandron?\" he asked. \n \n \"It worked,\" Jandron answered impassively. \"When they saw fifteen of us \n coming from the wreck-pack in space-suits, they opened right up to us.\"","the dead-area.\" \n \n Krell's eyes lit up. \"That would mean a getaway for all of us! It surely \n ought to be possible!\" \n \n \"Do you know whether there are any ships in the pack with fuel in their","get away with this?\" \n \n The men paid no attention, and Jandron motioned to the airlock. \"Take \n them over to the _Martian Queen_ too,\" he ordered, \"and make sure","Liggett and the men get back.\" \n \n * * * * * \n \n In a few minutes they were out of the ship, with Krell and Kent and","When all were in, the outer door was closed, and air hissed in to fill \n the lock. The airlock's inner door then slid open and the newcomers \n stepped into the ship's interior, unscrewing their transparent helmets","\"Are the others guarding you?\" Kent asked quickly. \n \n \"They're down in the lower deck at the tanks and airlocks. They won't \n allow me down on that deck. I'm up here in the middle-deck, absolutely \n alone. \n","\"We've enough fuel to take us out of the dead-area and to Neptune \n without trouble!\" Crain declared. \"But what about those four of \n Jandron's men that got away?\" \n","and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the","Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power."],["\"Kent, look sharp when you get over on that ship,\" Crain told him. \"I \n don't like the look of this Krell, and his story about all the officers \n being killed in the explosion sounds fishy to me.\" \n","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","Queen_. It was a silvery, glistening ship whose stern and lower walls \n were bulging and strained, but not cracked. Kent told himself that Krell \n had spoken truth about the exploding rocket-tubes, at least. \n","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","to the _Pallas_ with us?\" he asked. \"I'm sure you'd be more comfortable \n there.\" \n \n \"She doesn't go,\" grunted Jandron. Kent turned in quick wrath toward \n him, but Krell intervened. \n","Their ship floated at the wreck-pack's edge. Directly to its right \n floated a sleek, shining Uranus-Jupiter passenger-ship whose bows had \n been smashed in by a meteor. On their left bobbed an unmarked freighter","his men must be starting to pump that fuel into the _Pallas_ by now! \n They'll be sailing off as soon as they do it!\" \n \n Crain's face was sad. \"I'm afraid this is the end, Kent. Without","like to see how your ship's fixed--that is, if it's all right with you, \n sir,\" he added to his superior. \n \n Crain nodded. \"All right if you don't stay long,\" he said. But, to","Krell and Liggett were descending into the ship's interior through the \n great opening smashed in its bows, and Kent followed. \n \n They found themselves in the liner's upper navigation-rooms. Officers","Crain told him. \"You're living on one of the wrecks?\" \n \n The other nodded. \"Yes, on the _Martian Queen_, a quarter-mile along the","fascinated interest that even knowledge of their own peril could not \n kill. They could see swift-lined passenger-ships of the Pluto and \n Neptune runs shouldering against small space-yachts with the insignia of","a space-ship, and as such can legally try you and sentence you to death \n here without further formalities.\" \n \n Krell did not answer, but Kent intervened. \"There's hardly time for that","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar"," * * * * * \n \n They climbed back, up to the ship's top, and leapt off it toward a \n Jupiter freighter lying a little farther inside the pack. As they","The radio-operators' vain calls had ceased. The _Pallas_ drifted on into \n the dreaded area like some dumb ship laden with damned souls. It drifted \n on, Kent told himself, as many a wrecked and disabled ship had done","Kent briefly explained Jandron's treachery toward Krell, and Crain's \n brows drew ominously together. \n \n \"So Jandron put you here with us! Krell, I am a commissioned captain of","Kent found the slowness with which they floated forward torturing. He \n glimpsed Crain and Liggett ahead, Marta beside him, Krell floating \n behind him to the left. They reached the projecting freighters, climbed"],["\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","agreed. \"We'll be getting back to the _Martian Queen_ now and give the \n good news to Jandron and the rest.\" \n \n \"Wouldn't mind if Liggett and I came along, would you?\" Kent asked. \"I'd","They were towed helplessly along the wreck-pack's rim toward the \n _Martian Queen_. Once inside its airlock, Jandron's men removed the \n prisoners' space-helmets and then used the duplicate-control inside the","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","\"There's not a single space-helmet on the _Martian Queen_.\" \n \n \"You've searched?\" Liggett asked. \n \n \"Every cubic inch of the ship,\" Crain told him. \"No, Jandron's men made"," * * * * * \n \n They found Captain Crain awaiting them anxiously. Briefly Kent reported \n everything. \n \n \"I'm certain there has been foul play aboard the _Martian Queen_,\" he","\"Liggett and I will close the _Pallas'_ exhaust-valves and release new \n air in it. You take over helmets for the rest of our men in the _Martian \n Queen_.\" \n \n * * * * *","Crain told him. \"You're living on one of the wrecks?\" \n \n The other nodded. \"Yes, on the _Martian Queen_, a quarter-mile along the","Queen_. It was a silvery, glistening ship whose stern and lower walls \n were bulging and strained, but not cracked. Kent told himself that Krell \n had spoken truth about the exploding rocket-tubes, at least. \n","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n","get away with this?\" \n \n The men paid no attention, and Jandron motioned to the airlock. \"Take \n them over to the _Martian Queen_ too,\" he ordered, \"and make sure","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","\"What about Jandron himself?\" Kent cried. Liggett pointed to two \n space-suited bodies twisting together in space, with bars still in their \n lifeless grasp. \n \n Kent saw through their shattered helmets the stiffened faces of Jandron","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","between Krell and Liggett. What was this girl doing amid the men of the \n _Martian Queen_? What had her eyes tried to tell him? \n \n Liggett nudged his side in the dim corridor, and Kent, looking down, saw"],["abandoned hastily in those suits, only to be swept with it into the \n dead-area, to die in their suits. \n \n By the end of that ship-day, the _Pallas_, having floated almost","ones killed by it were some of the tube-men and three passengers. \n \n \"Then, while the ship was drifting into the dead-area, Krell told the \n men that the fewer aboard, the longer they could live on the ship's food","\"If Galling was at the controls in the pilot-house, how did the \n explosion kill him?\" asked Liggett skeptically. Krell turned quickly. \n \n \"The shock threw him against the pilot-house wall and fractured his","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","rocket-ships went forth,\" Crain reminded him. \"Not only meteor-wrecked \n ships, but ships whose mechanisms went wrong--or that ran out of fuel \n like ours--or that were captured and sacked, and then set adrift by","wreck-pack was tremendous, measuring at least fifty miles across. \n \n Its huge mass was a heterogeneous heap, composed mostly of countless \n cigar-like space-ships in all stages of wreckage. Some appeared smashed","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was","glassite helmets, meant instant death. But Krell seemed quite intent on \n the search for fuel. \n \n The big Jupiter freighter seemed intact from above, but, when they \n penetrated into it, they found its whole under-side blown away,","\"Lord, who'd have thought there were so many wrecks here!\" Kent \n marvelled. \"There must be thousands of them!\" \n \n \"They've been collecting here ever since the first interplanetary","Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","the pulls of the sun and the outer planets exactly balance each other. \n Because of that, anything in the dead-area, will stay in there until \n time ends, unless it has power of its own. Many wrecked space-ships have","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar","charge and have been keeping order.\" \n \n \"What about your passengers?\" Liggett asked. \n \n \"All killed but one,\" Krell answered. \"When the tubes let go they \n smashed up the whole lower two decks.\" \n","\"The best we can do is leave them here,\" Kent told him. \"Best for them, \n too, for at Neptune they'd be executed, while they can live indefinitely \n in the wreck-pack.\" \n","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","exploded. Eighteen of us escaped the explosion, the ship's walls still \n being tight; and we drifted into the pack here, and have been living \n here ever since.\" \n","They went on, working deeper into the wreck-pack. Kent almost forgot the \n paramount importance of their search in the fascination of it. They \n explored almost every known type of ship--freighters, liners,","\"What about Jandron himself?\" Kent cried. Liggett pointed to two \n space-suited bodies twisting together in space, with bars still in their \n lifeless grasp. \n \n Kent saw through their shattered helmets the stiffened faces of Jandron","\"Welcome to our city!\" their leader exclaimed as he shook Crain's hand. \n \"We saw your ship drift in, but hardly expected to find anyone living in \n it.\" \n \n \"I'll confess that we're surprised ourselves to find any life here,\""],["Crain nodded thoughtfully. \"I think you're right. Then you and Liggett \n and Krell can head our search-party to-morrow.\" \n \n Crain established watches on a new schedule, and Kent and Liggett and","the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was","They went on, working deeper into the wreck-pack. Kent almost forgot the \n paramount importance of their search in the fascination of it. They \n explored almost every known type of ship--freighters, liners,","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","as they did so. For a few moments the visitors silently surveyed their \n new surroundings. \n \n Their leader was a swarthy individual with sardonic black eyes who, on \n noticing Crain's captain-insignia, came toward him with outstretched","\"No, they're living men!\" Liggett cried. \"They're coming straight toward \n us--come down and see!\" \n \n * * * * * \n","there was no sign as yet of the girl. \n \n Kent felt his heart beating rapidly. Crain and Liggett pressed beside \n him, the men around them; Krell's face was a mask as he too gazed. Kent","Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","rolling up the tube-line that led from the _Pallas_ as they did so. \n Jandron's party! \n \n * * * * * \n \n Jandron and his men had seen them and were suddenly making greater","\"We'll have her out, never fear,\" Crain reassured him. \"The main thing \n is to determine our course toward Krell and Jandron.\" \n \n Kent thought. \"As I see it, Krell can help us immeasurably in our search","back out, taking a different section of the pack as we do.\" \n \n Kent nodded. \"It may change our luck,\" he said. \n \n It did; for when they had gone not more than a half-mile back, they","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","There was silence again, and Kent and the men grouped round him were \n tense. All were envisioning the same thing--the air rushing out of the \n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten","\"I'm all right. It was just that I had to go over those guards that were \n all frozen.... Terrible!\" \n \n \"Get these helmets on!\" Crain was crying. \"There's a dozen of them, and","started back toward the _Pallas_ with the helmets of Kent and his \n companions. \n \n Kent and the others soon found Crain and his half-dozen men who rapidly","toward his superior. \n \n \"There's a very real chance of your becoming lost in this huge \n wreck-pack, Kent,\" Crain told him: \"so be very careful to keep your \n bearings at all times. I know I can depend on you.\" \n","transferred to this ship. I am going to permit him to explore the \n wreck-pack with a party in space suits, and I am asking for volunteers \n for this service.\" \n \n The entire crew stepped quickly forward. Crain smiled. \"Twelve of you","against a ship's side to send them floating over the wrecks. They came \n to the wreck-pack's edge at a little distance from the _Pallas_, and \n hastened toward it. \n","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked","Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \n Krell. \"You said one of your passengers had escaped the explosion?\" \n \n To Kent's amazement a girl stepped from behind the group of men, a slim"],["Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \n Krell. \"You said one of your passengers had escaped the explosion?\" \n \n To Kent's amazement a girl stepped from behind the group of men, a slim","Crain nodded thoughtfully. \"I think you're right. Then you and Liggett \n and Krell can head our search-party to-morrow.\" \n \n Crain established watches on a new schedule, and Kent and Liggett and","was rapidly becoming convinced that some mischance had overtaken the \n girl when an exclamation came from Liggett. He pointed excitedly. \n \n * * * * * \n","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","There was silence again, and Kent and the men grouped round him were \n tense. All were envisioning the same thing--the air rushing out of the \n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten","there was no sign as yet of the girl. \n \n Kent felt his heart beating rapidly. Crain and Liggett pressed beside \n him, the men around them; Krell's face was a mask as he too gazed. Kent","ones killed by it were some of the tube-men and three passengers. \n \n \"Then, while the ship was drifting into the dead-area, Krell told the \n men that the fewer aboard, the longer they could live on the ship's food","and he turned to find it was Liggett. \n \n \"They're beaten!\" Liggett's voice came to him! \"They're all killed but \n those four!\" \n","abandoned hastily in those suits, only to be swept with it into the \n dead-area, to die in their suits. \n \n By the end of that ship-day, the _Pallas_, having floated almost","rolling up the tube-line that led from the _Pallas_ as they did so. \n Jandron's party! \n \n * * * * * \n \n Jandron and his men had seen them and were suddenly making greater","started back toward the _Pallas_ with the helmets of Kent and his \n companions. \n \n Kent and the others soon found Crain and his half-dozen men who rapidly","\"Jandron and ten of the others have gone to that wreck in which you \n found the fuel,\" she added swiftly. \"They unreeled a tube-line behind \n them as they went, and I can hear them pumping in the fuel now.\" \n","back out, taking a different section of the pack as we do.\" \n \n Kent nodded. \"It may change our luck,\" he said. \n \n It did; for when they had gone not more than a half-mile back, they","Liggett and the men get back.\" \n \n * * * * * \n \n In a few minutes they were out of the ship, with Krell and Kent and","exploded. Eighteen of us escaped the explosion, the ship's walls still \n being tight; and we drifted into the pack here, and have been living \n here ever since.\" \n","the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was","The radio-operators' vain calls had ceased. The _Pallas_ drifted on into \n the dreaded area like some dumb ship laden with damned souls. It drifted \n on, Kent told himself, as many a wrecked and disabled ship had done","screwed tight, stepped into the airlock with the rest. The airlock's \n inner door closed, the outer one opened, and as the air puffed out into \n space, Kent and Krell and Liggett leapt out into the void, the others \n following.","in the wreck-pack for the _Pallas_. And now we'd best get back.\" \n \n As they returned up the dim corridor Kent managed to walk beside Marta \n Mallen, and, without being seen, he contrived to detach his"],["the dozen men chosen for the exploring party of the next day ate a \n scanty meal and turned in for some sleep. \n \n * * * * * \n \n When Kent woke and glimpsed the massed wrecks through the window he was","They found their quest there useless, for the tanks had been strained by \n the meteor's shock, and were empty. Kent felt Liggett grasp his hand and \n heard him speak, the sound-vibrations coming through their contacting \n suits. \n","They reached the after-deck whose stair's head gave a view of the \n wrecked tube-rooms beneath. The lower decks had been smashed by terrific \n forces. Kent's practiced eyes ran rapidly over the shattered \n rocket-tubes. \n","Crain nodded thoughtfully. \"I think you're right. Then you and Liggett \n and Krell can head our search-party to-morrow.\" \n \n Crain established watches on a new schedule, and Kent and Liggett and","There was silence again, and Kent and the men grouped round him were \n tense. All were envisioning the same thing--the air rushing out of the \n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten","in the wreck-pack for the _Pallas_. And now we'd best get back.\" \n \n As they returned up the dim corridor Kent managed to walk beside Marta \n Mallen, and, without being seen, he contrived to detach his","\"Let's get back and let them know about it,\" Liggett urged, and they \n climbed back out of the liner. \n \n They worked their way out of the wreck-pack with much greater speed than \n that with which they had entered, needing only an occasional brace","Six of Jandron's party had been slain, and three of Kent's companions. \n Jandron's four other followers were giving up the combat, floating off \n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,","and he turned to find it was Liggett. \n \n \"They're beaten!\" Liggett's voice came to him! \"They're all killed but \n those four!\" \n","his men must be starting to pump that fuel into the _Pallas_ by now! \n They'll be sailing off as soon as they do it!\" \n \n Crain's face was sad. \"I'm afraid this is the end, Kent. Without","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","started back toward the _Pallas_ with the helmets of Kent and his \n companions. \n \n Kent and the others soon found Crain and his half-dozen men who rapidly","and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked","Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power.","\"Jandron and ten of the others have gone to that wreck in which you \n found the fuel,\" she added swiftly. \"They unreeled a tube-line behind \n them as they went, and I can hear them pumping in the fuel now.\" \n","Kent's muscles ached from the arduous work of climbing over and \n exploring the wrecks. He and Liggett had become accustomed to the sight \n of frozen, motionless bodies. \n","back out, taking a different section of the pack as we do.\" \n \n Kent nodded. \"It may change our luck,\" he said. \n \n It did; for when they had gone not more than a half-mile back, they","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","rolling up the tube-line that led from the _Pallas_ as they did so. \n Jandron's party! \n \n * * * * * \n \n Jandron and his men had seen them and were suddenly making greater"],["Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","back out, taking a different section of the pack as we do.\" \n \n Kent nodded. \"It may change our luck,\" he said. \n \n It did; for when they had gone not more than a half-mile back, they","\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n","over and around them, braced against them and shot on. They sighted the \n _Pallas_ ahead now. Suddenly they discerned another group of eleven \n figures in space-suits approaching it from the wreck-pack's interior,","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","around it, and, with feet braced against its side, propelled themselves \n on through space along the border of the wreck-pack. \n \n They passed a half-dozen wrecks thus, before coming to the _Martian","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","agreed. \"We'll be getting back to the _Martian Queen_ now and give the \n good news to Jandron and the rest.\" \n \n \"Wouldn't mind if Liggett and I came along, would you?\" Kent asked. \"I'd","in the wreck-pack for the _Pallas_. And now we'd best get back.\" \n \n As they returned up the dim corridor Kent managed to walk beside Marta \n Mallen, and, without being seen, he contrived to detach his","\"Let's get back and let them know about it,\" Liggett urged, and they \n climbed back out of the liner. \n \n They worked their way out of the wreck-pack with much greater speed than \n that with which they had entered, needing only an occasional brace","stopped! They must have pumped all the fuel into the _Pallas_!\" \n \n \"Then Jandron and the rest will be coming back to the _Pallas_ at once!\" \n Kent cried. \"Hurry, Marta!\" \n","rolling up the tube-line that led from the _Pallas_ as they did so. \n Jandron's party! \n \n * * * * * \n \n Jandron and his men had seen them and were suddenly making greater","of wreckage, meteors, small and large, and space-debris of every sort. \n \n The _Pallas_ was drifting, not straight toward the wreck-pack, but in a \n course that promised to take the ship past it. \n","\"They've back-blasted from being fired too fast,\" he said. \"Who was \n controlling the ship when this happened?\" \n \n \"Galling, our second-officer,\" answered Krell. \"He had found us routed","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","and men lay about, frozen to death at the instant the meteor-struck \n vessel's air had rushed out, and the cold of space had entered. Krell \n led the way on, down into the ship's lower decks, where they found the"," * * * * * \n \n They climbed back, up to the ship's top, and leapt off it toward a \n Jupiter freighter lying a little farther inside the pack. As they","\"Of course; you can see from the head of the stair back in the \n after-deck.\" \n \n He led the way along a corridor, Jandron and the girl and two of the \n men coming with them. Kent's thoughts were still chaotic as he walked"],["They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n"," * * * * * \n \n They found Captain Crain awaiting them anxiously. Briefly Kent reported \n everything. \n \n \"I'm certain there has been foul play aboard the _Martian Queen_,\" he","orders to them, and even as he struck out furiously he comprehended. \n Jandron and the men of the _Martian Queen_ had somehow captured the \n _Pallas_ from Crain and had been awaiting their return! \n","In several minutes Kent was back with the men from the _Martian Queen_. \n The _Pallas_ was ready, with Liggett in its pilot-house, the men taking \n their stations, and Crain and Marta awaiting Kent. \n","agreed. \"We'll be getting back to the _Martian Queen_ now and give the \n good news to Jandron and the rest.\" \n \n \"Wouldn't mind if Liggett and I came along, would you?\" Kent asked. \"I'd","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","They were towed helplessly along the wreck-pack's rim toward the \n _Martian Queen_. Once inside its airlock, Jandron's men removed the \n prisoners' space-helmets and then used the duplicate-control inside the","and air. Krell and Jandron led the men in a surprise attack and killed \n all the officers and passengers, and threw their bodies out into space. \n I was the only passenger they spared, because both Krell and \n Jandron--want me!\" \n","over and around them, braced against them and shot on. They sighted the \n _Pallas_ ahead now. Suddenly they discerned another group of eleven \n figures in space-suits approaching it from the wreck-pack's interior,","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","as they did so. For a few moments the visitors silently surveyed their \n new surroundings. \n \n Their leader was a swarthy individual with sardonic black eyes who, on \n noticing Crain's captain-insignia, came toward him with outstretched","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar","space-pirates.\" \n \n The _Pallas_ by then was drifting along the wreck-pack's rim at a \n half-mile distance, and Kent's eyes were running over the mass. \n","\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","get away with this?\" \n \n The men paid no attention, and Jandron motioned to the airlock. \"Take \n them over to the _Martian Queen_ too,\" he ordered, \"and make sure","The score of members of the crew, bronzed space-sailors out of every \n port in the solar system, had listened mutely. Now, one of them, a tall \n tube-man, stepped forward a little. \n"," * * * * * \n \n They climbed back, up to the ship's top, and leapt off it toward a \n Jupiter freighter lying a little farther inside the pack. As they","Liggett with the cold, suspicious eyes of an animal. \n \n \"My comrade and fellow-ruler here, Wald Jandron,\" said Krell. To Jandron \n he explained rapidly. \"The whole crew of the _Pallas_ is alive, and they","to the _Pallas_ with us?\" he asked. \"I'm sure you'd be more comfortable \n there.\" \n \n \"She doesn't go,\" grunted Jandron. Kent turned in quick wrath toward \n him, but Krell intervened. \n"],["\"Marta, you're in the pilot-house? Do you see the heavy little steel \n door in the wall beside the instrument-panel?\" \n \n \"I'm at it, but it's locked with a combination-lock,\" she said. \n","as they did so. For a few moments the visitors silently surveyed their \n new surroundings. \n \n Their leader was a swarthy individual with sardonic black eyes who, on \n noticing Crain's captain-insignia, came toward him with outstretched","space-pirates.\" \n \n The _Pallas_ by then was drifting along the wreck-pack's rim at a \n half-mile distance, and Kent's eyes were running over the mass. \n","On the third ship-day Kent and Captain Crain stood in the pilot-house \n behind Liggett, who sat at the now useless rocket-tube controls. Their \n eyes were on the big glass screen of the gravograph. The black dot on it","skull--he died in an hour,\" he said. Liggett was silent. \n \n \"Well, this ship will never move again,\" Kent said. \"It's too bad that \n the explosion blew out your tanks, but we ought to find fuel somewhere","Captain Crain summoned the crew together again on the middle-deck. \n \n \"Men, we've reached the wreck-pack at the dead-area's center, and here \n we'll stay until the end of time unless we get out under our own power.","Kent reached the lower-deck just as Krell entered from the airlock, his \n swarthy face smiling as he removed his helmet. He carried a pointed \n steel bar. Liggett and the others were donning their suits. \n","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","They went on, working deeper into the wreck-pack. Kent almost forgot the \n paramount importance of their search in the fascination of it. They \n explored almost every known type of ship--freighters, liners,","they shut me in my cabin as soon as you left,\" she said. \"I've heard \n them talking and arguing excitedly, though. I know that if you do find \n fuel, they'll try to kill you all and escape from here in your ship.\" \n","As they worked deeper into the pack, they noticed that the ships were of \n increasingly older types, and at last Krell signalled a halt. \"We're \n almost a mile in,\" he told them, gripping their hands. \"We'd better work","Krell and Liggett were descending into the ship's interior through the \n great opening smashed in its bows, and Kent followed. \n \n They found themselves in the liner's upper navigation-rooms. Officers","\"Good! Now, can you get up to the pilot-house? There's no one guarding \n it or the upper-deck? Hurry up there, then, at once.\" \n \n Crain and the rest were staring at Kent. \"Kent, what are you going to","They were towed helplessly along the wreck-pack's rim toward the \n _Martian Queen_. Once inside its airlock, Jandron's men removed the \n prisoners' space-helmets and then used the duplicate-control inside the","\"Did it all work as I told you it would, Jandron?\" he asked. \n \n \"It worked,\" Jandron answered impassively. \"When they saw fifteen of us \n coming from the wreck-pack in space-suits, they opened right up to us.\"","\"Jandron and ten of the others have gone to that wreck in which you \n found the fuel,\" she added swiftly. \"They unreeled a tube-line behind \n them as they went, and I can hear them pumping in the fuel now.\" \n","least: there's enough wrecks in this cursed place to make it possible \n to find almost anything. \n \n \"You'd better not start exploring, though,\" he added, \"without some of","\"There's not a single space-helmet on the _Martian Queen_.\" \n \n \"You've searched?\" Liggett asked. \n \n \"Every cubic inch of the ship,\" Crain told him. \"No, Jandron's men made","\"If Galling was at the controls in the pilot-house, how did the \n explosion kill him?\" asked Liggett skeptically. Krell turned quickly. \n \n \"The shock threw him against the pilot-house wall and fractured his","\"How will you get it over to your ship?\" Krell asked. Kent pointed to \n great reels of flexible metal tubing hanging near the tanks. \n \n \"We'll pump it over. The _Pallas_ has tubing like this ship's, for"],["\"I've seen so many men killed on the _Martian Queen_ and here,\" pleaded \n Marta. \"Please don't take them to Neptune.\" \n \n \"All right, we'll leave them,\" Crain agreed, \"though the scoundrels","\"We put Crain and his men over in the _Martian Queen_,\" Jandron \n continued, \"and took all their helmets so they can't escape. The girl we \n brought over here. Did you find a wreck with fuel?\" \n","before it, with the ordinary activities and life of the solar system \n forever behind it, and mystery and death ahead. \n \n It was toward the end of the second of those two ship-days that \n Liggett's voice came down from the pilot-house: \n","\"There's not a single space-helmet on the _Martian Queen_.\" \n \n \"You've searched?\" Liggett asked. \n \n \"Every cubic inch of the ship,\" Crain told him. \"No, Jandron's men made","They struck the _Martian Queen's_ side and entered the upper-airlock \n open for them. Once through the airlock they found themselves on the \n ship's upper-deck. And when Kent and Liggett removed their helmets with","agreed. \"We'll be getting back to the _Martian Queen_ now and give the \n good news to Jandron and the rest.\" \n \n \"Wouldn't mind if Liggett and I came along, would you?\" Kent asked. \"I'd","officers and passengers of the _Martian Queen_! What they told you about \n the explosion was true enough, for the explosion did happen that way, \n and because of it, the ship drifted into the dead-area. But the only","Liggett leading, and the twelve members of the _Pallas'_ crew following \n closely. \n \n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \n lay beside the _Pallas_, the others moving on and exploring the","freighter _Pallas_ made no answer, and Crain continued: \n \n \"We left Jupiter with full tanks, more than enough fuel to take us to \n Neptune. But the leaks in the starboard tanks lost us half our supply,","instruments under Captain Crain's orders, the weak calls of the \n auxiliary set raised no response. \n \n Had they been on the Venus or Mars run, Kent told himself, there would \n be some chance, but out here in the vast spaces, between the outer","Crain told him. \"You're living on one of the wrecks?\" \n \n The other nodded. \"Yes, on the _Martian Queen_, a quarter-mile along the","\"Liggett and I will close the _Pallas'_ exhaust-valves and release new \n air in it. You take over helmets for the rest of our men in the _Martian \n Queen_.\" \n \n * * * * *","apparently by an explosion of its tanks. They moved on to the next ship, \n a private space-yacht, small in size, but luxurious in fittings. It had \n been abandoned in space, its rocket-tubes burst and tanks strained. \n","the stern of a projecting wreck and shot on toward the _Martian Queen_. \n \n The airlock's door was open for her, and, when she was inside it, the \n outer door closed and air hissed into the lock. In a moment she was in","Kent's nod to Jandron went unanswered, and he and Liggett adjusted their \n helmets and entered the airlock. \n \n Once out of it, they kicked rapidly away from the _Martian Queen_,","get away with this?\" \n \n The men paid no attention, and Jandron motioned to the airlock. \"Take \n them over to the _Martian Queen_ too,\" he ordered, \"and make sure","almost out of all recognizable shape, while others were, to all \n appearances unharmed. They floated together in this dense mass in space, \n crowded against one another by their mutual attraction. \n \n There seemed to be among them every type of ship known in the solar","Mars or Venus on their bows. Wrecked freighters from Saturn or Earth \n floated beside rotund grain-boats from Jupiter. \n \n The debris among the pack's wrecks was just as varied, holding fragments","Queen_. It was a silvery, glistening ship whose stern and lower walls \n were bulging and strained, but not cracked. Kent told himself that Krell \n had spoken truth about the exploding rocket-tubes, at least. \n","They were towed helplessly along the wreck-pack's rim toward the \n _Martian Queen_. Once inside its airlock, Jandron's men removed the \n prisoners' space-helmets and then used the duplicate-control inside the"]],"string":"[\n [\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"planets, ships were fewer and farther between. The big, cigar-shaped \\n freighter drifted helplessly on in a broad curve toward the dreaded \\n area, the green light-speck of Neptune swinging to their left. \\n\",\n \"Mars or Venus on their bows. Wrecked freighters from Saturn or Earth \\n floated beside rotund grain-boats from Jupiter. \\n \\n The debris among the pack's wrecks was just as varied, holding fragments\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"a space-ship, and as such can legally try you and sentence you to death \\n here without further formalities.\\\" \\n \\n Krell did not answer, but Kent intervened. \\\"There's hardly time for that\",\n \"instruments under Captain Crain's orders, the weak calls of the \\n auxiliary set raised no response. \\n \\n Had they been on the Venus or Mars run, Kent told himself, there would \\n be some chance, but out here in the vast spaces, between the outer\",\n \" * * * * * \\n \\n They climbed back, up to the ship's top, and leapt off it toward a \\n Jupiter freighter lying a little farther inside the pack. As they\",\n \"to the _Pallas_ with us?\\\" he asked. \\\"I'm sure you'd be more comfortable \\n there.\\\" \\n \\n \\\"She doesn't go,\\\" grunted Jandron. Kent turned in quick wrath toward \\n him, but Krell intervened. \\n\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"Their ship floated at the wreck-pack's edge. Directly to its right \\n floated a sleek, shining Uranus-Jupiter passenger-ship whose bows had \\n been smashed in by a meteor. On their left bobbed an unmarked freighter\",\n \"fascinated interest that even knowledge of their own peril could not \\n kill. They could see swift-lined passenger-ships of the Pluto and \\n Neptune runs shouldering against small space-yachts with the insignia of\",\n \"around it, and, with feet braced against its side, propelled themselves \\n on through space along the border of the wreck-pack. \\n \\n They passed a half-dozen wrecks thus, before coming to the _Martian\",\n \"\\\"We'll have her out, never fear,\\\" Crain reassured him. \\\"The main thing \\n is to determine our course toward Krell and Jandron.\\\" \\n \\n Kent thought. \\\"As I see it, Krell can help us immeasurably in our search\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \"\\\"Perfectly,\\\" she said. \\n \\n \\\"Then go down and tie together as many space-helmets as you can manage, \\n get out of the airlock, and try to get over here to the _Martian Queen_\",\n \"\\\"They've back-blasted from being fired too fast,\\\" he said. \\\"Who was \\n controlling the ship when this happened?\\\" \\n \\n \\\"Galling, our second-officer,\\\" answered Krell. \\\"He had found us routed\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\"\n ],\n [\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\",\n \"Crain told him. \\\"You're living on one of the wrecks?\\\" \\n \\n The other nodded. \\\"Yes, on the _Martian Queen_, a quarter-mile along the\",\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\",\n \"around it, and, with feet braced against its side, propelled themselves \\n on through space along the border of the wreck-pack. \\n \\n They passed a half-dozen wrecks thus, before coming to the _Martian\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"against a ship's side to send them floating over the wrecks. They came \\n to the wreck-pack's edge at a little distance from the _Pallas_, and \\n hastened toward it. \\n\",\n \"Crain nodded thoughtfully. \\\"I think you're right. Then you and Liggett \\n and Krell can head our search-party to-morrow.\\\" \\n \\n Crain established watches on a new schedule, and Kent and Liggett and\",\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \"Kent found the slowness with which they floated forward torturing. He \\n glimpsed Crain and Liggett ahead, Marta beside him, Krell floating \\n behind him to the left. They reached the projecting freighters, climbed\",\n \"Kent's muscles ached from the arduous work of climbing over and \\n exploring the wrecks. He and Liggett had become accustomed to the sight \\n of frozen, motionless bodies. \\n\",\n \"exploded. Eighteen of us escaped the explosion, the ship's walls still \\n being tight; and we drifted into the pack here, and have been living \\n here ever since.\\\" \\n\",\n \"over and around them, braced against them and shot on. They sighted the \\n _Pallas_ ahead now. Suddenly they discerned another group of eleven \\n figures in space-suits approaching it from the wreck-pack's interior,\",\n \"The radio-operators' vain calls had ceased. The _Pallas_ drifted on into \\n the dreaded area like some dumb ship laden with damned souls. It drifted \\n on, Kent told himself, as many a wrecked and disabled ship had done\",\n \"\\\"The best we can do is leave them here,\\\" Kent told him. \\\"Best for them, \\n too, for at Neptune they'd be executed, while they can live indefinitely \\n in the wreck-pack.\\\" \\n\",\n \"Kent reached the lower-deck just as Krell entered from the airlock, his \\n swarthy face smiling as he removed his helmet. He carried a pointed \\n steel bar. Liggett and the others were donning their suits. \\n\",\n \"\\\"Right ahead there, about fifteen degrees left,\\\" Liggett told Kent and \\n Crain, pointing. \\\"Do you see it?\\\" \\n \\n Kent stared; nodded. The wreck-pack was a distant, disk-like mass\",\n \"\\\"No, they're living men!\\\" Liggett cried. \\\"They're coming straight toward \\n us--come down and see!\\\" \\n \\n * * * * * \\n\",\n \"this stupendous mass of dead ships floating motionless in the depths of \\n space, with the burning stars above and below them. \\n \\n His companions and the other men clambering over the neighboring wrecks\",\n \"On the third ship-day Kent and Captain Crain stood in the pilot-house \\n behind Liggett, who sat at the now useless rocket-tube controls. Their \\n eyes were on the big glass screen of the gravograph. The black dot on it\"\n ],\n [\n \"his men must be starting to pump that fuel into the _Pallas_ by now! \\n They'll be sailing off as soon as they do it!\\\" \\n \\n Crain's face was sad. \\\"I'm afraid this is the end, Kent. Without\",\n \"He then extended his hand to the girl. \\\"Good-by, Miss Mallen. I hope we \\n can have a talk soon.\\\" \\n \\n He had said the words with double meaning, and saw understanding in her \\n eyes. \\\"I hope we can, too,\\\" she said. \\n\",\n \"and he turned to find it was Liggett. \\n \\n \\\"They're beaten!\\\" Liggett's voice came to him! \\\"They're all killed but \\n those four!\\\" \\n\",\n \"Krell, securing his hands like those of the others. \\n \\n \\\"Have you gone crazy, Jandron?\\\" cried Krell, his face red with anger and \\n surprise. \\n\",\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"Liggett with the cold, suspicious eyes of an animal. \\n \\n \\\"My comrade and fellow-ruler here, Wald Jandron,\\\" said Krell. To Jandron \\n he explained rapidly. \\\"The whole crew of the _Pallas_ is alive, and they\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"that she must have spent the night without sleeping. \\\"Krell left a few \\n minutes ago,\\\" she said. \\n \\n \\\"Yes, he's coming now. You heard nothing of their plans?\\\" \\n\",\n \"\\\"No,\\\" Jandron replied impassively; \\\"but the men are as tired as I am of \\n your bossing ways, and have chosen me as their sole leader.\\\" \\n \\n \\\"You dirty double-crosser!\\\" Krell raged. \\\"Are you men going to let him\",\n \"cracked, and he caught a glimpse of the man's hate-distorted face frozen \\n instantly in death. \\n \\n Kent released him and propelled himself toward a struggling trio nearby. \\n As he floated toward them, he saw Jandron beyond them making wild\",\n \"got my own account to settle with Jandron!\\\" \\n \\n \\\"Let him have it!\\\" Liggett cried. \\\"We've no time now to argue!\\\" \\n \\n Kent reached toward the girl. \\\"Marta, give one of the men your helmet,\\\"\",\n \"Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \\n Krell. \\\"You said one of your passengers had escaped the explosion?\\\" \\n \\n To Kent's amazement a girl stepped from behind the group of men, a slim\",\n \"like you on this ship!\\\" \\n \\n \\\"Miss Mallen happened to be on the upper-deck at the time of the \\n explosion and, so, escaped when the other passengers were killed,\\\" Krell \\n explained smoothly. \\\"Isn't that so, Miss Mallen?\\\" \\n\",\n \"\\\"If Galling was at the controls in the pilot-house, how did the \\n explosion kill him?\\\" asked Liggett skeptically. Krell turned quickly. \\n \\n \\\"The shock threw him against the pilot-house wall and fractured his\",\n \"behind Jandron's men. But a sweep of Jandron's arm brushed her rudely \\n back. Kent strained madly at his bonds. Krell's face had a triumphant \\n look. \\n\",\n \"\\\"Let that go! We'll not have you with us when we haven't enough helmets \\n for our own men!\\\" \\n \\n \\\"You'll have me or kill me here!\\\" Krell cried, his eyes hate-mad. \\\"I've\",\n \"charge and have been keeping order.\\\" \\n \\n \\\"What about your passengers?\\\" Liggett asked. \\n \\n \\\"All killed but one,\\\" Krell answered. \\\"When the tubes let go they \\n smashed up the whole lower two decks.\\\" \\n\",\n \"\\\"I hope so,\\\" she said. \\\"Rance, be careful with Krell in the wreck-pack. \\n He's dangerous.\\\" \\n \\n \\\"I'll be watching him,\\\" he promised. \\\"Good-by, Marta.\\\" \\n\",\n \"There was silence again, and Kent and the men grouped round him were \\n tense. All were envisioning the same thing--the air rushing out of the \\n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten\",\n \"\\\"What about Jandron himself?\\\" Kent cried. Liggett pointed to two \\n space-suited bodies twisting together in space, with bars still in their \\n lifeless grasp. \\n \\n Kent saw through their shattered helmets the stiffened faces of Jandron\"\n ],\n [\n \"They reached the after-deck whose stair's head gave a view of the \\n wrecked tube-rooms beneath. The lower decks had been smashed by terrific \\n forces. Kent's practiced eyes ran rapidly over the shattered \\n rocket-tubes. \\n\",\n \"in the wreck-pack for the _Pallas_. And now we'd best get back.\\\" \\n \\n As they returned up the dim corridor Kent managed to walk beside Marta \\n Mallen, and, without being seen, he contrived to detach his\",\n \"\\\"Let's get back and let them know about it,\\\" Liggett urged, and they \\n climbed back out of the liner. \\n \\n They worked their way out of the wreck-pack with much greater speed than \\n that with which they had entered, needing only an occasional brace\",\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\",\n \"and he turned to find it was Liggett. \\n \\n \\\"They're beaten!\\\" Liggett's voice came to him! \\\"They're all killed but \\n those four!\\\" \\n\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\",\n \"Kent's muscles ached from the arduous work of climbing over and \\n exploring the wrecks. He and Liggett had become accustomed to the sight \\n of frozen, motionless bodies. \\n\",\n \"least: there's enough wrecks in this cursed place to make it possible \\n to find almost anything. \\n \\n \\\"You'd better not start exploring, though,\\\" he added, \\\"without some of\",\n \"Crain told him. \\\"You're living on one of the wrecks?\\\" \\n \\n The other nodded. \\\"Yes, on the _Martian Queen_, a quarter-mile along the\",\n \"skull--he died in an hour,\\\" he said. Liggett was silent. \\n \\n \\\"Well, this ship will never move again,\\\" Kent said. \\\"It's too bad that \\n the explosion blew out your tanks, but we ought to find fuel somewhere\",\n \"The girl's eyes had not left Kent's, but at Krell's words she nodded. \\n \\\"Yes, that is so,\\\" she said mechanically. \\n \\n Kent collected his whirling thoughts. \\\"But wouldn't you rather go back\",\n \"They went on, working deeper into the wreck-pack. Kent almost forgot the \\n paramount importance of their search in the fascination of it. They \\n explored almost every known type of ship--freighters, liners,\",\n \"for a moment, indecisive, Jandron's stare upon him. After a moment's \\n thought he turned to Krell. \\n \\n \\\"You were going to show me the damage the exploding tubes did,\\\" he said, \\n and Krell nodded quickly.\",\n \"around it, and, with feet braced against its side, propelled themselves \\n on through space along the border of the wreck-pack. \\n \\n They passed a half-dozen wrecks thus, before coming to the _Martian\",\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"back out, taking a different section of the pack as we do.\\\" \\n \\n Kent nodded. \\\"It may change our luck,\\\" he said. \\n \\n It did; for when they had gone not more than a half-mile back, they\",\n \"glassite helmets, meant instant death. But Krell seemed quite intent on \\n the search for fuel. \\n \\n The big Jupiter freighter seemed intact from above, but, when they \\n penetrated into it, they found its whole under-side blown away,\",\n \"They found their quest there useless, for the tanks had been strained by \\n the meteor's shock, and were empty. Kent felt Liggett grasp his hand and \\n heard him speak, the sound-vibrations coming through their contacting \\n suits. \\n\",\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\"\n ],\n [\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \" * * * * * \\n \\n They found Captain Crain awaiting them anxiously. Briefly Kent reported \\n everything. \\n \\n \\\"I'm certain there has been foul play aboard the _Martian Queen_,\\\" he\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"agreed. \\\"We'll be getting back to the _Martian Queen_ now and give the \\n good news to Jandron and the rest.\\\" \\n \\n \\\"Wouldn't mind if Liggett and I came along, would you?\\\" Kent asked. \\\"I'd\",\n \"Queen_. It was a silvery, glistening ship whose stern and lower walls \\n were bulging and strained, but not cracked. Kent told himself that Krell \\n had spoken truth about the exploding rocket-tubes, at least. \\n\",\n \"passenger-ship beside the _Pallas_. They braced their feet against its \\n side and propelled themselves on through the void like swimmers under \\n water, toward the _Pallas_. \\n \\n \\\"They must be survivors from some wreck that drifted in here as we did!\\\"\",\n \"orders to them, and even as he struck out furiously he comprehended. \\n Jandron and the men of the _Martian Queen_ had somehow captured the \\n _Pallas_ from Crain and had been awaiting their return! \\n\",\n \"around it, and, with feet braced against its side, propelled themselves \\n on through space along the border of the wreck-pack. \\n \\n They passed a half-dozen wrecks thus, before coming to the _Martian\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"\\\"They've back-blasted from being fired too fast,\\\" he said. \\\"Who was \\n controlling the ship when this happened?\\\" \\n \\n \\\"Galling, our second-officer,\\\" answered Krell. \\\"He had found us routed\",\n \"came from the crew. With gathering speed the ship arrowed out, its \\n rocket-tubes blasting now in steady succession. \\n \\n Kent, with his arm across Marta's shoulders, watched the wreck-pack grow\",\n \"stopped! They must have pumped all the fuel into the _Pallas_!\\\" \\n \\n \\\"Then Jandron and the rest will be coming back to the _Pallas_ at once!\\\" \\n Kent cried. \\\"Hurry, Marta!\\\" \\n\",\n \"Their ship floated at the wreck-pack's edge. Directly to its right \\n floated a sleek, shining Uranus-Jupiter passenger-ship whose bows had \\n been smashed in by a meteor. On their left bobbed an unmarked freighter\",\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\"\n ],\n [\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \"around it, and, with feet braced against its side, propelled themselves \\n on through space along the border of the wreck-pack. \\n \\n They passed a half-dozen wrecks thus, before coming to the _Martian\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\",\n \"Kent reached the lower-deck just as Krell entered from the airlock, his \\n swarthy face smiling as he removed his helmet. He carried a pointed \\n steel bar. Liggett and the others were donning their suits. \\n\",\n \"over and around them, braced against them and shot on. They sighted the \\n _Pallas_ ahead now. Suddenly they discerned another group of eleven \\n figures in space-suits approaching it from the wreck-pack's interior,\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"along the wreck-pack's edge to the ship's right. \\n \\n Six floating shapes, men in space-suits, were approaching along the \\n pack's border. They floated smoothly through space, reaching the wrecked\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"against the star-flecked heavens, a mass that glinted here and there in \\n the feeble sunlight of space. It did not seem large, but, as they \\n drifted steadily closer in the next hours, they saw that in reality the\",\n \"On the third ship-day Kent and Captain Crain stood in the pilot-house \\n behind Liggett, who sat at the now useless rocket-tube controls. Their \\n eyes were on the big glass screen of the gravograph. The black dot on it\",\n \"Crain and Kent followed Liggett quickly down to the airlock room, where \\n the men who had started donning their space-suits were now peering \\n excitedly from the windows. Crain and Kent looked where Liggett pointed,\",\n \"Kent exclaimed. \\\"Maybe they've lived here for months!\\\" \\n \\n \\\"It's evident that they saw the _Pallas_ drift into the pack, and have \\n come to investigate,\\\" Crain estimated. \\\"Open the airlock for them, men,\",\n \"When all were in, the outer door was closed, and air hissed in to fill \\n the lock. The airlock's inner door then slid open and the newcomers \\n stepped into the ship's interior, unscrewing their transparent helmets\",\n \"\\\"Well, we're in at last,\\\" Kent commented. \\\"There seems to be no change \\n in anything, either.\\\" \\n \\n Crain pointed to the instrument-panel. \\\"Look at the gravitometers.\\\" \\n\",\n \"screwed tight, stepped into the airlock with the rest. The airlock's \\n inner door closed, the outer one opened, and as the air puffed out into \\n space, Kent and Krell and Liggett leapt out into the void, the others \\n following.\",\n \"came from the crew. With gathering speed the ship arrowed out, its \\n rocket-tubes blasting now in steady succession. \\n \\n Kent, with his arm across Marta's shoulders, watched the wreck-pack grow\",\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\"\n ],\n [\n \"as they did so. For a few moments the visitors silently surveyed their \\n new surroundings. \\n \\n Their leader was a swarthy individual with sardonic black eyes who, on \\n noticing Crain's captain-insignia, came toward him with outstretched\",\n \"Krell and Liggett were descending into the ship's interior through the \\n great opening smashed in its bows, and Kent followed. \\n \\n They found themselves in the liner's upper navigation-rooms. Officers\",\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"open as they were doing this, and from inside almost a score of men \\n leapt upon them! \\n \\n Kent, stunned for a moment, saw Jandron among their attackers, bellowing\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\",\n \"space-pirates.\\\" \\n \\n The _Pallas_ by then was drifting along the wreck-pack's rim at a \\n half-mile distance, and Kent's eyes were running over the mass. \\n\",\n \"There was silence again, and Kent and the men grouped round him were \\n tense. All were envisioning the same thing--the air rushing out of the \\n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten\",\n \"started back toward the _Pallas_ with the helmets of Kent and his \\n companions. \\n \\n Kent and the others soon found Crain and his half-dozen men who rapidly\",\n \"\\\"Good! Now, can you get up to the pilot-house? There's no one guarding \\n it or the upper-deck? Hurry up there, then, at once.\\\" \\n \\n Crain and the rest were staring at Kent. \\\"Kent, what are you going to\",\n \"this stupendous mass of dead ships floating motionless in the depths of \\n space, with the burning stars above and below them. \\n \\n His companions and the other men clambering over the neighboring wrecks\",\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \"efforts to reach the _Pallas_. Kent and his companions, propelling \\n themselves frenziedly on from another wreck, reached the ship's side at \\n the same time as Jandron's men. The two groups mixed and mingled,\",\n \"skull--he died in an hour,\\\" he said. Liggett was silent. \\n \\n \\\"Well, this ship will never move again,\\\" Kent said. \\\"It's too bad that \\n the explosion blew out your tanks, but we ought to find fuel somewhere\",\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"\\\"No, they're living men!\\\" Liggett cried. \\\"They're coming straight toward \\n us--come down and see!\\\" \\n \\n * * * * * \\n\",\n \"they shut me in my cabin as soon as you left,\\\" she said. \\\"I've heard \\n them talking and arguing excitedly, though. I know that if you do find \\n fuel, they'll try to kill you all and escape from here in your ship.\\\" \\n\",\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\",\n \"Kent reached the lower-deck just as Krell entered from the airlock, his \\n swarthy face smiling as he removed his helmet. He carried a pointed \\n steel bar. Liggett and the others were donning their suits. \\n\",\n \"They went on, working deeper into the wreck-pack. Kent almost forgot the \\n paramount importance of their search in the fascination of it. They \\n explored almost every known type of ship--freighters, liners,\"\n ],\n [\n \"space-pirates.\\\" \\n \\n The _Pallas_ by then was drifting along the wreck-pack's rim at a \\n half-mile distance, and Kent's eyes were running over the mass. \\n\",\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"against a ship's side to send them floating over the wrecks. They came \\n to the wreck-pack's edge at a little distance from the _Pallas_, and \\n hastened toward it. \\n\",\n \"inward to follow its rim. In the next hours it continued to sail slowly \\n around the great pack, approaching closer and closer to its edge. \\n \\n In those hours Kent and Crain and all in the ship watched with a\",\n \"his men must be starting to pump that fuel into the _Pallas_ by now! \\n They'll be sailing off as soon as they do it!\\\" \\n \\n Crain's face was sad. \\\"I'm afraid this is the end, Kent. Without\",\n \"floated toward it, Kent saw their men moving on with them from ship to \\n ship, progressing inward into the pack. Both Kent and Liggett kept Krell \\n always ahead of them, knowing that a blow from his bar, shattering their\",\n \"came from the crew. With gathering speed the ship arrowed out, its \\n rocket-tubes blasting now in steady succession. \\n \\n Kent, with his arm across Marta's shoulders, watched the wreck-pack grow\",\n \"this stupendous mass of dead ships floating motionless in the depths of \\n space, with the burning stars above and below them. \\n \\n His companions and the other men clambering over the neighboring wrecks\",\n \"\\\"Look, we're beginning to curve in around the pack now!\\\" Liggett \\n exclaimed. \\n \\n The _Pallas_, as though loath to pass the wreck-pack, was curving\",\n \"fascinated interest that even knowledge of their own peril could not \\n kill. They could see swift-lined passenger-ships of the Pluto and \\n Neptune runs shouldering against small space-yachts with the insignia of\",\n \"ought to meet justice.\\\" He hastened up to the pilot-house after Liggett. \\n \\n In a moment came the familiar blast of the rocket-tubes, and the \\n _Pallas_ shot out cleanly from the wreck-pack's edge. A scattered cheer\",\n \" * * * * * \\n \\n They climbed back, up to the ship's top, and leapt off it toward a \\n Jupiter freighter lying a little farther inside the pack. As they\",\n \"neighboring wrecks in parties of two and three. From the top of the \\n passenger-ship, when they gained it, Kent and his two companions could \\n look far out over the wreck-pack. It was an extraordinary spectacle,\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"completely around the wreck-pack, finally struck the wrecks at its edge \\n with a jarring shock; then bobbed for a while and lay still. From \\n pilot-house and deck windows the men looked eagerly forth. \\n \\n * * * * *\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\",\n \"efforts to reach the _Pallas_. Kent and his companions, propelling \\n themselves frenziedly on from another wreck, reached the ship's side at \\n the same time as Jandron's men. The two groups mixed and mingled,\",\n \"\\\"I'll do my best,\\\" Kent was saying, when Liggett's excited face \\n reappeared suddenly at the stair. \\n \\n \\\"There are men coming toward the _Pallas_ along the wreck-pack's edge!\\\"\",\n \"of wreckage, meteors, small and large, and space-debris of every sort. \\n \\n The _Pallas_ was drifting, not straight toward the wreck-pack, but in a \\n course that promised to take the ship past it. \\n\",\n \"\\\"Good! Now, can you get up to the pilot-house? There's no one guarding \\n it or the upper-deck? Hurry up there, then, at once.\\\" \\n \\n Crain and the rest were staring at Kent. \\\"Kent, what are you going to\"\n ],\n [\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \"\\\"There's not a single space-helmet on the _Martian Queen_.\\\" \\n \\n \\\"You've searched?\\\" Liggett asked. \\n \\n \\\"Every cubic inch of the ship,\\\" Crain told him. \\\"No, Jandron's men made\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"freighter _Pallas_ made no answer, and Crain continued: \\n \\n \\\"We left Jupiter with full tanks, more than enough fuel to take us to \\n Neptune. But the leaks in the starboard tanks lost us half our supply,\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \"Crain told him. \\\"You're living on one of the wrecks?\\\" \\n \\n The other nodded. \\\"Yes, on the _Martian Queen_, a quarter-mile along the\",\n \"agreed. \\\"We'll be getting back to the _Martian Queen_ now and give the \\n good news to Jandron and the rest.\\\" \\n \\n \\\"Wouldn't mind if Liggett and I came along, would you?\\\" Kent asked. \\\"I'd\",\n \"planets, ships were fewer and farther between. The big, cigar-shaped \\n freighter drifted helplessly on in a broad curve toward the dreaded \\n area, the green light-speck of Neptune swinging to their left. \\n\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"\\\"Liggett and I will close the _Pallas'_ exhaust-valves and release new \\n air in it. You take over helmets for the rest of our men in the _Martian \\n Queen_.\\\" \\n \\n * * * * *\",\n \"instruments under Captain Crain's orders, the weak calls of the \\n auxiliary set raised no response. \\n \\n Had they been on the Venus or Mars run, Kent told himself, there would \\n be some chance, but out here in the vast spaces, between the outer\",\n \"\\\"Perfectly,\\\" she said. \\n \\n \\\"Then go down and tie together as many space-helmets as you can manage, \\n get out of the airlock, and try to get over here to the _Martian Queen_\",\n \"Mars or Venus on their bows. Wrecked freighters from Saturn or Earth \\n floated beside rotund grain-boats from Jupiter. \\n \\n The debris among the pack's wrecks was just as varied, holding fragments\",\n \"fascinated interest that even knowledge of their own peril could not \\n kill. They could see swift-lined passenger-ships of the Pluto and \\n Neptune runs shouldering against small space-yachts with the insignia of\",\n \"They were towed helplessly along the wreck-pack's rim toward the \\n _Martian Queen_. Once inside its airlock, Jandron's men removed the \\n prisoners' space-helmets and then used the duplicate-control inside the\",\n \"the pulls of the sun and the outer planets exactly balance each other. \\n Because of that, anything in the dead-area, will stay in there until \\n time ends, unless it has power of its own. Many wrecked space-ships have\"\n ],\n [\n \"It was no novelty to Kent to float in a space-suit in the empty void. He \\n and the others now floated as smoothly as though under water toward a \\n wrecked liner at the _Pallas'_ right. They reached it, pulled themselves\",\n \"Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \\n Krell. \\\"You said one of your passengers had escaped the explosion?\\\" \\n \\n To Kent's amazement a girl stepped from behind the group of men, a slim\",\n \"toward his superior. \\n \\n \\\"There's a very real chance of your becoming lost in this huge \\n wreck-pack, Kent,\\\" Crain told him: \\\"so be very careful to keep your \\n bearings at all times. I know I can depend on you.\\\" \\n\",\n \"cracked, and he caught a glimpse of the man's hate-distorted face frozen \\n instantly in death. \\n \\n Kent released him and propelled himself toward a struggling trio nearby. \\n As he floated toward them, he saw Jandron beyond them making wild\",\n \"Kent reached the lower-deck just as Krell entered from the airlock, his \\n swarthy face smiling as he removed his helmet. He carried a pointed \\n steel bar. Liggett and the others were donning their suits. \\n\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"\\\"Are the others guarding you?\\\" Kent asked quickly. \\n \\n \\\"They're down in the lower deck at the tanks and airlocks. They won't \\n allow me down on that deck. I'm up here in the middle-deck, absolutely \\n alone. \\n\",\n \"There was silence again, and Kent and the men grouped round him were \\n tense. All were envisioning the same thing--the air rushing out of the \\n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten\",\n \"\\\"I'm all right. It was just that I had to go over those guards that were \\n all frozen.... Terrible!\\\" \\n \\n \\\"Get these helmets on!\\\" Crain was crying. \\\"There's a dozen of them, and\",\n \"\\\"Jandron and ten of the others have gone to that wreck in which you \\n found the fuel,\\\" she added swiftly. \\\"They unreeled a tube-line behind \\n them as they went, and I can hear them pumping in the fuel now.\\\" \\n\",\n \"He then extended his hand to the girl. \\\"Good-by, Miss Mallen. I hope we \\n can have a talk soon.\\\" \\n \\n He had said the words with double meaning, and saw understanding in her \\n eyes. \\\"I hope we can, too,\\\" she said. \\n\",\n \"\\\"You don't understand,\\\" said Crain. \\\"That attraction from ahead is the \\n pull of the wreck-pack at the dead-area's center.\\\" \\n \\n \\\"And it's pulling the _Pallas_ toward it?\\\" Kent exclaimed. \\n\",\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\",\n \"Kent found the slowness with which they floated forward torturing. He \\n glimpsed Crain and Liggett ahead, Marta beside him, Krell floating \\n behind him to the left. They reached the projecting freighters, climbed\",\n \"\\\"Right ahead there, about fifteen degrees left,\\\" Liggett told Kent and \\n Crain, pointing. \\\"Do you see it?\\\" \\n \\n Kent stared; nodded. The wreck-pack was a distant, disk-like mass\",\n \"\\\"What about Jandron himself?\\\" Kent cried. Liggett pointed to two \\n space-suited bodies twisting together in space, with bars still in their \\n lifeless grasp. \\n \\n Kent saw through their shattered helmets the stiffened faces of Jandron\",\n \"Kent rose from the instrument with the smile still in his eyes, but with \\n his lips compressed. \\\"Damn it, there's the bravest and finest girl in \\n the solar system!\\\" he exclaimed. \\\"Over there with those brutes!\\\" \\n\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\",\n \"that represented their ship was crawling steadily toward the bright red \\n circle that stood for the dead-area.... \\n \\n They watched silently until the dot had crawled over the circle's red \\n line, heading toward its center. \\n\",\n \"Liggett with the cold, suspicious eyes of an animal. \\n \\n \\\"My comrade and fellow-ruler here, Wald Jandron,\\\" said Krell. To Jandron \\n he explained rapidly. \\\"The whole crew of the _Pallas_ is alive, and they\"\n ],\n [\n \"Queen_. It was a silvery, glistening ship whose stern and lower walls \\n were bulging and strained, but not cracked. Kent told himself that Krell \\n had spoken truth about the exploding rocket-tubes, at least. \\n\",\n \"the stern of a projecting wreck and shot on toward the _Martian Queen_. \\n \\n The airlock's door was open for her, and, when she was inside it, the \\n outer door closed and air hissed into the lock. In a moment she was in\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"Crain told him. \\\"You're living on one of the wrecks?\\\" \\n \\n The other nodded. \\\"Yes, on the _Martian Queen_, a quarter-mile along the\",\n \"\\\"There's not a single space-helmet on the _Martian Queen_.\\\" \\n \\n \\\"You've searched?\\\" Liggett asked. \\n \\n \\\"Every cubic inch of the ship,\\\" Crain told him. \\\"No, Jandron's men made\",\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"Kent rose from the instrument with the smile still in his eyes, but with \\n his lips compressed. \\\"Damn it, there's the bravest and finest girl in \\n the solar system!\\\" he exclaimed. \\\"Over there with those brutes!\\\" \\n\",\n \" * * * * * \\n \\n They found Captain Crain awaiting them anxiously. Briefly Kent reported \\n everything. \\n \\n \\\"I'm certain there has been foul play aboard the _Martian Queen_,\\\" he\",\n \"helmets, the space between the _Martian Queen_ and the _Pallas_ is a \\n greater barrier to us than a mile-thick wall of steel. In this ship \\n we'll stay, until the air and food give out, and death releases us.\\\" \\n\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"\\\"Liggett and I will close the _Pallas'_ exhaust-valves and release new \\n air in it. You take over helmets for the rest of our men in the _Martian \\n Queen_.\\\" \\n \\n * * * * *\",\n \"\\\"Perfectly,\\\" she said. \\n \\n \\\"Then go down and tie together as many space-helmets as you can manage, \\n get out of the airlock, and try to get over here to the _Martian Queen_\",\n \"against the star-flecked heavens, a mass that glinted here and there in \\n the feeble sunlight of space. It did not seem large, but, as they \\n drifted steadily closer in the next hours, they saw that in reality the\",\n \"fascinated interest that even knowledge of their own peril could not \\n kill. They could see swift-lined passenger-ships of the Pluto and \\n Neptune runs shouldering against small space-yachts with the insignia of\",\n \"Mars or Venus on their bows. Wrecked freighters from Saturn or Earth \\n floated beside rotund grain-boats from Jupiter. \\n \\n The debris among the pack's wrecks was just as varied, holding fragments\"\n ],\n [\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"\\\"We'll have her out, never fear,\\\" Crain reassured him. \\\"The main thing \\n is to determine our course toward Krell and Jandron.\\\" \\n \\n Kent thought. \\\"As I see it, Krell can help us immeasurably in our search\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"planets, ships were fewer and farther between. The big, cigar-shaped \\n freighter drifted helplessly on in a broad curve toward the dreaded \\n area, the green light-speck of Neptune swinging to their left. \\n\",\n \"\\\"Marta just told me that Krell and Jandron have been plotting \\n something,\\\" he told the captain; \\\"so I'd keep a close watch outside.\\\" \\n \\n \\\"Don't worry, Kent. We'll let no one inside the _Pallas_ until you and\",\n \"to the _Pallas_ with us?\\\" he asked. \\\"I'm sure you'd be more comfortable \\n there.\\\" \\n \\n \\\"She doesn't go,\\\" grunted Jandron. Kent turned in quick wrath toward \\n him, but Krell intervened. \\n\",\n \"a space-ship, and as such can legally try you and sentence you to death \\n here without further formalities.\\\" \\n \\n Krell did not answer, but Kent intervened. \\\"There's hardly time for that\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"instruments under Captain Crain's orders, the weak calls of the \\n auxiliary set raised no response. \\n \\n Had they been on the Venus or Mars run, Kent told himself, there would \\n be some chance, but out here in the vast spaces, between the outer\",\n \"us to the right. That attraction alters our course so that in three \\n ship-days we shall drift into the dead-area.\\\" \\n \\n Rance Kent, first-officer of the _Pallas_, asked a question: \\\"Couldn't\",\n \"\\\"Kent, look sharp when you get over on that ship,\\\" Crain told him. \\\"I \\n don't like the look of this Krell, and his story about all the officers \\n being killed in the explosion sounds fishy to me.\\\" \\n\",\n \"\\\"Just what is this dead-area, sir?\\\" he asked. \\\"I've heard of it, but as \\n this is my first outer-planet voyage, I know nothing about it.\\\" \\n\",\n \" * * * * * \\n \\n They climbed back, up to the ship's top, and leapt off it toward a \\n Jupiter freighter lying a little farther inside the pack. As they\",\n \"\\\"What about Jandron himself?\\\" Kent cried. Liggett pointed to two \\n space-suited bodies twisting together in space, with bars still in their \\n lifeless grasp. \\n \\n Kent saw through their shattered helmets the stiffened faces of Jandron\",\n \"\\\"Perfectly,\\\" she said. \\n \\n \\\"Then go down and tie together as many space-helmets as you can manage, \\n get out of the airlock, and try to get over here to the _Martian Queen_\",\n \"fascinated interest that even knowledge of their own peril could not \\n kill. They could see swift-lined passenger-ships of the Pluto and \\n Neptune runs shouldering against small space-yachts with the insignia of\"\n ],\n [\n \"Crain nodded thoughtfully. \\\"I think you're right. Then you and Liggett \\n and Krell can head our search-party to-morrow.\\\" \\n \\n Crain established watches on a new schedule, and Kent and Liggett and\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\",\n \"exploded. Eighteen of us escaped the explosion, the ship's walls still \\n being tight; and we drifted into the pack here, and have been living \\n here ever since.\\\" \\n\",\n \"They went on, working deeper into the wreck-pack. Kent almost forgot the \\n paramount importance of their search in the fascination of it. They \\n explored almost every known type of ship--freighters, liners,\",\n \"\\\"Jandron and ten of the others have gone to that wreck in which you \\n found the fuel,\\\" she added swiftly. \\\"They unreeled a tube-line behind \\n them as they went, and I can hear them pumping in the fuel now.\\\" \\n\",\n \"against a ship's side to send them floating over the wrecks. They came \\n to the wreck-pack's edge at a little distance from the _Pallas_, and \\n hastened toward it. \\n\",\n \"for a moment, indecisive, Jandron's stare upon him. After a moment's \\n thought he turned to Krell. \\n \\n \\\"You were going to show me the damage the exploding tubes did,\\\" he said, \\n and Krell nodded quickly.\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"Kent exclaimed. \\\"Maybe they've lived here for months!\\\" \\n \\n \\\"It's evident that they saw the _Pallas_ drift into the pack, and have \\n come to investigate,\\\" Crain estimated. \\\"Open the airlock for them, men,\",\n \"\\\"Get down to the lower airlock and into your space-suits at once, then,\\\" \\n Kent told them. \\\"Mr. Liggett, will you supervise that?\\\" \\n \\n As Liggett and the men trooped down to the airlock, Kent turned back\",\n \"Crain and Kent followed Liggett quickly down to the airlock room, where \\n the men who had started donning their space-suits were now peering \\n excitedly from the windows. Crain and Kent looked where Liggett pointed,\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\",\n \"he ordered; but she shook her head. \\n \\n \\\"I'm going with you!\\\" Before Kent could dispute she had the helmet on \\n again, and Crain was pushing them into the airlock. The nine or ten left\",\n \"\\\"Let's get back and let them know about it,\\\" Liggett urged, and they \\n climbed back out of the liner. \\n \\n They worked their way out of the wreck-pack with much greater speed than \\n that with which they had entered, needing only an occasional brace\",\n \"Liggett and the men get back.\\\" \\n \\n * * * * * \\n \\n In a few minutes they were out of the ship, with Krell and Kent and\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"The girl's eyes had not left Kent's, but at Krell's words she nodded. \\n \\\"Yes, that is so,\\\" she said mechanically. \\n \\n Kent collected his whirling thoughts. \\\"But wouldn't you rather go back\"\n ],\n [\n \"\\\"Kent, look sharp when you get over on that ship,\\\" Crain told him. \\\"I \\n don't like the look of this Krell, and his story about all the officers \\n being killed in the explosion sounds fishy to me.\\\" \\n\",\n \"Liggett with the cold, suspicious eyes of an animal. \\n \\n \\\"My comrade and fellow-ruler here, Wald Jandron,\\\" said Krell. To Jandron \\n he explained rapidly. \\\"The whole crew of the _Pallas_ is alive, and they\",\n \"they shut me in my cabin as soon as you left,\\\" she said. \\\"I've heard \\n them talking and arguing excitedly, though. I know that if you do find \\n fuel, they'll try to kill you all and escape from here in your ship.\\\" \\n\",\n \"There was silence again, and Kent and the men grouped round him were \\n tense. All were envisioning the same thing--the air rushing out of the \\n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten\",\n \" * * * * * \\n \\n They found Captain Crain awaiting them anxiously. Briefly Kent reported \\n everything. \\n \\n \\\"I'm certain there has been foul play aboard the _Martian Queen_,\\\" he\",\n \"like you on this ship!\\\" \\n \\n \\\"Miss Mallen happened to be on the upper-deck at the time of the \\n explosion and, so, escaped when the other passengers were killed,\\\" Krell \\n explained smoothly. \\\"Isn't that so, Miss Mallen?\\\" \\n\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"\\\"I thought that was it, and that's why I left the suit-phone for you,\\\" \\n Kent said. \\\"Just what is the truth?\\\" \\n \\n \\\"Krell and Jandron and these men of theirs are the ones who killed the\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"Crain nodded thoughtfully. \\\"I think you're right. Then you and Liggett \\n and Krell can head our search-party to-morrow.\\\" \\n \\n Crain established watches on a new schedule, and Kent and Liggett and\",\n \"Kent briefly explained Jandron's treachery toward Krell, and Crain's \\n brows drew ominously together. \\n \\n \\\"So Jandron put you here with us! Krell, I am a commissioned captain of\",\n \"\\\"If Galling was at the controls in the pilot-house, how did the \\n explosion kill him?\\\" asked Liggett skeptically. Krell turned quickly. \\n \\n \\\"The shock threw him against the pilot-house wall and fractured his\",\n \"\\\"My name's Krell,\\\" he added, \\\"and I was a tube-man on the ship. I and \\n another of the tube-men, named Jandron, were the highest in rank left, \\n all the officers and other tube-men having been killed, so we took\",\n \"his men must be starting to pump that fuel into the _Pallas_ by now! \\n They'll be sailing off as soon as they do it!\\\" \\n \\n Crain's face was sad. \\\"I'm afraid this is the end, Kent. Without\",\n \"Kent understood, and cursed Krell's cunning. Crain, seeing the fifteen \\n figures approaching from the wreck-pack, had naturally thought they were \\n Kent's party, and had let them enter to overwhelm his half-dozen men. \\n\",\n \"charge and have been keeping order.\\\" \\n \\n \\\"What about your passengers?\\\" Liggett asked. \\n \\n \\\"All killed but one,\\\" Krell answered. \\\"When the tubes let go they \\n smashed up the whole lower two decks.\\\" \\n\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\",\n \"\\\"Marta just told me that Krell and Jandron have been plotting \\n something,\\\" he told the captain; \\\"so I'd keep a close watch outside.\\\" \\n \\n \\\"Don't worry, Kent. We'll let no one inside the _Pallas_ until you and\",\n \"\\\"They've back-blasted from being fired too fast,\\\" he said. \\\"Who was \\n controlling the ship when this happened?\\\" \\n \\n \\\"Galling, our second-officer,\\\" answered Krell. \\\"He had found us routed\",\n \"as they did so. For a few moments the visitors silently surveyed their \\n new surroundings. \\n \\n Their leader was a swarthy individual with sardonic black eyes who, on \\n noticing Crain's captain-insignia, came toward him with outstretched\"\n ],\n [\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \"agreed. \\\"We'll be getting back to the _Martian Queen_ now and give the \\n good news to Jandron and the rest.\\\" \\n \\n \\\"Wouldn't mind if Liggett and I came along, would you?\\\" Kent asked. \\\"I'd\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"around it, and, with feet braced against its side, propelled themselves \\n on through space along the border of the wreck-pack. \\n \\n They passed a half-dozen wrecks thus, before coming to the _Martian\",\n \" * * * * * \\n \\n They found Captain Crain awaiting them anxiously. Briefly Kent reported \\n everything. \\n \\n \\\"I'm certain there has been foul play aboard the _Martian Queen_,\\\" he\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"started back toward the _Pallas_ with the helmets of Kent and his \\n companions. \\n \\n Kent and the others soon found Crain and his half-dozen men who rapidly\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"in the wreck-pack for the _Pallas_. And now we'd best get back.\\\" \\n \\n As they returned up the dim corridor Kent managed to walk beside Marta \\n Mallen, and, without being seen, he contrived to detach his\",\n \"orders to them, and even as he struck out furiously he comprehended. \\n Jandron and the men of the _Martian Queen_ had somehow captured the \\n _Pallas_ from Crain and had been awaiting their return! \\n\",\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \"over and around them, braced against them and shot on. They sighted the \\n _Pallas_ ahead now. Suddenly they discerned another group of eleven \\n figures in space-suits approaching it from the wreck-pack's interior,\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \"\\\"Jandron and ten of the others have gone to that wreck in which you \\n found the fuel,\\\" she added swiftly. \\\"They unreeled a tube-line behind \\n them as they went, and I can hear them pumping in the fuel now.\\\" \\n\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"stopped! They must have pumped all the fuel into the _Pallas_!\\\" \\n \\n \\\"Then Jandron and the rest will be coming back to the _Pallas_ at once!\\\" \\n Kent cried. \\\"Hurry, Marta!\\\" \\n\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"say if they can find fuel in the wreck-pack their ship can get out of \\n here.\\\" \\n \\n \\\"Good,\\\" grunted Jandron. \\\"The sooner they can do it, the better it will \\n be for us.\\\" \\n\"\n ],\n [\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \" * * * * * \\n \\n They found Captain Crain awaiting them anxiously. Briefly Kent reported \\n everything. \\n \\n \\\"I'm certain there has been foul play aboard the _Martian Queen_,\\\" he\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \"Queen_. It was a silvery, glistening ship whose stern and lower walls \\n were bulging and strained, but not cracked. Kent told himself that Krell \\n had spoken truth about the exploding rocket-tubes, at least. \\n\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"orders to them, and even as he struck out furiously he comprehended. \\n Jandron and the men of the _Martian Queen_ had somehow captured the \\n _Pallas_ from Crain and had been awaiting their return! \\n\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"They were towed helplessly along the wreck-pack's rim toward the \\n _Martian Queen_. Once inside its airlock, Jandron's men removed the \\n prisoners' space-helmets and then used the duplicate-control inside the\",\n \" * * * * * \\n \\n They climbed back, up to the ship's top, and leapt off it toward a \\n Jupiter freighter lying a little farther inside the pack. As they\",\n \"as they did so. For a few moments the visitors silently surveyed their \\n new surroundings. \\n \\n Their leader was a swarthy individual with sardonic black eyes who, on \\n noticing Crain's captain-insignia, came toward him with outstretched\",\n \"\\\"Did it all work as I told you it would, Jandron?\\\" he asked. \\n \\n \\\"It worked,\\\" Jandron answered impassively. \\\"When they saw fifteen of us \\n coming from the wreck-pack in space-suits, they opened right up to us.\\\"\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"\\\"There's not a single space-helmet on the _Martian Queen_.\\\" \\n \\n \\\"You've searched?\\\" Liggett asked. \\n \\n \\\"Every cubic inch of the ship,\\\" Crain told him. \\\"No, Jandron's men made\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"the stern of a projecting wreck and shot on toward the _Martian Queen_. \\n \\n The airlock's door was open for her, and, when she was inside it, the \\n outer door closed and air hissed into the lock. In a moment she was in\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"Crain told him. \\\"You're living on one of the wrecks?\\\" \\n \\n The other nodded. \\\"Yes, on the _Martian Queen_, a quarter-mile along the\"\n ],\n [\n \"\\\"We'll have her out, never fear,\\\" Crain reassured him. \\\"The main thing \\n is to determine our course toward Krell and Jandron.\\\" \\n \\n Kent thought. \\\"As I see it, Krell can help us immeasurably in our search\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"ought to meet justice.\\\" He hastened up to the pilot-house after Liggett. \\n \\n In a moment came the familiar blast of the rocket-tubes, and the \\n _Pallas_ shot out cleanly from the wreck-pack's edge. A scattered cheer\",\n \"efforts to reach the _Pallas_. Kent and his companions, propelling \\n themselves frenziedly on from another wreck, reached the ship's side at \\n the same time as Jandron's men. The two groups mixed and mingled,\",\n \"\\\"They've back-blasted from being fired too fast,\\\" he said. \\\"Who was \\n controlling the ship when this happened?\\\" \\n \\n \\\"Galling, our second-officer,\\\" answered Krell. \\\"He had found us routed\",\n \"they shut me in my cabin as soon as you left,\\\" she said. \\\"I've heard \\n them talking and arguing excitedly, though. I know that if you do find \\n fuel, they'll try to kill you all and escape from here in your ship.\\\" \\n\",\n \"came from the crew. With gathering speed the ship arrowed out, its \\n rocket-tubes blasting now in steady succession. \\n \\n Kent, with his arm across Marta's shoulders, watched the wreck-pack grow\",\n \"\\\"My name's Krell,\\\" he added, \\\"and I was a tube-man on the ship. I and \\n another of the tube-men, named Jandron, were the highest in rank left, \\n all the officers and other tube-men having been killed, so we took\",\n \"supplies,\\\" Crain answered. \\\"I would prefer, myself, a quicker end.\\\" \\n \\n \\\"So would I,\\\" said Kent. \\\"Well, there's nothing left but to pray for \\n some kind of ship to cross our path in the next day or two.\\\" \\n\",\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \" * * * * * \\n \\n Krell and his followers replaced their helmets and returned into the \\n airlock. Liggett followed them, and, as Kent struggled hastily into a \\n space-suit, he found Captain Crain at his side.\",\n \"ones killed by it were some of the tube-men and three passengers. \\n \\n \\\"Then, while the ship was drifting into the dead-area, Krell told the \\n men that the fewer aboard, the longer they could live on the ship's food\",\n \"Liggett with the cold, suspicious eyes of an animal. \\n \\n \\\"My comrade and fellow-ruler here, Wald Jandron,\\\" said Krell. To Jandron \\n he explained rapidly. \\\"The whole crew of the _Pallas_ is alive, and they\",\n \"\\\"Good! Now, can you get up to the pilot-house? There's no one guarding \\n it or the upper-deck? Hurry up there, then, at once.\\\" \\n \\n Crain and the rest were staring at Kent. \\\"Kent, what are you going to\",\n \"Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \\n Krell. \\\"You said one of your passengers had escaped the explosion?\\\" \\n \\n To Kent's amazement a girl stepped from behind the group of men, a slim\",\n \"sure there were no helmets left here, and without helmets this ship is \\n an inescapable prison.\\\" \\n \\n \\\"Damn it, there must be some way out!\\\" Kent exclaimed. \\\"Why, Jandron and\",\n \"his men must be starting to pump that fuel into the _Pallas_ by now! \\n They'll be sailing off as soon as they do it!\\\" \\n \\n Crain's face was sad. \\\"I'm afraid this is the end, Kent. Without\"\n ],\n [\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"Kent reached the lower-deck just as Krell entered from the airlock, his \\n swarthy face smiling as he removed his helmet. He carried a pointed \\n steel bar. Liggett and the others were donning their suits. \\n\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"they shut me in my cabin as soon as you left,\\\" she said. \\\"I've heard \\n them talking and arguing excitedly, though. I know that if you do find \\n fuel, they'll try to kill you all and escape from here in your ship.\\\" \\n\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"\\\"The best we can do is leave them here,\\\" Kent told him. \\\"Best for them, \\n too, for at Neptune they'd be executed, while they can live indefinitely \\n in the wreck-pack.\\\" \\n\",\n \"a space-ship, and as such can legally try you and sentence you to death \\n here without further formalities.\\\" \\n \\n Krell did not answer, but Kent intervened. \\\"There's hardly time for that\",\n \"for they'll want to come inside.\\\" \\n \\n Two of the men spun the wheels that slid aside the airlock's outer door. \\n In a moment the half-dozen men outside had reached the ship's side, and \\n had pulled themselves down inside the airlock.\",\n \"Liggett with the cold, suspicious eyes of an animal. \\n \\n \\\"My comrade and fellow-ruler here, Wald Jandron,\\\" said Krell. To Jandron \\n he explained rapidly. \\\"The whole crew of the _Pallas_ is alive, and they\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"\\\"Did it all work as I told you it would, Jandron?\\\" he asked. \\n \\n \\\"It worked,\\\" Jandron answered impassively. \\\"When they saw fifteen of us \\n coming from the wreck-pack in space-suits, they opened right up to us.\\\"\",\n \"the dead-area.\\\" \\n \\n Krell's eyes lit up. \\\"That would mean a getaway for all of us! It surely \\n ought to be possible!\\\" \\n \\n \\\"Do you know whether there are any ships in the pack with fuel in their\",\n \"get away with this?\\\" \\n \\n The men paid no attention, and Jandron motioned to the airlock. \\\"Take \\n them over to the _Martian Queen_ too,\\\" he ordered, \\\"and make sure\",\n \"Liggett and the men get back.\\\" \\n \\n * * * * * \\n \\n In a few minutes they were out of the ship, with Krell and Kent and\",\n \"When all were in, the outer door was closed, and air hissed in to fill \\n the lock. The airlock's inner door then slid open and the newcomers \\n stepped into the ship's interior, unscrewing their transparent helmets\",\n \"\\\"Are the others guarding you?\\\" Kent asked quickly. \\n \\n \\\"They're down in the lower deck at the tanks and airlocks. They won't \\n allow me down on that deck. I'm up here in the middle-deck, absolutely \\n alone. \\n\",\n \"\\\"We've enough fuel to take us out of the dead-area and to Neptune \\n without trouble!\\\" Crain declared. \\\"But what about those four of \\n Jandron's men that got away?\\\" \\n\",\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\"\n ],\n [\n \"\\\"Kent, look sharp when you get over on that ship,\\\" Crain told him. \\\"I \\n don't like the look of this Krell, and his story about all the officers \\n being killed in the explosion sounds fishy to me.\\\" \\n\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"Queen_. It was a silvery, glistening ship whose stern and lower walls \\n were bulging and strained, but not cracked. Kent told himself that Krell \\n had spoken truth about the exploding rocket-tubes, at least. \\n\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"to the _Pallas_ with us?\\\" he asked. \\\"I'm sure you'd be more comfortable \\n there.\\\" \\n \\n \\\"She doesn't go,\\\" grunted Jandron. Kent turned in quick wrath toward \\n him, but Krell intervened. \\n\",\n \"Their ship floated at the wreck-pack's edge. Directly to its right \\n floated a sleek, shining Uranus-Jupiter passenger-ship whose bows had \\n been smashed in by a meteor. On their left bobbed an unmarked freighter\",\n \"his men must be starting to pump that fuel into the _Pallas_ by now! \\n They'll be sailing off as soon as they do it!\\\" \\n \\n Crain's face was sad. \\\"I'm afraid this is the end, Kent. Without\",\n \"like to see how your ship's fixed--that is, if it's all right with you, \\n sir,\\\" he added to his superior. \\n \\n Crain nodded. \\\"All right if you don't stay long,\\\" he said. But, to\",\n \"Krell and Liggett were descending into the ship's interior through the \\n great opening smashed in its bows, and Kent followed. \\n \\n They found themselves in the liner's upper navigation-rooms. Officers\",\n \"Crain told him. \\\"You're living on one of the wrecks?\\\" \\n \\n The other nodded. \\\"Yes, on the _Martian Queen_, a quarter-mile along the\",\n \"fascinated interest that even knowledge of their own peril could not \\n kill. They could see swift-lined passenger-ships of the Pluto and \\n Neptune runs shouldering against small space-yachts with the insignia of\",\n \"a space-ship, and as such can legally try you and sentence you to death \\n here without further formalities.\\\" \\n \\n Krell did not answer, but Kent intervened. \\\"There's hardly time for that\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \" * * * * * \\n \\n They climbed back, up to the ship's top, and leapt off it toward a \\n Jupiter freighter lying a little farther inside the pack. As they\",\n \"The radio-operators' vain calls had ceased. The _Pallas_ drifted on into \\n the dreaded area like some dumb ship laden with damned souls. It drifted \\n on, Kent told himself, as many a wrecked and disabled ship had done\",\n \"Kent briefly explained Jandron's treachery toward Krell, and Crain's \\n brows drew ominously together. \\n \\n \\\"So Jandron put you here with us! Krell, I am a commissioned captain of\",\n \"Kent found the slowness with which they floated forward torturing. He \\n glimpsed Crain and Liggett ahead, Marta beside him, Krell floating \\n behind him to the left. They reached the projecting freighters, climbed\"\n ],\n [\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"agreed. \\\"We'll be getting back to the _Martian Queen_ now and give the \\n good news to Jandron and the rest.\\\" \\n \\n \\\"Wouldn't mind if Liggett and I came along, would you?\\\" Kent asked. \\\"I'd\",\n \"They were towed helplessly along the wreck-pack's rim toward the \\n _Martian Queen_. Once inside its airlock, Jandron's men removed the \\n prisoners' space-helmets and then used the duplicate-control inside the\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"\\\"There's not a single space-helmet on the _Martian Queen_.\\\" \\n \\n \\\"You've searched?\\\" Liggett asked. \\n \\n \\\"Every cubic inch of the ship,\\\" Crain told him. \\\"No, Jandron's men made\",\n \" * * * * * \\n \\n They found Captain Crain awaiting them anxiously. Briefly Kent reported \\n everything. \\n \\n \\\"I'm certain there has been foul play aboard the _Martian Queen_,\\\" he\",\n \"\\\"Liggett and I will close the _Pallas'_ exhaust-valves and release new \\n air in it. You take over helmets for the rest of our men in the _Martian \\n Queen_.\\\" \\n \\n * * * * *\",\n \"Crain told him. \\\"You're living on one of the wrecks?\\\" \\n \\n The other nodded. \\\"Yes, on the _Martian Queen_, a quarter-mile along the\",\n \"Queen_. It was a silvery, glistening ship whose stern and lower walls \\n were bulging and strained, but not cracked. Kent told himself that Krell \\n had spoken truth about the exploding rocket-tubes, at least. \\n\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \"get away with this?\\\" \\n \\n The men paid no attention, and Jandron motioned to the airlock. \\\"Take \\n them over to the _Martian Queen_ too,\\\" he ordered, \\\"and make sure\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"\\\"What about Jandron himself?\\\" Kent cried. Liggett pointed to two \\n space-suited bodies twisting together in space, with bars still in their \\n lifeless grasp. \\n \\n Kent saw through their shattered helmets the stiffened faces of Jandron\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"between Krell and Liggett. What was this girl doing amid the men of the \\n _Martian Queen_? What had her eyes tried to tell him? \\n \\n Liggett nudged his side in the dim corridor, and Kent, looking down, saw\"\n ],\n [\n \"abandoned hastily in those suits, only to be swept with it into the \\n dead-area, to die in their suits. \\n \\n By the end of that ship-day, the _Pallas_, having floated almost\",\n \"ones killed by it were some of the tube-men and three passengers. \\n \\n \\\"Then, while the ship was drifting into the dead-area, Krell told the \\n men that the fewer aboard, the longer they could live on the ship's food\",\n \"\\\"If Galling was at the controls in the pilot-house, how did the \\n explosion kill him?\\\" asked Liggett skeptically. Krell turned quickly. \\n \\n \\\"The shock threw him against the pilot-house wall and fractured his\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"rocket-ships went forth,\\\" Crain reminded him. \\\"Not only meteor-wrecked \\n ships, but ships whose mechanisms went wrong--or that ran out of fuel \\n like ours--or that were captured and sacked, and then set adrift by\",\n \"wreck-pack was tremendous, measuring at least fifty miles across. \\n \\n Its huge mass was a heterogeneous heap, composed mostly of countless \\n cigar-like space-ships in all stages of wreckage. Some appeared smashed\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\",\n \"glassite helmets, meant instant death. But Krell seemed quite intent on \\n the search for fuel. \\n \\n The big Jupiter freighter seemed intact from above, but, when they \\n penetrated into it, they found its whole under-side blown away,\",\n \"\\\"Lord, who'd have thought there were so many wrecks here!\\\" Kent \\n marvelled. \\\"There must be thousands of them!\\\" \\n \\n \\\"They've been collecting here ever since the first interplanetary\",\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"the pulls of the sun and the outer planets exactly balance each other. \\n Because of that, anything in the dead-area, will stay in there until \\n time ends, unless it has power of its own. Many wrecked space-ships have\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \"charge and have been keeping order.\\\" \\n \\n \\\"What about your passengers?\\\" Liggett asked. \\n \\n \\\"All killed but one,\\\" Krell answered. \\\"When the tubes let go they \\n smashed up the whole lower two decks.\\\" \\n\",\n \"\\\"The best we can do is leave them here,\\\" Kent told him. \\\"Best for them, \\n too, for at Neptune they'd be executed, while they can live indefinitely \\n in the wreck-pack.\\\" \\n\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"exploded. Eighteen of us escaped the explosion, the ship's walls still \\n being tight; and we drifted into the pack here, and have been living \\n here ever since.\\\" \\n\",\n \"They went on, working deeper into the wreck-pack. Kent almost forgot the \\n paramount importance of their search in the fascination of it. They \\n explored almost every known type of ship--freighters, liners,\",\n \"\\\"What about Jandron himself?\\\" Kent cried. Liggett pointed to two \\n space-suited bodies twisting together in space, with bars still in their \\n lifeless grasp. \\n \\n Kent saw through their shattered helmets the stiffened faces of Jandron\",\n \"\\\"Welcome to our city!\\\" their leader exclaimed as he shook Crain's hand. \\n \\\"We saw your ship drift in, but hardly expected to find anyone living in \\n it.\\\" \\n \\n \\\"I'll confess that we're surprised ourselves to find any life here,\\\"\"\n ],\n [\n \"Crain nodded thoughtfully. \\\"I think you're right. Then you and Liggett \\n and Krell can head our search-party to-morrow.\\\" \\n \\n Crain established watches on a new schedule, and Kent and Liggett and\",\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\",\n \"They went on, working deeper into the wreck-pack. Kent almost forgot the \\n paramount importance of their search in the fascination of it. They \\n explored almost every known type of ship--freighters, liners,\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"as they did so. For a few moments the visitors silently surveyed their \\n new surroundings. \\n \\n Their leader was a swarthy individual with sardonic black eyes who, on \\n noticing Crain's captain-insignia, came toward him with outstretched\",\n \"\\\"No, they're living men!\\\" Liggett cried. \\\"They're coming straight toward \\n us--come down and see!\\\" \\n \\n * * * * * \\n\",\n \"there was no sign as yet of the girl. \\n \\n Kent felt his heart beating rapidly. Crain and Liggett pressed beside \\n him, the men around them; Krell's face was a mask as he too gazed. Kent\",\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"rolling up the tube-line that led from the _Pallas_ as they did so. \\n Jandron's party! \\n \\n * * * * * \\n \\n Jandron and his men had seen them and were suddenly making greater\",\n \"\\\"We'll have her out, never fear,\\\" Crain reassured him. \\\"The main thing \\n is to determine our course toward Krell and Jandron.\\\" \\n \\n Kent thought. \\\"As I see it, Krell can help us immeasurably in our search\",\n \"back out, taking a different section of the pack as we do.\\\" \\n \\n Kent nodded. \\\"It may change our luck,\\\" he said. \\n \\n It did; for when they had gone not more than a half-mile back, they\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"There was silence again, and Kent and the men grouped round him were \\n tense. All were envisioning the same thing--the air rushing out of the \\n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten\",\n \"\\\"I'm all right. It was just that I had to go over those guards that were \\n all frozen.... Terrible!\\\" \\n \\n \\\"Get these helmets on!\\\" Crain was crying. \\\"There's a dozen of them, and\",\n \"started back toward the _Pallas_ with the helmets of Kent and his \\n companions. \\n \\n Kent and the others soon found Crain and his half-dozen men who rapidly\",\n \"toward his superior. \\n \\n \\\"There's a very real chance of your becoming lost in this huge \\n wreck-pack, Kent,\\\" Crain told him: \\\"so be very careful to keep your \\n bearings at all times. I know I can depend on you.\\\" \\n\",\n \"transferred to this ship. I am going to permit him to explore the \\n wreck-pack with a party in space suits, and I am asking for volunteers \\n for this service.\\\" \\n \\n The entire crew stepped quickly forward. Crain smiled. \\\"Twelve of you\",\n \"against a ship's side to send them floating over the wrecks. They came \\n to the wreck-pack's edge at a little distance from the _Pallas_, and \\n hastened toward it. \\n\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\",\n \"Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \\n Krell. \\\"You said one of your passengers had escaped the explosion?\\\" \\n \\n To Kent's amazement a girl stepped from behind the group of men, a slim\"\n ],\n [\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"Kent saw Liggett flush angrily, but he ignored Jandron and spoke to \\n Krell. \\\"You said one of your passengers had escaped the explosion?\\\" \\n \\n To Kent's amazement a girl stepped from behind the group of men, a slim\",\n \"Crain nodded thoughtfully. \\\"I think you're right. Then you and Liggett \\n and Krell can head our search-party to-morrow.\\\" \\n \\n Crain established watches on a new schedule, and Kent and Liggett and\",\n \"was rapidly becoming convinced that some mischance had overtaken the \\n girl when an exclamation came from Liggett. He pointed excitedly. \\n \\n * * * * * \\n\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"There was silence again, and Kent and the men grouped round him were \\n tense. All were envisioning the same thing--the air rushing out of the \\n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten\",\n \"there was no sign as yet of the girl. \\n \\n Kent felt his heart beating rapidly. Crain and Liggett pressed beside \\n him, the men around them; Krell's face was a mask as he too gazed. Kent\",\n \"ones killed by it were some of the tube-men and three passengers. \\n \\n \\\"Then, while the ship was drifting into the dead-area, Krell told the \\n men that the fewer aboard, the longer they could live on the ship's food\",\n \"and he turned to find it was Liggett. \\n \\n \\\"They're beaten!\\\" Liggett's voice came to him! \\\"They're all killed but \\n those four!\\\" \\n\",\n \"abandoned hastily in those suits, only to be swept with it into the \\n dead-area, to die in their suits. \\n \\n By the end of that ship-day, the _Pallas_, having floated almost\",\n \"rolling up the tube-line that led from the _Pallas_ as they did so. \\n Jandron's party! \\n \\n * * * * * \\n \\n Jandron and his men had seen them and were suddenly making greater\",\n \"started back toward the _Pallas_ with the helmets of Kent and his \\n companions. \\n \\n Kent and the others soon found Crain and his half-dozen men who rapidly\",\n \"\\\"Jandron and ten of the others have gone to that wreck in which you \\n found the fuel,\\\" she added swiftly. \\\"They unreeled a tube-line behind \\n them as they went, and I can hear them pumping in the fuel now.\\\" \\n\",\n \"back out, taking a different section of the pack as we do.\\\" \\n \\n Kent nodded. \\\"It may change our luck,\\\" he said. \\n \\n It did; for when they had gone not more than a half-mile back, they\",\n \"Liggett and the men get back.\\\" \\n \\n * * * * * \\n \\n In a few minutes they were out of the ship, with Krell and Kent and\",\n \"exploded. Eighteen of us escaped the explosion, the ship's walls still \\n being tight; and we drifted into the pack here, and have been living \\n here ever since.\\\" \\n\",\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\",\n \"The radio-operators' vain calls had ceased. The _Pallas_ drifted on into \\n the dreaded area like some dumb ship laden with damned souls. It drifted \\n on, Kent told himself, as many a wrecked and disabled ship had done\",\n \"screwed tight, stepped into the airlock with the rest. The airlock's \\n inner door closed, the outer one opened, and as the air puffed out into \\n space, Kent and Krell and Liggett leapt out into the void, the others \\n following.\",\n \"in the wreck-pack for the _Pallas_. And now we'd best get back.\\\" \\n \\n As they returned up the dim corridor Kent managed to walk beside Marta \\n Mallen, and, without being seen, he contrived to detach his\"\n ],\n [\n \"the dozen men chosen for the exploring party of the next day ate a \\n scanty meal and turned in for some sleep. \\n \\n * * * * * \\n \\n When Kent woke and glimpsed the massed wrecks through the window he was\",\n \"They found their quest there useless, for the tanks had been strained by \\n the meteor's shock, and were empty. Kent felt Liggett grasp his hand and \\n heard him speak, the sound-vibrations coming through their contacting \\n suits. \\n\",\n \"They reached the after-deck whose stair's head gave a view of the \\n wrecked tube-rooms beneath. The lower decks had been smashed by terrific \\n forces. Kent's practiced eyes ran rapidly over the shattered \\n rocket-tubes. \\n\",\n \"Crain nodded thoughtfully. \\\"I think you're right. Then you and Liggett \\n and Krell can head our search-party to-morrow.\\\" \\n \\n Crain established watches on a new schedule, and Kent and Liggett and\",\n \"There was silence again, and Kent and the men grouped round him were \\n tense. All were envisioning the same thing--the air rushing out of the \\n _Pallas'_ valves, and the unsuspecting guards in its lower deck smitten\",\n \"in the wreck-pack for the _Pallas_. And now we'd best get back.\\\" \\n \\n As they returned up the dim corridor Kent managed to walk beside Marta \\n Mallen, and, without being seen, he contrived to detach his\",\n \"\\\"Let's get back and let them know about it,\\\" Liggett urged, and they \\n climbed back out of the liner. \\n \\n They worked their way out of the wreck-pack with much greater speed than \\n that with which they had entered, needing only an occasional brace\",\n \"Six of Jandron's party had been slain, and three of Kent's companions. \\n Jandron's four other followers were giving up the combat, floating off \\n into the wreck-pack in clumsy, hasty flight. Someone grasped Kent's arm,\",\n \"and he turned to find it was Liggett. \\n \\n \\\"They're beaten!\\\" Liggett's voice came to him! \\\"They're all killed but \\n those four!\\\" \\n\",\n \"his men must be starting to pump that fuel into the _Pallas_ by now! \\n They'll be sailing off as soon as they do it!\\\" \\n \\n Crain's face was sad. \\\"I'm afraid this is the end, Kent. Without\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"started back toward the _Pallas_ with the helmets of Kent and his \\n companions. \\n \\n Kent and the others soon found Crain and his half-dozen men who rapidly\",\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\",\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\",\n \"\\\"Jandron and ten of the others have gone to that wreck in which you \\n found the fuel,\\\" she added swiftly. \\\"They unreeled a tube-line behind \\n them as they went, and I can hear them pumping in the fuel now.\\\" \\n\",\n \"Kent's muscles ached from the arduous work of climbing over and \\n exploring the wrecks. He and Liggett had become accustomed to the sight \\n of frozen, motionless bodies. \\n\",\n \"back out, taking a different section of the pack as we do.\\\" \\n \\n Kent nodded. \\\"It may change our luck,\\\" he said. \\n \\n It did; for when they had gone not more than a half-mile back, they\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"rolling up the tube-line that led from the _Pallas_ as they did so. \\n Jandron's party! \\n \\n * * * * * \\n \\n Jandron and his men had seen them and were suddenly making greater\"\n ],\n [\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"back out, taking a different section of the pack as we do.\\\" \\n \\n Kent nodded. \\\"It may change our luck,\\\" he said. \\n \\n It did; for when they had gone not more than a half-mile back, they\",\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \"over and around them, braced against them and shot on. They sighted the \\n _Pallas_ ahead now. Suddenly they discerned another group of eleven \\n figures in space-suits approaching it from the wreck-pack's interior,\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"around it, and, with feet braced against its side, propelled themselves \\n on through space along the border of the wreck-pack. \\n \\n They passed a half-dozen wrecks thus, before coming to the _Martian\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"agreed. \\\"We'll be getting back to the _Martian Queen_ now and give the \\n good news to Jandron and the rest.\\\" \\n \\n \\\"Wouldn't mind if Liggett and I came along, would you?\\\" Kent asked. \\\"I'd\",\n \"in the wreck-pack for the _Pallas_. And now we'd best get back.\\\" \\n \\n As they returned up the dim corridor Kent managed to walk beside Marta \\n Mallen, and, without being seen, he contrived to detach his\",\n \"\\\"Let's get back and let them know about it,\\\" Liggett urged, and they \\n climbed back out of the liner. \\n \\n They worked their way out of the wreck-pack with much greater speed than \\n that with which they had entered, needing only an occasional brace\",\n \"stopped! They must have pumped all the fuel into the _Pallas_!\\\" \\n \\n \\\"Then Jandron and the rest will be coming back to the _Pallas_ at once!\\\" \\n Kent cried. \\\"Hurry, Marta!\\\" \\n\",\n \"rolling up the tube-line that led from the _Pallas_ as they did so. \\n Jandron's party! \\n \\n * * * * * \\n \\n Jandron and his men had seen them and were suddenly making greater\",\n \"of wreckage, meteors, small and large, and space-debris of every sort. \\n \\n The _Pallas_ was drifting, not straight toward the wreck-pack, but in a \\n course that promised to take the ship past it. \\n\",\n \"\\\"They've back-blasted from being fired too fast,\\\" he said. \\\"Who was \\n controlling the ship when this happened?\\\" \\n \\n \\\"Galling, our second-officer,\\\" answered Krell. \\\"He had found us routed\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"and men lay about, frozen to death at the instant the meteor-struck \\n vessel's air had rushed out, and the cold of space had entered. Krell \\n led the way on, down into the ship's lower decks, where they found the\",\n \" * * * * * \\n \\n They climbed back, up to the ship's top, and leapt off it toward a \\n Jupiter freighter lying a little farther inside the pack. As they\",\n \"\\\"Of course; you can see from the head of the stair back in the \\n after-deck.\\\" \\n \\n He led the way along a corridor, Jandron and the girl and two of the \\n men coming with them. Kent's thoughts were still chaotic as he walked\"\n ],\n [\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \" * * * * * \\n \\n They found Captain Crain awaiting them anxiously. Briefly Kent reported \\n everything. \\n \\n \\\"I'm certain there has been foul play aboard the _Martian Queen_,\\\" he\",\n \"orders to them, and even as he struck out furiously he comprehended. \\n Jandron and the men of the _Martian Queen_ had somehow captured the \\n _Pallas_ from Crain and had been awaiting their return! \\n\",\n \"In several minutes Kent was back with the men from the _Martian Queen_. \\n The _Pallas_ was ready, with Liggett in its pilot-house, the men taking \\n their stations, and Crain and Marta awaiting Kent. \\n\",\n \"agreed. \\\"We'll be getting back to the _Martian Queen_ now and give the \\n good news to Jandron and the rest.\\\" \\n \\n \\\"Wouldn't mind if Liggett and I came along, would you?\\\" Kent asked. \\\"I'd\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"They were towed helplessly along the wreck-pack's rim toward the \\n _Martian Queen_. Once inside its airlock, Jandron's men removed the \\n prisoners' space-helmets and then used the duplicate-control inside the\",\n \"and air. Krell and Jandron led the men in a surprise attack and killed \\n all the officers and passengers, and threw their bodies out into space. \\n I was the only passenger they spared, because both Krell and \\n Jandron--want me!\\\" \\n\",\n \"over and around them, braced against them and shot on. They sighted the \\n _Pallas_ ahead now. Suddenly they discerned another group of eleven \\n figures in space-suits approaching it from the wreck-pack's interior,\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"as they did so. For a few moments the visitors silently surveyed their \\n new surroundings. \\n \\n Their leader was a swarthy individual with sardonic black eyes who, on \\n noticing Crain's captain-insignia, came toward him with outstretched\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \"space-pirates.\\\" \\n \\n The _Pallas_ by then was drifting along the wreck-pack's rim at a \\n half-mile distance, and Kent's eyes were running over the mass. \\n\",\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"get away with this?\\\" \\n \\n The men paid no attention, and Jandron motioned to the airlock. \\\"Take \\n them over to the _Martian Queen_ too,\\\" he ordered, \\\"and make sure\",\n \"The score of members of the crew, bronzed space-sailors out of every \\n port in the solar system, had listened mutely. Now, one of them, a tall \\n tube-man, stepped forward a little. \\n\",\n \" * * * * * \\n \\n They climbed back, up to the ship's top, and leapt off it toward a \\n Jupiter freighter lying a little farther inside the pack. As they\",\n \"Liggett with the cold, suspicious eyes of an animal. \\n \\n \\\"My comrade and fellow-ruler here, Wald Jandron,\\\" said Krell. To Jandron \\n he explained rapidly. \\\"The whole crew of the _Pallas_ is alive, and they\",\n \"to the _Pallas_ with us?\\\" he asked. \\\"I'm sure you'd be more comfortable \\n there.\\\" \\n \\n \\\"She doesn't go,\\\" grunted Jandron. Kent turned in quick wrath toward \\n him, but Krell intervened. \\n\"\n ],\n [\n \"\\\"Marta, you're in the pilot-house? Do you see the heavy little steel \\n door in the wall beside the instrument-panel?\\\" \\n \\n \\\"I'm at it, but it's locked with a combination-lock,\\\" she said. \\n\",\n \"as they did so. For a few moments the visitors silently surveyed their \\n new surroundings. \\n \\n Their leader was a swarthy individual with sardonic black eyes who, on \\n noticing Crain's captain-insignia, came toward him with outstretched\",\n \"space-pirates.\\\" \\n \\n The _Pallas_ by then was drifting along the wreck-pack's rim at a \\n half-mile distance, and Kent's eyes were running over the mass. \\n\",\n \"On the third ship-day Kent and Captain Crain stood in the pilot-house \\n behind Liggett, who sat at the now useless rocket-tube controls. Their \\n eyes were on the big glass screen of the gravograph. The black dot on it\",\n \"skull--he died in an hour,\\\" he said. Liggett was silent. \\n \\n \\\"Well, this ship will never move again,\\\" Kent said. \\\"It's too bad that \\n the explosion blew out your tanks, but we ought to find fuel somewhere\",\n \"Captain Crain summoned the crew together again on the middle-deck. \\n \\n \\\"Men, we've reached the wreck-pack at the dead-area's center, and here \\n we'll stay until the end of time unless we get out under our own power.\",\n \"Kent reached the lower-deck just as Krell entered from the airlock, his \\n swarthy face smiling as he removed his helmet. He carried a pointed \\n steel bar. Liggett and the others were donning their suits. \\n\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"They went on, working deeper into the wreck-pack. Kent almost forgot the \\n paramount importance of their search in the fascination of it. They \\n explored almost every known type of ship--freighters, liners,\",\n \"they shut me in my cabin as soon as you left,\\\" she said. \\\"I've heard \\n them talking and arguing excitedly, though. I know that if you do find \\n fuel, they'll try to kill you all and escape from here in your ship.\\\" \\n\",\n \"As they worked deeper into the pack, they noticed that the ships were of \\n increasingly older types, and at last Krell signalled a halt. \\\"We're \\n almost a mile in,\\\" he told them, gripping their hands. \\\"We'd better work\",\n \"Krell and Liggett were descending into the ship's interior through the \\n great opening smashed in its bows, and Kent followed. \\n \\n They found themselves in the liner's upper navigation-rooms. Officers\",\n \"\\\"Good! Now, can you get up to the pilot-house? There's no one guarding \\n it or the upper-deck? Hurry up there, then, at once.\\\" \\n \\n Crain and the rest were staring at Kent. \\\"Kent, what are you going to\",\n \"They were towed helplessly along the wreck-pack's rim toward the \\n _Martian Queen_. Once inside its airlock, Jandron's men removed the \\n prisoners' space-helmets and then used the duplicate-control inside the\",\n \"\\\"Did it all work as I told you it would, Jandron?\\\" he asked. \\n \\n \\\"It worked,\\\" Jandron answered impassively. \\\"When they saw fifteen of us \\n coming from the wreck-pack in space-suits, they opened right up to us.\\\"\",\n \"\\\"Jandron and ten of the others have gone to that wreck in which you \\n found the fuel,\\\" she added swiftly. \\\"They unreeled a tube-line behind \\n them as they went, and I can hear them pumping in the fuel now.\\\" \\n\",\n \"least: there's enough wrecks in this cursed place to make it possible \\n to find almost anything. \\n \\n \\\"You'd better not start exploring, though,\\\" he added, \\\"without some of\",\n \"\\\"There's not a single space-helmet on the _Martian Queen_.\\\" \\n \\n \\\"You've searched?\\\" Liggett asked. \\n \\n \\\"Every cubic inch of the ship,\\\" Crain told him. \\\"No, Jandron's men made\",\n \"\\\"If Galling was at the controls in the pilot-house, how did the \\n explosion kill him?\\\" asked Liggett skeptically. Krell turned quickly. \\n \\n \\\"The shock threw him against the pilot-house wall and fractured his\",\n \"\\\"How will you get it over to your ship?\\\" Krell asked. Kent pointed to \\n great reels of flexible metal tubing hanging near the tanks. \\n \\n \\\"We'll pump it over. The _Pallas_ has tubing like this ship's, for\"\n ],\n [\n \"\\\"I've seen so many men killed on the _Martian Queen_ and here,\\\" pleaded \\n Marta. \\\"Please don't take them to Neptune.\\\" \\n \\n \\\"All right, we'll leave them,\\\" Crain agreed, \\\"though the scoundrels\",\n \"\\\"We put Crain and his men over in the _Martian Queen_,\\\" Jandron \\n continued, \\\"and took all their helmets so they can't escape. The girl we \\n brought over here. Did you find a wreck with fuel?\\\" \\n\",\n \"before it, with the ordinary activities and life of the solar system \\n forever behind it, and mystery and death ahead. \\n \\n It was toward the end of the second of those two ship-days that \\n Liggett's voice came down from the pilot-house: \\n\",\n \"\\\"There's not a single space-helmet on the _Martian Queen_.\\\" \\n \\n \\\"You've searched?\\\" Liggett asked. \\n \\n \\\"Every cubic inch of the ship,\\\" Crain told him. \\\"No, Jandron's men made\",\n \"They struck the _Martian Queen's_ side and entered the upper-airlock \\n open for them. Once through the airlock they found themselves on the \\n ship's upper-deck. And when Kent and Liggett removed their helmets with\",\n \"agreed. \\\"We'll be getting back to the _Martian Queen_ now and give the \\n good news to Jandron and the rest.\\\" \\n \\n \\\"Wouldn't mind if Liggett and I came along, would you?\\\" Kent asked. \\\"I'd\",\n \"officers and passengers of the _Martian Queen_! What they told you about \\n the explosion was true enough, for the explosion did happen that way, \\n and because of it, the ship drifted into the dead-area. But the only\",\n \"Liggett leading, and the twelve members of the _Pallas'_ crew following \\n closely. \\n \\n The three leaders climbed up on the Uranus-Jupiter passenger-ship that \\n lay beside the _Pallas_, the others moving on and exploring the\",\n \"freighter _Pallas_ made no answer, and Crain continued: \\n \\n \\\"We left Jupiter with full tanks, more than enough fuel to take us to \\n Neptune. But the leaks in the starboard tanks lost us half our supply,\",\n \"instruments under Captain Crain's orders, the weak calls of the \\n auxiliary set raised no response. \\n \\n Had they been on the Venus or Mars run, Kent told himself, there would \\n be some chance, but out here in the vast spaces, between the outer\",\n \"Crain told him. \\\"You're living on one of the wrecks?\\\" \\n \\n The other nodded. \\\"Yes, on the _Martian Queen_, a quarter-mile along the\",\n \"\\\"Liggett and I will close the _Pallas'_ exhaust-valves and release new \\n air in it. You take over helmets for the rest of our men in the _Martian \\n Queen_.\\\" \\n \\n * * * * *\",\n \"apparently by an explosion of its tanks. They moved on to the next ship, \\n a private space-yacht, small in size, but luxurious in fittings. It had \\n been abandoned in space, its rocket-tubes burst and tanks strained. \\n\",\n \"the stern of a projecting wreck and shot on toward the _Martian Queen_. \\n \\n The airlock's door was open for her, and, when she was inside it, the \\n outer door closed and air hissed into the lock. In a moment she was in\",\n \"Kent's nod to Jandron went unanswered, and he and Liggett adjusted their \\n helmets and entered the airlock. \\n \\n Once out of it, they kicked rapidly away from the _Martian Queen_,\",\n \"get away with this?\\\" \\n \\n The men paid no attention, and Jandron motioned to the airlock. \\\"Take \\n them over to the _Martian Queen_ too,\\\" he ordered, \\\"and make sure\",\n \"almost out of all recognizable shape, while others were, to all \\n appearances unharmed. They floated together in this dense mass in space, \\n crowded against one another by their mutual attraction. \\n \\n There seemed to be among them every type of ship known in the solar\",\n \"Mars or Venus on their bows. Wrecked freighters from Saturn or Earth \\n floated beside rotund grain-boats from Jupiter. \\n \\n The debris among the pack's wrecks was just as varied, holding fragments\",\n \"Queen_. It was a silvery, glistening ship whose stern and lower walls \\n were bulging and strained, but not cracked. Kent told himself that Krell \\n had spoken truth about the exploding rocket-tubes, at least. \\n\",\n \"They were towed helplessly along the wreck-pack's rim toward the \\n _Martian Queen_. Once inside its airlock, Jandron's men removed the \\n prisoners' space-helmets and then used the duplicate-control inside the\"\n ]\n]"},"questions":{"kind":"list like","value":["What planet does Dane and the crew bid on trading rights for after his first misson?","Where do the archaeologists set up camp on Limbo?","What happens to Ali Kamil?","What does Dane find when he goes back to the ruins?","What does the crew find on their way back to the Solar Queen?","What does the crew find when they reach their landing site?","What do Dane and his companions find when they invade the pirates base?","What is pursuing one of the pirates own ships?","What planet does the Solar Queen trade the contract for Limbo for?","What is the Training Pool?","What is the Solar Queen?","What planet are Dane and his crew going to?","Why did Dane and the others go exploring?","Who do the crew think took Ali Kamil?","What did Dane and the others find on the way back to the Solar Queen?","Who attacked the Solar Queen?","Who ends up rescuing the crew?","What do the crew get in exchange for the contract on planet Limbo?","What is the ship Dane is first assigned to?","Who hires Solar Queen to take them to Limbo?","How did the Forerunners get wiped out?","What did Dane and his group go looking for?","Who in Dane's group disappeared?","What does Dane find missing when his group returns to the ruins?","What does the group find when they take a different route back to the Solar Queen?","When Dane's group reaches the Solar Queen who do they find with the pirates?","What does the machine do that Dane finds in the pirates base?","What planet does the Solar Queen get a contract with after losing Limbo?"],"string":"[\n \"What planet does Dane and the crew bid on trading rights for after his first misson?\",\n \"Where do the archaeologists set up camp on Limbo?\",\n \"What happens to Ali Kamil?\",\n \"What does Dane find when he goes back to the ruins?\",\n \"What does the crew find on their way back to the Solar Queen?\",\n \"What does the crew find when they reach their landing site?\",\n \"What do Dane and his companions find when they invade the pirates base?\",\n \"What is pursuing one of the pirates own ships?\",\n \"What planet does the Solar Queen trade the contract for Limbo for?\",\n \"What is the Training Pool?\",\n \"What is the Solar Queen?\",\n \"What planet are Dane and his crew going to?\",\n \"Why did Dane and the others go exploring?\",\n \"Who do the crew think took Ali Kamil?\",\n \"What did Dane and the others find on the way back to the Solar Queen?\",\n \"Who attacked the Solar Queen?\",\n \"Who ends up rescuing the crew?\",\n \"What do the crew get in exchange for the contract on planet Limbo?\",\n \"What is the ship Dane is first assigned to?\",\n \"Who hires Solar Queen to take them to Limbo?\",\n \"How did the Forerunners get wiped out?\",\n \"What did Dane and his group go looking for?\",\n \"Who in Dane's group disappeared?\",\n \"What does Dane find missing when his group returns to the ruins?\",\n \"What does the group find when they take a different route back to the Solar Queen?\",\n \"When Dane's group reaches the Solar Queen who do they find with the pirates?\",\n \"What does the machine do that Dane finds in the pirates base?\",\n \"What planet does the Solar Queen get a contract with after losing Limbo?\"\n]"},"answers":{"kind":"list like","value":[["Limbo","Limbo"],["In the ruins of a Forerunner town","ruins of a Forerunner town"],["He is kidnapped","Ali Kamil is kidnapped"],["That the archaeologists have disappeared","that Solar Queen is being attacked."],["Wrecked spaceships that have been looted","Forerunner technology being used."],["The Solar Queen under siege by pirates","trace of people who lived there before"],["Forerunner techology still operating","forerunner trchnology"],["A Stellar Patrol cruiser","A Stellar Patrol Cruiser."],["Sargol","Sargol"],["A spaceship trade school.","A trade school for for spaceship crews."],["An interstellar tramp freighter.","The Solar Queen is a cargo space ship "],["Limbo","Limbo"],["To find intelligent life and trade goods.","to find existance of people and other ships"],["Aliens ","people using Forerunner technology"],["Shipwrecks","wrecked spaceships"],["Space Pirates","Pirates."],["The Space Patrol","Patrol"],["A contract for planet Sargol.","A contract for trade with the planet Sargol"],["Solar Queen","The Solar Queen"],["A team of archaeologists ","Archeologists "],["Interstellar war","In a blaster battle."],["Intelligent life and trade goods","The ruins of a Forerunner town"],["Ali Kamil","Ali Kamil"],["The archaeologists ","archaelogists"],["Wrecked spaceships","the enemy."],["The archaeologists","the archeologists"],["Draws ships in and crashes them.","changes lead into gold"],["Sargol","Sargol"]],"string":"[\n [\n \"Limbo\",\n \"Limbo\"\n ],\n [\n \"In the ruins of a Forerunner town\",\n \"ruins of a Forerunner town\"\n ],\n [\n \"He is kidnapped\",\n \"Ali Kamil is kidnapped\"\n ],\n [\n \"That the archaeologists have disappeared\",\n \"that Solar Queen is being attacked.\"\n ],\n [\n \"Wrecked spaceships that have been looted\",\n \"Forerunner technology being used.\"\n ],\n [\n \"The Solar Queen under siege by pirates\",\n \"trace of people who lived there before\"\n ],\n [\n \"Forerunner techology still operating\",\n \"forerunner trchnology\"\n ],\n [\n \"A Stellar Patrol cruiser\",\n \"A Stellar Patrol Cruiser.\"\n ],\n [\n \"Sargol\",\n \"Sargol\"\n ],\n [\n \"A spaceship trade school.\",\n \"A trade school for for spaceship crews.\"\n ],\n [\n \"An interstellar tramp freighter.\",\n \"The Solar Queen is a cargo space ship \"\n ],\n [\n \"Limbo\",\n \"Limbo\"\n ],\n [\n \"To find intelligent life and trade goods.\",\n \"to find existance of people and other ships\"\n ],\n [\n \"Aliens \",\n \"people using Forerunner technology\"\n ],\n [\n \"Shipwrecks\",\n \"wrecked spaceships\"\n ],\n [\n \"Space Pirates\",\n \"Pirates.\"\n ],\n [\n \"The Space Patrol\",\n \"Patrol\"\n ],\n [\n \"A contract for planet Sargol.\",\n \"A contract for trade with the planet Sargol\"\n ],\n [\n \"Solar Queen\",\n \"The Solar Queen\"\n ],\n [\n \"A team of archaeologists \",\n \"Archeologists \"\n ],\n [\n \"Interstellar war\",\n \"In a blaster battle.\"\n ],\n [\n \"Intelligent life and trade goods\",\n \"The ruins of a Forerunner town\"\n ],\n [\n \"Ali Kamil\",\n \"Ali Kamil\"\n ],\n [\n \"The archaeologists \",\n \"archaelogists\"\n ],\n [\n \"Wrecked spaceships\",\n \"the enemy.\"\n ],\n [\n \"The archaeologists\",\n \"the archeologists\"\n ],\n [\n \"Draws ships in and crashes them.\",\n \"changes lead into gold\"\n ],\n [\n \"Sargol\",\n \"Sargol\"\n ]\n]"},"document_id":{"kind":"string","value":"e0b99eb5a288970d3e82846af97e56cf4248cd85"},"split":{"kind":"string","value":"train"}}},{"rowIdx":61,"cells":{"text":{"kind":"list like","value":[["\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've ","\tad. Then he notices one of the bodega owners staring at him. \n \n \tEXT. MAX'S APARTMENT - DAY \n \n \tMax scouts his front door. The coast is clear. ","\tMax wipes his nose and looks around nervously. \n \n \tHe sees the rides of Coney Island in the distance. \n \n \tEXT. CONEY ISLAND BEACH - DAY \n","\t\tMr. Cohen, give \n \t\tme a moment... \n \n \tBut before Marcy finishes, Max hangs up. He rips off the \n \tprintout and heads to the front door. \n","\tINT. MAX'S APARTMENT -CHINATOWN FLAT NEW YORK CITY - NIGHT \n \n \tMax jolts his head from his desk and tries to orient him-self ","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\tSoon, Max gets up and kicks the trashcan. He heads home. \n \n \tIN FRONT OF MAX'S APARTMENT BUILDING \n \n \tMax watches Marcy get out of the limo and call to Mrs. Ovadia.","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\t\t\t\tLENNY MEYER \n \t\tHello, this is Lenny? \n \t \n \t\t\t\tMAX \n \t\tLenny, it's Max Cohen. \n \t","\trevealing that Max's apartment looks more like the inside of a \n \tcomputer than a human's home. \n \n \tThe room is knee-high in computer parts of all shapes and ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\tThen, Max has a premonition. He turns and spots the \n \tPhotographer in front of a porn shop on Eighth and 42nd. \n \n \tEXT. PORN SHOP - 42ND STREET - NIGHT","\t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? Mr. \n \t\tCohen? Please stop for a \n \t\tsecond Mr. Cohen? \n \t \n \tMax stops and faces Marcy. \n","\tit up and looks at it. \n \n \tHe looks around wondering what's going on. Then Jenna leans \n \tout over a railing and starts laughing at Max. \n \n \tINT. COFFEE SHOP-DAY \n","\tgives Max a small slap on the butt. \n \n \tINSIDE HIS APARTMENT Max bolts the front door. \n \n \tAt his desk he rips open the envelope Lenny Meyer gave him. He ","\tMax gets to his feet and runs behind Farrouhk. \n \tJust then a station wagon screeches up to the curb. Lenny \n \tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \n","\tMax wanders over to the place where the old man exam \n \n \tINT. MAX'S APARTMENT - NIGHT \n \tMAX'S POV through the microscope. Max sees the brain \n \tstructures. \n","\t\t\t\tMAX \n \t\tMax Cohen. \n \t \n \t\t\t\tMAN'S VOICE (O.S.) \n \t\tHold on. \n \t","\t\t\t\tWOMAN'S VOICE \n \t\tMr. Cohen? \n \t \n \t\t\t\tMAX \n \t\tWho's this? \n \t"],["\tunbolts the five lock and slides into the hall. \n \n \tINT. APARTMENJ HALLWAY - DAY \n \n \tAs he secures his apartment, a Young girl named JENNA runs up ","\tJenna types m the number. \n \n \tMax is about to say \"no\" to Jenna, but then be decides to give \n \tit a shot. \n \n \tMax thinks, he really thinks. \n","\tit up and looks at it. \n \n \tHe looks around wondering what's going on. Then Jenna leans \n \tout over a railing and starts laughing at Max. \n \n \tINT. COFFEE SHOP-DAY \n","\t\t\t(Smiling and then laughing) \n \t\tI don't know. I really don't \n \t\tknow. What is it, Jenna? \n \n \t\t\t\tJENNA ","\tJust then, Jenna surprises him with her Fisher Price \n \tcalculator on hand. \n \n \t\t\t\tJEHNA \n \t\tMax, Max! \n \t","\tMax smiles at Jenna. He's glad to see her. \n \n \t\t\t\tJENNA \n \t\tCan we do one, Max, can \n \t\twe? \n","\t\ta hundred two. Right? \n \n \t\t\t\tJENNA \n \t\t\t(Eyes light up) \n \t\tRight. \n \t \n \tMax heads down the staircase. \n","\tThere's a knock again. Max angrily unlocks the door and whips \n \tit open. \n \n \tIN THE HALLWAY is Jenna with her calculator. \n \n \t\t\t\tJENNA ","\t\tMax, Max, can we do one. \n \t \n \t\t\t\tMAX \n \t\tJenna. I can't now, Jenna. \n \t \n \t\t\t\tJENNA ","\t\t\t\tMOM \n \t\tJenna... \n \t \n \tJenna screams after him. \n \n \t\t\t\tJENNA \n \t\tOkay, seventy-three ","\tJenna types it into her calculator. Max finishes locking his \n \tdoor. \n \n \t\t\t\tMAX \n \t\t\t(instantly) \n \t\tOne hundred fifty-eight thousand, ","\tJenna presses the EQUALS button. \n \n \t\t\t\tJENNA \n \t\tI got it! I got it! \n \t\tWhat's the answer? \n \n \t\t\t\tMAX ","\tto him. Her MOM, down the hall, looks apologetic. \n \n \tJenna's eyes light up and she pulls out her Fisher Price \n \tcalculator. \n \n \t\t\t\tJENNA ","\t\tMax, Max! Can we do one? \n \t \n \t\t\t\tMOM \n \t\t\t(Over and over again) \n \t\tJenna! Jenna! \n \t \n \t\t\t\tMAX ","\twoman wearing a simple black dress. Her name is JENNY ROBESON \n \tand she is Sol's niece. \n \n \t\t\t\tJENNY ROBESON \n \t\tCan I help you? \n \t","\t\t\t\tMAX \n \t\t\t(Confused) \n \t\tSol? \n \t \n \t\t\t\tJENNY ROBESON \n \t\tWere you a friend? \n \t","\tMax shrugs, not able to say no. \n \n \t\t\t\tJENNA \n \t\tHow about two hundred \n \t\tand fifty-five times a \n \t\thundred and eighty-three. \n \t","\t\tWhere is he? \n \t \n \tJenny's eyes drop. \n \n \t\t\t\tMAX \n \t\tNo. \n \t","\tHe seems to have lost him, when he notices a business-woman \n \twith a pretty face heading right toward him. It is MARCY \n \tDAWSON. \n \n \t\t\t\tMARCY DAWSON ","\tSoon, Max gets up and kicks the trashcan. He heads home. \n \n \tIN FRONT OF MAX'S APARTMENT BUILDING \n \n \tMax watches Marcy get out of the limo and call to Mrs. Ovadia."],["\tMax rushes into Sol s study. The room is covered with Sol's P, \n \tresearch books. It seems Sol had recently come out of \n \tretirement. Max looks at a few of Sol's books. Then he finds a ","\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\tMax continues to recite the number His voice becomes tender \n \tand peaceful. As he starts to become part of the void, his \n \tvoice turns into a whisper and his eyes start to close. \n \n \tThen he hears Devi. \n","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've ","\t\tIn some ways...I guess... \n \t \n \t\t\t\tMAX \n \t\t\t(To himself) \n \t\tStudying the pattern made Euclid \n \t\tconscious of itself. Before it died it ","\tMax wanders over to the place where the old man exam \n \n \tINT. MAX'S APARTMENT - NIGHT \n \tMAX'S POV through the microscope. Max sees the brain \n \tstructures. \n","\tEuclid furiously. He recites the number with rage in his \n \tvoice. \n \n \t\t\t\tMAX \n \t\tThree, seven, two... \n \t","\tJust then, Euclid starts printing results on an old dot- \n \tmatrix printer. \n \n \tMax suspiciously answers The phone. \n \n \t\t\t\tMAX \n \t\tHello? \n \t","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n","\t\t\t(Which he does) \n \t\tThe name's Lenny Meyer \n \t \n \tLenny sticks out his hand. Max responds with a small nod. \n \t\t\t\tLENNY MEYER ","\tThe man catches Max's eye and looks away, but then he quickly \n \tlooks back, making Max turn away. \n \n \tHe looks down at his Wall Street journal and draws a circle ","\tMax backs away when he smacks into someone. \n \n \tIt's Lenny Meyer - the young Jewish man. \n \n \tMax jumps back in fear. \n \n \t\t\t\tLENNY MEYER ","\tMax is interrupted by a puff of smoke. At the same time, \n \tsomeone touches his shoulder and says: \n \n \t\t\t\tLENNY MEYER \n \t\tHey, Max, how you doing? \n \t","\t\t\t\tMAX \n \t\tSo? \n \t \n \t\t\t\tRAV COHEN \n \t\tThat word was the true name of God. \n \t \n \t\t\t\tMAX \n \t\tYeah...","\trevealing that Max's apartment looks more like the inside of a \n \tcomputer than a human's home. \n \n \tThe room is knee-high in computer parts of all shapes and ","\tEuclid's cursor blinks, waiting. Max starts to laugh. He \n \tlaughs and laughs and laughs. \n \n \t\t\t\tMAX \n \t\tOh God. Damn religious ","\tgives Max a small slap on the butt. \n \n \tINSIDE HIS APARTMENT Max bolts the front door. \n \n \tAt his desk he rips open the envelope Lenny Meyer gave him. He ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n"],["\trevealing that Max's apartment looks more like the inside of a \n \tcomputer than a human's home. \n \n \tThe room is knee-high in computer parts of all shapes and ","\tThis is EUCLID, Max's creation. The computer is alive with \n \tsounds and lights. \n \n \tMax works on Euclid with his solder and drill. He cares for ","\tMax puts on a pair of latex gloves. He dons a surgical mask. \n \tHe climbs up to a loft above his monitors. A glass case, fed \n \tcool air by a vent tube, encases some computer parts. He ","\t\t\t(Which he does) \n \t\tThe name's Lenny Meyer \n \t \n \tLenny sticks out his hand. Max responds with a small nod. \n \t\t\t\tLENNY MEYER ","\tSitting on the desk are three computer monitors, which Max \n \tflips on. \n \n \tThen he pops on more lights and more switches. We pull back ","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\tINT. MAX'S APARTMENT - DAY \n \n \tMax examines the smashed Euclid mainframe. He uncovers some of \n \tthe strange filo-like substance. He carefully touches it. Then ","\ttakes a thick black marker and draws a giant spiral across the \n \tentire page. \n \n \tMax is ecstatic as he pounds code into the computer takes ","\tgives Max a small slap on the butt. \n \n \tINSIDE HIS APARTMENT Max bolts the front door. \n \n \tAt his desk he rips open the envelope Lenny Meyer gave him. He ","\tINT. MAX'S APARTMENT DAY \n \n \tEUCLID'S INNARDS \n \n \tMax uses a drill to rip out some old parts. He lays new wire ","\tcover. Max furiously attacks them, stomping them out with his \n \tbands. \n \n \tThen he jumps on the smashed mainframe. He slides to \n \tthe ground and covers his face. \n","\t\tUnique?! Unique?! He's a dork! \n \t \n \tThen, Max carefully slips the DISK into Euclid's drive. Hebrew \n \tcharacters pop onto Euclid's screen. Max pounds in several ","\tEuclid's cursor blinks, waiting. Max starts to laugh. He \n \tlaughs and laughs and laughs. \n \n \t\t\t\tMAX \n \t\tOh God. Damn religious ","\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\tThen Max shyly opens up his front door and quickly grabs the \n \tblack attaché case in front of his door \n \n \tDonning a surgical mask and latex gloves, Max opens the black ","\t\t\t\tMAX \n \t\tOh, okay. \n \t \n \t\t\t\tLENNY MEYER \n \t\tLenny Meyer. \n \t\t\t(Motioning to the cigarette) ","\t\t\t\tMAX \n \t\tAhh... \n \t \n \tMax walks back into the \n \tMAIN ROOM \n \n \tand sits down in a chair. The lamp is blinding so he","\t\t\t\tMAX \n \t\tOut! Get out! \n \t \n \tMax slams the door in their faces. \n \tMax rubs his chin and looks around the room. He starts","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've "],["\tMax waits a moment. He tousles his hair. Then he checks again. \n \tShe's gone. He opens his locks and releases several bolts. \n \n \tINT.MAX'S BUILDING HALLWAY - DAY \n","\tMax wipes his nose and looks around nervously. \n \n \tHe sees the rides of Coney Island in the distance. \n \n \tEXT. CONEY ISLAND BEACH - DAY \n","\tad. Then he notices one of the bodega owners staring at him. \n \n \tEXT. MAX'S APARTMENT - DAY \n \n \tMax scouts his front door. The coast is clear. ","\t \n \tMax rushes out. \n \n \tEXT. PLAYGROUND - LATE AFTERNOON \n \n \tMax sifts through the trash can where he threw his picks from ","\tMax wanders helplessly through the dump. There's nothing but \n \tjunk and more junk. \n \n \tEXT. PUBLIC PAY PHONE - DAY ","\tMax's voiceover begins: \n \n \t\t\t\tMAX (V.O.) \n \t\tMonday, September first. \n \t\tSix-fifteen. \n \n \tINT. BATHROOM - DAWN","\tMax follows the man's movement on his platform. When the young \n \tman shoots up the exit stairs, Max does so as well. \n \n \tMax catches a glimpse of his foe entering the catacombs ","\tMax exits. He notices that the Skinny Man gets off - one car \n \tdown - as well. \n \n \tHe hustles toward the exit. As he's about to turn a corner he ","\tAnd then the singing stops \n \tmid-verse Max looks up and the man is gone. Vanished. Max \n \tlooks aroundno one in Sight. \n \n \tINT. APARTMENT STAIRCASE - DAY \n","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\tSoon, Max gets up and kicks the trashcan. He heads home. \n \n \tIN FRONT OF MAX'S APARTMENT BUILDING \n \n \tMax watches Marcy get out of the limo and call to Mrs. Ovadia.","\t\t\t\tMAX \n \t\tOut! Get out! \n \t \n \tMax slams the door in their faces. \n \tMax rubs his chin and looks around the room. He starts","\tThe man catches Max's eye and looks away, but then he quickly \n \tlooks back, making Max turn away. \n \n \tHe looks down at his Wall Street journal and draws a circle ","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n","\tMax charges up a flight of stairs. He crosses a passage over \n \tthe tracks and flies down the stairs to the other side of the \n \tplatform. \n \n \tThe Man is gone. A pool of blood sits where the Man was. Max ","\tEXT. CHINATOWN - DAY \n \tMax watches people bustle through the busy intersections of \n \tChinatown. The streets are clogged with people. \n \n \t\t\t\tMAX (V.O.) ","\tthe car. Meanwhile, the Shinny man is heading right at them. \n \n \tThe CHAUFFEUR reaches out to him. Max yanks his arm free and \n \truns away. He whips around a corner. \n","\theading toward Times Square. Max pursues. \n \n \tMax chases him down a looooong passage. \n \n \tBut he loses him at an underground five-way fork in the road. ","\tEXT. CITY STREETS - DAY \n \n \tMax races through the streets of New York. He is wide-eyed. \n \n \t\t\t\tMAX (V.0.) ","\tin the darkness. He has intelligent eyes set in an exhausted, \n \tgood-looking face. \n \n \tThen he notices the blood dripping from his nose. Max wipes \n \tit. \n"],["\t \n \t\t\t\tMAX \n \t\t\t(Yeah right!) \n \t\tMing Mecca. They're not declassified. \n \t \n \tMax starts to move away. \n","\t\tdown the line I'll work it \n \t\tout. Just keep them in the \n \t\tdark, let them beg. A damn \n \t\tMing Mecca chip. It's like ","\t \n \t\t\t\tMARCY DAWSON \n \t\tThe suitcase isn't filled with \n \t\tfifties or gold or diamonds. Just \n \t\tsilicon. A Ming Mecca chip.","\t\tme a Paki bastard. So I whacked him, \n \t\tright in the head. \n \n \t\t\t\tDEVI (O.S.) \n \t\tFarrouhk! \n \t","\tthe car. Meanwhile, the Shinny man is heading right at them. \n \n \tThe CHAUFFEUR reaches out to him. Max yanks his arm free and \n \truns away. He whips around a corner. \n","\t\tworld, you'll be able to pull \n \t\tit out of anywhere. Two \n \t\thundred and sixteen steps \n \t\tfrom your street comer to \n \t\tyour front door. Two hundred ","\t\ta prosperous year. It meant \n \t\tthat we were one yea r closer \n \t\tto the messianic age. Closer \n \t\tto the return of the Garden ","\tMax gets to his feet and runs behind Farrouhk. \n \tJust then a station wagon screeches up to the curb. Lenny \n \tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \n","\tThe synagogue is a claustrophobic, fluorescent-lit room in \n \tgeneral disarray. Two rows of imitation-wooden pews face a ","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\t\t\t\tLENNY MEYER \n \t\tThey purify us and bring us \n \t\tcloser to God. You want to try it? \n \n \tJust then, Max pays his bill and prepares to leave. \n","\tpiece of paper with Sol's handwriting on it. On the paper is \n \tTHE number. Max slides it into his pocket. \n \n \tMax looks at the Go board. The pieces are arranged in a giant \n \tspiral across the board.","\tEXT. CHINATOWN - DAY \n \tMax watches people bustle through the busy intersections of \n \tChinatown. The streets are clogged with people. \n \n \t\t\t\tMAX (V.O.) ","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n","\tFarrouhk jumps into his cab. \n \n \tINT. LENNY MEYER'S CAR - MOVING - NIGHT \n \tYisrael yanks the steering wheel to the left, the old station ","\tHe points to his head. \n \n \t\t\t\tMAX \n \t\tBut what is it? \n \t \n \tMrs. Ovadia starts looking at all the junk in the room. \n","\t\t\t(Points to his yarmulke) \n \t\tI work with the Torah. \n \t\t\t(Awed by the coincidence) \n \t\tAmazing. \n \t \n \t\t\t\tMAX ","\t\ttook his secret to the top of \n \t\tthe burning building. The \n \t\theavens opened up and took \n \t\tthe key from the priest's \n \t\toutstretched hand. We've been ","\tHe crumples up his picks and tosses them into a public trash \n \tcan. \n \n \tINT. SOL'S STUDY - DAY \n \n \tSol and Max play Go. Sol is peaceful while Max is distant.","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n"],["\tBut then be stops writing. Power surge! He stares at the \n \tnumber. Something clicks in his head. His eyes go wide. He \n \tbarely musters a \n \n \t\t\t\tMAX ","\t\tthis junk. \n \t \n \tHe starts reciting the numbers. Then Max suddenly realizes \n \tsomething. He continues reciting the numbers from memory. \n \n \t\t\t\tMAX \n \t\tFour...zero...","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\tsaying the number to himself He gets more and more \n \texcited as he reads each digit. \n \n \tINT. COFFEE SHOP - NIGHT \n \n \tMax stirs cream into his coffee. Then he pulls out the","\t\t\t(Suddenly jolting up and remembering) \n \t\tThe number, the number. \n \t \n \tMax looks at Euclid. The screen is blank. He looks at the ","\t\tSuddenly, it's all there. \n \t\tIt all makes sense. I \n \t\tcan crack it. I can know it. \n \t\tI know what it is. Sol knows, ","\t\tAll we know is that it's two \n \t\thundred and sixteen digits long. \n \t \n \tMax, stunned looks at Lenny. \n \n \t\t\t\tLENNY MEYER","\tMax continues to recite the number His voice becomes tender \n \tand peaceful. As he starts to become part of the void, his \n \tvoice turns into a whisper and his eyes start to close. \n \n \tThen he hears Devi. \n","\t\tTwo...two hundred. That's it! That's it! \n \t \n \tMax grabs a piece of paper and a pencil. He starts writing \n \tdown the number. He mumbles each digit as he sees it. \n","\tJournal. \n \n \tA phone continues to RING. \n \n \tIn the clouds of the Lancet-Percy ad - in The Journal Max \n \twrites down the two hundred and sixteen digit number. He ","\tstrings of code lightning fast. \n \n \tThe Hebrew letters suddenly switch to their numerical \n \tcounterparts. Max toggles between Hebrew and numbers a few \n \ttimesimpressed. \n","\tpiece of paper with Sol's handwriting on it. On the paper is \n \tTHE number. Max slides it into his pocket. \n \n \tMax looks at the Go board. The pieces are arranged in a giant \n \tspiral across the board.","\ttakes a thick black marker and draws a giant spiral across the \n \tentire page. \n \n \tMax is ecstatic as he pounds code into the computer takes ","\tnumber. He collects himself and catches his breath. \n \n \tINT. MAX'S BATHROOM DAY \n \n \tMax looks at Sol's note. He lights a match and burns it. \n","\tA long beat. \n \n \t\t\t\tMAX \n \t\t\t(Incredulous) \n \t\tYou're telling me that the number in \n \t\tmy head is the name of God!? \n","\t\t\t\tMAX \n \t\tIt's just a number. I'm \n \t\tsure you've written down \n \t\tevery two hundred sixteen number. \n \t\tYou've translated all of ","\tAnd then be realizes that Devi is not in his arms. He is \n \tholding onto himself. \n \n \tThen Max notices Sol's note on the ground. He looks at the ","\tcontinues to recite the number. \n \n \t\t\t\tDEVI \n \t\tBreathe, Max! Breathe. \n \t\tFocus. \n \n \tMax turns away from Devi and we return to the ","\tMax states the numbers right before they enter onto the \n \tscreen. \n \n \t\t\t\tMAX \n \t\tI know these...Seven \n \t\tand a quarter. Two and a half ","\tEuclid furiously. He recites the number with rage in his \n \tvoice. \n \n \t\t\t\tMAX \n \t\tThree, seven, two... \n \t"],["\tMax eyes Marcy Dawson's business card, suspiciously He dials \n \tthe number. A man answers on the other line. \n \n \t\t\t\tMAN'S VOICE (OS.) \n \t\tThree, eight, two.","\tMarcy pulls out a folded, worn piece of paper. She opens it. \n \tIt's Max's stock pick that he threw out. Part of THE number is \n \ton the page \n","\tcan't give them the number. \n \n \t\t\t\tMAX \n \t\tYou can't kill me! \n \t \n \t\t\t\tMARCY DAWSON \n \t\tC'mon, Max. You ","\tthe wall with disdain. Then he looks back at the screen, \n \tshrugs and confidently slaps RETURN on his keyboard. \n \n \tStock prices float across the screen. Max can't believe his ","\tMax flips to the stock quotes. He can't believe how far things \n \thave dovetailed. He shakes his head in disbelief when an \n \tenvelope appears in front of him. It belongs to Lenny Meyer. \n","\tHe seems to have lost him, when he notices a business-woman \n \twith a pretty face heading right toward him. It is MARCY \n \tDAWSON. \n \n \t\t\t\tMARCY DAWSON ","\t\t\t\tMARCY DAWSON \n \t\tInformation is \n \t\tthe private language \n \t\tof Capital. We tried to \n \t\testablish a symbiotic \n \t\trelationship but if","\tJournal. It reads, \"MARKET CRACHES\" \n \n \t\t\t\tMARCY DAWSON \n \t\tYou're responsible for this. \n \t \n \t\t\t\tMAX ","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\t\tof the stock market are my \n \t\tlead. When I find the \n \t\tpattern, then I will find \n \t\tgold. \n \t \n \tMax watches the right edge of the screen where the numbers ","\tThey search him, taking his wallet, keys, everything. \n \n \tMarcy looks at the guys, who shake their heads. She walks over \n \tto Max and shows Max the front page of the Wall Street ","\t\tWe're willing to take the risk. \n \t \n \t\t\t\tMAX \n \t\tOkay. First, I want you \n \t\tto call off the surveillance. \n \t\t\t\tMARCY DAWSON ","\t\t\t\tMAX \n \t\tThe number is nothing. \n \t\tYou know that! \n \n \t\t\t\tRAV COHEN \n \t\tWe can use it. We \n \t\tcan wield it.","\t\t\t\tMARCY DAWSON \n \t\tAs a sign of good faith we \n \t\twish to offer you this. \n \n \t\t\t\tMAX \n \t\tI told you I don't want money.","\t\t\t\tMAX (V.O.) \n \t\tSixteen, twenty-seven. Results: Euclid \n \t\tshows tomorrow's Dow closing \n \t\tup by four points. Anomalies ","\t\t\t\tMARCY DAWSON \n \t\tYou gave us faulty information. \n \t\tYou gave us the carrot, the right \n \t\tpicks, but then you only gave us ","\tMax, crawls into the \n \tMAIN ROOM \n \n \tand picks up the phone. He pinches his nose and tilts his head \n \tback. \n \n \t\t\t\tMARCY DAWSON ","\t\t\t\tMARCY DAWSON \n \t\tAllow me to dose. \n \t \n \tThe chauffeur pulls a black suitcase out of the limo and \n \tbrings it over. \n","\tsaying the number to himself He gets more and more \n \texcited as he reads each digit. \n \n \tINT. COFFEE SHOP - NIGHT \n \n \tMax stirs cream into his coffee. Then he pulls out the","\t\t\t\tMARCY DAWSON \n \t\tWe had a deal! NOW get in the limo! \n \t \n \tMarcy releases a vicious slap that nearly knocks Max down. Max \n \twhimpers."],["\t\t\t\tMAX \n \t\tAnd what will it do to \n \t\tyou? \n \n \t\t\t\tLENNY MEYER \n \t\tWe're pure. Give \n \t\tus the number! \n","\t\tnumerical system. Each \n \t\tletter is a number. \n \n \tLenny pulls out a pen and grabs Max's Journal. He writes on it \n \tas he talks. \n","\t \n \t\t\t\tLENNY MEYER \n \t\tDo you have the number? \n \t \n \t\t\t\tMAX \n \t\tYeah, I have it! \n \t","\t\t\t\tMAX \n \t\t\t(Coolly) \n \t\tTwo sixteen? \n \t \n \t\t\t\tLENNY MEYER \n \t\tYes. Now we have to say a ","\tSatisfied, Lenny lights up a cigarette and takes a drag. \n \n \t\t\t\tMAX \n \t\t\t(Mildly impressed) \n \t\tKind of interesting. \n \t","\tLenny points to the text. EXTREME CLOSE-UP of Hebrew letters. \n \n \t\t\t\tLENNY MEYER \n \t\tHere, look...the ancient \n \t\tJews used Hebrew as their ","\t\tAll we know is that it's two \n \t\thundred and sixteen digits long. \n \t \n \tMax, stunned looks at Lenny. \n \n \t\t\t\tLENNY MEYER","\t\t\t\tMAX \n \t\tIt's just a number. I'm \n \t\tsure you've written down \n \t\tevery two hundred sixteen number. \n \t\tYou've translated all of ","\t\tnumber encoded in the text. \n \n \t\t\t\tMAX \n \t\tWhat sort of number? \n \t \n \t\t\t\tLENNY MEYER \n \t\tWe don't know. ","\t\tonly God. \n \t \n \t\t\t\tMAX \n \t\t\t(Attempting calmness) \n \t\tNo, I mean the number, the \n \t\ttwo sixteen number? What is ","\t\tnumber theorist. The Torah is \n \t\ttheir data set. The thing is, \n \t\tthey're searching for a two \n \t\thundred and sixteen digit \n \t\tnumber in the Torah.","\t\t\t\tLENNY MEYER \n \t\tYou have it. Where is it? \n \t\tYou have it written down? \n \n \t\t\t\tMAX \n \t\tWhat is it? \n \t","\t\t\t\tLENNY MEYER \n \t\tYou see...The Hebrew \"A,\" the \n \t\tnumber 1. The Hebrew \"B,\" \n \t\tBet, is two. You can take any ","\t\tThey've got part of it \n \t\tNow get off me! \n \n \t\t\t\tLENNY MEYER \n \t\tDamn it! Damn it! \n \t\tThey're using it. \n","\t \n \t\t\t\tLENNY MEYER \n \t\tGive us the number! \n \t \n \t\t\t\tMAX \n \t\tScrew you! \n \t","\t\tIn Hebrew characters and numbers. \n \n \t\t\t\tMAX \n \t\tNo, what is it? The two \n \t\thundred and sixteen digits. \n \n \t\t\t\tLENNY MEYER","\t\t\t\tLENNY MEYER \n \t\tThey purify us and bring us \n \t\tcloser to God. You want to try it? \n \n \tJust then, Max pays his bill and prepares to leave. \n","\t\tTwo...two hundred. That's it! That's it! \n \t \n \tMax grabs a piece of paper and a pencil. He starts writing \n \tdown the number. He mumbles each digit as he sees it. \n","\tLenny nods to Ephraim, who starts scanning through \n \tMax's pockets. Max resists. The other guys hold him down. \n \n \t\t\t\tMAX \n \t\tWhat are you doing!? What ","\t\tthem. You've intoned them \n \t\tall. Haven't you? But what's \n \t\tit gotten you? It's not the \n \t\tnumber! It's the meaning. "],["\t\tof Euclid. A large amount of \n \t\tblood, from his nose, is \n \t\tsemi-dried on his chin and \n \t\tchest. Devi hangs up the phone. \n","\tThen he angrily throws Euclid's mainframe onto the ground It \n \tlands with a SMASH! \n \n \tUnder the mainframe is a small city of ANTS. They scramble for ","\tEuclid furiously. He recites the number with rage in his \n \tvoice. \n \n \t\t\t\tMAX \n \t\tThree, seven, two... \n \t","\t\tHappy birthday, Euclid. \n \t \n \tThen he lifts his hand to slap the RETURN button, but a sudden \n \twave of fear stops him. \n","\tThis is EUCLID, Max's creation. The computer is alive with \n \tsounds and lights. \n \n \tMax works on Euclid with his solder and drill. He cares for ","\t\tIn some ways...I guess... \n \t \n \t\t\t\tMAX \n \t\t\t(To himself) \n \t\tStudying the pattern made Euclid \n \t\tconscious of itself. Before it died it ","\tgets to his feet and head's into Euclid. \n \n \tThe main monitor is screaming with numbers. The lights in the \n \troom flicker on and off like on a disco dance floor. A","\tJust then, Euclid starts printing results on an old dot- \n \tmatrix printer. \n \n \tMax suspiciously answers The phone. \n \n \t\t\t\tMAX \n \t\tHello? \n \t","\t\tEuclid spits out some \n \t\tnumbers. Never saw anything \n \t\tlike it and then it fries. \n \t\tThe whole machine just \n \t\tcrashed. \n \t","\teyesthe quotes are absurd. \n \n \t\t\t\tMAX \n \t\tWhat the... \n \t \n \tAnd then, Euclid crashes. The electricity in Max's room flips ","\tEuclid's cursor blinks, waiting. Max starts to laugh. He \n \tlaughs and laughs and laughs. \n \n \t\t\t\tMAX \n \t\tOh God. Damn religious ","\tfilo substance billows out of Euclid. \n \n \tAnd then a number pops onto the screen. Max estimates how many \n \tdigits are on the screen. \n \t\t\t\tMAX","\tbulb in the bathroom starts blinking on and off. \n \n \tSuddenly the pain is gone. \n \n \tThen he hears something. It's Euclid, buzzing with life. He ","\t\talgorithm, or B, Euclid's \n \t\tmain processor is running a \n \t\trecursion... \n \n \tMax marks up the paper with lines and diagrams as he ponders ","\t\tactually solid gold. Unsolved \n \t\tproblem at the time. It \n \t\ttortures the great Greek \n \t\tmathematician for weeks. \n \t\tInsomnia haunts him and he ","\t\t\t(Suddenly jolting up and remembering) \n \t\tThe number, the number. \n \t \n \tMax looks at Euclid. The screen is blank. He looks at the ","\tMax tries to reboot Euclid, but nothing happens. He tries a \n \tsecond time, but nothing happens. \n \n \tDevi and Farrouhk are still at it. \n","\t\tbit of a quack...but...then again, \n \t\tlook at Kepler. He was really into \n \t\tPythagoras. The leader of an \n \t\tancient sect which believed ","\t\tspiral pattern. \n \n \tDISSOLVE TO \n \tPAN ACROSS NEW EUCLID \n \n \tWe start on the stock ticker and pull out to reveal a leaner, ","\t\tsignificance is from \n \t\tSchneider's class. That \n \t\tbullshit core for majors. \n \t\tSchneider's fascination with \n \t\tmystical geometry made him a "],["\tMax rushes into Sol s study. The room is covered with Sol's P, \n \tresearch books. It seems Sol had recently come out of \n \tretirement. Max looks at a few of Sol's books. Then he finds a ","\tMax is happy to see Sol, but he's a bit bashful and \n \tintimidated. \n \n \t\t\t\tMAX Okay. \n","\tIn a few moments, Sol answers the door in his pajamas. \n \n \t\t\t\tSOL \n \t\tMax? \n \t \n \t\t\t\tMAX \n \t\tWhat's going on, Sol!?","\tAnd then be realizes that Devi is not in his arms. He is \n \tholding onto himself. \n \n \tThen Max notices Sol's note on the ground. He looks at the ","\tMax stands up and screams down at Sol. \n \n \t\t\t\tMAX \n \t\tYou can't tell me what it \n \t\tis. You don't know You've ","\tINT. SOL'S STUDY - MOMENTS LATER \n \tSol and Max sit on either side of a half-played Go board. \n \n \t\t\t\tSOL ","\tnumber. He collects himself and catches his breath. \n \n \tINT. MAX'S BATHROOM DAY \n \n \tMax looks at Sol's note. He lights a match and burns it. \n","\tEXT. SOL'S APARTMENT - NIGHT \n \n \tA pumped and excited Max paces the hall as he rings the bell. \n \n \tThe door opens. But it isn't Sol. It's a young, beautiful ","\tMax charges into the room. Sot is looking at his Go board. Sol \n \tlooks up when Max comes in. \n \n \t\t\t\tSOL \n \t\tYou're early. I was just ","\tEXT. S0L'S HALLWAY - DAY Max rings the bell on an apartment \n \tdoor. \n \n \tA few moments pass, and then SOL ROBESON opens the door. \n","\tMax sits at the kitchen table while Sol heats up a pot of tea. \n \tMax is shaking. \n \n \t\t\t\tSOL \n \t\tNow, what's up? \n \t \n \t\t\t\tMAX ","\tHe crumples up his picks and tosses them into a public trash \n \tcan. \n \n \tINT. SOL'S STUDY - DAY \n \n \tSol and Max play Go. Sol is peaceful while Max is distant.","\tSol sighs. He looks down at the board and collects himself. \n \n \t\t\t\tSOL \n \t\tYou have it? \n \t \n \t\t\t\tMAX \n \t\tIt's in my head!","\tMax waits a moment. He tousles his hair. Then he checks again. \n \tShe's gone. He opens his locks and releases several bolts. \n \n \tINT.MAX'S BUILDING HALLWAY - DAY \n","\tpiece of paper with Sol's handwriting on it. On the paper is \n \tTHE number. Max slides it into his pocket. \n \n \tMax looks at the Go board. The pieces are arranged in a giant \n \tspiral across the board.","\t\t\t\tSOL \n \t\tGet out! Max, get out! \n \t \n \t\t\t\tMAX \n \t\tI want to understand it. \n \t\tI want to know! \n","\t\t\t\tMAX \n \t\tTell me more. \n \t \n \tEXT. SOL'S APARTMENT - DAWN \n \n \tMax firmly rings SOL's bell. \n","\tEXT. SOL'S STUDY - MOMENTS LATER \n \tTIGHT ON the Japanese game of Go being played. Sol is white \n \tand Max is black. Sol's moves are secure and controlled while ","\t\t\t\tMAX \n \t\tOut! Get out! \n \t \n \tMax slams the door in their faces. \n \tMax rubs his chin and looks around the room. He starts","\tDISSOLVE TO \n \n \tINT. MAX'S APARTMENT - DAY \n \n \tMax sits on his bed staring at Sol's handwritten number."],["\tMax rushes into Sol s study. The room is covered with Sol's P, \n \tresearch books. It seems Sol had recently come out of \n \tretirement. Max looks at a few of Sol's books. Then he finds a ","\tAnd then be realizes that Devi is not in his arms. He is \n \tholding onto himself. \n \n \tThen Max notices Sol's note on the ground. He looks at the ","\tnumber. He collects himself and catches his breath. \n \n \tINT. MAX'S BATHROOM DAY \n \n \tMax looks at Sol's note. He lights a match and burns it. \n","\tMax is happy to see Sol, but he's a bit bashful and \n \tintimidated. \n \n \t\t\t\tMAX Okay. \n","\tDISSOLVE TO \n \n \tINT. MAX'S APARTMENT - DAY \n \n \tMax sits on his bed staring at Sol's handwritten number.","\tpiece of paper with Sol's handwriting on it. On the paper is \n \tTHE number. Max slides it into his pocket. \n \n \tMax looks at the Go board. The pieces are arranged in a giant \n \tspiral across the board.","\tHe crumples up his picks and tosses them into a public trash \n \tcan. \n \n \tINT. SOL'S STUDY - DAY \n \n \tSol and Max play Go. Sol is peaceful while Max is distant.","\tSol sighs. He looks down at the board and collects himself. \n \n \t\t\t\tSOL \n \t\tYou have it? \n \t \n \t\t\t\tMAX \n \t\tIt's in my head!","\tEXT. SOL'S APARTMENT - NIGHT \n \n \tA pumped and excited Max paces the hall as he rings the bell. \n \n \tThe door opens. But it isn't Sol. It's a young, beautiful ","\tIn a few moments, Sol answers the door in his pajamas. \n \n \t\t\t\tSOL \n \t\tMax? \n \t \n \t\t\t\tMAX \n \t\tWhat's going on, Sol!?","\tThey search him, taking his wallet, keys, everything. \n \n \tMarcy looks at the guys, who shake their heads. She walks over \n \tto Max and shows Max the front page of the Wall Street ","\tThen Max shyly opens up his front door and quickly grabs the \n \tblack attaché case in front of his door \n \n \tDonning a surgical mask and latex gloves, Max opens the black ","\tINT. SOL'S STUDY - MOMENTS LATER \n \tSol and Max sit on either side of a half-played Go board. \n \n \t\t\t\tSOL ","\t \n \tMax rushes out. \n \n \tEXT. PLAYGROUND - LATE AFTERNOON \n \n \tMax sifts through the trash can where he threw his picks from ","\trevealing that Max's apartment looks more like the inside of a \n \tcomputer than a human's home. \n \n \tThe room is knee-high in computer parts of all shapes and ","\tgives Max a small slap on the butt. \n \n \tINSIDE HIS APARTMENT Max bolts the front door. \n \n \tAt his desk he rips open the envelope Lenny Meyer gave him. He ","\tEXT. S0L'S HALLWAY - DAY Max rings the bell on an apartment \n \tdoor. \n \n \tA few moments pass, and then SOL ROBESON opens the door. \n","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\tMax waits a moment. He tousles his hair. Then he checks again. \n \tShe's gone. He opens his locks and releases several bolts. \n \n \tINT.MAX'S BUILDING HALLWAY - DAY \n","\tMax lets out a 'SOL!, and reaches out into the void. We match \n \tcut back to \n \tTHE MAIN ROOM \n \n \twhere Max grabs Devi and hugs her. He gasps for air as"],["\tin the darkness. He has intelligent eyes set in an exhausted, \n \tgood-looking face. \n \n \tThen he notices the blood dripping from his nose. Max wipes \n \tit. \n","\t\t\t\tMAX \n \t\tOut! Get out! \n \t \n \tMax slams the door in their faces. \n \tMax rubs his chin and looks around the room. He starts","\treloads the gun and fires it right into the scar on his head, \n \twhere the pain is coming from. \n \n \tMax collapses to the ground in complete agony until the bare ","\tAnd then be realizes that Devi is not in his arms. He is \n \tholding onto himself. \n \n \tThen Max notices Sol's note on the ground. He looks at the ","\tA bewildered Max slowly hangs up. \n \n \t\t\t\tMAX \n \t\tDamn. \n \t \n \tMax checks the peephole - all clear. \n \n \tThen, he opens his - \n","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\tHe crumples up his picks and tosses them into a public trash \n \tcan. \n \n \tINT. SOL'S STUDY - DAY \n \n \tSol and Max play Go. Sol is peaceful while Max is distant.","\tMax gets to his feet and runs behind Farrouhk. \n \tJust then a station wagon screeches up to the curb. Lenny \n \tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \n","\tMax wipes his nose and looks around nervously. \n \n \tHe sees the rides of Coney Island in the distance. \n \n \tEXT. CONEY ISLAND BEACH - DAY \n","\tcover. Max furiously attacks them, stomping them out with his \n \tbands. \n \n \tThen he jumps on the smashed mainframe. He slides to \n \tthe ground and covers his face. \n","\tSoon, Max gets up and kicks the trashcan. He heads home. \n \n \tIN FRONT OF MAX'S APARTMENT BUILDING \n \n \tMax watches Marcy get out of the limo and call to Mrs. Ovadia.","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n","\tMax charges up a flight of stairs. He crosses a passage over \n \tthe tracks and flies down the stairs to the other side of the \n \tplatform. \n \n \tThe Man is gone. A pool of blood sits where the Man was. Max ","\twhere Max looks around starry-eyed. The pain is gone. \n \tEverything is new to Max - even his hands. The stress leases \n \tfrom his brow and his shoulders sag. \n","\tthe columns. Max gets up and sees the Young Hasidic Man - from \n \tearlier - staring at him. \n \tThe Man stares at Max without any emotion. Max notices blood \n \tdropping from the Man's right hand.","\tAs the blood surges through his head it brings him waves of \n \tpain. He gags several times. Then the pain lets loose and all \n \tMax wants to do is die. He smashes the side of his head with ","\tFrustrated, he pushes his pen deep into the brain - fiber \n \tripping apart. \n \n \tSuddenly, a TRAIN is barreling down on Max. Seconds from ","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\tapproaches the man. \n \n \t\t\t\tMAX \n \t\tHey, excuse me, can I see \n \t\tthat? \n \n \tThe man hands Max the paper. Max scans the article. Then He "],["\t \n \t\t\t\tLENNY MEYER \n \t\tDo you have the number? \n \t \n \t\t\t\tMAX \n \t\tYeah, I have it! \n \t","\t\tnumerical system. Each \n \t\tletter is a number. \n \n \tLenny pulls out a pen and grabs Max's Journal. He writes on it \n \tas he talks. \n","\t\t\t\tMAX \n \t\tAnd what will it do to \n \t\tyou? \n \n \t\t\t\tLENNY MEYER \n \t\tWe're pure. Give \n \t\tus the number! \n","\t \n \t\t\t\tLENNY MEYER \n \t\tGive us the number! \n \t \n \t\t\t\tMAX \n \t\tScrew you! \n \t","\t\t\t\tLENNY MEYER \n \t\tHello, this is Lenny? \n \t \n \t\t\t\tMAX \n \t\tLenny, it's Max Cohen. \n \t","\t\t\t\tLENNY MEYER \n \t\tYou have it. Where is it? \n \t\tYou have it written down? \n \n \t\t\t\tMAX \n \t\tWhat is it? \n \t","\t\t\t\tMAX \n \t\t\t(Coolly) \n \t\tTwo sixteen? \n \t \n \t\t\t\tLENNY MEYER \n \t\tYes. Now we have to say a ","\tgives Max a small slap on the butt. \n \n \tINSIDE HIS APARTMENT Max bolts the front door. \n \n \tAt his desk he rips open the envelope Lenny Meyer gave him. He ","\t\t\t(Which he does) \n \t\tThe name's Lenny Meyer \n \t \n \tLenny sticks out his hand. Max responds with a small nod. \n \t\t\t\tLENNY MEYER ","\tSatisfied, Lenny lights up a cigarette and takes a drag. \n \n \t\t\t\tMAX \n \t\t\t(Mildly impressed) \n \t\tKind of interesting. \n \t","\tout of his pocket He quickly dials a number. \n \n \tSomeone answers with a \"Shalom\" on the other end of the line. \n \tMax asks for Lenny Meyer and is put on hold. \n","\t\t\t\tLENNY MEYER \n \t\tMax! How are you? \n \t\tYou want to come down? \n \t\t\t\tMAX \n \t\tI've been thinking about \n \t\tour conversation earlier.","\tMax backs away when he smacks into someone. \n \n \tIt's Lenny Meyer - the young Jewish man. \n \n \tMax jumps back in fear. \n \n \t\t\t\tLENNY MEYER ","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've ","\tLenny's smoke drifts by Max's eyes. \n \n \tSLOW MOTION: MAX'S POV of smoke spirals spinning in front of \n \thim. \n \n \t\t\t\tMAX ","\t\t\t\tMAX \n \t\tOh, okay. \n \t \n \t\t\t\tLENNY MEYER \n \t\tLenny Meyer. \n \t\t\t(Motioning to the cigarette) ","\t\tthe hell are you doing!? \n \n \t\t\t\tLENNY MEYER \n \t\tWe're not joking \n \t\taround, Max? Where's \n \t\tthe number? \n \t","\t\tMax! How you doing? Lenny \n \t\tMeyer. \n \t\t\t\tMAX \n \t\tOh, hey... \n \t \n \tMax tries to quickly pass him. \n","\tMax is interrupted by a puff of smoke. At the same time, \n \tsomeone touches his shoulder and says: \n \n \t\t\t\tLENNY MEYER \n \t\tHey, Max, how you doing? \n \t","\tMax shrugs and turns back to his work. \n \n \t\t\t\tLENNY MEYER \n \t\tIt's okay. \n \t\t\t(Joking) "],["\tit up and looks at it. \n \n \tHe looks around wondering what's going on. Then Jenna leans \n \tout over a railing and starts laughing at Max. \n \n \tINT. COFFEE SHOP-DAY \n","\t\t\t\tMAX \n \t\tThanks. \n \t \n \tINT. COFFEE SHOP - DAY \n \n \tAt the counter, Max stirs cream into his coffee. Then he takes ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\t\t\t\tMAX \n \t\tI'll knock back. \n \t \n \t\t\t\tMARCY DAWSON \n \t\tFair enough. \n \t \n \tINT. COFFEE SHOP - DAY","\tad. Then he notices one of the bodega owners staring at him. \n \n \tEXT. MAX'S APARTMENT - DAY \n \n \tMax scouts his front door. The coast is clear. ","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n","\tThen, Max has a premonition. He turns and spots the \n \tPhotographer in front of a porn shop on Eighth and 42nd. \n \n \tEXT. PORN SHOP - 42ND STREET - NIGHT","\tThe man catches Max's eye and looks away, but then he quickly \n \tlooks back, making Max turn away. \n \n \tHe looks down at his Wall Street journal and draws a circle ","\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\tMax wipes his nose and looks around nervously. \n \n \tHe sees the rides of Coney Island in the distance. \n \n \tEXT. CONEY ISLAND BEACH - DAY \n","\tsaying the number to himself He gets more and more \n \texcited as he reads each digit. \n \n \tINT. COFFEE SHOP - NIGHT \n \n \tMax stirs cream into his coffee. Then he pulls out the","\tSoon, Max gets up and kicks the trashcan. He heads home. \n \n \tIN FRONT OF MAX'S APARTMENT BUILDING \n \n \tMax watches Marcy get out of the limo and call to Mrs. Ovadia.","\t\t\t\tMAX \n \t\tWell, you know, \n \t\tHassidim. I met one in the \n \t\tcoffee shop. The guy's a ","\tthree pills from the plastic bottle and drops them in his \n \tcoffee. \n \n \tMax flips past a full-page ad in the paper that reads ","\tMax waits a moment. He tousles his hair. Then he checks again. \n \tShe's gone. He opens his locks and releases several bolts. \n \n \tINT.MAX'S BUILDING HALLWAY - DAY \n","\tMax exits. He notices that the Skinny Man gets off - one car \n \tdown - as well. \n \n \tHe hustles toward the exit. As he's about to turn a corner he ","\tthe car. Meanwhile, the Shinny man is heading right at them. \n \n \tThe CHAUFFEUR reaches out to him. Max yanks his arm free and \n \truns away. He whips around a corner. \n","\tapproaches the man. \n \n \t\t\t\tMAX \n \t\tHey, excuse me, can I see \n \t\tthat? \n \n \tThe man hands Max the paper. Max scans the article. Then He ","\tMax gets to his feet and runs behind Farrouhk. \n \tJust then a station wagon screeches up to the curb. Lenny \n \tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \n","\tin the darkness. He has intelligent eyes set in an exhausted, \n \tgood-looking face. \n \n \tThen he notices the blood dripping from his nose. Max wipes \n \tit. \n"],["\tin the darkness. He has intelligent eyes set in an exhausted, \n \tgood-looking face. \n \n \tThen he notices the blood dripping from his nose. Max wipes \n \tit. \n","\twhere Max looks around starry-eyed. The pain is gone. \n \tEverything is new to Max - even his hands. The stress leases \n \tfrom his brow and his shoulders sag. \n","\tSlightly sobbing he examines his scalp pulling his hair apart. \n \tHe sees something. \n \n \t\t\t\tMAX \n \t\tWhat the? \n \t","\tuntil it's downright scary. \n \n \tMax sits on a bench sucking down pills. His head begins to \n \thurt. He touches the right side of his scalp and nubs it. \n","\tThe pain seems to disappear. Max looks at his hand that was \n \trubbing his bead. \n \n \tThen he looks at the front door. The doorknob seems to \n \tmove. ","\tthe columns. Max gets up and sees the Young Hasidic Man - from \n \tearlier - staring at him. \n \tThe Man stares at Max without any emotion. Max notices blood \n \tdropping from the Man's right hand.","\tA pull-string light flips on. Max examines his bloody nose in \n \tthe mirror. \n \n \t\t\t\tMAX (V.O.) \n \t\tThe alchemist awakes. ","\tAs the blood surges through his head it brings him waves of \n \tpain. He gags several times. Then the pain lets loose and all \n \tMax wants to do is die. He smashes the side of his head with ","\tWondrously, Max rubs the scar on his head. \n \n \t\t\t\tRAV COHEN \n \t\t\t(Passion building) \n \t\tYes...it's The key into ","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n","\tFrustrated, he pushes his pen deep into the brain - fiber \n \tripping apart. \n \n \tSuddenly, a TRAIN is barreling down on Max. Seconds from ","\tMax looks at the Man's face and sees for a split second his \n \town face staring back. \n \n \t\t\t\tMAX \n \t\tHey! \n \t","\tINT. MAX'S BATHROOM - LATER \n \n \tMax stares at his BALD head in the mirror. All of his hair has \n \tbeen removed. A fleshy scar sits on his scalp above his right ","\tMax wipes his nose and looks around nervously. \n \n \tHe sees the rides of Coney Island in the distance. \n \n \tEXT. CONEY ISLAND BEACH - DAY \n","\tMax finishes removing a patch of hair from the right side \n \tof his head. He has uncovered a light scar on his head. He \n \texamines it in the mirror. \n \n \t\t\t\tMAX ","\tAnd then be realizes that Devi is not in his arms. He is \n \tholding onto himself. \n \n \tThen Max notices Sol's note on the ground. He looks at the ","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\tThe man catches Max's eye and looks away, but then he quickly \n \tlooks back, making Max turn away. \n \n \tHe looks down at his Wall Street journal and draws a circle ","\tThen Max shyly opens up his front door and quickly grabs the \n \tblack attaché case in front of his door \n \n \tDonning a surgical mask and latex gloves, Max opens the black ","\this fist. \n \n \tAcross the tracks on the far platform he sees someone. \n \n \tFor a moment Max's pain dissipates. His view is obscured by "],["\t \n \t\t\t\tMAX \n \t\t\t(Yeah right!) \n \t\tMing Mecca. They're not declassified. \n \t \n \tMax starts to move away. \n","\t\tdown the line I'll work it \n \t\tout. Just keep them in the \n \t\tdark, let them beg. A damn \n \t\tMing Mecca chip. It's like ","\t \n \t\t\t\tMARCY DAWSON \n \t\tThe suitcase isn't filled with \n \t\tfifties or gold or diamonds. Just \n \t\tsilicon. A Ming Mecca chip.","\tThe synagogue is a claustrophobic, fluorescent-lit room in \n \tgeneral disarray. Two rows of imitation-wooden pews face a ","\t\tholies which was the heart of \n \t\tJewish life. This was the \n \t\tearthly residence for our \n \t\tGod. The one God. It \n \t\tcontained the ark of the ","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\tMax gets to his feet and runs behind Farrouhk. \n \tJust then a station wagon screeches up to the curb. Lenny \n \tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \n","\t\tworld, you'll be able to pull \n \t\tit out of anywhere. Two \n \t\thundred and sixteen steps \n \t\tfrom your street comer to \n \t\tyour front door. Two hundred ","\t\ttook his secret to the top of \n \t\tthe burning building. The \n \t\theavens opened up and took \n \t\tthe key from the priest's \n \t\toutstretched hand. We've been ","\t\ta prosperous year. It meant \n \t\tthat we were one yea r closer \n \t\tto the messianic age. Closer \n \t\tto the return of the Garden ","\tFarrouhk jumps into his cab. \n \n \tINT. LENNY MEYER'S CAR - MOVING - NIGHT \n \tYisrael yanks the steering wheel to the left, the old station ","\t\tme a Paki bastard. So I whacked him, \n \t\tright in the head. \n \n \t\t\t\tDEVI (O.S.) \n \t\tFarrouhk! \n \t","\tthe car. Meanwhile, the Shinny man is heading right at them. \n \n \tThe CHAUFFEUR reaches out to him. Max yanks his arm free and \n \truns away. He whips around a corner. \n","\t\t\t\tLENNY MEYER \n \t\tThey purify us and bring us \n \t\tcloser to God. You want to try it? \n \n \tJust then, Max pays his bill and prepares to leave. \n","\tEXT. CHINATOWN - DAY \n \tMax watches people bustle through the busy intersections of \n \tChinatown. The streets are clogged with people. \n \n \t\t\t\tMAX (V.O.) ","\t\ttrip into the holy of holies. \n \t\tIf the holy man was pure he \n \t\twould reemerge a few moments \n \t\tlater and Israel was secured ","\t\t\t(Points to his yarmulke) \n \t\tI work with the Torah. \n \t\t\t(Awed by the coincidence) \n \t\tAmazing. \n \t \n \t\t\t\tMAX ","\tpiece of paper with Sol's handwriting on it. On the paper is \n \tTHE number. Max slides it into his pocket. \n \n \tMax looks at the Go board. The pieces are arranged in a giant \n \tspiral across the board.","\t\thoodthe Cohanimthe Cohens, \n \t\tand with their deaths they \n \t\tdestroyed our greatest \n \t\tsecret. In the center of the \n \t\tgreat temple was the holy of ","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n"],["\tMarcy jabs Max in his stomach. Max falls to the ground. The \n \ttough guys sit on him. \n \n \t\t\t\tMARCY DAWSON \n \t\tC'mon, Max. This isn't a ","\tMax gets to his feet and runs behind Farrouhk. \n \tJust then a station wagon screeches up to the curb. Lenny \n \tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \n","\t\t\t\tMARCY DAWSON (O.S.) \n \t\tMax, is that you? Max? \n \t\t\t(Pleading) \n \t\tMax, just talk to me. Things ","\t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? Mr. \n \t\tCohen? Please stop for a \n \t\tsecond Mr. Cohen? \n \t \n \tMax stops and faces Marcy. \n","\tMax lets out a 'SOL!, and reaches out into the void. We match \n \tcut back to \n \tTHE MAIN ROOM \n \n \twhere Max grabs Devi and hugs her. He gasps for air as","\tMax retreats in the opposite direction. Suddenly Jake and Brad \n \tgrab him and drag him out. \n \n \t\t\t\tMAX \n \t\tHey! Hey! Hey! \n \t","\t\tYes, Max. Listen to me... \n \t \n \tWe cut back to \n \t...THE MAIN ROOM \n \twhere Devi leans over Max. Max's eyes are open while he ","\tAnd then be realizes that Devi is not in his arms. He is \n \tholding onto himself. \n \n \tThen Max notices Sol's note on the ground. He looks at the ","\t \n \t\t\t\tMARCY DAWSON \n \t\tBut what about... \n \t \n \t\t\t\tMAX \n \t\tLet me think about it... \n \t \n \tMax trots off. \n","\t\t\t\tMARCY DAWSON \n \t\tBeautiful, isn't it? You know \n \t\thow rare...are you okay? \n \n \t\t\t\tMAX \n \t\tYeah, I got to go.","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\t\t\t\tMARCY DAWSON \n \t\tWe had a deal! NOW get in the limo! \n \t \n \tMarcy releases a vicious slap that nearly knocks Max down. Max \n \twhimpers.","\tMax wipes his nose and looks around nervously. \n \n \tHe sees the rides of Coney Island in the distance. \n \n \tEXT. CONEY ISLAND BEACH - DAY \n","\t\tYou're not gonna save the world. \n \n \t\t\t\tMARCY DAWSON \n \t\tLook, Max... \n \t","\tnose. The guy goes down and Max shoots out the exit. \n \n \tEXT. UNDERNEATH CAR - NIGHT \n \tMax dives under a car and crawls for terror. He sees two sets ","\tMax eyes Marcy Dawson's business card, suspiciously He dials \n \tthe number. A man answers on the other line. \n \n \t\t\t\tMAN'S VOICE (OS.) \n \t\tThree, eight, two.","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\tMax, crawls into the \n \tMAIN ROOM \n \n \tand picks up the phone. He pinches his nose and tilts his head \n \tback. \n \n \t\t\t\tMARCY DAWSON ","\tsees Marcy Dawson blocking his exit. \n \n \t\t\t\tMAX \n \t\tMarcy? What's up? \n \t \n \tMax retreats. \n \n \t\t\t\tMARCY DAWSON ","\tEXT. SOL'S APARTMENT - MORNING \n \n \tMax rushes to the subway when a honking horn stops him. A limo \n \tpulls up next to him. Marcy Dawson jumps out of the car \n"],["\t\t\t\tMARCY DAWSON \n \t\tAs a sign of good faith we \n \t\twish to offer you this. \n \n \t\t\t\tMAX \n \t\tI told you I don't want money.","\t\t\t\tMARCY DAWSON (O.S.) \n \t\tMax, is that you? Max? \n \t\t\t(Pleading) \n \t\tMax, just talk to me. Things ","\tMax eyes Marcy Dawson's business card, suspiciously He dials \n \tthe number. A man answers on the other line. \n \n \t\t\t\tMAN'S VOICE (OS.) \n \t\tThree, eight, two.","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\t \n \t\t\t\tMARCY DAWSON \n \t\tBut what about... \n \t \n \t\t\t\tMAX \n \t\tLet me think about it... \n \t \n \tMax trots off. \n","\t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? Mr. \n \t\tCohen? Please stop for a \n \t\tsecond Mr. Cohen? \n \t \n \tMax stops and faces Marcy. \n","\t\t\t\tMARCY DAWSON \n \t\tWe're very anxious to talk \n \t\twith you, sir \n \n \t\t\t\tMAX \n \t\tI can't. \n \t","\tMarcy jabs Max in his stomach. Max falls to the ground. The \n \ttough guys sit on him. \n \n \t\t\t\tMARCY DAWSON \n \t\tC'mon, Max. This isn't a ","\t\t\t\tMARCY DAWSON \n \t\tI'm prepared to \n \t\tmake you a generous... \n \n \tMax hurries to wrap up the conversation. \n \n \t\t\t\tMAX ","\t\t\t\tMARCY DAWSON \n \t\tWe had a deal! NOW get in the limo! \n \t \n \tMarcy releases a vicious slap that nearly knocks Max down. Max \n \twhimpers.","\t\t\t\tMARCY DAWSON \n \t\tBeautiful, isn't it? You know \n \t\thow rare...are you okay? \n \n \t\t\t\tMAX \n \t\tYeah, I got to go.","\tMax, crawls into the \n \tMAIN ROOM \n \n \tand picks up the phone. He pinches his nose and tilts his head \n \tback. \n \n \t\t\t\tMARCY DAWSON ","\tsees Marcy Dawson blocking his exit. \n \n \t\t\t\tMAX \n \t\tMarcy? What's up? \n \t \n \tMax retreats. \n \n \t\t\t\tMARCY DAWSON ","\tcan't give them the number. \n \n \t\t\t\tMAX \n \t\tYou can't kill me! \n \t \n \t\t\t\tMARCY DAWSON \n \t\tC'mon, Max. You ","\tapproaches the man. \n \n \t\t\t\tMAX \n \t\tHey, excuse me, can I see \n \t\tthat? \n \n \tThe man hands Max the paper. Max scans the article. Then He ","\t\tWe're willing to take the risk. \n \t \n \t\t\t\tMAX \n \t\tOkay. First, I want you \n \t\tto call off the surveillance. \n \t\t\t\tMARCY DAWSON ","\tThen Max shyly opens up his front door and quickly grabs the \n \tblack attaché case in front of his door \n \n \tDonning a surgical mask and latex gloves, Max opens the black ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\tA bewildered Max slowly hangs up. \n \n \t\t\t\tMAX \n \t\tDamn. \n \t \n \tMax checks the peephole - all clear. \n \n \tThen, he opens his - \n","\tAnd then be realizes that Devi is not in his arms. He is \n \tholding onto himself. \n \n \tThen Max notices Sol's note on the ground. He looks at the "],["\t\tnumber theorist. The Torah is \n \t\ttheir data set. The thing is, \n \t\tthey're searching for a two \n \t\thundred and sixteen digit \n \t\tnumber in the Torah.","\t\tThe Torah is just \n \t\ta long string of numbers. \n \t\tSome say that it's a long \n \t\tcode sent to us from God. \n","\t\t\t(Points to his yarmulke) \n \t\tI work with the Torah. \n \t\t\t(Awed by the coincidence) \n \t\tAmazing. \n \t \n \t\t\t\tMAX ","\t\tWe're searching for a pattern \n \t\tin Torah. \n \t \n \tLenny finishes wrapping Max's arm. He reaches for another box \n \tand strap. \n \n \t\t\t\tMAX ","\t\tand forty-four. Then take the \n \t\ttree of knowledge...in \n \t\tthe garden, Aat Ha Haim, it \n \t\tequals two hundred and \n \t\tthirty-three. Now you can take ","\t\tlonger a mathematician. You \n \t\tbecome a numerologist. What \n \t\tyou need to do is take a \n \t\tbreak from your research. You \n \t\tneed it. You deserve it ","\t\torder...a pattern, beneath every \n \t\tGo game. Maybe that pattern is \n \t\tlike the pattern in the market, \n \t\tin the Torah. The two sixteen \n \t\tnumber. \n","\tstrings of code lightning fast. \n \n \tThe Hebrew letters suddenly switch to their numerical \n \tcounterparts. Max toggles between Hebrew and numbers a few \n \ttimesimpressed. \n","\t\t...math. \n \n \t\t\t\tLENNY MEYER \n \t\tReally? What type of math? \n \t \n \t\t\t\tMAX \n \t\tNumber theory. Mostly ","\t\ta spiral. Then, maybe, \n \t\textensions of our behavior \n \t\tlike the stock market. maybe \n \t\teven the writing of The \n \t\tTorah, is infused with the ","\t\tHebrew text and turn them into \n \t\ta long string of numbers. \n \t \n \tThe waitress refills Max's coffee. \n \n \t\t\t\tLENNY MEYER","\t\tIn Hebrew characters and numbers. \n \n \t\t\t\tMAX \n \t\tNo, what is it? The two \n \t\thundred and sixteen digits. \n \n \t\t\t\tLENNY MEYER","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\t\tfreaks. \n \t\t\t(Sarcastic) \n \t\tThe holy Torah... \n \t \n \tBut then he notices his thumb twitching. He rubs his scar. ","\tthe magnification. At a weaker magnification, the \n \tmathematician sees that the cells are grouped in spirals. \n \n \tMax is stunned, He grabs the phone and pulls a business card ","\t\tactually solid gold. Unsolved \n \t\tproblem at the time. It \n \t\ttortures the great Greek \n \t\tmathematician for weeks. \n \t\tInsomnia haunts him and he ","\t\tI want to help. \n \t \n \t\t\t\tLENNY MEYER \n \t\tExcellent. \n \t \n \t\t\t\tMAX \n \t\tDo you have the Torah in ","\t\t\t\tLENNY MEYER \n \t\tThe Torah. \n \t \n \t\t\t\tMAX \n \t\tWhat is it? \n \t \n \t\t\t\tLENNY MEYER ","\tLenny points to the text. EXTREME CLOSE-UP of Hebrew letters. \n \n \t\t\t\tLENNY MEYER \n \t\tHere, look...the ancient \n \t\tJews used Hebrew as their ","\t\tThat's bullshit. It's \n \t\tmath, numbers, ideas. \n \t\tMathematicians are suppose to \n \t\tbe out on the edge. You \n \t\ttaught me that! \n \t"],["\t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? Mr. \n \t\tCohen? Please stop for a \n \t\tsecond Mr. Cohen? \n \t \n \tMax stops and faces Marcy. \n","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\t\tMr. Cohen! Perfect timing. \n \t \n \tMarcy sticks out her hand. Max, not knowing what else to do, \n \tshakes it. \n \n \t\t\t\tMARCY DAWSON ","\t\t\t\tMARCY DAWSON \n \t\tWe had a deal! NOW get in the limo! \n \t \n \tMarcy releases a vicious slap that nearly knocks Max down. Max \n \twhimpers.","\tMarcy jabs Max in his stomach. Max falls to the ground. The \n \ttough guys sit on him. \n \n \t\t\t\tMARCY DAWSON \n \t\tC'mon, Max. This isn't a ","\tMax eyes Marcy Dawson's business card, suspiciously He dials \n \tthe number. A man answers on the other line. \n \n \t\t\t\tMAN'S VOICE (OS.) \n \t\tThree, eight, two.","\tThey search him, taking his wallet, keys, everything. \n \n \tMarcy looks at the guys, who shake their heads. She walks over \n \tto Max and shows Max the front page of the Wall Street ","\t\t\t\tMARCY DAWSON \n \t\tWhat? Mr. Cohen!? \n \t \n \tINT. SUBWAY STATION - PUBLIC BENCH - NIGHT \n","\t\t\t\tMARCY DAWSON (O.S.) \n \t\tMax, is that you? Max? \n \t\t\t(Pleading) \n \t\tMax, just talk to me. Things ","\t \n \t\t\t\tMARCY DAWSON \n \t\tBut what about... \n \t \n \t\t\t\tMAX \n \t\tLet me think about it... \n \t \n \tMax trots off. \n","\t\t\t\tMARCY DAWSON \n \t\tOh...Marcy Dawson. From \n \t\tLancet Percy. We were \n \t\tsupposed to meet at three. \n \n \t\t\t\tMAX ","\t\t\t\tMARCY DAWSON \n \t\tAs a sign of good faith we \n \t\twish to offer you this. \n \n \t\t\t\tMAX \n \t\tI told you I don't want money.","\t\t\t\tMARCY DAWSON \n \t\tBeautiful, isn't it? You know \n \t\thow rare...are you okay? \n \n \t\t\t\tMAX \n \t\tYeah, I got to go.","\t\t\t\tMARCY DAWSON \n \t\tYou have to be careful \n \t\twhere you throw out your trash. \n \n \t\t\t\tMAX \n \t\tHow could you do that? \n \t","\tHe seems to have lost him, when he notices a business-woman \n \twith a pretty face heading right toward him. It is MARCY \n \tDAWSON. \n \n \t\t\t\tMARCY DAWSON ","\t\tMr. Cohen. Marcy \n \t\tDawson here again I was just \n \t\tlooking over my schedule and \n \t\tI realized I'll be in your \n \t\tneighborhood tomorrow around ","\t\tMr. Cohen, give \n \t\tme a moment... \n \n \tBut before Marcy finishes, Max hangs up. He rips off the \n \tprintout and heads to the front door. \n","\tEXT. SOL'S APARTMENT - MORNING \n \n \tMax rushes to the subway when a honking horn stops him. A limo \n \tpulls up next to him. Marcy Dawson jumps out of the car \n","\t\t\t\tMARCY DAWSON \n \t\tWe're very anxious to talk \n \t\twith you, sir \n \n \t\t\t\tMAX \n \t\tI can't. \n \t","\tMarcy nods to Jake, who pulls out a gun and points it at Max's \n \thead. \n \n \t\t\t\tMAX \n \t\tMy God, what are you doing? \n \t"],["\t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? Mr. \n \t\tCohen? Please stop for a \n \t\tsecond Mr. Cohen? \n \t \n \tMax stops and faces Marcy. \n","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\t\t\t\tMARCY DAWSON \n \t\tWe're very anxious to talk \n \t\twith you, sir \n \n \t\t\t\tMAX \n \t\tI can't. \n \t","\t\t\t\tMARCY DAWSON \n \t\tAs a sign of good faith we \n \t\twish to offer you this. \n \n \t\t\t\tMAX \n \t\tI told you I don't want money.","\tMax eyes Marcy Dawson's business card, suspiciously He dials \n \tthe number. A man answers on the other line. \n \n \t\t\t\tMAN'S VOICE (OS.) \n \t\tThree, eight, two.","\t\t\t\tMARCY DAWSON (O.S.) \n \t\tMax, is that you? Max? \n \t\t\t(Pleading) \n \t\tMax, just talk to me. Things ","\t\t\t\tMARCY DAWSON \n \t\tWe had a deal! NOW get in the limo! \n \t \n \tMarcy releases a vicious slap that nearly knocks Max down. Max \n \twhimpers.","\t\tMr. Cohen! Perfect timing. \n \t \n \tMarcy sticks out her hand. Max, not knowing what else to do, \n \tshakes it. \n \n \t\t\t\tMARCY DAWSON ","\tThey search him, taking his wallet, keys, everything. \n \n \tMarcy looks at the guys, who shake their heads. She walks over \n \tto Max and shows Max the front page of the Wall Street ","\t \n \t\t\t\tMARCY DAWSON \n \t\tBut what about... \n \t \n \t\t\t\tMAX \n \t\tLet me think about it... \n \t \n \tMax trots off. \n","\tMarcy jabs Max in his stomach. Max falls to the ground. The \n \ttough guys sit on him. \n \n \t\t\t\tMARCY DAWSON \n \t\tC'mon, Max. This isn't a ","\t\t\t\tMARCY DAWSON \n \t\tBeautiful, isn't it? You know \n \t\thow rare...are you okay? \n \n \t\t\t\tMAX \n \t\tYeah, I got to go.","\t\t\t\tMARCY DAWSON \n \t\tI'm prepared to \n \t\tmake you a generous... \n \n \tMax hurries to wrap up the conversation. \n \n \t\t\t\tMAX ","\tcan't give them the number. \n \n \t\t\t\tMAX \n \t\tYou can't kill me! \n \t \n \t\t\t\tMARCY DAWSON \n \t\tC'mon, Max. You ","\t\t\t\tMARCY DAWSON \n \t\tWhat? Mr. Cohen!? \n \t \n \tINT. SUBWAY STATION - PUBLIC BENCH - NIGHT \n","\t\t\t\tMARCY DAWSON \n \t\tYou have to be careful \n \t\twhere you throw out your trash. \n \n \t\t\t\tMAX \n \t\tHow could you do that? \n \t","\t\tspeak with Mr. Cohen, please? \n \n \t\t\t\tMAX \n \t\tI told you... \n \t \n \tThe printer finishes printing. \n \n \t\t\t\tMARCY DAWSON ","\t\tMr. Cohen, give \n \t\tme a moment... \n \n \tBut before Marcy finishes, Max hangs up. He rips off the \n \tprintout and heads to the front door. \n","\tsees Marcy Dawson blocking his exit. \n \n \t\t\t\tMAX \n \t\tMarcy? What's up? \n \t \n \tMax retreats. \n \n \t\t\t\tMARCY DAWSON ","\t\tWe're willing to take the risk. \n \t \n \t\t\t\tMAX \n \t\tOkay. First, I want you \n \t\tto call off the surveillance. \n \t\t\t\tMARCY DAWSON "],["\t\tdivided by twenty-two. \n \n \t\t\t\tMAX \n \t\t\t(instantly again) \n \t\tThree point three one eight one \n \t\teight one eight... \n","\t\tand forty-four. Then take the \n \t\ttree of knowledge...in \n \t\tthe garden, Aat Ha Haim, it \n \t\tequals two hundred and \n \t\tthirty-three. Now you can take ","\tJenna types it into her calculator. Max finishes locking his \n \tdoor. \n \n \t\t\t\tMAX \n \t\t\t(instantly) \n \t\tOne hundred fifty-eight thousand, ","\t\tTwo...two hundred. That's it! That's it! \n \t \n \tMax grabs a piece of paper and a pencil. He starts writing \n \tdown the number. He mumbles each digit as he sees it. \n","\tEuclid furiously. He recites the number with rage in his \n \tvoice. \n \n \t\t\t\tMAX \n \t\tThree, seven, two... \n \t","\tJenna presses the EQUALS button. \n \n \t\t\t\tJENNA \n \t\tI got it! I got it! \n \t\tWhat's the answer? \n \n \t\t\t\tMAX ","\tMax states the numbers right before they enter onto the \n \tscreen. \n \n \t\t\t\tMAX \n \t\tI know these...Seven \n \t\tand a quarter. Two and a half ","\t\tof Euclid. A large amount of \n \t\tblood, from his nose, is \n \t\tsemi-dried on his chin and \n \t\tchest. Devi hangs up the phone. \n","\tMax shrugs, not able to say no. \n \n \t\t\t\tJENNA \n \t\tHow about two hundred \n \t\tand fifty-five times a \n \t\thundred and eighty-three. \n \t","\t\t\t\tMAX \n \t\tIt's just a number. I'm \n \t\tsure you've written down \n \t\tevery two hundred sixteen number. \n \t\tYou've translated all of ","\tto him. Her MOM, down the hall, looks apologetic. \n \n \tJenna's eyes light up and she pulls out her Fisher Price \n \tcalculator. \n \n \t\t\t\tJENNA ","\tAnd then, his attention switches to the ticker. \n \n \t\t\t\tMAX \n \t\tTwo and a quarter, twelve \n \t\tand an eighth, six and two \n \t\teighths. \n \t","\tMax looks up the column for AAR. \n \n \t\t\tMAX \n \t\tFourteen and a half. Oh, \n \t\tmy... \n","\t\tonly God. \n \t \n \t\t\t\tMAX \n \t\t\t(Attempting calmness) \n \t\tNo, I mean the number, the \n \t\ttwo sixteen number? What is ","\t\tthem. You've intoned them \n \t\tall. Haven't you? But what's \n \t\tit gotten you? It's not the \n \t\tnumber! It's the meaning. ","\t\tEuclid spits out some \n \t\tnumbers. Never saw anything \n \t\tlike it and then it fries. \n \t\tThe whole machine just \n \t\tcrashed. \n \t","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\tfilo substance billows out of Euclid. \n \n \tAnd then a number pops onto the screen. Max estimates how many \n \tdigits are on the screen. \n \t\t\t\tMAX","\t\t\t\tMOM \n \t\tJenna... \n \t \n \tJenna screams after him. \n \n \t\t\t\tJENNA \n \t\tOkay, seventy-three ","\t\t\t\tMAX \n \t\tThe Fibonacci sequence. \n \t\tItalian mathematician, thirteenth \n \t\tcentury. If you divide \n \t\ta hundred and forty-four into "],["\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\tSol sighs. He looks down at the board and collects himself. \n \n \t\t\t\tSOL \n \t\tYou have it? \n \t \n \t\t\t\tMAX \n \t\tIt's in my head!","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've ","\tWondrously, Max rubs the scar on his head. \n \n \t\t\t\tRAV COHEN \n \t\t\t(Passion building) \n \t\tYes...it's The key into ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\tMax sits at the counter frantically looking at the Wall Street \n \tJournal. He plops three pills into his coffee. \n \n \tHe draws circles and other shapes across the page. \n","\tAs the blood surges through his head it brings him waves of \n \tpain. He gags several times. Then the pain lets loose and all \n \tMax wants to do is die. He smashes the side of his head with ","\tuntil it's downright scary. \n \n \tMax sits on a bench sucking down pills. His head begins to \n \thurt. He touches the right side of his scalp and nubs it. \n","\t\tMr. Cohen, give \n \t\tme a moment... \n \n \tBut before Marcy finishes, Max hangs up. He rips off the \n \tprintout and heads to the front door. \n","\t\t\t\tRAV COHEN \n \t\tOkay, okay! Lenny, \n \t\teasy! Max, I'll tell you \n \t\twhat's going on. Just calm \n \t\tdown. ","\tstrings of code lightning fast. \n \n \tThe Hebrew letters suddenly switch to their numerical \n \tcounterparts. Max toggles between Hebrew and numbers a few \n \ttimesimpressed. \n","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\tMax states the numbers right before they enter onto the \n \tscreen. \n \n \t\t\t\tMAX \n \t\tI know these...Seven \n \t\tand a quarter. Two and a half ","\tHe points to his head. \n \n \t\t\t\tMAX \n \t\tBut what is it? \n \t \n \tMrs. Ovadia starts looking at all the junk in the room. \n","\t\t\t\tMAX \n \t\tThe number is nothing. \n \t\tYou know that! \n \n \t\t\t\tRAV COHEN \n \t\tWe can use it. We \n \t\tcan wield it.","\tHe applies pressure and drills into his brain. \n \n \tMax collapses as we quickly \n \tCUT TO \n \n \tEXT. CITY PLAYGROUND - DAY \n \n \tTIGHT ON","\t\t\t\tMAX \n \t\t\t(Pushing Ephraim away) \n \t\tIt's not on me. It's in my \n \t\thead. \n \n \t\t\t\tLENNY MEYER ","\ttakes a thick black marker and draws a giant spiral across the \n \tentire page. \n \n \tMax is ecstatic as he pounds code into the computer takes ","\t\tthis junk. \n \t \n \tHe starts reciting the numbers. Then Max suddenly realizes \n \tsomething. He continues reciting the numbers from memory. \n \n \t\t\t\tMAX \n \t\tFour...zero..."],["\tINT. MAX'S APARTMENT -CHINATOWN FLAT NEW YORK CITY - NIGHT \n \n \tMax jolts his head from his desk and tries to orient him-self ","\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\tad. Then he notices one of the bodega owners staring at him. \n \n \tEXT. MAX'S APARTMENT - DAY \n \n \tMax scouts his front door. The coast is clear. ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\tSoon, Max gets up and kicks the trashcan. He heads home. \n \n \tIN FRONT OF MAX'S APARTMENT BUILDING \n \n \tMax watches Marcy get out of the limo and call to Mrs. Ovadia.","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\tEXT. CHINATOWN - DAY \n \tMax watches people bustle through the busy intersections of \n \tChinatown. The streets are clogged with people. \n \n \t\t\t\tMAX (V.O.) ","\t\t\t\tLENNY MEYER \n \t\tHello, this is Lenny? \n \t \n \t\t\t\tMAX \n \t\tLenny, it's Max Cohen. \n \t","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\t\t\t\tWOMAN'S VOICE \n \t\tMr. Cohen? \n \t \n \t\t\t\tMAX \n \t\tWho's this? \n \t","\t\t\t\tMAX \n \t\tLeave me alone, damn it. \n \t\tLeave me alone. \n \n \tMax hands the man back his camera and leaves. \n \n \tEXT. MAX'S APARTMENT - NIGHT ","\trevealing that Max's apartment looks more like the inside of a \n \tcomputer than a human's home. \n \n \tThe room is knee-high in computer parts of all shapes and ","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've ","\tEXT. S0L'S HALLWAY - DAY Max rings the bell on an apartment \n \tdoor. \n \n \tA few moments pass, and then SOL ROBESON opens the door. \n","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n","\t\t\t(Points to his yarmulke) \n \t\tI work with the Torah. \n \t\t\t(Awed by the coincidence) \n \t\tAmazing. \n \t \n \t\t\t\tMAX ","\tout of his pocket He quickly dials a number. \n \n \tSomeone answers with a \"Shalom\" on the other end of the line. \n \tMax asks for Lenny Meyer and is put on hold. \n","\tAnd then the singing stops \n \tmid-verse Max looks up and the man is gone. Vanished. Max \n \tlooks aroundno one in Sight. \n \n \tINT. APARTMENT STAIRCASE - DAY \n","\tMax peeks through the peephole. Two well-dressed large men, \n \tBRAD and ABE THE BABE, wait for the signal. MAX knocks and the \n \tsuits leave. \n","\tThe man catches Max's eye and looks away, but then he quickly \n \tlooks back, making Max turn away. \n \n \tHe looks down at his Wall Street journal and draws a circle "],["\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've ","\trevealing that Max's apartment looks more like the inside of a \n \tcomputer than a human's home. \n \n \tThe room is knee-high in computer parts of all shapes and ","\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\t\t\t\tMAX \n \t\tMax Cohen. \n \t \n \t\t\t\tMAN'S VOICE (O.S.) \n \t\tHold on. \n \t","\tThis is EUCLID, Max's creation. The computer is alive with \n \tsounds and lights. \n \n \tMax works on Euclid with his solder and drill. He cares for ","\t\t\t\tLENNY MEYER \n \t\tHello, this is Lenny? \n \t \n \t\t\t\tMAX \n \t\tLenny, it's Max Cohen. \n \t","\t\t\t\tMAX \n \t\tSo? \n \t \n \t\t\t\tRAV COHEN \n \t\tThat word was the true name of God. \n \t \n \t\t\t\tMAX \n \t\tYeah...","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\t\t\t\tMAX \n \t\tMax Cohen. \n \t \n \t\t\t\tLENNY MEYER \n \t\tCohen! \n \t\t\t(Judging) \n \t\tJewish? ","\tMax puts on a pair of latex gloves. He dons a surgical mask. \n \tHe climbs up to a loft above his monitors. A glass case, fed \n \tcool air by a vent tube, encases some computer parts. He ","\t\t\t\tWOMAN'S VOICE \n \t\tMr. Cohen? \n \t \n \t\t\t\tMAX \n \t\tWho's this? \n \t","\t\t\t(Which he does) \n \t\tThe name's Lenny Meyer \n \t \n \tLenny sticks out his hand. Max responds with a small nod. \n \t\t\t\tLENNY MEYER ","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\tINT. MAX'S APARTMENT - DAY \n \n \tMax examines the smashed Euclid mainframe. He uncovers some of \n \tthe strange filo-like substance. He carefully touches it. Then ","\t\tMr. Cohen, give \n \t\tme a moment... \n \n \tBut before Marcy finishes, Max hangs up. He rips off the \n \tprintout and heads to the front door. \n","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\t\tof your stature performing a \n \t\tmitzvah in my presence. \n \t\t\t(Beat) \n \t\tWhen you told me your name was \n \t\tMax Cohen, I didn't realize you ","\tSitting on the desk are three computer monitors, which Max \n \tflips on. \n \n \tThen he pops on more lights and more switches. We pull back ","\t\t\t\tWOMAN'S VOICE \n \t\tMaximilian Cohen, please. \n \t \n \t\t\t\tMAX \n \t\tYeah? \n \t","\t\t\t(Points to his yarmulke) \n \t\tI work with the Torah. \n \t\t\t(Awed by the coincidence) \n \t\tAmazing. \n \t \n \t\t\t\tMAX "],["\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've ","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\t\t\t(Points to his yarmulke) \n \t\tI work with the Torah. \n \t\t\t(Awed by the coincidence) \n \t\tAmazing. \n \t \n \t\t\t\tMAX ","\t\t\t\tMAX \n \t\tWhat are you... \n \t \n \t\t\t\tRAV COHEN \n \t\tJust give me a chance. \n \t\tYou'll understand everything ","\t\t\t\tMAX \n \t\tMax Cohen. \n \t \n \t\t\t\tMAN'S VOICE (O.S.) \n \t\tHold on. \n \t","\t\t\t\tMAX \n \t\tSo? \n \t \n \t\t\t\tRAV COHEN \n \t\tThat word was the true name of God. \n \t \n \t\t\t\tMAX \n \t\tYeah...","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\t\tsaw God. \n \n \t\t\t\tRAV COHEN \n \t\tNo, no, Max. \n \t\tYou're not pure. You can't \n \t\tsee God unless you're pure.","\t\t\t\tMAX \n \t\tMax Cohen. \n \t \n \t\t\t\tLENNY MEYER \n \t\tCohen! \n \t\t\t(Judging) \n \t\tJewish? ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\t\t\t\tMAX \n \t\tWell, you know, \n \t\tHassidim. I met one in the \n \t\tcoffee shop. The guy's a ","\t\tMr. Cohen, give \n \t\tme a moment... \n \n \tBut before Marcy finishes, Max hangs up. He rips off the \n \tprintout and heads to the front door. \n","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n","\t\t\t\tRAV COHEN \n \t\tOkay, okay! Lenny, \n \t\teasy! Max, I'll tell you \n \t\twhat's going on. Just calm \n \t\tdown. ","\tWondrously, Max rubs the scar on his head. \n \n \t\t\t\tRAV COHEN \n \t\t\t(Passion building) \n \t\tYes...it's The key into ","\t\tof your stature performing a \n \t\tmitzvah in my presence. \n \t\t\t(Beat) \n \t\tWhen you told me your name was \n \t\tMax Cohen, I didn't realize you ","\t\t\t\tLENNY MEYER \n \t\tHello, this is Lenny? \n \t \n \t\t\t\tMAX \n \t\tLenny, it's Max Cohen. \n \t","\t\t\t\tMAX \n \t\tThe number is nothing. \n \t\tYou know that! \n \n \t\t\t\tRAV COHEN \n \t\tWe can use it. We \n \t\tcan wield it.","\tMax wipes his nose and looks around nervously. \n \n \tHe sees the rides of Coney Island in the distance. \n \n \tEXT. CONEY ISLAND BEACH - DAY \n"],["\tINT. MAX'S APARTMENT -CHINATOWN FLAT NEW YORK CITY - NIGHT \n \n \tMax jolts his head from his desk and tries to orient him-self ","\trevealing that Max's apartment looks more like the inside of a \n \tcomputer than a human's home. \n \n \tThe room is knee-high in computer parts of all shapes and ","\tad. Then he notices one of the bodega owners staring at him. \n \n \tEXT. MAX'S APARTMENT - DAY \n \n \tMax scouts his front door. The coast is clear. ","\tEXT. CHINATOWN - DAY \n \tMax watches people bustle through the busy intersections of \n \tChinatown. The streets are clogged with people. \n \n \t\t\t\tMAX (V.O.) ","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\tThen, Max has a premonition. He turns and spots the \n \tPhotographer in front of a porn shop on Eighth and 42nd. \n \n \tEXT. PORN SHOP - 42ND STREET - NIGHT","\tINT. MAX'S APARTMENT DAY \n \n \tEUCLID'S INNARDS \n \n \tMax uses a drill to rip out some old parts. He lays new wire ","\tMax wanders over to the place where the old man exam \n \n \tINT. MAX'S APARTMENT - NIGHT \n \tMAX'S POV through the microscope. Max sees the brain \n \tstructures. \n","\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\this fingertip. Then, he dips his finger under the tap. \n \n \tINT. MAX'S APARTMENT - MAIN ROOM - DAY \n \n \tMax's room is constantly dark because the windows are blacked ","\tSoon, Max gets up and kicks the trashcan. He heads home. \n \n \tIN FRONT OF MAX'S APARTMENT BUILDING \n \n \tMax watches Marcy get out of the limo and call to Mrs. Ovadia.","\tgives Max a small slap on the butt. \n \n \tINSIDE HIS APARTMENT Max bolts the front door. \n \n \tAt his desk he rips open the envelope Lenny Meyer gave him. He ","\tMax wipes his nose and looks around nervously. \n \n \tHe sees the rides of Coney Island in the distance. \n \n \tEXT. CONEY ISLAND BEACH - DAY \n","\t\tI'll find this structure, \n \t\tthis order, this perfection. \n \n \tINT. MAX'S APARTMENT - DAY \n \tMax stares intensely at the ticker on the small TV that sits ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\tin the darkness. He has intelligent eyes set in an exhausted, \n \tgood-looking face. \n \n \tThen he notices the blood dripping from his nose. Max wipes \n \tit. \n","\tEXT. CHINATOWN - DAY \n \n \tMax wanders through the crowded streets of Chinatown. \n \n \t\t\t\tMAX (V.O.) \n \t\tIf we're built from ","\theading toward Times Square. Max pursues. \n \n \tMax chases him down a looooong passage. \n \n \tBut he loses him at an underground five-way fork in the road. ","\tglimpse of the Photographer exiting the station. \n \n \tSMASH TO \n \n \tEXT. TIMES SQUARE - NEON NIGHT \n \n \tIn the heart of New York, Max spins around searching for his ","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've "],["\tAs Max comes through, RAV COHEN speaks. \n \n \t\t\t\tRAV COHEN \n \t\tMax, Max. You're \n \t\tokay I'm Rabbi Cohen. Cohen ","\t\twere the Max Cohen. Maximilian Cohen. \n \t \n \t\t\t\tMAX \n \t\tYou know me? \n \t \n \t\t\t\tLENNY MEYER \n \t\t0f course, I've ","\t\tof your stature performing a \n \t\tmitzvah in my presence. \n \t\t\t(Beat) \n \t\tWhen you told me your name was \n \t\tMax Cohen, I didn't realize you ","\tin the darkness. He has intelligent eyes set in an exhausted, \n \tgood-looking face. \n \n \tThen he notices the blood dripping from his nose. Max wipes \n \tit. \n","\t\tperform in the holy of holies. \n \t\tHe had to intone a single \n \t\tword. \n \n \tRav Cohen takes a dramatic pause. Max is anxious to hear the \n \tend of the story. \n","\t\t\t(Points to his yarmulke) \n \t\tI work with the Torah. \n \t\t\t(Awed by the coincidence) \n \t\tAmazing. \n \t \n \t\t\t\tMAX ","\t\tTalk to us, Max. \n \n \tWe hear the sound of a phone hanging up. \n \n \tAt the coffee counter, Max pops a handful of pills and \n \tcrumples the paper. \n","\tA wise-looking, bearded Hasidic man with benevolent, piercing \n \teyes stands tenderly over Max. He wears traditional black \n \tclothes. Lenny Meyer paces nervously in the background. \n","\trevealing that Max's apartment looks more like the inside of a \n \tcomputer than a human's home. \n \n \tThe room is knee-high in computer parts of all shapes and ","\t\tMr. Cohen, give \n \t\tme a moment... \n \n \tBut before Marcy finishes, Max hangs up. He rips off the \n \tprintout and heads to the front door. \n","\tMax is put on hold. He notices a man in a business suit \n \twatching him. Max turns away. \n \n \t\t\t\tMARCY DAWSON \n \t\tMr. Cohen? I'm so ","\tSuddenly, Max hears someone singing. Max looks up. It is the \n \tSkinny Man and he's singing with passion. It's all very \n \tstrange to Max, who nervously looks away. \n","\tSo he takes out a scissors and starts removing some hair. \n \n \tMeanwhile his neighbors' lovemaking gets more intense. Their \n \tscreams carry into Max's head. \n","\t\t\t\tRAV COHEN \n \t\tOkay, okay! Lenny, \n \t\teasy! Max, I'll tell you \n \t\twhat's going on. Just calm \n \t\tdown. ","\tuntil it's downright scary. \n \n \tMax sits on a bench sucking down pills. His head begins to \n \thurt. He touches the right side of his scalp and nubs it. \n","\t\t\t\tLENNY MEYER \n \t\tHello, this is Lenny? \n \t \n \t\t\t\tMAX \n \t\tLenny, it's Max Cohen. \n \t","\t\t\t\tWOMAN'S VOICE \n \t\tMr. Cohen? \n \t \n \t\t\t\tMAX \n \t\tWho's this? \n \t","\tSatisfied, Lenny lights up a cigarette and takes a drag. \n \n \t\t\t\tMAX \n \t\t\t(Mildly impressed) \n \t\tKind of interesting. \n \t","\tyesterday. Frustrated, he dumps the trash onto the sidewalk \n \tand starts looking through it Mrs. Ovadia watches him. \n \n \tMax sees her and is embarrassed for a moment. \n \n \t\t\t\tMAX ","\tHe takes a deep breath. Then we hear the motor again. Max \n \tlifts up his arm. He's holding a drill. He places the bit \n \tagainst the math section of his scalp. \n"]],"string":"[\n [\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \",\n \"\\tad. Then he notices one of the bodega owners staring at him. \\n \\n \\tEXT. MAX'S APARTMENT - DAY \\n \\n \\tMax scouts his front door. The coast is clear. \",\n \"\\tMax wipes his nose and looks around nervously. \\n \\n \\tHe sees the rides of Coney Island in the distance. \\n \\n \\tEXT. CONEY ISLAND BEACH - DAY \\n\",\n \"\\t\\tMr. Cohen, give \\n \\t\\tme a moment... \\n \\n \\tBut before Marcy finishes, Max hangs up. He rips off the \\n \\tprintout and heads to the front door. \\n\",\n \"\\tINT. MAX'S APARTMENT -CHINATOWN FLAT NEW YORK CITY - NIGHT \\n \\n \\tMax jolts his head from his desk and tries to orient him-self \",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\tSoon, Max gets up and kicks the trashcan. He heads home. \\n \\n \\tIN FRONT OF MAX'S APARTMENT BUILDING \\n \\n \\tMax watches Marcy get out of the limo and call to Mrs. Ovadia.\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tHello, this is Lenny? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLenny, it's Max Cohen. \\n \\t\",\n \"\\trevealing that Max's apartment looks more like the inside of a \\n \\tcomputer than a human's home. \\n \\n \\tThe room is knee-high in computer parts of all shapes and \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\tThen, Max has a premonition. He turns and spots the \\n \\tPhotographer in front of a porn shop on Eighth and 42nd. \\n \\n \\tEXT. PORN SHOP - 42ND STREET - NIGHT\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? Mr. \\n \\t\\tCohen? Please stop for a \\n \\t\\tsecond Mr. Cohen? \\n \\t \\n \\tMax stops and faces Marcy. \\n\",\n \"\\tit up and looks at it. \\n \\n \\tHe looks around wondering what's going on. Then Jenna leans \\n \\tout over a railing and starts laughing at Max. \\n \\n \\tINT. COFFEE SHOP-DAY \\n\",\n \"\\tgives Max a small slap on the butt. \\n \\n \\tINSIDE HIS APARTMENT Max bolts the front door. \\n \\n \\tAt his desk he rips open the envelope Lenny Meyer gave him. He \",\n \"\\tMax gets to his feet and runs behind Farrouhk. \\n \\tJust then a station wagon screeches up to the curb. Lenny \\n \\tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \\n\",\n \"\\tMax wanders over to the place where the old man exam \\n \\n \\tINT. MAX'S APARTMENT - NIGHT \\n \\tMAX'S POV through the microscope. Max sees the brain \\n \\tstructures. \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tMax Cohen. \\n \\t \\n \\t\\t\\t\\tMAN'S VOICE (O.S.) \\n \\t\\tHold on. \\n \\t\",\n \"\\t\\t\\t\\tWOMAN'S VOICE \\n \\t\\tMr. Cohen? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tWho's this? \\n \\t\"\n ],\n [\n \"\\tunbolts the five lock and slides into the hall. \\n \\n \\tINT. APARTMENJ HALLWAY - DAY \\n \\n \\tAs he secures his apartment, a Young girl named JENNA runs up \",\n \"\\tJenna types m the number. \\n \\n \\tMax is about to say \\\"no\\\" to Jenna, but then be decides to give \\n \\tit a shot. \\n \\n \\tMax thinks, he really thinks. \\n\",\n \"\\tit up and looks at it. \\n \\n \\tHe looks around wondering what's going on. Then Jenna leans \\n \\tout over a railing and starts laughing at Max. \\n \\n \\tINT. COFFEE SHOP-DAY \\n\",\n \"\\t\\t\\t(Smiling and then laughing) \\n \\t\\tI don't know. I really don't \\n \\t\\tknow. What is it, Jenna? \\n \\n \\t\\t\\t\\tJENNA \",\n \"\\tJust then, Jenna surprises him with her Fisher Price \\n \\tcalculator on hand. \\n \\n \\t\\t\\t\\tJEHNA \\n \\t\\tMax, Max! \\n \\t\",\n \"\\tMax smiles at Jenna. He's glad to see her. \\n \\n \\t\\t\\t\\tJENNA \\n \\t\\tCan we do one, Max, can \\n \\t\\twe? \\n\",\n \"\\t\\ta hundred two. Right? \\n \\n \\t\\t\\t\\tJENNA \\n \\t\\t\\t(Eyes light up) \\n \\t\\tRight. \\n \\t \\n \\tMax heads down the staircase. \\n\",\n \"\\tThere's a knock again. Max angrily unlocks the door and whips \\n \\tit open. \\n \\n \\tIN THE HALLWAY is Jenna with her calculator. \\n \\n \\t\\t\\t\\tJENNA \",\n \"\\t\\tMax, Max, can we do one. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tJenna. I can't now, Jenna. \\n \\t \\n \\t\\t\\t\\tJENNA \",\n \"\\t\\t\\t\\tMOM \\n \\t\\tJenna... \\n \\t \\n \\tJenna screams after him. \\n \\n \\t\\t\\t\\tJENNA \\n \\t\\tOkay, seventy-three \",\n \"\\tJenna types it into her calculator. Max finishes locking his \\n \\tdoor. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(instantly) \\n \\t\\tOne hundred fifty-eight thousand, \",\n \"\\tJenna presses the EQUALS button. \\n \\n \\t\\t\\t\\tJENNA \\n \\t\\tI got it! I got it! \\n \\t\\tWhat's the answer? \\n \\n \\t\\t\\t\\tMAX \",\n \"\\tto him. Her MOM, down the hall, looks apologetic. \\n \\n \\tJenna's eyes light up and she pulls out her Fisher Price \\n \\tcalculator. \\n \\n \\t\\t\\t\\tJENNA \",\n \"\\t\\tMax, Max! Can we do one? \\n \\t \\n \\t\\t\\t\\tMOM \\n \\t\\t\\t(Over and over again) \\n \\t\\tJenna! Jenna! \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\twoman wearing a simple black dress. Her name is JENNY ROBESON \\n \\tand she is Sol's niece. \\n \\n \\t\\t\\t\\tJENNY ROBESON \\n \\t\\tCan I help you? \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\t\\t(Confused) \\n \\t\\tSol? \\n \\t \\n \\t\\t\\t\\tJENNY ROBESON \\n \\t\\tWere you a friend? \\n \\t\",\n \"\\tMax shrugs, not able to say no. \\n \\n \\t\\t\\t\\tJENNA \\n \\t\\tHow about two hundred \\n \\t\\tand fifty-five times a \\n \\t\\thundred and eighty-three. \\n \\t\",\n \"\\t\\tWhere is he? \\n \\t \\n \\tJenny's eyes drop. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tNo. \\n \\t\",\n \"\\tHe seems to have lost him, when he notices a business-woman \\n \\twith a pretty face heading right toward him. It is MARCY \\n \\tDAWSON. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\tSoon, Max gets up and kicks the trashcan. He heads home. \\n \\n \\tIN FRONT OF MAX'S APARTMENT BUILDING \\n \\n \\tMax watches Marcy get out of the limo and call to Mrs. Ovadia.\"\n ],\n [\n \"\\tMax rushes into Sol s study. The room is covered with Sol's P, \\n \\tresearch books. It seems Sol had recently come out of \\n \\tretirement. Max looks at a few of Sol's books. Then he finds a \",\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\tMax continues to recite the number His voice becomes tender \\n \\tand peaceful. As he starts to become part of the void, his \\n \\tvoice turns into a whisper and his eyes start to close. \\n \\n \\tThen he hears Devi. \\n\",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \",\n \"\\t\\tIn some ways...I guess... \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(To himself) \\n \\t\\tStudying the pattern made Euclid \\n \\t\\tconscious of itself. Before it died it \",\n \"\\tMax wanders over to the place where the old man exam \\n \\n \\tINT. MAX'S APARTMENT - NIGHT \\n \\tMAX'S POV through the microscope. Max sees the brain \\n \\tstructures. \\n\",\n \"\\tEuclid furiously. He recites the number with rage in his \\n \\tvoice. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tThree, seven, two... \\n \\t\",\n \"\\tJust then, Euclid starts printing results on an old dot- \\n \\tmatrix printer. \\n \\n \\tMax suspiciously answers The phone. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHello? \\n \\t\",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\",\n \"\\t\\t\\t(Which he does) \\n \\t\\tThe name's Lenny Meyer \\n \\t \\n \\tLenny sticks out his hand. Max responds with a small nod. \\n \\t\\t\\t\\tLENNY MEYER \",\n \"\\tThe man catches Max's eye and looks away, but then he quickly \\n \\tlooks back, making Max turn away. \\n \\n \\tHe looks down at his Wall Street journal and draws a circle \",\n \"\\tMax backs away when he smacks into someone. \\n \\n \\tIt's Lenny Meyer - the young Jewish man. \\n \\n \\tMax jumps back in fear. \\n \\n \\t\\t\\t\\tLENNY MEYER \",\n \"\\tMax is interrupted by a puff of smoke. At the same time, \\n \\tsomeone touches his shoulder and says: \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tHey, Max, how you doing? \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tSo? \\n \\t \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tThat word was the true name of God. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah...\",\n \"\\trevealing that Max's apartment looks more like the inside of a \\n \\tcomputer than a human's home. \\n \\n \\tThe room is knee-high in computer parts of all shapes and \",\n \"\\tEuclid's cursor blinks, waiting. Max starts to laugh. He \\n \\tlaughs and laughs and laughs. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tOh God. Damn religious \",\n \"\\tgives Max a small slap on the butt. \\n \\n \\tINSIDE HIS APARTMENT Max bolts the front door. \\n \\n \\tAt his desk he rips open the envelope Lenny Meyer gave him. He \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\"\n ],\n [\n \"\\trevealing that Max's apartment looks more like the inside of a \\n \\tcomputer than a human's home. \\n \\n \\tThe room is knee-high in computer parts of all shapes and \",\n \"\\tThis is EUCLID, Max's creation. The computer is alive with \\n \\tsounds and lights. \\n \\n \\tMax works on Euclid with his solder and drill. He cares for \",\n \"\\tMax puts on a pair of latex gloves. He dons a surgical mask. \\n \\tHe climbs up to a loft above his monitors. A glass case, fed \\n \\tcool air by a vent tube, encases some computer parts. He \",\n \"\\t\\t\\t(Which he does) \\n \\t\\tThe name's Lenny Meyer \\n \\t \\n \\tLenny sticks out his hand. Max responds with a small nod. \\n \\t\\t\\t\\tLENNY MEYER \",\n \"\\tSitting on the desk are three computer monitors, which Max \\n \\tflips on. \\n \\n \\tThen he pops on more lights and more switches. We pull back \",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\tINT. MAX'S APARTMENT - DAY \\n \\n \\tMax examines the smashed Euclid mainframe. He uncovers some of \\n \\tthe strange filo-like substance. He carefully touches it. Then \",\n \"\\ttakes a thick black marker and draws a giant spiral across the \\n \\tentire page. \\n \\n \\tMax is ecstatic as he pounds code into the computer takes \",\n \"\\tgives Max a small slap on the butt. \\n \\n \\tINSIDE HIS APARTMENT Max bolts the front door. \\n \\n \\tAt his desk he rips open the envelope Lenny Meyer gave him. He \",\n \"\\tINT. MAX'S APARTMENT DAY \\n \\n \\tEUCLID'S INNARDS \\n \\n \\tMax uses a drill to rip out some old parts. He lays new wire \",\n \"\\tcover. Max furiously attacks them, stomping them out with his \\n \\tbands. \\n \\n \\tThen he jumps on the smashed mainframe. He slides to \\n \\tthe ground and covers his face. \\n\",\n \"\\t\\tUnique?! Unique?! He's a dork! \\n \\t \\n \\tThen, Max carefully slips the DISK into Euclid's drive. Hebrew \\n \\tcharacters pop onto Euclid's screen. Max pounds in several \",\n \"\\tEuclid's cursor blinks, waiting. Max starts to laugh. He \\n \\tlaughs and laughs and laughs. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tOh God. Damn religious \",\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\tThen Max shyly opens up his front door and quickly grabs the \\n \\tblack attaché case in front of his door \\n \\n \\tDonning a surgical mask and latex gloves, Max opens the black \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tOh, okay. \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tLenny Meyer. \\n \\t\\t\\t(Motioning to the cigarette) \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tAhh... \\n \\t \\n \\tMax walks back into the \\n \\tMAIN ROOM \\n \\n \\tand sits down in a chair. The lamp is blinding so he\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tOut! Get out! \\n \\t \\n \\tMax slams the door in their faces. \\n \\tMax rubs his chin and looks around the room. He starts\",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \"\n ],\n [\n \"\\tMax waits a moment. He tousles his hair. Then he checks again. \\n \\tShe's gone. He opens his locks and releases several bolts. \\n \\n \\tINT.MAX'S BUILDING HALLWAY - DAY \\n\",\n \"\\tMax wipes his nose and looks around nervously. \\n \\n \\tHe sees the rides of Coney Island in the distance. \\n \\n \\tEXT. CONEY ISLAND BEACH - DAY \\n\",\n \"\\tad. Then he notices one of the bodega owners staring at him. \\n \\n \\tEXT. MAX'S APARTMENT - DAY \\n \\n \\tMax scouts his front door. The coast is clear. \",\n \"\\t \\n \\tMax rushes out. \\n \\n \\tEXT. PLAYGROUND - LATE AFTERNOON \\n \\n \\tMax sifts through the trash can where he threw his picks from \",\n \"\\tMax wanders helplessly through the dump. There's nothing but \\n \\tjunk and more junk. \\n \\n \\tEXT. PUBLIC PAY PHONE - DAY \",\n \"\\tMax's voiceover begins: \\n \\n \\t\\t\\t\\tMAX (V.O.) \\n \\t\\tMonday, September first. \\n \\t\\tSix-fifteen. \\n \\n \\tINT. BATHROOM - DAWN\",\n \"\\tMax follows the man's movement on his platform. When the young \\n \\tman shoots up the exit stairs, Max does so as well. \\n \\n \\tMax catches a glimpse of his foe entering the catacombs \",\n \"\\tMax exits. He notices that the Skinny Man gets off - one car \\n \\tdown - as well. \\n \\n \\tHe hustles toward the exit. As he's about to turn a corner he \",\n \"\\tAnd then the singing stops \\n \\tmid-verse Max looks up and the man is gone. Vanished. Max \\n \\tlooks aroundno one in Sight. \\n \\n \\tINT. APARTMENT STAIRCASE - DAY \\n\",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\tSoon, Max gets up and kicks the trashcan. He heads home. \\n \\n \\tIN FRONT OF MAX'S APARTMENT BUILDING \\n \\n \\tMax watches Marcy get out of the limo and call to Mrs. Ovadia.\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tOut! Get out! \\n \\t \\n \\tMax slams the door in their faces. \\n \\tMax rubs his chin and looks around the room. He starts\",\n \"\\tThe man catches Max's eye and looks away, but then he quickly \\n \\tlooks back, making Max turn away. \\n \\n \\tHe looks down at his Wall Street journal and draws a circle \",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\",\n \"\\tMax charges up a flight of stairs. He crosses a passage over \\n \\tthe tracks and flies down the stairs to the other side of the \\n \\tplatform. \\n \\n \\tThe Man is gone. A pool of blood sits where the Man was. Max \",\n \"\\tEXT. CHINATOWN - DAY \\n \\tMax watches people bustle through the busy intersections of \\n \\tChinatown. The streets are clogged with people. \\n \\n \\t\\t\\t\\tMAX (V.O.) \",\n \"\\tthe car. Meanwhile, the Shinny man is heading right at them. \\n \\n \\tThe CHAUFFEUR reaches out to him. Max yanks his arm free and \\n \\truns away. He whips around a corner. \\n\",\n \"\\theading toward Times Square. Max pursues. \\n \\n \\tMax chases him down a looooong passage. \\n \\n \\tBut he loses him at an underground five-way fork in the road. \",\n \"\\tEXT. CITY STREETS - DAY \\n \\n \\tMax races through the streets of New York. He is wide-eyed. \\n \\n \\t\\t\\t\\tMAX (V.0.) \",\n \"\\tin the darkness. He has intelligent eyes set in an exhausted, \\n \\tgood-looking face. \\n \\n \\tThen he notices the blood dripping from his nose. Max wipes \\n \\tit. \\n\"\n ],\n [\n \"\\t \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(Yeah right!) \\n \\t\\tMing Mecca. They're not declassified. \\n \\t \\n \\tMax starts to move away. \\n\",\n \"\\t\\tdown the line I'll work it \\n \\t\\tout. Just keep them in the \\n \\t\\tdark, let them beg. A damn \\n \\t\\tMing Mecca chip. It's like \",\n \"\\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tThe suitcase isn't filled with \\n \\t\\tfifties or gold or diamonds. Just \\n \\t\\tsilicon. A Ming Mecca chip.\",\n \"\\t\\tme a Paki bastard. So I whacked him, \\n \\t\\tright in the head. \\n \\n \\t\\t\\t\\tDEVI (O.S.) \\n \\t\\tFarrouhk! \\n \\t\",\n \"\\tthe car. Meanwhile, the Shinny man is heading right at them. \\n \\n \\tThe CHAUFFEUR reaches out to him. Max yanks his arm free and \\n \\truns away. He whips around a corner. \\n\",\n \"\\t\\tworld, you'll be able to pull \\n \\t\\tit out of anywhere. Two \\n \\t\\thundred and sixteen steps \\n \\t\\tfrom your street comer to \\n \\t\\tyour front door. Two hundred \",\n \"\\t\\ta prosperous year. It meant \\n \\t\\tthat we were one yea r closer \\n \\t\\tto the messianic age. Closer \\n \\t\\tto the return of the Garden \",\n \"\\tMax gets to his feet and runs behind Farrouhk. \\n \\tJust then a station wagon screeches up to the curb. Lenny \\n \\tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \\n\",\n \"\\tThe synagogue is a claustrophobic, fluorescent-lit room in \\n \\tgeneral disarray. Two rows of imitation-wooden pews face a \",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tThey purify us and bring us \\n \\t\\tcloser to God. You want to try it? \\n \\n \\tJust then, Max pays his bill and prepares to leave. \\n\",\n \"\\tpiece of paper with Sol's handwriting on it. On the paper is \\n \\tTHE number. Max slides it into his pocket. \\n \\n \\tMax looks at the Go board. The pieces are arranged in a giant \\n \\tspiral across the board.\",\n \"\\tEXT. CHINATOWN - DAY \\n \\tMax watches people bustle through the busy intersections of \\n \\tChinatown. The streets are clogged with people. \\n \\n \\t\\t\\t\\tMAX (V.O.) \",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\",\n \"\\tFarrouhk jumps into his cab. \\n \\n \\tINT. LENNY MEYER'S CAR - MOVING - NIGHT \\n \\tYisrael yanks the steering wheel to the left, the old station \",\n \"\\tHe points to his head. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tBut what is it? \\n \\t \\n \\tMrs. Ovadia starts looking at all the junk in the room. \\n\",\n \"\\t\\t\\t(Points to his yarmulke) \\n \\t\\tI work with the Torah. \\n \\t\\t\\t(Awed by the coincidence) \\n \\t\\tAmazing. \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\t\\ttook his secret to the top of \\n \\t\\tthe burning building. The \\n \\t\\theavens opened up and took \\n \\t\\tthe key from the priest's \\n \\t\\toutstretched hand. We've been \",\n \"\\tHe crumples up his picks and tosses them into a public trash \\n \\tcan. \\n \\n \\tINT. SOL'S STUDY - DAY \\n \\n \\tSol and Max play Go. Sol is peaceful while Max is distant.\",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\"\n ],\n [\n \"\\tBut then be stops writing. Power surge! He stares at the \\n \\tnumber. Something clicks in his head. His eyes go wide. He \\n \\tbarely musters a \\n \\n \\t\\t\\t\\tMAX \",\n \"\\t\\tthis junk. \\n \\t \\n \\tHe starts reciting the numbers. Then Max suddenly realizes \\n \\tsomething. He continues reciting the numbers from memory. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tFour...zero...\",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\tsaying the number to himself He gets more and more \\n \\texcited as he reads each digit. \\n \\n \\tINT. COFFEE SHOP - NIGHT \\n \\n \\tMax stirs cream into his coffee. Then he pulls out the\",\n \"\\t\\t\\t(Suddenly jolting up and remembering) \\n \\t\\tThe number, the number. \\n \\t \\n \\tMax looks at Euclid. The screen is blank. He looks at the \",\n \"\\t\\tSuddenly, it's all there. \\n \\t\\tIt all makes sense. I \\n \\t\\tcan crack it. I can know it. \\n \\t\\tI know what it is. Sol knows, \",\n \"\\t\\tAll we know is that it's two \\n \\t\\thundred and sixteen digits long. \\n \\t \\n \\tMax, stunned looks at Lenny. \\n \\n \\t\\t\\t\\tLENNY MEYER\",\n \"\\tMax continues to recite the number His voice becomes tender \\n \\tand peaceful. As he starts to become part of the void, his \\n \\tvoice turns into a whisper and his eyes start to close. \\n \\n \\tThen he hears Devi. \\n\",\n \"\\t\\tTwo...two hundred. That's it! That's it! \\n \\t \\n \\tMax grabs a piece of paper and a pencil. He starts writing \\n \\tdown the number. He mumbles each digit as he sees it. \\n\",\n \"\\tJournal. \\n \\n \\tA phone continues to RING. \\n \\n \\tIn the clouds of the Lancet-Percy ad - in The Journal Max \\n \\twrites down the two hundred and sixteen digit number. He \",\n \"\\tstrings of code lightning fast. \\n \\n \\tThe Hebrew letters suddenly switch to their numerical \\n \\tcounterparts. Max toggles between Hebrew and numbers a few \\n \\ttimesimpressed. \\n\",\n \"\\tpiece of paper with Sol's handwriting on it. On the paper is \\n \\tTHE number. Max slides it into his pocket. \\n \\n \\tMax looks at the Go board. The pieces are arranged in a giant \\n \\tspiral across the board.\",\n \"\\ttakes a thick black marker and draws a giant spiral across the \\n \\tentire page. \\n \\n \\tMax is ecstatic as he pounds code into the computer takes \",\n \"\\tnumber. He collects himself and catches his breath. \\n \\n \\tINT. MAX'S BATHROOM DAY \\n \\n \\tMax looks at Sol's note. He lights a match and burns it. \\n\",\n \"\\tA long beat. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(Incredulous) \\n \\t\\tYou're telling me that the number in \\n \\t\\tmy head is the name of God!? \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tIt's just a number. I'm \\n \\t\\tsure you've written down \\n \\t\\tevery two hundred sixteen number. \\n \\t\\tYou've translated all of \",\n \"\\tAnd then be realizes that Devi is not in his arms. He is \\n \\tholding onto himself. \\n \\n \\tThen Max notices Sol's note on the ground. He looks at the \",\n \"\\tcontinues to recite the number. \\n \\n \\t\\t\\t\\tDEVI \\n \\t\\tBreathe, Max! Breathe. \\n \\t\\tFocus. \\n \\n \\tMax turns away from Devi and we return to the \",\n \"\\tMax states the numbers right before they enter onto the \\n \\tscreen. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI know these...Seven \\n \\t\\tand a quarter. Two and a half \",\n \"\\tEuclid furiously. He recites the number with rage in his \\n \\tvoice. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tThree, seven, two... \\n \\t\"\n ],\n [\n \"\\tMax eyes Marcy Dawson's business card, suspiciously He dials \\n \\tthe number. A man answers on the other line. \\n \\n \\t\\t\\t\\tMAN'S VOICE (OS.) \\n \\t\\tThree, eight, two.\",\n \"\\tMarcy pulls out a folded, worn piece of paper. She opens it. \\n \\tIt's Max's stock pick that he threw out. Part of THE number is \\n \\ton the page \\n\",\n \"\\tcan't give them the number. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tYou can't kill me! \\n \\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tC'mon, Max. You \",\n \"\\tthe wall with disdain. Then he looks back at the screen, \\n \\tshrugs and confidently slaps RETURN on his keyboard. \\n \\n \\tStock prices float across the screen. Max can't believe his \",\n \"\\tMax flips to the stock quotes. He can't believe how far things \\n \\thave dovetailed. He shakes his head in disbelief when an \\n \\tenvelope appears in front of him. It belongs to Lenny Meyer. \\n\",\n \"\\tHe seems to have lost him, when he notices a business-woman \\n \\twith a pretty face heading right toward him. It is MARCY \\n \\tDAWSON. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tInformation is \\n \\t\\tthe private language \\n \\t\\tof Capital. We tried to \\n \\t\\testablish a symbiotic \\n \\t\\trelationship but if\",\n \"\\tJournal. It reads, \\\"MARKET CRACHES\\\" \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tYou're responsible for this. \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\t\\tof the stock market are my \\n \\t\\tlead. When I find the \\n \\t\\tpattern, then I will find \\n \\t\\tgold. \\n \\t \\n \\tMax watches the right edge of the screen where the numbers \",\n \"\\tThey search him, taking his wallet, keys, everything. \\n \\n \\tMarcy looks at the guys, who shake their heads. She walks over \\n \\tto Max and shows Max the front page of the Wall Street \",\n \"\\t\\tWe're willing to take the risk. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tOkay. First, I want you \\n \\t\\tto call off the surveillance. \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tThe number is nothing. \\n \\t\\tYou know that! \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tWe can use it. We \\n \\t\\tcan wield it.\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tAs a sign of good faith we \\n \\t\\twish to offer you this. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI told you I don't want money.\",\n \"\\t\\t\\t\\tMAX (V.O.) \\n \\t\\tSixteen, twenty-seven. Results: Euclid \\n \\t\\tshows tomorrow's Dow closing \\n \\t\\tup by four points. Anomalies \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tYou gave us faulty information. \\n \\t\\tYou gave us the carrot, the right \\n \\t\\tpicks, but then you only gave us \",\n \"\\tMax, crawls into the \\n \\tMAIN ROOM \\n \\n \\tand picks up the phone. He pinches his nose and tilts his head \\n \\tback. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tAllow me to dose. \\n \\t \\n \\tThe chauffeur pulls a black suitcase out of the limo and \\n \\tbrings it over. \\n\",\n \"\\tsaying the number to himself He gets more and more \\n \\texcited as he reads each digit. \\n \\n \\tINT. COFFEE SHOP - NIGHT \\n \\n \\tMax stirs cream into his coffee. Then he pulls out the\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWe had a deal! NOW get in the limo! \\n \\t \\n \\tMarcy releases a vicious slap that nearly knocks Max down. Max \\n \\twhimpers.\"\n ],\n [\n \"\\t\\t\\t\\tMAX \\n \\t\\tAnd what will it do to \\n \\t\\tyou? \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tWe're pure. Give \\n \\t\\tus the number! \\n\",\n \"\\t\\tnumerical system. Each \\n \\t\\tletter is a number. \\n \\n \\tLenny pulls out a pen and grabs Max's Journal. He writes on it \\n \\tas he talks. \\n\",\n \"\\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tDo you have the number? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah, I have it! \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\t\\t(Coolly) \\n \\t\\tTwo sixteen? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tYes. Now we have to say a \",\n \"\\tSatisfied, Lenny lights up a cigarette and takes a drag. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(Mildly impressed) \\n \\t\\tKind of interesting. \\n \\t\",\n \"\\tLenny points to the text. EXTREME CLOSE-UP of Hebrew letters. \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tHere, look...the ancient \\n \\t\\tJews used Hebrew as their \",\n \"\\t\\tAll we know is that it's two \\n \\t\\thundred and sixteen digits long. \\n \\t \\n \\tMax, stunned looks at Lenny. \\n \\n \\t\\t\\t\\tLENNY MEYER\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tIt's just a number. I'm \\n \\t\\tsure you've written down \\n \\t\\tevery two hundred sixteen number. \\n \\t\\tYou've translated all of \",\n \"\\t\\tnumber encoded in the text. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat sort of number? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tWe don't know. \",\n \"\\t\\tonly God. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(Attempting calmness) \\n \\t\\tNo, I mean the number, the \\n \\t\\ttwo sixteen number? What is \",\n \"\\t\\tnumber theorist. The Torah is \\n \\t\\ttheir data set. The thing is, \\n \\t\\tthey're searching for a two \\n \\t\\thundred and sixteen digit \\n \\t\\tnumber in the Torah.\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tYou have it. Where is it? \\n \\t\\tYou have it written down? \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat is it? \\n \\t\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tYou see...The Hebrew \\\"A,\\\" the \\n \\t\\tnumber 1. The Hebrew \\\"B,\\\" \\n \\t\\tBet, is two. You can take any \",\n \"\\t\\tThey've got part of it \\n \\t\\tNow get off me! \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tDamn it! Damn it! \\n \\t\\tThey're using it. \\n\",\n \"\\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tGive us the number! \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tScrew you! \\n \\t\",\n \"\\t\\tIn Hebrew characters and numbers. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tNo, what is it? The two \\n \\t\\thundred and sixteen digits. \\n \\n \\t\\t\\t\\tLENNY MEYER\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tThey purify us and bring us \\n \\t\\tcloser to God. You want to try it? \\n \\n \\tJust then, Max pays his bill and prepares to leave. \\n\",\n \"\\t\\tTwo...two hundred. That's it! That's it! \\n \\t \\n \\tMax grabs a piece of paper and a pencil. He starts writing \\n \\tdown the number. He mumbles each digit as he sees it. \\n\",\n \"\\tLenny nods to Ephraim, who starts scanning through \\n \\tMax's pockets. Max resists. The other guys hold him down. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat are you doing!? What \",\n \"\\t\\tthem. You've intoned them \\n \\t\\tall. Haven't you? But what's \\n \\t\\tit gotten you? It's not the \\n \\t\\tnumber! It's the meaning. \"\n ],\n [\n \"\\t\\tof Euclid. A large amount of \\n \\t\\tblood, from his nose, is \\n \\t\\tsemi-dried on his chin and \\n \\t\\tchest. Devi hangs up the phone. \\n\",\n \"\\tThen he angrily throws Euclid's mainframe onto the ground It \\n \\tlands with a SMASH! \\n \\n \\tUnder the mainframe is a small city of ANTS. They scramble for \",\n \"\\tEuclid furiously. He recites the number with rage in his \\n \\tvoice. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tThree, seven, two... \\n \\t\",\n \"\\t\\tHappy birthday, Euclid. \\n \\t \\n \\tThen he lifts his hand to slap the RETURN button, but a sudden \\n \\twave of fear stops him. \\n\",\n \"\\tThis is EUCLID, Max's creation. The computer is alive with \\n \\tsounds and lights. \\n \\n \\tMax works on Euclid with his solder and drill. He cares for \",\n \"\\t\\tIn some ways...I guess... \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(To himself) \\n \\t\\tStudying the pattern made Euclid \\n \\t\\tconscious of itself. Before it died it \",\n \"\\tgets to his feet and head's into Euclid. \\n \\n \\tThe main monitor is screaming with numbers. The lights in the \\n \\troom flicker on and off like on a disco dance floor. A\",\n \"\\tJust then, Euclid starts printing results on an old dot- \\n \\tmatrix printer. \\n \\n \\tMax suspiciously answers The phone. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHello? \\n \\t\",\n \"\\t\\tEuclid spits out some \\n \\t\\tnumbers. Never saw anything \\n \\t\\tlike it and then it fries. \\n \\t\\tThe whole machine just \\n \\t\\tcrashed. \\n \\t\",\n \"\\teyesthe quotes are absurd. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat the... \\n \\t \\n \\tAnd then, Euclid crashes. The electricity in Max's room flips \",\n \"\\tEuclid's cursor blinks, waiting. Max starts to laugh. He \\n \\tlaughs and laughs and laughs. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tOh God. Damn religious \",\n \"\\tfilo substance billows out of Euclid. \\n \\n \\tAnd then a number pops onto the screen. Max estimates how many \\n \\tdigits are on the screen. \\n \\t\\t\\t\\tMAX\",\n \"\\tbulb in the bathroom starts blinking on and off. \\n \\n \\tSuddenly the pain is gone. \\n \\n \\tThen he hears something. It's Euclid, buzzing with life. He \",\n \"\\t\\talgorithm, or B, Euclid's \\n \\t\\tmain processor is running a \\n \\t\\trecursion... \\n \\n \\tMax marks up the paper with lines and diagrams as he ponders \",\n \"\\t\\tactually solid gold. Unsolved \\n \\t\\tproblem at the time. It \\n \\t\\ttortures the great Greek \\n \\t\\tmathematician for weeks. \\n \\t\\tInsomnia haunts him and he \",\n \"\\t\\t\\t(Suddenly jolting up and remembering) \\n \\t\\tThe number, the number. \\n \\t \\n \\tMax looks at Euclid. The screen is blank. He looks at the \",\n \"\\tMax tries to reboot Euclid, but nothing happens. He tries a \\n \\tsecond time, but nothing happens. \\n \\n \\tDevi and Farrouhk are still at it. \\n\",\n \"\\t\\tbit of a quack...but...then again, \\n \\t\\tlook at Kepler. He was really into \\n \\t\\tPythagoras. The leader of an \\n \\t\\tancient sect which believed \",\n \"\\t\\tspiral pattern. \\n \\n \\tDISSOLVE TO \\n \\tPAN ACROSS NEW EUCLID \\n \\n \\tWe start on the stock ticker and pull out to reveal a leaner, \",\n \"\\t\\tsignificance is from \\n \\t\\tSchneider's class. That \\n \\t\\tbullshit core for majors. \\n \\t\\tSchneider's fascination with \\n \\t\\tmystical geometry made him a \"\n ],\n [\n \"\\tMax rushes into Sol s study. The room is covered with Sol's P, \\n \\tresearch books. It seems Sol had recently come out of \\n \\tretirement. Max looks at a few of Sol's books. Then he finds a \",\n \"\\tMax is happy to see Sol, but he's a bit bashful and \\n \\tintimidated. \\n \\n \\t\\t\\t\\tMAX Okay. \\n\",\n \"\\tIn a few moments, Sol answers the door in his pajamas. \\n \\n \\t\\t\\t\\tSOL \\n \\t\\tMax? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat's going on, Sol!?\",\n \"\\tAnd then be realizes that Devi is not in his arms. He is \\n \\tholding onto himself. \\n \\n \\tThen Max notices Sol's note on the ground. He looks at the \",\n \"\\tMax stands up and screams down at Sol. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tYou can't tell me what it \\n \\t\\tis. You don't know You've \",\n \"\\tINT. SOL'S STUDY - MOMENTS LATER \\n \\tSol and Max sit on either side of a half-played Go board. \\n \\n \\t\\t\\t\\tSOL \",\n \"\\tnumber. He collects himself and catches his breath. \\n \\n \\tINT. MAX'S BATHROOM DAY \\n \\n \\tMax looks at Sol's note. He lights a match and burns it. \\n\",\n \"\\tEXT. SOL'S APARTMENT - NIGHT \\n \\n \\tA pumped and excited Max paces the hall as he rings the bell. \\n \\n \\tThe door opens. But it isn't Sol. It's a young, beautiful \",\n \"\\tMax charges into the room. Sot is looking at his Go board. Sol \\n \\tlooks up when Max comes in. \\n \\n \\t\\t\\t\\tSOL \\n \\t\\tYou're early. I was just \",\n \"\\tEXT. S0L'S HALLWAY - DAY Max rings the bell on an apartment \\n \\tdoor. \\n \\n \\tA few moments pass, and then SOL ROBESON opens the door. \\n\",\n \"\\tMax sits at the kitchen table while Sol heats up a pot of tea. \\n \\tMax is shaking. \\n \\n \\t\\t\\t\\tSOL \\n \\t\\tNow, what's up? \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\tHe crumples up his picks and tosses them into a public trash \\n \\tcan. \\n \\n \\tINT. SOL'S STUDY - DAY \\n \\n \\tSol and Max play Go. Sol is peaceful while Max is distant.\",\n \"\\tSol sighs. He looks down at the board and collects himself. \\n \\n \\t\\t\\t\\tSOL \\n \\t\\tYou have it? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tIt's in my head!\",\n \"\\tMax waits a moment. He tousles his hair. Then he checks again. \\n \\tShe's gone. He opens his locks and releases several bolts. \\n \\n \\tINT.MAX'S BUILDING HALLWAY - DAY \\n\",\n \"\\tpiece of paper with Sol's handwriting on it. On the paper is \\n \\tTHE number. Max slides it into his pocket. \\n \\n \\tMax looks at the Go board. The pieces are arranged in a giant \\n \\tspiral across the board.\",\n \"\\t\\t\\t\\tSOL \\n \\t\\tGet out! Max, get out! \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tI want to understand it. \\n \\t\\tI want to know! \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tTell me more. \\n \\t \\n \\tEXT. SOL'S APARTMENT - DAWN \\n \\n \\tMax firmly rings SOL's bell. \\n\",\n \"\\tEXT. SOL'S STUDY - MOMENTS LATER \\n \\tTIGHT ON the Japanese game of Go being played. Sol is white \\n \\tand Max is black. Sol's moves are secure and controlled while \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tOut! Get out! \\n \\t \\n \\tMax slams the door in their faces. \\n \\tMax rubs his chin and looks around the room. He starts\",\n \"\\tDISSOLVE TO \\n \\n \\tINT. MAX'S APARTMENT - DAY \\n \\n \\tMax sits on his bed staring at Sol's handwritten number.\"\n ],\n [\n \"\\tMax rushes into Sol s study. The room is covered with Sol's P, \\n \\tresearch books. It seems Sol had recently come out of \\n \\tretirement. Max looks at a few of Sol's books. Then he finds a \",\n \"\\tAnd then be realizes that Devi is not in his arms. He is \\n \\tholding onto himself. \\n \\n \\tThen Max notices Sol's note on the ground. He looks at the \",\n \"\\tnumber. He collects himself and catches his breath. \\n \\n \\tINT. MAX'S BATHROOM DAY \\n \\n \\tMax looks at Sol's note. He lights a match and burns it. \\n\",\n \"\\tMax is happy to see Sol, but he's a bit bashful and \\n \\tintimidated. \\n \\n \\t\\t\\t\\tMAX Okay. \\n\",\n \"\\tDISSOLVE TO \\n \\n \\tINT. MAX'S APARTMENT - DAY \\n \\n \\tMax sits on his bed staring at Sol's handwritten number.\",\n \"\\tpiece of paper with Sol's handwriting on it. On the paper is \\n \\tTHE number. Max slides it into his pocket. \\n \\n \\tMax looks at the Go board. The pieces are arranged in a giant \\n \\tspiral across the board.\",\n \"\\tHe crumples up his picks and tosses them into a public trash \\n \\tcan. \\n \\n \\tINT. SOL'S STUDY - DAY \\n \\n \\tSol and Max play Go. Sol is peaceful while Max is distant.\",\n \"\\tSol sighs. He looks down at the board and collects himself. \\n \\n \\t\\t\\t\\tSOL \\n \\t\\tYou have it? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tIt's in my head!\",\n \"\\tEXT. SOL'S APARTMENT - NIGHT \\n \\n \\tA pumped and excited Max paces the hall as he rings the bell. \\n \\n \\tThe door opens. But it isn't Sol. It's a young, beautiful \",\n \"\\tIn a few moments, Sol answers the door in his pajamas. \\n \\n \\t\\t\\t\\tSOL \\n \\t\\tMax? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat's going on, Sol!?\",\n \"\\tThey search him, taking his wallet, keys, everything. \\n \\n \\tMarcy looks at the guys, who shake their heads. She walks over \\n \\tto Max and shows Max the front page of the Wall Street \",\n \"\\tThen Max shyly opens up his front door and quickly grabs the \\n \\tblack attaché case in front of his door \\n \\n \\tDonning a surgical mask and latex gloves, Max opens the black \",\n \"\\tINT. SOL'S STUDY - MOMENTS LATER \\n \\tSol and Max sit on either side of a half-played Go board. \\n \\n \\t\\t\\t\\tSOL \",\n \"\\t \\n \\tMax rushes out. \\n \\n \\tEXT. PLAYGROUND - LATE AFTERNOON \\n \\n \\tMax sifts through the trash can where he threw his picks from \",\n \"\\trevealing that Max's apartment looks more like the inside of a \\n \\tcomputer than a human's home. \\n \\n \\tThe room is knee-high in computer parts of all shapes and \",\n \"\\tgives Max a small slap on the butt. \\n \\n \\tINSIDE HIS APARTMENT Max bolts the front door. \\n \\n \\tAt his desk he rips open the envelope Lenny Meyer gave him. He \",\n \"\\tEXT. S0L'S HALLWAY - DAY Max rings the bell on an apartment \\n \\tdoor. \\n \\n \\tA few moments pass, and then SOL ROBESON opens the door. \\n\",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\tMax waits a moment. He tousles his hair. Then he checks again. \\n \\tShe's gone. He opens his locks and releases several bolts. \\n \\n \\tINT.MAX'S BUILDING HALLWAY - DAY \\n\",\n \"\\tMax lets out a 'SOL!, and reaches out into the void. We match \\n \\tcut back to \\n \\tTHE MAIN ROOM \\n \\n \\twhere Max grabs Devi and hugs her. He gasps for air as\"\n ],\n [\n \"\\tin the darkness. He has intelligent eyes set in an exhausted, \\n \\tgood-looking face. \\n \\n \\tThen he notices the blood dripping from his nose. Max wipes \\n \\tit. \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tOut! Get out! \\n \\t \\n \\tMax slams the door in their faces. \\n \\tMax rubs his chin and looks around the room. He starts\",\n \"\\treloads the gun and fires it right into the scar on his head, \\n \\twhere the pain is coming from. \\n \\n \\tMax collapses to the ground in complete agony until the bare \",\n \"\\tAnd then be realizes that Devi is not in his arms. He is \\n \\tholding onto himself. \\n \\n \\tThen Max notices Sol's note on the ground. He looks at the \",\n \"\\tA bewildered Max slowly hangs up. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tDamn. \\n \\t \\n \\tMax checks the peephole - all clear. \\n \\n \\tThen, he opens his - \\n\",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\tHe crumples up his picks and tosses them into a public trash \\n \\tcan. \\n \\n \\tINT. SOL'S STUDY - DAY \\n \\n \\tSol and Max play Go. Sol is peaceful while Max is distant.\",\n \"\\tMax gets to his feet and runs behind Farrouhk. \\n \\tJust then a station wagon screeches up to the curb. Lenny \\n \\tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \\n\",\n \"\\tMax wipes his nose and looks around nervously. \\n \\n \\tHe sees the rides of Coney Island in the distance. \\n \\n \\tEXT. CONEY ISLAND BEACH - DAY \\n\",\n \"\\tcover. Max furiously attacks them, stomping them out with his \\n \\tbands. \\n \\n \\tThen he jumps on the smashed mainframe. He slides to \\n \\tthe ground and covers his face. \\n\",\n \"\\tSoon, Max gets up and kicks the trashcan. He heads home. \\n \\n \\tIN FRONT OF MAX'S APARTMENT BUILDING \\n \\n \\tMax watches Marcy get out of the limo and call to Mrs. Ovadia.\",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\",\n \"\\tMax charges up a flight of stairs. He crosses a passage over \\n \\tthe tracks and flies down the stairs to the other side of the \\n \\tplatform. \\n \\n \\tThe Man is gone. A pool of blood sits where the Man was. Max \",\n \"\\twhere Max looks around starry-eyed. The pain is gone. \\n \\tEverything is new to Max - even his hands. The stress leases \\n \\tfrom his brow and his shoulders sag. \\n\",\n \"\\tthe columns. Max gets up and sees the Young Hasidic Man - from \\n \\tearlier - staring at him. \\n \\tThe Man stares at Max without any emotion. Max notices blood \\n \\tdropping from the Man's right hand.\",\n \"\\tAs the blood surges through his head it brings him waves of \\n \\tpain. He gags several times. Then the pain lets loose and all \\n \\tMax wants to do is die. He smashes the side of his head with \",\n \"\\tFrustrated, he pushes his pen deep into the brain - fiber \\n \\tripping apart. \\n \\n \\tSuddenly, a TRAIN is barreling down on Max. Seconds from \",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\tapproaches the man. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHey, excuse me, can I see \\n \\t\\tthat? \\n \\n \\tThe man hands Max the paper. Max scans the article. Then He \"\n ],\n [\n \"\\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tDo you have the number? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah, I have it! \\n \\t\",\n \"\\t\\tnumerical system. Each \\n \\t\\tletter is a number. \\n \\n \\tLenny pulls out a pen and grabs Max's Journal. He writes on it \\n \\tas he talks. \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tAnd what will it do to \\n \\t\\tyou? \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tWe're pure. Give \\n \\t\\tus the number! \\n\",\n \"\\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tGive us the number! \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tScrew you! \\n \\t\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tHello, this is Lenny? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLenny, it's Max Cohen. \\n \\t\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tYou have it. Where is it? \\n \\t\\tYou have it written down? \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat is it? \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\t\\t(Coolly) \\n \\t\\tTwo sixteen? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tYes. Now we have to say a \",\n \"\\tgives Max a small slap on the butt. \\n \\n \\tINSIDE HIS APARTMENT Max bolts the front door. \\n \\n \\tAt his desk he rips open the envelope Lenny Meyer gave him. He \",\n \"\\t\\t\\t(Which he does) \\n \\t\\tThe name's Lenny Meyer \\n \\t \\n \\tLenny sticks out his hand. Max responds with a small nod. \\n \\t\\t\\t\\tLENNY MEYER \",\n \"\\tSatisfied, Lenny lights up a cigarette and takes a drag. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(Mildly impressed) \\n \\t\\tKind of interesting. \\n \\t\",\n \"\\tout of his pocket He quickly dials a number. \\n \\n \\tSomeone answers with a \\\"Shalom\\\" on the other end of the line. \\n \\tMax asks for Lenny Meyer and is put on hold. \\n\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tMax! How are you? \\n \\t\\tYou want to come down? \\n \\t\\t\\t\\tMAX \\n \\t\\tI've been thinking about \\n \\t\\tour conversation earlier.\",\n \"\\tMax backs away when he smacks into someone. \\n \\n \\tIt's Lenny Meyer - the young Jewish man. \\n \\n \\tMax jumps back in fear. \\n \\n \\t\\t\\t\\tLENNY MEYER \",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \",\n \"\\tLenny's smoke drifts by Max's eyes. \\n \\n \\tSLOW MOTION: MAX'S POV of smoke spirals spinning in front of \\n \\thim. \\n \\n \\t\\t\\t\\tMAX \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tOh, okay. \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tLenny Meyer. \\n \\t\\t\\t(Motioning to the cigarette) \",\n \"\\t\\tthe hell are you doing!? \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tWe're not joking \\n \\t\\taround, Max? Where's \\n \\t\\tthe number? \\n \\t\",\n \"\\t\\tMax! How you doing? Lenny \\n \\t\\tMeyer. \\n \\t\\t\\t\\tMAX \\n \\t\\tOh, hey... \\n \\t \\n \\tMax tries to quickly pass him. \\n\",\n \"\\tMax is interrupted by a puff of smoke. At the same time, \\n \\tsomeone touches his shoulder and says: \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tHey, Max, how you doing? \\n \\t\",\n \"\\tMax shrugs and turns back to his work. \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tIt's okay. \\n \\t\\t\\t(Joking) \"\n ],\n [\n \"\\tit up and looks at it. \\n \\n \\tHe looks around wondering what's going on. Then Jenna leans \\n \\tout over a railing and starts laughing at Max. \\n \\n \\tINT. COFFEE SHOP-DAY \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tThanks. \\n \\t \\n \\tINT. COFFEE SHOP - DAY \\n \\n \\tAt the counter, Max stirs cream into his coffee. Then he takes \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tI'll knock back. \\n \\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tFair enough. \\n \\t \\n \\tINT. COFFEE SHOP - DAY\",\n \"\\tad. Then he notices one of the bodega owners staring at him. \\n \\n \\tEXT. MAX'S APARTMENT - DAY \\n \\n \\tMax scouts his front door. The coast is clear. \",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\",\n \"\\tThen, Max has a premonition. He turns and spots the \\n \\tPhotographer in front of a porn shop on Eighth and 42nd. \\n \\n \\tEXT. PORN SHOP - 42ND STREET - NIGHT\",\n \"\\tThe man catches Max's eye and looks away, but then he quickly \\n \\tlooks back, making Max turn away. \\n \\n \\tHe looks down at his Wall Street journal and draws a circle \",\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\tMax wipes his nose and looks around nervously. \\n \\n \\tHe sees the rides of Coney Island in the distance. \\n \\n \\tEXT. CONEY ISLAND BEACH - DAY \\n\",\n \"\\tsaying the number to himself He gets more and more \\n \\texcited as he reads each digit. \\n \\n \\tINT. COFFEE SHOP - NIGHT \\n \\n \\tMax stirs cream into his coffee. Then he pulls out the\",\n \"\\tSoon, Max gets up and kicks the trashcan. He heads home. \\n \\n \\tIN FRONT OF MAX'S APARTMENT BUILDING \\n \\n \\tMax watches Marcy get out of the limo and call to Mrs. Ovadia.\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tWell, you know, \\n \\t\\tHassidim. I met one in the \\n \\t\\tcoffee shop. The guy's a \",\n \"\\tthree pills from the plastic bottle and drops them in his \\n \\tcoffee. \\n \\n \\tMax flips past a full-page ad in the paper that reads \",\n \"\\tMax waits a moment. He tousles his hair. Then he checks again. \\n \\tShe's gone. He opens his locks and releases several bolts. \\n \\n \\tINT.MAX'S BUILDING HALLWAY - DAY \\n\",\n \"\\tMax exits. He notices that the Skinny Man gets off - one car \\n \\tdown - as well. \\n \\n \\tHe hustles toward the exit. As he's about to turn a corner he \",\n \"\\tthe car. Meanwhile, the Shinny man is heading right at them. \\n \\n \\tThe CHAUFFEUR reaches out to him. Max yanks his arm free and \\n \\truns away. He whips around a corner. \\n\",\n \"\\tapproaches the man. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHey, excuse me, can I see \\n \\t\\tthat? \\n \\n \\tThe man hands Max the paper. Max scans the article. Then He \",\n \"\\tMax gets to his feet and runs behind Farrouhk. \\n \\tJust then a station wagon screeches up to the curb. Lenny \\n \\tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \\n\",\n \"\\tin the darkness. He has intelligent eyes set in an exhausted, \\n \\tgood-looking face. \\n \\n \\tThen he notices the blood dripping from his nose. Max wipes \\n \\tit. \\n\"\n ],\n [\n \"\\tin the darkness. He has intelligent eyes set in an exhausted, \\n \\tgood-looking face. \\n \\n \\tThen he notices the blood dripping from his nose. Max wipes \\n \\tit. \\n\",\n \"\\twhere Max looks around starry-eyed. The pain is gone. \\n \\tEverything is new to Max - even his hands. The stress leases \\n \\tfrom his brow and his shoulders sag. \\n\",\n \"\\tSlightly sobbing he examines his scalp pulling his hair apart. \\n \\tHe sees something. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat the? \\n \\t\",\n \"\\tuntil it's downright scary. \\n \\n \\tMax sits on a bench sucking down pills. His head begins to \\n \\thurt. He touches the right side of his scalp and nubs it. \\n\",\n \"\\tThe pain seems to disappear. Max looks at his hand that was \\n \\trubbing his bead. \\n \\n \\tThen he looks at the front door. The doorknob seems to \\n \\tmove. \",\n \"\\tthe columns. Max gets up and sees the Young Hasidic Man - from \\n \\tearlier - staring at him. \\n \\tThe Man stares at Max without any emotion. Max notices blood \\n \\tdropping from the Man's right hand.\",\n \"\\tA pull-string light flips on. Max examines his bloody nose in \\n \\tthe mirror. \\n \\n \\t\\t\\t\\tMAX (V.O.) \\n \\t\\tThe alchemist awakes. \",\n \"\\tAs the blood surges through his head it brings him waves of \\n \\tpain. He gags several times. Then the pain lets loose and all \\n \\tMax wants to do is die. He smashes the side of his head with \",\n \"\\tWondrously, Max rubs the scar on his head. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\t\\t(Passion building) \\n \\t\\tYes...it's The key into \",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\",\n \"\\tFrustrated, he pushes his pen deep into the brain - fiber \\n \\tripping apart. \\n \\n \\tSuddenly, a TRAIN is barreling down on Max. Seconds from \",\n \"\\tMax looks at the Man's face and sees for a split second his \\n \\town face staring back. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHey! \\n \\t\",\n \"\\tINT. MAX'S BATHROOM - LATER \\n \\n \\tMax stares at his BALD head in the mirror. All of his hair has \\n \\tbeen removed. A fleshy scar sits on his scalp above his right \",\n \"\\tMax wipes his nose and looks around nervously. \\n \\n \\tHe sees the rides of Coney Island in the distance. \\n \\n \\tEXT. CONEY ISLAND BEACH - DAY \\n\",\n \"\\tMax finishes removing a patch of hair from the right side \\n \\tof his head. He has uncovered a light scar on his head. He \\n \\texamines it in the mirror. \\n \\n \\t\\t\\t\\tMAX \",\n \"\\tAnd then be realizes that Devi is not in his arms. He is \\n \\tholding onto himself. \\n \\n \\tThen Max notices Sol's note on the ground. He looks at the \",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\tThe man catches Max's eye and looks away, but then he quickly \\n \\tlooks back, making Max turn away. \\n \\n \\tHe looks down at his Wall Street journal and draws a circle \",\n \"\\tThen Max shyly opens up his front door and quickly grabs the \\n \\tblack attaché case in front of his door \\n \\n \\tDonning a surgical mask and latex gloves, Max opens the black \",\n \"\\this fist. \\n \\n \\tAcross the tracks on the far platform he sees someone. \\n \\n \\tFor a moment Max's pain dissipates. His view is obscured by \"\n ],\n [\n \"\\t \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(Yeah right!) \\n \\t\\tMing Mecca. They're not declassified. \\n \\t \\n \\tMax starts to move away. \\n\",\n \"\\t\\tdown the line I'll work it \\n \\t\\tout. Just keep them in the \\n \\t\\tdark, let them beg. A damn \\n \\t\\tMing Mecca chip. It's like \",\n \"\\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tThe suitcase isn't filled with \\n \\t\\tfifties or gold or diamonds. Just \\n \\t\\tsilicon. A Ming Mecca chip.\",\n \"\\tThe synagogue is a claustrophobic, fluorescent-lit room in \\n \\tgeneral disarray. Two rows of imitation-wooden pews face a \",\n \"\\t\\tholies which was the heart of \\n \\t\\tJewish life. This was the \\n \\t\\tearthly residence for our \\n \\t\\tGod. The one God. It \\n \\t\\tcontained the ark of the \",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\tMax gets to his feet and runs behind Farrouhk. \\n \\tJust then a station wagon screeches up to the curb. Lenny \\n \\tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \\n\",\n \"\\t\\tworld, you'll be able to pull \\n \\t\\tit out of anywhere. Two \\n \\t\\thundred and sixteen steps \\n \\t\\tfrom your street comer to \\n \\t\\tyour front door. Two hundred \",\n \"\\t\\ttook his secret to the top of \\n \\t\\tthe burning building. The \\n \\t\\theavens opened up and took \\n \\t\\tthe key from the priest's \\n \\t\\toutstretched hand. We've been \",\n \"\\t\\ta prosperous year. It meant \\n \\t\\tthat we were one yea r closer \\n \\t\\tto the messianic age. Closer \\n \\t\\tto the return of the Garden \",\n \"\\tFarrouhk jumps into his cab. \\n \\n \\tINT. LENNY MEYER'S CAR - MOVING - NIGHT \\n \\tYisrael yanks the steering wheel to the left, the old station \",\n \"\\t\\tme a Paki bastard. So I whacked him, \\n \\t\\tright in the head. \\n \\n \\t\\t\\t\\tDEVI (O.S.) \\n \\t\\tFarrouhk! \\n \\t\",\n \"\\tthe car. Meanwhile, the Shinny man is heading right at them. \\n \\n \\tThe CHAUFFEUR reaches out to him. Max yanks his arm free and \\n \\truns away. He whips around a corner. \\n\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tThey purify us and bring us \\n \\t\\tcloser to God. You want to try it? \\n \\n \\tJust then, Max pays his bill and prepares to leave. \\n\",\n \"\\tEXT. CHINATOWN - DAY \\n \\tMax watches people bustle through the busy intersections of \\n \\tChinatown. The streets are clogged with people. \\n \\n \\t\\t\\t\\tMAX (V.O.) \",\n \"\\t\\ttrip into the holy of holies. \\n \\t\\tIf the holy man was pure he \\n \\t\\twould reemerge a few moments \\n \\t\\tlater and Israel was secured \",\n \"\\t\\t\\t(Points to his yarmulke) \\n \\t\\tI work with the Torah. \\n \\t\\t\\t(Awed by the coincidence) \\n \\t\\tAmazing. \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\tpiece of paper with Sol's handwriting on it. On the paper is \\n \\tTHE number. Max slides it into his pocket. \\n \\n \\tMax looks at the Go board. The pieces are arranged in a giant \\n \\tspiral across the board.\",\n \"\\t\\thoodthe Cohanimthe Cohens, \\n \\t\\tand with their deaths they \\n \\t\\tdestroyed our greatest \\n \\t\\tsecret. In the center of the \\n \\t\\tgreat temple was the holy of \",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\"\n ],\n [\n \"\\tMarcy jabs Max in his stomach. Max falls to the ground. The \\n \\ttough guys sit on him. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tC'mon, Max. This isn't a \",\n \"\\tMax gets to his feet and runs behind Farrouhk. \\n \\tJust then a station wagon screeches up to the curb. Lenny \\n \\tMeyer, Ephraim, and a bunch of other his burly Jews jump out. \\n\",\n \"\\t\\t\\t\\tMARCY DAWSON (O.S.) \\n \\t\\tMax, is that you? Max? \\n \\t\\t\\t(Pleading) \\n \\t\\tMax, just talk to me. Things \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? Mr. \\n \\t\\tCohen? Please stop for a \\n \\t\\tsecond Mr. Cohen? \\n \\t \\n \\tMax stops and faces Marcy. \\n\",\n \"\\tMax lets out a 'SOL!, and reaches out into the void. We match \\n \\tcut back to \\n \\tTHE MAIN ROOM \\n \\n \\twhere Max grabs Devi and hugs her. He gasps for air as\",\n \"\\tMax retreats in the opposite direction. Suddenly Jake and Brad \\n \\tgrab him and drag him out. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHey! Hey! Hey! \\n \\t\",\n \"\\t\\tYes, Max. Listen to me... \\n \\t \\n \\tWe cut back to \\n \\t...THE MAIN ROOM \\n \\twhere Devi leans over Max. Max's eyes are open while he \",\n \"\\tAnd then be realizes that Devi is not in his arms. He is \\n \\tholding onto himself. \\n \\n \\tThen Max notices Sol's note on the ground. He looks at the \",\n \"\\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tBut what about... \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLet me think about it... \\n \\t \\n \\tMax trots off. \\n\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tBeautiful, isn't it? You know \\n \\t\\thow rare...are you okay? \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah, I got to go.\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWe had a deal! NOW get in the limo! \\n \\t \\n \\tMarcy releases a vicious slap that nearly knocks Max down. Max \\n \\twhimpers.\",\n \"\\tMax wipes his nose and looks around nervously. \\n \\n \\tHe sees the rides of Coney Island in the distance. \\n \\n \\tEXT. CONEY ISLAND BEACH - DAY \\n\",\n \"\\t\\tYou're not gonna save the world. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tLook, Max... \\n \\t\",\n \"\\tnose. The guy goes down and Max shoots out the exit. \\n \\n \\tEXT. UNDERNEATH CAR - NIGHT \\n \\tMax dives under a car and crawls for terror. He sees two sets \",\n \"\\tMax eyes Marcy Dawson's business card, suspiciously He dials \\n \\tthe number. A man answers on the other line. \\n \\n \\t\\t\\t\\tMAN'S VOICE (OS.) \\n \\t\\tThree, eight, two.\",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\tMax, crawls into the \\n \\tMAIN ROOM \\n \\n \\tand picks up the phone. He pinches his nose and tilts his head \\n \\tback. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\tsees Marcy Dawson blocking his exit. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tMarcy? What's up? \\n \\t \\n \\tMax retreats. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\tEXT. SOL'S APARTMENT - MORNING \\n \\n \\tMax rushes to the subway when a honking horn stops him. A limo \\n \\tpulls up next to him. Marcy Dawson jumps out of the car \\n\"\n ],\n [\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tAs a sign of good faith we \\n \\t\\twish to offer you this. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI told you I don't want money.\",\n \"\\t\\t\\t\\tMARCY DAWSON (O.S.) \\n \\t\\tMax, is that you? Max? \\n \\t\\t\\t(Pleading) \\n \\t\\tMax, just talk to me. Things \",\n \"\\tMax eyes Marcy Dawson's business card, suspiciously He dials \\n \\tthe number. A man answers on the other line. \\n \\n \\t\\t\\t\\tMAN'S VOICE (OS.) \\n \\t\\tThree, eight, two.\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tBut what about... \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLet me think about it... \\n \\t \\n \\tMax trots off. \\n\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? Mr. \\n \\t\\tCohen? Please stop for a \\n \\t\\tsecond Mr. Cohen? \\n \\t \\n \\tMax stops and faces Marcy. \\n\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWe're very anxious to talk \\n \\t\\twith you, sir \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI can't. \\n \\t\",\n \"\\tMarcy jabs Max in his stomach. Max falls to the ground. The \\n \\ttough guys sit on him. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tC'mon, Max. This isn't a \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tI'm prepared to \\n \\t\\tmake you a generous... \\n \\n \\tMax hurries to wrap up the conversation. \\n \\n \\t\\t\\t\\tMAX \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWe had a deal! NOW get in the limo! \\n \\t \\n \\tMarcy releases a vicious slap that nearly knocks Max down. Max \\n \\twhimpers.\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tBeautiful, isn't it? You know \\n \\t\\thow rare...are you okay? \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah, I got to go.\",\n \"\\tMax, crawls into the \\n \\tMAIN ROOM \\n \\n \\tand picks up the phone. He pinches his nose and tilts his head \\n \\tback. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\tsees Marcy Dawson blocking his exit. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tMarcy? What's up? \\n \\t \\n \\tMax retreats. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\tcan't give them the number. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tYou can't kill me! \\n \\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tC'mon, Max. You \",\n \"\\tapproaches the man. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHey, excuse me, can I see \\n \\t\\tthat? \\n \\n \\tThe man hands Max the paper. Max scans the article. Then He \",\n \"\\t\\tWe're willing to take the risk. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tOkay. First, I want you \\n \\t\\tto call off the surveillance. \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\tThen Max shyly opens up his front door and quickly grabs the \\n \\tblack attaché case in front of his door \\n \\n \\tDonning a surgical mask and latex gloves, Max opens the black \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\tA bewildered Max slowly hangs up. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tDamn. \\n \\t \\n \\tMax checks the peephole - all clear. \\n \\n \\tThen, he opens his - \\n\",\n \"\\tAnd then be realizes that Devi is not in his arms. He is \\n \\tholding onto himself. \\n \\n \\tThen Max notices Sol's note on the ground. He looks at the \"\n ],\n [\n \"\\t\\tnumber theorist. The Torah is \\n \\t\\ttheir data set. The thing is, \\n \\t\\tthey're searching for a two \\n \\t\\thundred and sixteen digit \\n \\t\\tnumber in the Torah.\",\n \"\\t\\tThe Torah is just \\n \\t\\ta long string of numbers. \\n \\t\\tSome say that it's a long \\n \\t\\tcode sent to us from God. \\n\",\n \"\\t\\t\\t(Points to his yarmulke) \\n \\t\\tI work with the Torah. \\n \\t\\t\\t(Awed by the coincidence) \\n \\t\\tAmazing. \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\t\\tWe're searching for a pattern \\n \\t\\tin Torah. \\n \\t \\n \\tLenny finishes wrapping Max's arm. He reaches for another box \\n \\tand strap. \\n \\n \\t\\t\\t\\tMAX \",\n \"\\t\\tand forty-four. Then take the \\n \\t\\ttree of knowledge...in \\n \\t\\tthe garden, Aat Ha Haim, it \\n \\t\\tequals two hundred and \\n \\t\\tthirty-three. Now you can take \",\n \"\\t\\tlonger a mathematician. You \\n \\t\\tbecome a numerologist. What \\n \\t\\tyou need to do is take a \\n \\t\\tbreak from your research. You \\n \\t\\tneed it. You deserve it \",\n \"\\t\\torder...a pattern, beneath every \\n \\t\\tGo game. Maybe that pattern is \\n \\t\\tlike the pattern in the market, \\n \\t\\tin the Torah. The two sixteen \\n \\t\\tnumber. \\n\",\n \"\\tstrings of code lightning fast. \\n \\n \\tThe Hebrew letters suddenly switch to their numerical \\n \\tcounterparts. Max toggles between Hebrew and numbers a few \\n \\ttimesimpressed. \\n\",\n \"\\t\\t...math. \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tReally? What type of math? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tNumber theory. Mostly \",\n \"\\t\\ta spiral. Then, maybe, \\n \\t\\textensions of our behavior \\n \\t\\tlike the stock market. maybe \\n \\t\\teven the writing of The \\n \\t\\tTorah, is infused with the \",\n \"\\t\\tHebrew text and turn them into \\n \\t\\ta long string of numbers. \\n \\t \\n \\tThe waitress refills Max's coffee. \\n \\n \\t\\t\\t\\tLENNY MEYER\",\n \"\\t\\tIn Hebrew characters and numbers. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tNo, what is it? The two \\n \\t\\thundred and sixteen digits. \\n \\n \\t\\t\\t\\tLENNY MEYER\",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\t\\tfreaks. \\n \\t\\t\\t(Sarcastic) \\n \\t\\tThe holy Torah... \\n \\t \\n \\tBut then he notices his thumb twitching. He rubs his scar. \",\n \"\\tthe magnification. At a weaker magnification, the \\n \\tmathematician sees that the cells are grouped in spirals. \\n \\n \\tMax is stunned, He grabs the phone and pulls a business card \",\n \"\\t\\tactually solid gold. Unsolved \\n \\t\\tproblem at the time. It \\n \\t\\ttortures the great Greek \\n \\t\\tmathematician for weeks. \\n \\t\\tInsomnia haunts him and he \",\n \"\\t\\tI want to help. \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tExcellent. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tDo you have the Torah in \",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tThe Torah. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tWhat is it? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \",\n \"\\tLenny points to the text. EXTREME CLOSE-UP of Hebrew letters. \\n \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tHere, look...the ancient \\n \\t\\tJews used Hebrew as their \",\n \"\\t\\tThat's bullshit. It's \\n \\t\\tmath, numbers, ideas. \\n \\t\\tMathematicians are suppose to \\n \\t\\tbe out on the edge. You \\n \\t\\ttaught me that! \\n \\t\"\n ],\n [\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? Mr. \\n \\t\\tCohen? Please stop for a \\n \\t\\tsecond Mr. Cohen? \\n \\t \\n \\tMax stops and faces Marcy. \\n\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\t\\tMr. Cohen! Perfect timing. \\n \\t \\n \\tMarcy sticks out her hand. Max, not knowing what else to do, \\n \\tshakes it. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWe had a deal! NOW get in the limo! \\n \\t \\n \\tMarcy releases a vicious slap that nearly knocks Max down. Max \\n \\twhimpers.\",\n \"\\tMarcy jabs Max in his stomach. Max falls to the ground. The \\n \\ttough guys sit on him. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tC'mon, Max. This isn't a \",\n \"\\tMax eyes Marcy Dawson's business card, suspiciously He dials \\n \\tthe number. A man answers on the other line. \\n \\n \\t\\t\\t\\tMAN'S VOICE (OS.) \\n \\t\\tThree, eight, two.\",\n \"\\tThey search him, taking his wallet, keys, everything. \\n \\n \\tMarcy looks at the guys, who shake their heads. She walks over \\n \\tto Max and shows Max the front page of the Wall Street \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWhat? Mr. Cohen!? \\n \\t \\n \\tINT. SUBWAY STATION - PUBLIC BENCH - NIGHT \\n\",\n \"\\t\\t\\t\\tMARCY DAWSON (O.S.) \\n \\t\\tMax, is that you? Max? \\n \\t\\t\\t(Pleading) \\n \\t\\tMax, just talk to me. Things \",\n \"\\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tBut what about... \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLet me think about it... \\n \\t \\n \\tMax trots off. \\n\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tOh...Marcy Dawson. From \\n \\t\\tLancet Percy. We were \\n \\t\\tsupposed to meet at three. \\n \\n \\t\\t\\t\\tMAX \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tAs a sign of good faith we \\n \\t\\twish to offer you this. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI told you I don't want money.\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tBeautiful, isn't it? You know \\n \\t\\thow rare...are you okay? \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah, I got to go.\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tYou have to be careful \\n \\t\\twhere you throw out your trash. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHow could you do that? \\n \\t\",\n \"\\tHe seems to have lost him, when he notices a business-woman \\n \\twith a pretty face heading right toward him. It is MARCY \\n \\tDAWSON. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\t\\tMr. Cohen. Marcy \\n \\t\\tDawson here again I was just \\n \\t\\tlooking over my schedule and \\n \\t\\tI realized I'll be in your \\n \\t\\tneighborhood tomorrow around \",\n \"\\t\\tMr. Cohen, give \\n \\t\\tme a moment... \\n \\n \\tBut before Marcy finishes, Max hangs up. He rips off the \\n \\tprintout and heads to the front door. \\n\",\n \"\\tEXT. SOL'S APARTMENT - MORNING \\n \\n \\tMax rushes to the subway when a honking horn stops him. A limo \\n \\tpulls up next to him. Marcy Dawson jumps out of the car \\n\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWe're very anxious to talk \\n \\t\\twith you, sir \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI can't. \\n \\t\",\n \"\\tMarcy nods to Jake, who pulls out a gun and points it at Max's \\n \\thead. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tMy God, what are you doing? \\n \\t\"\n ],\n [\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? Mr. \\n \\t\\tCohen? Please stop for a \\n \\t\\tsecond Mr. Cohen? \\n \\t \\n \\tMax stops and faces Marcy. \\n\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWe're very anxious to talk \\n \\t\\twith you, sir \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI can't. \\n \\t\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tAs a sign of good faith we \\n \\t\\twish to offer you this. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI told you I don't want money.\",\n \"\\tMax eyes Marcy Dawson's business card, suspiciously He dials \\n \\tthe number. A man answers on the other line. \\n \\n \\t\\t\\t\\tMAN'S VOICE (OS.) \\n \\t\\tThree, eight, two.\",\n \"\\t\\t\\t\\tMARCY DAWSON (O.S.) \\n \\t\\tMax, is that you? Max? \\n \\t\\t\\t(Pleading) \\n \\t\\tMax, just talk to me. Things \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWe had a deal! NOW get in the limo! \\n \\t \\n \\tMarcy releases a vicious slap that nearly knocks Max down. Max \\n \\twhimpers.\",\n \"\\t\\tMr. Cohen! Perfect timing. \\n \\t \\n \\tMarcy sticks out her hand. Max, not knowing what else to do, \\n \\tshakes it. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\tThey search him, taking his wallet, keys, everything. \\n \\n \\tMarcy looks at the guys, who shake their heads. She walks over \\n \\tto Max and shows Max the front page of the Wall Street \",\n \"\\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tBut what about... \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLet me think about it... \\n \\t \\n \\tMax trots off. \\n\",\n \"\\tMarcy jabs Max in his stomach. Max falls to the ground. The \\n \\ttough guys sit on him. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tC'mon, Max. This isn't a \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tBeautiful, isn't it? You know \\n \\t\\thow rare...are you okay? \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah, I got to go.\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tI'm prepared to \\n \\t\\tmake you a generous... \\n \\n \\tMax hurries to wrap up the conversation. \\n \\n \\t\\t\\t\\tMAX \",\n \"\\tcan't give them the number. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tYou can't kill me! \\n \\t \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tC'mon, Max. You \",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tWhat? Mr. Cohen!? \\n \\t \\n \\tINT. SUBWAY STATION - PUBLIC BENCH - NIGHT \\n\",\n \"\\t\\t\\t\\tMARCY DAWSON \\n \\t\\tYou have to be careful \\n \\t\\twhere you throw out your trash. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tHow could you do that? \\n \\t\",\n \"\\t\\tspeak with Mr. Cohen, please? \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI told you... \\n \\t \\n \\tThe printer finishes printing. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\t\\tMr. Cohen, give \\n \\t\\tme a moment... \\n \\n \\tBut before Marcy finishes, Max hangs up. He rips off the \\n \\tprintout and heads to the front door. \\n\",\n \"\\tsees Marcy Dawson blocking his exit. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tMarcy? What's up? \\n \\t \\n \\tMax retreats. \\n \\n \\t\\t\\t\\tMARCY DAWSON \",\n \"\\t\\tWe're willing to take the risk. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tOkay. First, I want you \\n \\t\\tto call off the surveillance. \\n \\t\\t\\t\\tMARCY DAWSON \"\n ],\n [\n \"\\t\\tdivided by twenty-two. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(instantly again) \\n \\t\\tThree point three one eight one \\n \\t\\teight one eight... \\n\",\n \"\\t\\tand forty-four. Then take the \\n \\t\\ttree of knowledge...in \\n \\t\\tthe garden, Aat Ha Haim, it \\n \\t\\tequals two hundred and \\n \\t\\tthirty-three. Now you can take \",\n \"\\tJenna types it into her calculator. Max finishes locking his \\n \\tdoor. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(instantly) \\n \\t\\tOne hundred fifty-eight thousand, \",\n \"\\t\\tTwo...two hundred. That's it! That's it! \\n \\t \\n \\tMax grabs a piece of paper and a pencil. He starts writing \\n \\tdown the number. He mumbles each digit as he sees it. \\n\",\n \"\\tEuclid furiously. He recites the number with rage in his \\n \\tvoice. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tThree, seven, two... \\n \\t\",\n \"\\tJenna presses the EQUALS button. \\n \\n \\t\\t\\t\\tJENNA \\n \\t\\tI got it! I got it! \\n \\t\\tWhat's the answer? \\n \\n \\t\\t\\t\\tMAX \",\n \"\\tMax states the numbers right before they enter onto the \\n \\tscreen. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI know these...Seven \\n \\t\\tand a quarter. Two and a half \",\n \"\\t\\tof Euclid. A large amount of \\n \\t\\tblood, from his nose, is \\n \\t\\tsemi-dried on his chin and \\n \\t\\tchest. Devi hangs up the phone. \\n\",\n \"\\tMax shrugs, not able to say no. \\n \\n \\t\\t\\t\\tJENNA \\n \\t\\tHow about two hundred \\n \\t\\tand fifty-five times a \\n \\t\\thundred and eighty-three. \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tIt's just a number. I'm \\n \\t\\tsure you've written down \\n \\t\\tevery two hundred sixteen number. \\n \\t\\tYou've translated all of \",\n \"\\tto him. Her MOM, down the hall, looks apologetic. \\n \\n \\tJenna's eyes light up and she pulls out her Fisher Price \\n \\tcalculator. \\n \\n \\t\\t\\t\\tJENNA \",\n \"\\tAnd then, his attention switches to the ticker. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tTwo and a quarter, twelve \\n \\t\\tand an eighth, six and two \\n \\t\\teighths. \\n \\t\",\n \"\\tMax looks up the column for AAR. \\n \\n \\t\\t\\tMAX \\n \\t\\tFourteen and a half. Oh, \\n \\t\\tmy... \\n\",\n \"\\t\\tonly God. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(Attempting calmness) \\n \\t\\tNo, I mean the number, the \\n \\t\\ttwo sixteen number? What is \",\n \"\\t\\tthem. You've intoned them \\n \\t\\tall. Haven't you? But what's \\n \\t\\tit gotten you? It's not the \\n \\t\\tnumber! It's the meaning. \",\n \"\\t\\tEuclid spits out some \\n \\t\\tnumbers. Never saw anything \\n \\t\\tlike it and then it fries. \\n \\t\\tThe whole machine just \\n \\t\\tcrashed. \\n \\t\",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\tfilo substance billows out of Euclid. \\n \\n \\tAnd then a number pops onto the screen. Max estimates how many \\n \\tdigits are on the screen. \\n \\t\\t\\t\\tMAX\",\n \"\\t\\t\\t\\tMOM \\n \\t\\tJenna... \\n \\t \\n \\tJenna screams after him. \\n \\n \\t\\t\\t\\tJENNA \\n \\t\\tOkay, seventy-three \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tThe Fibonacci sequence. \\n \\t\\tItalian mathematician, thirteenth \\n \\t\\tcentury. If you divide \\n \\t\\ta hundred and forty-four into \"\n ],\n [\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\tSol sighs. He looks down at the board and collects himself. \\n \\n \\t\\t\\t\\tSOL \\n \\t\\tYou have it? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tIt's in my head!\",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \",\n \"\\tWondrously, Max rubs the scar on his head. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\t\\t(Passion building) \\n \\t\\tYes...it's The key into \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\tMax sits at the counter frantically looking at the Wall Street \\n \\tJournal. He plops three pills into his coffee. \\n \\n \\tHe draws circles and other shapes across the page. \\n\",\n \"\\tAs the blood surges through his head it brings him waves of \\n \\tpain. He gags several times. Then the pain lets loose and all \\n \\tMax wants to do is die. He smashes the side of his head with \",\n \"\\tuntil it's downright scary. \\n \\n \\tMax sits on a bench sucking down pills. His head begins to \\n \\thurt. He touches the right side of his scalp and nubs it. \\n\",\n \"\\t\\tMr. Cohen, give \\n \\t\\tme a moment... \\n \\n \\tBut before Marcy finishes, Max hangs up. He rips off the \\n \\tprintout and heads to the front door. \\n\",\n \"\\t\\t\\t\\tRAV COHEN \\n \\t\\tOkay, okay! Lenny, \\n \\t\\teasy! Max, I'll tell you \\n \\t\\twhat's going on. Just calm \\n \\t\\tdown. \",\n \"\\tstrings of code lightning fast. \\n \\n \\tThe Hebrew letters suddenly switch to their numerical \\n \\tcounterparts. Max toggles between Hebrew and numbers a few \\n \\ttimesimpressed. \\n\",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\tMax states the numbers right before they enter onto the \\n \\tscreen. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tI know these...Seven \\n \\t\\tand a quarter. Two and a half \",\n \"\\tHe points to his head. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tBut what is it? \\n \\t \\n \\tMrs. Ovadia starts looking at all the junk in the room. \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tThe number is nothing. \\n \\t\\tYou know that! \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tWe can use it. We \\n \\t\\tcan wield it.\",\n \"\\tHe applies pressure and drills into his brain. \\n \\n \\tMax collapses as we quickly \\n \\tCUT TO \\n \\n \\tEXT. CITY PLAYGROUND - DAY \\n \\n \\tTIGHT ON\",\n \"\\t\\t\\t\\tMAX \\n \\t\\t\\t(Pushing Ephraim away) \\n \\t\\tIt's not on me. It's in my \\n \\t\\thead. \\n \\n \\t\\t\\t\\tLENNY MEYER \",\n \"\\ttakes a thick black marker and draws a giant spiral across the \\n \\tentire page. \\n \\n \\tMax is ecstatic as he pounds code into the computer takes \",\n \"\\t\\tthis junk. \\n \\t \\n \\tHe starts reciting the numbers. Then Max suddenly realizes \\n \\tsomething. He continues reciting the numbers from memory. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\tFour...zero...\"\n ],\n [\n \"\\tINT. MAX'S APARTMENT -CHINATOWN FLAT NEW YORK CITY - NIGHT \\n \\n \\tMax jolts his head from his desk and tries to orient him-self \",\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\tad. Then he notices one of the bodega owners staring at him. \\n \\n \\tEXT. MAX'S APARTMENT - DAY \\n \\n \\tMax scouts his front door. The coast is clear. \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\tSoon, Max gets up and kicks the trashcan. He heads home. \\n \\n \\tIN FRONT OF MAX'S APARTMENT BUILDING \\n \\n \\tMax watches Marcy get out of the limo and call to Mrs. Ovadia.\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\tEXT. CHINATOWN - DAY \\n \\tMax watches people bustle through the busy intersections of \\n \\tChinatown. The streets are clogged with people. \\n \\n \\t\\t\\t\\tMAX (V.O.) \",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tHello, this is Lenny? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLenny, it's Max Cohen. \\n \\t\",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\t\\t\\t\\tWOMAN'S VOICE \\n \\t\\tMr. Cohen? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tWho's this? \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tLeave me alone, damn it. \\n \\t\\tLeave me alone. \\n \\n \\tMax hands the man back his camera and leaves. \\n \\n \\tEXT. MAX'S APARTMENT - NIGHT \",\n \"\\trevealing that Max's apartment looks more like the inside of a \\n \\tcomputer than a human's home. \\n \\n \\tThe room is knee-high in computer parts of all shapes and \",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \",\n \"\\tEXT. S0L'S HALLWAY - DAY Max rings the bell on an apartment \\n \\tdoor. \\n \\n \\tA few moments pass, and then SOL ROBESON opens the door. \\n\",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\",\n \"\\t\\t\\t(Points to his yarmulke) \\n \\t\\tI work with the Torah. \\n \\t\\t\\t(Awed by the coincidence) \\n \\t\\tAmazing. \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\tout of his pocket He quickly dials a number. \\n \\n \\tSomeone answers with a \\\"Shalom\\\" on the other end of the line. \\n \\tMax asks for Lenny Meyer and is put on hold. \\n\",\n \"\\tAnd then the singing stops \\n \\tmid-verse Max looks up and the man is gone. Vanished. Max \\n \\tlooks aroundno one in Sight. \\n \\n \\tINT. APARTMENT STAIRCASE - DAY \\n\",\n \"\\tMax peeks through the peephole. Two well-dressed large men, \\n \\tBRAD and ABE THE BABE, wait for the signal. MAX knocks and the \\n \\tsuits leave. \\n\",\n \"\\tThe man catches Max's eye and looks away, but then he quickly \\n \\tlooks back, making Max turn away. \\n \\n \\tHe looks down at his Wall Street journal and draws a circle \"\n ],\n [\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \",\n \"\\trevealing that Max's apartment looks more like the inside of a \\n \\tcomputer than a human's home. \\n \\n \\tThe room is knee-high in computer parts of all shapes and \",\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tMax Cohen. \\n \\t \\n \\t\\t\\t\\tMAN'S VOICE (O.S.) \\n \\t\\tHold on. \\n \\t\",\n \"\\tThis is EUCLID, Max's creation. The computer is alive with \\n \\tsounds and lights. \\n \\n \\tMax works on Euclid with his solder and drill. He cares for \",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tHello, this is Lenny? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLenny, it's Max Cohen. \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tSo? \\n \\t \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tThat word was the true name of God. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah...\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tMax Cohen. \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tCohen! \\n \\t\\t\\t(Judging) \\n \\t\\tJewish? \",\n \"\\tMax puts on a pair of latex gloves. He dons a surgical mask. \\n \\tHe climbs up to a loft above his monitors. A glass case, fed \\n \\tcool air by a vent tube, encases some computer parts. He \",\n \"\\t\\t\\t\\tWOMAN'S VOICE \\n \\t\\tMr. Cohen? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tWho's this? \\n \\t\",\n \"\\t\\t\\t(Which he does) \\n \\t\\tThe name's Lenny Meyer \\n \\t \\n \\tLenny sticks out his hand. Max responds with a small nod. \\n \\t\\t\\t\\tLENNY MEYER \",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\tINT. MAX'S APARTMENT - DAY \\n \\n \\tMax examines the smashed Euclid mainframe. He uncovers some of \\n \\tthe strange filo-like substance. He carefully touches it. Then \",\n \"\\t\\tMr. Cohen, give \\n \\t\\tme a moment... \\n \\n \\tBut before Marcy finishes, Max hangs up. He rips off the \\n \\tprintout and heads to the front door. \\n\",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\t\\tof your stature performing a \\n \\t\\tmitzvah in my presence. \\n \\t\\t\\t(Beat) \\n \\t\\tWhen you told me your name was \\n \\t\\tMax Cohen, I didn't realize you \",\n \"\\tSitting on the desk are three computer monitors, which Max \\n \\tflips on. \\n \\n \\tThen he pops on more lights and more switches. We pull back \",\n \"\\t\\t\\t\\tWOMAN'S VOICE \\n \\t\\tMaximilian Cohen, please. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah? \\n \\t\",\n \"\\t\\t\\t(Points to his yarmulke) \\n \\t\\tI work with the Torah. \\n \\t\\t\\t(Awed by the coincidence) \\n \\t\\tAmazing. \\n \\t \\n \\t\\t\\t\\tMAX \"\n ],\n [\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\t\\t\\t(Points to his yarmulke) \\n \\t\\tI work with the Torah. \\n \\t\\t\\t(Awed by the coincidence) \\n \\t\\tAmazing. \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tWhat are you... \\n \\t \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tJust give me a chance. \\n \\t\\tYou'll understand everything \",\n \"\\t\\t\\t\\tMAX \\n \\t\\tMax Cohen. \\n \\t \\n \\t\\t\\t\\tMAN'S VOICE (O.S.) \\n \\t\\tHold on. \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tSo? \\n \\t \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tThat word was the true name of God. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYeah...\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\t\\tsaw God. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tNo, no, Max. \\n \\t\\tYou're not pure. You can't \\n \\t\\tsee God unless you're pure.\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tMax Cohen. \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\tCohen! \\n \\t\\t\\t(Judging) \\n \\t\\tJewish? \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tWell, you know, \\n \\t\\tHassidim. I met one in the \\n \\t\\tcoffee shop. The guy's a \",\n \"\\t\\tMr. Cohen, give \\n \\t\\tme a moment... \\n \\n \\tBut before Marcy finishes, Max hangs up. He rips off the \\n \\tprintout and heads to the front door. \\n\",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\",\n \"\\t\\t\\t\\tRAV COHEN \\n \\t\\tOkay, okay! Lenny, \\n \\t\\teasy! Max, I'll tell you \\n \\t\\twhat's going on. Just calm \\n \\t\\tdown. \",\n \"\\tWondrously, Max rubs the scar on his head. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\t\\t(Passion building) \\n \\t\\tYes...it's The key into \",\n \"\\t\\tof your stature performing a \\n \\t\\tmitzvah in my presence. \\n \\t\\t\\t(Beat) \\n \\t\\tWhen you told me your name was \\n \\t\\tMax Cohen, I didn't realize you \",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tHello, this is Lenny? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLenny, it's Max Cohen. \\n \\t\",\n \"\\t\\t\\t\\tMAX \\n \\t\\tThe number is nothing. \\n \\t\\tYou know that! \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tWe can use it. We \\n \\t\\tcan wield it.\",\n \"\\tMax wipes his nose and looks around nervously. \\n \\n \\tHe sees the rides of Coney Island in the distance. \\n \\n \\tEXT. CONEY ISLAND BEACH - DAY \\n\"\n ],\n [\n \"\\tINT. MAX'S APARTMENT -CHINATOWN FLAT NEW YORK CITY - NIGHT \\n \\n \\tMax jolts his head from his desk and tries to orient him-self \",\n \"\\trevealing that Max's apartment looks more like the inside of a \\n \\tcomputer than a human's home. \\n \\n \\tThe room is knee-high in computer parts of all shapes and \",\n \"\\tad. Then he notices one of the bodega owners staring at him. \\n \\n \\tEXT. MAX'S APARTMENT - DAY \\n \\n \\tMax scouts his front door. The coast is clear. \",\n \"\\tEXT. CHINATOWN - DAY \\n \\tMax watches people bustle through the busy intersections of \\n \\tChinatown. The streets are clogged with people. \\n \\n \\t\\t\\t\\tMAX (V.O.) \",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\tThen, Max has a premonition. He turns and spots the \\n \\tPhotographer in front of a porn shop on Eighth and 42nd. \\n \\n \\tEXT. PORN SHOP - 42ND STREET - NIGHT\",\n \"\\tINT. MAX'S APARTMENT DAY \\n \\n \\tEUCLID'S INNARDS \\n \\n \\tMax uses a drill to rip out some old parts. He lays new wire \",\n \"\\tMax wanders over to the place where the old man exam \\n \\n \\tINT. MAX'S APARTMENT - NIGHT \\n \\tMAX'S POV through the microscope. Max sees the brain \\n \\tstructures. \\n\",\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\this fingertip. Then, he dips his finger under the tap. \\n \\n \\tINT. MAX'S APARTMENT - MAIN ROOM - DAY \\n \\n \\tMax's room is constantly dark because the windows are blacked \",\n \"\\tSoon, Max gets up and kicks the trashcan. He heads home. \\n \\n \\tIN FRONT OF MAX'S APARTMENT BUILDING \\n \\n \\tMax watches Marcy get out of the limo and call to Mrs. Ovadia.\",\n \"\\tgives Max a small slap on the butt. \\n \\n \\tINSIDE HIS APARTMENT Max bolts the front door. \\n \\n \\tAt his desk he rips open the envelope Lenny Meyer gave him. He \",\n \"\\tMax wipes his nose and looks around nervously. \\n \\n \\tHe sees the rides of Coney Island in the distance. \\n \\n \\tEXT. CONEY ISLAND BEACH - DAY \\n\",\n \"\\t\\tI'll find this structure, \\n \\t\\tthis order, this perfection. \\n \\n \\tINT. MAX'S APARTMENT - DAY \\n \\tMax stares intensely at the ticker on the small TV that sits \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\tin the darkness. He has intelligent eyes set in an exhausted, \\n \\tgood-looking face. \\n \\n \\tThen he notices the blood dripping from his nose. Max wipes \\n \\tit. \\n\",\n \"\\tEXT. CHINATOWN - DAY \\n \\n \\tMax wanders through the crowded streets of Chinatown. \\n \\n \\t\\t\\t\\tMAX (V.O.) \\n \\t\\tIf we're built from \",\n \"\\theading toward Times Square. Max pursues. \\n \\n \\tMax chases him down a looooong passage. \\n \\n \\tBut he loses him at an underground five-way fork in the road. \",\n \"\\tglimpse of the Photographer exiting the station. \\n \\n \\tSMASH TO \\n \\n \\tEXT. TIMES SQUARE - NEON NIGHT \\n \\n \\tIn the heart of New York, Max spins around searching for his \",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \"\n ],\n [\n \"\\tAs Max comes through, RAV COHEN speaks. \\n \\n \\t\\t\\t\\tRAV COHEN \\n \\t\\tMax, Max. You're \\n \\t\\tokay I'm Rabbi Cohen. Cohen \",\n \"\\t\\twere the Max Cohen. Maximilian Cohen. \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tYou know me? \\n \\t \\n \\t\\t\\t\\tLENNY MEYER \\n \\t\\t0f course, I've \",\n \"\\t\\tof your stature performing a \\n \\t\\tmitzvah in my presence. \\n \\t\\t\\t(Beat) \\n \\t\\tWhen you told me your name was \\n \\t\\tMax Cohen, I didn't realize you \",\n \"\\tin the darkness. He has intelligent eyes set in an exhausted, \\n \\tgood-looking face. \\n \\n \\tThen he notices the blood dripping from his nose. Max wipes \\n \\tit. \\n\",\n \"\\t\\tperform in the holy of holies. \\n \\t\\tHe had to intone a single \\n \\t\\tword. \\n \\n \\tRav Cohen takes a dramatic pause. Max is anxious to hear the \\n \\tend of the story. \\n\",\n \"\\t\\t\\t(Points to his yarmulke) \\n \\t\\tI work with the Torah. \\n \\t\\t\\t(Awed by the coincidence) \\n \\t\\tAmazing. \\n \\t \\n \\t\\t\\t\\tMAX \",\n \"\\t\\tTalk to us, Max. \\n \\n \\tWe hear the sound of a phone hanging up. \\n \\n \\tAt the coffee counter, Max pops a handful of pills and \\n \\tcrumples the paper. \\n\",\n \"\\tA wise-looking, bearded Hasidic man with benevolent, piercing \\n \\teyes stands tenderly over Max. He wears traditional black \\n \\tclothes. Lenny Meyer paces nervously in the background. \\n\",\n \"\\trevealing that Max's apartment looks more like the inside of a \\n \\tcomputer than a human's home. \\n \\n \\tThe room is knee-high in computer parts of all shapes and \",\n \"\\t\\tMr. Cohen, give \\n \\t\\tme a moment... \\n \\n \\tBut before Marcy finishes, Max hangs up. He rips off the \\n \\tprintout and heads to the front door. \\n\",\n \"\\tMax is put on hold. He notices a man in a business suit \\n \\twatching him. Max turns away. \\n \\n \\t\\t\\t\\tMARCY DAWSON \\n \\t\\tMr. Cohen? I'm so \",\n \"\\tSuddenly, Max hears someone singing. Max looks up. It is the \\n \\tSkinny Man and he's singing with passion. It's all very \\n \\tstrange to Max, who nervously looks away. \\n\",\n \"\\tSo he takes out a scissors and starts removing some hair. \\n \\n \\tMeanwhile his neighbors' lovemaking gets more intense. Their \\n \\tscreams carry into Max's head. \\n\",\n \"\\t\\t\\t\\tRAV COHEN \\n \\t\\tOkay, okay! Lenny, \\n \\t\\teasy! Max, I'll tell you \\n \\t\\twhat's going on. Just calm \\n \\t\\tdown. \",\n \"\\tuntil it's downright scary. \\n \\n \\tMax sits on a bench sucking down pills. His head begins to \\n \\thurt. He touches the right side of his scalp and nubs it. \\n\",\n \"\\t\\t\\t\\tLENNY MEYER \\n \\t\\tHello, this is Lenny? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tLenny, it's Max Cohen. \\n \\t\",\n \"\\t\\t\\t\\tWOMAN'S VOICE \\n \\t\\tMr. Cohen? \\n \\t \\n \\t\\t\\t\\tMAX \\n \\t\\tWho's this? \\n \\t\",\n \"\\tSatisfied, Lenny lights up a cigarette and takes a drag. \\n \\n \\t\\t\\t\\tMAX \\n \\t\\t\\t(Mildly impressed) \\n \\t\\tKind of interesting. \\n \\t\",\n \"\\tyesterday. Frustrated, he dumps the trash onto the sidewalk \\n \\tand starts looking through it Mrs. Ovadia watches him. \\n \\n \\tMax sees her and is embarrassed for a moment. \\n \\n \\t\\t\\t\\tMAX \",\n \"\\tHe takes a deep breath. Then we hear the motor again. Max \\n \\tlifts up his arm. He's holding a drill. He places the bit \\n \\tagainst the math section of his scalp. \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["Where does Max Cohen live?","Who is Jenna?","What is the name of Max's old mathematics mentor? ","What does Max name his computer?","Where does Max go every day?","What is Ming Mecca?","What immediately happens to Max when he realizes he knows the pattern for the 216-digit number?","What happens when Dawson and her agents try to use the number to manipulae the stock market in their favor?","What do Lenny and companions believe the 216-number represents?","Who is Euclid?","What does Max find out when he goes to visit Sol?","What does Max find among Sol's belongings?","How does Max finally get his peace?","What does Lenny tell Max the number represents?","Who does Max run into at the coffee shop?","What does Max notice on his forehead after becoming clairvoyant?","What is the Ming Mecca?","Who saves Max from Dawson?","What does Dawson want from Max?","Wo does mathematical research work on the Torah? ","From where did Marcy Dawson and her agents grab Max Cohen? ","By sequestering him, what did Marcy Dawson and her agents want from Max Cohen?","What does this arithmetic operation 748 divided by 238 come down to? ","What can Max Cohen easily do in his head? ","Who is the only one person that Max Cohen speaks to in his NYC Chinatown appartment complex?","What is the name of Max Cohen's computer? ","What is Max Cohen core belief? ","How would you describe Max Cohen Chinatown apparment in New York City? ","How would you specifically characterize this unemployed Max Cohen fellow's story telling ability? "],"string":"[\n \"Where does Max Cohen live?\",\n \"Who is Jenna?\",\n \"What is the name of Max's old mathematics mentor? \",\n \"What does Max name his computer?\",\n \"Where does Max go every day?\",\n \"What is Ming Mecca?\",\n \"What immediately happens to Max when he realizes he knows the pattern for the 216-digit number?\",\n \"What happens when Dawson and her agents try to use the number to manipulae the stock market in their favor?\",\n \"What do Lenny and companions believe the 216-number represents?\",\n \"Who is Euclid?\",\n \"What does Max find out when he goes to visit Sol?\",\n \"What does Max find among Sol's belongings?\",\n \"How does Max finally get his peace?\",\n \"What does Lenny tell Max the number represents?\",\n \"Who does Max run into at the coffee shop?\",\n \"What does Max notice on his forehead after becoming clairvoyant?\",\n \"What is the Ming Mecca?\",\n \"Who saves Max from Dawson?\",\n \"What does Dawson want from Max?\",\n \"Wo does mathematical research work on the Torah? \",\n \"From where did Marcy Dawson and her agents grab Max Cohen? \",\n \"By sequestering him, what did Marcy Dawson and her agents want from Max Cohen?\",\n \"What does this arithmetic operation 748 divided by 238 come down to? \",\n \"What can Max Cohen easily do in his head? \",\n \"Who is the only one person that Max Cohen speaks to in his NYC Chinatown appartment complex?\",\n \"What is the name of Max Cohen's computer? \",\n \"What is Max Cohen core belief? \",\n \"How would you describe Max Cohen Chinatown apparment in New York City? \",\n \"How would you specifically characterize this unemployed Max Cohen fellow's story telling ability? \"\n]"},"answers":{"kind":"list like","value":[["In Chinatown in New York City.","New York City"],["A young Chinese-American girl who lives in Max's apartment building.","his Daughter"],["Sol Robeson.","Sol Robeson"],["Euclid.","Euclid"],["To a coffee shop.","a coffee shop"],["A classified computer chip.","a computer chip"],["He has a sudden epiphany and passes out.","he has a sudden epiphany and passes out"],["The stock market crashes.","They cause a market crash"],["The unspeakable name of God.","the name of God"],["Max's computer","Max's computer"],["Sol died of a stroke","A piece of paper with the number on it"],["A paper with the number on it","Mathematical scribbles like his own"],["He drills a hole in his brain.","Puts a drill to his brain."],["God's name","The unspeakable name of God"],["Lenny","Lenny Meyer"],["A strange vein-like bulge","A vein like bulge"],["A computer chip","computer chip"],["Lenny","Lenny"],["An explanation of the number","To explain the number"],["Lenny Meyer. ","Lenny Meyer"],["The street.","on the street"],["To expalin the 216-digit number. ","The number so they can manipulate the stock market in their favor.q"],["An approximation of Pi. ","Pi"],["Perform arcane arithmetic calculations. ","large number arithemtic calculations"],["Sol Robeson. ","Devi"],["Euclid. ","Euclid"],["Numbers can explain everything. ","everything is based on numbers"],["Drab. ","Drab"],["An unreliable story teller. ","probably lying"]],"string":"[\n [\n \"In Chinatown in New York City.\",\n \"New York City\"\n ],\n [\n \"A young Chinese-American girl who lives in Max's apartment building.\",\n \"his Daughter\"\n ],\n [\n \"Sol Robeson.\",\n \"Sol Robeson\"\n ],\n [\n \"Euclid.\",\n \"Euclid\"\n ],\n [\n \"To a coffee shop.\",\n \"a coffee shop\"\n ],\n [\n \"A classified computer chip.\",\n \"a computer chip\"\n ],\n [\n \"He has a sudden epiphany and passes out.\",\n \"he has a sudden epiphany and passes out\"\n ],\n [\n \"The stock market crashes.\",\n \"They cause a market crash\"\n ],\n [\n \"The unspeakable name of God.\",\n \"the name of God\"\n ],\n [\n \"Max's computer\",\n \"Max's computer\"\n ],\n [\n \"Sol died of a stroke\",\n \"A piece of paper with the number on it\"\n ],\n [\n \"A paper with the number on it\",\n \"Mathematical scribbles like his own\"\n ],\n [\n \"He drills a hole in his brain.\",\n \"Puts a drill to his brain.\"\n ],\n [\n \"God's name\",\n \"The unspeakable name of God\"\n ],\n [\n \"Lenny\",\n \"Lenny Meyer\"\n ],\n [\n \"A strange vein-like bulge\",\n \"A vein like bulge\"\n ],\n [\n \"A computer chip\",\n \"computer chip\"\n ],\n [\n \"Lenny\",\n \"Lenny\"\n ],\n [\n \"An explanation of the number\",\n \"To explain the number\"\n ],\n [\n \"Lenny Meyer. \",\n \"Lenny Meyer\"\n ],\n [\n \"The street.\",\n \"on the street\"\n ],\n [\n \"To expalin the 216-digit number. \",\n \"The number so they can manipulate the stock market in their favor.q\"\n ],\n [\n \"An approximation of Pi. \",\n \"Pi\"\n ],\n [\n \"Perform arcane arithmetic calculations. \",\n \"large number arithemtic calculations\"\n ],\n [\n \"Sol Robeson. \",\n \"Devi\"\n ],\n [\n \"Euclid. \",\n \"Euclid\"\n ],\n [\n \"Numbers can explain everything. \",\n \"everything is based on numbers\"\n ],\n [\n \"Drab. \",\n \"Drab\"\n ],\n [\n \"An unreliable story teller. \",\n \"probably lying\"\n ]\n]"},"document_id":{"kind":"string","value":"e4081796caf2b0354f1fc78626b7a74396979e5b"},"split":{"kind":"string","value":"train"}}},{"rowIdx":62,"cells":{"text":{"kind":"list like","value":[[" them, blocking the convoy's path. Rip hits the brakes. \n \n RIPCORD \n Jesus Christ! Bird Down! \n \n DUKE \n (urgent, but utterly calm)"," RIPCORD (CONT'D) \n Who the hell is that? \n Duke grabs Ripcord and starts dragging him out. \n \n EXT. CONVOY - MOUNTAIN ROAD - DAY \n"," Duke sees Snake-Eyes being pushed down the stairs by the \n tourists. He leaps up onto the iron lattice. \n \n RIPCORD \n Where you going? \n \n DUKE \n Each warhead has a kill switch."," from the ambush, now up on a monitor. \n \n BREAKER \n We grabbed an image from Heavy- \n Duty's helmet cam. \n Ripcord looks stunned, he leans closer to Duke and whispers: \n"," Ripcord dives out of the way just in time. Duke has no such \n luck. He spins and catches the FRONT GRILL, digging his feet \n into the road in an attempt to slow the Scarab down. But the"," And in Duke's eyes we see him falter, just a bit. Ripcord \n passes Ana, and wit hone lightning quick hand she slaps at \n Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges"," Eyes' KATANA BLADE saves Ripcord's life by a half inch. \n The rest of the Neo-Vipers arrive and immediately open fire, \n pinning both Duke and Ripcord down. All hell breaks loose."," case. Suddenly, Duke and Ripcord rush up behind them, guns \n raised. \n \n DUKE \n Put the case down, Ana, \n Rip trains his gun on Storm Shadow. \n \n RIPCORD"," She takes another step. Duke levels his pistol right at her \n forehead. Storm Shadow flinches. Duke gives him a glance. \n \n DUKE \n Move and I'll blow her away. \n (to Ripcord)"," CASE. \n Duke now has Rip ver his shouders and is running like hell. \n \n RIPCORD \n Duke? \n \n DUKE \n Shut up. \n \n RIPCORD"," of the howler opens and the team steps out. Duke and Ripcord \n follow hesitantly with the weapons case. A VOICE calls out to \n them from the shadows: \n \n HAWK (O.S.)"," Duke and Ripcord move with the others through a corridor. \n \n DUKE \n Their weaponry, financing, intel, \n it has to be McCullen. Doing an \n inside job on his own warheads. \n"," INT. LEAD COUGAR - MARS FACTORY - NIGHT \n \n Ripcord drives the lead Cougar, Duke beside him. Two more \n guys in back, remotely panning a rooftop DUAL MACHINE GUN. \n"," there herders around here? \n This puts Duke instantly on the alert. \n \n EXT. CONVOY - MOUNTAIN ROAD - DAY \n \n Too late. CONCUSSION CANNONS slide out of ports on both sides"," DUKE (CONT'D) \n C'mon! \n Snake-Eyes follows Duke and Ripcord, charging after them. \n \n EXT. EIFFEL TOWER - DAY \n"," \n \n \n \n \n \n 14. \n \n INT. LEAD COUGAR - MOUNTAIN ROAD - DAY \n \n Duke and Ripcord land on the upturned ceiling, beat to shit."," EXT. SCARAB/STREETS - DAY \n \n Snake-Eyes is now desperately clinging to the undercarriage. \n Duke and Rip are catching up behind him. \n \n SCARLETT'S VOICE"," Ripcord and Snake-Eyes scurry out of the way as it crashes \n down onto the Seine, sending up an enormous explosion of \n water. The shock on the faces of everyone around"," in an air strike and I come \n screaming in to save your-- \n \n DUKE \n --Eyes on the road, Rip. \n \n EXT. CONVOY - MOUNTAIN ROAD - DAY \n"," Ripcord and Duke take out a pair of Neo-Vipers. Storm Shadow \n climbs back into the Arclight. Looking at ana as she falls \n near a vehicle on the blocks. Ana grabs an OIL PAN and"],[" A glint of recognition flickers across Duke's eyes, he nods. \n \n DUKE \n General hawk. Afghanistan, NATO \n Forward Command... \n Breaker sees his chance and gingerly steps up to Duke and"," They almost share a smile. \n \n DUKE \n Let me get this straight. You're \n with McCullen. You're married to \n that Baron. And you claim you're \n still in love with me. \n"," raises his pulse rifle, about to blow Duke away. A hand \n clamps down over the barrel. \n The Viper looks at Ana beside him. Duke also looks at her, a \n flash of shocking recognition ripples across his face. \n \n \n"," \"THE BARONESS\" but we will know her as ANA. Her DARK GLASSES \n glint menacingly as she strides towards the Grizzly. \n The two Special Forces Soldiers who threw the grenades pop up"," She knows who he means, she gives him a grim smile. And \n that's when they see Duke, carrying Ana, charging up to them. \n Another EXPLOSION makes them all dash into the diving bell. \n The doors close and we hear them launch."," Duke and Ana go eye-to-eye for a split second, then Duke goes \n after the case while the Joes take the opportunity to spray \n gunfire her way. Ana zigs, zags, and dives into the Typhoon,"," BREAKER \n Her name is Ana DeCobray now, \n Baroness if you're feeling formal. \n \n RIPCORD \n Wow, she traded up, huh? \n (off Duke's look)"," men. But attempting to-- \n \n DUKE \n I know her. \n \n HAWK \n Excuse me? \n \n DUKE \n You said knowing is half the"," My beautiful Lady of the Lake... \n He kisses her. Ana kisses him back with slightly-feigned \n affection, her eyes open and on Duke. Duke stands there, \n impassive. McCullen finishes the kiss and turns to Duke. \n"," first Viper's gun barrel, giving Duke an apologetic look. \n \n ANA (CONT'D) \n Good-bye, Duke. \n Duke can't believe it. Ana suddenly glances up at something"," battle. Well, I know who she is. \n Duke reaches into his pocket, pulls out a photo and shows \n Hawk. INSERT PHOTO: Ana, four years earlier, much softer"," looking, staring lovingly at Duke as they're about to kiss. \n \n DUKE (CONT'D) \n Her name is Ana Lewis, and I can \n tell you everything you need to \n know about her until... four years"," where they are and what they do. \n \n ANA \n \n (TEASING) \n They think they know. \n \n INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT \n"," there herders around here? \n This puts Duke instantly on the alert. \n \n EXT. CONVOY - MOUNTAIN ROAD - DAY \n \n Too late. CONCUSSION CANNONS slide out of ports on both sides"," smiles at Ana. They speak in French, subtitled. \n \n SECURITY GUARD \n Good Morning. Baroness. \n \n ANA \n Good morning. Gene. My husband's \n expecting me. \n"," That's the reason we got our asses \n kicked. \n Duke betrays nothing. Hawk looks at him. \n \n HAWK \n We're going to need to find out \n everything we can about her."," (off Hawk's look) \n And with her Intel, and her toys... \n she'll find you. \n \n HAWK \n And your point is...? \n \n DUKE"," Scarlett walks back and faces him. He glances aside at Duke \n who is loving this. Ripcord readies the pistol. Scarlett \n darts left. He shoots and misses. She darts right. He \n misses. \n"," So tell me about her. \n \n DUKE \n Okay, I'll start right here: I hope \n that vault is tight, because she \n always gets what she wants... \n"," them, blocking the convoy's path. Rip hits the brakes. \n \n RIPCORD \n Jesus Christ! Bird Down! \n \n DUKE \n (urgent, but utterly calm)"],[" MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," We need to find and neutralize them \n before we can consider moving your \n weapons. \n \n MCCULLEN \n Alright. But allow me to check the \n warheads to see if any have been \n damaged."," What're you gonna do with the \n warheads? \n \n MCCULLEN \n You take to your training well, \n that's good. Still trying to \n develop information. Still planning"," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," 27. \n \n MCCULLEN \n I've spent ten years and thirteen \n billion Euros creating these four \n warheads. Your job, Captain, was to \n protect them, and if it wasn't for"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," Take the warheads N ( to \n them wea Paris. Have \n ized. Then \n to test pon one. I want you \n Test one?ANA \n \n MCCULLEN \n I don't wan t you"," menacing and evil behind this Doctor's mask. \n \n THE DOCTOR (CONT'D) \n Selling one batch of warheads on \n the black market could fund-- \n \n MCCULLEN \n --I appreciate your thirst for"," MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," destiny, to run the wars, the true \n power, not simply to supply arms. \n \n WARDEN \n Do you have anything else to say \n before the sentence is carried out? \n \n MCCULLEN"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," CEO of MARS Industries, the man who \n built these warheads. \n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of"," The Doctor follows McCullen through various corridors. \n \n THE DOCTOR \n The science is staggering isn't it? \n \n MCCULLEN \n You've done well. You've thrown the"," Duke and Ripcord move with the others through a corridor. \n \n DUKE \n Their weaponry, financing, intel, \n it has to be McCullen. Doing an \n inside job on his own warheads. \n"," Why work for McCullen? \n \n THE DOCTOR \n He saved my life, for starters. Now \n to mention infinite resources to \n work in the field of my choosing. \n \n DUKE"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," Duke for several moments, as if struck by the sight of him. \n \n MCCULLEN \n Meet the genius behind all my \n nanotechnology. \n \n THE DOCTOR \n My genius lies only in taking what"],[" Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," We need to find and neutralize them \n before we can consider moving your \n weapons. \n \n MCCULLEN \n Alright. But allow me to check the \n warheads to see if any have been \n damaged."," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," Duke and Ripcord move with the others through a corridor. \n \n DUKE \n Their weaponry, financing, intel, \n it has to be McCullen. Doing an \n inside job on his own warheads. \n"," What're you gonna do with the \n warheads? \n \n MCCULLEN \n You take to your training well, \n that's good. Still trying to \n develop information. Still planning"," 27. \n \n MCCULLEN \n I've spent ten years and thirteen \n billion Euros creating these four \n warheads. Your job, Captain, was to \n protect them, and if it wasn't for"," in and hands a document to Hawk, who looks through it. \n \n HAWK \n From NATO. I am now the official \n custodian of the warheads. Your \n mission is complete. Once you hand"," Take the warheads N ( to \n them wea Paris. Have \n ized. Then \n to test pon one. I want you \n Test one?ANA \n \n MCCULLEN \n I don't wan t you"," You got it? \n \n (CONFUSED) \n Well, what was the \"NOO!\" for? \n \n BREAKER \n That was for McCullen. \n There is the sound of weapons being raised. The team looks"," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," ANA \n I will get those warheads back. \n \n \n \n \n \n \n \n \n \n 30. \n McCullen steps forward and lovingly caresses her face, his"," behind him. McCullen is briefing twenty-two NATO MILITARY \n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \n \n MCCULLEN (CONT'D)"," MCCULLEN (CONT'D) \n Open it, please. \n \n BREAKER \n My scan says they're intact... \n \n MCCULLEN \n General? \n \n HAWK"," destiny, to run the wars, the true \n power, not simply to supply arms. \n \n WARDEN \n Do you have anything else to say \n before the sentence is carried out? \n \n MCCULLEN"],[" DeCobray's desk, opening it up to reveal the four NANOTECH \n WARHEADS and their launchers. DeCobray stares, bewildered. \n \n DECOBRAY (CONT'D)"," Firing. \n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \n begins hurling atoms through miles and miles of underground \n tunnels. Inside the accelerator, the four warheads begin to"," DeCobray reluctantly takes the weapons case. \n \n EXT. BRAWLER - CITY STREETS - DAY \n \n A BRAWLER charges through the streets. On the outside it"," missiles race up after the drone and knock it out of the sky. \n It EXPLODES. Metal FLIES. Snow BURNS. \n \n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \n"," The LASER PULSE fires, blasting straight at the missile which \n is lost in the atmospheric haze below. For a moment, he can't \n tell if he hit it or not. \n \n \n \n \n"," DeCobray stumbles out to the foyer, finds the two Security \n Guards dead, and quickly picks up a phone. \n \n EXT. GUARD SHED - DAY \n"," .or we'll kill everyone in here. \n DeCobray stares at her, shocked. He looks at Storm Shadow who \n removes a GLOCK PISTOL from his belt and shoots a TECHNICIAN."," Technicians open the chamber and very carefully remove the \n warheads, returning them to their case. Storm Shadow locks \n the case and picks it up. \n \n DECOBRAY (CONT'D) \n Careful... they're alive. \n"," You missed! The warhead has entered \n the lower atmosphere! \n \n INT./EXT. NIGHT RAVEN - SKIES - DAY \n \n Ripcord realizes this as he enters the lower atmosphere"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," harmless, we'll come to know it as a \"SCARAB\" attack truck. \n \n SUPER: PARIS, FRANCE \n \n INT. FOYER - THE BARONESS' MANSION - PARIS - NIGHT \n"," And with that, he leaves Duke to the SMART ROBOTS, which \n menacingly begin to move in. \n \n INT. LAUNCH BAY - DAY \n"," The control room is alive with TECHNICIANS squirreling about \n various stations. Monitors show three large AERIAL DRONES \n sitting in vertical launch bays. Duke sees the drones and his"," \n \n \n \n \n \n 69. \n LAB TECHNICIANS swarm all over it, taking readings and making \n adjustments, under the eyes of DeCobray who sits at a control"," of the sky. The CLOUD OF NANO-MITES floats aimlessly away. \n \n INT. FLIGHT CONTROL ROOM - DAY \n \n They all see the missile disappear on their screen. \n \n BREAKER"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," EXT. THE BARONESS' MANSION - PARIS - NIGHT \n \n A BLACK, BEEFED-UP SUV drives towards a magnificent mansion \n in the Parisian suburbs. Though the vehicle looks relatively"," by the facility's Harpoon Cannon defenses, but several manage \n to hit the facility's exterior. KA-BOOM!! \n \n INT. FLIGHT CONTROL ROOM - DAY \n"," Chaos erupts. DeCobray shouts to the room, calming the others \n somewhat. He stares at Ana and Storm Shadow, terrified. \n \n DECOBRAY \n This is a civilian laboratory. We"," Still nothing, the missile streaking onwards towards the \n Earth. \n \n INT. FLIGHT CONTROL ROOM - DAY \n \n They hear Ripcord yelling over the speakers. \n"],[" where. \n \n MCCULLEN \n Those \"ears\" all have top security \n clearance. \n \n HAWK \n We both know what that's worth. \n \n MCCULLEN"," MCCULLEN \n --But not you. \n \n DUKE \n That mission was classified, sir. \n Clearly, somebody sold us out. \n \n \n \n \n \n \n \n \n"," MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," INT. CORRIDOR - NATO HEADQUARTERS - DAY \n \n McCullen exits the briefing room into the corridor outside, \n shaking hands with various Military Commanders. Hawk watches"," The Doctor follows McCullen through various corridors. \n \n THE DOCTOR \n The science is staggering isn't it? \n \n MCCULLEN \n You've done well. You've thrown the"," MCCULLEN (CONT'D) \n This bother you? \n Duke says nothing, so McCullen steps closer. \n \n MCCULLEN (CONT'D) \n Isn't it funny, with the entire"," MCCULLEN \n The best. From Spain. And perhaps a \n couple of pretty young ladies to \n teach you how to use them. \n Guard #1 is even more tempted, but his partner is a Loyalist. \n"," MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," MCCULLEN (CONT'D) \n Please keep me informed of your \n progress, General. \n Duke and McCullen share a quick glare. And then McCullen cuts \n the feed. Scarlett notices concern on Breaker's face."," Why work for McCullen? \n \n THE DOCTOR \n He saved my life, for starters. Now \n to mention infinite resources to \n work in the field of my choosing. \n \n DUKE"," behind him. McCullen is briefing twenty-two NATO MILITARY \n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \n \n MCCULLEN (CONT'D)"," MCCULLEN (CONT'D) \n Open it, please. \n \n BREAKER \n My scan says they're intact... \n \n MCCULLEN \n General? \n \n HAWK"," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," Scarlett grabs Breaker by the scruff of the neck and hauls \n him out of the room. \n \n INT. TRIDENT - DAY \n \n McCullen's face is horrifically burned as The Doctor helps"," Mr McCullen, Clayton Aernathy, \n British Army. \n \n MCCULLEN \n (shaking hands) \n I know who you are General hawk. As \n sharp in a briefing room as your"," target, I couldn't resist. \n \n MCCULLEN \n It's an honor to meet a man of your \n many accomplishments. \n McCullen smiles, then offers Hawk to walk with him. \n"," French did to Clan McCullen. \n \n INT. OPERATING CHAMBER - DAY \n \n In the shadowy operating chamber, the Doctor approaches"," line without a word. The Doctor looks at impressed McCullen. \n \n THE DOCTOR (CONT'D) \n So you tell me: is it working? \n \n INT. CORRIDORS - DESTRO HEADQUARTERS - DAY"," They deactivated the beacon. I gave \n them a code to quietly re-arm it. \n McCullen hits a key, a SCREEN switches on, displaying A MAP"],[" MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," 27. \n \n MCCULLEN \n I've spent ten years and thirteen \n billion Euros creating these four \n warheads. Your job, Captain, was to \n protect them, and if it wasn't for"," We need to find and neutralize them \n before we can consider moving your \n weapons. \n \n MCCULLEN \n Alright. But allow me to check the \n warheads to see if any have been \n damaged."," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," Take the warheads N ( to \n them wea Paris. Have \n ized. Then \n to test pon one. I want you \n Test one?ANA \n \n MCCULLEN \n I don't wan t you"," Okay, I've got a lock on the two \n remaining warheads. Target one is \n Moscow! Target Two is Washington! \n \n SCARLETT \n Give Ripcord the coordinates. \n"," CEO of MARS Industries, the man who \n built these warheads. \n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," What're you gonna do with the \n warheads? \n \n MCCULLEN \n You take to your training well, \n that's good. Still trying to \n develop information. Still planning"," destiny, to run the wars, the true \n power, not simply to supply arms. \n \n WARDEN \n Do you have anything else to say \n before the sentence is carried out? \n \n MCCULLEN"," Firing. \n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \n begins hurling atoms through miles and miles of underground \n tunnels. Inside the accelerator, the four warheads begin to"," Duke and Ripcord move with the others through a corridor. \n \n DUKE \n Their weaponry, financing, intel, \n it has to be McCullen. Doing an \n inside job on his own warheads. \n"," behind him. McCullen is briefing twenty-two NATO MILITARY \n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \n \n MCCULLEN (CONT'D)"," to fail, even to destroy to attain \n a goal. It's a fact that McCullen \n has the guts to embrace. \n \n DUKE \n (still shocked) \n Everything she's done, everything"],[" A glint of recognition flickers across Duke's eyes, he nods. \n \n DUKE \n General hawk. Afghanistan, NATO \n Forward Command... \n Breaker sees his chance and gingerly steps up to Duke and"," subject, learning the mannerisms, \n adopting his eating habits, losing \n sixty percent of my muscle mas... \n \n THE DOCTOR \n Your commitment has been inspiring. \n McCullen enters. \n \n MCCULLEN"," I guess I should thank you, Doctor. \n The Doctor is busy fiddling with his hand held PDA. \n \n THE DOCTOR \n I want you to call me... Commander. \n (looks at McCullen)"," And from now on, I'll be on a first \n name basis with you, Destro. \n McCullen's silver face goes blank. \n \n MCCULLEN \n Yes, Commander. \n"," She knows who he means, she gives him a grim smile. And \n that's when they see Duke, carrying Ana, charging up to them. \n Another EXPLOSION makes them all dash into the diving bell. \n The doors close and we hear them launch."," As he says this, a SECRET SERVICE AGENT draws a SILENCED \n PISTOL and kills the other Agents and Staff. We see an \n INCISION SCAR behind his right ear and realize he is a Neo-"," Patch him through, please. \n \n DUKE \n So who hit us out there? \n \n COVER GIRL \n Currently unidentified. \n \n HEAVY DUTY"," looks around, walks behind the desk, and grins as he sits, as \n if this is the first time he's ever done this. With a little \n flair, he CRACKS HIS KNUCKLES and we realize this is Zartan!"," only as THE DOCTOR. His face hidden by a life-support mask \n that continually pumps air into his lungs and also \n mechanically helps him to speak without the vocal chords he \n is missing. \n \n THE DOCTOR \n Welcome back."," starts sweeping a scanner across the case. Hawk smiles. \n \n HAWK \n That was my last job. \n (a twinkle in his eye) \n I'm in a whole new outfit now."," SMART ROBOTS. This is ZARTAN. A Smart Robot begins to change \n Zartan's fingerprints, which we see on a monitor. \n \n MCCULLEN (CONT'D) \n My family was once this close to"," This guy makes it to the top, throws himself over, and \n crashes to the ground, then crawls over and pulls the OFF \n SWITCH, cutting the electricity before dropping dead himself. \n Ana, Storm Shadow and the others quickly scale the fence. \n"," He's not alive. \n \n HEAVY DUTY \n You ever seen a dead guy do that? \n \n SCARLETT \n They activated a self-destruct."," Near the top the Man finally falls backward and drops down \n dead. Storm Shadow nods to the next Viper. Without \n hesitation the Man walks over and grabs the fence. He is \n immediately JOLTED, but keeps climbing, burning and bubbling."," Ripcord enters the barracks behind. Like Scarlett, he looks \n around to see if he's alone. He catches Scarlett looking at \n him in the mirror, as if he's unwanted. Then he notices the"," where they are and what they do. \n \n ANA \n \n (TEASING) \n They think they know. \n \n INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT \n"," you my friend. \n ABEL \"BREAKER\" SHAZ jumps out of the Howler wearing a \n computerized SURVEILLANCE SUIT, a French/Tunisian ACCENT: \n \n BREAKER"," They did away with the guillotine, \n right? \n They arrive at a door. The door is opened to reveal a man in \n a wheelchair, back turned. When he spins around, it's Hawk. \n"," himself. The spread of WASHINGTON D.C. Far below him now. \n \n INT. OPERATING CHAMBER - DAY \n \n In the operating chamber, the stand-off reaches its boiling"," BREAKER \n Her name is Ana DeCobray now, \n Baroness if you're feeling formal. \n \n RIPCORD \n Wow, she traded up, huh? \n (off Duke's look)"],[" which converge on Zartan, injecting his body with dozens of \n long needles. He remains conscious, not feeling any pain. \n WE ZOOM into a LARGE NEEDLE which OPENS an INCISION behind"," looks around, walks behind the desk, and grins as he sits, as \n if this is the first time he's ever done this. With a little \n flair, he CRACKS HIS KNUCKLES and we realize this is Zartan!"," ZARTAN \n This is going to be the achievement \n of a lifetime. \n \n THE DOCTOR \n For you and me both. \n \n ZARTAN \n Eighteen months of studying the"," SMART ROBOTS. This is ZARTAN. A Smart Robot begins to change \n Zartan's fingerprints, which we see on a monitor. \n \n MCCULLEN (CONT'D) \n My family was once this close to"," \n \n \n \n 59. \n \n ZARTAN (CONT'D) \n Let's do this. \n The Doctor straps Zartan down, then starts the SMART ROBOTS"," his right ear. The needle feeds thousands of tiny NANO-MITES \n into Zartan's head. Zartan's eyes bulge, he starts to SCREAM \n and fight his restraints as the nano-mites begin to reshape"," Zartan checks the PDA. McCullen shakes his head. \n \n MCCULLEN (CONT'D) \n It's always about the money. \n \n ZARTAN \n It's a useful tool. You should"," Ripcord lands on the White House lawn, holding his hands up \n benignly as dozens of SECRET SERVICE AGENTS surround him. \n \n INT. ENERGY SHAFT - DAY \n"," that kind of power... \n \n (LAUGHS) \n The French... \n Zartan CRACKS HIS KNUCKLES and gives McCullen a nod. McCullen \n looks back at the Doctor. \n"," understand that. Ah! The transfer \n just hit my account. \n Zartan puts the PDA aside, leans back on the gurney and \n \n CRACKS HIS KNUCKLES. \n \n \n \n \n"," Zartan who sits on a gurney, scanning his PDA. Dozens of \n SMART ROBOTS warm up as the Doctor flicks on switches. \n \n THE DOCTOR \n Are you ready, Mr. Zartan?"," This guy makes it to the top, throws himself over, and \n crashes to the ground, then crawls over and pulls the OFF \n SWITCH, cutting the electricity before dropping dead himself. \n Ana, Storm Shadow and the others quickly scale the fence. \n"," Gentlemen. About to get under way? \n Zartan raises his PDA. \n \n ZARTAN \n Once the ledgers are all square. \n \n MCCULLEN \n Check your account."," Two SECURITY GUARDS look up from their desks as Ana and Storm \n Shadow stride through the DOORS with two Neo-Vipers. Storm \n Shadow throws something. Both guards fall dead. THROWING"," Eyes lifts himself up to his toes to avoid a laser that \n threatens to disintegrate his crotch. Storm Shadow sees this, \n grins to himself. \n \n INT. PRESIDENTIAL BUNKER - DAY \n"," We now find Duke, wearing only SURGICAL TROUSERS, strapped on \n the operating gurney we saw Zartan on earlier. The SMART \n ROBOTS warming up around him as the Doctor approaches. \n \n THE DOCTOR"," dart around in their suits. Ana and Storm Shadow hear Snake- \n Eyes on the roof and drop their windows and lean out and \n shoot at him. But Snake-Eyes quickly clambers down the side"," reinforced clay wall, it opens and retracts, Ana rolls out \n and drops to the ground. Another huge drill bursts out, it \n retracts and opens and Storm Shadow drops to the ground."," That's all right, Cover Girl. What \n am I signing now? \n Cover Girl GASPS, a KATANA BLADE piercing out through her \n chest. She drops lifelessly, revealing Storm Shadow behind"," The White House glistens in the midday sun. \n \n INT. PRESIDENTIAL BUNKER - DAY \n \n The American President's Bodyguards rush him and his staff \n down into a fortified bunker beneath the White House."],[" MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," his neck, glares through the bars. This is JAMES McCULLEN. \n The guards unlock his cell door, MATCHLOCK MUSKETS at the \n ready. McCullen stares at the muskets, unimpressed. He speaks"," the PULSE PISTOL at it. The intense air blast from the pulse \n pistol catches the flames midway between them and blows them \n back onto McCullen. McCullen SCREAMS as his face is literally"," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," And we realize McCullen is here courtesy of a HOLO-PROJECTOR. \n A ring of cameras provides him with images of the Joes. \n \n HAWK \n Gentlemen, this is James McCullen,"," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," Laughter in the room. McCullen smiles, being a good sport. \n \n MCCULLEN \n I prefer the term \"armament \n solutions engineer\" \n (more chuckles) \n Gentlemen! I'm pleased to announce"," 27. \n \n MCCULLEN \n I've spent ten years and thirteen \n billion Euros creating these four \n warheads. Your job, Captain, was to \n protect them, and if it wasn't for"," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," METALLIC OBJECT from the fire. McCullen sees what it is \n before we do and his face fills with fear. It's a METAL MASK \n being carried towards him, the hinges open with a hideous"," Duke for several moments, as if struck by the sight of him. \n \n MCCULLEN \n Meet the genius behind all my \n nanotechnology. \n \n THE DOCTOR \n My genius lies only in taking what"," destiny, to run the wars, the true \n power, not simply to supply arms. \n \n WARDEN \n Do you have anything else to say \n before the sentence is carried out? \n \n MCCULLEN"," others created to the logical next \n steps. All modern gains in science \n are made through theft. \n \n MCCULLEN \n You'll have to excuse his modesty, \n when I found him, he was -- \n"," MCCULLEN \n The best. From Spain. And perhaps a \n couple of pretty young ladies to \n teach you how to use them. \n Guard #1 is even more tempted, but his partner is a Loyalist. \n"," MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," MCCULLEN (CONT'D) \n This bother you? \n Duke says nothing, so McCullen steps closer. \n \n MCCULLEN (CONT'D) \n Isn't it funny, with the entire"," CEO of MARS Industries, the man who \n built these warheads. \n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of"," target, I couldn't resist. \n \n MCCULLEN \n It's an honor to meet a man of your \n many accomplishments. \n McCullen smiles, then offers Hawk to walk with him. \n"," instant bond formed with the man who created it. The distant \n sound of Jets. The Scientist moves to the vault door and \n begins pulling it closed as we hear the J-Dam Bunker Buster \n whistling towards them. \n"],[" The nano-mites will target the \n venom. \n STILL IN HIS VEINS we see hundreds of MICROSCOPIC NON-MITES \n rushing to meet the venom head on. Blocking it."," Theoretically, the possibilities \n are endless. Increase their speed, \n agility, resilience. You program, \n they perform. That's the genius of \n nanotechnology, it can do pretty"," Nano-mites. Perfect little \n soldiers. Their size can be \n programmed as well as their \n intended task. Originally developed \n to isolate and destroy cancer \n cells, but at Mars Industries, and"," circuits the nano-mites, preventing \n any unwanted destruction. \n ON SCREEN: The Soldier hits a KILL SWITCH on the launcher and \n the NANO-MITES instantly \"drop dead\" around the nearby jeep."," McCullen turns to us and we see that the NANO-MITES have \n created a FORM-FITTING MASK all over his face. He catches his \n reflection in the portal and he grabs at the mask, the NANO-"," Topside, the team watches the two remaining drones race away. \n \n BREAKER \n What about the other two? \n \n RIPCORD \n We find the kill switches and short \n out the nano-mites."," But the NANO-MITES are too fast. The Neo-Viper's legs are \n now gone. His chest and arms next. Breaker rapidly scans \n through the MEMORY FLASHES. But now the NANO-MITES consume"," Immediately, the NANO-MITES pulse with light and fall to the \n ground around the Eiffel Tower. \n The Tower groans, half-eaten, then topples over on its side."," Ripcord is now struggling mightily with his controls as the \n NANO-MITES swiftly eat his plane. \n His FUEL LIGHT flashes at him alarmingly. He angles the Night"," Duke begrudgingly sets the case down. Breaker turns on his \n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \n NANO-MITES crawling around inside the four warheads. \n"," tank. The warhead bursts into millions of SILVER MICROSCOPIC \n NANO-MITES which eat away the metal like piranhas devouring a \n horse. Then the NANO-MITES fan out from the consumed tank and"," of the sky. The CLOUD OF NANO-MITES floats aimlessly away. \n \n INT. FLIGHT CONTROL ROOM - DAY \n \n They all see the missile disappear on their screen. \n \n BREAKER"," The canopy explodes. Rip shoots back down into the atmosphere \n as the NANO-MITES devour the Night Raven, then float away... \n \n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \n"," The Neo-Viper's body starts to decay before them. Thousands \n of NANO-MITES literally eating away at his flesh and bones. \n \n BREAKER \n Nano-mites! \n \n \n"," 32. \n \n THE DOCTOR (CONT'D) \n We introduced into each subject one \n thousand cc's of the nano-mite \n solution. As expected, subjects \n became extremely ill and fell into"," Raven upwards, giving it all he's got, NANO-MITES everywhere. \n \n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \n \n They see his plane angle back up into the upper atmosphere."," DeCobray's desk, opening it up to reveal the four NANOTECH \n WARHEADS and their launchers. DeCobray stares, bewildered. \n \n DECOBRAY (CONT'D)"," Duke for several moments, as if struck by the sight of him. \n \n MCCULLEN \n Meet the genius behind all my \n nanotechnology. \n \n THE DOCTOR \n My genius lies only in taking what"," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \n Through the stunned crowd, they see Snake-Eyes reach the top \n of the stairs behind. Ana rolls the warhead towards him"],[" in and hands a document to Hawk, who looks through it. \n \n HAWK \n From NATO. I am now the official \n custodian of the warheads. Your \n mission is complete. Once you hand"," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," DeCobray's desk, opening it up to reveal the four NANOTECH \n WARHEADS and their launchers. DeCobray stares, bewildered. \n \n DECOBRAY (CONT'D)"," Firing. \n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \n begins hurling atoms through miles and miles of underground \n tunnels. Inside the accelerator, the four warheads begin to"," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," Look, General, delivery is my \n responsibility and it's not one I \n take lightly. I had NATO assign an \n elite American Special Forces unit, \n a fully armored convoy with air \n support. I assure you, my warheads"," Take the warheads N ( to \n them wea Paris. Have \n ized. Then \n to test pon one. I want you \n Test one?ANA \n \n MCCULLEN \n I don't wan t you"," 27. \n \n MCCULLEN \n I've spent ten years and thirteen \n billion Euros creating these four \n warheads. Your job, Captain, was to \n protect them, and if it wasn't for"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \n DOOR. It opens. \n The weapons case sits on a table. She opens the case to \n check that the four warheads are inside, they shine on her"," SCARLETT \n You may be right. Maybe he needed \n NATO to pay for his R D. \n \n RIPCORD \n The weapons case! \n Everyone stops and looks at Ripcord like he's nuts. \n"," INT. MARS FACTORY - NIGHT \n \n FOUR GLASS-LIKE WARHEADS, each the size of a softball, are \n placed into four separate compartments inside a WEAPONS CASE"," How many warheads? \n \n STAFFER #1 \n Four, Mr. President. \n \n PRESIDENT \n Any threats? Any demands? \n \n STAFFER #1 \n None so far, sir. \n"," with the help of a little NATO \n funding... \n \n \n \n \n \n \n \n \n \n 4. \n A few laughs around the room. McCullen soaks it up. \n"," Duke begrudgingly sets the case down. Breaker turns on his \n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \n NANO-MITES crawling around inside the four warheads. \n"," CEO of MARS Industries, the man who \n built these warheads. \n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of"," behind him. McCullen is briefing twenty-two NATO MILITARY \n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \n \n MCCULLEN (CONT'D)"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"],[" SCARLETT (CONT'D) \n Good luck. \n \n RIPCORD \n Do me a favor? Save Duke. \n She gives him a nod, then leaves. Ripcord grins to himself. \n"," Duke quickly checks on the two guys in back crushed to death \n where the blast caved in the Cougar's armor. He looks at Rip. \n \n DUKE \n You okay? \n \n RIPCORD \n"," Duke and Ripcord are running too fast to stop. Duke manages \n to leap into the air, his boots barely scraping the top of \n the train while Ripcord covers his face with his hands and"," CASE. \n Duke now has Rip ver his shouders and is running like hell. \n \n RIPCORD \n Duke? \n \n DUKE \n Shut up. \n \n RIPCORD"," DUKE \n I promise. \n She smiles and holds out her hand. He threads the ring onto \n her trembling finger. Rex smiles, but in his eyes is a glint \n of instability. Ripcord comes CRASHING OUT through shuttered"," RIPCORD (CONT'D) \n Who the hell is that? \n Duke grabs Ripcord and starts dragging him out. \n \n EXT. CONVOY - MOUNTAIN ROAD - DAY \n"," DOWN IN THE DITCH: Duke rolls over and looks at Rip. \n \n DUKE \n Stay here. \n \n RIPCORD \n (really messed up) \n Sure. \n \n DUKE"," You okay? \n \n DUKE \n (not okay) \n .what happened to her? \n For once, Ripcord doesn't know what to say. Cover Girl walks"," Eyes' KATANA BLADE saves Ripcord's life by a half inch. \n The rest of the Neo-Vipers arrive and immediately open fire, \n pinning both Duke and Ripcord down. All hell breaks loose."," Ripcord dives out of the way just in time. Duke has no such \n luck. He spins and catches the FRONT GRILL, digging his feet \n into the road in an attempt to slow the Scarab down. But the"," DUKE \n I hate it when you level with me. \n \n RIPCORD \n Gonna be a long five minutes. \n Duke just grits his teeth and keeps firing. Then, in the"," them, blocking the convoy's path. Rip hits the brakes. \n \n RIPCORD \n Jesus Christ! Bird Down! \n \n DUKE \n (urgent, but utterly calm)"," Scarlett walks back and faces him. He glances aside at Duke \n who is loving this. Ripcord readies the pistol. Scarlett \n darts left. He shoots and misses. She darts right. He \n misses. \n"," RIPCORD (CONT'D) \n So how do you feel about this? \n \n SCARLETT \n I feel very... emotional. \n Duke smiles and the Joes climb aboard as the platform rises. \n"," \n \n \n \n 77. \n \n DUKE \n What happened to you? \n \n RIPCORD \n I went through the train. What \n happened to you? \n \n DUKE"," If I die... \n \n DUKE \n You're not gonna die. \n \n RIPCORD \n I just want you to know... you never \n could run worth a damn. \n \n DUKE"," And in Duke's eyes we see him falter, just a bit. Ripcord \n passes Ana, and wit hone lightning quick hand she slaps at \n Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges"," doors and sprawls out next to them, arms and legs akimbo. \n \n DUKE (CONT'D) \n Jesus, Rip. \n Ripcord rolls over and yells back through the doors: \n \n RIPCORD"," You were done with it, not me. \n Look, I loev flying... \n Duke \"mouths\" the following sentence as Ropcord says it: \n \n RIPCORD (CONT'D) \n I've been flying since I was"," of the howler opens and the team steps out. Duke and Ripcord \n follow hesitantly with the weapons case. A VOICE calls out to \n them from the shadows: \n \n HAWK (O.S.)"],[" in and hands a document to Hawk, who looks through it. \n \n HAWK \n From NATO. I am now the official \n custodian of the warheads. Your \n mission is complete. Once you hand"," Take the warheads N ( to \n them wea Paris. Have \n ized. Then \n to test pon one. I want you \n Test one?ANA \n \n MCCULLEN \n I don't wan t you"," We need to find and neutralize them \n before we can consider moving your \n weapons. \n \n MCCULLEN \n Alright. But allow me to check the \n warheads to see if any have been \n damaged."," Technicians open the chamber and very carefully remove the \n warheads, returning them to their case. Storm Shadow locks \n the case and picks it up. \n \n DECOBRAY (CONT'D) \n Careful... they're alive. \n"," Firing. \n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \n begins hurling atoms through miles and miles of underground \n tunnels. Inside the accelerator, the four warheads begin to"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," DeCobray's desk, opening it up to reveal the four NANOTECH \n WARHEADS and their launchers. DeCobray stares, bewildered. \n \n DECOBRAY (CONT'D)"," MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," DUKE \n The warheads. \n They all rush out of the doors. Breaker stops to change a \n chess piece on the board before racing out. \n \n INT. MAIN VAULT - NIGHT \n"," and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \n Through the stunned crowd, they see Snake-Eyes reach the top \n of the stairs behind. Ana rolls the warhead towards him"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \n DOOR. It opens. \n The weapons case sits on a table. She opens the case to \n check that the four warheads are inside, they shine on her"," INT. MARS FACTORY - NIGHT \n \n FOUR GLASS-LIKE WARHEADS, each the size of a softball, are \n placed into four separate compartments inside a WEAPONS CASE"," What're you gonna do with the \n warheads? \n \n MCCULLEN \n You take to your training well, \n that's good. Still trying to \n develop information. Still planning"," Look, General, delivery is my \n responsibility and it's not one I \n take lightly. I had NATO assign an \n elite American Special Forces unit, \n a fully armored convoy with air \n support. I assure you, my warheads"," will be quite safe. \n \n HAWK \n I've made a career of showing up \n where I'm needed, whether ordered \n to or not. And if your warheads are \n half as effective as you say they"," Duke begrudgingly sets the case down. Breaker turns on his \n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \n NANO-MITES crawling around inside the four warheads. \n"," Okay, I've got a lock on the two \n remaining warheads. Target one is \n Moscow! Target Two is Washington! \n \n SCARLETT \n Give Ripcord the coordinates. \n"],[" MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," Laughter in the room. McCullen smiles, being a good sport. \n \n MCCULLEN \n I prefer the term \"armament \n solutions engineer\" \n (more chuckles) \n Gentlemen! I'm pleased to announce"," behind him. McCullen is briefing twenty-two NATO MILITARY \n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \n \n MCCULLEN (CONT'D)"," CEO of MARS Industries, the man who \n built these warheads. \n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of"," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," destiny, to run the wars, the true \n power, not simply to supply arms. \n \n WARDEN \n Do you have anything else to say \n before the sentence is carried out? \n \n MCCULLEN"," And we realize McCullen is here courtesy of a HOLO-PROJECTOR. \n A ring of cameras provides him with images of the Joes. \n \n HAWK \n Gentlemen, this is James McCullen,"," McCullen turns as Ana appears on a HOLO-PROJECTOR behind him. \n \n MCCULLEN \n I spend five years setting this up. \n Wringing money out of NATO. This \n was supposed to be the easy part."," MCCULLEN (CONT'D) \n This bother you? \n Duke says nothing, so McCullen steps closer. \n \n MCCULLEN (CONT'D) \n Isn't it funny, with the entire"," with the help of a little NATO \n funding... \n \n \n \n \n \n \n \n \n \n 4. \n A few laughs around the room. McCullen soaks it up. \n"," his neck, glares through the bars. This is JAMES McCULLEN. \n The guards unlock his cell door, MATCHLOCK MUSKETS at the \n ready. McCullen stares at the muskets, unimpressed. He speaks"," Mr McCullen, Clayton Aernathy, \n British Army. \n \n MCCULLEN \n (shaking hands) \n I know who you are General hawk. As \n sharp in a briefing room as your"," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," gazing over a lectern in a darkened room. Like his doomed \n ancestor, McCullen carries a proud defiance in his eyes. \n \n MCCULLEN \n Tragic as they are to fight, wars"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," MCCULLEN \n The best. From Spain. And perhaps a \n couple of pretty young ladies to \n teach you how to use them. \n Guard #1 is even more tempted, but his partner is a Loyalist. \n"," McCullen. We're going to make an \n example of you. \n \n \n \n \n \n \n \n \n \n 3. \n The Warden gives a nod to the prison workers who remove the"," MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," Yes, I do. Clan McCullen is far \n bigger and more powerful than any \n of you could ever imagine. My sons \n will continue to rise along after I \n am gone. As will their sons. And,"],[" in and hands a document to Hawk, who looks through it. \n \n HAWK \n From NATO. I am now the official \n custodian of the warheads. Your \n mission is complete. Once you hand"," and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \n Through the stunned crowd, they see Snake-Eyes reach the top \n of the stairs behind. Ana rolls the warhead towards him"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," Technicians open the chamber and very carefully remove the \n warheads, returning them to their case. Storm Shadow locks \n the case and picks it up. \n \n DECOBRAY (CONT'D) \n Careful... they're alive. \n"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," We need to find and neutralize them \n before we can consider moving your \n weapons. \n \n MCCULLEN \n Alright. But allow me to check the \n warheads to see if any have been \n damaged."," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \n DOOR. It opens. \n The weapons case sits on a table. She opens the case to \n check that the four warheads are inside, they shine on her"," towards the exit, leaving his fallen Sword Brother behind. \n \n INT./EXT. SHARC - UNDERWATER - DAY \n \n Heavy Duty sees the cannon return to its dormant position. \n"," DUKE \n The warheads. \n They all rush out of the doors. Breaker stops to change a \n chess piece on the board before racing out. \n \n INT. MAIN VAULT - NIGHT \n"," Duke sees Snake-Eyes being pushed down the stairs by the \n tourists. He leaps up onto the iron lattice. \n \n RIPCORD \n Where you going? \n \n DUKE \n Each warhead has a kill switch."," arms. Ripcord kneels beside him, stunned and bereft. \n \n RIPCORD \n You did the best you could. \n \n BREAKER \n Relax, I got it. \n \n RIPCORD"," Duke begrudgingly sets the case down. Breaker turns on his \n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \n NANO-MITES crawling around inside the four warheads. \n"," (off Hawk's look) \n I signed on to deliver those \n warheads, General, and despite your \n present authority, I want to finish \n the job. \n Hawk regards him for a moment. \n \n HAWK"," She knows who he means, she gives him a grim smile. And \n that's when they see Duke, carrying Ana, charging up to them. \n Another EXPLOSION makes them all dash into the diving bell. \n The doors close and we hear them launch."," Heavy Duty reluctantly doesn't shoot, everyone watching Ana \n backpedal towards the waiting Typhoon. Duke charges like a \n bull and tackles her. Ana sprawls and the case tumbles free."," DeCobray's desk, opening it up to reveal the four NANOTECH \n WARHEADS and their launchers. DeCobray stares, bewildered. \n \n DECOBRAY (CONT'D)"," while Storm Shadow lines up on him with the Security Guard's \n pistol as if to shoot him. Snake-Eyes glares defiantly at \n Storm Shadow who just grins and lowers his gun at the \n warhead."," ANA \n I will get those warheads back. \n \n \n \n \n \n \n \n \n \n 30. \n McCullen steps forward and lovingly caresses her face, his"],[" by the facility's Harpoon Cannon defenses, but several manage \n to hit the facility's exterior. KA-BOOM!! \n \n INT. FLIGHT CONTROL ROOM - DAY \n"," The LASER PULSE fires, blasting straight at the missile which \n is lost in the atmospheric haze below. For a moment, he can't \n tell if he hit it or not. \n \n \n \n \n"," missiles race up after the drone and knock it out of the sky. \n It EXPLODES. Metal FLIES. Snow BURNS. \n \n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \n"," SCARLETT'S VOICE \n I mean right now. They're going to \n detonate one of the warheads on the \n Eiffel Tower."," to get out of the way, they dive and roll in various \n directions, extreme kinetic energy hurling them forward. The \n two missiles whip between them and detonate, one on a PARKING"," ON THE FIRST FLOOR: a hundred feet up, Duke and Rip see her \n coming. Ripcord swings out and catches the girl just in \n time. Above them, the tower is dissolving before their eyes."," Still nothing, the missile streaking onwards towards the \n Earth. \n \n INT. FLIGHT CONTROL ROOM - DAY \n \n They hear Ripcord yelling over the speakers. \n"," PRESIDENT \n How soon will it strike the city? \n \n STAFFER \n Seventeen minutes, Sir. \n \n PRESIDENT \n This will be a disaster the likes \n of which we have never seen."," HUNDREDS OF TOURISTS swarm around the south base of the tower \n to buy their tickets and start their tours. Storm Shadow and \n Ana burst through them, slamming past SECURITY GUARDS as they"," off to the west. They hear the third one about to rocket up-- \n \n \n \n \n \n \n \n \n \n 96."," turret, but the Typhoon guns them down and fires again. The \n blast lands directly on top of the rear Cougar, literally \n flattening it as well as every tree within a hundred feet. \n"," Immediately, the NANO-MITES pulse with light and fall to the \n ground around the Eiffel Tower. \n The Tower groans, half-eaten, then topples over on its side."," it reeling ass-over-tail-rotor into the ground behind the \n rear Cougar, hemming in the convoy. \n The Grizzly launches two HEAT-SEEKING MISSILES off its roof-"," of the sky. The CLOUD OF NANO-MITES floats aimlessly away. \n \n INT. FLIGHT CONTROL ROOM - DAY \n \n They all see the missile disappear on their screen. \n \n BREAKER"," You missed! The warhead has entered \n the lower atmosphere! \n \n INT./EXT. NIGHT RAVEN - SKIES - DAY \n \n Ripcord realizes this as he enters the lower atmosphere"," The control room is alive with TECHNICIANS squirreling about \n various stations. Monitors show three large AERIAL DRONES \n sitting in vertical launch bays. Duke sees the drones and his"," her HUD relay information about her angle of decent and her \n distance to the target. Thirty yards...twenty yards...ten... \n \n INT. SECURITY ROOM - NIGHT \n \n A light flashes on the console in the security room."," She knows who he means, she gives him a grim smile. And \n that's when they see Duke, carrying Ana, charging up to them. \n Another EXPLOSION makes them all dash into the diving bell. \n The doors close and we hear them launch."," A staffer is on the phone, looking up at the President. \n \n STAFFER \n It seems somebody's shot down the \n warhead heading for Moscow. \n \n PRESIDENT \n Thank God..."," up off the side of the Tower, sailing up through the air and \n latching onto the SIDE DOOR of the Typhoon. \n IN THE TYPHOON: The gunship rocks with his sudden weight."],[" A SINGLE SHOT AND THE WARHEAD EXPLODES. Snake-Eyes recoils. \n ON THE GROUND: Everyone hears the warhead detonate. \n ON THE FIRST FLOOR: Duke and Ripcord freeze."," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \n Through the stunned crowd, they see Snake-Eyes reach the top \n of the stairs behind. Ana rolls the warhead towards him"," Duke sees Snake-Eyes being pushed down the stairs by the \n tourists. He leaps up onto the iron lattice. \n \n RIPCORD \n Where you going? \n \n DUKE \n Each warhead has a kill switch."," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," EXT. SUBMARINE - DAY \n \n Hatches open along the sides of the submarine, deploying ten \n SHARC ATTACK CRAFT carrying dozens of Joes. At the same time,"," And a nine millimeter, caseless \n submachine gun with six hundred \n rounds capable of firing all of \n them in thirty seconds. \n Duke and Ripcord are now buckled in, getting a feel for the"," Rock Slide, prepping two HEAT-SEEKING ROCKETS on either side \n of the vehicle. The third drone LAUNCHES UP from two hundred \n yards away. Snake-Eyes locks onto its exhaust and FIRES. The"," The GI JOE submarine peels around a rocky headland now, in \n full view of the underwater facility. A series of TORPEDOES \n fire out of the submarine's launch tubes. Most are blown up"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," DeCobray's desk, opening it up to reveal the four NANOTECH \n WARHEADS and their launchers. DeCobray stares, bewildered. \n \n DECOBRAY (CONT'D)"," Firing. \n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \n begins hurling atoms through miles and miles of underground \n tunnels. Inside the accelerator, the four warheads begin to"," giving everything he's got, until he finally hits the button. \n \n INT. BARRACKS - NIGHT \n \n A KLAXON BLARES. Duke, Ripcord and all the Joes leap up. \n"," above and destroy the cannon. Heavy \n D, as soon as we give the word, you \n lead the assault from outside. \n \n HEAVY DUTY \n (nods grimly) \n Go, Joes... \n"," Technicians open the chamber and very carefully remove the \n warheads, returning them to their case. Storm Shadow locks \n the case and picks it up. \n \n DECOBRAY (CONT'D) \n Careful... they're alive. \n"," LASERS power on up and down the shaft between various circuit \n modules. This is where the energy is charged to operate the \n cannon. One of the lasers catches Storm Shadow's shoulder and"," INT. MARS FACTORY - NIGHT \n \n FOUR GLASS-LIKE WARHEADS, each the size of a softball, are \n placed into four separate compartments inside a WEAPONS CASE"," SIDE PANELS slide open on the outside of the Scarab to reveal \n two MISSILES, one on each side. They fire. \n The MISSILES streak back towards Duke and Ripcord. No time"," Around him, the Joes begin to turn the tide of the battle. A \n SERIES OF SHOTS of Mantis vehicles getting nailed by Joe \n harpoon cannons. \n \n INT. CONTROL ROOM - DAY \n"," Okay, I've got a lock on the two \n remaining warheads. Target one is \n Moscow! Target Two is Washington! \n \n SCARLETT \n Give Ripcord the coordinates. \n"],[" McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," Firing. \n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \n begins hurling atoms through miles and miles of underground \n tunnels. Inside the accelerator, the four warheads begin to"," in and hands a document to Hawk, who looks through it. \n \n HAWK \n From NATO. I am now the official \n custodian of the warheads. Your \n mission is complete. Once you hand"," DeCobray's desk, opening it up to reveal the four NANOTECH \n WARHEADS and their launchers. DeCobray stares, bewildered. \n \n DECOBRAY (CONT'D)"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," How many warheads? \n \n STAFFER #1 \n Four, Mr. President. \n \n PRESIDENT \n Any threats? Any demands? \n \n STAFFER #1 \n None so far, sir. \n"," Take the warheads N ( to \n them wea Paris. Have \n ized. Then \n to test pon one. I want you \n Test one?ANA \n \n MCCULLEN \n I don't wan t you"," The control room is alive with TECHNICIANS squirreling about \n various stations. Monitors show three large AERIAL DRONES \n sitting in vertical launch bays. Duke sees the drones and his"," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," missiles race up after the drone and knock it out of the sky. \n It EXPLODES. Metal FLIES. Snow BURNS. \n \n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \n"," Okay, I've got a lock on the two \n remaining warheads. Target one is \n Moscow! Target Two is Washington! \n \n SCARLETT \n Give Ripcord the coordinates. \n"," EXT. NATO HEADQUARTERS - BRUSSELS - DAY \n \n The many flags of NATO flap outside its massive headquarters. \n \n SUPER: NATO HEADQUARTERS, BELGIUM \n"," will be quite safe. \n \n HAWK \n I've made a career of showing up \n where I'm needed, whether ordered \n to or not. And if your warheads are \n half as effective as you say they"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," SCARLETT'S VOICE \n I mean right now. They're going to \n detonate one of the warheads on the \n Eiffel Tower."," You missed! The warhead has entered \n the lower atmosphere! \n \n INT./EXT. NIGHT RAVEN - SKIES - DAY \n \n Ripcord realizes this as he enters the lower atmosphere"," The LASER PULSE fires, blasting straight at the missile which \n is lost in the atmospheric haze below. For a moment, he can't \n tell if he hit it or not. \n \n \n \n \n"," INT. MARS FACTORY - NIGHT \n \n FOUR GLASS-LIKE WARHEADS, each the size of a softball, are \n placed into four separate compartments inside a WEAPONS CASE"," off to the west. They hear the third one about to rocket up-- \n \n \n \n \n \n \n \n \n \n 96."],[" MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," his neck, glares through the bars. This is JAMES McCULLEN. \n The guards unlock his cell door, MATCHLOCK MUSKETS at the \n ready. McCullen stares at the muskets, unimpressed. He speaks"," the PULSE PISTOL at it. The intense air blast from the pulse \n pistol catches the flames midway between them and blows them \n back onto McCullen. McCullen SCREAMS as his face is literally"," MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," And we realize McCullen is here courtesy of a HOLO-PROJECTOR. \n A ring of cameras provides him with images of the Joes. \n \n HAWK \n Gentlemen, this is James McCullen,"," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," McCullen turns to us and we see that the NANO-MITES have \n created a FORM-FITTING MASK all over his face. He catches his \n reflection in the portal and he grabs at the mask, the NANO-"," 27. \n \n MCCULLEN \n I've spent ten years and thirteen \n billion Euros creating these four \n warheads. Your job, Captain, was to \n protect them, and if it wasn't for"," with a thick Scottish brogue. \n \n MCCULLEN \n Still using matchlocks, are ya? I \n can get you a pair of flintlocks, \n you let me sneak out of here."," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," You got it? \n \n (CONFUSED) \n Well, what was the \"NOO!\" for? \n \n BREAKER \n That was for McCullen. \n There is the sound of weapons being raised. The team looks"," CEO of MARS Industries, the man who \n built these warheads. \n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of"," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," MCCULLEN (CONT'D) \n Open it, please. \n \n BREAKER \n My scan says they're intact... \n \n MCCULLEN \n General? \n \n HAWK"," We need to find and neutralize them \n before we can consider moving your \n weapons. \n \n MCCULLEN \n Alright. But allow me to check the \n warheads to see if any have been \n damaged."," METALLIC OBJECT from the fire. McCullen sees what it is \n before we do and his face fills with fear. It's a METAL MASK \n being carried towards him, the hinges open with a hideous"," What're you gonna do with the \n warheads? \n \n MCCULLEN \n You take to your training well, \n that's good. Still trying to \n develop information. Still planning"," MCCULLEN \n The best. From Spain. And perhaps a \n couple of pretty young ladies to \n teach you how to use them. \n Guard #1 is even more tempted, but his partner is a Loyalist. \n"," The Doctor doesn't move. McCullen watches the stand-off his \n right hand discreetly drawing STEEL HOSE out from his sleeve. \n \n INT./EXT. NIGHT RAVEN - SKIES - DAY \n"," Laughter in the room. McCullen smiles, being a good sport. \n \n MCCULLEN \n I prefer the term \"armament \n solutions engineer\" \n (more chuckles) \n Gentlemen! I'm pleased to announce"],[" Duke and Ripcord move with the others through a corridor. \n \n DUKE \n Their weaponry, financing, intel, \n it has to be McCullen. Doing an \n inside job on his own warheads. \n"," Duke sees Snake-Eyes being pushed down the stairs by the \n tourists. He leaps up onto the iron lattice. \n \n RIPCORD \n Where you going? \n \n DUKE \n Each warhead has a kill switch."," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," of the howler opens and the team steps out. Duke and Ripcord \n follow hesitantly with the weapons case. A VOICE calls out to \n them from the shadows: \n \n HAWK (O.S.)"," RIPCORD (CONT'D) \n Who the hell is that? \n Duke grabs Ripcord and starts dragging him out. \n \n EXT. CONVOY - MOUNTAIN ROAD - DAY \n"," Duke and Ripcord are running too fast to stop. Duke manages \n to leap into the air, his boots barely scraping the top of \n the train while Ripcord covers his face with his hands and"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," And a nine millimeter, caseless \n submachine gun with six hundred \n rounds capable of firing all of \n them in thirty seconds. \n Duke and Ripcord are now buckled in, getting a feel for the"," ground and EXPLODES. Ripcord and Duke jump back. Ripcord \n glances at the underside of the pistol's magazine. Three \n words: \"CAUTION: LIVE BOLTS\"."," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," CASE. \n Duke now has Rip ver his shouders and is running like hell. \n \n RIPCORD \n Duke? \n \n DUKE \n Shut up. \n \n RIPCORD"," case. Suddenly, Duke and Ripcord rush up behind them, guns \n raised. \n \n DUKE \n Put the case down, Ana, \n Rip trains his gun on Storm Shadow. \n \n RIPCORD"," A SINGLE SHOT AND THE WARHEAD EXPLODES. Snake-Eyes recoils. \n ON THE GROUND: Everyone hears the warhead detonate. \n ON THE FIRST FLOOR: Duke and Ripcord freeze."," them, blocking the convoy's path. Rip hits the brakes. \n \n RIPCORD \n Jesus Christ! Bird Down! \n \n DUKE \n (urgent, but utterly calm)"," Okay, I've got a lock on the two \n remaining warheads. Target one is \n Moscow! Target Two is Washington! \n \n SCARLETT \n Give Ripcord the coordinates. \n"," Duke quickly checks on the two guys in back crushed to death \n where the blast caved in the Cougar's armor. He looks at Rip. \n \n DUKE \n You okay? \n \n RIPCORD \n"," Duke charges directly at the building. Ripcord reluctantly \n following as Duke smashes through the wall into... \n \n INT. COCKTAIL LOUNGE - PARIS - DAY \n \n A crowded bar. Neither of them slow for a second. Duke"," And in Duke's eyes we see him falter, just a bit. Ripcord \n passes Ana, and wit hone lightning quick hand she slaps at \n Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges"," That thing could take out a dozen \n subs simultaneously. \n \n SCARLETT \n Then that's our first objective. \n \n RIPCORD \n No, no. Duke's our first objective. \n \n \n"," Get the briefcase. \n Ana takes another step forward, daring Duke to pull the \n trigger. Ripcord, gun drawn and fixed on Storm Shadow, moves \n slowly forward to retrieve the briefcase. Ana is now an inch"],[" Duke sees Snake-Eyes being pushed down the stairs by the \n tourists. He leaps up onto the iron lattice. \n \n RIPCORD \n Where you going? \n \n DUKE \n Each warhead has a kill switch."," by her arm, pulling her along. Ana grabs the weapons case \n and they soar up out of the motor pool and over the landing \n pad. The battle raging below them. \n Ripcord and Duke fire after them, but they vanish up into the"," of the howler opens and the team steps out. Duke and Ripcord \n follow hesitantly with the weapons case. A VOICE calls out to \n them from the shadows: \n \n HAWK (O.S.)"," Duke and Ripcord move with the others through a corridor. \n \n DUKE \n Their weaponry, financing, intel, \n it has to be McCullen. Doing an \n inside job on his own warheads. \n"," Duke charges directly at the building. Ripcord reluctantly \n following as Duke smashes through the wall into... \n \n INT. COCKTAIL LOUNGE - PARIS - DAY \n \n A crowded bar. Neither of them slow for a second. Duke"," INT. PIT BARRACKS - NIGHT \n \n An area where the Joe team chills. Duke and Ripcord enter, \n sore and worked over. They move to some couches. Heavy Duty"," case. Suddenly, Duke and Ripcord rush up behind them, guns \n raised. \n \n DUKE \n Put the case down, Ana, \n Rip trains his gun on Storm Shadow. \n \n RIPCORD"," Eyes' KATANA BLADE saves Ripcord's life by a half inch. \n The rest of the Neo-Vipers arrive and immediately open fire, \n pinning both Duke and Ripcord down. All hell breaks loose."," glasses. \n \n INT. MAIN VAULT - MOMENTS LATER \n \n Duke and Ripcord reach the main vault, armed only with their \n pistols. They find the INNER VAULT DOOR ajar. They"," Duke tumbles up onto the roof. A PULSE CANNON pops up. Duke \n dives off the back as the weapon fires. He tumbles to the \n pavement as Ripcord speeds up to him, firing his WRIST-"," Duke and Ana go eye-to-eye for a split second, then Duke goes \n after the case while the Joes take the opportunity to spray \n gunfire her way. Ana zigs, zags, and dives into the Typhoon,"," INT. ICE CAVE - NIGHT \n \n The Night Raven rolls to a stop inside the cave. The side \n door opens. Storm Shadow exits with the weapons case. Ana \n leads Duke out, two Neo-Vipers behind them. Storm Shadow"," And in Duke's eyes we see him falter, just a bit. Ripcord \n passes Ana, and wit hone lightning quick hand she slaps at \n Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges"," Duke quickly checks on the two guys in back crushed to death \n where the blast caved in the Cougar's armor. He looks at Rip. \n \n DUKE \n You okay? \n \n RIPCORD \n"," Get the briefcase. \n Ana takes another step forward, daring Duke to pull the \n trigger. Ripcord, gun drawn and fixed on Storm Shadow, moves \n slowly forward to retrieve the briefcase. Ana is now an inch"," RIPCORD (CONT'D) \n Who the hell is that? \n Duke grabs Ripcord and starts dragging him out. \n \n EXT. CONVOY - MOUNTAIN ROAD - DAY \n"," Duke and Ripcord are running too fast to stop. Duke manages \n to leap into the air, his boots barely scraping the top of \n the train while Ripcord covers his face with his hands and"," She takes another step. Duke levels his pistol right at her \n forehead. Storm Shadow flinches. Duke gives him a glance. \n \n DUKE \n Move and I'll blow her away. \n (to Ripcord)"," And a nine millimeter, caseless \n submachine gun with six hundred \n rounds capable of firing all of \n them in thirty seconds. \n Duke and Ripcord are now buckled in, getting a feel for the"," Ripcord and Duke take out a pair of Neo-Vipers. Storm Shadow \n climbs back into the Arclight. Looking at ana as she falls \n near a vehicle on the blocks. Ana grabs an OIL PAN and"],[" MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," McCullen turns to us and we see that the NANO-MITES have \n created a FORM-FITTING MASK all over his face. He catches his \n reflection in the portal and he grabs at the mask, the NANO-"," Duke for several moments, as if struck by the sight of him. \n \n MCCULLEN \n Meet the genius behind all my \n nanotechnology. \n \n THE DOCTOR \n My genius lies only in taking what"," MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," destiny, to run the wars, the true \n power, not simply to supply arms. \n \n WARDEN \n Do you have anything else to say \n before the sentence is carried out? \n \n MCCULLEN"," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," Why work for McCullen? \n \n THE DOCTOR \n He saved my life, for starters. Now \n to mention infinite resources to \n work in the field of my choosing. \n \n DUKE"," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," to fail, even to destroy to attain \n a goal. It's a fact that McCullen \n has the guts to embrace. \n \n DUKE \n (still shocked) \n Everything she's done, everything"," CEO of MARS Industries, the man who \n built these warheads. \n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of"," Yes, I do. Clan McCullen is far \n bigger and more powerful than any \n of you could ever imagine. My sons \n will continue to rise along after I \n am gone. As will their sons. And,"," And we realize McCullen is here courtesy of a HOLO-PROJECTOR. \n A ring of cameras provides him with images of the Joes. \n \n HAWK \n Gentlemen, this is James McCullen,"," McCullen turns as Ana appears on a HOLO-PROJECTOR behind him. \n \n MCCULLEN \n I spend five years setting this up. \n Wringing money out of NATO. This \n was supposed to be the easy part."," Laughter in the room. McCullen smiles, being a good sport. \n \n MCCULLEN \n I prefer the term \"armament \n solutions engineer\" \n (more chuckles) \n Gentlemen! I'm pleased to announce"," him down into the Trident. EXPLOSIONS blowing above them. The \n pilots guide the sub out white the Doctor starts injecting \n McCullen with NANO-MITES. McCullen starts to SCREAM... \n"," MCCULLEN (CONT'D) \n This bother you? \n Duke says nothing, so McCullen steps closer. \n \n MCCULLEN (CONT'D) \n Isn't it funny, with the entire"," MCCULLEN (CONT'D) \n The interesting thing about my Neo- \n Vipers is they still think the same \n thoughts they always did, they just \n can't act on them anymore. Instead,"," MCCULLEN (CONT'D) \n Once I get my hands on the reins, \n the money will take care of itself. \n You'll be able to do all the \n research you want."," 27. \n \n MCCULLEN \n I've spent ten years and thirteen \n billion Euros creating these four \n warheads. Your job, Captain, was to \n protect them, and if it wasn't for"," behind him. McCullen is briefing twenty-two NATO MILITARY \n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \n \n MCCULLEN (CONT'D)"],[" in and hands a document to Hawk, who looks through it. \n \n HAWK \n From NATO. I am now the official \n custodian of the warheads. Your \n mission is complete. Once you hand"," and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \n Through the stunned crowd, they see Snake-Eyes reach the top \n of the stairs behind. Ana rolls the warhead towards him"," Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \n DOOR. It opens. \n The weapons case sits on a table. She opens the case to \n check that the four warheads are inside, they shine on her"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," \"THE BARONESS\" but we will know her as ANA. Her DARK GLASSES \n glint menacingly as she strides towards the Grizzly. \n The two Special Forces Soldiers who threw the grenades pop up"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," Take the warheads N ( to \n them wea Paris. Have \n ized. Then \n to test pon one. I want you \n Test one?ANA \n \n MCCULLEN \n I don't wan t you"," DeCobray's desk, opening it up to reveal the four NANOTECH \n WARHEADS and their launchers. DeCobray stares, bewildered. \n \n DECOBRAY (CONT'D)"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," We need to find and neutralize them \n before we can consider moving your \n weapons. \n \n MCCULLEN \n Alright. But allow me to check the \n warheads to see if any have been \n damaged."," Firing. \n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \n begins hurling atoms through miles and miles of underground \n tunnels. Inside the accelerator, the four warheads begin to"," Technicians open the chamber and very carefully remove the \n warheads, returning them to their case. Storm Shadow locks \n the case and picks it up. \n \n DECOBRAY (CONT'D) \n Careful... they're alive. \n"," and face, using it as a shield. Duke hesitates, because of \n the warheads or Ana? Heavy Duty goes to shoot at her. \n \n SCARLETT \n The warheads!"," ANA \n I will get those warheads back. \n \n \n \n \n \n \n \n \n \n 30. \n McCullen steps forward and lovingly caresses her face, his"," What're you gonna do with the \n warheads? \n \n MCCULLEN \n You take to your training well, \n that's good. Still trying to \n develop information. Still planning"," EXT. THE BARONESS' MANSION - PARIS - NIGHT \n \n A BLACK, BEEFED-UP SUV drives towards a magnificent mansion \n in the Parisian suburbs. Though the vehicle looks relatively"," She knows who he means, she gives him a grim smile. And \n that's when they see Duke, carrying Ana, charging up to them. \n Another EXPLOSION makes them all dash into the diving bell. \n The doors close and we hear them launch."," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," harmless, we'll come to know it as a \"SCARAB\" attack truck. \n \n SUPER: PARIS, FRANCE \n \n INT. FOYER - THE BARONESS' MANSION - PARIS - NIGHT \n"],[" Ana and Storm Shadow almost lose their footing. Duke springs \n inside. He smacks Storm Shadow down and grabs the KILL \n SWITCH from Ana, pressing the trigger."," Duke sees Snake-Eyes being pushed down the stairs by the \n tourists. He leaps up onto the iron lattice. \n \n RIPCORD \n Where you going? \n \n DUKE \n Each warhead has a kill switch."," And with that, he leaves Duke to the SMART ROBOTS, which \n menacingly begin to move in. \n \n INT. LAUNCH BAY - DAY \n"," Duke swivels his gun to Breaker's head. Breaker flinches. \n \n BREAKER \n Just need to deactivate its \n tracking beacon, for security. \n \n \n \n \n \n "," DUKE \n The warheads. \n They all rush out of the doors. Breaker stops to change a \n chess piece on the board before racing out. \n \n INT. MAIN VAULT - NIGHT \n"," burned off. The Doctor freaks and drops the PDA, then yanks \n McCullen out into the corridor. Duke fires after them, then \n grabs the PDA, removing Ana's screen with a sigh of relief. \n \n \n \n "," DUKE \n You're off the mission. \n \n STALWORTH \n Sir? \n \n DUKE \n That's what you want, right?"," If I press this, Ana dies. \n \n DUKE \n Put it down. \n \n THE DOCTOR \n Your choice, Duke. \n \n DUKE \n Put it down!"," him up. His eyes on the elevator as it reaches the top deck \n just above him. The Typhoon fires a blast of its CONCUSSION \n CANNONS at Duke, knocking him off the tower. He falls, but"," to fail, even to destroy to attain \n a goal. It's a fact that McCullen \n has the guts to embrace. \n \n DUKE \n (still shocked) \n Everything she's done, everything"," 118. \n \n DUKE \n There's nothing you can do? \n \n SCIENTIST \n Only the man who put them in there \n has the correct code. \n Duke considers this carefully, staring at Ana."," Nothing will ever be right again. \n Duke stares at her, his heart ripped apart. WE PUSH IN ON \n the two of them and FLASHBACK TO: \n"," BREAKER (CONT'D) \n .or you cold just stab it. \n \n INT. OPERATING CHAMBER - DAY \n \n Duke lies on the operating table as a SMART ROBOT makes an"," That thing could take out a dozen \n subs simultaneously. \n \n SCARLETT \n Then that's our first objective. \n \n RIPCORD \n No, no. Duke's our first objective. \n \n \n"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," --Start an international incident. \n \n RIPCORD \n I'm not gonna just sit here! \n \n BREAKER \n This is bigger than Duke. \n \n RIPCORD"," Duke charges directly at the building. Ripcord reluctantly \n following as Duke smashes through the wall into... \n \n INT. COCKTAIL LOUNGE - PARIS - DAY \n \n A crowded bar. Neither of them slow for a second. Duke"," Duke begrudgingly sets the case down. Breaker turns on his \n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \n NANO-MITES crawling around inside the four warheads. \n"," MCCULLEN (CONT'D) \n Please keep me informed of your \n progress, General. \n Duke and McCullen share a quick glare. And then McCullen cuts \n the feed. Scarlett notices concern on Breaker's face."," Scarab now angles towards a busy intersection, threatening to \n crush DUKE in the criss-crossing traffic. \n Duke throws himself onto the hood just as an SUV CRASHES into \n the front grill and is chucked away like so much garbage."],[" MCCULLEN (CONT'D) \n What's on your mind, General? \n \n HAWK \n Your warheads. Securing them in \n transit. Forty pairs of ears in \n that room now know the when and"," MCCULLEN \n Good man. So, can I count on you to \n deliver the warheads to NATO now? \n \n HAWK \n I think it unwise to expose them at \n the moment. This group might make"," MCCULLEN (CONT'D) \n .we discovered how to program \n them to eliminate most anything. \n For instance... metal. \n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a"," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"," quickly head for a nearby jeep. \n \n MCCULLEN (CONT'D) \n Once the target has been destroyed, \n the launcher triggers a kill switch \n unique to each warhead that short-"," McCullen, Ana, and Storm Shadow watch monitors showing \n TECHNICIANS securing the warheads onto three rocket propelled \n SMART-DRONES. As the last one is secured a Technician says: \n"," We need to find and neutralize them \n before we can consider moving your \n weapons. \n \n MCCULLEN \n Alright. But allow me to check the \n warheads to see if any have been \n damaged."," MCCULLEN (CONT'D) \n Each warhead contains seven million \n nano-mites and has the ability to \n eat anything from a single tank to \n an entire city. \n (to consummate salesman)"," 27. \n \n MCCULLEN \n I've spent ten years and thirteen \n billion Euros creating these four \n warheads. Your job, Captain, was to \n protect them, and if it wasn't for"," destiny, to run the wars, the true \n power, not simply to supply arms. \n \n WARDEN \n Do you have anything else to say \n before the sentence is carried out? \n \n MCCULLEN"," Take the warheads N ( to \n them wea Paris. Have \n ized. Then \n to test pon one. I want you \n Test one?ANA \n \n MCCULLEN \n I don't wan t you"," Duke bristles. McCullen turns to Hawk. \n \n MCCULLEN (CONT'D) \n What are your coordinates? I'll \n have NATO send another special ops \n team to retrieve the warheads,"," Laughter in the room. McCullen smiles, being a good sport. \n \n MCCULLEN \n I prefer the term \"armament \n solutions engineer\" \n (more chuckles) \n Gentlemen! I'm pleased to announce"," to fail, even to destroy to attain \n a goal. It's a fact that McCullen \n has the guts to embrace. \n \n DUKE \n (still shocked) \n Everything she's done, everything"," CEO of MARS Industries, the man who \n built these warheads. \n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of"," his neck, glares through the bars. This is JAMES McCULLEN. \n The guards unlock his cell door, MATCHLOCK MUSKETS at the \n ready. McCullen stares at the muskets, unimpressed. He speaks"," behind him. McCullen is briefing twenty-two NATO MILITARY \n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \n \n MCCULLEN (CONT'D)"," case in Storm Shadow's hands. Storm Shadow opens it and \n shows him the three remaining warheads. McCullen runs his \n fingers over them, then nods, Storm Shadow closes the case. \n \n MCCULLEN"," Okay, I've got a lock on the two \n remaining warheads. Target one is \n Moscow! Target Two is Washington! \n \n SCARLETT \n Give Ripcord the coordinates. \n"," MCCULLEN (CONT'D) \n This bother you? \n Duke says nothing, so McCullen steps closer. \n \n MCCULLEN (CONT'D) \n Isn't it funny, with the entire"],[" Ana enters the mansion. SERVANTS take her coat as her \n handsome, sophisticated and well dressed husband, BARON LEON \n DECOBRAY, glides up to her, very French. They kiss warmly. \n \n DECOBRAY"," I'll prepare him for the surgery. \n The Doctor beckons the Neo-Vipers who shove Duke after him \n towards another door. Duke and Ana exchange one last look. \n McCullen keeps his eyes on her as she watches him go."," smiles at Ana. They speak in French, subtitled. \n \n SECURITY GUARD \n Good Morning. Baroness. \n \n ANA \n Good morning. Gene. My husband's \n expecting me. \n"," THE DOCTOR (CONT'D) \n So, I had her brought here, gave \n her a way to deal with her pain, \n gave her purpose. Made her strong. \n I gave her a new life, Duke. \n \n DUKE"," She seems to be affected by this ever so slightly, then... a \n hard, cold look comes to her eyes, she shakes her head. \n \n ANA \n It doesn't matter now. \n \n DUKE"," face registers the horror of what McCullen's about to do. He \n glances at Ana, she quietly looks away, a hint of remorse in \n her eyes? The Doctor rises to greet McCullen, glancing at"," MITES twisting with the contours of his muscles to reveal his \n complete and ever-lasting horror. He breaks down, falling to \n the floor, then he recovers and looks up at The Doctor. \n \n MCCULLEN"," where they are and what they do. \n \n ANA \n \n (TEASING) \n They think they know. \n \n INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT \n"," EXT. THE BARONESS' MANSION - PARIS - NIGHT \n \n A BLACK, BEEFED-UP SUV drives towards a magnificent mansion \n in the Parisian suburbs. Though the vehicle looks relatively"," manner of brain functions. When you \n wake up, you'll be working for me, \n and your past will be a distant \n shimmer that floats in and out of \n your mind like a leaf on a breeze. \n \n THE DOCTOR"," French did to Clan McCullen. \n \n INT. OPERATING CHAMBER - DAY \n \n In the shadowy operating chamber, the Doctor approaches"," THE DOCTOR (CONT'D) \n Cortical nerve clusters revealed \n complete inactivity-- \n \n MCCULLEN \n --Doctor. \n \n THE DOCTOR \n They feel no pain."," They almost share a smile. \n \n DUKE \n Let me get this straight. You're \n with McCullen. You're married to \n that Baron. And you claim you're \n still in love with me. \n"," My beautiful Lady of the Lake... \n He kisses her. Ana kisses him back with slightly-feigned \n affection, her eyes open and on Duke. Duke stands there, \n impassive. McCullen finishes the kiss and turns to Duke. \n"," Then she takes a step toward Duke. \n \n DUKE \n Stop, Ana. Stop right there. \n But she doesn't. She just keeps slowly moving toward him. \n \n ANA"," touches me. Tell McCullen to grow \n up. Besides, the Baron says his \n work in the lab goes much better \n after we've... touched. And that's \n the important thing. \n \n STORM SHADOW"," She looks at him, her face softening. \n \n ANA \n Duke? \n \n DUKE \n I'm here. \n \n ANA \n After all I've done, .you can't"," \"THE BARONESS\" but we will know her as ANA. Her DARK GLASSES \n glint menacingly as she strides towards the Grizzly. \n The two Special Forces Soldiers who threw the grenades pop up"," DUKE \n You sick bastard... you did this to \n your own sister? \n \n THE DOCTOR \n \n (INCENSED) \n I loved my sister! Do you have any"," from the extended barrel. Ana and Duke are close enough to \n feel each other's breath. Their eyes lock. \n \n ANA \n Do it, Duke. .You already killed \n me once."],[" his appearance, reforming facial bones and changing the \n texture and elasticity of his skin and even changing the \n color of his eyes. The Doctor grins proudly. McCullen looks \n disturbed. \n"," Scarlett grabs Breaker by the scruff of the neck and hauls \n him out of the room. \n \n INT. TRIDENT - DAY \n \n McCullen's face is horrifically burned as The Doctor helps"," face registers the horror of what McCullen's about to do. He \n glances at Ana, she quietly looks away, a hint of remorse in \n her eyes? The Doctor rises to greet McCullen, glancing at"," the PULSE PISTOL at it. The intense air blast from the pulse \n pistol catches the flames midway between them and blows them \n back onto McCullen. McCullen SCREAMS as his face is literally"," Why work for McCullen? \n \n THE DOCTOR \n He saved my life, for starters. Now \n to mention infinite resources to \n work in the field of my choosing. \n \n DUKE"," French did to Clan McCullen. \n \n INT. OPERATING CHAMBER - DAY \n \n In the shadowy operating chamber, the Doctor approaches"," burned off. The Doctor freaks and drops the PDA, then yanks \n McCullen out into the corridor. Duke fires after them, then \n grabs the PDA, removing Ana's screen with a sigh of relief. \n \n \n \n "," METALLIC OBJECT from the fire. McCullen sees what it is \n before we do and his face fills with fear. It's a METAL MASK \n being carried towards him, the hinges open with a hideous"," creak. McCullen begins to struggle against the rack. \n \n WARDEN (CONT'D) \n So that no man, woman, nor child \n may ever see your treacherous face \n again, you shall wear this mask for"," MCCULLEN (CONT'D) \n This bother you? \n Duke says nothing, so McCullen steps closer. \n \n MCCULLEN (CONT'D) \n Isn't it funny, with the entire"," subject, learning the mannerisms, \n adopting his eating habits, losing \n sixty percent of my muscle mas... \n \n THE DOCTOR \n Your commitment has been inspiring. \n McCullen enters. \n \n MCCULLEN"," target, I couldn't resist. \n \n MCCULLEN \n It's an honor to meet a man of your \n many accomplishments. \n McCullen smiles, then offers Hawk to walk with him. \n"," MCCULLEN \n Did you imagine your life with her? \n \n DUKE \n I said stay back! \n \n THE DOCTOR \n Don't you know you've lost, Duke? \n \n DUKE"," McCullen turns to us and we see that the NANO-MITES have \n created a FORM-FITTING MASK all over his face. He catches his \n reflection in the portal and he grabs at the mask, the NANO-"," MITES twisting with the contours of his muscles to reveal his \n complete and ever-lasting horror. He breaks down, falling to \n the floor, then he recovers and looks up at The Doctor. \n \n MCCULLEN"," The Doctor follows McCullen through various corridors. \n \n THE DOCTOR \n The science is staggering isn't it? \n \n MCCULLEN \n You've done well. You've thrown the"," Mr. McCullen would be quite unhappy \n if I let you die. \n Ana quickly and nervously starts to buckle in. \n \n ANA \n How thoughtful. \n \n INT. BRAWLER - DAY \n"," THE DOCTOR (CONT'D) \n When they returned to sentience, \n brain scans showed complete \n inactivity in the self-preservation \n region of the cortex. \n \n MCCULLEN \n English, Doctor."," MCCULLEN (CONT'D) \n Please keep me informed of your \n progress, General. \n Duke and McCullen share a quick glare. And then McCullen cuts \n the feed. Scarlett notices concern on Breaker's face."," discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \n McCullen runs his holographic fingers over the warheads. \n Satisfied, he turns to Hawk. \n"],[" where they are and what they do. \n \n ANA \n \n (TEASING) \n They think they know. \n \n INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT \n"," To the Baroness's villa. .Make \n sure her commitment doesn't waiver. \n Storm Shadow nods, McCullen continues on THROUGH him. We now"," \"THE BARONESS\" but we will know her as ANA. Her DARK GLASSES \n glint menacingly as she strides towards the Grizzly. \n The two Special Forces Soldiers who threw the grenades pop up"," EXT. THE BARONESS' MANSION - PARIS - NIGHT \n \n A BLACK, BEEFED-UP SUV drives towards a magnificent mansion \n in the Parisian suburbs. Though the vehicle looks relatively"," smiles at Ana. They speak in French, subtitled. \n \n SECURITY GUARD \n Good Morning. Baroness. \n \n ANA \n Good morning. Gene. My husband's \n expecting me. \n"," INT. VIEWING ROOM - MAXIMUM SECURITY PRISON - DAY \n \n Duke watches Ana through a two-way mirror. She sits alone in \n a holding cell. A MILITARY SCIENTIST watches her with Duke. - \n"," INT. BARRACKS - NIGHT \n \n Battered and bruised, Scarlett hurriedly enters the barracks. \n Checks around to see that she's alone. Then she heads for a"," harmless, we'll come to know it as a \"SCARAB\" attack truck. \n \n SUPER: PARIS, FRANCE \n \n INT. FOYER - THE BARONESS' MANSION - PARIS - NIGHT \n"," She knows who he means, she gives him a grim smile. And \n that's when they see Duke, carrying Ana, charging up to them. \n Another EXPLOSION makes them all dash into the diving bell. \n The doors close and we hear them launch."," BREAKER \n Her name is Ana DeCobray now, \n Baroness if you're feeling formal. \n \n RIPCORD \n Wow, she traded up, huh? \n (off Duke's look)"," 118. \n \n DUKE \n There's nothing you can do? \n \n SCIENTIST \n Only the man who put them in there \n has the correct code. \n Duke considers this carefully, staring at Ana."," So tell me about her. \n \n DUKE \n Okay, I'll start right here: I hope \n that vault is tight, because she \n always gets what she wants... \n"," You got it? \n \n (CONFUSED) \n Well, what was the \"NOO!\" for? \n \n BREAKER \n That was for McCullen. \n There is the sound of weapons being raised. The team looks"," carrying weapons. The Security Guards instantly go on the \n defensive as they hurry up to the stairway. Guns go up. \n Scarlett speaks to them urgently in French. \n \n SCARLETT \n (French, subtitled)"," You okay? \n \n DUKE \n (not okay) \n .what happened to her? \n For once, Ripcord doesn't know what to say. Cover Girl walks"," touches me. Tell McCullen to grow \n up. Besides, the Baron says his \n work in the lab goes much better \n after we've... touched. And that's \n the important thing. \n \n STORM SHADOW"," her hard veneer. She feels Storm Shadow watching her and \n with a flick of her eyes, the walls go up again. She drop a \n SEALED ENVELOPE on DeCobray's desk and heads for the door. \n \n ANA"," Duke and Ana go eye-to-eye for a split second, then Duke goes \n after the case while the Joes take the opportunity to spray \n gunfire her way. Ana zigs, zags, and dives into the Typhoon,"," Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \n DOOR. It opens. \n The weapons case sits on a table. She opens the case to \n check that the four warheads are inside, they shine on her"," I didn't. I just said they were \n always ready. \n McCullen continues on down the hall. Hawk gives Cover Girl a \n look, she reads it and nods. WE SMASH CUT TO: \n"]],"string":"[\n [\n \" them, blocking the convoy's path. Rip hits the brakes. \\n \\n RIPCORD \\n Jesus Christ! Bird Down! \\n \\n DUKE \\n (urgent, but utterly calm)\",\n \" RIPCORD (CONT'D) \\n Who the hell is that? \\n Duke grabs Ripcord and starts dragging him out. \\n \\n EXT. CONVOY - MOUNTAIN ROAD - DAY \\n\",\n \" Duke sees Snake-Eyes being pushed down the stairs by the \\n tourists. He leaps up onto the iron lattice. \\n \\n RIPCORD \\n Where you going? \\n \\n DUKE \\n Each warhead has a kill switch.\",\n \" from the ambush, now up on a monitor. \\n \\n BREAKER \\n We grabbed an image from Heavy- \\n Duty's helmet cam. \\n Ripcord looks stunned, he leans closer to Duke and whispers: \\n\",\n \" Ripcord dives out of the way just in time. Duke has no such \\n luck. He spins and catches the FRONT GRILL, digging his feet \\n into the road in an attempt to slow the Scarab down. But the\",\n \" And in Duke's eyes we see him falter, just a bit. Ripcord \\n passes Ana, and wit hone lightning quick hand she slaps at \\n Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges\",\n \" Eyes' KATANA BLADE saves Ripcord's life by a half inch. \\n The rest of the Neo-Vipers arrive and immediately open fire, \\n pinning both Duke and Ripcord down. All hell breaks loose.\",\n \" case. Suddenly, Duke and Ripcord rush up behind them, guns \\n raised. \\n \\n DUKE \\n Put the case down, Ana, \\n Rip trains his gun on Storm Shadow. \\n \\n RIPCORD\",\n \" She takes another step. Duke levels his pistol right at her \\n forehead. Storm Shadow flinches. Duke gives him a glance. \\n \\n DUKE \\n Move and I'll blow her away. \\n (to Ripcord)\",\n \" CASE. \\n Duke now has Rip ver his shouders and is running like hell. \\n \\n RIPCORD \\n Duke? \\n \\n DUKE \\n Shut up. \\n \\n RIPCORD\",\n \" of the howler opens and the team steps out. Duke and Ripcord \\n follow hesitantly with the weapons case. A VOICE calls out to \\n them from the shadows: \\n \\n HAWK (O.S.)\",\n \" Duke and Ripcord move with the others through a corridor. \\n \\n DUKE \\n Their weaponry, financing, intel, \\n it has to be McCullen. Doing an \\n inside job on his own warheads. \\n\",\n \" INT. LEAD COUGAR - MARS FACTORY - NIGHT \\n \\n Ripcord drives the lead Cougar, Duke beside him. Two more \\n guys in back, remotely panning a rooftop DUAL MACHINE GUN. \\n\",\n \" there herders around here? \\n This puts Duke instantly on the alert. \\n \\n EXT. CONVOY - MOUNTAIN ROAD - DAY \\n \\n Too late. CONCUSSION CANNONS slide out of ports on both sides\",\n \" DUKE (CONT'D) \\n C'mon! \\n Snake-Eyes follows Duke and Ripcord, charging after them. \\n \\n EXT. EIFFEL TOWER - DAY \\n\",\n \" \\n \\n \\n \\n \\n \\n 14. \\n \\n INT. LEAD COUGAR - MOUNTAIN ROAD - DAY \\n \\n Duke and Ripcord land on the upturned ceiling, beat to shit.\",\n \" EXT. SCARAB/STREETS - DAY \\n \\n Snake-Eyes is now desperately clinging to the undercarriage. \\n Duke and Rip are catching up behind him. \\n \\n SCARLETT'S VOICE\",\n \" Ripcord and Snake-Eyes scurry out of the way as it crashes \\n down onto the Seine, sending up an enormous explosion of \\n water. The shock on the faces of everyone around\",\n \" in an air strike and I come \\n screaming in to save your-- \\n \\n DUKE \\n --Eyes on the road, Rip. \\n \\n EXT. CONVOY - MOUNTAIN ROAD - DAY \\n\",\n \" Ripcord and Duke take out a pair of Neo-Vipers. Storm Shadow \\n climbs back into the Arclight. Looking at ana as she falls \\n near a vehicle on the blocks. Ana grabs an OIL PAN and\"\n ],\n [\n \" A glint of recognition flickers across Duke's eyes, he nods. \\n \\n DUKE \\n General hawk. Afghanistan, NATO \\n Forward Command... \\n Breaker sees his chance and gingerly steps up to Duke and\",\n \" They almost share a smile. \\n \\n DUKE \\n Let me get this straight. You're \\n with McCullen. You're married to \\n that Baron. And you claim you're \\n still in love with me. \\n\",\n \" raises his pulse rifle, about to blow Duke away. A hand \\n clamps down over the barrel. \\n The Viper looks at Ana beside him. Duke also looks at her, a \\n flash of shocking recognition ripples across his face. \\n \\n \\n\",\n \" \\\"THE BARONESS\\\" but we will know her as ANA. Her DARK GLASSES \\n glint menacingly as she strides towards the Grizzly. \\n The two Special Forces Soldiers who threw the grenades pop up\",\n \" She knows who he means, she gives him a grim smile. And \\n that's when they see Duke, carrying Ana, charging up to them. \\n Another EXPLOSION makes them all dash into the diving bell. \\n The doors close and we hear them launch.\",\n \" Duke and Ana go eye-to-eye for a split second, then Duke goes \\n after the case while the Joes take the opportunity to spray \\n gunfire her way. Ana zigs, zags, and dives into the Typhoon,\",\n \" BREAKER \\n Her name is Ana DeCobray now, \\n Baroness if you're feeling formal. \\n \\n RIPCORD \\n Wow, she traded up, huh? \\n (off Duke's look)\",\n \" men. But attempting to-- \\n \\n DUKE \\n I know her. \\n \\n HAWK \\n Excuse me? \\n \\n DUKE \\n You said knowing is half the\",\n \" My beautiful Lady of the Lake... \\n He kisses her. Ana kisses him back with slightly-feigned \\n affection, her eyes open and on Duke. Duke stands there, \\n impassive. McCullen finishes the kiss and turns to Duke. \\n\",\n \" first Viper's gun barrel, giving Duke an apologetic look. \\n \\n ANA (CONT'D) \\n Good-bye, Duke. \\n Duke can't believe it. Ana suddenly glances up at something\",\n \" battle. Well, I know who she is. \\n Duke reaches into his pocket, pulls out a photo and shows \\n Hawk. INSERT PHOTO: Ana, four years earlier, much softer\",\n \" looking, staring lovingly at Duke as they're about to kiss. \\n \\n DUKE (CONT'D) \\n Her name is Ana Lewis, and I can \\n tell you everything you need to \\n know about her until... four years\",\n \" where they are and what they do. \\n \\n ANA \\n \\n (TEASING) \\n They think they know. \\n \\n INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT \\n\",\n \" there herders around here? \\n This puts Duke instantly on the alert. \\n \\n EXT. CONVOY - MOUNTAIN ROAD - DAY \\n \\n Too late. CONCUSSION CANNONS slide out of ports on both sides\",\n \" smiles at Ana. They speak in French, subtitled. \\n \\n SECURITY GUARD \\n Good Morning. Baroness. \\n \\n ANA \\n Good morning. Gene. My husband's \\n expecting me. \\n\",\n \" That's the reason we got our asses \\n kicked. \\n Duke betrays nothing. Hawk looks at him. \\n \\n HAWK \\n We're going to need to find out \\n everything we can about her.\",\n \" (off Hawk's look) \\n And with her Intel, and her toys... \\n she'll find you. \\n \\n HAWK \\n And your point is...? \\n \\n DUKE\",\n \" Scarlett walks back and faces him. He glances aside at Duke \\n who is loving this. Ripcord readies the pistol. Scarlett \\n darts left. He shoots and misses. She darts right. He \\n misses. \\n\",\n \" So tell me about her. \\n \\n DUKE \\n Okay, I'll start right here: I hope \\n that vault is tight, because she \\n always gets what she wants... \\n\",\n \" them, blocking the convoy's path. Rip hits the brakes. \\n \\n RIPCORD \\n Jesus Christ! Bird Down! \\n \\n DUKE \\n (urgent, but utterly calm)\"\n ],\n [\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" We need to find and neutralize them \\n before we can consider moving your \\n weapons. \\n \\n MCCULLEN \\n Alright. But allow me to check the \\n warheads to see if any have been \\n damaged.\",\n \" What're you gonna do with the \\n warheads? \\n \\n MCCULLEN \\n You take to your training well, \\n that's good. Still trying to \\n develop information. Still planning\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" 27. \\n \\n MCCULLEN \\n I've spent ten years and thirteen \\n billion Euros creating these four \\n warheads. Your job, Captain, was to \\n protect them, and if it wasn't for\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" Take the warheads N ( to \\n them wea Paris. Have \\n ized. Then \\n to test pon one. I want you \\n Test one?ANA \\n \\n MCCULLEN \\n I don't wan t you\",\n \" menacing and evil behind this Doctor's mask. \\n \\n THE DOCTOR (CONT'D) \\n Selling one batch of warheads on \\n the black market could fund-- \\n \\n MCCULLEN \\n --I appreciate your thirst for\",\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" destiny, to run the wars, the true \\n power, not simply to supply arms. \\n \\n WARDEN \\n Do you have anything else to say \\n before the sentence is carried out? \\n \\n MCCULLEN\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" CEO of MARS Industries, the man who \\n built these warheads. \\n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \\n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of\",\n \" The Doctor follows McCullen through various corridors. \\n \\n THE DOCTOR \\n The science is staggering isn't it? \\n \\n MCCULLEN \\n You've done well. You've thrown the\",\n \" Duke and Ripcord move with the others through a corridor. \\n \\n DUKE \\n Their weaponry, financing, intel, \\n it has to be McCullen. Doing an \\n inside job on his own warheads. \\n\",\n \" Why work for McCullen? \\n \\n THE DOCTOR \\n He saved my life, for starters. Now \\n to mention infinite resources to \\n work in the field of my choosing. \\n \\n DUKE\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" Duke for several moments, as if struck by the sight of him. \\n \\n MCCULLEN \\n Meet the genius behind all my \\n nanotechnology. \\n \\n THE DOCTOR \\n My genius lies only in taking what\"\n ],\n [\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" We need to find and neutralize them \\n before we can consider moving your \\n weapons. \\n \\n MCCULLEN \\n Alright. But allow me to check the \\n warheads to see if any have been \\n damaged.\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" Duke and Ripcord move with the others through a corridor. \\n \\n DUKE \\n Their weaponry, financing, intel, \\n it has to be McCullen. Doing an \\n inside job on his own warheads. \\n\",\n \" What're you gonna do with the \\n warheads? \\n \\n MCCULLEN \\n You take to your training well, \\n that's good. Still trying to \\n develop information. Still planning\",\n \" 27. \\n \\n MCCULLEN \\n I've spent ten years and thirteen \\n billion Euros creating these four \\n warheads. Your job, Captain, was to \\n protect them, and if it wasn't for\",\n \" in and hands a document to Hawk, who looks through it. \\n \\n HAWK \\n From NATO. I am now the official \\n custodian of the warheads. Your \\n mission is complete. Once you hand\",\n \" Take the warheads N ( to \\n them wea Paris. Have \\n ized. Then \\n to test pon one. I want you \\n Test one?ANA \\n \\n MCCULLEN \\n I don't wan t you\",\n \" You got it? \\n \\n (CONFUSED) \\n Well, what was the \\\"NOO!\\\" for? \\n \\n BREAKER \\n That was for McCullen. \\n There is the sound of weapons being raised. The team looks\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" ANA \\n I will get those warheads back. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 30. \\n McCullen steps forward and lovingly caresses her face, his\",\n \" behind him. McCullen is briefing twenty-two NATO MILITARY \\n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \\n \\n MCCULLEN (CONT'D)\",\n \" MCCULLEN (CONT'D) \\n Open it, please. \\n \\n BREAKER \\n My scan says they're intact... \\n \\n MCCULLEN \\n General? \\n \\n HAWK\",\n \" destiny, to run the wars, the true \\n power, not simply to supply arms. \\n \\n WARDEN \\n Do you have anything else to say \\n before the sentence is carried out? \\n \\n MCCULLEN\"\n ],\n [\n \" DeCobray's desk, opening it up to reveal the four NANOTECH \\n WARHEADS and their launchers. DeCobray stares, bewildered. \\n \\n DECOBRAY (CONT'D)\",\n \" Firing. \\n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \\n begins hurling atoms through miles and miles of underground \\n tunnels. Inside the accelerator, the four warheads begin to\",\n \" DeCobray reluctantly takes the weapons case. \\n \\n EXT. BRAWLER - CITY STREETS - DAY \\n \\n A BRAWLER charges through the streets. On the outside it\",\n \" missiles race up after the drone and knock it out of the sky. \\n It EXPLODES. Metal FLIES. Snow BURNS. \\n \\n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \\n\",\n \" The LASER PULSE fires, blasting straight at the missile which \\n is lost in the atmospheric haze below. For a moment, he can't \\n tell if he hit it or not. \\n \\n \\n \\n \\n\",\n \" DeCobray stumbles out to the foyer, finds the two Security \\n Guards dead, and quickly picks up a phone. \\n \\n EXT. GUARD SHED - DAY \\n\",\n \" .or we'll kill everyone in here. \\n DeCobray stares at her, shocked. He looks at Storm Shadow who \\n removes a GLOCK PISTOL from his belt and shoots a TECHNICIAN.\",\n \" Technicians open the chamber and very carefully remove the \\n warheads, returning them to their case. Storm Shadow locks \\n the case and picks it up. \\n \\n DECOBRAY (CONT'D) \\n Careful... they're alive. \\n\",\n \" You missed! The warhead has entered \\n the lower atmosphere! \\n \\n INT./EXT. NIGHT RAVEN - SKIES - DAY \\n \\n Ripcord realizes this as he enters the lower atmosphere\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" harmless, we'll come to know it as a \\\"SCARAB\\\" attack truck. \\n \\n SUPER: PARIS, FRANCE \\n \\n INT. FOYER - THE BARONESS' MANSION - PARIS - NIGHT \\n\",\n \" And with that, he leaves Duke to the SMART ROBOTS, which \\n menacingly begin to move in. \\n \\n INT. LAUNCH BAY - DAY \\n\",\n \" The control room is alive with TECHNICIANS squirreling about \\n various stations. Monitors show three large AERIAL DRONES \\n sitting in vertical launch bays. Duke sees the drones and his\",\n \" \\n \\n \\n \\n \\n \\n 69. \\n LAB TECHNICIANS swarm all over it, taking readings and making \\n adjustments, under the eyes of DeCobray who sits at a control\",\n \" of the sky. The CLOUD OF NANO-MITES floats aimlessly away. \\n \\n INT. FLIGHT CONTROL ROOM - DAY \\n \\n They all see the missile disappear on their screen. \\n \\n BREAKER\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" EXT. THE BARONESS' MANSION - PARIS - NIGHT \\n \\n A BLACK, BEEFED-UP SUV drives towards a magnificent mansion \\n in the Parisian suburbs. Though the vehicle looks relatively\",\n \" by the facility's Harpoon Cannon defenses, but several manage \\n to hit the facility's exterior. KA-BOOM!! \\n \\n INT. FLIGHT CONTROL ROOM - DAY \\n\",\n \" Chaos erupts. DeCobray shouts to the room, calming the others \\n somewhat. He stares at Ana and Storm Shadow, terrified. \\n \\n DECOBRAY \\n This is a civilian laboratory. We\",\n \" Still nothing, the missile streaking onwards towards the \\n Earth. \\n \\n INT. FLIGHT CONTROL ROOM - DAY \\n \\n They hear Ripcord yelling over the speakers. \\n\"\n ],\n [\n \" where. \\n \\n MCCULLEN \\n Those \\\"ears\\\" all have top security \\n clearance. \\n \\n HAWK \\n We both know what that's worth. \\n \\n MCCULLEN\",\n \" MCCULLEN \\n --But not you. \\n \\n DUKE \\n That mission was classified, sir. \\n Clearly, somebody sold us out. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" INT. CORRIDOR - NATO HEADQUARTERS - DAY \\n \\n McCullen exits the briefing room into the corridor outside, \\n shaking hands with various Military Commanders. Hawk watches\",\n \" The Doctor follows McCullen through various corridors. \\n \\n THE DOCTOR \\n The science is staggering isn't it? \\n \\n MCCULLEN \\n You've done well. You've thrown the\",\n \" MCCULLEN (CONT'D) \\n This bother you? \\n Duke says nothing, so McCullen steps closer. \\n \\n MCCULLEN (CONT'D) \\n Isn't it funny, with the entire\",\n \" MCCULLEN \\n The best. From Spain. And perhaps a \\n couple of pretty young ladies to \\n teach you how to use them. \\n Guard #1 is even more tempted, but his partner is a Loyalist. \\n\",\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" MCCULLEN (CONT'D) \\n Please keep me informed of your \\n progress, General. \\n Duke and McCullen share a quick glare. And then McCullen cuts \\n the feed. Scarlett notices concern on Breaker's face.\",\n \" Why work for McCullen? \\n \\n THE DOCTOR \\n He saved my life, for starters. Now \\n to mention infinite resources to \\n work in the field of my choosing. \\n \\n DUKE\",\n \" behind him. McCullen is briefing twenty-two NATO MILITARY \\n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \\n \\n MCCULLEN (CONT'D)\",\n \" MCCULLEN (CONT'D) \\n Open it, please. \\n \\n BREAKER \\n My scan says they're intact... \\n \\n MCCULLEN \\n General? \\n \\n HAWK\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" Scarlett grabs Breaker by the scruff of the neck and hauls \\n him out of the room. \\n \\n INT. TRIDENT - DAY \\n \\n McCullen's face is horrifically burned as The Doctor helps\",\n \" Mr McCullen, Clayton Aernathy, \\n British Army. \\n \\n MCCULLEN \\n (shaking hands) \\n I know who you are General hawk. As \\n sharp in a briefing room as your\",\n \" target, I couldn't resist. \\n \\n MCCULLEN \\n It's an honor to meet a man of your \\n many accomplishments. \\n McCullen smiles, then offers Hawk to walk with him. \\n\",\n \" French did to Clan McCullen. \\n \\n INT. OPERATING CHAMBER - DAY \\n \\n In the shadowy operating chamber, the Doctor approaches\",\n \" line without a word. The Doctor looks at impressed McCullen. \\n \\n THE DOCTOR (CONT'D) \\n So you tell me: is it working? \\n \\n INT. CORRIDORS - DESTRO HEADQUARTERS - DAY\",\n \" They deactivated the beacon. I gave \\n them a code to quietly re-arm it. \\n McCullen hits a key, a SCREEN switches on, displaying A MAP\"\n ],\n [\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" 27. \\n \\n MCCULLEN \\n I've spent ten years and thirteen \\n billion Euros creating these four \\n warheads. Your job, Captain, was to \\n protect them, and if it wasn't for\",\n \" We need to find and neutralize them \\n before we can consider moving your \\n weapons. \\n \\n MCCULLEN \\n Alright. But allow me to check the \\n warheads to see if any have been \\n damaged.\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" Take the warheads N ( to \\n them wea Paris. Have \\n ized. Then \\n to test pon one. I want you \\n Test one?ANA \\n \\n MCCULLEN \\n I don't wan t you\",\n \" Okay, I've got a lock on the two \\n remaining warheads. Target one is \\n Moscow! Target Two is Washington! \\n \\n SCARLETT \\n Give Ripcord the coordinates. \\n\",\n \" CEO of MARS Industries, the man who \\n built these warheads. \\n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \\n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" What're you gonna do with the \\n warheads? \\n \\n MCCULLEN \\n You take to your training well, \\n that's good. Still trying to \\n develop information. Still planning\",\n \" destiny, to run the wars, the true \\n power, not simply to supply arms. \\n \\n WARDEN \\n Do you have anything else to say \\n before the sentence is carried out? \\n \\n MCCULLEN\",\n \" Firing. \\n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \\n begins hurling atoms through miles and miles of underground \\n tunnels. Inside the accelerator, the four warheads begin to\",\n \" Duke and Ripcord move with the others through a corridor. \\n \\n DUKE \\n Their weaponry, financing, intel, \\n it has to be McCullen. Doing an \\n inside job on his own warheads. \\n\",\n \" behind him. McCullen is briefing twenty-two NATO MILITARY \\n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \\n \\n MCCULLEN (CONT'D)\",\n \" to fail, even to destroy to attain \\n a goal. It's a fact that McCullen \\n has the guts to embrace. \\n \\n DUKE \\n (still shocked) \\n Everything she's done, everything\"\n ],\n [\n \" A glint of recognition flickers across Duke's eyes, he nods. \\n \\n DUKE \\n General hawk. Afghanistan, NATO \\n Forward Command... \\n Breaker sees his chance and gingerly steps up to Duke and\",\n \" subject, learning the mannerisms, \\n adopting his eating habits, losing \\n sixty percent of my muscle mas... \\n \\n THE DOCTOR \\n Your commitment has been inspiring. \\n McCullen enters. \\n \\n MCCULLEN\",\n \" I guess I should thank you, Doctor. \\n The Doctor is busy fiddling with his hand held PDA. \\n \\n THE DOCTOR \\n I want you to call me... Commander. \\n (looks at McCullen)\",\n \" And from now on, I'll be on a first \\n name basis with you, Destro. \\n McCullen's silver face goes blank. \\n \\n MCCULLEN \\n Yes, Commander. \\n\",\n \" She knows who he means, she gives him a grim smile. And \\n that's when they see Duke, carrying Ana, charging up to them. \\n Another EXPLOSION makes them all dash into the diving bell. \\n The doors close and we hear them launch.\",\n \" As he says this, a SECRET SERVICE AGENT draws a SILENCED \\n PISTOL and kills the other Agents and Staff. We see an \\n INCISION SCAR behind his right ear and realize he is a Neo-\",\n \" Patch him through, please. \\n \\n DUKE \\n So who hit us out there? \\n \\n COVER GIRL \\n Currently unidentified. \\n \\n HEAVY DUTY\",\n \" looks around, walks behind the desk, and grins as he sits, as \\n if this is the first time he's ever done this. With a little \\n flair, he CRACKS HIS KNUCKLES and we realize this is Zartan!\",\n \" only as THE DOCTOR. His face hidden by a life-support mask \\n that continually pumps air into his lungs and also \\n mechanically helps him to speak without the vocal chords he \\n is missing. \\n \\n THE DOCTOR \\n Welcome back.\",\n \" starts sweeping a scanner across the case. Hawk smiles. \\n \\n HAWK \\n That was my last job. \\n (a twinkle in his eye) \\n I'm in a whole new outfit now.\",\n \" SMART ROBOTS. This is ZARTAN. A Smart Robot begins to change \\n Zartan's fingerprints, which we see on a monitor. \\n \\n MCCULLEN (CONT'D) \\n My family was once this close to\",\n \" This guy makes it to the top, throws himself over, and \\n crashes to the ground, then crawls over and pulls the OFF \\n SWITCH, cutting the electricity before dropping dead himself. \\n Ana, Storm Shadow and the others quickly scale the fence. \\n\",\n \" He's not alive. \\n \\n HEAVY DUTY \\n You ever seen a dead guy do that? \\n \\n SCARLETT \\n They activated a self-destruct.\",\n \" Near the top the Man finally falls backward and drops down \\n dead. Storm Shadow nods to the next Viper. Without \\n hesitation the Man walks over and grabs the fence. He is \\n immediately JOLTED, but keeps climbing, burning and bubbling.\",\n \" Ripcord enters the barracks behind. Like Scarlett, he looks \\n around to see if he's alone. He catches Scarlett looking at \\n him in the mirror, as if he's unwanted. Then he notices the\",\n \" where they are and what they do. \\n \\n ANA \\n \\n (TEASING) \\n They think they know. \\n \\n INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT \\n\",\n \" you my friend. \\n ABEL \\\"BREAKER\\\" SHAZ jumps out of the Howler wearing a \\n computerized SURVEILLANCE SUIT, a French/Tunisian ACCENT: \\n \\n BREAKER\",\n \" They did away with the guillotine, \\n right? \\n They arrive at a door. The door is opened to reveal a man in \\n a wheelchair, back turned. When he spins around, it's Hawk. \\n\",\n \" himself. The spread of WASHINGTON D.C. Far below him now. \\n \\n INT. OPERATING CHAMBER - DAY \\n \\n In the operating chamber, the stand-off reaches its boiling\",\n \" BREAKER \\n Her name is Ana DeCobray now, \\n Baroness if you're feeling formal. \\n \\n RIPCORD \\n Wow, she traded up, huh? \\n (off Duke's look)\"\n ],\n [\n \" which converge on Zartan, injecting his body with dozens of \\n long needles. He remains conscious, not feeling any pain. \\n WE ZOOM into a LARGE NEEDLE which OPENS an INCISION behind\",\n \" looks around, walks behind the desk, and grins as he sits, as \\n if this is the first time he's ever done this. With a little \\n flair, he CRACKS HIS KNUCKLES and we realize this is Zartan!\",\n \" ZARTAN \\n This is going to be the achievement \\n of a lifetime. \\n \\n THE DOCTOR \\n For you and me both. \\n \\n ZARTAN \\n Eighteen months of studying the\",\n \" SMART ROBOTS. This is ZARTAN. A Smart Robot begins to change \\n Zartan's fingerprints, which we see on a monitor. \\n \\n MCCULLEN (CONT'D) \\n My family was once this close to\",\n \" \\n \\n \\n \\n 59. \\n \\n ZARTAN (CONT'D) \\n Let's do this. \\n The Doctor straps Zartan down, then starts the SMART ROBOTS\",\n \" his right ear. The needle feeds thousands of tiny NANO-MITES \\n into Zartan's head. Zartan's eyes bulge, he starts to SCREAM \\n and fight his restraints as the nano-mites begin to reshape\",\n \" Zartan checks the PDA. McCullen shakes his head. \\n \\n MCCULLEN (CONT'D) \\n It's always about the money. \\n \\n ZARTAN \\n It's a useful tool. You should\",\n \" Ripcord lands on the White House lawn, holding his hands up \\n benignly as dozens of SECRET SERVICE AGENTS surround him. \\n \\n INT. ENERGY SHAFT - DAY \\n\",\n \" that kind of power... \\n \\n (LAUGHS) \\n The French... \\n Zartan CRACKS HIS KNUCKLES and gives McCullen a nod. McCullen \\n looks back at the Doctor. \\n\",\n \" understand that. Ah! The transfer \\n just hit my account. \\n Zartan puts the PDA aside, leans back on the gurney and \\n \\n CRACKS HIS KNUCKLES. \\n \\n \\n \\n \\n\",\n \" Zartan who sits on a gurney, scanning his PDA. Dozens of \\n SMART ROBOTS warm up as the Doctor flicks on switches. \\n \\n THE DOCTOR \\n Are you ready, Mr. Zartan?\",\n \" This guy makes it to the top, throws himself over, and \\n crashes to the ground, then crawls over and pulls the OFF \\n SWITCH, cutting the electricity before dropping dead himself. \\n Ana, Storm Shadow and the others quickly scale the fence. \\n\",\n \" Gentlemen. About to get under way? \\n Zartan raises his PDA. \\n \\n ZARTAN \\n Once the ledgers are all square. \\n \\n MCCULLEN \\n Check your account.\",\n \" Two SECURITY GUARDS look up from their desks as Ana and Storm \\n Shadow stride through the DOORS with two Neo-Vipers. Storm \\n Shadow throws something. Both guards fall dead. THROWING\",\n \" Eyes lifts himself up to his toes to avoid a laser that \\n threatens to disintegrate his crotch. Storm Shadow sees this, \\n grins to himself. \\n \\n INT. PRESIDENTIAL BUNKER - DAY \\n\",\n \" We now find Duke, wearing only SURGICAL TROUSERS, strapped on \\n the operating gurney we saw Zartan on earlier. The SMART \\n ROBOTS warming up around him as the Doctor approaches. \\n \\n THE DOCTOR\",\n \" dart around in their suits. Ana and Storm Shadow hear Snake- \\n Eyes on the roof and drop their windows and lean out and \\n shoot at him. But Snake-Eyes quickly clambers down the side\",\n \" reinforced clay wall, it opens and retracts, Ana rolls out \\n and drops to the ground. Another huge drill bursts out, it \\n retracts and opens and Storm Shadow drops to the ground.\",\n \" That's all right, Cover Girl. What \\n am I signing now? \\n Cover Girl GASPS, a KATANA BLADE piercing out through her \\n chest. She drops lifelessly, revealing Storm Shadow behind\",\n \" The White House glistens in the midday sun. \\n \\n INT. PRESIDENTIAL BUNKER - DAY \\n \\n The American President's Bodyguards rush him and his staff \\n down into a fortified bunker beneath the White House.\"\n ],\n [\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" his neck, glares through the bars. This is JAMES McCULLEN. \\n The guards unlock his cell door, MATCHLOCK MUSKETS at the \\n ready. McCullen stares at the muskets, unimpressed. He speaks\",\n \" the PULSE PISTOL at it. The intense air blast from the pulse \\n pistol catches the flames midway between them and blows them \\n back onto McCullen. McCullen SCREAMS as his face is literally\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" And we realize McCullen is here courtesy of a HOLO-PROJECTOR. \\n A ring of cameras provides him with images of the Joes. \\n \\n HAWK \\n Gentlemen, this is James McCullen,\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" Laughter in the room. McCullen smiles, being a good sport. \\n \\n MCCULLEN \\n I prefer the term \\\"armament \\n solutions engineer\\\" \\n (more chuckles) \\n Gentlemen! I'm pleased to announce\",\n \" 27. \\n \\n MCCULLEN \\n I've spent ten years and thirteen \\n billion Euros creating these four \\n warheads. Your job, Captain, was to \\n protect them, and if it wasn't for\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" METALLIC OBJECT from the fire. McCullen sees what it is \\n before we do and his face fills with fear. It's a METAL MASK \\n being carried towards him, the hinges open with a hideous\",\n \" Duke for several moments, as if struck by the sight of him. \\n \\n MCCULLEN \\n Meet the genius behind all my \\n nanotechnology. \\n \\n THE DOCTOR \\n My genius lies only in taking what\",\n \" destiny, to run the wars, the true \\n power, not simply to supply arms. \\n \\n WARDEN \\n Do you have anything else to say \\n before the sentence is carried out? \\n \\n MCCULLEN\",\n \" others created to the logical next \\n steps. All modern gains in science \\n are made through theft. \\n \\n MCCULLEN \\n You'll have to excuse his modesty, \\n when I found him, he was -- \\n\",\n \" MCCULLEN \\n The best. From Spain. And perhaps a \\n couple of pretty young ladies to \\n teach you how to use them. \\n Guard #1 is even more tempted, but his partner is a Loyalist. \\n\",\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" MCCULLEN (CONT'D) \\n This bother you? \\n Duke says nothing, so McCullen steps closer. \\n \\n MCCULLEN (CONT'D) \\n Isn't it funny, with the entire\",\n \" CEO of MARS Industries, the man who \\n built these warheads. \\n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \\n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of\",\n \" target, I couldn't resist. \\n \\n MCCULLEN \\n It's an honor to meet a man of your \\n many accomplishments. \\n McCullen smiles, then offers Hawk to walk with him. \\n\",\n \" instant bond formed with the man who created it. The distant \\n sound of Jets. The Scientist moves to the vault door and \\n begins pulling it closed as we hear the J-Dam Bunker Buster \\n whistling towards them. \\n\"\n ],\n [\n \" The nano-mites will target the \\n venom. \\n STILL IN HIS VEINS we see hundreds of MICROSCOPIC NON-MITES \\n rushing to meet the venom head on. Blocking it.\",\n \" Theoretically, the possibilities \\n are endless. Increase their speed, \\n agility, resilience. You program, \\n they perform. That's the genius of \\n nanotechnology, it can do pretty\",\n \" Nano-mites. Perfect little \\n soldiers. Their size can be \\n programmed as well as their \\n intended task. Originally developed \\n to isolate and destroy cancer \\n cells, but at Mars Industries, and\",\n \" circuits the nano-mites, preventing \\n any unwanted destruction. \\n ON SCREEN: The Soldier hits a KILL SWITCH on the launcher and \\n the NANO-MITES instantly \\\"drop dead\\\" around the nearby jeep.\",\n \" McCullen turns to us and we see that the NANO-MITES have \\n created a FORM-FITTING MASK all over his face. He catches his \\n reflection in the portal and he grabs at the mask, the NANO-\",\n \" Topside, the team watches the two remaining drones race away. \\n \\n BREAKER \\n What about the other two? \\n \\n RIPCORD \\n We find the kill switches and short \\n out the nano-mites.\",\n \" But the NANO-MITES are too fast. The Neo-Viper's legs are \\n now gone. His chest and arms next. Breaker rapidly scans \\n through the MEMORY FLASHES. But now the NANO-MITES consume\",\n \" Immediately, the NANO-MITES pulse with light and fall to the \\n ground around the Eiffel Tower. \\n The Tower groans, half-eaten, then topples over on its side.\",\n \" Ripcord is now struggling mightily with his controls as the \\n NANO-MITES swiftly eat his plane. \\n His FUEL LIGHT flashes at him alarmingly. He angles the Night\",\n \" Duke begrudgingly sets the case down. Breaker turns on his \\n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \\n NANO-MITES crawling around inside the four warheads. \\n\",\n \" tank. The warhead bursts into millions of SILVER MICROSCOPIC \\n NANO-MITES which eat away the metal like piranhas devouring a \\n horse. Then the NANO-MITES fan out from the consumed tank and\",\n \" of the sky. The CLOUD OF NANO-MITES floats aimlessly away. \\n \\n INT. FLIGHT CONTROL ROOM - DAY \\n \\n They all see the missile disappear on their screen. \\n \\n BREAKER\",\n \" The canopy explodes. Rip shoots back down into the atmosphere \\n as the NANO-MITES devour the Night Raven, then float away... \\n \\n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \\n\",\n \" The Neo-Viper's body starts to decay before them. Thousands \\n of NANO-MITES literally eating away at his flesh and bones. \\n \\n BREAKER \\n Nano-mites! \\n \\n \\n\",\n \" 32. \\n \\n THE DOCTOR (CONT'D) \\n We introduced into each subject one \\n thousand cc's of the nano-mite \\n solution. As expected, subjects \\n became extremely ill and fell into\",\n \" Raven upwards, giving it all he's got, NANO-MITES everywhere. \\n \\n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \\n \\n They see his plane angle back up into the upper atmosphere.\",\n \" DeCobray's desk, opening it up to reveal the four NANOTECH \\n WARHEADS and their launchers. DeCobray stares, bewildered. \\n \\n DECOBRAY (CONT'D)\",\n \" Duke for several moments, as if struck by the sight of him. \\n \\n MCCULLEN \\n Meet the genius behind all my \\n nanotechnology. \\n \\n THE DOCTOR \\n My genius lies only in taking what\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \\n Through the stunned crowd, they see Snake-Eyes reach the top \\n of the stairs behind. Ana rolls the warhead towards him\"\n ],\n [\n \" in and hands a document to Hawk, who looks through it. \\n \\n HAWK \\n From NATO. I am now the official \\n custodian of the warheads. Your \\n mission is complete. Once you hand\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" DeCobray's desk, opening it up to reveal the four NANOTECH \\n WARHEADS and their launchers. DeCobray stares, bewildered. \\n \\n DECOBRAY (CONT'D)\",\n \" Firing. \\n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \\n begins hurling atoms through miles and miles of underground \\n tunnels. Inside the accelerator, the four warheads begin to\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" Look, General, delivery is my \\n responsibility and it's not one I \\n take lightly. I had NATO assign an \\n elite American Special Forces unit, \\n a fully armored convoy with air \\n support. I assure you, my warheads\",\n \" Take the warheads N ( to \\n them wea Paris. Have \\n ized. Then \\n to test pon one. I want you \\n Test one?ANA \\n \\n MCCULLEN \\n I don't wan t you\",\n \" 27. \\n \\n MCCULLEN \\n I've spent ten years and thirteen \\n billion Euros creating these four \\n warheads. Your job, Captain, was to \\n protect them, and if it wasn't for\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \\n DOOR. It opens. \\n The weapons case sits on a table. She opens the case to \\n check that the four warheads are inside, they shine on her\",\n \" SCARLETT \\n You may be right. Maybe he needed \\n NATO to pay for his R D. \\n \\n RIPCORD \\n The weapons case! \\n Everyone stops and looks at Ripcord like he's nuts. \\n\",\n \" INT. MARS FACTORY - NIGHT \\n \\n FOUR GLASS-LIKE WARHEADS, each the size of a softball, are \\n placed into four separate compartments inside a WEAPONS CASE\",\n \" How many warheads? \\n \\n STAFFER #1 \\n Four, Mr. President. \\n \\n PRESIDENT \\n Any threats? Any demands? \\n \\n STAFFER #1 \\n None so far, sir. \\n\",\n \" with the help of a little NATO \\n funding... \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 4. \\n A few laughs around the room. McCullen soaks it up. \\n\",\n \" Duke begrudgingly sets the case down. Breaker turns on his \\n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \\n NANO-MITES crawling around inside the four warheads. \\n\",\n \" CEO of MARS Industries, the man who \\n built these warheads. \\n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \\n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of\",\n \" behind him. McCullen is briefing twenty-two NATO MILITARY \\n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \\n \\n MCCULLEN (CONT'D)\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\"\n ],\n [\n \" SCARLETT (CONT'D) \\n Good luck. \\n \\n RIPCORD \\n Do me a favor? Save Duke. \\n She gives him a nod, then leaves. Ripcord grins to himself. \\n\",\n \" Duke quickly checks on the two guys in back crushed to death \\n where the blast caved in the Cougar's armor. He looks at Rip. \\n \\n DUKE \\n You okay? \\n \\n RIPCORD \\n\",\n \" Duke and Ripcord are running too fast to stop. Duke manages \\n to leap into the air, his boots barely scraping the top of \\n the train while Ripcord covers his face with his hands and\",\n \" CASE. \\n Duke now has Rip ver his shouders and is running like hell. \\n \\n RIPCORD \\n Duke? \\n \\n DUKE \\n Shut up. \\n \\n RIPCORD\",\n \" DUKE \\n I promise. \\n She smiles and holds out her hand. He threads the ring onto \\n her trembling finger. Rex smiles, but in his eyes is a glint \\n of instability. Ripcord comes CRASHING OUT through shuttered\",\n \" RIPCORD (CONT'D) \\n Who the hell is that? \\n Duke grabs Ripcord and starts dragging him out. \\n \\n EXT. CONVOY - MOUNTAIN ROAD - DAY \\n\",\n \" DOWN IN THE DITCH: Duke rolls over and looks at Rip. \\n \\n DUKE \\n Stay here. \\n \\n RIPCORD \\n (really messed up) \\n Sure. \\n \\n DUKE\",\n \" You okay? \\n \\n DUKE \\n (not okay) \\n .what happened to her? \\n For once, Ripcord doesn't know what to say. Cover Girl walks\",\n \" Eyes' KATANA BLADE saves Ripcord's life by a half inch. \\n The rest of the Neo-Vipers arrive and immediately open fire, \\n pinning both Duke and Ripcord down. All hell breaks loose.\",\n \" Ripcord dives out of the way just in time. Duke has no such \\n luck. He spins and catches the FRONT GRILL, digging his feet \\n into the road in an attempt to slow the Scarab down. But the\",\n \" DUKE \\n I hate it when you level with me. \\n \\n RIPCORD \\n Gonna be a long five minutes. \\n Duke just grits his teeth and keeps firing. Then, in the\",\n \" them, blocking the convoy's path. Rip hits the brakes. \\n \\n RIPCORD \\n Jesus Christ! Bird Down! \\n \\n DUKE \\n (urgent, but utterly calm)\",\n \" Scarlett walks back and faces him. He glances aside at Duke \\n who is loving this. Ripcord readies the pistol. Scarlett \\n darts left. He shoots and misses. She darts right. He \\n misses. \\n\",\n \" RIPCORD (CONT'D) \\n So how do you feel about this? \\n \\n SCARLETT \\n I feel very... emotional. \\n Duke smiles and the Joes climb aboard as the platform rises. \\n\",\n \" \\n \\n \\n \\n 77. \\n \\n DUKE \\n What happened to you? \\n \\n RIPCORD \\n I went through the train. What \\n happened to you? \\n \\n DUKE\",\n \" If I die... \\n \\n DUKE \\n You're not gonna die. \\n \\n RIPCORD \\n I just want you to know... you never \\n could run worth a damn. \\n \\n DUKE\",\n \" And in Duke's eyes we see him falter, just a bit. Ripcord \\n passes Ana, and wit hone lightning quick hand she slaps at \\n Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges\",\n \" doors and sprawls out next to them, arms and legs akimbo. \\n \\n DUKE (CONT'D) \\n Jesus, Rip. \\n Ripcord rolls over and yells back through the doors: \\n \\n RIPCORD\",\n \" You were done with it, not me. \\n Look, I loev flying... \\n Duke \\\"mouths\\\" the following sentence as Ropcord says it: \\n \\n RIPCORD (CONT'D) \\n I've been flying since I was\",\n \" of the howler opens and the team steps out. Duke and Ripcord \\n follow hesitantly with the weapons case. A VOICE calls out to \\n them from the shadows: \\n \\n HAWK (O.S.)\"\n ],\n [\n \" in and hands a document to Hawk, who looks through it. \\n \\n HAWK \\n From NATO. I am now the official \\n custodian of the warheads. Your \\n mission is complete. Once you hand\",\n \" Take the warheads N ( to \\n them wea Paris. Have \\n ized. Then \\n to test pon one. I want you \\n Test one?ANA \\n \\n MCCULLEN \\n I don't wan t you\",\n \" We need to find and neutralize them \\n before we can consider moving your \\n weapons. \\n \\n MCCULLEN \\n Alright. But allow me to check the \\n warheads to see if any have been \\n damaged.\",\n \" Technicians open the chamber and very carefully remove the \\n warheads, returning them to their case. Storm Shadow locks \\n the case and picks it up. \\n \\n DECOBRAY (CONT'D) \\n Careful... they're alive. \\n\",\n \" Firing. \\n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \\n begins hurling atoms through miles and miles of underground \\n tunnels. Inside the accelerator, the four warheads begin to\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" DeCobray's desk, opening it up to reveal the four NANOTECH \\n WARHEADS and their launchers. DeCobray stares, bewildered. \\n \\n DECOBRAY (CONT'D)\",\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" DUKE \\n The warheads. \\n They all rush out of the doors. Breaker stops to change a \\n chess piece on the board before racing out. \\n \\n INT. MAIN VAULT - NIGHT \\n\",\n \" and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \\n Through the stunned crowd, they see Snake-Eyes reach the top \\n of the stairs behind. Ana rolls the warhead towards him\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \\n DOOR. It opens. \\n The weapons case sits on a table. She opens the case to \\n check that the four warheads are inside, they shine on her\",\n \" INT. MARS FACTORY - NIGHT \\n \\n FOUR GLASS-LIKE WARHEADS, each the size of a softball, are \\n placed into four separate compartments inside a WEAPONS CASE\",\n \" What're you gonna do with the \\n warheads? \\n \\n MCCULLEN \\n You take to your training well, \\n that's good. Still trying to \\n develop information. Still planning\",\n \" Look, General, delivery is my \\n responsibility and it's not one I \\n take lightly. I had NATO assign an \\n elite American Special Forces unit, \\n a fully armored convoy with air \\n support. I assure you, my warheads\",\n \" will be quite safe. \\n \\n HAWK \\n I've made a career of showing up \\n where I'm needed, whether ordered \\n to or not. And if your warheads are \\n half as effective as you say they\",\n \" Duke begrudgingly sets the case down. Breaker turns on his \\n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \\n NANO-MITES crawling around inside the four warheads. \\n\",\n \" Okay, I've got a lock on the two \\n remaining warheads. Target one is \\n Moscow! Target Two is Washington! \\n \\n SCARLETT \\n Give Ripcord the coordinates. \\n\"\n ],\n [\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" Laughter in the room. McCullen smiles, being a good sport. \\n \\n MCCULLEN \\n I prefer the term \\\"armament \\n solutions engineer\\\" \\n (more chuckles) \\n Gentlemen! I'm pleased to announce\",\n \" behind him. McCullen is briefing twenty-two NATO MILITARY \\n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \\n \\n MCCULLEN (CONT'D)\",\n \" CEO of MARS Industries, the man who \\n built these warheads. \\n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \\n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" destiny, to run the wars, the true \\n power, not simply to supply arms. \\n \\n WARDEN \\n Do you have anything else to say \\n before the sentence is carried out? \\n \\n MCCULLEN\",\n \" And we realize McCullen is here courtesy of a HOLO-PROJECTOR. \\n A ring of cameras provides him with images of the Joes. \\n \\n HAWK \\n Gentlemen, this is James McCullen,\",\n \" McCullen turns as Ana appears on a HOLO-PROJECTOR behind him. \\n \\n MCCULLEN \\n I spend five years setting this up. \\n Wringing money out of NATO. This \\n was supposed to be the easy part.\",\n \" MCCULLEN (CONT'D) \\n This bother you? \\n Duke says nothing, so McCullen steps closer. \\n \\n MCCULLEN (CONT'D) \\n Isn't it funny, with the entire\",\n \" with the help of a little NATO \\n funding... \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 4. \\n A few laughs around the room. McCullen soaks it up. \\n\",\n \" his neck, glares through the bars. This is JAMES McCULLEN. \\n The guards unlock his cell door, MATCHLOCK MUSKETS at the \\n ready. McCullen stares at the muskets, unimpressed. He speaks\",\n \" Mr McCullen, Clayton Aernathy, \\n British Army. \\n \\n MCCULLEN \\n (shaking hands) \\n I know who you are General hawk. As \\n sharp in a briefing room as your\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" gazing over a lectern in a darkened room. Like his doomed \\n ancestor, McCullen carries a proud defiance in his eyes. \\n \\n MCCULLEN \\n Tragic as they are to fight, wars\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" MCCULLEN \\n The best. From Spain. And perhaps a \\n couple of pretty young ladies to \\n teach you how to use them. \\n Guard #1 is even more tempted, but his partner is a Loyalist. \\n\",\n \" McCullen. We're going to make an \\n example of you. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 3. \\n The Warden gives a nod to the prison workers who remove the\",\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" Yes, I do. Clan McCullen is far \\n bigger and more powerful than any \\n of you could ever imagine. My sons \\n will continue to rise along after I \\n am gone. As will their sons. And,\"\n ],\n [\n \" in and hands a document to Hawk, who looks through it. \\n \\n HAWK \\n From NATO. I am now the official \\n custodian of the warheads. Your \\n mission is complete. Once you hand\",\n \" and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \\n Through the stunned crowd, they see Snake-Eyes reach the top \\n of the stairs behind. Ana rolls the warhead towards him\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" Technicians open the chamber and very carefully remove the \\n warheads, returning them to their case. Storm Shadow locks \\n the case and picks it up. \\n \\n DECOBRAY (CONT'D) \\n Careful... they're alive. \\n\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" We need to find and neutralize them \\n before we can consider moving your \\n weapons. \\n \\n MCCULLEN \\n Alright. But allow me to check the \\n warheads to see if any have been \\n damaged.\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \\n DOOR. It opens. \\n The weapons case sits on a table. She opens the case to \\n check that the four warheads are inside, they shine on her\",\n \" towards the exit, leaving his fallen Sword Brother behind. \\n \\n INT./EXT. SHARC - UNDERWATER - DAY \\n \\n Heavy Duty sees the cannon return to its dormant position. \\n\",\n \" DUKE \\n The warheads. \\n They all rush out of the doors. Breaker stops to change a \\n chess piece on the board before racing out. \\n \\n INT. MAIN VAULT - NIGHT \\n\",\n \" Duke sees Snake-Eyes being pushed down the stairs by the \\n tourists. He leaps up onto the iron lattice. \\n \\n RIPCORD \\n Where you going? \\n \\n DUKE \\n Each warhead has a kill switch.\",\n \" arms. Ripcord kneels beside him, stunned and bereft. \\n \\n RIPCORD \\n You did the best you could. \\n \\n BREAKER \\n Relax, I got it. \\n \\n RIPCORD\",\n \" Duke begrudgingly sets the case down. Breaker turns on his \\n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \\n NANO-MITES crawling around inside the four warheads. \\n\",\n \" (off Hawk's look) \\n I signed on to deliver those \\n warheads, General, and despite your \\n present authority, I want to finish \\n the job. \\n Hawk regards him for a moment. \\n \\n HAWK\",\n \" She knows who he means, she gives him a grim smile. And \\n that's when they see Duke, carrying Ana, charging up to them. \\n Another EXPLOSION makes them all dash into the diving bell. \\n The doors close and we hear them launch.\",\n \" Heavy Duty reluctantly doesn't shoot, everyone watching Ana \\n backpedal towards the waiting Typhoon. Duke charges like a \\n bull and tackles her. Ana sprawls and the case tumbles free.\",\n \" DeCobray's desk, opening it up to reveal the four NANOTECH \\n WARHEADS and their launchers. DeCobray stares, bewildered. \\n \\n DECOBRAY (CONT'D)\",\n \" while Storm Shadow lines up on him with the Security Guard's \\n pistol as if to shoot him. Snake-Eyes glares defiantly at \\n Storm Shadow who just grins and lowers his gun at the \\n warhead.\",\n \" ANA \\n I will get those warheads back. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 30. \\n McCullen steps forward and lovingly caresses her face, his\"\n ],\n [\n \" by the facility's Harpoon Cannon defenses, but several manage \\n to hit the facility's exterior. KA-BOOM!! \\n \\n INT. FLIGHT CONTROL ROOM - DAY \\n\",\n \" The LASER PULSE fires, blasting straight at the missile which \\n is lost in the atmospheric haze below. For a moment, he can't \\n tell if he hit it or not. \\n \\n \\n \\n \\n\",\n \" missiles race up after the drone and knock it out of the sky. \\n It EXPLODES. Metal FLIES. Snow BURNS. \\n \\n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \\n\",\n \" SCARLETT'S VOICE \\n I mean right now. They're going to \\n detonate one of the warheads on the \\n Eiffel Tower.\",\n \" to get out of the way, they dive and roll in various \\n directions, extreme kinetic energy hurling them forward. The \\n two missiles whip between them and detonate, one on a PARKING\",\n \" ON THE FIRST FLOOR: a hundred feet up, Duke and Rip see her \\n coming. Ripcord swings out and catches the girl just in \\n time. Above them, the tower is dissolving before their eyes.\",\n \" Still nothing, the missile streaking onwards towards the \\n Earth. \\n \\n INT. FLIGHT CONTROL ROOM - DAY \\n \\n They hear Ripcord yelling over the speakers. \\n\",\n \" PRESIDENT \\n How soon will it strike the city? \\n \\n STAFFER \\n Seventeen minutes, Sir. \\n \\n PRESIDENT \\n This will be a disaster the likes \\n of which we have never seen.\",\n \" HUNDREDS OF TOURISTS swarm around the south base of the tower \\n to buy their tickets and start their tours. Storm Shadow and \\n Ana burst through them, slamming past SECURITY GUARDS as they\",\n \" off to the west. They hear the third one about to rocket up-- \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 96.\",\n \" turret, but the Typhoon guns them down and fires again. The \\n blast lands directly on top of the rear Cougar, literally \\n flattening it as well as every tree within a hundred feet. \\n\",\n \" Immediately, the NANO-MITES pulse with light and fall to the \\n ground around the Eiffel Tower. \\n The Tower groans, half-eaten, then topples over on its side.\",\n \" it reeling ass-over-tail-rotor into the ground behind the \\n rear Cougar, hemming in the convoy. \\n The Grizzly launches two HEAT-SEEKING MISSILES off its roof-\",\n \" of the sky. The CLOUD OF NANO-MITES floats aimlessly away. \\n \\n INT. FLIGHT CONTROL ROOM - DAY \\n \\n They all see the missile disappear on their screen. \\n \\n BREAKER\",\n \" You missed! The warhead has entered \\n the lower atmosphere! \\n \\n INT./EXT. NIGHT RAVEN - SKIES - DAY \\n \\n Ripcord realizes this as he enters the lower atmosphere\",\n \" The control room is alive with TECHNICIANS squirreling about \\n various stations. Monitors show three large AERIAL DRONES \\n sitting in vertical launch bays. Duke sees the drones and his\",\n \" her HUD relay information about her angle of decent and her \\n distance to the target. Thirty yards...twenty yards...ten... \\n \\n INT. SECURITY ROOM - NIGHT \\n \\n A light flashes on the console in the security room.\",\n \" She knows who he means, she gives him a grim smile. And \\n that's when they see Duke, carrying Ana, charging up to them. \\n Another EXPLOSION makes them all dash into the diving bell. \\n The doors close and we hear them launch.\",\n \" A staffer is on the phone, looking up at the President. \\n \\n STAFFER \\n It seems somebody's shot down the \\n warhead heading for Moscow. \\n \\n PRESIDENT \\n Thank God...\",\n \" up off the side of the Tower, sailing up through the air and \\n latching onto the SIDE DOOR of the Typhoon. \\n IN THE TYPHOON: The gunship rocks with his sudden weight.\"\n ],\n [\n \" A SINGLE SHOT AND THE WARHEAD EXPLODES. Snake-Eyes recoils. \\n ON THE GROUND: Everyone hears the warhead detonate. \\n ON THE FIRST FLOOR: Duke and Ripcord freeze.\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \\n Through the stunned crowd, they see Snake-Eyes reach the top \\n of the stairs behind. Ana rolls the warhead towards him\",\n \" Duke sees Snake-Eyes being pushed down the stairs by the \\n tourists. He leaps up onto the iron lattice. \\n \\n RIPCORD \\n Where you going? \\n \\n DUKE \\n Each warhead has a kill switch.\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" EXT. SUBMARINE - DAY \\n \\n Hatches open along the sides of the submarine, deploying ten \\n SHARC ATTACK CRAFT carrying dozens of Joes. At the same time,\",\n \" And a nine millimeter, caseless \\n submachine gun with six hundred \\n rounds capable of firing all of \\n them in thirty seconds. \\n Duke and Ripcord are now buckled in, getting a feel for the\",\n \" Rock Slide, prepping two HEAT-SEEKING ROCKETS on either side \\n of the vehicle. The third drone LAUNCHES UP from two hundred \\n yards away. Snake-Eyes locks onto its exhaust and FIRES. The\",\n \" The GI JOE submarine peels around a rocky headland now, in \\n full view of the underwater facility. A series of TORPEDOES \\n fire out of the submarine's launch tubes. Most are blown up\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" DeCobray's desk, opening it up to reveal the four NANOTECH \\n WARHEADS and their launchers. DeCobray stares, bewildered. \\n \\n DECOBRAY (CONT'D)\",\n \" Firing. \\n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \\n begins hurling atoms through miles and miles of underground \\n tunnels. Inside the accelerator, the four warheads begin to\",\n \" giving everything he's got, until he finally hits the button. \\n \\n INT. BARRACKS - NIGHT \\n \\n A KLAXON BLARES. Duke, Ripcord and all the Joes leap up. \\n\",\n \" above and destroy the cannon. Heavy \\n D, as soon as we give the word, you \\n lead the assault from outside. \\n \\n HEAVY DUTY \\n (nods grimly) \\n Go, Joes... \\n\",\n \" Technicians open the chamber and very carefully remove the \\n warheads, returning them to their case. Storm Shadow locks \\n the case and picks it up. \\n \\n DECOBRAY (CONT'D) \\n Careful... they're alive. \\n\",\n \" LASERS power on up and down the shaft between various circuit \\n modules. This is where the energy is charged to operate the \\n cannon. One of the lasers catches Storm Shadow's shoulder and\",\n \" INT. MARS FACTORY - NIGHT \\n \\n FOUR GLASS-LIKE WARHEADS, each the size of a softball, are \\n placed into four separate compartments inside a WEAPONS CASE\",\n \" SIDE PANELS slide open on the outside of the Scarab to reveal \\n two MISSILES, one on each side. They fire. \\n The MISSILES streak back towards Duke and Ripcord. No time\",\n \" Around him, the Joes begin to turn the tide of the battle. A \\n SERIES OF SHOTS of Mantis vehicles getting nailed by Joe \\n harpoon cannons. \\n \\n INT. CONTROL ROOM - DAY \\n\",\n \" Okay, I've got a lock on the two \\n remaining warheads. Target one is \\n Moscow! Target Two is Washington! \\n \\n SCARLETT \\n Give Ripcord the coordinates. \\n\"\n ],\n [\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" Firing. \\n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \\n begins hurling atoms through miles and miles of underground \\n tunnels. Inside the accelerator, the four warheads begin to\",\n \" in and hands a document to Hawk, who looks through it. \\n \\n HAWK \\n From NATO. I am now the official \\n custodian of the warheads. Your \\n mission is complete. Once you hand\",\n \" DeCobray's desk, opening it up to reveal the four NANOTECH \\n WARHEADS and their launchers. DeCobray stares, bewildered. \\n \\n DECOBRAY (CONT'D)\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" How many warheads? \\n \\n STAFFER #1 \\n Four, Mr. President. \\n \\n PRESIDENT \\n Any threats? Any demands? \\n \\n STAFFER #1 \\n None so far, sir. \\n\",\n \" Take the warheads N ( to \\n them wea Paris. Have \\n ized. Then \\n to test pon one. I want you \\n Test one?ANA \\n \\n MCCULLEN \\n I don't wan t you\",\n \" The control room is alive with TECHNICIANS squirreling about \\n various stations. Monitors show three large AERIAL DRONES \\n sitting in vertical launch bays. Duke sees the drones and his\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" missiles race up after the drone and knock it out of the sky. \\n It EXPLODES. Metal FLIES. Snow BURNS. \\n \\n INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY \\n\",\n \" Okay, I've got a lock on the two \\n remaining warheads. Target one is \\n Moscow! Target Two is Washington! \\n \\n SCARLETT \\n Give Ripcord the coordinates. \\n\",\n \" EXT. NATO HEADQUARTERS - BRUSSELS - DAY \\n \\n The many flags of NATO flap outside its massive headquarters. \\n \\n SUPER: NATO HEADQUARTERS, BELGIUM \\n\",\n \" will be quite safe. \\n \\n HAWK \\n I've made a career of showing up \\n where I'm needed, whether ordered \\n to or not. And if your warheads are \\n half as effective as you say they\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" SCARLETT'S VOICE \\n I mean right now. They're going to \\n detonate one of the warheads on the \\n Eiffel Tower.\",\n \" You missed! The warhead has entered \\n the lower atmosphere! \\n \\n INT./EXT. NIGHT RAVEN - SKIES - DAY \\n \\n Ripcord realizes this as he enters the lower atmosphere\",\n \" The LASER PULSE fires, blasting straight at the missile which \\n is lost in the atmospheric haze below. For a moment, he can't \\n tell if he hit it or not. \\n \\n \\n \\n \\n\",\n \" INT. MARS FACTORY - NIGHT \\n \\n FOUR GLASS-LIKE WARHEADS, each the size of a softball, are \\n placed into four separate compartments inside a WEAPONS CASE\",\n \" off to the west. They hear the third one about to rocket up-- \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 96.\"\n ],\n [\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" his neck, glares through the bars. This is JAMES McCULLEN. \\n The guards unlock his cell door, MATCHLOCK MUSKETS at the \\n ready. McCullen stares at the muskets, unimpressed. He speaks\",\n \" the PULSE PISTOL at it. The intense air blast from the pulse \\n pistol catches the flames midway between them and blows them \\n back onto McCullen. McCullen SCREAMS as his face is literally\",\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" And we realize McCullen is here courtesy of a HOLO-PROJECTOR. \\n A ring of cameras provides him with images of the Joes. \\n \\n HAWK \\n Gentlemen, this is James McCullen,\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" McCullen turns to us and we see that the NANO-MITES have \\n created a FORM-FITTING MASK all over his face. He catches his \\n reflection in the portal and he grabs at the mask, the NANO-\",\n \" 27. \\n \\n MCCULLEN \\n I've spent ten years and thirteen \\n billion Euros creating these four \\n warheads. Your job, Captain, was to \\n protect them, and if it wasn't for\",\n \" with a thick Scottish brogue. \\n \\n MCCULLEN \\n Still using matchlocks, are ya? I \\n can get you a pair of flintlocks, \\n you let me sneak out of here.\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" You got it? \\n \\n (CONFUSED) \\n Well, what was the \\\"NOO!\\\" for? \\n \\n BREAKER \\n That was for McCullen. \\n There is the sound of weapons being raised. The team looks\",\n \" CEO of MARS Industries, the man who \\n built these warheads. \\n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \\n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" MCCULLEN (CONT'D) \\n Open it, please. \\n \\n BREAKER \\n My scan says they're intact... \\n \\n MCCULLEN \\n General? \\n \\n HAWK\",\n \" We need to find and neutralize them \\n before we can consider moving your \\n weapons. \\n \\n MCCULLEN \\n Alright. But allow me to check the \\n warheads to see if any have been \\n damaged.\",\n \" METALLIC OBJECT from the fire. McCullen sees what it is \\n before we do and his face fills with fear. It's a METAL MASK \\n being carried towards him, the hinges open with a hideous\",\n \" What're you gonna do with the \\n warheads? \\n \\n MCCULLEN \\n You take to your training well, \\n that's good. Still trying to \\n develop information. Still planning\",\n \" MCCULLEN \\n The best. From Spain. And perhaps a \\n couple of pretty young ladies to \\n teach you how to use them. \\n Guard #1 is even more tempted, but his partner is a Loyalist. \\n\",\n \" The Doctor doesn't move. McCullen watches the stand-off his \\n right hand discreetly drawing STEEL HOSE out from his sleeve. \\n \\n INT./EXT. NIGHT RAVEN - SKIES - DAY \\n\",\n \" Laughter in the room. McCullen smiles, being a good sport. \\n \\n MCCULLEN \\n I prefer the term \\\"armament \\n solutions engineer\\\" \\n (more chuckles) \\n Gentlemen! I'm pleased to announce\"\n ],\n [\n \" Duke and Ripcord move with the others through a corridor. \\n \\n DUKE \\n Their weaponry, financing, intel, \\n it has to be McCullen. Doing an \\n inside job on his own warheads. \\n\",\n \" Duke sees Snake-Eyes being pushed down the stairs by the \\n tourists. He leaps up onto the iron lattice. \\n \\n RIPCORD \\n Where you going? \\n \\n DUKE \\n Each warhead has a kill switch.\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" of the howler opens and the team steps out. Duke and Ripcord \\n follow hesitantly with the weapons case. A VOICE calls out to \\n them from the shadows: \\n \\n HAWK (O.S.)\",\n \" RIPCORD (CONT'D) \\n Who the hell is that? \\n Duke grabs Ripcord and starts dragging him out. \\n \\n EXT. CONVOY - MOUNTAIN ROAD - DAY \\n\",\n \" Duke and Ripcord are running too fast to stop. Duke manages \\n to leap into the air, his boots barely scraping the top of \\n the train while Ripcord covers his face with his hands and\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" And a nine millimeter, caseless \\n submachine gun with six hundred \\n rounds capable of firing all of \\n them in thirty seconds. \\n Duke and Ripcord are now buckled in, getting a feel for the\",\n \" ground and EXPLODES. Ripcord and Duke jump back. Ripcord \\n glances at the underside of the pistol's magazine. Three \\n words: \\\"CAUTION: LIVE BOLTS\\\".\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" CASE. \\n Duke now has Rip ver his shouders and is running like hell. \\n \\n RIPCORD \\n Duke? \\n \\n DUKE \\n Shut up. \\n \\n RIPCORD\",\n \" case. Suddenly, Duke and Ripcord rush up behind them, guns \\n raised. \\n \\n DUKE \\n Put the case down, Ana, \\n Rip trains his gun on Storm Shadow. \\n \\n RIPCORD\",\n \" A SINGLE SHOT AND THE WARHEAD EXPLODES. Snake-Eyes recoils. \\n ON THE GROUND: Everyone hears the warhead detonate. \\n ON THE FIRST FLOOR: Duke and Ripcord freeze.\",\n \" them, blocking the convoy's path. Rip hits the brakes. \\n \\n RIPCORD \\n Jesus Christ! Bird Down! \\n \\n DUKE \\n (urgent, but utterly calm)\",\n \" Okay, I've got a lock on the two \\n remaining warheads. Target one is \\n Moscow! Target Two is Washington! \\n \\n SCARLETT \\n Give Ripcord the coordinates. \\n\",\n \" Duke quickly checks on the two guys in back crushed to death \\n where the blast caved in the Cougar's armor. He looks at Rip. \\n \\n DUKE \\n You okay? \\n \\n RIPCORD \\n\",\n \" Duke charges directly at the building. Ripcord reluctantly \\n following as Duke smashes through the wall into... \\n \\n INT. COCKTAIL LOUNGE - PARIS - DAY \\n \\n A crowded bar. Neither of them slow for a second. Duke\",\n \" And in Duke's eyes we see him falter, just a bit. Ripcord \\n passes Ana, and wit hone lightning quick hand she slaps at \\n Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges\",\n \" That thing could take out a dozen \\n subs simultaneously. \\n \\n SCARLETT \\n Then that's our first objective. \\n \\n RIPCORD \\n No, no. Duke's our first objective. \\n \\n \\n\",\n \" Get the briefcase. \\n Ana takes another step forward, daring Duke to pull the \\n trigger. Ripcord, gun drawn and fixed on Storm Shadow, moves \\n slowly forward to retrieve the briefcase. Ana is now an inch\"\n ],\n [\n \" Duke sees Snake-Eyes being pushed down the stairs by the \\n tourists. He leaps up onto the iron lattice. \\n \\n RIPCORD \\n Where you going? \\n \\n DUKE \\n Each warhead has a kill switch.\",\n \" by her arm, pulling her along. Ana grabs the weapons case \\n and they soar up out of the motor pool and over the landing \\n pad. The battle raging below them. \\n Ripcord and Duke fire after them, but they vanish up into the\",\n \" of the howler opens and the team steps out. Duke and Ripcord \\n follow hesitantly with the weapons case. A VOICE calls out to \\n them from the shadows: \\n \\n HAWK (O.S.)\",\n \" Duke and Ripcord move with the others through a corridor. \\n \\n DUKE \\n Their weaponry, financing, intel, \\n it has to be McCullen. Doing an \\n inside job on his own warheads. \\n\",\n \" Duke charges directly at the building. Ripcord reluctantly \\n following as Duke smashes through the wall into... \\n \\n INT. COCKTAIL LOUNGE - PARIS - DAY \\n \\n A crowded bar. Neither of them slow for a second. Duke\",\n \" INT. PIT BARRACKS - NIGHT \\n \\n An area where the Joe team chills. Duke and Ripcord enter, \\n sore and worked over. They move to some couches. Heavy Duty\",\n \" case. Suddenly, Duke and Ripcord rush up behind them, guns \\n raised. \\n \\n DUKE \\n Put the case down, Ana, \\n Rip trains his gun on Storm Shadow. \\n \\n RIPCORD\",\n \" Eyes' KATANA BLADE saves Ripcord's life by a half inch. \\n The rest of the Neo-Vipers arrive and immediately open fire, \\n pinning both Duke and Ripcord down. All hell breaks loose.\",\n \" glasses. \\n \\n INT. MAIN VAULT - MOMENTS LATER \\n \\n Duke and Ripcord reach the main vault, armed only with their \\n pistols. They find the INNER VAULT DOOR ajar. They\",\n \" Duke tumbles up onto the roof. A PULSE CANNON pops up. Duke \\n dives off the back as the weapon fires. He tumbles to the \\n pavement as Ripcord speeds up to him, firing his WRIST-\",\n \" Duke and Ana go eye-to-eye for a split second, then Duke goes \\n after the case while the Joes take the opportunity to spray \\n gunfire her way. Ana zigs, zags, and dives into the Typhoon,\",\n \" INT. ICE CAVE - NIGHT \\n \\n The Night Raven rolls to a stop inside the cave. The side \\n door opens. Storm Shadow exits with the weapons case. Ana \\n leads Duke out, two Neo-Vipers behind them. Storm Shadow\",\n \" And in Duke's eyes we see him falter, just a bit. Ripcord \\n passes Ana, and wit hone lightning quick hand she slaps at \\n Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges\",\n \" Duke quickly checks on the two guys in back crushed to death \\n where the blast caved in the Cougar's armor. He looks at Rip. \\n \\n DUKE \\n You okay? \\n \\n RIPCORD \\n\",\n \" Get the briefcase. \\n Ana takes another step forward, daring Duke to pull the \\n trigger. Ripcord, gun drawn and fixed on Storm Shadow, moves \\n slowly forward to retrieve the briefcase. Ana is now an inch\",\n \" RIPCORD (CONT'D) \\n Who the hell is that? \\n Duke grabs Ripcord and starts dragging him out. \\n \\n EXT. CONVOY - MOUNTAIN ROAD - DAY \\n\",\n \" Duke and Ripcord are running too fast to stop. Duke manages \\n to leap into the air, his boots barely scraping the top of \\n the train while Ripcord covers his face with his hands and\",\n \" She takes another step. Duke levels his pistol right at her \\n forehead. Storm Shadow flinches. Duke gives him a glance. \\n \\n DUKE \\n Move and I'll blow her away. \\n (to Ripcord)\",\n \" And a nine millimeter, caseless \\n submachine gun with six hundred \\n rounds capable of firing all of \\n them in thirty seconds. \\n Duke and Ripcord are now buckled in, getting a feel for the\",\n \" Ripcord and Duke take out a pair of Neo-Vipers. Storm Shadow \\n climbs back into the Arclight. Looking at ana as she falls \\n near a vehicle on the blocks. Ana grabs an OIL PAN and\"\n ],\n [\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" McCullen turns to us and we see that the NANO-MITES have \\n created a FORM-FITTING MASK all over his face. He catches his \\n reflection in the portal and he grabs at the mask, the NANO-\",\n \" Duke for several moments, as if struck by the sight of him. \\n \\n MCCULLEN \\n Meet the genius behind all my \\n nanotechnology. \\n \\n THE DOCTOR \\n My genius lies only in taking what\",\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" destiny, to run the wars, the true \\n power, not simply to supply arms. \\n \\n WARDEN \\n Do you have anything else to say \\n before the sentence is carried out? \\n \\n MCCULLEN\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" Why work for McCullen? \\n \\n THE DOCTOR \\n He saved my life, for starters. Now \\n to mention infinite resources to \\n work in the field of my choosing. \\n \\n DUKE\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" to fail, even to destroy to attain \\n a goal. It's a fact that McCullen \\n has the guts to embrace. \\n \\n DUKE \\n (still shocked) \\n Everything she's done, everything\",\n \" CEO of MARS Industries, the man who \\n built these warheads. \\n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \\n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of\",\n \" Yes, I do. Clan McCullen is far \\n bigger and more powerful than any \\n of you could ever imagine. My sons \\n will continue to rise along after I \\n am gone. As will their sons. And,\",\n \" And we realize McCullen is here courtesy of a HOLO-PROJECTOR. \\n A ring of cameras provides him with images of the Joes. \\n \\n HAWK \\n Gentlemen, this is James McCullen,\",\n \" McCullen turns as Ana appears on a HOLO-PROJECTOR behind him. \\n \\n MCCULLEN \\n I spend five years setting this up. \\n Wringing money out of NATO. This \\n was supposed to be the easy part.\",\n \" Laughter in the room. McCullen smiles, being a good sport. \\n \\n MCCULLEN \\n I prefer the term \\\"armament \\n solutions engineer\\\" \\n (more chuckles) \\n Gentlemen! I'm pleased to announce\",\n \" him down into the Trident. EXPLOSIONS blowing above them. The \\n pilots guide the sub out white the Doctor starts injecting \\n McCullen with NANO-MITES. McCullen starts to SCREAM... \\n\",\n \" MCCULLEN (CONT'D) \\n This bother you? \\n Duke says nothing, so McCullen steps closer. \\n \\n MCCULLEN (CONT'D) \\n Isn't it funny, with the entire\",\n \" MCCULLEN (CONT'D) \\n The interesting thing about my Neo- \\n Vipers is they still think the same \\n thoughts they always did, they just \\n can't act on them anymore. Instead,\",\n \" MCCULLEN (CONT'D) \\n Once I get my hands on the reins, \\n the money will take care of itself. \\n You'll be able to do all the \\n research you want.\",\n \" 27. \\n \\n MCCULLEN \\n I've spent ten years and thirteen \\n billion Euros creating these four \\n warheads. Your job, Captain, was to \\n protect them, and if it wasn't for\",\n \" behind him. McCullen is briefing twenty-two NATO MILITARY \\n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \\n \\n MCCULLEN (CONT'D)\"\n ],\n [\n \" in and hands a document to Hawk, who looks through it. \\n \\n HAWK \\n From NATO. I am now the official \\n custodian of the warheads. Your \\n mission is complete. Once you hand\",\n \" and removes one of the NANOTECH WARHEADS and its KILL SWITCH. \\n Through the stunned crowd, they see Snake-Eyes reach the top \\n of the stairs behind. Ana rolls the warhead towards him\",\n \" Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \\n DOOR. It opens. \\n The weapons case sits on a table. She opens the case to \\n check that the four warheads are inside, they shine on her\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" \\\"THE BARONESS\\\" but we will know her as ANA. Her DARK GLASSES \\n glint menacingly as she strides towards the Grizzly. \\n The two Special Forces Soldiers who threw the grenades pop up\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" Take the warheads N ( to \\n them wea Paris. Have \\n ized. Then \\n to test pon one. I want you \\n Test one?ANA \\n \\n MCCULLEN \\n I don't wan t you\",\n \" DeCobray's desk, opening it up to reveal the four NANOTECH \\n WARHEADS and their launchers. DeCobray stares, bewildered. \\n \\n DECOBRAY (CONT'D)\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" We need to find and neutralize them \\n before we can consider moving your \\n weapons. \\n \\n MCCULLEN \\n Alright. But allow me to check the \\n warheads to see if any have been \\n damaged.\",\n \" Firing. \\n DeCobray hits a switch. The PARTICLE ACCELERATOR charges and \\n begins hurling atoms through miles and miles of underground \\n tunnels. Inside the accelerator, the four warheads begin to\",\n \" Technicians open the chamber and very carefully remove the \\n warheads, returning them to their case. Storm Shadow locks \\n the case and picks it up. \\n \\n DECOBRAY (CONT'D) \\n Careful... they're alive. \\n\",\n \" and face, using it as a shield. Duke hesitates, because of \\n the warheads or Ana? Heavy Duty goes to shoot at her. \\n \\n SCARLETT \\n The warheads!\",\n \" ANA \\n I will get those warheads back. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 30. \\n McCullen steps forward and lovingly caresses her face, his\",\n \" What're you gonna do with the \\n warheads? \\n \\n MCCULLEN \\n You take to your training well, \\n that's good. Still trying to \\n develop information. Still planning\",\n \" EXT. THE BARONESS' MANSION - PARIS - NIGHT \\n \\n A BLACK, BEEFED-UP SUV drives towards a magnificent mansion \\n in the Parisian suburbs. Though the vehicle looks relatively\",\n \" She knows who he means, she gives him a grim smile. And \\n that's when they see Duke, carrying Ana, charging up to them. \\n Another EXPLOSION makes them all dash into the diving bell. \\n The doors close and we hear them launch.\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" harmless, we'll come to know it as a \\\"SCARAB\\\" attack truck. \\n \\n SUPER: PARIS, FRANCE \\n \\n INT. FOYER - THE BARONESS' MANSION - PARIS - NIGHT \\n\"\n ],\n [\n \" Ana and Storm Shadow almost lose their footing. Duke springs \\n inside. He smacks Storm Shadow down and grabs the KILL \\n SWITCH from Ana, pressing the trigger.\",\n \" Duke sees Snake-Eyes being pushed down the stairs by the \\n tourists. He leaps up onto the iron lattice. \\n \\n RIPCORD \\n Where you going? \\n \\n DUKE \\n Each warhead has a kill switch.\",\n \" And with that, he leaves Duke to the SMART ROBOTS, which \\n menacingly begin to move in. \\n \\n INT. LAUNCH BAY - DAY \\n\",\n \" Duke swivels his gun to Breaker's head. Breaker flinches. \\n \\n BREAKER \\n Just need to deactivate its \\n tracking beacon, for security. \\n \\n \\n \\n \\n \\n \",\n \" DUKE \\n The warheads. \\n They all rush out of the doors. Breaker stops to change a \\n chess piece on the board before racing out. \\n \\n INT. MAIN VAULT - NIGHT \\n\",\n \" burned off. The Doctor freaks and drops the PDA, then yanks \\n McCullen out into the corridor. Duke fires after them, then \\n grabs the PDA, removing Ana's screen with a sigh of relief. \\n \\n \\n \\n \",\n \" DUKE \\n You're off the mission. \\n \\n STALWORTH \\n Sir? \\n \\n DUKE \\n That's what you want, right?\",\n \" If I press this, Ana dies. \\n \\n DUKE \\n Put it down. \\n \\n THE DOCTOR \\n Your choice, Duke. \\n \\n DUKE \\n Put it down!\",\n \" him up. His eyes on the elevator as it reaches the top deck \\n just above him. The Typhoon fires a blast of its CONCUSSION \\n CANNONS at Duke, knocking him off the tower. He falls, but\",\n \" to fail, even to destroy to attain \\n a goal. It's a fact that McCullen \\n has the guts to embrace. \\n \\n DUKE \\n (still shocked) \\n Everything she's done, everything\",\n \" 118. \\n \\n DUKE \\n There's nothing you can do? \\n \\n SCIENTIST \\n Only the man who put them in there \\n has the correct code. \\n Duke considers this carefully, staring at Ana.\",\n \" Nothing will ever be right again. \\n Duke stares at her, his heart ripped apart. WE PUSH IN ON \\n the two of them and FLASHBACK TO: \\n\",\n \" BREAKER (CONT'D) \\n .or you cold just stab it. \\n \\n INT. OPERATING CHAMBER - DAY \\n \\n Duke lies on the operating table as a SMART ROBOT makes an\",\n \" That thing could take out a dozen \\n subs simultaneously. \\n \\n SCARLETT \\n Then that's our first objective. \\n \\n RIPCORD \\n No, no. Duke's our first objective. \\n \\n \\n\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" --Start an international incident. \\n \\n RIPCORD \\n I'm not gonna just sit here! \\n \\n BREAKER \\n This is bigger than Duke. \\n \\n RIPCORD\",\n \" Duke charges directly at the building. Ripcord reluctantly \\n following as Duke smashes through the wall into... \\n \\n INT. COCKTAIL LOUNGE - PARIS - DAY \\n \\n A crowded bar. Neither of them slow for a second. Duke\",\n \" Duke begrudgingly sets the case down. Breaker turns on his \\n suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the \\n NANO-MITES crawling around inside the four warheads. \\n\",\n \" MCCULLEN (CONT'D) \\n Please keep me informed of your \\n progress, General. \\n Duke and McCullen share a quick glare. And then McCullen cuts \\n the feed. Scarlett notices concern on Breaker's face.\",\n \" Scarab now angles towards a busy intersection, threatening to \\n crush DUKE in the criss-crossing traffic. \\n Duke throws himself onto the hood just as an SUV CRASHES into \\n the front grill and is chucked away like so much garbage.\"\n ],\n [\n \" MCCULLEN (CONT'D) \\n What's on your mind, General? \\n \\n HAWK \\n Your warheads. Securing them in \\n transit. Forty pairs of ears in \\n that room now know the when and\",\n \" MCCULLEN \\n Good man. So, can I count on you to \\n deliver the warheads to NATO now? \\n \\n HAWK \\n I think it unwise to expose them at \\n the moment. This group might make\",\n \" MCCULLEN (CONT'D) \\n .we discovered how to program \\n them to eliminate most anything. \\n For instance... metal. \\n ON SCREEN: A SOLDIER fires a shoulder-launched missile at a\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\",\n \" quickly head for a nearby jeep. \\n \\n MCCULLEN (CONT'D) \\n Once the target has been destroyed, \\n the launcher triggers a kill switch \\n unique to each warhead that short-\",\n \" McCullen, Ana, and Storm Shadow watch monitors showing \\n TECHNICIANS securing the warheads onto three rocket propelled \\n SMART-DRONES. As the last one is secured a Technician says: \\n\",\n \" We need to find and neutralize them \\n before we can consider moving your \\n weapons. \\n \\n MCCULLEN \\n Alright. But allow me to check the \\n warheads to see if any have been \\n damaged.\",\n \" MCCULLEN (CONT'D) \\n Each warhead contains seven million \\n nano-mites and has the ability to \\n eat anything from a single tank to \\n an entire city. \\n (to consummate salesman)\",\n \" 27. \\n \\n MCCULLEN \\n I've spent ten years and thirteen \\n billion Euros creating these four \\n warheads. Your job, Captain, was to \\n protect them, and if it wasn't for\",\n \" destiny, to run the wars, the true \\n power, not simply to supply arms. \\n \\n WARDEN \\n Do you have anything else to say \\n before the sentence is carried out? \\n \\n MCCULLEN\",\n \" Take the warheads N ( to \\n them wea Paris. Have \\n ized. Then \\n to test pon one. I want you \\n Test one?ANA \\n \\n MCCULLEN \\n I don't wan t you\",\n \" Duke bristles. McCullen turns to Hawk. \\n \\n MCCULLEN (CONT'D) \\n What are your coordinates? I'll \\n have NATO send another special ops \\n team to retrieve the warheads,\",\n \" Laughter in the room. McCullen smiles, being a good sport. \\n \\n MCCULLEN \\n I prefer the term \\\"armament \\n solutions engineer\\\" \\n (more chuckles) \\n Gentlemen! I'm pleased to announce\",\n \" to fail, even to destroy to attain \\n a goal. It's a fact that McCullen \\n has the guts to embrace. \\n \\n DUKE \\n (still shocked) \\n Everything she's done, everything\",\n \" CEO of MARS Industries, the man who \\n built these warheads. \\n WE INTERCUT THIS SCENE WITH McCullen standing in front of a \\n HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of\",\n \" his neck, glares through the bars. This is JAMES McCULLEN. \\n The guards unlock his cell door, MATCHLOCK MUSKETS at the \\n ready. McCullen stares at the muskets, unimpressed. He speaks\",\n \" behind him. McCullen is briefing twenty-two NATO MILITARY \\n COMMANDERS, many of them listening in TRANSLATION HEADPHONES. \\n \\n MCCULLEN (CONT'D)\",\n \" case in Storm Shadow's hands. Storm Shadow opens it and \\n shows him the three remaining warheads. McCullen runs his \\n fingers over them, then nods, Storm Shadow closes the case. \\n \\n MCCULLEN\",\n \" Okay, I've got a lock on the two \\n remaining warheads. Target one is \\n Moscow! Target Two is Washington! \\n \\n SCARLETT \\n Give Ripcord the coordinates. \\n\",\n \" MCCULLEN (CONT'D) \\n This bother you? \\n Duke says nothing, so McCullen steps closer. \\n \\n MCCULLEN (CONT'D) \\n Isn't it funny, with the entire\"\n ],\n [\n \" Ana enters the mansion. SERVANTS take her coat as her \\n handsome, sophisticated and well dressed husband, BARON LEON \\n DECOBRAY, glides up to her, very French. They kiss warmly. \\n \\n DECOBRAY\",\n \" I'll prepare him for the surgery. \\n The Doctor beckons the Neo-Vipers who shove Duke after him \\n towards another door. Duke and Ana exchange one last look. \\n McCullen keeps his eyes on her as she watches him go.\",\n \" smiles at Ana. They speak in French, subtitled. \\n \\n SECURITY GUARD \\n Good Morning. Baroness. \\n \\n ANA \\n Good morning. Gene. My husband's \\n expecting me. \\n\",\n \" THE DOCTOR (CONT'D) \\n So, I had her brought here, gave \\n her a way to deal with her pain, \\n gave her purpose. Made her strong. \\n I gave her a new life, Duke. \\n \\n DUKE\",\n \" She seems to be affected by this ever so slightly, then... a \\n hard, cold look comes to her eyes, she shakes her head. \\n \\n ANA \\n It doesn't matter now. \\n \\n DUKE\",\n \" face registers the horror of what McCullen's about to do. He \\n glances at Ana, she quietly looks away, a hint of remorse in \\n her eyes? The Doctor rises to greet McCullen, glancing at\",\n \" MITES twisting with the contours of his muscles to reveal his \\n complete and ever-lasting horror. He breaks down, falling to \\n the floor, then he recovers and looks up at The Doctor. \\n \\n MCCULLEN\",\n \" where they are and what they do. \\n \\n ANA \\n \\n (TEASING) \\n They think they know. \\n \\n INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT \\n\",\n \" EXT. THE BARONESS' MANSION - PARIS - NIGHT \\n \\n A BLACK, BEEFED-UP SUV drives towards a magnificent mansion \\n in the Parisian suburbs. Though the vehicle looks relatively\",\n \" manner of brain functions. When you \\n wake up, you'll be working for me, \\n and your past will be a distant \\n shimmer that floats in and out of \\n your mind like a leaf on a breeze. \\n \\n THE DOCTOR\",\n \" French did to Clan McCullen. \\n \\n INT. OPERATING CHAMBER - DAY \\n \\n In the shadowy operating chamber, the Doctor approaches\",\n \" THE DOCTOR (CONT'D) \\n Cortical nerve clusters revealed \\n complete inactivity-- \\n \\n MCCULLEN \\n --Doctor. \\n \\n THE DOCTOR \\n They feel no pain.\",\n \" They almost share a smile. \\n \\n DUKE \\n Let me get this straight. You're \\n with McCullen. You're married to \\n that Baron. And you claim you're \\n still in love with me. \\n\",\n \" My beautiful Lady of the Lake... \\n He kisses her. Ana kisses him back with slightly-feigned \\n affection, her eyes open and on Duke. Duke stands there, \\n impassive. McCullen finishes the kiss and turns to Duke. \\n\",\n \" Then she takes a step toward Duke. \\n \\n DUKE \\n Stop, Ana. Stop right there. \\n But she doesn't. She just keeps slowly moving toward him. \\n \\n ANA\",\n \" touches me. Tell McCullen to grow \\n up. Besides, the Baron says his \\n work in the lab goes much better \\n after we've... touched. And that's \\n the important thing. \\n \\n STORM SHADOW\",\n \" She looks at him, her face softening. \\n \\n ANA \\n Duke? \\n \\n DUKE \\n I'm here. \\n \\n ANA \\n After all I've done, .you can't\",\n \" \\\"THE BARONESS\\\" but we will know her as ANA. Her DARK GLASSES \\n glint menacingly as she strides towards the Grizzly. \\n The two Special Forces Soldiers who threw the grenades pop up\",\n \" DUKE \\n You sick bastard... you did this to \\n your own sister? \\n \\n THE DOCTOR \\n \\n (INCENSED) \\n I loved my sister! Do you have any\",\n \" from the extended barrel. Ana and Duke are close enough to \\n feel each other's breath. Their eyes lock. \\n \\n ANA \\n Do it, Duke. .You already killed \\n me once.\"\n ],\n [\n \" his appearance, reforming facial bones and changing the \\n texture and elasticity of his skin and even changing the \\n color of his eyes. The Doctor grins proudly. McCullen looks \\n disturbed. \\n\",\n \" Scarlett grabs Breaker by the scruff of the neck and hauls \\n him out of the room. \\n \\n INT. TRIDENT - DAY \\n \\n McCullen's face is horrifically burned as The Doctor helps\",\n \" face registers the horror of what McCullen's about to do. He \\n glances at Ana, she quietly looks away, a hint of remorse in \\n her eyes? The Doctor rises to greet McCullen, glancing at\",\n \" the PULSE PISTOL at it. The intense air blast from the pulse \\n pistol catches the flames midway between them and blows them \\n back onto McCullen. McCullen SCREAMS as his face is literally\",\n \" Why work for McCullen? \\n \\n THE DOCTOR \\n He saved my life, for starters. Now \\n to mention infinite resources to \\n work in the field of my choosing. \\n \\n DUKE\",\n \" French did to Clan McCullen. \\n \\n INT. OPERATING CHAMBER - DAY \\n \\n In the shadowy operating chamber, the Doctor approaches\",\n \" burned off. The Doctor freaks and drops the PDA, then yanks \\n McCullen out into the corridor. Duke fires after them, then \\n grabs the PDA, removing Ana's screen with a sigh of relief. \\n \\n \\n \\n \",\n \" METALLIC OBJECT from the fire. McCullen sees what it is \\n before we do and his face fills with fear. It's a METAL MASK \\n being carried towards him, the hinges open with a hideous\",\n \" creak. McCullen begins to struggle against the rack. \\n \\n WARDEN (CONT'D) \\n So that no man, woman, nor child \\n may ever see your treacherous face \\n again, you shall wear this mask for\",\n \" MCCULLEN (CONT'D) \\n This bother you? \\n Duke says nothing, so McCullen steps closer. \\n \\n MCCULLEN (CONT'D) \\n Isn't it funny, with the entire\",\n \" subject, learning the mannerisms, \\n adopting his eating habits, losing \\n sixty percent of my muscle mas... \\n \\n THE DOCTOR \\n Your commitment has been inspiring. \\n McCullen enters. \\n \\n MCCULLEN\",\n \" target, I couldn't resist. \\n \\n MCCULLEN \\n It's an honor to meet a man of your \\n many accomplishments. \\n McCullen smiles, then offers Hawk to walk with him. \\n\",\n \" MCCULLEN \\n Did you imagine your life with her? \\n \\n DUKE \\n I said stay back! \\n \\n THE DOCTOR \\n Don't you know you've lost, Duke? \\n \\n DUKE\",\n \" McCullen turns to us and we see that the NANO-MITES have \\n created a FORM-FITTING MASK all over his face. He catches his \\n reflection in the portal and he grabs at the mask, the NANO-\",\n \" MITES twisting with the contours of his muscles to reveal his \\n complete and ever-lasting horror. He breaks down, falling to \\n the floor, then he recovers and looks up at The Doctor. \\n \\n MCCULLEN\",\n \" The Doctor follows McCullen through various corridors. \\n \\n THE DOCTOR \\n The science is staggering isn't it? \\n \\n MCCULLEN \\n You've done well. You've thrown the\",\n \" Mr. McCullen would be quite unhappy \\n if I let you die. \\n Ana quickly and nervously starts to buckle in. \\n \\n ANA \\n How thoughtful. \\n \\n INT. BRAWLER - DAY \\n\",\n \" THE DOCTOR (CONT'D) \\n When they returned to sentience, \\n brain scans showed complete \\n inactivity in the self-preservation \\n region of the cortex. \\n \\n MCCULLEN \\n English, Doctor.\",\n \" MCCULLEN (CONT'D) \\n Please keep me informed of your \\n progress, General. \\n Duke and McCullen share a quick glare. And then McCullen cuts \\n the feed. Scarlett notices concern on Breaker's face.\",\n \" discreetly watches McCullen in his BALL-EYEPIECE SCANNER. \\n McCullen runs his holographic fingers over the warheads. \\n Satisfied, he turns to Hawk. \\n\"\n ],\n [\n \" where they are and what they do. \\n \\n ANA \\n \\n (TEASING) \\n They think they know. \\n \\n INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT \\n\",\n \" To the Baroness's villa. .Make \\n sure her commitment doesn't waiver. \\n Storm Shadow nods, McCullen continues on THROUGH him. We now\",\n \" \\\"THE BARONESS\\\" but we will know her as ANA. Her DARK GLASSES \\n glint menacingly as she strides towards the Grizzly. \\n The two Special Forces Soldiers who threw the grenades pop up\",\n \" EXT. THE BARONESS' MANSION - PARIS - NIGHT \\n \\n A BLACK, BEEFED-UP SUV drives towards a magnificent mansion \\n in the Parisian suburbs. Though the vehicle looks relatively\",\n \" smiles at Ana. They speak in French, subtitled. \\n \\n SECURITY GUARD \\n Good Morning. Baroness. \\n \\n ANA \\n Good morning. Gene. My husband's \\n expecting me. \\n\",\n \" INT. VIEWING ROOM - MAXIMUM SECURITY PRISON - DAY \\n \\n Duke watches Ana through a two-way mirror. She sits alone in \\n a holding cell. A MILITARY SCIENTIST watches her with Duke. - \\n\",\n \" INT. BARRACKS - NIGHT \\n \\n Battered and bruised, Scarlett hurriedly enters the barracks. \\n Checks around to see that she's alone. Then she heads for a\",\n \" harmless, we'll come to know it as a \\\"SCARAB\\\" attack truck. \\n \\n SUPER: PARIS, FRANCE \\n \\n INT. FOYER - THE BARONESS' MANSION - PARIS - NIGHT \\n\",\n \" She knows who he means, she gives him a grim smile. And \\n that's when they see Duke, carrying Ana, charging up to them. \\n Another EXPLOSION makes them all dash into the diving bell. \\n The doors close and we hear them launch.\",\n \" BREAKER \\n Her name is Ana DeCobray now, \\n Baroness if you're feeling formal. \\n \\n RIPCORD \\n Wow, she traded up, huh? \\n (off Duke's look)\",\n \" 118. \\n \\n DUKE \\n There's nothing you can do? \\n \\n SCIENTIST \\n Only the man who put them in there \\n has the correct code. \\n Duke considers this carefully, staring at Ana.\",\n \" So tell me about her. \\n \\n DUKE \\n Okay, I'll start right here: I hope \\n that vault is tight, because she \\n always gets what she wants... \\n\",\n \" You got it? \\n \\n (CONFUSED) \\n Well, what was the \\\"NOO!\\\" for? \\n \\n BREAKER \\n That was for McCullen. \\n There is the sound of weapons being raised. The team looks\",\n \" carrying weapons. The Security Guards instantly go on the \\n defensive as they hurry up to the stairway. Guns go up. \\n Scarlett speaks to them urgently in French. \\n \\n SCARLETT \\n (French, subtitled)\",\n \" You okay? \\n \\n DUKE \\n (not okay) \\n .what happened to her? \\n For once, Ripcord doesn't know what to say. Cover Girl walks\",\n \" touches me. Tell McCullen to grow \\n up. Besides, the Baron says his \\n work in the lab goes much better \\n after we've... touched. And that's \\n the important thing. \\n \\n STORM SHADOW\",\n \" her hard veneer. She feels Storm Shadow watching her and \\n with a flick of her eyes, the walls go up again. She drop a \\n SEALED ENVELOPE on DeCobray's desk and heads for the door. \\n \\n ANA\",\n \" Duke and Ana go eye-to-eye for a split second, then Duke goes \\n after the case while the Joes take the opportunity to spray \\n gunfire her way. Ana zigs, zags, and dives into the Typhoon,\",\n \" Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT \\n DOOR. It opens. \\n The weapons case sits on a table. She opens the case to \\n check that the four warheads are inside, they shine on her\",\n \" I didn't. I just said they were \\n always ready. \\n McCullen continues on down the hall. Hawk gives Cover Girl a \\n look, she reads it and nods. WE SMASH CUT TO: \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["Who ambushes Ripcord and Duke's convoy?","Why does Duke recognize the Baroness when she ambushes his convoy?","What do McCullen and the Doctor hope to accomplish with their warheads?","Once McCullen locates the warheads, who does he send to go get them?","Once Baron DeCobray weaponizes the missile, where does he launch it?","Where is McCullen's secret base?","Why does McCullen aim his warheads at Beijing, DC, and Moscow?","Who assumes the identity of the Commander?","How does Zartan break into the White House?","What kind of weapon did James McCullen created?","How can Nanobots be stop?","Who sold four warheads to NATO and NATO troops?","Why rescued Duke and Ridcord?","Where were the warheads taken?","What is McCullen using to build an army of soliders?","Who retrieve the warheads after the fight?","What Tower was hit by the missiles?","How many missles the Joes load with warheads?","Where were the three missiles with natowarheads aimed?","Weapons master James McCullen developed a weapon that could get through what kinds of material?","What happens when Duke and Ripcord try to deliver the warheads they acquired from James McCullen?","Once rescued from the Baroness, where do Duke and Ripcord take the weapons?","What is McCullen's end goal as he builds and army using nanotechnology?","When the Baroness manages to retrieve a warhead, what does she do with it?","When Duke hits the kill switch stopping the Barness from destroying more the country he faces what set back to his goals?","What is McCullen's intention as he loads missiles destined for Beijing, Moscow, and Washington DC?","What did the doctor do to the Baroness to cause her to feel subdued?","How was McCullen's burned face healed?","Putting the Baroness in protective custody allowed the team to do what to her?"],"string":"[\n \"Who ambushes Ripcord and Duke's convoy?\",\n \"Why does Duke recognize the Baroness when she ambushes his convoy?\",\n \"What do McCullen and the Doctor hope to accomplish with their warheads?\",\n \"Once McCullen locates the warheads, who does he send to go get them?\",\n \"Once Baron DeCobray weaponizes the missile, where does he launch it?\",\n \"Where is McCullen's secret base?\",\n \"Why does McCullen aim his warheads at Beijing, DC, and Moscow?\",\n \"Who assumes the identity of the Commander?\",\n \"How does Zartan break into the White House?\",\n \"What kind of weapon did James McCullen created?\",\n \"How can Nanobots be stop?\",\n \"Who sold four warheads to NATO and NATO troops?\",\n \"Why rescued Duke and Ridcord?\",\n \"Where were the warheads taken?\",\n \"What is McCullen using to build an army of soliders?\",\n \"Who retrieve the warheads after the fight?\",\n \"What Tower was hit by the missiles?\",\n \"How many missles the Joes load with warheads?\",\n \"Where were the three missiles with natowarheads aimed?\",\n \"Weapons master James McCullen developed a weapon that could get through what kinds of material?\",\n \"What happens when Duke and Ripcord try to deliver the warheads they acquired from James McCullen?\",\n \"Once rescued from the Baroness, where do Duke and Ripcord take the weapons?\",\n \"What is McCullen's end goal as he builds and army using nanotechnology?\",\n \"When the Baroness manages to retrieve a warhead, what does she do with it?\",\n \"When Duke hits the kill switch stopping the Barness from destroying more the country he faces what set back to his goals?\",\n \"What is McCullen's intention as he loads missiles destined for Beijing, Moscow, and Washington DC?\",\n \"What did the doctor do to the Baroness to cause her to feel subdued?\",\n \"How was McCullen's burned face healed?\",\n \"Putting the Baroness in protective custody allowed the team to do what to her?\"\n]"},"answers":{"kind":"list like","value":[["The Baroness","Baroness"],["She used to be his fiancee","she was his ex finance"],["They hope to cause world wide panic and a new order ","cause worldwide panic and establish a new world order"],["The Baroness and Storm Shadow","Shadow Storm and Baroness "],["At the Eiffel tower","the Eiffel tower"],["Under the arctic","under the artic"],["To panic everyone, where they will turn to the President of the United States ","he wants to make everyone on earth afraid so they'll follow the US president"],["the Doctor ","The Doctor"],["By assuming the identity of the President of the United States","He has his physical appearance altered by nanomites"],["Nanotech base weapon.","Nanotechnology"],["By activating a kill switch.","By activating the kill switch"],["The company M.A.R.S.","M.A.R.S"],["Scarlett.","Scarlett, Snake Eyes, Breaker, Heavy Duty"],["G.I. Joe command center.","Paris "],["Nanotechnology.","nanotechnology"],["Storm Shadow and the Baroness.","Storm Shadow and Baroness"],["Eiffel Tower.","the Eiffel tower"],["Three.","3"],["Beijing, Moscow, and Washington DC.","Beijing, DC and Moscow"],["The weapon could get through metal, other materials, and also destroy tanks and cities.","metal"],["Their convoy is ambushed by the Baroness.","their convoy is ambushed"],["They take the weapons to the PIT command center which is in Egypt.","To The Pit"],["McCullen wants to create panic and create a new world order.","To rule the world"],["She brings it back to her husband and they use it to destroy the Eiffel Tower and some surrounding land before Duke hits a kill switch. ","She takes them to her husband"],["Duke is captured and taken to McCullen's base under the Artic.","He is captured and taken to McCullen's base."],["He wants to strike fear into everyone's hearts and make them turn to the President of the US for security and safety. ","To strike fear in the heart of every man, woman, and child on the planet"],["The doctor implanted her with nanomites which put her under his control for a few years. ","Impaled her with nanomites."],["The doctor healed his face with nanomites and encased it in silver.","with nanomites"],["It allowed them to remove the nanomites from her body.","remove the nanomites from her body"]],"string":"[\n [\n \"The Baroness\",\n \"Baroness\"\n ],\n [\n \"She used to be his fiancee\",\n \"she was his ex finance\"\n ],\n [\n \"They hope to cause world wide panic and a new order \",\n \"cause worldwide panic and establish a new world order\"\n ],\n [\n \"The Baroness and Storm Shadow\",\n \"Shadow Storm and Baroness \"\n ],\n [\n \"At the Eiffel tower\",\n \"the Eiffel tower\"\n ],\n [\n \"Under the arctic\",\n \"under the artic\"\n ],\n [\n \"To panic everyone, where they will turn to the President of the United States \",\n \"he wants to make everyone on earth afraid so they'll follow the US president\"\n ],\n [\n \"the Doctor \",\n \"The Doctor\"\n ],\n [\n \"By assuming the identity of the President of the United States\",\n \"He has his physical appearance altered by nanomites\"\n ],\n [\n \"Nanotech base weapon.\",\n \"Nanotechnology\"\n ],\n [\n \"By activating a kill switch.\",\n \"By activating the kill switch\"\n ],\n [\n \"The company M.A.R.S.\",\n \"M.A.R.S\"\n ],\n [\n \"Scarlett.\",\n \"Scarlett, Snake Eyes, Breaker, Heavy Duty\"\n ],\n [\n \"G.I. Joe command center.\",\n \"Paris \"\n ],\n [\n \"Nanotechnology.\",\n \"nanotechnology\"\n ],\n [\n \"Storm Shadow and the Baroness.\",\n \"Storm Shadow and Baroness\"\n ],\n [\n \"Eiffel Tower.\",\n \"the Eiffel tower\"\n ],\n [\n \"Three.\",\n \"3\"\n ],\n [\n \"Beijing, Moscow, and Washington DC.\",\n \"Beijing, DC and Moscow\"\n ],\n [\n \"The weapon could get through metal, other materials, and also destroy tanks and cities.\",\n \"metal\"\n ],\n [\n \"Their convoy is ambushed by the Baroness.\",\n \"their convoy is ambushed\"\n ],\n [\n \"They take the weapons to the PIT command center which is in Egypt.\",\n \"To The Pit\"\n ],\n [\n \"McCullen wants to create panic and create a new world order.\",\n \"To rule the world\"\n ],\n [\n \"She brings it back to her husband and they use it to destroy the Eiffel Tower and some surrounding land before Duke hits a kill switch. \",\n \"She takes them to her husband\"\n ],\n [\n \"Duke is captured and taken to McCullen's base under the Artic.\",\n \"He is captured and taken to McCullen's base.\"\n ],\n [\n \"He wants to strike fear into everyone's hearts and make them turn to the President of the US for security and safety. \",\n \"To strike fear in the heart of every man, woman, and child on the planet\"\n ],\n [\n \"The doctor implanted her with nanomites which put her under his control for a few years. \",\n \"Impaled her with nanomites.\"\n ],\n [\n \"The doctor healed his face with nanomites and encased it in silver.\",\n \"with nanomites\"\n ],\n [\n \"It allowed them to remove the nanomites from her body.\",\n \"remove the nanomites from her body\"\n ]\n]"},"document_id":{"kind":"string","value":"e76ceb6a01c9cbdee440290d40f50c48fa7e532e"},"split":{"kind":"string","value":"train"}}},{"rowIdx":63,"cells":{"text":{"kind":"list like","value":[["It has been already stated that the crew of the \"Pilgrim\" consisted of \n five seamen and an apprentice. This apprentice was Dick Sands. \n \n Dick was fifteen years old; he was a foundling, his unknown parents","The \"Pilgrim\" still made good headway, and Dick, although he was aware \n that ultimately it would probably be necessary again to shorten sail, \n was anxious to postpone making any alteration before he was absolutely","appearance upon the deck of the \"Pilgrim.\" \n \n The idea that flitted across Dick's mind was shared by Tom. \n \n \"Look, Mr. Dick, look at Dingo; he is at his old ways again,\" said he;","\"Ay, ay, sir,\" answered the helmsman, and the \"Pilgrim\" in an instant \n was steered according to orders. \n \n In spite, however, of the convictions of the captain and Dick, Cousin","DICK'S PROMOTION. \n \n \n The first feeling experienced by those on board the \"Pilgrim,\" after \n witnessing the terrible disaster was one of grief and horror at the","The \"Pilgrim\" was not deficient in this respect, and Dick Sands made a \n strong point of admonishing his crew that they should take especial \n care of the compasses, which under their present circumstances were of \n such supreme importance. \n","myself, and I should be glad if every survivor of the 'Pilgrim' had \n shared his fate.\" \n \n \"But remember,\" said Dick, \"you have to follow them all yourself;\" and \n he fixed a sharp gaze upon his persecutor's eye.","from the moment that they came on board the \"Pilgrim.\" \n \n Whilst these thoughts were passing through his mind, Mrs. Weldon, \n assisted by Nan and the ever active Dick Sands, was doing everything in","restored a spirit of confidence to Dick Sands, and he anticipated the \n time when he should no longer be drifting helplessly before the storm. \n \n To say the truth, the \"Pilgrim\" had suffered very little from the","THE NEW CREW. \n \n \n Dick Sands, captain of the \"Pilgrim,\" would not lose a moment in \n getting his ship under sail. His prime object was to land his \n passengers safely at Valparaiso or some other American port, and to","'Pilgrim' is still 2500 miles from shore, she has positively made no \n progress at all. Impossible!\" \n \n In thoughtful perplexity, Dick passed his hand across his brow. He did","contrived after a while to make his escape, and, as has been already \n mentioned, found his way to New Zealand, whence he had returned by \n securing an engagement on board the \"Pilgrim.\" Between the time when he","on its way between the Equator and Cape Horn. \n \n Very different, however, was the true position of the \"Pilgrim\" from \n what Dick supposed; not only had the ship been carried far out of her","At the time when Dick Sands, in obedience to the signal he received \n from Captain Hull, proceeded to make his way to the scene of the \n disaster, the \"Pilgrim,\" as she lay to, was carrying only her jibs,","\"Oh, we shall soon be on shore!\" she said. \n \n But Dick knew better. He had acquaintance enough with the scale upon \n which the chart was constructed to be aware that the \"Pilgrim\" herself","myself on board the 'Pilgrim,'\" he would continually say, \"what misery \n and suffering we might have been spared!\" \n \n So diligently did he apply himself to the technical branches of his \n profession that at the age of eighteen he received a special","There were still several sails that were not yet set. Running well \n before the wind as the \"Pilgrim\" was, Dick nevertheless felt that the \n gallant, royal, and stay-sails, if brought into service, would","had been taken down before the tempest, were hoisted again, and before \n ten o'clock the \"Pilgrim\" was running along under the three sails which \n Dick considered were as much as it was prudent to carry. Even at her","drew him to her side. \n \n \"And now, my men,\" was Dick's first order to his crew, \"we must brace \n in the yards to sail fair. I will show you how.\" \n","It was impossible to do more than hazard a conjecture as to the part of \n the South American coast on which the \"Pilgrim\" had been cast. Dick \n imagined that it must be somewhere on the coast of Peru; after sighting"],["For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","The latest movement with regard to the \"Pilgrim\" had been to bring her \n somewhat nearer the spot where the spouts of vapour indicated the \n presence of the coveted prize. The creature continued to swim about in","of small cannon on the bows or deck of the boat and to discharge from \n it either a harpoon or some explosive bullets, which make frightful \n lacerations on the body of the victim; but the \"Pilgrim\" was not","an undamaged cargo, and be \"a good haul,\" to compensate them for their \n ill-success in the last season. \n \n A quarter of an hour later and the \"Pilgrim\" was within half a mile of","The \"Pilgrim,\" meanwhile, had glided onwards, and made dead for the \n adjacent shore. There was a sudden shock. Caught by an enormous wave \n the schooner had been hurled aground; her masts had fallen, fortunately","When the boat pushed off, those who were left on board the \"Pilgrim\" \n made their way slowly to the bows, from which the most extensive view \n was to be gained. \n \n The captain's voice came from the retreating boat,-- \n","with animal life; and the passengers on board the \"Pilgrim\" derived no \n little amusement from watching great flocks of birds migrating \n northwards to escape the rigour of the polar winter, and ever and again","It has been already stated that the crew of the \"Pilgrim\" consisted of \n five seamen and an apprentice. This apprentice was Dick Sands. \n \n Dick was fifteen years old; he was a foundling, his unknown parents","get to the \"Pilgrim,\" and secure any articles that might be serviceable \n for future use. The reef on which the schooner had stranded was now \n quite dry, and the carcase of the vessel which had been partially","THE NEW CREW. \n \n \n Dick Sands, captain of the \"Pilgrim,\" would not lose a moment in \n getting his ship under sail. His prime object was to land his \n passengers safely at Valparaiso or some other American port, and to","appearance upon the deck of the \"Pilgrim.\" \n \n The idea that flitted across Dick's mind was shared by Tom. \n \n \"Look, Mr. Dick, look at Dingo; he is at his old ways again,\" said he;","The \"Pilgrim,\" before the sailors left her, had been made to heave to, \n and the yards were braced so as to secure her remaining as stationary \n as possible. As the time drew near for the captain to quit her, he gave","shelter where they might take some refreshment. There was no lack of \n provisions; independently of the resources of the land, the ebbing tide \n had left upon the rocks the great bulk of the \"Pilgrim's\" stores, and","\"Pilgrim\" relapsed into its ordinary routine. With the wind invariably \n in the same direction, the sails required very little shifting; but \n whenever it happened, as occasionally it would, that there was any","contrived after a while to make his escape, and, as has been already \n mentioned, found his way to New Zealand, whence he had returned by \n securing an engagement on board the \"Pilgrim.\" Between the time when he","\"Pilgrim\" was barely sufficient to man one of the three boats. Tom and \n his friends were ready to volunteer their assistance, but any offers of \n service from them were necessarily declined; the manipulation of a","\"Yes; and see what a distance the animal is dragging us away from the \n 'Pilgrim,'\" answered Howick. \n \n \"Sooner or later, however,\" said Captain Hull, \"the thing must come to","THE \"PILGRIM.\" \n \n \n On the 2nd of February, 1873, the \"Pilgrim,\" a tight little craft of","the \"Pilgrim,\" an inevitable fate was before them; their corpses must \n lie at the bottom of the sea. \n \n Captain Hull's act of humanity, however, would not be complete unless","The \"Pilgrim\" was not deficient in this respect, and Dick Sands made a \n strong point of admonishing his crew that they should take especial \n care of the compasses, which under their present circumstances were of \n such supreme importance. \n"],["The pursuit, or what may be more aptly termed \"the towing,\" of the \n whale had now fairly commenced. The sailors had shipped their oars, and \n the whale-boat darted like an arrow along the surface of the waves. In","For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","\"To whalemen, madam, this is a sight that speaks for itself. It is a \n token that we ought to lose no time in getting out our lines and \n looking to the state of our harpoons. There is game not far away.\" \n","To the crew the sight of the whale was the opening of an unexpected \n opportunity, and no wonder they were fired with the burning hope that \n even now they might do something to supply the deficiency of their \n meagre haul throughout the season. \n","of the whale. \n \n The crew were as eager as their captain. Mounted on the fore-shrouds, \n they scanned the movements of their coveted prey in the distance, \n freely descanting upon the profit to be made out of a good finback and","The manipulation of the boat thus left to the boatswain, the captain \n made ready for the arduous effort that was before him. At the extreme \n bow, harpoon in hand, with his legs somewhat astride so as to insure","\"At any rate, we have no time to wait for the animal now: if he is \n alive, he will not fail to find us out. Move on, my lads! move on!\" \n \n The weather was very hot; ever since daybreak heavy clouds had been","be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","\"There is nothing here; nobody here,\" he said. \n \n \"So I see,\" said the apprentice, who had made his way to the extreme \n fore-part of the hold. \n \n \"Then we have only to go up again,\" remarked the captain. \n","them out to his companions. A sudden impulse seized the whole of them, \n and they sprang into the canoe; there seemed to be a practised hand \n amongst them, which caught hold of the rudder-oar, and the little craft \n was quickly on its way back.","THE NEW CREW. \n \n \n Dick Sands, captain of the \"Pilgrim,\" would not lose a moment in \n getting his ship under sail. His prime object was to land his \n passengers safely at Valparaiso or some other American port, and to","To tell his people what had happened was the work of a moment. He \n seized his gun, and made Hercules, Bat, and Actæon take theirs, and all \n fired simultaneously at the nearest boat. Several of the natives were","The latest movement with regard to the \"Pilgrim\" had been to bring her \n somewhat nearer the spot where the spouts of vapour indicated the \n presence of the coveted prize. The creature continued to swim about in","an undamaged cargo, and be \"a good haul,\" to compensate them for their \n ill-success in the last season. \n \n A quarter of an hour later and the \"Pilgrim\" was within half a mile of","all alone; we have no whalemen to help us; we must rely upon ourselves; \n I have thrown a harpoon before now; I can throw a harpoon again; what \n do you say?\" \n \n The crew responded with a ringing cheer,-- \n","\"When we started,\" continued Negoro, \"it was my intention to sail only \n as far as Chili: that would have brought me nearly half way to Angola; \n but three weeks after leaving Auckland, Captain Hull and all his crew","and his four associates. No room for them could possibly be found in \n the crew's quarters, so that their berths had to be arranged under the \n forecastle; and as long as the weather continued fine, there was no","\"Yes; and see what a distance the animal is dragging us away from the \n 'Pilgrim,'\" answered Howick. \n \n \"Sooner or later, however,\" said Captain Hull, \"the thing must come to","No one thought of flight. The swiftest boat could be overtaken in a \n very few bounds. There was no alternative but to face the encounter. It \n was not long in coming. Their previous good fortune failed them. The","undertaking; the success of their labours always told to their own \n advantage. The present expedition was the fourth that they had taken \n together; and, as it turned out to be the first in which they had \n failed to meet with success, it may be imagined that they were full of"],["little Jack in Nan's arms. The child was still dozing; the fever had \n abated, but he looked painfully white and exhausted after the attack. \n \n \"Dick,\" said Mrs. Weldon, after looking round her, \"where is Mr.","his hope that, in little Jack's case, the words of the great traveller \n would be verified, and in encouragement of this sanguine view, pointed \n out to Mrs. Weldon that although it was past the time for the","and all at once pausing in the midst of his incantations, he pointed to \n a distant corner of the enclosure. All eyes were instantly turned in \n that direction. Mrs. Weldon and Jack had just come out of their hut,","consideration rather than of contempt, and Mrs. Weldon looked upon him \n as a kind of elder brother to her little Jack. \n \n It must not be supposed, however, that Cousin Benedict was either idle","When the meal was ended, Mrs. Weldon, passing her arms round Jack, who \n was lounging half asleep with excitement and fatigue at her side, was \n the first to speak. \n","necessitated by the nature of his business, had brought with him his \n wife, his son Jack, a child of five years of age, and a relation of the \n family who was generally known by the name of Cousin Benedict. Weldon","Benedict. \n \n Three months had passed away, little Jack was convalescent, and Mrs. \n Weldon, weary of her long separation from her husband, was anxious to \n get home as soon as possible. Her readiest way of reaching San","Kazonndé. Mrs. Weldon was dozing; Jack was fast asleep. Benedict \n himself, sorely against his will, for he heard the hum of many an \n insect in the sunshine, had been driven to the seclusion of his cabin,","go. It may not be possible to get back, and your presence is \n indispensable here. Think, sir, think of Mrs. Weldon, and Master Jack,\" \n he added in a lower tone. \n","\"O, I shall not pull very hard,\" said Jack; \"but haven't we nearly come \n to Mr. Harris's farm?\" \n \n Mrs. Weldon assured the child that they should soon be where they","Mrs. Weldon, thoroughly ignoring her own weakness, professed her \n readiness not only to walk, but to carry Jack too. Bat and Austin at \n once volunteered to carry her in a litter; of this the lady would not","IN CAPTIVITY. \n \n \n So far from Mrs. Weldon and Jack having succumbed to the hardships to \n which they had been exposed, they were both alive, and together with","Mrs. Weldon, Jack, and Mr. Benedict. He did not know where. Have \n patience, and we will find them yet.\" \n \n [Illustration: With a yell and a curse, the American fell dead at his \n feet.] \n","Mrs. Weldon was giving her own best attention to the education of \n Master Jack. Reading and writing she undertook to teach herself, while \n she entrusted the instruction in arithmetic to the care of Dick Sands.","The new companions that Jack had thus found did not in the least make \n him forget his old friend Dick Sands, who devoted all his leisure time \n to him as assiduously as ever. Mrs. Weldon regarded their intimacy with","their retreat; but when he came to reflect that Mrs. Weldon, Jack, and \n Cousin Benedict had not been allowed to come with them, but had been \n carried off in some other direction, he began to think it probable that","welcomed the sight of them at Kazonndé, were it only as an indication \n that Mrs. Weldon and Jack were there also. \n \n It disappointed him, too, that Dingo did not come back. Ever since the","making it a point to give the young commander his proper title. \n \n Mrs. Weldon also congratulated the new crew upon the success of their \n first attempt. \n \n \"I believe it was Master Jack who broke that rope,\" said Hercules, with","Neither Mrs. Weldon nor Jack could expect the least assistance from \n Cousin Benedict; the good man was barely able to consult for himself. \n All three of them would, he conjectured, be conveyed to some remote","\"Well, my young friend, how are you? I am glad to see you again.\" \n \n He turned round quickly. Harris stood before him. \n \n \"Where is Mrs. Weldon?\" asked Dick impetuously. \n"],["say. Look at him now, madam! he seems not only to be reading the \n letters for himself, but to be inviting us to come and read them with \n him.\" \n \n Whilst Mrs. Weldon was watching the dog with much amusement, Dick","was to the interest of Alvez and Negoro alike to attend carefully to \n her wants. \n \n Upon the terms of the covenant being thus arranged, Mrs. Weldon wrote \n such a letter to her husband as she knew would bring him with all speed","lying beside them, some broken forks, and some bits of iron chain. \n \n The sight of the gory remains made Dingo bark ferociously, and Dick, \n who was most anxious that Mrs. Weldon's attention should not be called","For well nigh half a mile they had now to wend their cautious way \n across this spongy soil. Mrs. Weldon, ankle-deep in the soft mud, was \n at last compelled to come to a stand-still; and Hercules, Bat, and","backwards and fell off again upon the inclining deck. It was soon \n manifest, however, that all the noise the creature was making was not \n directed exclusively towards those who were coming to its rescue, and \n Mrs. Weldon could not divest herself of the impression that there must","hut. \n \n The rest were not long in following, and they all entered the hut \n together. The floor was strewn with bones whitened by exposure. \n \n \"Some one has died here,\" said Mrs. Weldon. \n","\"Yes, from me,\" repeated Dick, in a firm and resolute voice, looking at \n the man until he recoiled under his gaze. \"From _me_.\" \n \n Mrs. Weldon had heard what passed. \n","\"I see, sir, your tastes do not lie in the same direction as those of \n the whale.\" \n \n And turning to Mrs. Weldon, he continued,-- \n","You and that boy of yours, and that idiot of a fly-catcher, all have a \n certain value in the market. I mean to sell you.\" \n \n \"You dare not!\" said Mrs. Weldon firmly; \"you know you are making an","and all at once pausing in the midst of his incantations, he pointed to \n a distant corner of the enclosure. All eyes were instantly turned in \n that direction. Mrs. Weldon and Jack had just come out of their hut,","from his melancholy reflections. His thoughts were not of himself nor \n of his own sufferings; his whole attention was absorbed in looking for \n some traces of Mrs. Weldon's progress; if she, too, was being taken to","Before, however, Dick had time to reply, the stranger had courteously \n raised his hat, and, looking round, Dick saw that his bow was intended \n for Mrs. Weldon, who had just reached the river-bank. She proceeded to","\"More easily said than done,\" answered Harris, shaking his head; but \n Dick was not to be diverted from his purpose, and, gun in hand, crept \n into the grass. He had not advanced many yards before a herd of about a","\"Look at Dingo!\" said Mrs. Weldon; \"how strange he is! he seems to be \n trying to discover a lost scent.\" \n \n After watching the dog for a time, she spoke again:-- \n","\"We must spare you the necessity for that. I can answer for it that \n Mrs. Weldon will raise no objection to spending another night in the \n open air. We can start off to-morrow morning as early as we like, and","his Remington; next came Bat and Austin, each carrying a gun and a \n cutlass, then Mrs. Weldon and Jack, on horseback, closely followed by \n Tom and old Nan, while Actæon with the fourth Remington, and Hercules","CHAPTER XV. \n \n AN EXCITING CHASE. \n \n \n To say the truth, it was the very vaguest of hopes to which Mrs. Weldon \n had been clinging, yet it was not without some thrill of disappointment","Whilst this conversation was going on, Mrs. Weldon, whose suspicions \n had been excited by Negoro's disappearance, had been scrutinizing the \n stranger with the utmost attention; but she could detect nothing either","prisoner. Benedict was out insect-hunting; Jack, under Halima's charge, \n was being taken for a walk. Mrs. Weldon was alone. \n \n Negoro pushed open the door, and said abruptly,-- \n","Mrs. Weldon demurred for a while, but Dick seemed resolute, and as he \n promised to take his gun and not to attempt to land if he saw the least \n symptom of danger, she at last consented, but with so much reluctance"],["\"No doubt of that,\" replied the captain; \"the only wonder is that she \n did not sink immediately.\" \n \n \"Oh, how I hope the poor crew have been saved!\" exclaimed Mrs Weldon. \n","be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","The \"Pilgrim,\" meanwhile, had glided onwards, and made dead for the \n adjacent shore. There was a sudden shock. Caught by an enormous wave \n the schooner had been hurled aground; her masts had fallen, fortunately","low, dark ridge of rocks that was united to the beach; it afforded \n ample means of rescue, and in less than ten minutes the \"Pilgrim's\" \n captain, crew, and passengers were all landed, with their lives, at the","without injury to any one on board. But the vessel had parted \n amidships, and was foundering; the water was rushing irresistibly into \n the hold. \n \n The shore, however, was not half a cable's length away; there was a","of which there would be no difficulty in getting home. \n \n The ship was totally lost. She was lying in the surf a hopeless wreck, \n and few must be the hours that would elapse before she would be broken \n up in scattered fragments; it was impossible to save her.","With all possible speed the boat made its way back again to the \n \"Pilgrim,\" a girt-line was lowered from the mainyard, and the \n unfortunate men were raised to the deck. \n","assured them, they would be most hospitably received by her husband, \n and provided with the necessary means for returning to Pennsylvania. \n \n The five men, who, as the consequence of the shipwreck, had lost all","her side. Captain and crew had entirely disappeared, some probably \n having been dashed into the sea, others perhaps having saved themselves \n by clinging to the rigging of the ship which had fouled them, and which \n could be distinguished through the darkness rapidly receding in the","that the survivors might have strength and courage for their own hour \n of need. \n \n The situation was indeed very grave. Here was the \"Pilgrim\" in the \n middle of the Pacific, hundreds of miles away from the nearest land,","\"It was a lucky thing for you, captain,\" resumed the vindictive \n Portuguese, \"that you had a good seaman on board, otherwise the ship \n would have run aground on some reef in the tempest, instead of coming","distance. For a while they were paralyzed, but they soon awoke to the \n conviction that they were left alone upon a half-capsized and disabled \n hull, twelve hundred miles from the nearest land. Mrs. Weldon was loud","Was it not possible for the unfortunate men, bleeding and wounded as \n they were, still to save themselves by clinging to some floating spar? \n Captain Hull is indeed seen endeavouring to hoist the boatswain on to a","tell him the particulars of how they had been shipwrecked, and how the \n vessel had gone to pieces on the reefs. \n \n A look of pity crossed the man's face as he listened, and he cast his","Notwithstanding that Dick Sands bewailed the loss of a valuable ship \n and her cargo to the owner, he had the satisfaction of knowing that he \n had been instrumental in saving what was far more precious, the lives \n of the owner's wife and son. \n","however, from America or from the islands of the Pacific I should be \n afraid that it must be hopeless.\" \n \n \"Is it not possible,\" asked Mrs Weldon, \"that some poor creature may \n still survive on board, who can tell what has happened?\" \n","foot of the overhanging cliff. \n \n \n \n \n CHAPTER XIV. \n \n ASHORE. \n \n \n Thus, after a voyage of seventy-four days, the \"Pilgrim\" had stranded.","would have been a speck like a microscopic infusoria on the vast \n surface of that sea, and that hundreds and hundreds of weary miles \n separated her from the coast. \n \n No time was to be lost. Contrary winds had ceased to blow; a fresh","get to the \"Pilgrim,\" and secure any articles that might be serviceable \n for future use. The reef on which the schooner had stranded was now \n quite dry, and the carcase of the vessel which had been partially","the two sailors to his aid, and although it was far from an easy task, \n he succeeded in getting the five unconscious men, who were all negroes, \n conveyed safely to the boat. \n \n The dog followed, apparently satisfied. \n"],["be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","\"If it is only a dog, captain, let it be saved.\" \n \n \"Oh, yes, yes, mamma, the dog must be saved!\" cried little Jack; \"I \n will go and get a bit of sugar ready for it.\" \n","the two sailors to his aid, and although it was far from an easy task, \n he succeeded in getting the five unconscious men, who were all negroes, \n conveyed safely to the boat. \n \n The dog followed, apparently satisfied. \n","\"Yes, Mrs. Weldon, he has saved you, and although he does not own it, \n he has saved me too,\" said Dick. \n \n \"Saved!\" repeated Hercules, \"you must not talk about safety, for you \n are not saved yet.\" \n","\"Poor things!\" said Mrs. Weldon, as she looked compassionately on the \n motionless forms. \n \n \"But they are not dead,\" cried Dick eagerly; \"they are not dead; we \n shall save them all yet!\" \n","backwards and fell off again upon the inclining deck. It was soon \n manifest, however, that all the noise the creature was making was not \n directed exclusively towards those who were coming to its rescue, and \n Mrs. Weldon could not divest herself of the impression that there must","One other survivor of the wreck, if he had been gifted with the power \n of speech, would doubtless have corroborated the testimony. This was \n the dog who seemed to have such an unaccountable dislike to Negoro. \n","The last line was nearly all uncoiled, and the general consternation \n was growing very great, when there was observed to be a slight \n slackening in the tension. \n \n \"Thank Heaven!\" cried the captain; \"the beast has tired herself out at \n last.\"","and would unquestionably have seized him by the throat if the man had \n not knocked him back with a poker which he had brought with him in his \n hand. \n \n The infuriated beast was secured by the sailors, and prevented from \n inflicting any serious injury.","Some cold water was soon procured, which the child drank eagerly, and \n then began to look about him. His first inquiry was for his old \n friends, Dick and Hercules, both of whom approached at his summons and \n greeted him affectionately. \n","itself slip into the sea, and began to swim slowly and with manifest \n weakness towards the boat. As soon as it was lifted in, the animal, \n instead of devouring the piece of bread that was offered him, made its","side. All of a sudden it gave a jerk with its tail which carried it \n some few yards away. \n \n The men were all excited. Was the beast going to escape again? Was the \n fatiguing pursuit all to come over a second time? Must not the chase be","And now the immoveableness of the animal was at once accounted for. \n \n \"See; there's a youngster!\" exclaimed Howick. \n \n And he was not mistaken. Startled by the blow of the harpoon the","had urged, Dick put his gun to his shoulder, and was on the very point \n of firing, when Harris knocked the rifle quickly aside. \n \n \"They were giraffes!\" shouted Dick. \n \n The announcement awakened the curiosity of Jack, who quickly scrambled","repeatedly to cut their road through these bewildering obstructions \n that clothed the trees from their summit to their base. \n \n Animal life was no less remarkable in its way than the vegetation.","securing it. He succeeded in getting tolerably close to it and fired, \n but he was terribly startled when a formidable creature bounded along \n some thirty paces ahead, and took possession of the prey he had just \n wounded. \n","your friends. Come here, sir; you must behave better than that!\" \n \n Sinking down on all fours the animal walked slowly up to Mrs. Weldon, \n and began to lick her hand. \n","Notwithstanding that Dick Sands bewailed the loss of a valuable ship \n and her cargo to the owner, he had the satisfaction of knowing that he \n had been instrumental in saving what was far more precious, the lives \n of the owner's wife and son. \n","stolen, and by a last effort had traced out his initials in blood upon \n the naked wood which formed the wall of the hut. For many days Dingo \n watched beside his master, and throughout that time his eyes were","Deserted, however, as the country apparently was by man, it had \n latterly shown itself much more abundantly tenanted by animals. Many a \n time a long, plaintive cry was heard, which Harris attributed to the"],["For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","CHAPTER VIII. \n \n A CATASTROPHE. \n \n \n Experienced whaleman as he was, Captain Hull knew the difficulty of the \n task he had undertaken, he was alive to the importance of making his","the unanimous verdict that it was \"a fighting whale,\" and one that \n would resist all attacks to the very end. \n \n As Captain Hull descended the rope-ladder and took his place in the","old-fashioned harpoons. It was with these alone that Captain Hull was \n now about to encounter the finback that was lying some four miles \n distant from his ship. \n \n The weather promised as favourably as could be for the enterprise. The","as being quicker in action in the event of any of the side oars being \n disabled. The post of harpooner was of course assigned to Captain Hull, \n to whose lot it would consequently fall first to hurl his weapon at the","belonging to his benefactor, but under the command of his kind friend \n Captain Hull, he congratulated himself most heartily, and felt that the \n experience he should gain in the southern whale-fisheries could hardly","But Mrs. Weldon urged her request, and Captain Hull, confident in the \n sea-going qualities of his craft, and anticipating at this season \n nothing but fair weather on either side of the equator, gave his \n consent. \n","perplexes me altogether to see the brute so quiet all of a sudden.\" \n \n \"It looks suspicious,\" said the captain; \"but never mind; go on! \n straight ahead!\" \n \n Captain Hull was becoming more excited every moment. \n","their might. Captain Hull cut the harpoon-line, now no longer required, \n because the whale, maddened with pain and grief for the loss of its \n offspring, would certainly make no further attempt to escape, but would \n fight desperately to the very end. \n","So scanty this year had been the supply of whales that Captain Hull had \n resolved next year to push his way into far more southern latitudes; \n even, if necessary, to advance to the regions known as Clarie and","attempt to capture the sea-monster became the ruling theme of \n conversation. Mrs. Weldon expressed considerable doubt as to the \n prudence of venturing upon so great a risk with such a limited number \n of hands, but when Captain Hull assured her that he had more than once","quit the ship. Captain Hull, however, could perceive that the \n apprentice had had the aft-boat lowered, and was towing it along, so \n that it should be in readiness for a refuge as soon as they should get \n within reach. \n","were lost in chasing a whale, and I and the apprentice were the only \n seamen left on board.\" \n \n \"Then why in the name of peace didn't you take command of the ship?\" \n exclaimed Harris. \n","been very much in favour of taking a share in the whale-hunt, but he \n had the good sense to know that the developed strength of a man would \n be of far greater service in the boat, and accordingly without a murmur \n he resigned himself to remain behind. \n","\"And when he has just closed his snappers is the very time to give him \n a good taste of the harpoon,\" added Captain Hull. \n \n The words had hardly escaped the captain's lips when a shout from one \n of the sailors announced,-- \n","sea was calm, and the wind moreover was still moderating, so that there \n was no likelihood of the schooner drifting away during the captain's \n absence. \n \n When the starboard whale-boat had been lowered, and the four sailors","The manipulation of the boat thus left to the boatswain, the captain \n made ready for the arduous effort that was before him. At the extreme \n bow, harpoon in hand, with his legs somewhat astride so as to insure","The amateur naturalist slowly emerged from his cabin followed by \n Captain Hull. \n \n \"Ah! yes, I see!\" said the captain; \"whales' food; just the opportunity \n for you, Mr. Benedict; a chance not to be thrown away for studying one","The pursuit, or what may be more aptly termed \"the towing,\" of the \n whale had now fairly commenced. The sailors had shipped their oars, and \n the whale-boat darted like an arrow along the surface of the waves. In","\"Slowly, my men,\" said the captain, in a low voice; \"slowly and softly!\" \n \n Howick muttered something that implied that the whale had ceased \n blowing so hard, and that it was aware of their approach; the captain,"],["for a post, for I was once mate on board a slaver, and know something \n of seamanship. The 'Pilgrim's' crew was complete, but fortunately the \n ship's cook had just deserted; I offered to supply his place; in","For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","temporarily engaged as cook. His name was Negoro; he was a Portuguese \n by birth, but spoke English with perfect fluency. The previous cook had \n deserted the ship at Auckland, and when Negoro, who was out of","American schooner 'Pilgrim.'\" \n \n Not merely, as it seemed, on account of his age and experience, but \n rather because of a certain superiority and greater energy of \n character, this old man was tacitly recognized as the spokesman of his","It has been already stated that the crew of the \"Pilgrim\" consisted of \n five seamen and an apprentice. This apprentice was Dick Sands. \n \n Dick was fifteen years old; he was a foundling, his unknown parents","cook performed his duties, but there was something in his manner, or \n perhaps, rather in the expression of his countenance, which excited the \n Captain's misgivings, and made him regret that he had not taken more","from the moment that they came on board the \"Pilgrim.\" \n \n Whilst these thoughts were passing through his mind, Mrs. Weldon, \n assisted by Nan and the ever active Dick Sands, was doing everything in","When the boat pushed off, those who were left on board the \"Pilgrim\" \n made their way slowly to the bows, from which the most extensive view \n was to be gained. \n \n The captain's voice came from the retreating boat,-- \n","\"Pilgrim\" was barely sufficient to man one of the three boats. Tom and \n his friends were ready to volunteer their assistance, but any offers of \n service from them were necessarily declined; the manipulation of a","contrived after a while to make his escape, and, as has been already \n mentioned, found his way to New Zealand, whence he had returned by \n securing an engagement on board the \"Pilgrim.\" Between the time when he","\"Ay, ay, sir,\" answered the helmsman, and the \"Pilgrim\" in an instant \n was steered according to orders. \n \n In spite, however, of the convictions of the captain and Dick, Cousin","The \"Pilgrim,\" before the sailors left her, had been made to heave to, \n and the yards were braced so as to secure her remaining as stationary \n as possible. As the time drew near for the captain to quit her, he gave","The \"Pilgrim\" was not deficient in this respect, and Dick Sands made a \n strong point of admonishing his crew that they should take especial \n care of the compasses, which under their present circumstances were of \n such supreme importance. \n","The \"Pilgrim,\" meanwhile, had glided onwards, and made dead for the \n adjacent shore. There was a sudden shock. Caught by an enormous wave \n the schooner had been hurled aground; her masts had fallen, fortunately","myself on board the 'Pilgrim,'\" he would continually say, \"what misery \n and suffering we might have been spared!\" \n \n So diligently did he apply himself to the technical branches of his \n profession that at the age of eighteen he received a special","\"Pilgrim\" relapsed into its ordinary routine. With the wind invariably \n in the same direction, the sails required very little shifting; but \n whenever it happened, as occasionally it would, that there was any","cruellest tortures that native ingenuity could devise. That the \n \"Pilgrim's\" cook now held in his power the boy captain he so thoroughly \n hated was warrant enough that the sternest possible measure of \n vengeance would be exacted. \n","The \"Pilgrim\" still made good headway, and Dick, although he was aware \n that ultimately it would probably be necessary again to shorten sail, \n was anxious to postpone making any alteration before he was absolutely","his surprise that Mrs. Weldon was about to become a passenger on board \n the \"Pilgrim.\" His devotion to the family of his benefactor was large \n and genuine. For several years Mrs. Weldon had acted towards him little","an undamaged cargo, and be \"a good haul,\" to compensate them for their \n ill-success in the last season. \n \n A quarter of an hour later and the \"Pilgrim\" was within half a mile of"],["heads nothing but the small top-sail and the top-mast. The schooner was \n running on the larboard tack as close to the wind as possible. \n \n Dick Sand was pointing out to Jack how well the ship was ballasted, and","ship beneath his feet. He had moved off a few steps to go and take the \n helm, when Mrs. Weldon, calling him back, reminded him that he had not \n yet ascertained the true position of the schooner. Dick confessed that","drew him to her side. \n \n \"And now, my men,\" was Dick's first order to his crew, \"we must brace \n in the yards to sail fair. I will show you how.\" \n","After satisfying himself that there was no other measure to be taken to \n ameliorate the peril, Dick Sands returned to the helm. The schooner was \n all but upon the reef, and only a few cables' length from the shore;","eye, as it might be involuntarily, upon the sea, in order to discern \n some vestige of the stranded ship. \n \n \"Ah! there is nothing to be seen of our poor schooner!\" said Dick","\"Where? what?\" exclaimed Dick, clambering to his feet upon the yard. \n \n \"There!\" said the child, directing attention to the portion of the \n sea-surface that was visible between the stay-sails. \n","The \"Pilgrim\" still made good headway, and Dick, although he was aware \n that ultimately it would probably be necessary again to shorten sail, \n was anxious to postpone making any alteration before he was absolutely","Still, nothing occurred to interrupt the general monotony of the voyage \n until the 2nd of February, the date at which our narrative commences. \n \n It was about nine o'clock in the morning of that day that Dick and","The yards were loosened, the foresails turned slowly round, and, \n catching the breeze, gave a slight impetus to the ship. Dick's next \n orders were for the jib-sheets to be set free, and then he called the","compelled to take all his trained sailors with him on his venturous \n expedition, the captain had no alternative than to leave his apprentice \n in charge of the schooner during his absence. Dick's choice would have","its own interests. The boat was being pushed back a few yards in order \n to allow the captain to ascertain the most convenient place to get \n alongside the \"Waldeck,\" when the creature seized Dick by the jacket,","men to the stern. \n \n \"Now,\" said he; \"we must look to the main-mast; but take care, \n Hercules, not to have it down.\" \n \n \"I will be as careful as possible, Mr. Dick,\" submissively replied","\"Well done, my friends!\" said Dick, who had not left his post at the \n helm; \"you will be first-rate sailors before the end of the voyage.\" \n \n \"We shall do our best, I promise you, Captain Sands,\" replied Tom,","trading-vessels, Dick attracted the notice of Captain Hull, who took a \n fancy to the lad and introduced him to his employer. Mr. Weldon at once \n took a lively interest in Dick's welfare, and had his education","Next day as Dick was standing at the bow, alternately considering the \n canvas which his ship carried and the aspect presented by the sky, Mrs. \n Weldon approached him without his noticing her. She caught some \n muttered expressions of bewilderment that fell from his lips, and asked","\"The chart perhaps will tell us,\" replied Dick; and hurrying off to his \n own cabin, he immediately returned with the chart in his hands. \n \n After studying it attentively for a few minutes, he said,-- \n","It has been already stated that the crew of the \"Pilgrim\" consisted of \n five seamen and an apprentice. This apprentice was Dick Sands. \n \n Dick was fifteen years old; he was a foundling, his unknown parents","her starboard quarter indeed was already bathed in the seething foam, \n and any instant the keel might be expected to grate upon the \n under-lying rock. Presently a change of colour in the water was \n observed; it revealed a passage between the rocks. Dick gave the wheel","every twenty-four hours. The speed was as great as could be expected \n from a craft of her size. \n \n Dick grew more and more sanguine in his anticipations that it could not \n be long before the schooner would cross the track of the mail-packets","\"Oh, we shall soon be on shore!\" she said. \n \n But Dick knew better. He had acquaintance enough with the scale upon \n which the chart was constructed to be aware that the \"Pilgrim\" herself"],["It has been already stated that the crew of the \"Pilgrim\" consisted of \n five seamen and an apprentice. This apprentice was Dick Sands. \n \n Dick was fifteen years old; he was a foundling, his unknown parents","Still, nothing occurred to interrupt the general monotony of the voyage \n until the 2nd of February, the date at which our narrative commences. \n \n It was about nine o'clock in the morning of that day that Dick and","drew him to her side. \n \n \"And now, my men,\" was Dick's first order to his crew, \"we must brace \n in the yards to sail fair. I will show you how.\" \n","having abandoned him at his birth, and he had been brought up in a \n public charitable institution. He had been called Dick, after the \n benevolent passer-by who had discovered him when he was but an infant a","alive; nevertheless, it was all too true; and now, of all those left on \n board, Dick Sands, the apprentice-boy of fifteen years of age, was the \n sole individual who had the slightest knowledge of the management of a","\"You are right, madam,\" said the captain cordially; \"Dick is a capital \n fellow, and will be sure to be a first-rate sailor. He has an instinct \n which is little short of a genius; it supplies all deficiencies of","\"Where? what?\" exclaimed Dick, clambering to his feet upon the yard. \n \n \"There!\" said the child, directing attention to the portion of the \n sea-surface that was visible between the stay-sails. \n","\"The sea! the sea!\" \n \n Dick started forwards, and looked eagerly in the same direction. \n \n A large expanse of water was visible in the horizon, but after having \n surveyed it for a moment or two, he said,-- \n","\"Well done, my friends!\" said Dick, who had not left his post at the \n helm; \"you will be first-rate sailors before the end of the voyage.\" \n \n \"We shall do our best, I promise you, Captain Sands,\" replied Tom,","his companions. \n \n \"Are you English?\" he asked. \n \n \"No; we are Americans,\" replied Dick. \n \n \"North or South?\" inquired the man. \n \n \"North,\" Dick answered. \n","\"Yes, yes, Mr. Dick, only too well I know it. We are in Africa!\" \n \n The old man sighed mournfully. \n \n \"Tom,\" said Dick, in the same low voice, \"you must keep this a secret;","\"And how, all this time, my dear boy, has it fared with you?\" she asked. \n \n Dick said,-- \n \n \"I remember very little to tell you. I recollect being fastened to a","The \"Pilgrim\" still made good headway, and Dick, although he was aware \n that ultimately it would probably be necessary again to shorten sail, \n was anxious to postpone making any alteration before he was absolutely","his wish to be a sailor, and accordingly, as soon as he was eight, he \n was placed as cabin-boy on board one of the ships that navigate the \n Southern Seas. The officers all took a peculiar interest in him, and he","Dick's wishing him \"good morning,\" he replied in unmistakable English, \n with hardly a trace of foreign accent,-- \n \n \"Good morning, my young friend.\" \n \n He stepped forward, and having shaken hands with Dick, nodded to all","Such were the facts which presented themselves to the mind of Dick as, \n with folded arms, he stood gazing gloomily at the spot where Captain \n Hull, his esteemed benefactor, had sunk to rise no more. The lad raised","of sixty miles. Resolved to be on the safe side, Dick determined not \n only to strike the top-gallant and the main-top-mast, but to take in \n all the lower sails. Indeed, he began to be aware that no time was to","trading-vessels, Dick attracted the notice of Captain Hull, who took a \n fancy to the lad and introduced him to his employer. Mr. Weldon at once \n took a lively interest in Dick's welfare, and had his education","the last of the perils and toils of their journey. \n \n They were too sanguine. Towards three o'clock on the morning of the \n 18th, Dick, who was at his usual post at the bow, fancied he heard a","\"Certainly not,\" replied Dick; \"and therefore it is my intention to \n sail due east, as by following that course we are sure to come upon \n some part of the American coast.\" \n \n [Illustration: \"Oh, we shall soon be on shore!\"]"],["During the fishing season, when the crew was reinforced by a hired \n complement of New Zealand whalemen, all three of these boats would be \n brought at once into requisition, but at present the whole crew of the","in the Hauraki Gulf, on the east coast of North Island, the whole of \n the gang was peremptorily discharged. \n \n The ship's crew were more than dissatisfied. They were angry. Never","\"When we started,\" continued Negoro, \"it was my intention to sail only \n as far as Chili: that would have brought me nearly half way to Angola; \n but three weeks after leaving Auckland, Captain Hull and all his crew","opportunity. Accordingly, without delay, the bow of the \"Pilgrim\" was \n directed to the northwest, towards New Zealand, which was sighted on \n the 15th of January, and on reaching Waitemata, the port of Auckland,","contrived after a while to make his escape, and, as has been already \n mentioned, found his way to New Zealand, whence he had returned by \n securing an engagement on board the \"Pilgrim.\" Between the time when he","when their services were no longer required had proved altogether to be \n the most profitable and convenient. \n \n The \"Pilgrim\" had now just completed her annual voyage to the Antarctic","When I know the past, I shall be better able to talk about the future.\" \n \n They reseated themselves, and Negoro went on,-- \n \n \"For a whole year and a half I vegetated at Auckland. I left the hold","For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","THE NEW CREW. \n \n \n Dick Sands, captain of the \"Pilgrim,\" would not lose a moment in \n getting his ship under sail. His prime object was to land his \n passengers safely at Valparaiso or some other American port, and to","captured; but Weldon, following the example of other owners, found it \n more economical to embark at San Francisco only just enough men to work \n the ship to New Zealand, where, from the promiscuous gathering of","Captain Hull still continued to feel uneasy about the constant \n prevalence of calms; not that for himself he cared much about the delay \n of a week or two in a voyage from New Zealand to Valparaiso, but he was","cargo must be resigned, he was on the point of leaving Auckland, alone \n with his crew, when he was met by a request with which he felt himself \n bound to comply. \n \n It had chanced that James Weldon, on one of those journeys which were","\"Just so,\" said Negoro, \"and in course of time the 'Pilgrim,' the \n vessel by which I came here, put in at Auckland. While she was waiting \n to take Mrs. Weldon and her party on board, I applied to the captain","None but the most determined of whalemen could fail to lose their head \n under such an assault. Calm and collected, however, the crew remained. \n Once again did Howick adroitly sheer aside, and once again did the","To the crew the sight of the whale was the opening of an unexpected \n opportunity, and no wonder they were fired with the burning hope that \n even now they might do something to supply the deficiency of their \n meagre haul throughout the season. \n","quitted New Zealand; it was true that during the first three weeks of \n her voyage she had been impeded by protracted calms and contrary winds; \n but since that time her speed had been rapid, the very tempests had","The idea more than once crossed Dick's mind whether he would not take \n the \"Pilgrim\" back again to New Zealand; the distance was considerably \n less than it was to America, and had the wind remained in the quarter","Three years ago, old Tom stated, the five men had been engaged by an \n Englishman who had large property in South Australia, to work upon his \n estates near Melbourne. Here they had realized a considerable profit, \n and upon the completion of their engagement they determined to return","suppose he belongs to some unclassed species of mastiff. Perhaps one \n day or other he may come to be identified as the 'canis alphabeticus' \n of New Zealand.\" \n \n The worthy entomologist delivered this and various similar harangues;","default of better my services were accepted, and in a few days we were \n out of sight of New Zealand.\" \n \n \"I have heard something about the voyage from young Sands,\" said \n Harris, \"but even now I can't understand how you reached here.\" \n"],["all. Few words were spoken during the meal. Mrs. Weldon could eat \n nothing; she had again taken her little boy into her arms, and seemed \n wholly absorbed in watching him. Again and again Dick begged her to","\"He is my little son,\" said Mrs. Weldon, kissing the child by way of \n morning greeting. \n \n \"Ah, madam, I am sure you must have suffered doubly on his account. \n Will the little man let me kiss him too?\" \n","Weldon was really much relieved at the prospect, for she was aware that \n her strength must prove inadequate to the strain of a more protracted \n journey. The condition of her little boy, who was alternately flushed","appointed captain, and captain he would remain; Mrs. Weldon and her \n little son had been committed to his charge, and he was resolved to \n carry out his trust faithfully to the end. \n \n For several hours he remained wrapped in thought, pondering over the","Mrs. Weldon, on the contrary, was full of confidence and hope. A woman \n and a mother, she might have been expected to be conscious of anxiety \n at the peril to which she might be exposing herself and her child; and","Mrs. Weldon repeated her expression of gratitude for the proffered \n hospitality, owning that she should now be exceedingly glad to reach \n the farm, as she was anxious about her little son, who appeared to be \n threatened with the symptoms of incipient fever. \n","\"No, my boy, he must not come here.\" \n \n \"Then let us take Dick, and Tom, and Hercules, and go to him.\" \n \n Mrs. Weldon tried to conceal her tears. \n \n \"Have you heard from papa?\"","Confiding in the good principles of her protégé, Mrs. Weldon had no \n hesitation in entrusting her little son to his especial charge. During \n the frequent periods of leisure, when the sea was fair, and the sails","[Illustration: \"My poor boy, I know everything.\"] \n \n \n \n \n CHAPTER VI. \n \n A DIVING-BELL. \n \n \n This sudden revelation that Mrs. Weldon was acquainted with the true","any mischief, and then I should have worked the ship by myself,\" \n answered the lad stoutly. \n \n His very pluck gave Mrs. Weldon renewed confidence. She was a woman \n with wonderful powers of endurance, and it was only when she thought of","to make his reckonings. But he kept up his courage, and did not permit \n himself for one moment to despair of ultimate success. \n \n Mrs. Weldon needed little penetration to recognize the thoughts which \n were passing in the mind of the resolute youth. \n","Mrs. Weldon was silent. She looked sad and thoughtful. It was hard to \n reconcile herself to the division of the party. She was aware that the \n separation would not be for long, but she could not suppress a certain","side of old Nan. Mrs. Weldon gave her little son a silent kiss; it was \n her loving \"good night.\" \n \n Cousin Benedict was missing. Some little time before, he had slipped","his surprise that Mrs. Weldon was about to become a passenger on board \n the \"Pilgrim.\" His devotion to the family of his benefactor was large \n and genuine. For several years Mrs. Weldon had acted towards him little","You and that boy of yours, and that idiot of a fly-catcher, all have a \n certain value in the market. I mean to sell you.\" \n \n \"You dare not!\" said Mrs. Weldon firmly; \"you know you are making an","The boy's brow knitted itself together in resolution, and he said \n deliberately,-- \n \n \"I should run the ship aground.\" \n \n Mrs. Weldon started. \n","Mrs. Weldon thoroughly shared his regret, and would have made many \n sacrifices to discover what had become of them. This anxiety was at \n length relieved. \n \n Owing to the large correspondence of Mr. Weldon in almost every quarter","\"You are better, darling!\" said Mrs. Weldon, pressing him tenderly to \n her. \n \n \"Yes, mamma, I am better; but I am very thirsty.\" \n","\"Well, my young friend, how are you? I am glad to see you again.\" \n \n He turned round quickly. Harris stood before him. \n \n \"Where is Mrs. Weldon?\" asked Dick impetuously. \n","\"Yes, from me,\" repeated Dick, in a firm and resolute voice, looking at \n the man until he recoiled under his gaze. \"From _me_.\" \n \n Mrs. Weldon had heard what passed. \n"],["\"But my wish exonerates you,\" said Mrs. Weldon. \n \n \"Besides,\" added Captain Hull, \"I am unable to provide you with the \n accommodation and the comfort that you would have upon a passenger \n steamer.\" \n","pitching of the ship had so far diminished that the passengers began to \n reappear on deck. Mrs. Weldon was the first to leave her enforced \n imprisonment. She was anxious to speak to Dick, whom she might have","his surprise that Mrs. Weldon was about to become a passenger on board \n the \"Pilgrim.\" His devotion to the family of his benefactor was large \n and genuine. For several years Mrs. Weldon had acted towards him little","anxious to keep as far as possible from the prison-houses of the \n Portuguese, with which already he had been involuntarily only too \n familiar. \n \n After his departure, Mrs. Weldon resolved to make the best of her","\"It must be understood, Mrs. Weldon,\" he said, courteously raising his \n hat, \"that you take this passage entirely on your own responsibility.\" \n \n \"Certainly, Captain Hull,\" she answered; \"but why do you ask?\" \n","\"Trust, madam! No! no more than I should myself. I repeat that the \n 'Pilgrim' cannot afford you the comfort to which you are accustomed.\" \n \n Mrs. Weldon smiled. \n","wanted to be, and Dick, finding that the conversation was approaching \n dangerous ground, proposed that the journey should be now resumed. Mrs. \n Weldon assented; the encampment was forthwith broken up and the march \n continued as before. \n","was to the interest of Alvez and Negoro alike to attend carefully to \n her wants. \n \n Upon the terms of the covenant being thus arranged, Mrs. Weldon wrote \n such a letter to her husband as she knew would bring him with all speed","rest, when I have seen my passengers in a place of safety.\" \n \n \"You have acquitted yourself like a man,\" said Mrs. Weldon; \"and you \n may be assured that my husband, like myself, will never forget the","some other portion of the shore; perhaps before noon, certainly in a \n few hours, they must be close to land. \n \n The pitching of the ship made it impossible for Mrs. Weldon to keep","\"We must spare you the necessity for that. I can answer for it that \n Mrs. Weldon will raise no objection to spending another night in the \n open air. We can start off to-morrow morning as early as we like, and","go. It may not be possible to get back, and your presence is \n indispensable here. Think, sir, think of Mrs. Weldon, and Master Jack,\" \n he added in a lower tone. \n","\"And do you say,\" inquired Mrs. Weldon, \"that we have left it quite \n behind us?\" \n \n \"Yes, entirely; almost to windward.\" \n \n Mrs. Weldon commenced a searching scrutiny of the map that was","Dick looked as if he were taking a lingering farewell of the cove past \n which they were being carried beyond his power to help. \n \n In a few moments he turned round to Mrs. Weldon, and said quietly,-- \n","any mischief, and then I should have worked the ship by myself,\" \n answered the lad stoutly. \n \n His very pluck gave Mrs. Weldon renewed confidence. She was a woman \n with wonderful powers of endurance, and it was only when she thought of","\"And there, madam,\" he said, addressing Mrs. Weldon, \"we can offer you \n every essential comfort, though you may not find the luxuries of your \n own home in San Francisco.\" \n","Mrs. Weldon, on the contrary, was full of confidence and hope. A woman \n and a mother, she might have been expected to be conscious of anxiety \n at the peril to which she might be exposing herself and her child; and","disappointed at the prolonged inconvenience it caused to his lady \n passenger. Mrs. Weldon, however, submitted to the detention very \n philosophically, and did not utter a word of complaint. \n \n The captain's next care was to improvise sleeping accommodation for Tom","from his melancholy reflections. His thoughts were not of himself nor \n of his own sufferings; his whole attention was absorbed in looking for \n some traces of Mrs. Weldon's progress; if she, too, was being taken to","Mrs. Weldon was silent. She looked sad and thoughtful. It was hard to \n reconcile herself to the division of the party. She was aware that the \n separation would not be for long, but she could not suppress a certain"],["\"No doubt of that,\" replied the captain; \"the only wonder is that she \n did not sink immediately.\" \n \n \"Oh, how I hope the poor crew have been saved!\" exclaimed Mrs Weldon. \n","assured them, they would be most hospitably received by her husband, \n and provided with the necessary means for returning to Pennsylvania. \n \n The five men, who, as the consequence of the shipwreck, had lost all","Notwithstanding that Dick Sands bewailed the loss of a valuable ship \n and her cargo to the owner, he had the satisfaction of knowing that he \n had been instrumental in saving what was far more precious, the lives \n of the owner's wife and son. \n","without injury to any one on board. But the vessel had parted \n amidships, and was foundering; the water was rushing irresistibly into \n the hold. \n \n The shore, however, was not half a cable's length away; there was a","get to the \"Pilgrim,\" and secure any articles that might be serviceable \n for future use. The reef on which the schooner had stranded was now \n quite dry, and the carcase of the vessel which had been partially","The \"Pilgrim,\" meanwhile, had glided onwards, and made dead for the \n adjacent shore. There was a sudden shock. Caught by an enormous wave \n the schooner had been hurled aground; her masts had fallen, fortunately","the two sailors to his aid, and although it was far from an easy task, \n he succeeded in getting the five unconscious men, who were all negroes, \n conveyed safely to the boat. \n \n The dog followed, apparently satisfied. \n","was the hull of a capsized ship. They knew well enough the established \n rule that a third of all salvage is the right of the finders, and they \n were filled with the hope that the hull they were nearing might contain","Weldon observed quickly that if it were a raft it might be carrying \n some unfortunate shipwrecked men who must be rescued if possible. \n Cousin Benedict asserted that it was nothing more nor less than a huge","With all possible speed the boat made its way back again to the \n \"Pilgrim,\" a girt-line was lowered from the mainyard, and the \n unfortunate men were raised to the deck. \n","that the survivors might have strength and courage for their own hour \n of need. \n \n The situation was indeed very grave. Here was the \"Pilgrim\" in the \n middle of the Pacific, hundreds of miles away from the nearest land,","low, dark ridge of rocks that was united to the beach; it afforded \n ample means of rescue, and in less than ten minutes the \"Pilgrim's\" \n captain, crew, and passengers were all landed, with their lives, at the","be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","the \"Pilgrim,\" an inevitable fate was before them; their corpses must \n lie at the bottom of the sea. \n \n Captain Hull's act of humanity, however, would not be complete unless","THE NEW CREW. \n \n \n Dick Sands, captain of the \"Pilgrim,\" would not lose a moment in \n getting his ship under sail. His prime object was to land his \n passengers safely at Valparaiso or some other American port, and to","Shortly after one o'clock the whole party were seated upon a carpet of \n seaweed round a repast consisting of preserved meat, biscuit, and water \n flavoured with a few drops of rum, of which Bat had saved a quart","currents. This accounted for the fact of their being found so far south \n of their proper course. \n \n For the next ten days the negroes had subsisted upon a few scraps of \n food that they found in the stern cabin; but as the store room was","of which there would be no difficulty in getting home. \n \n The ship was totally lost. She was lying in the surf a hopeless wreck, \n and few must be the hours that would elapse before she would be broken \n up in scattered fragments; it was impossible to save her.","her side. Captain and crew had entirely disappeared, some probably \n having been dashed into the sea, others perhaps having saved themselves \n by clinging to the rigging of the ship which had fouled them, and which \n could be distinguished through the darkness rapidly receding in the","Was it not possible for the unfortunate men, bleeding and wounded as \n they were, still to save themselves by clinging to some floating spar? \n Captain Hull is indeed seen endeavouring to hoist the boatswain on to a"],["American schooner 'Pilgrim.'\" \n \n Not merely, as it seemed, on account of his age and experience, but \n rather because of a certain superiority and greater energy of \n character, this old man was tacitly recognized as the spokesman of his","For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","When the boat pushed off, those who were left on board the \"Pilgrim\" \n made their way slowly to the bows, from which the most extensive view \n was to be gained. \n \n The captain's voice came from the retreating boat,-- \n","The \"Pilgrim,\" meanwhile, had glided onwards, and made dead for the \n adjacent shore. There was a sudden shock. Caught by an enormous wave \n the schooner had been hurled aground; her masts had fallen, fortunately","The \"Pilgrim,\" before the sailors left her, had been made to heave to, \n and the yards were braced so as to secure her remaining as stationary \n as possible. As the time drew near for the captain to quit her, he gave","It has been already stated that the crew of the \"Pilgrim\" consisted of \n five seamen and an apprentice. This apprentice was Dick Sands. \n \n Dick was fifteen years old; he was a foundling, his unknown parents","the \"Pilgrim,\" an inevitable fate was before them; their corpses must \n lie at the bottom of the sea. \n \n Captain Hull's act of humanity, however, would not be complete unless","THE \"PILGRIM.\" \n \n \n On the 2nd of February, 1873, the \"Pilgrim,\" a tight little craft of","THE NEW CREW. \n \n \n Dick Sands, captain of the \"Pilgrim,\" would not lose a moment in \n getting his ship under sail. His prime object was to land his \n passengers safely at Valparaiso or some other American port, and to","contrived after a while to make his escape, and, as has been already \n mentioned, found his way to New Zealand, whence he had returned by \n securing an engagement on board the \"Pilgrim.\" Between the time when he","children, and Mrs. Weldon was hesitating whether she should encounter \n the journey, when she heard that her husband's vessel, the \"Pilgrim,\" \n had arrived at Auckland. Hastening to Captain Hull, she begged him to","Consequently it came to pass that the \"Pilgrim,\" supposed by her young \n commander to be making good headway due east, was in reality, under the \n brisk north-west breeze, speeding along towards the south-east. \n \n \n \n","ascertaining the \"Pilgrim's\" present position. He replied that the \n ship's chart would at once settle that. Captain Hull had kept the \n reckoning accurately right up to the preceding day. \n","\"You know well enough, captain,\" remonstrated the lady \"that my husband \n would not hesitate for a moment to trust his wife and child on board \n the 'Pilgrim.'\" \n","rope, and haul away more gently next time.\" \n \n It took but a few minutes to execute the order, and the \"Pilgrim\" was \n soon sailing away rapidly with her head to the east. \n","get to the \"Pilgrim,\" and secure any articles that might be serviceable \n for future use. The reef on which the schooner had stranded was now \n quite dry, and the carcase of the vessel which had been partially","Casting his eye towards the \"Pilgrim,\" he saw at a glance that she \n could not be less than five miles to leeward. It was a long distance, \n but when, according to his arrangement, he had hoisted the flag on the","\"Just so,\" said Negoro, \"and in course of time the 'Pilgrim,' the \n vessel by which I came here, put in at Auckland. While she was waiting \n to take Mrs. Weldon and her party on board, I applied to the captain","At the time when Dick Sands, in obedience to the signal he received \n from Captain Hull, proceeded to make his way to the scene of the \n disaster, the \"Pilgrim,\" as she lay to, was carrying only her jibs,","an undamaged cargo, and be \"a good haul,\" to compensate them for their \n ill-success in the last season. \n \n A quarter of an hour later and the \"Pilgrim\" was within half a mile of"],["To the crew the sight of the whale was the opening of an unexpected \n opportunity, and no wonder they were fired with the burning hope that \n even now they might do something to supply the deficiency of their \n meagre haul throughout the season. \n","The pursuit, or what may be more aptly termed \"the towing,\" of the \n whale had now fairly commenced. The sailors had shipped their oars, and \n the whale-boat darted like an arrow along the surface of the waves. In","of the whale. \n \n The crew were as eager as their captain. Mounted on the fore-shrouds, \n they scanned the movements of their coveted prey in the distance, \n freely descanting upon the profit to be made out of a good finback and","all alone; we have no whalemen to help us; we must rely upon ourselves; \n I have thrown a harpoon before now; I can throw a harpoon again; what \n do you say?\" \n \n The crew responded with a ringing cheer,-- \n","\"To whalemen, madam, this is a sight that speaks for itself. It is a \n token that we ought to lose no time in getting out our lines and \n looking to the state of our harpoons. There is game not far away.\" \n","\"Slowly, my men,\" said the captain, in a low voice; \"slowly and softly!\" \n \n Howick muttered something that implied that the whale had ceased \n blowing so hard, and that it was aware of their approach; the captain,","any whale that he can get within his reach. The larger the game the \n more keen the excitement; and no elephant-hunter's eagerness ever \n surpasses the zest of the whale-fisher when once started in pursuit of \n the prey. \n","None but the most determined of whalemen could fail to lose their head \n under such an assault. Calm and collected, however, the crew remained. \n Once again did Howick adroitly sheer aside, and once again did the","without captain, without crew, at the mercy of the wind and waves. It \n was a strange fatality that had brought the whale across their path; it \n was a fatality stranger still that had induced her captain, a man of no","their might. Captain Hull cut the harpoon-line, now no longer required, \n because the whale, maddened with pain and grief for the loss of its \n offspring, would certainly make no further attempt to escape, but would \n fight desperately to the very end. \n","\"And when he has just closed his snappers is the very time to give him \n a good taste of the harpoon,\" added Captain Hull. \n \n The words had hardly escaped the captain's lips when a shout from one \n of the sailors announced,-- \n","drifting plank. But all in vain. There is no hope. The whale, writhing \n in the convulsions of death, returns yet once again to the attack; the \n waters around the struggling sailors seethe and foam. A brief turmoil","part. There was a sudden pause. The whale spouted up two gigantic \n columns of blood and water, lashed its tail, and, with bounds and \n plunges that were terrible to behold, renewed its angry attack upon the \n boat. \n","obeyed, so that in a few minutes the boat was only about ten feet from \n the body of the whale. The animal did not move. Was it asleep? In that \n case there was hope that the very first stroke might be fatal. But it","had been killed should be towed to the side of the schooner, where it \n would be firmly lashed. Then the sailors with their feet in spiked \n shoes would get upon its back and proceed to cut the blubber, from head","whale in passing caught the boat with such a violent blow from its \n dorsal fin, that the men lost their footing and the lances missed their \n mark. \n \n \"Where's Howick?\" screamed the captain in alarm. \n","been very much in favour of taking a share in the whale-hunt, but he \n had the good sense to know that the developed strength of a man would \n be of far greater service in the boat, and accordingly without a murmur \n he resigned himself to remain behind. \n","living object has vanished. Nothing is visible except a few fragments \n of the whale-boat floating on the blood-stained water. \n \n [Illustration: There is no hope.] \n \n \n \n \n CHAPTER IX. \n","For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","\"Take another, Howick; quick!\" cried the captain. \n \n But scarcely had he time to replace the broken oar, when a bubbling was \n heard a few yards away from the boat, and the young whale made its"],["\"Certainly not,\" replied Dick; \"and therefore it is my intention to \n sail due east, as by following that course we are sure to come upon \n some part of the American coast.\" \n \n [Illustration: \"Oh, we shall soon be on shore!\"]","It was impossible to do more than hazard a conjecture as to the part of \n the South American coast on which the \"Pilgrim\" had been cast. Dick \n imagined that it must be somewhere on the coast of Peru; after sighting","the land, with sails shortened as seemed desirable; but Dick realized \n to himself the fact that he was utterly incapable of altering her \n course. With eager eyes he scrutinized his situation. Straight ahead","upon the shore where they might put in. Such were their mutual and \n acknowledged hopes; but Dick secretly felt the misgiving lest, without \n a pilot, he might in his ignorance fail to find a harbour of refuge.","an hour there was no room for the most sceptical to doubt that Dick was \n right. There was land not far ahead. \n \n A few miles to the east there was a long low-lying coast; the chain of","must run her aground. It will be utter destruction to the ship, but \n there is no choice. Your safety is the first and paramount \n consideration.\" \n \n \"Do you mean that there is no other course to be taken, Dick?\" \n","to be lost in taking advantage of it to commence their return journey \n to the coast. If, as Dick had every reason to suppose, he was in \n Angola, he hoped to find, either north or south, some Portuguese \n settlement whence he could obtain the means of transporting his party","The \"Pilgrim\" still made good headway, and Dick, although he was aware \n that ultimately it would probably be necessary again to shorten sail, \n was anxious to postpone making any alteration before he was absolutely","drew him to her side. \n \n \"And now, my men,\" was Dick's first order to his crew, \"we must brace \n in the yards to sail fair. I will show you how.\" \n","her starboard quarter indeed was already bathed in the seething foam, \n and any instant the keel might be expected to grate upon the \n under-lying rock. Presently a change of colour in the water was \n observed; it revealed a passage between the rocks. Dick gave the wheel","After satisfying himself that there was no other measure to be taken to \n ameliorate the peril, Dick Sands returned to the helm. The schooner was \n all but upon the reef, and only a few cables' length from the shore;","Unconscious of both these elements of disturbance, Dick Sands was \n convinced that they were proceeding steadily eastwards, and was \n perpetually encouraging Mrs. Weldon and himself by the assurance that \n they must very soon arrive within view of the American coast; again and","\"Indeed I am unable to tell you,\" replied Dick; \"I only know that we \n have no alternative but to return to the coast immediately if we would \n escape the two rascals.\" \n \n [Illustration: \"Harris has left us\"] \n","the last of the perils and toils of their journey. \n \n They were too sanguine. Towards three o'clock on the morning of the \n 18th, Dick, who was at his usual post at the bow, fancied he heard a","Dick Sands had little reliance upon the negro's inexperienced eye, but \n hurried forward to the bow. \n \n \"Where's the land?\" he cried; his voice being scarcely audible above \n the howling of the tempest. \n","\"The sea! the sea!\" \n \n Dick started forwards, and looked eagerly in the same direction. \n \n A large expanse of water was visible in the horizon, but after having \n surveyed it for a moment or two, he said,-- \n","\"The chart perhaps will tell us,\" replied Dick; and hurrying off to his \n own cabin, he immediately returned with the chart in his hands. \n \n After studying it attentively for a few minutes, he said,-- \n","\"Oh, we shall soon be on shore!\" she said. \n \n But Dick knew better. He had acquaintance enough with the scale upon \n which the chart was constructed to be aware that the \"Pilgrim\" herself","\"Steer to the left!\" cried Dick, finding that the riverbed had again \n become clear. \n \n A stiff pull at the tiller made the craft fly in that direction. \n \n Dick went to the stern, and scanned the moonlit waters. All was","its own interests. The boat was being pushed back a few yards in order \n to allow the captain to ascertain the most convenient place to get \n alongside the \"Waldeck,\" when the creature seized Dick by the jacket,"],["expires with the loss of the ship.\" \n \n Negoro was in fact walking to and fro, surveying the shore with the air \n of a man who was trying to recall some past experience to his","of Negoro, all were on deck; but the cook did not stir from his \n solitude, or betray any sympathy with the general excitement. \n \n Whatever hesitation there might be at first soon passed away; one after \n another soon distinguished the shore they were approaching, and in half","pains to investigate the character of one with whom he was now brought \n into such close contact. \n \n Negoro looked about forty years of age. Although he had the appearance \n of being slightly built, he was muscular; he was of middle height, and","Negoro went on. \n \n \"If I chose, I could still further avenge upon you the ill-treatment I \n got on board that ship; but it does not suit my purpose to kill you.","apprentice. With his usual indifference, Negoro did not leave his \n cabin, and was the only person on board who did not share the general \n excitement. \n \n Speculations were soon rife as to what could be the nature of the","returned to take his place at the helm. \n \n The next moment Negoro appeared on deck; he pointed mysteriously to the \n far-off horizon, as though he discerned some object, as a mountain,","resentment against the mutinous whalemen who had been the cause of so \n serious a diminution of their ordinary gains. \n \n [Illustration: Negoro.] \n \n The only one on board who was not an American was a man who had been","enemy. For half an hour Negoro stood motionless, apparently surveying \n the horizon. The heavy waves rolled past; they were higher than the \n condition of the wind warranted; their magnitude witnessed to a storm \n passing in the west, and there was every reason to suspect that the","alone. Negoro, who had gone below immediately after the catastrophe, \n had again come back upon deck. What this mysterious character had felt \n upon witnessing the awful calamity it would be impossible to say.","\"Negoro!\" again the captain shouted, and the dog became yet more angry. \n \n At this second summons Negoro slowly left his kitchen, but no sooner \n had he shown his face upon the deck than the animal made a rush at him,","that a strict surveillance should be kept upon all the fellow's \n movements. \n \n Negoro, however, manifested no inclination to disobey the captain's \n peremptory order; he kept strictly to his own part of the ship; but as","temporarily engaged as cook. His name was Negoro; he was a Portuguese \n by birth, but spoke English with perfect fluency. The previous cook had \n deserted the ship at Auckland, and when Negoro, who was out of","\"Negoro, one act, one word of insubordination, and I blow out your \n brains!\" \n \n Negoro had no time to reply; before he could speak he was bowed down","Negoro. \n \n \"Take care you don't get one through your own first,\" laughed Harris; \n \"that young Sands, I warn you, is a first-rate shot, and between \n ourselves, is rather a fine fellow of his kind.\" \n","ashore here in a friendly port.\" \n \n [Illustration: \"Your life is in my hands!\"] \n \n Whilst he was speaking, Negoro had gradually drawn nearer to the \n prisoner, until their faces were almost in contact. Exasperated by","more convinced that it was Negoro who was the mainspring of all the \n mischief; that it was he who had contrived the loss of the \"Pilgrim,\" \n and compromised the safety of all on board. \n","Hull; \"but I should almost take it for granted that he would have a \n considerable retinue of natives.\" \n \n The captain spoke without being aware that Negoro had meanwhile quietly \n stolen on deck. At first his presence was quite unnoticed, and no one","Negoro, who (to judge from Dingo's strange behaviour) had undoubtedly \n for the last few days been somewhere on their track. \n \n Here was a delay that might be turned to good account, and no time was","\"Neither does he,\" said Negoro, with a malicious grin. \"I will tell you \n now, and you may repeat the story to your young friend if you like.\" \n \n \"Well, go on,\" said Harris. \n","At the very moment when the promontory was just abreast of them, Negoro \n appeared on deck; he nodded to the peak familiarly, as he might have \n saluted a familiar friend, and retired as stealthily as he had come. \n"],["Dick's wishing him \"good morning,\" he replied in unmistakable English, \n with hardly a trace of foreign accent,-- \n \n \"Good morning, my young friend.\" \n \n He stepped forward, and having shaken hands with Dick, nodded to all","having abandoned him at his birth, and he had been brought up in a \n public charitable institution. He had been called Dick, after the \n benevolent passer-by who had discovered him when he was but an infant a","conciliatory gestures on the part of Dick quickly reassured him, and \n after a moment's hesitation, he continued to advance. \n \n He was a man of about forty years of age, strongly built, with a keen,","Still, nothing occurred to interrupt the general monotony of the voyage \n until the 2nd of February, the date at which our narrative commences. \n \n It was about nine o'clock in the morning of that day that Dick and","\"Yes, yes, Mr. Dick, only too well I know it. We are in Africa!\" \n \n The old man sighed mournfully. \n \n \"Tom,\" said Dick, in the same low voice, \"you must keep this a secret;","\"Well, my young friend, how are you? I am glad to see you again.\" \n \n He turned round quickly. Harris stood before him. \n \n \"Where is Mrs. Weldon?\" asked Dick impetuously. \n","As Dick was so young it was most likely he would yet grow a little \n taller, but it did not seem probable that he would ever exceed middle \n height, he looked too stoutly and strongly built to grow much. His","\"I hope you will not think that Dick is insensible to your kindness, \n Mr. Harris,\" said Mrs. Weldon, apologetically. \n \n \"On the contrary,\" promptly observed Dick; \"I fully appreciate it; I","and we shall be more than willing to share everything with you.\" \n \n \"That is well,\" answered Harris; \"then there can be no reason why we \n should not start at once.\" \n \n He was turning away with the intention of fetching his horse, when Dick","were confined, that he realized that the talk was about himself and his \n party. \n \n When the negroes were brought out, Dick came close up, being anxious to \n learn as much as he could of what was in contemplation. The old","supported by a sincere religious spirit. She and Dick had many a long \n conversation together. The ingenuous lad was always ready to take the \n kind and intelligent lady into his counsel, and day by day would point","\"And how, all this time, my dear boy, has it fared with you?\" she asked. \n \n Dick said,-- \n \n \"I remember very little to tell you. I recollect being fastened to a","to impose upon the credulous natives. The result of his stratagem they \n had all that day witnessed. \n \n He had hardly finished his account of himself when Mrs. Weldon, smiling \n at his success, turned to Dick. \n","say. Look at him now, madam! he seems not only to be reading the \n letters for himself, but to be inviting us to come and read them with \n him.\" \n \n Whilst Mrs. Weldon was watching the dog with much amusement, Dick","his companions. \n \n \"Are you English?\" he asked. \n \n \"No; we are Americans,\" replied Dick. \n \n \"North or South?\" inquired the man. \n \n \"North,\" Dick answered. \n","\"Perhaps,\" added Dick, as if struck by a sudden thought, \"it was \n Dingo's old master. Look at him! he is pointing with his paw.\" \n \n The portion of the sycamore-trunk which formed the farther side of the","concluding his remarks, he again pressed upon Dick his most urgent \n request that he should abstain from firing upon any animal whatever. It \n was of the utmost consequence. \n \n Dick made no reply. He was silent and thoughtful. Grave doubts had","here; if you think you are going to get any help from old Tom or any of \n those niggers, let me tell you that they are every one of them sold and \n have been sent off to Zanzibar.\" \n \n \"Hercules is free,\" said Dick. \n","appearance upon the deck of the \"Pilgrim.\" \n \n The idea that flitted across Dick's mind was shared by Tom. \n \n \"Look, Mr. Dick, look at Dingo; he is at his old ways again,\" said he;","Although he gave up all as now well-nigh lost, Dick neither moved nor \n spoke. He had one lingering hope yet left. Was it not possible even now \n that by sacrificing his own life he could save the lives of those that \n were entrusted to him? \n"],["\"To whalemen, madam, this is a sight that speaks for itself. It is a \n token that we ought to lose no time in getting out our lines and \n looking to the state of our harpoons. There is game not far away.\" \n","For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","The pursuit, or what may be more aptly termed \"the towing,\" of the \n whale had now fairly commenced. The sailors had shipped their oars, and \n the whale-boat darted like an arrow along the surface of the waves. In","To the crew the sight of the whale was the opening of an unexpected \n opportunity, and no wonder they were fired with the burning hope that \n even now they might do something to supply the deficiency of their \n meagre haul throughout the season. \n","\"And when he has just closed his snappers is the very time to give him \n a good taste of the harpoon,\" added Captain Hull. \n \n The words had hardly escaped the captain's lips when a shout from one \n of the sailors announced,-- \n","So scanty this year had been the supply of whales that Captain Hull had \n resolved next year to push his way into far more southern latitudes; \n even, if necessary, to advance to the regions known as Clarie and","During the fishing season, when the crew was reinforced by a hired \n complement of New Zealand whalemen, all three of these boats would be \n brought at once into requisition, but at present the whole crew of the","To tell his people what had happened was the work of a moment. He \n seized his gun, and made Hercules, Bat, and Actæon take theirs, and all \n fired simultaneously at the nearest boat. Several of the natives were","had been killed should be towed to the side of the schooner, where it \n would be firmly lashed. Then the sailors with their feet in spiked \n shoes would get upon its back and proceed to cut the blubber, from head","any whale that he can get within his reach. The larger the game the \n more keen the excitement; and no elephant-hunter's eagerness ever \n surpasses the zest of the whale-fisher when once started in pursuit of \n the prey. \n","been very much in favour of taking a share in the whale-hunt, but he \n had the good sense to know that the developed strength of a man would \n be of far greater service in the boat, and accordingly without a murmur \n he resigned himself to remain behind. \n","all alone; we have no whalemen to help us; we must rely upon ourselves; \n I have thrown a harpoon before now; I can throw a harpoon again; what \n do you say?\" \n \n The crew responded with a ringing cheer,-- \n","The season had been exceptionally unfortunate for the \"Pilgrim.\" At the \n beginning of January, almost in the height of the southern summer, long \n before the ordinary time for the whalers' return, Captain Hull had been","his wish to be a sailor, and accordingly, as soon as he was eight, he \n was placed as cabin-boy on board one of the ships that navigate the \n Southern Seas. The officers all took a peculiar interest in him, and he","undertaking; the success of their labours always told to their own \n advantage. The present expedition was the fourth that they had taken \n together; and, as it turned out to be the first in which they had \n failed to meet with success, it may be imagined that they were full of","The amateur naturalist slowly emerged from his cabin followed by \n Captain Hull. \n \n \"Ah! yes, I see!\" said the captain; \"whales' food; just the opportunity \n for you, Mr. Benedict; a chance not to be thrown away for studying one","And now the immoveableness of the animal was at once accounted for. \n \n \"See; there's a youngster!\" exclaimed Howick. \n \n And he was not mistaken. Startled by the blow of the harpoon the","The manipulation of the boat thus left to the boatswain, the captain \n made ready for the arduous effort that was before him. At the extreme \n bow, harpoon in hand, with his legs somewhat astride so as to insure","an undamaged cargo, and be \"a good haul,\" to compensate them for their \n ill-success in the last season. \n \n A quarter of an hour later and the \"Pilgrim\" was within half a mile of","of the whale. \n \n The crew were as eager as their captain. Mounted on the fore-shrouds, \n they scanned the movements of their coveted prey in the distance, \n freely descanting upon the profit to be made out of a good finback and"],["\"More easily said than done,\" answered Harris, shaking his head; but \n Dick was not to be diverted from his purpose, and, gun in hand, crept \n into the grass. He had not advanced many yards before a herd of about a","sheep, and the poultry. \n \n The men, meanwhile, smoke their hemp or tobacco, hunt buffaloes or \n elephants, or are hired by the dealers to join in the slave-raids; the","securing it. He succeeded in getting tolerably close to it and fired, \n but he was terribly startled when a formidable creature bounded along \n some thirty paces ahead, and took possession of the prey he had just \n wounded. \n","\"At any rate, we have no time to wait for the animal now: if he is \n alive, he will not fail to find us out. Move on, my lads! move on!\" \n \n The weather was very hot; ever since daybreak heavy clouds had been","chance, in his favourite pursuit of insect-hunting. As he was rummaging \n in the long grass, he put up a bird which flew but a very short \n distance. Benedict recognized it by its peculiar note, and, seeing Dick","using his gun. On the 4th of July he succeeded by a single shot in \n killing _pokoo_, a kind of antelope about five feet long, with \n annulated horns, a tawny skin dappled with bright spots, and a white","And now the immoveableness of the animal was at once accounted for. \n \n \"See; there's a youngster!\" exclaimed Howick. \n \n And he was not mistaken. Startled by the blow of the harpoon the","any whale that he can get within his reach. The larger the game the \n more keen the excitement; and no elephant-hunter's eagerness ever \n surpasses the zest of the whale-fisher when once started in pursuit of \n the prey. \n","had urged, Dick put his gun to his shoulder, and was on the very point \n of firing, when Harris knocked the rifle quickly aside. \n \n \"They were giraffes!\" shouted Dick. \n \n The announcement awakened the curiosity of Jack, who quickly scrambled","side. All of a sudden it gave a jerk with its tail which carried it \n some few yards away. \n \n The men were all excited. Was the beast going to escape again? Was the \n fatiguing pursuit all to come over a second time? Must not the chase be","be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","\"To whalemen, madam, this is a sight that speaks for itself. It is a \n token that we ought to lose no time in getting out our lines and \n looking to the state of our harpoons. There is game not far away.\" \n","descending in rapid flight to secure some tiny fish. Occasionally Dick \n Sands would take a pistol, and now and then a rifle, and, thanks to Mr. \n Weldon's former instructions, would bring down various specimens of the \n feathered tribe.","take his gun to aim at it, exclaimed,-- \n \n \"Don't fire, don't fire! that bird will be worth nothing for food among \n five of us.\" \n \n \"It will be dinner enough for Jack,\" said Dick, who, finding that the","such was hardly the case with another herd of animals, the \n identification of which led to a somewhat singular discussion between \n Harris and the rest. \n \n About four o'clock on the afternoon of the same day, the travellers","they can see their calf, or a stuffed representative of it; the \n short-horned heifers that not unfrequently have a hump; the goats that, \n like slaves, form part of the currency of the country; the pigs, the","Harris, who had been a silent spectator of the whole scene, now asked \n coolly,-- \n \n \"What makes that animal have such an inveterate dislike to you?\" \n \n \"Oh, there is an old score to settle between us,\" replied the","were halting for a few moments near an opening in the forest, when \n three or four large animals emerged from a thicket about a hundred \n paces ahead, and scampered off at full speed. In spite of what Harris","seized and carried off to what Livingstone calls their \"pasture-lands,\" \n the holes where they deposit their prey until it is decomposed. Myself \n grazed by the scales of one of them. A slave close beside me torn out","that the place had been recently visited either by animals or men. \n \n [Illustration: Upon the smooth wood were two great letters in dingy \n red.] \n \n Dick took his gun and Hercules his hatchet, and they set out to search"],["\"No doubt of that,\" replied the captain; \"the only wonder is that she \n did not sink immediately.\" \n \n \"Oh, how I hope the poor crew have been saved!\" exclaimed Mrs Weldon. \n","without injury to any one on board. But the vessel had parted \n amidships, and was foundering; the water was rushing irresistibly into \n the hold. \n \n The shore, however, was not half a cable's length away; there was a","The \"Pilgrim,\" meanwhile, had glided onwards, and made dead for the \n adjacent shore. There was a sudden shock. Caught by an enormous wave \n the schooner had been hurled aground; her masts had fallen, fortunately","of which there would be no difficulty in getting home. \n \n The ship was totally lost. She was lying in the surf a hopeless wreck, \n and few must be the hours that would elapse before she would be broken \n up in scattered fragments; it was impossible to save her.","With all possible speed the boat made its way back again to the \n \"Pilgrim,\" a girt-line was lowered from the mainyard, and the \n unfortunate men were raised to the deck. \n","low, dark ridge of rocks that was united to the beach; it afforded \n ample means of rescue, and in less than ten minutes the \"Pilgrim's\" \n captain, crew, and passengers were all landed, with their lives, at the","be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","tell him the particulars of how they had been shipwrecked, and how the \n vessel had gone to pieces on the reefs. \n \n A look of pity crossed the man's face as he listened, and he cast his","her side. Captain and crew had entirely disappeared, some probably \n having been dashed into the sea, others perhaps having saved themselves \n by clinging to the rigging of the ship which had fouled them, and which \n could be distinguished through the darkness rapidly receding in the","that the survivors might have strength and courage for their own hour \n of need. \n \n The situation was indeed very grave. Here was the \"Pilgrim\" in the \n middle of the Pacific, hundreds of miles away from the nearest land,","assured them, they would be most hospitably received by her husband, \n and provided with the necessary means for returning to Pennsylvania. \n \n The five men, who, as the consequence of the shipwreck, had lost all","distance. For a while they were paralyzed, but they soon awoke to the \n conviction that they were left alone upon a half-capsized and disabled \n hull, twelve hundred miles from the nearest land. Mrs. Weldon was loud","A RESCUE. \n \n \n At the sound of Dick's voice all the crew, in a moment, were upon the \n alert. The men who were not on watch rushed to the deck, and Captain","\"It was a lucky thing for you, captain,\" resumed the vindictive \n Portuguese, \"that you had a good seaman on board, otherwise the ship \n would have run aground on some reef in the tempest, instead of coming","Notwithstanding that Dick Sands bewailed the loss of a valuable ship \n and her cargo to the owner, he had the satisfaction of knowing that he \n had been instrumental in saving what was far more precious, the lives \n of the owner's wife and son. \n","the \"Pilgrim,\" an inevitable fate was before them; their corpses must \n lie at the bottom of the sea. \n \n Captain Hull's act of humanity, however, would not be complete unless","Was it not possible for the unfortunate men, bleeding and wounded as \n they were, still to save themselves by clinging to some floating spar? \n Captain Hull is indeed seen endeavouring to hoist the boatswain on to a","would have been a speck like a microscopic infusoria on the vast \n surface of that sea, and that hundreds and hundreds of weary miles \n separated her from the coast. \n \n No time was to be lost. Contrary winds had ceased to blow; a fresh","Weldon observed quickly that if it were a raft it might be carrying \n some unfortunate shipwrecked men who must be rescued if possible. \n Cousin Benedict asserted that it was nothing more nor less than a huge","fearful death that had befallen the victims. Captain Hull and his men \n had been swept away before their very eyes, and they had been powerless \n to assist. Not one was saved; the schooner had reached the spot too"],["be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","[Illustration: The dog began to swim slowly and with manifest weakness \n towards the boat.] \n \n Taking the boat as close as was prudent to the wreck, the captain and \n Dick called and whistled repeatedly to the dog, which after a while let","river, and had disappeared behind the cliff, he thought no more about \n him. Dingo likewise had quite forgotten his enemy, and desisted from \n his growling. \n \n The first necessity for the shipwrecked party was to find a temporary","lowered, and the captain and Dick, with a couple of sailors, went on \n board. The dog kept up a continual yelping; it made the most vigourous \n efforts to retain its hold upon the netting, but perpetually slipped","wreck, a circumstance from which it was to be inferred that several \n days at least had elapsed since the catastrophe. \n \n Meantime the dog, sliding down from the taffrail, got to the centre","the two sailors to his aid, and although it was far from an easy task, \n he succeeded in getting the five unconscious men, who were all negroes, \n conveyed safely to the boat. \n \n The dog followed, apparently satisfied. \n","with animal life; and the passengers on board the \"Pilgrim\" derived no \n little amusement from watching great flocks of birds migrating \n northwards to escape the rigour of the polar winter, and ever and again","\"Yes; and see what a distance the animal is dragging us away from the \n 'Pilgrim,'\" answered Howick. \n \n \"Sooner or later, however,\" said Captain Hull, \"the thing must come to","Dingo had been trotting up and down the deck. All at once he bounded to \n the fore, and broke out into a piteous howl. It roused Dick from his \n anxious cogitations. Was it possible that the animal recognized the","One other survivor of the wreck, if he had been gifted with the power \n of speech, would doubtless have corroborated the testimony. This was \n the dog who seemed to have such an unaccountable dislike to Negoro. \n","and set up a howl that was almost human in its piteousness. It was \n evidently in a state of alarm that the boat was not going to return to \n the wreck. The dog's meaning could not be misunderstood. The boat was","accordingly brought against the larboard side of the vessel, and while \n the two sailors lashed her securely to the \"Waldeck's\" cat-head, \n Captain Hull and Dick, with the dog persistently accompanying them,","They ascended the ladder, but no sooner did they reappear upon the deck \n than the dog, barking irrepressibly, began trying manifestly to drag \n them towards the stern. \n \n Yielding to what might be called the importunities of the dog, they","itself slip into the sea, and began to swim slowly and with manifest \n weakness towards the boat. As soon as it was lifted in, the animal, \n instead of devouring the piece of bread that was offered him, made its","companionship. This was Dingo. The dog, unsociable as he had been on \n board the \"Waldeck,\" seemed to have found society more congenial to his \n tastes, and being one of those animals that are fond of children, he","with a huge hatchet in his waist-belt, brought up the rear. Dingo had \n no especial place in the procession, but wandered to and fro at his \n pleasure. Ever since he had been cast ashore Dick had noticed a","As they neared the shore, Dingo became intensely agitated. At first \n Dick suspected that a wild beast or a native might be lurking in the \n papyrus, but it soon became obvious that the dog was excited by grief \n rather than by rage. \n","front of the boat, Mrs. Weldon and all on board renewed their good \n wishes. \n \n Dingo stood with his fore paws upon the taffrail, and appeared as much \n as any to be bidding the adventurous party farewell. \n","had come. He had been picked up there, two years previously, by the \n captain of the \"Waldeck,\" who had found him wandering about and more \n than half starved. The initials S. V. engraved upon his collar were the","backwards and fell off again upon the inclining deck. It was soon \n manifest, however, that all the noise the creature was making was not \n directed exclusively towards those who were coming to its rescue, and \n Mrs. Weldon could not divest herself of the impression that there must"],["perplexes me altogether to see the brute so quiet all of a sudden.\" \n \n \"It looks suspicious,\" said the captain; \"but never mind; go on! \n straight ahead!\" \n \n Captain Hull was becoming more excited every moment. \n","For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","quit the ship. Captain Hull, however, could perceive that the \n apprentice had had the aft-boat lowered, and was towing it along, so \n that it should be in readiness for a refuge as soon as they should get \n within reach. \n","But Mrs. Weldon urged her request, and Captain Hull, confident in the \n sea-going qualities of his craft, and anticipating at this season \n nothing but fair weather on either side of the equator, gave his \n consent. \n","CHAPTER VIII. \n \n A CATASTROPHE. \n \n \n Experienced whaleman as he was, Captain Hull knew the difficulty of the \n task he had undertaken, he was alive to the importance of making his","\"It must be understood, Mrs. Weldon,\" he said, courteously raising his \n hat, \"that you take this passage entirely on your own responsibility.\" \n \n \"Certainly, Captain Hull,\" she answered; \"but why do you ask?\" \n","as being quicker in action in the event of any of the side oars being \n disabled. The post of harpooner was of course assigned to Captain Hull, \n to whose lot it would consequently fall first to hurl his weapon at the","Captain Hull looked towards the \"Pilgrim,\" and waved his signal \n frantically above his head. It was, however, with no hope of succour; \n he was only too well aware that no human efforts could effectually","shore and satisfactorily on your homeward way. When that is done, I \n shall hope to get competent officers to take the ship to Valparaiso, \n where she will discharge her cargo, as Captain Hull intended; and","the \"Pilgrim,\" an inevitable fate was before them; their corpses must \n lie at the bottom of the sea. \n \n Captain Hull's act of humanity, however, would not be complete unless","attempt to capture the sea-monster became the ruling theme of \n conversation. Mrs. Weldon expressed considerable doubt as to the \n prudence of venturing upon so great a risk with such a limited number \n of hands, but when Captain Hull assured her that he had more than once","was hardly likely. Captain Hull felt only too sure that there was some \n different cause to be assigned for its remaining so still and \n stationary; and the rapid glances of the boatswain showed that he \n entertained the same suspicion. But it was no time for speculation; the","It did not take many more strokes to bring the boat close to the \n larboard bulwark, which was half out of the water, and Captain Hull \n obtained a view of the whole length of the deck. It was clear from end","Hull hurried from his cabin to the bows. Mrs. Weldon, Nan, and even \n Cousin Benedict leaned over the starboard taffrails, eager to get a \n glimpse of what had thus suddenly attracted the attention of the young","accordingly brought against the larboard side of the vessel, and while \n the two sailors lashed her securely to the \"Waldeck's\" cat-head, \n Captain Hull and Dick, with the dog persistently accompanying them,","\"And when he has just closed his snappers is the very time to give him \n a good taste of the harpoon,\" added Captain Hull. \n \n The words had hardly escaped the captain's lips when a shout from one \n of the sailors announced,-- \n","Of this Captain Hull was well aware, and although he was now in a \n latitude which was comparatively little traversed by such slavers, he \n could not help almost involuntarily conjecturing that the negroes they","the greatest satisfaction, and one day made a remark to that effect in \n the presence of Captain Hull. \n \n [Illustration: \"There you are, then, Master Jack!\"] \n","the interior of the hull. Dick left his men to gather together all they \n could in the way of food and drink from the store-room, and himself \n went straight to the stern cabin, into which the water had not","Hull; \"but I should almost take it for granted that he would have a \n considerable retinue of natives.\" \n \n The captain spoke without being aware that Negoro had meanwhile quietly \n stolen on deck. At first his presence was quite unnoticed, and no one"],["be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","To tell his people what had happened was the work of a moment. He \n seized his gun, and made Hercules, Bat, and Actæon take theirs, and all \n fired simultaneously at the nearest boat. Several of the natives were","of the river to meet him; but when they reached the bank not a soul \n could be seen, and as Dingo was quiet again, they made their way back \n to the grotto. \n \n Excepting the man left on watch, they now all lay down, hoping to get","them out to his companions. A sudden impulse seized the whole of them, \n and they sprang into the canoe; there seemed to be a practised hand \n amongst them, which caught hold of the rudder-oar, and the little craft \n was quickly on its way back.","\"There is nothing here; nobody here,\" he said. \n \n \"So I see,\" said the apprentice, who had made his way to the extreme \n fore-part of the hold. \n \n \"Then we have only to go up again,\" remarked the captain. \n","of them, but Harris seriously dissuaded him, urging that the report of \n firearms would only serve to reveal their own presence, whilst their \n greatest safety lay in perfect silence. \n \n Supper was prepared. There was little need of cooking. The meal, as","skulls with the butt end of his gun, and made off. Followed though he \n was by a storm of bullets, he escaped in safety, and disappeared \n beneath the cover of the woods. \n","excitement of the past hours, went to her cabin, where she lay down and \n fell into a troubled doze. \n \n The new crew remained on watch. They were stationed on the forecastle, \n in readiness to make any alteration which the sails might require, but","obliged to abandon his fishing-quarters. His hired contingent, all men \n of more than doubtful character, had given signs of such \n insubordination as threatened to end in mutiny; and he had become aware \n that he must part company with them on the earliest possible","sea was calm, and the wind moreover was still moderating, so that there \n was no likelihood of the schooner drifting away during the captain's \n absence. \n \n When the starboard whale-boat had been lowered, and the four sailors","late to offer the least resistance to the attacks of the formidable \n sea-monster. \n \n When Dick and the negroes returned to the ship after their hopeless \n search, with only the corroboration of their sad foreboding that","her side. Captain and crew had entirely disappeared, some probably \n having been dashed into the sea, others perhaps having saved themselves \n by clinging to the rigging of the ship which had fouled them, and which \n could be distinguished through the darkness rapidly receding in the","He scanned the drifting ship carefully and continued,-- \n \n \"No, I cannot see any sign of boats here, I should guess that the crew \n have made an attempt to get to land, at such a distance as this,","that hunger had been overcome by fatigue, but because the indefinable \n feeling of uneasiness, that had taken possession of them all, had \n entirely destroyed all appetite. \n \n [Illustration: The man was gone, and his horse with him.] \n","For several years the command of the \"Pilgrim\" had been entrusted to \n Captain Hull, an experienced seaman, and one of the most dexterous \n harpooners in Weldon's service. The crew consisted of five sailors and","lowered, and the captain and Dick, with a couple of sailors, went on \n board. The dog kept up a continual yelping; it made the most vigourous \n efforts to retain its hold upon the netting, but perpetually slipped","\"At any rate, we have no time to wait for the animal now: if he is \n alive, he will not fail to find us out. Move on, my lads! move on!\" \n \n The weather was very hot; ever since daybreak heavy clouds had been","all alone; we have no whalemen to help us; we must rely upon ourselves; \n I have thrown a harpoon before now; I can throw a harpoon again; what \n do you say?\" \n \n The crew responded with a ringing cheer,-- \n","and his four associates. No room for them could possibly be found in \n the crew's quarters, so that their berths had to be arranged under the \n forecastle; and as long as the weather continued fine, there was no","\"No doubt, Tom!\" answered Dick, \"and I think we may congratulate \n ourselves on being safe out of our poor ship.\" \n \n As the night could not be otherwise than very dark, it was arranged \n that the negroes should take their turns in keeping guard at the"],["Although he gave up all as now well-nigh lost, Dick neither moved nor \n spoke. He had one lingering hope yet left. Was it not possible even now \n that by sacrificing his own life he could save the lives of those that \n were entrusted to him? \n","drew him to her side. \n \n \"And now, my men,\" was Dick's first order to his crew, \"we must brace \n in the yards to sail fair. I will show you how.\" \n","Face to face with death, Dick lost nothing of his indomitable presence \n of mind. Might not that light canoe, floating bottom upwards, be made \n the means for yet another grasp at life? The danger that threatened him","myself, and I should be glad if every survivor of the 'Pilgrim' had \n shared his fate.\" \n \n \"But remember,\" said Dick, \"you have to follow them all yourself;\" and \n he fixed a sharp gaze upon his persecutor's eye.","Dick did not speak for some moments. He was manifestly pondering what \n step he should advise. After a while he said,-- \n \n \"My own impression, Mrs. Weldon, is that we have been cast ashore upon","means of escaping that peril by increase of speed; the adroit \n management of the helm was the only chance of avoiding the hazardous \n shocks, and even this repeatedly failed. \n \n To prevent his being washed overboard Dick lashed himself to his place","\"My dear Dick,\" she said, \"in the name of us all, let me thank you for \n the services you have rendered us in our tedious time of difficulty. As \n you have been our captain at sea, let me beg you to be our guide upon","their purpose. Dick had several reasons for feeling sure that one \n existed in the neighbourhood. He knew that the little river, which fell \n into the Atlantic near the spot where the \"Pilgrim\" stranded, could not","\"Well done, my friends!\" said Dick, who had not left his post at the \n helm; \"you will be first-rate sailors before the end of the voyage.\" \n \n \"We shall do our best, I promise you, Captain Sands,\" replied Tom,","knowledge was small, yet their arms were strong, and added that they \n should certainly be obedient to every order he gave. \n \n \"My friends,\" said Dick, addressing them in reply; \"I shall make it a","surface. Here was Dick's chance, he was a good swimmer, and his life \n depended now upon his strength of arm. \n \n It was a hard struggle, but he succeeded. In a quarter of an hour he","eye, as it might be involuntarily, upon the sea, in order to discern \n some vestige of the stranded ship. \n \n \"Ah! there is nothing to be seen of our poor schooner!\" said Dick","These insinuations, that those in whose welfare he was so deeply \n interested had succumbed to the hardships of the journey, awoke in \n Dick's mind a sudden and irresistible desire for vengeance. Darting","must run her aground. It will be utter destruction to the ship, but \n there is no choice. Your safety is the first and paramount \n consideration.\" \n \n \"Do you mean that there is no other course to be taken, Dick?\" \n","apart. Now, Dick tried to argue with himself, they must be coming to \n the true pampas, or the man must be designedly misleading them; and yet \n what motive could he have? \n \n Although during the earlier part of the day there occurred nothing that","\"Yes, Mrs. Weldon,\" rejoined Dick brightly; \"and before long I shall \n hope to make them good seamen. If only the weather lasts fair, \n everything will go on well enough; and if the weather turns out bad, we","concluding his remarks, he again pressed upon Dick his most urgent \n request that he should abstain from firing upon any animal whatever. It \n was of the utmost consequence. \n \n Dick made no reply. He was silent and thoughtful. Grave doubts had","that the survivors might have strength and courage for their own hour \n of need. \n \n The situation was indeed very grave. Here was the \"Pilgrim\" in the \n middle of the Pacific, hundreds of miles away from the nearest land,","The \"Pilgrim\" still made good headway, and Dick, although he was aware \n that ultimately it would probably be necessary again to shorten sail, \n was anxious to postpone making any alteration before he was absolutely","DICK'S PROMOTION. \n \n \n The first feeling experienced by those on board the \"Pilgrim,\" after \n witnessing the terrible disaster was one of grief and horror at the"],["be some survivors still on board. All at once the animal changed its \n gestures. Instead of the crouching attitude and supplicating whine with \n which it seemed to be imploring the compassion of those who were \n nearing it, it suddenly appeared to become bursting with violence and","his crew had had. Knowing that he could not entrust the task to them, \n and yet resolved not to be baulked of his wish to set them, he \n undertook the task himself. He first put Tom to the helm, showing him","had acted the traitor, he was led to the conclusion that he and Negoro \n had been playing into each other's hands. The result of the collision, \n he feared, might be very disastrous to the survivors of the \"Pilgrim.\"","hurled the miserable wretch overboard, and thus relieved himself and \n his partners in trouble from the catastrophe that had since befallen \n them? Peril was still staring them in the face, and his sole drop of","however, a mystery inexplicable as before, how and when they had \n rounded Cape Horn and passed into another ocean. Suddenly the idea \n flashed upon him that the compass must have been tampered with; and he","that the survivors might have strength and courage for their own hour \n of need. \n \n The situation was indeed very grave. Here was the \"Pilgrim\" in the \n middle of the Pacific, hundreds of miles away from the nearest land,","\"There is nothing here; nobody here,\" he said. \n \n \"So I see,\" said the apprentice, who had made his way to the extreme \n fore-part of the hold. \n \n \"Then we have only to go up again,\" remarked the captain. \n","her side. Captain and crew had entirely disappeared, some probably \n having been dashed into the sea, others perhaps having saved themselves \n by clinging to the rigging of the ship which had fouled them, and which \n could be distinguished through the darkness rapidly receding in the","acting in such a manner with the survivors of the \"Pilgrim,\" and \n consequently hesitated before he actually condemned him for conduct so \n base and heartless. What could be done? he repeatedly asked himself. On","Was it not possible for the unfortunate men, bleeding and wounded as \n they were, still to save themselves by clinging to some floating spar? \n Captain Hull is indeed seen endeavouring to hoist the boatswain on to a","had had a considerably larger sum than this, and Captain Hull was known \n always to keep a good reserve in hand. There was but one way to solve \n the mystery. Some one had been beforehand to the wreck. It could not be","THE NEW CREW. \n \n \n Dick Sands, captain of the \"Pilgrim,\" would not lose a moment in \n getting his ship under sail. His prime object was to land his \n passengers safely at Valparaiso or some other American port, and to","He scanned the drifting ship carefully and continued,-- \n \n \"No, I cannot see any sign of boats here, I should guess that the crew \n have made an attempt to get to land, at such a distance as this,","and had come to the resolve that if his men would back him, he would \n make an attempt to capture the prize. \n \n He turned to his crew,-- \n \n \"My men! what do you think? shall we make the venture? Remember, we are","understand, the log remained at the bottom of the sea, and one night \n the compass was tampered with, so that the 'Pilgrim,' scudding along \n before a tempest, was carried altogether out of her course. You may","Now they thought they had secured their prize, but loud was their yell \n of disappointment when on stripping off the thatch they found only one \n person, and that a mere boy, standing beneath it. \n","It cannot be denied that the captain was not wholly without compunction \n at the step he was taking; he was aware of the danger to which he was \n exposing himself, but he beguiled himself with the persuasion that it","answer. The sailors saw the failure, and convinced that all was lost \n uttered one long, despairing cry that might have been heard on board \n the \"Pilgrim.\" Another moment, and from beneath there came a tremendous","feeding on; they only knew that, like themselves, he had suffered an \n excruciating thirst. \n \n Such had been the experience of the survivors of the \"Waldeck.\" Their \n situation had been most critical. Even if they survived the pangs of","perplexes me altogether to see the brute so quiet all of a sudden.\" \n \n \"It looks suspicious,\" said the captain; \"but never mind; go on! \n straight ahead!\" \n \n Captain Hull was becoming more excited every moment. \n"],["understand, the log remained at the bottom of the sea, and one night \n the compass was tampered with, so that the 'Pilgrim,' scudding along \n before a tempest, was carried altogether out of her course. You may","THE NEW CREW. \n \n \n Dick Sands, captain of the \"Pilgrim,\" would not lose a moment in \n getting his ship under sail. His prime object was to land his \n passengers safely at Valparaiso or some other American port, and to","\"There is nothing here; nobody here,\" he said. \n \n \"So I see,\" said the apprentice, who had made his way to the extreme \n fore-part of the hold. \n \n \"Then we have only to go up again,\" remarked the captain. \n","in the Hauraki Gulf, on the east coast of North Island, the whole of \n the gang was peremptorily discharged. \n \n The ship's crew were more than dissatisfied. They were angry. Never","her side. Captain and crew had entirely disappeared, some probably \n having been dashed into the sea, others perhaps having saved themselves \n by clinging to the rigging of the ship which had fouled them, and which \n could be distinguished through the darkness rapidly receding in the","He scanned the drifting ship carefully and continued,-- \n \n \"No, I cannot see any sign of boats here, I should guess that the crew \n have made an attempt to get to land, at such a distance as this,","A misfortune, however, was in store for them. On the night of the 12th, \n while Dick was on watch, the compass in the cabin became detached from \n its fastening and fell on the floor. The accident was not discovered","Consequently it came to pass that the \"Pilgrim,\" supposed by her young \n commander to be making good headway due east, was in reality, under the \n brisk north-west breeze, speeding along towards the south-east. \n \n \n \n","however, a mystery inexplicable as before, how and when they had \n rounded Cape Horn and passed into another ocean. Suddenly the idea \n flashed upon him that the compass must have been tampered with; and he","his crew had had. Knowing that he could not entrust the task to them, \n and yet resolved not to be baulked of his wish to set them, he \n undertook the task himself. He first put Tom to the helm, showing him","and his four associates. No room for them could possibly be found in \n the crew's quarters, so that their berths had to be arranged under the \n forecastle; and as long as the weather continued fine, there was no","mist. Then at once I put the compass to rights again, and the 'Pilgrim' \n was carried north-eastwards by a tremendous hurricane to the very place \n I wanted. The island Dick Sands took for Easter Island was really \n Tristan d'Acunha.\"","answer. The sailors saw the failure, and convinced that all was lost \n uttered one long, despairing cry that might have been heard on board \n the \"Pilgrim.\" Another moment, and from beneath there came a tremendous","Now they thought they had secured their prize, but loud was their yell \n of disappointment when on stripping off the thatch they found only one \n person, and that a mere boy, standing beneath it. \n","captain and crew had disappeared for ever, Mrs. Weldon sank upon her \n knees; little Jack knelt beside her crying bitterly; and Dick, old Nan, \n and all the negroes stood reverently around her whilst with great","currents. This accounted for the fact of their being found so far south \n of their proper course. \n \n For the next ten days the negroes had subsisted upon a few scraps of \n food that they found in the stern cabin; but as the store room was","The \"Pilgrim,\" meanwhile, had glided onwards, and made dead for the \n adjacent shore. There was a sudden shock. Caught by an enormous wave \n the schooner had been hurled aground; her masts had fallen, fortunately","them out to his companions. A sudden impulse seized the whole of them, \n and they sprang into the canoe; there seemed to be a practised hand \n amongst them, which caught hold of the rudder-oar, and the little craft \n was quickly on its way back.","It has been already stated that the crew of the \"Pilgrim\" consisted of \n five seamen and an apprentice. This apprentice was Dick Sands. \n \n Dick was fifteen years old; he was a foundling, his unknown parents","assured them, they would be most hospitably received by her husband, \n and provided with the necessary means for returning to Pennsylvania. \n \n The five men, who, as the consequence of the shipwreck, had lost all"]],"string":"[\n [\n \"It has been already stated that the crew of the \\\"Pilgrim\\\" consisted of \\n five seamen and an apprentice. This apprentice was Dick Sands. \\n \\n Dick was fifteen years old; he was a foundling, his unknown parents\",\n \"The \\\"Pilgrim\\\" still made good headway, and Dick, although he was aware \\n that ultimately it would probably be necessary again to shorten sail, \\n was anxious to postpone making any alteration before he was absolutely\",\n \"appearance upon the deck of the \\\"Pilgrim.\\\" \\n \\n The idea that flitted across Dick's mind was shared by Tom. \\n \\n \\\"Look, Mr. Dick, look at Dingo; he is at his old ways again,\\\" said he;\",\n \"\\\"Ay, ay, sir,\\\" answered the helmsman, and the \\\"Pilgrim\\\" in an instant \\n was steered according to orders. \\n \\n In spite, however, of the convictions of the captain and Dick, Cousin\",\n \"DICK'S PROMOTION. \\n \\n \\n The first feeling experienced by those on board the \\\"Pilgrim,\\\" after \\n witnessing the terrible disaster was one of grief and horror at the\",\n \"The \\\"Pilgrim\\\" was not deficient in this respect, and Dick Sands made a \\n strong point of admonishing his crew that they should take especial \\n care of the compasses, which under their present circumstances were of \\n such supreme importance. \\n\",\n \"myself, and I should be glad if every survivor of the 'Pilgrim' had \\n shared his fate.\\\" \\n \\n \\\"But remember,\\\" said Dick, \\\"you have to follow them all yourself;\\\" and \\n he fixed a sharp gaze upon his persecutor's eye.\",\n \"from the moment that they came on board the \\\"Pilgrim.\\\" \\n \\n Whilst these thoughts were passing through his mind, Mrs. Weldon, \\n assisted by Nan and the ever active Dick Sands, was doing everything in\",\n \"restored a spirit of confidence to Dick Sands, and he anticipated the \\n time when he should no longer be drifting helplessly before the storm. \\n \\n To say the truth, the \\\"Pilgrim\\\" had suffered very little from the\",\n \"THE NEW CREW. \\n \\n \\n Dick Sands, captain of the \\\"Pilgrim,\\\" would not lose a moment in \\n getting his ship under sail. His prime object was to land his \\n passengers safely at Valparaiso or some other American port, and to\",\n \"'Pilgrim' is still 2500 miles from shore, she has positively made no \\n progress at all. Impossible!\\\" \\n \\n In thoughtful perplexity, Dick passed his hand across his brow. He did\",\n \"contrived after a while to make his escape, and, as has been already \\n mentioned, found his way to New Zealand, whence he had returned by \\n securing an engagement on board the \\\"Pilgrim.\\\" Between the time when he\",\n \"on its way between the Equator and Cape Horn. \\n \\n Very different, however, was the true position of the \\\"Pilgrim\\\" from \\n what Dick supposed; not only had the ship been carried far out of her\",\n \"At the time when Dick Sands, in obedience to the signal he received \\n from Captain Hull, proceeded to make his way to the scene of the \\n disaster, the \\\"Pilgrim,\\\" as she lay to, was carrying only her jibs,\",\n \"\\\"Oh, we shall soon be on shore!\\\" she said. \\n \\n But Dick knew better. He had acquaintance enough with the scale upon \\n which the chart was constructed to be aware that the \\\"Pilgrim\\\" herself\",\n \"myself on board the 'Pilgrim,'\\\" he would continually say, \\\"what misery \\n and suffering we might have been spared!\\\" \\n \\n So diligently did he apply himself to the technical branches of his \\n profession that at the age of eighteen he received a special\",\n \"There were still several sails that were not yet set. Running well \\n before the wind as the \\\"Pilgrim\\\" was, Dick nevertheless felt that the \\n gallant, royal, and stay-sails, if brought into service, would\",\n \"had been taken down before the tempest, were hoisted again, and before \\n ten o'clock the \\\"Pilgrim\\\" was running along under the three sails which \\n Dick considered were as much as it was prudent to carry. Even at her\",\n \"drew him to her side. \\n \\n \\\"And now, my men,\\\" was Dick's first order to his crew, \\\"we must brace \\n in the yards to sail fair. I will show you how.\\\" \\n\",\n \"It was impossible to do more than hazard a conjecture as to the part of \\n the South American coast on which the \\\"Pilgrim\\\" had been cast. Dick \\n imagined that it must be somewhere on the coast of Peru; after sighting\"\n ],\n [\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"The latest movement with regard to the \\\"Pilgrim\\\" had been to bring her \\n somewhat nearer the spot where the spouts of vapour indicated the \\n presence of the coveted prize. The creature continued to swim about in\",\n \"of small cannon on the bows or deck of the boat and to discharge from \\n it either a harpoon or some explosive bullets, which make frightful \\n lacerations on the body of the victim; but the \\\"Pilgrim\\\" was not\",\n \"an undamaged cargo, and be \\\"a good haul,\\\" to compensate them for their \\n ill-success in the last season. \\n \\n A quarter of an hour later and the \\\"Pilgrim\\\" was within half a mile of\",\n \"The \\\"Pilgrim,\\\" meanwhile, had glided onwards, and made dead for the \\n adjacent shore. There was a sudden shock. Caught by an enormous wave \\n the schooner had been hurled aground; her masts had fallen, fortunately\",\n \"When the boat pushed off, those who were left on board the \\\"Pilgrim\\\" \\n made their way slowly to the bows, from which the most extensive view \\n was to be gained. \\n \\n The captain's voice came from the retreating boat,-- \\n\",\n \"with animal life; and the passengers on board the \\\"Pilgrim\\\" derived no \\n little amusement from watching great flocks of birds migrating \\n northwards to escape the rigour of the polar winter, and ever and again\",\n \"It has been already stated that the crew of the \\\"Pilgrim\\\" consisted of \\n five seamen and an apprentice. This apprentice was Dick Sands. \\n \\n Dick was fifteen years old; he was a foundling, his unknown parents\",\n \"get to the \\\"Pilgrim,\\\" and secure any articles that might be serviceable \\n for future use. The reef on which the schooner had stranded was now \\n quite dry, and the carcase of the vessel which had been partially\",\n \"THE NEW CREW. \\n \\n \\n Dick Sands, captain of the \\\"Pilgrim,\\\" would not lose a moment in \\n getting his ship under sail. His prime object was to land his \\n passengers safely at Valparaiso or some other American port, and to\",\n \"appearance upon the deck of the \\\"Pilgrim.\\\" \\n \\n The idea that flitted across Dick's mind was shared by Tom. \\n \\n \\\"Look, Mr. Dick, look at Dingo; he is at his old ways again,\\\" said he;\",\n \"The \\\"Pilgrim,\\\" before the sailors left her, had been made to heave to, \\n and the yards were braced so as to secure her remaining as stationary \\n as possible. As the time drew near for the captain to quit her, he gave\",\n \"shelter where they might take some refreshment. There was no lack of \\n provisions; independently of the resources of the land, the ebbing tide \\n had left upon the rocks the great bulk of the \\\"Pilgrim's\\\" stores, and\",\n \"\\\"Pilgrim\\\" relapsed into its ordinary routine. With the wind invariably \\n in the same direction, the sails required very little shifting; but \\n whenever it happened, as occasionally it would, that there was any\",\n \"contrived after a while to make his escape, and, as has been already \\n mentioned, found his way to New Zealand, whence he had returned by \\n securing an engagement on board the \\\"Pilgrim.\\\" Between the time when he\",\n \"\\\"Pilgrim\\\" was barely sufficient to man one of the three boats. Tom and \\n his friends were ready to volunteer their assistance, but any offers of \\n service from them were necessarily declined; the manipulation of a\",\n \"\\\"Yes; and see what a distance the animal is dragging us away from the \\n 'Pilgrim,'\\\" answered Howick. \\n \\n \\\"Sooner or later, however,\\\" said Captain Hull, \\\"the thing must come to\",\n \"THE \\\"PILGRIM.\\\" \\n \\n \\n On the 2nd of February, 1873, the \\\"Pilgrim,\\\" a tight little craft of\",\n \"the \\\"Pilgrim,\\\" an inevitable fate was before them; their corpses must \\n lie at the bottom of the sea. \\n \\n Captain Hull's act of humanity, however, would not be complete unless\",\n \"The \\\"Pilgrim\\\" was not deficient in this respect, and Dick Sands made a \\n strong point of admonishing his crew that they should take especial \\n care of the compasses, which under their present circumstances were of \\n such supreme importance. \\n\"\n ],\n [\n \"The pursuit, or what may be more aptly termed \\\"the towing,\\\" of the \\n whale had now fairly commenced. The sailors had shipped their oars, and \\n the whale-boat darted like an arrow along the surface of the waves. In\",\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"\\\"To whalemen, madam, this is a sight that speaks for itself. It is a \\n token that we ought to lose no time in getting out our lines and \\n looking to the state of our harpoons. There is game not far away.\\\" \\n\",\n \"To the crew the sight of the whale was the opening of an unexpected \\n opportunity, and no wonder they were fired with the burning hope that \\n even now they might do something to supply the deficiency of their \\n meagre haul throughout the season. \\n\",\n \"of the whale. \\n \\n The crew were as eager as their captain. Mounted on the fore-shrouds, \\n they scanned the movements of their coveted prey in the distance, \\n freely descanting upon the profit to be made out of a good finback and\",\n \"The manipulation of the boat thus left to the boatswain, the captain \\n made ready for the arduous effort that was before him. At the extreme \\n bow, harpoon in hand, with his legs somewhat astride so as to insure\",\n \"\\\"At any rate, we have no time to wait for the animal now: if he is \\n alive, he will not fail to find us out. Move on, my lads! move on!\\\" \\n \\n The weather was very hot; ever since daybreak heavy clouds had been\",\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"\\\"There is nothing here; nobody here,\\\" he said. \\n \\n \\\"So I see,\\\" said the apprentice, who had made his way to the extreme \\n fore-part of the hold. \\n \\n \\\"Then we have only to go up again,\\\" remarked the captain. \\n\",\n \"them out to his companions. A sudden impulse seized the whole of them, \\n and they sprang into the canoe; there seemed to be a practised hand \\n amongst them, which caught hold of the rudder-oar, and the little craft \\n was quickly on its way back.\",\n \"THE NEW CREW. \\n \\n \\n Dick Sands, captain of the \\\"Pilgrim,\\\" would not lose a moment in \\n getting his ship under sail. His prime object was to land his \\n passengers safely at Valparaiso or some other American port, and to\",\n \"To tell his people what had happened was the work of a moment. He \\n seized his gun, and made Hercules, Bat, and Actæon take theirs, and all \\n fired simultaneously at the nearest boat. Several of the natives were\",\n \"The latest movement with regard to the \\\"Pilgrim\\\" had been to bring her \\n somewhat nearer the spot where the spouts of vapour indicated the \\n presence of the coveted prize. The creature continued to swim about in\",\n \"an undamaged cargo, and be \\\"a good haul,\\\" to compensate them for their \\n ill-success in the last season. \\n \\n A quarter of an hour later and the \\\"Pilgrim\\\" was within half a mile of\",\n \"all alone; we have no whalemen to help us; we must rely upon ourselves; \\n I have thrown a harpoon before now; I can throw a harpoon again; what \\n do you say?\\\" \\n \\n The crew responded with a ringing cheer,-- \\n\",\n \"\\\"When we started,\\\" continued Negoro, \\\"it was my intention to sail only \\n as far as Chili: that would have brought me nearly half way to Angola; \\n but three weeks after leaving Auckland, Captain Hull and all his crew\",\n \"and his four associates. No room for them could possibly be found in \\n the crew's quarters, so that their berths had to be arranged under the \\n forecastle; and as long as the weather continued fine, there was no\",\n \"\\\"Yes; and see what a distance the animal is dragging us away from the \\n 'Pilgrim,'\\\" answered Howick. \\n \\n \\\"Sooner or later, however,\\\" said Captain Hull, \\\"the thing must come to\",\n \"No one thought of flight. The swiftest boat could be overtaken in a \\n very few bounds. There was no alternative but to face the encounter. It \\n was not long in coming. Their previous good fortune failed them. The\",\n \"undertaking; the success of their labours always told to their own \\n advantage. The present expedition was the fourth that they had taken \\n together; and, as it turned out to be the first in which they had \\n failed to meet with success, it may be imagined that they were full of\"\n ],\n [\n \"little Jack in Nan's arms. The child was still dozing; the fever had \\n abated, but he looked painfully white and exhausted after the attack. \\n \\n \\\"Dick,\\\" said Mrs. Weldon, after looking round her, \\\"where is Mr.\",\n \"his hope that, in little Jack's case, the words of the great traveller \\n would be verified, and in encouragement of this sanguine view, pointed \\n out to Mrs. Weldon that although it was past the time for the\",\n \"and all at once pausing in the midst of his incantations, he pointed to \\n a distant corner of the enclosure. All eyes were instantly turned in \\n that direction. Mrs. Weldon and Jack had just come out of their hut,\",\n \"consideration rather than of contempt, and Mrs. Weldon looked upon him \\n as a kind of elder brother to her little Jack. \\n \\n It must not be supposed, however, that Cousin Benedict was either idle\",\n \"When the meal was ended, Mrs. Weldon, passing her arms round Jack, who \\n was lounging half asleep with excitement and fatigue at her side, was \\n the first to speak. \\n\",\n \"necessitated by the nature of his business, had brought with him his \\n wife, his son Jack, a child of five years of age, and a relation of the \\n family who was generally known by the name of Cousin Benedict. Weldon\",\n \"Benedict. \\n \\n Three months had passed away, little Jack was convalescent, and Mrs. \\n Weldon, weary of her long separation from her husband, was anxious to \\n get home as soon as possible. Her readiest way of reaching San\",\n \"Kazonndé. Mrs. Weldon was dozing; Jack was fast asleep. Benedict \\n himself, sorely against his will, for he heard the hum of many an \\n insect in the sunshine, had been driven to the seclusion of his cabin,\",\n \"go. It may not be possible to get back, and your presence is \\n indispensable here. Think, sir, think of Mrs. Weldon, and Master Jack,\\\" \\n he added in a lower tone. \\n\",\n \"\\\"O, I shall not pull very hard,\\\" said Jack; \\\"but haven't we nearly come \\n to Mr. Harris's farm?\\\" \\n \\n Mrs. Weldon assured the child that they should soon be where they\",\n \"Mrs. Weldon, thoroughly ignoring her own weakness, professed her \\n readiness not only to walk, but to carry Jack too. Bat and Austin at \\n once volunteered to carry her in a litter; of this the lady would not\",\n \"IN CAPTIVITY. \\n \\n \\n So far from Mrs. Weldon and Jack having succumbed to the hardships to \\n which they had been exposed, they were both alive, and together with\",\n \"Mrs. Weldon, Jack, and Mr. Benedict. He did not know where. Have \\n patience, and we will find them yet.\\\" \\n \\n [Illustration: With a yell and a curse, the American fell dead at his \\n feet.] \\n\",\n \"Mrs. Weldon was giving her own best attention to the education of \\n Master Jack. Reading and writing she undertook to teach herself, while \\n she entrusted the instruction in arithmetic to the care of Dick Sands.\",\n \"The new companions that Jack had thus found did not in the least make \\n him forget his old friend Dick Sands, who devoted all his leisure time \\n to him as assiduously as ever. Mrs. Weldon regarded their intimacy with\",\n \"their retreat; but when he came to reflect that Mrs. Weldon, Jack, and \\n Cousin Benedict had not been allowed to come with them, but had been \\n carried off in some other direction, he began to think it probable that\",\n \"welcomed the sight of them at Kazonndé, were it only as an indication \\n that Mrs. Weldon and Jack were there also. \\n \\n It disappointed him, too, that Dingo did not come back. Ever since the\",\n \"making it a point to give the young commander his proper title. \\n \\n Mrs. Weldon also congratulated the new crew upon the success of their \\n first attempt. \\n \\n \\\"I believe it was Master Jack who broke that rope,\\\" said Hercules, with\",\n \"Neither Mrs. Weldon nor Jack could expect the least assistance from \\n Cousin Benedict; the good man was barely able to consult for himself. \\n All three of them would, he conjectured, be conveyed to some remote\",\n \"\\\"Well, my young friend, how are you? I am glad to see you again.\\\" \\n \\n He turned round quickly. Harris stood before him. \\n \\n \\\"Where is Mrs. Weldon?\\\" asked Dick impetuously. \\n\"\n ],\n [\n \"say. Look at him now, madam! he seems not only to be reading the \\n letters for himself, but to be inviting us to come and read them with \\n him.\\\" \\n \\n Whilst Mrs. Weldon was watching the dog with much amusement, Dick\",\n \"was to the interest of Alvez and Negoro alike to attend carefully to \\n her wants. \\n \\n Upon the terms of the covenant being thus arranged, Mrs. Weldon wrote \\n such a letter to her husband as she knew would bring him with all speed\",\n \"lying beside them, some broken forks, and some bits of iron chain. \\n \\n The sight of the gory remains made Dingo bark ferociously, and Dick, \\n who was most anxious that Mrs. Weldon's attention should not be called\",\n \"For well nigh half a mile they had now to wend their cautious way \\n across this spongy soil. Mrs. Weldon, ankle-deep in the soft mud, was \\n at last compelled to come to a stand-still; and Hercules, Bat, and\",\n \"backwards and fell off again upon the inclining deck. It was soon \\n manifest, however, that all the noise the creature was making was not \\n directed exclusively towards those who were coming to its rescue, and \\n Mrs. Weldon could not divest herself of the impression that there must\",\n \"hut. \\n \\n The rest were not long in following, and they all entered the hut \\n together. The floor was strewn with bones whitened by exposure. \\n \\n \\\"Some one has died here,\\\" said Mrs. Weldon. \\n\",\n \"\\\"Yes, from me,\\\" repeated Dick, in a firm and resolute voice, looking at \\n the man until he recoiled under his gaze. \\\"From _me_.\\\" \\n \\n Mrs. Weldon had heard what passed. \\n\",\n \"\\\"I see, sir, your tastes do not lie in the same direction as those of \\n the whale.\\\" \\n \\n And turning to Mrs. Weldon, he continued,-- \\n\",\n \"You and that boy of yours, and that idiot of a fly-catcher, all have a \\n certain value in the market. I mean to sell you.\\\" \\n \\n \\\"You dare not!\\\" said Mrs. Weldon firmly; \\\"you know you are making an\",\n \"and all at once pausing in the midst of his incantations, he pointed to \\n a distant corner of the enclosure. All eyes were instantly turned in \\n that direction. Mrs. Weldon and Jack had just come out of their hut,\",\n \"from his melancholy reflections. His thoughts were not of himself nor \\n of his own sufferings; his whole attention was absorbed in looking for \\n some traces of Mrs. Weldon's progress; if she, too, was being taken to\",\n \"Before, however, Dick had time to reply, the stranger had courteously \\n raised his hat, and, looking round, Dick saw that his bow was intended \\n for Mrs. Weldon, who had just reached the river-bank. She proceeded to\",\n \"\\\"More easily said than done,\\\" answered Harris, shaking his head; but \\n Dick was not to be diverted from his purpose, and, gun in hand, crept \\n into the grass. He had not advanced many yards before a herd of about a\",\n \"\\\"Look at Dingo!\\\" said Mrs. Weldon; \\\"how strange he is! he seems to be \\n trying to discover a lost scent.\\\" \\n \\n After watching the dog for a time, she spoke again:-- \\n\",\n \"\\\"We must spare you the necessity for that. I can answer for it that \\n Mrs. Weldon will raise no objection to spending another night in the \\n open air. We can start off to-morrow morning as early as we like, and\",\n \"his Remington; next came Bat and Austin, each carrying a gun and a \\n cutlass, then Mrs. Weldon and Jack, on horseback, closely followed by \\n Tom and old Nan, while Actæon with the fourth Remington, and Hercules\",\n \"CHAPTER XV. \\n \\n AN EXCITING CHASE. \\n \\n \\n To say the truth, it was the very vaguest of hopes to which Mrs. Weldon \\n had been clinging, yet it was not without some thrill of disappointment\",\n \"Whilst this conversation was going on, Mrs. Weldon, whose suspicions \\n had been excited by Negoro's disappearance, had been scrutinizing the \\n stranger with the utmost attention; but she could detect nothing either\",\n \"prisoner. Benedict was out insect-hunting; Jack, under Halima's charge, \\n was being taken for a walk. Mrs. Weldon was alone. \\n \\n Negoro pushed open the door, and said abruptly,-- \\n\",\n \"Mrs. Weldon demurred for a while, but Dick seemed resolute, and as he \\n promised to take his gun and not to attempt to land if he saw the least \\n symptom of danger, she at last consented, but with so much reluctance\"\n ],\n [\n \"\\\"No doubt of that,\\\" replied the captain; \\\"the only wonder is that she \\n did not sink immediately.\\\" \\n \\n \\\"Oh, how I hope the poor crew have been saved!\\\" exclaimed Mrs Weldon. \\n\",\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"The \\\"Pilgrim,\\\" meanwhile, had glided onwards, and made dead for the \\n adjacent shore. There was a sudden shock. Caught by an enormous wave \\n the schooner had been hurled aground; her masts had fallen, fortunately\",\n \"low, dark ridge of rocks that was united to the beach; it afforded \\n ample means of rescue, and in less than ten minutes the \\\"Pilgrim's\\\" \\n captain, crew, and passengers were all landed, with their lives, at the\",\n \"without injury to any one on board. But the vessel had parted \\n amidships, and was foundering; the water was rushing irresistibly into \\n the hold. \\n \\n The shore, however, was not half a cable's length away; there was a\",\n \"of which there would be no difficulty in getting home. \\n \\n The ship was totally lost. She was lying in the surf a hopeless wreck, \\n and few must be the hours that would elapse before she would be broken \\n up in scattered fragments; it was impossible to save her.\",\n \"With all possible speed the boat made its way back again to the \\n \\\"Pilgrim,\\\" a girt-line was lowered from the mainyard, and the \\n unfortunate men were raised to the deck. \\n\",\n \"assured them, they would be most hospitably received by her husband, \\n and provided with the necessary means for returning to Pennsylvania. \\n \\n The five men, who, as the consequence of the shipwreck, had lost all\",\n \"her side. Captain and crew had entirely disappeared, some probably \\n having been dashed into the sea, others perhaps having saved themselves \\n by clinging to the rigging of the ship which had fouled them, and which \\n could be distinguished through the darkness rapidly receding in the\",\n \"that the survivors might have strength and courage for their own hour \\n of need. \\n \\n The situation was indeed very grave. Here was the \\\"Pilgrim\\\" in the \\n middle of the Pacific, hundreds of miles away from the nearest land,\",\n \"\\\"It was a lucky thing for you, captain,\\\" resumed the vindictive \\n Portuguese, \\\"that you had a good seaman on board, otherwise the ship \\n would have run aground on some reef in the tempest, instead of coming\",\n \"distance. For a while they were paralyzed, but they soon awoke to the \\n conviction that they were left alone upon a half-capsized and disabled \\n hull, twelve hundred miles from the nearest land. Mrs. Weldon was loud\",\n \"Was it not possible for the unfortunate men, bleeding and wounded as \\n they were, still to save themselves by clinging to some floating spar? \\n Captain Hull is indeed seen endeavouring to hoist the boatswain on to a\",\n \"tell him the particulars of how they had been shipwrecked, and how the \\n vessel had gone to pieces on the reefs. \\n \\n A look of pity crossed the man's face as he listened, and he cast his\",\n \"Notwithstanding that Dick Sands bewailed the loss of a valuable ship \\n and her cargo to the owner, he had the satisfaction of knowing that he \\n had been instrumental in saving what was far more precious, the lives \\n of the owner's wife and son. \\n\",\n \"however, from America or from the islands of the Pacific I should be \\n afraid that it must be hopeless.\\\" \\n \\n \\\"Is it not possible,\\\" asked Mrs Weldon, \\\"that some poor creature may \\n still survive on board, who can tell what has happened?\\\" \\n\",\n \"foot of the overhanging cliff. \\n \\n \\n \\n \\n CHAPTER XIV. \\n \\n ASHORE. \\n \\n \\n Thus, after a voyage of seventy-four days, the \\\"Pilgrim\\\" had stranded.\",\n \"would have been a speck like a microscopic infusoria on the vast \\n surface of that sea, and that hundreds and hundreds of weary miles \\n separated her from the coast. \\n \\n No time was to be lost. Contrary winds had ceased to blow; a fresh\",\n \"get to the \\\"Pilgrim,\\\" and secure any articles that might be serviceable \\n for future use. The reef on which the schooner had stranded was now \\n quite dry, and the carcase of the vessel which had been partially\",\n \"the two sailors to his aid, and although it was far from an easy task, \\n he succeeded in getting the five unconscious men, who were all negroes, \\n conveyed safely to the boat. \\n \\n The dog followed, apparently satisfied. \\n\"\n ],\n [\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"\\\"If it is only a dog, captain, let it be saved.\\\" \\n \\n \\\"Oh, yes, yes, mamma, the dog must be saved!\\\" cried little Jack; \\\"I \\n will go and get a bit of sugar ready for it.\\\" \\n\",\n \"the two sailors to his aid, and although it was far from an easy task, \\n he succeeded in getting the five unconscious men, who were all negroes, \\n conveyed safely to the boat. \\n \\n The dog followed, apparently satisfied. \\n\",\n \"\\\"Yes, Mrs. Weldon, he has saved you, and although he does not own it, \\n he has saved me too,\\\" said Dick. \\n \\n \\\"Saved!\\\" repeated Hercules, \\\"you must not talk about safety, for you \\n are not saved yet.\\\" \\n\",\n \"\\\"Poor things!\\\" said Mrs. Weldon, as she looked compassionately on the \\n motionless forms. \\n \\n \\\"But they are not dead,\\\" cried Dick eagerly; \\\"they are not dead; we \\n shall save them all yet!\\\" \\n\",\n \"backwards and fell off again upon the inclining deck. It was soon \\n manifest, however, that all the noise the creature was making was not \\n directed exclusively towards those who were coming to its rescue, and \\n Mrs. Weldon could not divest herself of the impression that there must\",\n \"One other survivor of the wreck, if he had been gifted with the power \\n of speech, would doubtless have corroborated the testimony. This was \\n the dog who seemed to have such an unaccountable dislike to Negoro. \\n\",\n \"The last line was nearly all uncoiled, and the general consternation \\n was growing very great, when there was observed to be a slight \\n slackening in the tension. \\n \\n \\\"Thank Heaven!\\\" cried the captain; \\\"the beast has tired herself out at \\n last.\\\"\",\n \"and would unquestionably have seized him by the throat if the man had \\n not knocked him back with a poker which he had brought with him in his \\n hand. \\n \\n The infuriated beast was secured by the sailors, and prevented from \\n inflicting any serious injury.\",\n \"Some cold water was soon procured, which the child drank eagerly, and \\n then began to look about him. His first inquiry was for his old \\n friends, Dick and Hercules, both of whom approached at his summons and \\n greeted him affectionately. \\n\",\n \"itself slip into the sea, and began to swim slowly and with manifest \\n weakness towards the boat. As soon as it was lifted in, the animal, \\n instead of devouring the piece of bread that was offered him, made its\",\n \"side. All of a sudden it gave a jerk with its tail which carried it \\n some few yards away. \\n \\n The men were all excited. Was the beast going to escape again? Was the \\n fatiguing pursuit all to come over a second time? Must not the chase be\",\n \"And now the immoveableness of the animal was at once accounted for. \\n \\n \\\"See; there's a youngster!\\\" exclaimed Howick. \\n \\n And he was not mistaken. Startled by the blow of the harpoon the\",\n \"had urged, Dick put his gun to his shoulder, and was on the very point \\n of firing, when Harris knocked the rifle quickly aside. \\n \\n \\\"They were giraffes!\\\" shouted Dick. \\n \\n The announcement awakened the curiosity of Jack, who quickly scrambled\",\n \"repeatedly to cut their road through these bewildering obstructions \\n that clothed the trees from their summit to their base. \\n \\n Animal life was no less remarkable in its way than the vegetation.\",\n \"securing it. He succeeded in getting tolerably close to it and fired, \\n but he was terribly startled when a formidable creature bounded along \\n some thirty paces ahead, and took possession of the prey he had just \\n wounded. \\n\",\n \"your friends. Come here, sir; you must behave better than that!\\\" \\n \\n Sinking down on all fours the animal walked slowly up to Mrs. Weldon, \\n and began to lick her hand. \\n\",\n \"Notwithstanding that Dick Sands bewailed the loss of a valuable ship \\n and her cargo to the owner, he had the satisfaction of knowing that he \\n had been instrumental in saving what was far more precious, the lives \\n of the owner's wife and son. \\n\",\n \"stolen, and by a last effort had traced out his initials in blood upon \\n the naked wood which formed the wall of the hut. For many days Dingo \\n watched beside his master, and throughout that time his eyes were\",\n \"Deserted, however, as the country apparently was by man, it had \\n latterly shown itself much more abundantly tenanted by animals. Many a \\n time a long, plaintive cry was heard, which Harris attributed to the\"\n ],\n [\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"CHAPTER VIII. \\n \\n A CATASTROPHE. \\n \\n \\n Experienced whaleman as he was, Captain Hull knew the difficulty of the \\n task he had undertaken, he was alive to the importance of making his\",\n \"the unanimous verdict that it was \\\"a fighting whale,\\\" and one that \\n would resist all attacks to the very end. \\n \\n As Captain Hull descended the rope-ladder and took his place in the\",\n \"old-fashioned harpoons. It was with these alone that Captain Hull was \\n now about to encounter the finback that was lying some four miles \\n distant from his ship. \\n \\n The weather promised as favourably as could be for the enterprise. The\",\n \"as being quicker in action in the event of any of the side oars being \\n disabled. The post of harpooner was of course assigned to Captain Hull, \\n to whose lot it would consequently fall first to hurl his weapon at the\",\n \"belonging to his benefactor, but under the command of his kind friend \\n Captain Hull, he congratulated himself most heartily, and felt that the \\n experience he should gain in the southern whale-fisheries could hardly\",\n \"But Mrs. Weldon urged her request, and Captain Hull, confident in the \\n sea-going qualities of his craft, and anticipating at this season \\n nothing but fair weather on either side of the equator, gave his \\n consent. \\n\",\n \"perplexes me altogether to see the brute so quiet all of a sudden.\\\" \\n \\n \\\"It looks suspicious,\\\" said the captain; \\\"but never mind; go on! \\n straight ahead!\\\" \\n \\n Captain Hull was becoming more excited every moment. \\n\",\n \"their might. Captain Hull cut the harpoon-line, now no longer required, \\n because the whale, maddened with pain and grief for the loss of its \\n offspring, would certainly make no further attempt to escape, but would \\n fight desperately to the very end. \\n\",\n \"So scanty this year had been the supply of whales that Captain Hull had \\n resolved next year to push his way into far more southern latitudes; \\n even, if necessary, to advance to the regions known as Clarie and\",\n \"attempt to capture the sea-monster became the ruling theme of \\n conversation. Mrs. Weldon expressed considerable doubt as to the \\n prudence of venturing upon so great a risk with such a limited number \\n of hands, but when Captain Hull assured her that he had more than once\",\n \"quit the ship. Captain Hull, however, could perceive that the \\n apprentice had had the aft-boat lowered, and was towing it along, so \\n that it should be in readiness for a refuge as soon as they should get \\n within reach. \\n\",\n \"were lost in chasing a whale, and I and the apprentice were the only \\n seamen left on board.\\\" \\n \\n \\\"Then why in the name of peace didn't you take command of the ship?\\\" \\n exclaimed Harris. \\n\",\n \"been very much in favour of taking a share in the whale-hunt, but he \\n had the good sense to know that the developed strength of a man would \\n be of far greater service in the boat, and accordingly without a murmur \\n he resigned himself to remain behind. \\n\",\n \"\\\"And when he has just closed his snappers is the very time to give him \\n a good taste of the harpoon,\\\" added Captain Hull. \\n \\n The words had hardly escaped the captain's lips when a shout from one \\n of the sailors announced,-- \\n\",\n \"sea was calm, and the wind moreover was still moderating, so that there \\n was no likelihood of the schooner drifting away during the captain's \\n absence. \\n \\n When the starboard whale-boat had been lowered, and the four sailors\",\n \"The manipulation of the boat thus left to the boatswain, the captain \\n made ready for the arduous effort that was before him. At the extreme \\n bow, harpoon in hand, with his legs somewhat astride so as to insure\",\n \"The amateur naturalist slowly emerged from his cabin followed by \\n Captain Hull. \\n \\n \\\"Ah! yes, I see!\\\" said the captain; \\\"whales' food; just the opportunity \\n for you, Mr. Benedict; a chance not to be thrown away for studying one\",\n \"The pursuit, or what may be more aptly termed \\\"the towing,\\\" of the \\n whale had now fairly commenced. The sailors had shipped their oars, and \\n the whale-boat darted like an arrow along the surface of the waves. In\",\n \"\\\"Slowly, my men,\\\" said the captain, in a low voice; \\\"slowly and softly!\\\" \\n \\n Howick muttered something that implied that the whale had ceased \\n blowing so hard, and that it was aware of their approach; the captain,\"\n ],\n [\n \"for a post, for I was once mate on board a slaver, and know something \\n of seamanship. The 'Pilgrim's' crew was complete, but fortunately the \\n ship's cook had just deserted; I offered to supply his place; in\",\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"temporarily engaged as cook. His name was Negoro; he was a Portuguese \\n by birth, but spoke English with perfect fluency. The previous cook had \\n deserted the ship at Auckland, and when Negoro, who was out of\",\n \"American schooner 'Pilgrim.'\\\" \\n \\n Not merely, as it seemed, on account of his age and experience, but \\n rather because of a certain superiority and greater energy of \\n character, this old man was tacitly recognized as the spokesman of his\",\n \"It has been already stated that the crew of the \\\"Pilgrim\\\" consisted of \\n five seamen and an apprentice. This apprentice was Dick Sands. \\n \\n Dick was fifteen years old; he was a foundling, his unknown parents\",\n \"cook performed his duties, but there was something in his manner, or \\n perhaps, rather in the expression of his countenance, which excited the \\n Captain's misgivings, and made him regret that he had not taken more\",\n \"from the moment that they came on board the \\\"Pilgrim.\\\" \\n \\n Whilst these thoughts were passing through his mind, Mrs. Weldon, \\n assisted by Nan and the ever active Dick Sands, was doing everything in\",\n \"When the boat pushed off, those who were left on board the \\\"Pilgrim\\\" \\n made their way slowly to the bows, from which the most extensive view \\n was to be gained. \\n \\n The captain's voice came from the retreating boat,-- \\n\",\n \"\\\"Pilgrim\\\" was barely sufficient to man one of the three boats. Tom and \\n his friends were ready to volunteer their assistance, but any offers of \\n service from them were necessarily declined; the manipulation of a\",\n \"contrived after a while to make his escape, and, as has been already \\n mentioned, found his way to New Zealand, whence he had returned by \\n securing an engagement on board the \\\"Pilgrim.\\\" Between the time when he\",\n \"\\\"Ay, ay, sir,\\\" answered the helmsman, and the \\\"Pilgrim\\\" in an instant \\n was steered according to orders. \\n \\n In spite, however, of the convictions of the captain and Dick, Cousin\",\n \"The \\\"Pilgrim,\\\" before the sailors left her, had been made to heave to, \\n and the yards were braced so as to secure her remaining as stationary \\n as possible. As the time drew near for the captain to quit her, he gave\",\n \"The \\\"Pilgrim\\\" was not deficient in this respect, and Dick Sands made a \\n strong point of admonishing his crew that they should take especial \\n care of the compasses, which under their present circumstances were of \\n such supreme importance. \\n\",\n \"The \\\"Pilgrim,\\\" meanwhile, had glided onwards, and made dead for the \\n adjacent shore. There was a sudden shock. Caught by an enormous wave \\n the schooner had been hurled aground; her masts had fallen, fortunately\",\n \"myself on board the 'Pilgrim,'\\\" he would continually say, \\\"what misery \\n and suffering we might have been spared!\\\" \\n \\n So diligently did he apply himself to the technical branches of his \\n profession that at the age of eighteen he received a special\",\n \"\\\"Pilgrim\\\" relapsed into its ordinary routine. With the wind invariably \\n in the same direction, the sails required very little shifting; but \\n whenever it happened, as occasionally it would, that there was any\",\n \"cruellest tortures that native ingenuity could devise. That the \\n \\\"Pilgrim's\\\" cook now held in his power the boy captain he so thoroughly \\n hated was warrant enough that the sternest possible measure of \\n vengeance would be exacted. \\n\",\n \"The \\\"Pilgrim\\\" still made good headway, and Dick, although he was aware \\n that ultimately it would probably be necessary again to shorten sail, \\n was anxious to postpone making any alteration before he was absolutely\",\n \"his surprise that Mrs. Weldon was about to become a passenger on board \\n the \\\"Pilgrim.\\\" His devotion to the family of his benefactor was large \\n and genuine. For several years Mrs. Weldon had acted towards him little\",\n \"an undamaged cargo, and be \\\"a good haul,\\\" to compensate them for their \\n ill-success in the last season. \\n \\n A quarter of an hour later and the \\\"Pilgrim\\\" was within half a mile of\"\n ],\n [\n \"heads nothing but the small top-sail and the top-mast. The schooner was \\n running on the larboard tack as close to the wind as possible. \\n \\n Dick Sand was pointing out to Jack how well the ship was ballasted, and\",\n \"ship beneath his feet. He had moved off a few steps to go and take the \\n helm, when Mrs. Weldon, calling him back, reminded him that he had not \\n yet ascertained the true position of the schooner. Dick confessed that\",\n \"drew him to her side. \\n \\n \\\"And now, my men,\\\" was Dick's first order to his crew, \\\"we must brace \\n in the yards to sail fair. I will show you how.\\\" \\n\",\n \"After satisfying himself that there was no other measure to be taken to \\n ameliorate the peril, Dick Sands returned to the helm. The schooner was \\n all but upon the reef, and only a few cables' length from the shore;\",\n \"eye, as it might be involuntarily, upon the sea, in order to discern \\n some vestige of the stranded ship. \\n \\n \\\"Ah! there is nothing to be seen of our poor schooner!\\\" said Dick\",\n \"\\\"Where? what?\\\" exclaimed Dick, clambering to his feet upon the yard. \\n \\n \\\"There!\\\" said the child, directing attention to the portion of the \\n sea-surface that was visible between the stay-sails. \\n\",\n \"The \\\"Pilgrim\\\" still made good headway, and Dick, although he was aware \\n that ultimately it would probably be necessary again to shorten sail, \\n was anxious to postpone making any alteration before he was absolutely\",\n \"Still, nothing occurred to interrupt the general monotony of the voyage \\n until the 2nd of February, the date at which our narrative commences. \\n \\n It was about nine o'clock in the morning of that day that Dick and\",\n \"The yards were loosened, the foresails turned slowly round, and, \\n catching the breeze, gave a slight impetus to the ship. Dick's next \\n orders were for the jib-sheets to be set free, and then he called the\",\n \"compelled to take all his trained sailors with him on his venturous \\n expedition, the captain had no alternative than to leave his apprentice \\n in charge of the schooner during his absence. Dick's choice would have\",\n \"its own interests. The boat was being pushed back a few yards in order \\n to allow the captain to ascertain the most convenient place to get \\n alongside the \\\"Waldeck,\\\" when the creature seized Dick by the jacket,\",\n \"men to the stern. \\n \\n \\\"Now,\\\" said he; \\\"we must look to the main-mast; but take care, \\n Hercules, not to have it down.\\\" \\n \\n \\\"I will be as careful as possible, Mr. Dick,\\\" submissively replied\",\n \"\\\"Well done, my friends!\\\" said Dick, who had not left his post at the \\n helm; \\\"you will be first-rate sailors before the end of the voyage.\\\" \\n \\n \\\"We shall do our best, I promise you, Captain Sands,\\\" replied Tom,\",\n \"trading-vessels, Dick attracted the notice of Captain Hull, who took a \\n fancy to the lad and introduced him to his employer. Mr. Weldon at once \\n took a lively interest in Dick's welfare, and had his education\",\n \"Next day as Dick was standing at the bow, alternately considering the \\n canvas which his ship carried and the aspect presented by the sky, Mrs. \\n Weldon approached him without his noticing her. She caught some \\n muttered expressions of bewilderment that fell from his lips, and asked\",\n \"\\\"The chart perhaps will tell us,\\\" replied Dick; and hurrying off to his \\n own cabin, he immediately returned with the chart in his hands. \\n \\n After studying it attentively for a few minutes, he said,-- \\n\",\n \"It has been already stated that the crew of the \\\"Pilgrim\\\" consisted of \\n five seamen and an apprentice. This apprentice was Dick Sands. \\n \\n Dick was fifteen years old; he was a foundling, his unknown parents\",\n \"her starboard quarter indeed was already bathed in the seething foam, \\n and any instant the keel might be expected to grate upon the \\n under-lying rock. Presently a change of colour in the water was \\n observed; it revealed a passage between the rocks. Dick gave the wheel\",\n \"every twenty-four hours. The speed was as great as could be expected \\n from a craft of her size. \\n \\n Dick grew more and more sanguine in his anticipations that it could not \\n be long before the schooner would cross the track of the mail-packets\",\n \"\\\"Oh, we shall soon be on shore!\\\" she said. \\n \\n But Dick knew better. He had acquaintance enough with the scale upon \\n which the chart was constructed to be aware that the \\\"Pilgrim\\\" herself\"\n ],\n [\n \"It has been already stated that the crew of the \\\"Pilgrim\\\" consisted of \\n five seamen and an apprentice. This apprentice was Dick Sands. \\n \\n Dick was fifteen years old; he was a foundling, his unknown parents\",\n \"Still, nothing occurred to interrupt the general monotony of the voyage \\n until the 2nd of February, the date at which our narrative commences. \\n \\n It was about nine o'clock in the morning of that day that Dick and\",\n \"drew him to her side. \\n \\n \\\"And now, my men,\\\" was Dick's first order to his crew, \\\"we must brace \\n in the yards to sail fair. I will show you how.\\\" \\n\",\n \"having abandoned him at his birth, and he had been brought up in a \\n public charitable institution. He had been called Dick, after the \\n benevolent passer-by who had discovered him when he was but an infant a\",\n \"alive; nevertheless, it was all too true; and now, of all those left on \\n board, Dick Sands, the apprentice-boy of fifteen years of age, was the \\n sole individual who had the slightest knowledge of the management of a\",\n \"\\\"You are right, madam,\\\" said the captain cordially; \\\"Dick is a capital \\n fellow, and will be sure to be a first-rate sailor. He has an instinct \\n which is little short of a genius; it supplies all deficiencies of\",\n \"\\\"Where? what?\\\" exclaimed Dick, clambering to his feet upon the yard. \\n \\n \\\"There!\\\" said the child, directing attention to the portion of the \\n sea-surface that was visible between the stay-sails. \\n\",\n \"\\\"The sea! the sea!\\\" \\n \\n Dick started forwards, and looked eagerly in the same direction. \\n \\n A large expanse of water was visible in the horizon, but after having \\n surveyed it for a moment or two, he said,-- \\n\",\n \"\\\"Well done, my friends!\\\" said Dick, who had not left his post at the \\n helm; \\\"you will be first-rate sailors before the end of the voyage.\\\" \\n \\n \\\"We shall do our best, I promise you, Captain Sands,\\\" replied Tom,\",\n \"his companions. \\n \\n \\\"Are you English?\\\" he asked. \\n \\n \\\"No; we are Americans,\\\" replied Dick. \\n \\n \\\"North or South?\\\" inquired the man. \\n \\n \\\"North,\\\" Dick answered. \\n\",\n \"\\\"Yes, yes, Mr. Dick, only too well I know it. We are in Africa!\\\" \\n \\n The old man sighed mournfully. \\n \\n \\\"Tom,\\\" said Dick, in the same low voice, \\\"you must keep this a secret;\",\n \"\\\"And how, all this time, my dear boy, has it fared with you?\\\" she asked. \\n \\n Dick said,-- \\n \\n \\\"I remember very little to tell you. I recollect being fastened to a\",\n \"The \\\"Pilgrim\\\" still made good headway, and Dick, although he was aware \\n that ultimately it would probably be necessary again to shorten sail, \\n was anxious to postpone making any alteration before he was absolutely\",\n \"his wish to be a sailor, and accordingly, as soon as he was eight, he \\n was placed as cabin-boy on board one of the ships that navigate the \\n Southern Seas. The officers all took a peculiar interest in him, and he\",\n \"Dick's wishing him \\\"good morning,\\\" he replied in unmistakable English, \\n with hardly a trace of foreign accent,-- \\n \\n \\\"Good morning, my young friend.\\\" \\n \\n He stepped forward, and having shaken hands with Dick, nodded to all\",\n \"Such were the facts which presented themselves to the mind of Dick as, \\n with folded arms, he stood gazing gloomily at the spot where Captain \\n Hull, his esteemed benefactor, had sunk to rise no more. The lad raised\",\n \"of sixty miles. Resolved to be on the safe side, Dick determined not \\n only to strike the top-gallant and the main-top-mast, but to take in \\n all the lower sails. Indeed, he began to be aware that no time was to\",\n \"trading-vessels, Dick attracted the notice of Captain Hull, who took a \\n fancy to the lad and introduced him to his employer. Mr. Weldon at once \\n took a lively interest in Dick's welfare, and had his education\",\n \"the last of the perils and toils of their journey. \\n \\n They were too sanguine. Towards three o'clock on the morning of the \\n 18th, Dick, who was at his usual post at the bow, fancied he heard a\",\n \"\\\"Certainly not,\\\" replied Dick; \\\"and therefore it is my intention to \\n sail due east, as by following that course we are sure to come upon \\n some part of the American coast.\\\" \\n \\n [Illustration: \\\"Oh, we shall soon be on shore!\\\"]\"\n ],\n [\n \"During the fishing season, when the crew was reinforced by a hired \\n complement of New Zealand whalemen, all three of these boats would be \\n brought at once into requisition, but at present the whole crew of the\",\n \"in the Hauraki Gulf, on the east coast of North Island, the whole of \\n the gang was peremptorily discharged. \\n \\n The ship's crew were more than dissatisfied. They were angry. Never\",\n \"\\\"When we started,\\\" continued Negoro, \\\"it was my intention to sail only \\n as far as Chili: that would have brought me nearly half way to Angola; \\n but three weeks after leaving Auckland, Captain Hull and all his crew\",\n \"opportunity. Accordingly, without delay, the bow of the \\\"Pilgrim\\\" was \\n directed to the northwest, towards New Zealand, which was sighted on \\n the 15th of January, and on reaching Waitemata, the port of Auckland,\",\n \"contrived after a while to make his escape, and, as has been already \\n mentioned, found his way to New Zealand, whence he had returned by \\n securing an engagement on board the \\\"Pilgrim.\\\" Between the time when he\",\n \"when their services were no longer required had proved altogether to be \\n the most profitable and convenient. \\n \\n The \\\"Pilgrim\\\" had now just completed her annual voyage to the Antarctic\",\n \"When I know the past, I shall be better able to talk about the future.\\\" \\n \\n They reseated themselves, and Negoro went on,-- \\n \\n \\\"For a whole year and a half I vegetated at Auckland. I left the hold\",\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"THE NEW CREW. \\n \\n \\n Dick Sands, captain of the \\\"Pilgrim,\\\" would not lose a moment in \\n getting his ship under sail. His prime object was to land his \\n passengers safely at Valparaiso or some other American port, and to\",\n \"captured; but Weldon, following the example of other owners, found it \\n more economical to embark at San Francisco only just enough men to work \\n the ship to New Zealand, where, from the promiscuous gathering of\",\n \"Captain Hull still continued to feel uneasy about the constant \\n prevalence of calms; not that for himself he cared much about the delay \\n of a week or two in a voyage from New Zealand to Valparaiso, but he was\",\n \"cargo must be resigned, he was on the point of leaving Auckland, alone \\n with his crew, when he was met by a request with which he felt himself \\n bound to comply. \\n \\n It had chanced that James Weldon, on one of those journeys which were\",\n \"\\\"Just so,\\\" said Negoro, \\\"and in course of time the 'Pilgrim,' the \\n vessel by which I came here, put in at Auckland. While she was waiting \\n to take Mrs. Weldon and her party on board, I applied to the captain\",\n \"None but the most determined of whalemen could fail to lose their head \\n under such an assault. Calm and collected, however, the crew remained. \\n Once again did Howick adroitly sheer aside, and once again did the\",\n \"To the crew the sight of the whale was the opening of an unexpected \\n opportunity, and no wonder they were fired with the burning hope that \\n even now they might do something to supply the deficiency of their \\n meagre haul throughout the season. \\n\",\n \"quitted New Zealand; it was true that during the first three weeks of \\n her voyage she had been impeded by protracted calms and contrary winds; \\n but since that time her speed had been rapid, the very tempests had\",\n \"The idea more than once crossed Dick's mind whether he would not take \\n the \\\"Pilgrim\\\" back again to New Zealand; the distance was considerably \\n less than it was to America, and had the wind remained in the quarter\",\n \"Three years ago, old Tom stated, the five men had been engaged by an \\n Englishman who had large property in South Australia, to work upon his \\n estates near Melbourne. Here they had realized a considerable profit, \\n and upon the completion of their engagement they determined to return\",\n \"suppose he belongs to some unclassed species of mastiff. Perhaps one \\n day or other he may come to be identified as the 'canis alphabeticus' \\n of New Zealand.\\\" \\n \\n The worthy entomologist delivered this and various similar harangues;\",\n \"default of better my services were accepted, and in a few days we were \\n out of sight of New Zealand.\\\" \\n \\n \\\"I have heard something about the voyage from young Sands,\\\" said \\n Harris, \\\"but even now I can't understand how you reached here.\\\" \\n\"\n ],\n [\n \"all. Few words were spoken during the meal. Mrs. Weldon could eat \\n nothing; she had again taken her little boy into her arms, and seemed \\n wholly absorbed in watching him. Again and again Dick begged her to\",\n \"\\\"He is my little son,\\\" said Mrs. Weldon, kissing the child by way of \\n morning greeting. \\n \\n \\\"Ah, madam, I am sure you must have suffered doubly on his account. \\n Will the little man let me kiss him too?\\\" \\n\",\n \"Weldon was really much relieved at the prospect, for she was aware that \\n her strength must prove inadequate to the strain of a more protracted \\n journey. The condition of her little boy, who was alternately flushed\",\n \"appointed captain, and captain he would remain; Mrs. Weldon and her \\n little son had been committed to his charge, and he was resolved to \\n carry out his trust faithfully to the end. \\n \\n For several hours he remained wrapped in thought, pondering over the\",\n \"Mrs. Weldon, on the contrary, was full of confidence and hope. A woman \\n and a mother, she might have been expected to be conscious of anxiety \\n at the peril to which she might be exposing herself and her child; and\",\n \"Mrs. Weldon repeated her expression of gratitude for the proffered \\n hospitality, owning that she should now be exceedingly glad to reach \\n the farm, as she was anxious about her little son, who appeared to be \\n threatened with the symptoms of incipient fever. \\n\",\n \"\\\"No, my boy, he must not come here.\\\" \\n \\n \\\"Then let us take Dick, and Tom, and Hercules, and go to him.\\\" \\n \\n Mrs. Weldon tried to conceal her tears. \\n \\n \\\"Have you heard from papa?\\\"\",\n \"Confiding in the good principles of her protégé, Mrs. Weldon had no \\n hesitation in entrusting her little son to his especial charge. During \\n the frequent periods of leisure, when the sea was fair, and the sails\",\n \"[Illustration: \\\"My poor boy, I know everything.\\\"] \\n \\n \\n \\n \\n CHAPTER VI. \\n \\n A DIVING-BELL. \\n \\n \\n This sudden revelation that Mrs. Weldon was acquainted with the true\",\n \"any mischief, and then I should have worked the ship by myself,\\\" \\n answered the lad stoutly. \\n \\n His very pluck gave Mrs. Weldon renewed confidence. She was a woman \\n with wonderful powers of endurance, and it was only when she thought of\",\n \"to make his reckonings. But he kept up his courage, and did not permit \\n himself for one moment to despair of ultimate success. \\n \\n Mrs. Weldon needed little penetration to recognize the thoughts which \\n were passing in the mind of the resolute youth. \\n\",\n \"Mrs. Weldon was silent. She looked sad and thoughtful. It was hard to \\n reconcile herself to the division of the party. She was aware that the \\n separation would not be for long, but she could not suppress a certain\",\n \"side of old Nan. Mrs. Weldon gave her little son a silent kiss; it was \\n her loving \\\"good night.\\\" \\n \\n Cousin Benedict was missing. Some little time before, he had slipped\",\n \"his surprise that Mrs. Weldon was about to become a passenger on board \\n the \\\"Pilgrim.\\\" His devotion to the family of his benefactor was large \\n and genuine. For several years Mrs. Weldon had acted towards him little\",\n \"You and that boy of yours, and that idiot of a fly-catcher, all have a \\n certain value in the market. I mean to sell you.\\\" \\n \\n \\\"You dare not!\\\" said Mrs. Weldon firmly; \\\"you know you are making an\",\n \"The boy's brow knitted itself together in resolution, and he said \\n deliberately,-- \\n \\n \\\"I should run the ship aground.\\\" \\n \\n Mrs. Weldon started. \\n\",\n \"Mrs. Weldon thoroughly shared his regret, and would have made many \\n sacrifices to discover what had become of them. This anxiety was at \\n length relieved. \\n \\n Owing to the large correspondence of Mr. Weldon in almost every quarter\",\n \"\\\"You are better, darling!\\\" said Mrs. Weldon, pressing him tenderly to \\n her. \\n \\n \\\"Yes, mamma, I am better; but I am very thirsty.\\\" \\n\",\n \"\\\"Well, my young friend, how are you? I am glad to see you again.\\\" \\n \\n He turned round quickly. Harris stood before him. \\n \\n \\\"Where is Mrs. Weldon?\\\" asked Dick impetuously. \\n\",\n \"\\\"Yes, from me,\\\" repeated Dick, in a firm and resolute voice, looking at \\n the man until he recoiled under his gaze. \\\"From _me_.\\\" \\n \\n Mrs. Weldon had heard what passed. \\n\"\n ],\n [\n \"\\\"But my wish exonerates you,\\\" said Mrs. Weldon. \\n \\n \\\"Besides,\\\" added Captain Hull, \\\"I am unable to provide you with the \\n accommodation and the comfort that you would have upon a passenger \\n steamer.\\\" \\n\",\n \"pitching of the ship had so far diminished that the passengers began to \\n reappear on deck. Mrs. Weldon was the first to leave her enforced \\n imprisonment. She was anxious to speak to Dick, whom she might have\",\n \"his surprise that Mrs. Weldon was about to become a passenger on board \\n the \\\"Pilgrim.\\\" His devotion to the family of his benefactor was large \\n and genuine. For several years Mrs. Weldon had acted towards him little\",\n \"anxious to keep as far as possible from the prison-houses of the \\n Portuguese, with which already he had been involuntarily only too \\n familiar. \\n \\n After his departure, Mrs. Weldon resolved to make the best of her\",\n \"\\\"It must be understood, Mrs. Weldon,\\\" he said, courteously raising his \\n hat, \\\"that you take this passage entirely on your own responsibility.\\\" \\n \\n \\\"Certainly, Captain Hull,\\\" she answered; \\\"but why do you ask?\\\" \\n\",\n \"\\\"Trust, madam! No! no more than I should myself. I repeat that the \\n 'Pilgrim' cannot afford you the comfort to which you are accustomed.\\\" \\n \\n Mrs. Weldon smiled. \\n\",\n \"wanted to be, and Dick, finding that the conversation was approaching \\n dangerous ground, proposed that the journey should be now resumed. Mrs. \\n Weldon assented; the encampment was forthwith broken up and the march \\n continued as before. \\n\",\n \"was to the interest of Alvez and Negoro alike to attend carefully to \\n her wants. \\n \\n Upon the terms of the covenant being thus arranged, Mrs. Weldon wrote \\n such a letter to her husband as she knew would bring him with all speed\",\n \"rest, when I have seen my passengers in a place of safety.\\\" \\n \\n \\\"You have acquitted yourself like a man,\\\" said Mrs. Weldon; \\\"and you \\n may be assured that my husband, like myself, will never forget the\",\n \"some other portion of the shore; perhaps before noon, certainly in a \\n few hours, they must be close to land. \\n \\n The pitching of the ship made it impossible for Mrs. Weldon to keep\",\n \"\\\"We must spare you the necessity for that. I can answer for it that \\n Mrs. Weldon will raise no objection to spending another night in the \\n open air. We can start off to-morrow morning as early as we like, and\",\n \"go. It may not be possible to get back, and your presence is \\n indispensable here. Think, sir, think of Mrs. Weldon, and Master Jack,\\\" \\n he added in a lower tone. \\n\",\n \"\\\"And do you say,\\\" inquired Mrs. Weldon, \\\"that we have left it quite \\n behind us?\\\" \\n \\n \\\"Yes, entirely; almost to windward.\\\" \\n \\n Mrs. Weldon commenced a searching scrutiny of the map that was\",\n \"Dick looked as if he were taking a lingering farewell of the cove past \\n which they were being carried beyond his power to help. \\n \\n In a few moments he turned round to Mrs. Weldon, and said quietly,-- \\n\",\n \"any mischief, and then I should have worked the ship by myself,\\\" \\n answered the lad stoutly. \\n \\n His very pluck gave Mrs. Weldon renewed confidence. She was a woman \\n with wonderful powers of endurance, and it was only when she thought of\",\n \"\\\"And there, madam,\\\" he said, addressing Mrs. Weldon, \\\"we can offer you \\n every essential comfort, though you may not find the luxuries of your \\n own home in San Francisco.\\\" \\n\",\n \"Mrs. Weldon, on the contrary, was full of confidence and hope. A woman \\n and a mother, she might have been expected to be conscious of anxiety \\n at the peril to which she might be exposing herself and her child; and\",\n \"disappointed at the prolonged inconvenience it caused to his lady \\n passenger. Mrs. Weldon, however, submitted to the detention very \\n philosophically, and did not utter a word of complaint. \\n \\n The captain's next care was to improvise sleeping accommodation for Tom\",\n \"from his melancholy reflections. His thoughts were not of himself nor \\n of his own sufferings; his whole attention was absorbed in looking for \\n some traces of Mrs. Weldon's progress; if she, too, was being taken to\",\n \"Mrs. Weldon was silent. She looked sad and thoughtful. It was hard to \\n reconcile herself to the division of the party. She was aware that the \\n separation would not be for long, but she could not suppress a certain\"\n ],\n [\n \"\\\"No doubt of that,\\\" replied the captain; \\\"the only wonder is that she \\n did not sink immediately.\\\" \\n \\n \\\"Oh, how I hope the poor crew have been saved!\\\" exclaimed Mrs Weldon. \\n\",\n \"assured them, they would be most hospitably received by her husband, \\n and provided with the necessary means for returning to Pennsylvania. \\n \\n The five men, who, as the consequence of the shipwreck, had lost all\",\n \"Notwithstanding that Dick Sands bewailed the loss of a valuable ship \\n and her cargo to the owner, he had the satisfaction of knowing that he \\n had been instrumental in saving what was far more precious, the lives \\n of the owner's wife and son. \\n\",\n \"without injury to any one on board. But the vessel had parted \\n amidships, and was foundering; the water was rushing irresistibly into \\n the hold. \\n \\n The shore, however, was not half a cable's length away; there was a\",\n \"get to the \\\"Pilgrim,\\\" and secure any articles that might be serviceable \\n for future use. The reef on which the schooner had stranded was now \\n quite dry, and the carcase of the vessel which had been partially\",\n \"The \\\"Pilgrim,\\\" meanwhile, had glided onwards, and made dead for the \\n adjacent shore. There was a sudden shock. Caught by an enormous wave \\n the schooner had been hurled aground; her masts had fallen, fortunately\",\n \"the two sailors to his aid, and although it was far from an easy task, \\n he succeeded in getting the five unconscious men, who were all negroes, \\n conveyed safely to the boat. \\n \\n The dog followed, apparently satisfied. \\n\",\n \"was the hull of a capsized ship. They knew well enough the established \\n rule that a third of all salvage is the right of the finders, and they \\n were filled with the hope that the hull they were nearing might contain\",\n \"Weldon observed quickly that if it were a raft it might be carrying \\n some unfortunate shipwrecked men who must be rescued if possible. \\n Cousin Benedict asserted that it was nothing more nor less than a huge\",\n \"With all possible speed the boat made its way back again to the \\n \\\"Pilgrim,\\\" a girt-line was lowered from the mainyard, and the \\n unfortunate men were raised to the deck. \\n\",\n \"that the survivors might have strength and courage for their own hour \\n of need. \\n \\n The situation was indeed very grave. Here was the \\\"Pilgrim\\\" in the \\n middle of the Pacific, hundreds of miles away from the nearest land,\",\n \"low, dark ridge of rocks that was united to the beach; it afforded \\n ample means of rescue, and in less than ten minutes the \\\"Pilgrim's\\\" \\n captain, crew, and passengers were all landed, with their lives, at the\",\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"the \\\"Pilgrim,\\\" an inevitable fate was before them; their corpses must \\n lie at the bottom of the sea. \\n \\n Captain Hull's act of humanity, however, would not be complete unless\",\n \"THE NEW CREW. \\n \\n \\n Dick Sands, captain of the \\\"Pilgrim,\\\" would not lose a moment in \\n getting his ship under sail. His prime object was to land his \\n passengers safely at Valparaiso or some other American port, and to\",\n \"Shortly after one o'clock the whole party were seated upon a carpet of \\n seaweed round a repast consisting of preserved meat, biscuit, and water \\n flavoured with a few drops of rum, of which Bat had saved a quart\",\n \"currents. This accounted for the fact of their being found so far south \\n of their proper course. \\n \\n For the next ten days the negroes had subsisted upon a few scraps of \\n food that they found in the stern cabin; but as the store room was\",\n \"of which there would be no difficulty in getting home. \\n \\n The ship was totally lost. She was lying in the surf a hopeless wreck, \\n and few must be the hours that would elapse before she would be broken \\n up in scattered fragments; it was impossible to save her.\",\n \"her side. Captain and crew had entirely disappeared, some probably \\n having been dashed into the sea, others perhaps having saved themselves \\n by clinging to the rigging of the ship which had fouled them, and which \\n could be distinguished through the darkness rapidly receding in the\",\n \"Was it not possible for the unfortunate men, bleeding and wounded as \\n they were, still to save themselves by clinging to some floating spar? \\n Captain Hull is indeed seen endeavouring to hoist the boatswain on to a\"\n ],\n [\n \"American schooner 'Pilgrim.'\\\" \\n \\n Not merely, as it seemed, on account of his age and experience, but \\n rather because of a certain superiority and greater energy of \\n character, this old man was tacitly recognized as the spokesman of his\",\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"When the boat pushed off, those who were left on board the \\\"Pilgrim\\\" \\n made their way slowly to the bows, from which the most extensive view \\n was to be gained. \\n \\n The captain's voice came from the retreating boat,-- \\n\",\n \"The \\\"Pilgrim,\\\" meanwhile, had glided onwards, and made dead for the \\n adjacent shore. There was a sudden shock. Caught by an enormous wave \\n the schooner had been hurled aground; her masts had fallen, fortunately\",\n \"The \\\"Pilgrim,\\\" before the sailors left her, had been made to heave to, \\n and the yards were braced so as to secure her remaining as stationary \\n as possible. As the time drew near for the captain to quit her, he gave\",\n \"It has been already stated that the crew of the \\\"Pilgrim\\\" consisted of \\n five seamen and an apprentice. This apprentice was Dick Sands. \\n \\n Dick was fifteen years old; he was a foundling, his unknown parents\",\n \"the \\\"Pilgrim,\\\" an inevitable fate was before them; their corpses must \\n lie at the bottom of the sea. \\n \\n Captain Hull's act of humanity, however, would not be complete unless\",\n \"THE \\\"PILGRIM.\\\" \\n \\n \\n On the 2nd of February, 1873, the \\\"Pilgrim,\\\" a tight little craft of\",\n \"THE NEW CREW. \\n \\n \\n Dick Sands, captain of the \\\"Pilgrim,\\\" would not lose a moment in \\n getting his ship under sail. His prime object was to land his \\n passengers safely at Valparaiso or some other American port, and to\",\n \"contrived after a while to make his escape, and, as has been already \\n mentioned, found his way to New Zealand, whence he had returned by \\n securing an engagement on board the \\\"Pilgrim.\\\" Between the time when he\",\n \"children, and Mrs. Weldon was hesitating whether she should encounter \\n the journey, when she heard that her husband's vessel, the \\\"Pilgrim,\\\" \\n had arrived at Auckland. Hastening to Captain Hull, she begged him to\",\n \"Consequently it came to pass that the \\\"Pilgrim,\\\" supposed by her young \\n commander to be making good headway due east, was in reality, under the \\n brisk north-west breeze, speeding along towards the south-east. \\n \\n \\n \\n\",\n \"ascertaining the \\\"Pilgrim's\\\" present position. He replied that the \\n ship's chart would at once settle that. Captain Hull had kept the \\n reckoning accurately right up to the preceding day. \\n\",\n \"\\\"You know well enough, captain,\\\" remonstrated the lady \\\"that my husband \\n would not hesitate for a moment to trust his wife and child on board \\n the 'Pilgrim.'\\\" \\n\",\n \"rope, and haul away more gently next time.\\\" \\n \\n It took but a few minutes to execute the order, and the \\\"Pilgrim\\\" was \\n soon sailing away rapidly with her head to the east. \\n\",\n \"get to the \\\"Pilgrim,\\\" and secure any articles that might be serviceable \\n for future use. The reef on which the schooner had stranded was now \\n quite dry, and the carcase of the vessel which had been partially\",\n \"Casting his eye towards the \\\"Pilgrim,\\\" he saw at a glance that she \\n could not be less than five miles to leeward. It was a long distance, \\n but when, according to his arrangement, he had hoisted the flag on the\",\n \"\\\"Just so,\\\" said Negoro, \\\"and in course of time the 'Pilgrim,' the \\n vessel by which I came here, put in at Auckland. While she was waiting \\n to take Mrs. Weldon and her party on board, I applied to the captain\",\n \"At the time when Dick Sands, in obedience to the signal he received \\n from Captain Hull, proceeded to make his way to the scene of the \\n disaster, the \\\"Pilgrim,\\\" as she lay to, was carrying only her jibs,\",\n \"an undamaged cargo, and be \\\"a good haul,\\\" to compensate them for their \\n ill-success in the last season. \\n \\n A quarter of an hour later and the \\\"Pilgrim\\\" was within half a mile of\"\n ],\n [\n \"To the crew the sight of the whale was the opening of an unexpected \\n opportunity, and no wonder they were fired with the burning hope that \\n even now they might do something to supply the deficiency of their \\n meagre haul throughout the season. \\n\",\n \"The pursuit, or what may be more aptly termed \\\"the towing,\\\" of the \\n whale had now fairly commenced. The sailors had shipped their oars, and \\n the whale-boat darted like an arrow along the surface of the waves. In\",\n \"of the whale. \\n \\n The crew were as eager as their captain. Mounted on the fore-shrouds, \\n they scanned the movements of their coveted prey in the distance, \\n freely descanting upon the profit to be made out of a good finback and\",\n \"all alone; we have no whalemen to help us; we must rely upon ourselves; \\n I have thrown a harpoon before now; I can throw a harpoon again; what \\n do you say?\\\" \\n \\n The crew responded with a ringing cheer,-- \\n\",\n \"\\\"To whalemen, madam, this is a sight that speaks for itself. It is a \\n token that we ought to lose no time in getting out our lines and \\n looking to the state of our harpoons. There is game not far away.\\\" \\n\",\n \"\\\"Slowly, my men,\\\" said the captain, in a low voice; \\\"slowly and softly!\\\" \\n \\n Howick muttered something that implied that the whale had ceased \\n blowing so hard, and that it was aware of their approach; the captain,\",\n \"any whale that he can get within his reach. The larger the game the \\n more keen the excitement; and no elephant-hunter's eagerness ever \\n surpasses the zest of the whale-fisher when once started in pursuit of \\n the prey. \\n\",\n \"None but the most determined of whalemen could fail to lose their head \\n under such an assault. Calm and collected, however, the crew remained. \\n Once again did Howick adroitly sheer aside, and once again did the\",\n \"without captain, without crew, at the mercy of the wind and waves. It \\n was a strange fatality that had brought the whale across their path; it \\n was a fatality stranger still that had induced her captain, a man of no\",\n \"their might. Captain Hull cut the harpoon-line, now no longer required, \\n because the whale, maddened with pain and grief for the loss of its \\n offspring, would certainly make no further attempt to escape, but would \\n fight desperately to the very end. \\n\",\n \"\\\"And when he has just closed his snappers is the very time to give him \\n a good taste of the harpoon,\\\" added Captain Hull. \\n \\n The words had hardly escaped the captain's lips when a shout from one \\n of the sailors announced,-- \\n\",\n \"drifting plank. But all in vain. There is no hope. The whale, writhing \\n in the convulsions of death, returns yet once again to the attack; the \\n waters around the struggling sailors seethe and foam. A brief turmoil\",\n \"part. There was a sudden pause. The whale spouted up two gigantic \\n columns of blood and water, lashed its tail, and, with bounds and \\n plunges that were terrible to behold, renewed its angry attack upon the \\n boat. \\n\",\n \"obeyed, so that in a few minutes the boat was only about ten feet from \\n the body of the whale. The animal did not move. Was it asleep? In that \\n case there was hope that the very first stroke might be fatal. But it\",\n \"had been killed should be towed to the side of the schooner, where it \\n would be firmly lashed. Then the sailors with their feet in spiked \\n shoes would get upon its back and proceed to cut the blubber, from head\",\n \"whale in passing caught the boat with such a violent blow from its \\n dorsal fin, that the men lost their footing and the lances missed their \\n mark. \\n \\n \\\"Where's Howick?\\\" screamed the captain in alarm. \\n\",\n \"been very much in favour of taking a share in the whale-hunt, but he \\n had the good sense to know that the developed strength of a man would \\n be of far greater service in the boat, and accordingly without a murmur \\n he resigned himself to remain behind. \\n\",\n \"living object has vanished. Nothing is visible except a few fragments \\n of the whale-boat floating on the blood-stained water. \\n \\n [Illustration: There is no hope.] \\n \\n \\n \\n \\n CHAPTER IX. \\n\",\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"\\\"Take another, Howick; quick!\\\" cried the captain. \\n \\n But scarcely had he time to replace the broken oar, when a bubbling was \\n heard a few yards away from the boat, and the young whale made its\"\n ],\n [\n \"\\\"Certainly not,\\\" replied Dick; \\\"and therefore it is my intention to \\n sail due east, as by following that course we are sure to come upon \\n some part of the American coast.\\\" \\n \\n [Illustration: \\\"Oh, we shall soon be on shore!\\\"]\",\n \"It was impossible to do more than hazard a conjecture as to the part of \\n the South American coast on which the \\\"Pilgrim\\\" had been cast. Dick \\n imagined that it must be somewhere on the coast of Peru; after sighting\",\n \"the land, with sails shortened as seemed desirable; but Dick realized \\n to himself the fact that he was utterly incapable of altering her \\n course. With eager eyes he scrutinized his situation. Straight ahead\",\n \"upon the shore where they might put in. Such were their mutual and \\n acknowledged hopes; but Dick secretly felt the misgiving lest, without \\n a pilot, he might in his ignorance fail to find a harbour of refuge.\",\n \"an hour there was no room for the most sceptical to doubt that Dick was \\n right. There was land not far ahead. \\n \\n A few miles to the east there was a long low-lying coast; the chain of\",\n \"must run her aground. It will be utter destruction to the ship, but \\n there is no choice. Your safety is the first and paramount \\n consideration.\\\" \\n \\n \\\"Do you mean that there is no other course to be taken, Dick?\\\" \\n\",\n \"to be lost in taking advantage of it to commence their return journey \\n to the coast. If, as Dick had every reason to suppose, he was in \\n Angola, he hoped to find, either north or south, some Portuguese \\n settlement whence he could obtain the means of transporting his party\",\n \"The \\\"Pilgrim\\\" still made good headway, and Dick, although he was aware \\n that ultimately it would probably be necessary again to shorten sail, \\n was anxious to postpone making any alteration before he was absolutely\",\n \"drew him to her side. \\n \\n \\\"And now, my men,\\\" was Dick's first order to his crew, \\\"we must brace \\n in the yards to sail fair. I will show you how.\\\" \\n\",\n \"her starboard quarter indeed was already bathed in the seething foam, \\n and any instant the keel might be expected to grate upon the \\n under-lying rock. Presently a change of colour in the water was \\n observed; it revealed a passage between the rocks. Dick gave the wheel\",\n \"After satisfying himself that there was no other measure to be taken to \\n ameliorate the peril, Dick Sands returned to the helm. The schooner was \\n all but upon the reef, and only a few cables' length from the shore;\",\n \"Unconscious of both these elements of disturbance, Dick Sands was \\n convinced that they were proceeding steadily eastwards, and was \\n perpetually encouraging Mrs. Weldon and himself by the assurance that \\n they must very soon arrive within view of the American coast; again and\",\n \"\\\"Indeed I am unable to tell you,\\\" replied Dick; \\\"I only know that we \\n have no alternative but to return to the coast immediately if we would \\n escape the two rascals.\\\" \\n \\n [Illustration: \\\"Harris has left us\\\"] \\n\",\n \"the last of the perils and toils of their journey. \\n \\n They were too sanguine. Towards three o'clock on the morning of the \\n 18th, Dick, who was at his usual post at the bow, fancied he heard a\",\n \"Dick Sands had little reliance upon the negro's inexperienced eye, but \\n hurried forward to the bow. \\n \\n \\\"Where's the land?\\\" he cried; his voice being scarcely audible above \\n the howling of the tempest. \\n\",\n \"\\\"The sea! the sea!\\\" \\n \\n Dick started forwards, and looked eagerly in the same direction. \\n \\n A large expanse of water was visible in the horizon, but after having \\n surveyed it for a moment or two, he said,-- \\n\",\n \"\\\"The chart perhaps will tell us,\\\" replied Dick; and hurrying off to his \\n own cabin, he immediately returned with the chart in his hands. \\n \\n After studying it attentively for a few minutes, he said,-- \\n\",\n \"\\\"Oh, we shall soon be on shore!\\\" she said. \\n \\n But Dick knew better. He had acquaintance enough with the scale upon \\n which the chart was constructed to be aware that the \\\"Pilgrim\\\" herself\",\n \"\\\"Steer to the left!\\\" cried Dick, finding that the riverbed had again \\n become clear. \\n \\n A stiff pull at the tiller made the craft fly in that direction. \\n \\n Dick went to the stern, and scanned the moonlit waters. All was\",\n \"its own interests. The boat was being pushed back a few yards in order \\n to allow the captain to ascertain the most convenient place to get \\n alongside the \\\"Waldeck,\\\" when the creature seized Dick by the jacket,\"\n ],\n [\n \"expires with the loss of the ship.\\\" \\n \\n Negoro was in fact walking to and fro, surveying the shore with the air \\n of a man who was trying to recall some past experience to his\",\n \"of Negoro, all were on deck; but the cook did not stir from his \\n solitude, or betray any sympathy with the general excitement. \\n \\n Whatever hesitation there might be at first soon passed away; one after \\n another soon distinguished the shore they were approaching, and in half\",\n \"pains to investigate the character of one with whom he was now brought \\n into such close contact. \\n \\n Negoro looked about forty years of age. Although he had the appearance \\n of being slightly built, he was muscular; he was of middle height, and\",\n \"Negoro went on. \\n \\n \\\"If I chose, I could still further avenge upon you the ill-treatment I \\n got on board that ship; but it does not suit my purpose to kill you.\",\n \"apprentice. With his usual indifference, Negoro did not leave his \\n cabin, and was the only person on board who did not share the general \\n excitement. \\n \\n Speculations were soon rife as to what could be the nature of the\",\n \"returned to take his place at the helm. \\n \\n The next moment Negoro appeared on deck; he pointed mysteriously to the \\n far-off horizon, as though he discerned some object, as a mountain,\",\n \"resentment against the mutinous whalemen who had been the cause of so \\n serious a diminution of their ordinary gains. \\n \\n [Illustration: Negoro.] \\n \\n The only one on board who was not an American was a man who had been\",\n \"enemy. For half an hour Negoro stood motionless, apparently surveying \\n the horizon. The heavy waves rolled past; they were higher than the \\n condition of the wind warranted; their magnitude witnessed to a storm \\n passing in the west, and there was every reason to suspect that the\",\n \"alone. Negoro, who had gone below immediately after the catastrophe, \\n had again come back upon deck. What this mysterious character had felt \\n upon witnessing the awful calamity it would be impossible to say.\",\n \"\\\"Negoro!\\\" again the captain shouted, and the dog became yet more angry. \\n \\n At this second summons Negoro slowly left his kitchen, but no sooner \\n had he shown his face upon the deck than the animal made a rush at him,\",\n \"that a strict surveillance should be kept upon all the fellow's \\n movements. \\n \\n Negoro, however, manifested no inclination to disobey the captain's \\n peremptory order; he kept strictly to his own part of the ship; but as\",\n \"temporarily engaged as cook. His name was Negoro; he was a Portuguese \\n by birth, but spoke English with perfect fluency. The previous cook had \\n deserted the ship at Auckland, and when Negoro, who was out of\",\n \"\\\"Negoro, one act, one word of insubordination, and I blow out your \\n brains!\\\" \\n \\n Negoro had no time to reply; before he could speak he was bowed down\",\n \"Negoro. \\n \\n \\\"Take care you don't get one through your own first,\\\" laughed Harris; \\n \\\"that young Sands, I warn you, is a first-rate shot, and between \\n ourselves, is rather a fine fellow of his kind.\\\" \\n\",\n \"ashore here in a friendly port.\\\" \\n \\n [Illustration: \\\"Your life is in my hands!\\\"] \\n \\n Whilst he was speaking, Negoro had gradually drawn nearer to the \\n prisoner, until their faces were almost in contact. Exasperated by\",\n \"more convinced that it was Negoro who was the mainspring of all the \\n mischief; that it was he who had contrived the loss of the \\\"Pilgrim,\\\" \\n and compromised the safety of all on board. \\n\",\n \"Hull; \\\"but I should almost take it for granted that he would have a \\n considerable retinue of natives.\\\" \\n \\n The captain spoke without being aware that Negoro had meanwhile quietly \\n stolen on deck. At first his presence was quite unnoticed, and no one\",\n \"Negoro, who (to judge from Dingo's strange behaviour) had undoubtedly \\n for the last few days been somewhere on their track. \\n \\n Here was a delay that might be turned to good account, and no time was\",\n \"\\\"Neither does he,\\\" said Negoro, with a malicious grin. \\\"I will tell you \\n now, and you may repeat the story to your young friend if you like.\\\" \\n \\n \\\"Well, go on,\\\" said Harris. \\n\",\n \"At the very moment when the promontory was just abreast of them, Negoro \\n appeared on deck; he nodded to the peak familiarly, as he might have \\n saluted a familiar friend, and retired as stealthily as he had come. \\n\"\n ],\n [\n \"Dick's wishing him \\\"good morning,\\\" he replied in unmistakable English, \\n with hardly a trace of foreign accent,-- \\n \\n \\\"Good morning, my young friend.\\\" \\n \\n He stepped forward, and having shaken hands with Dick, nodded to all\",\n \"having abandoned him at his birth, and he had been brought up in a \\n public charitable institution. He had been called Dick, after the \\n benevolent passer-by who had discovered him when he was but an infant a\",\n \"conciliatory gestures on the part of Dick quickly reassured him, and \\n after a moment's hesitation, he continued to advance. \\n \\n He was a man of about forty years of age, strongly built, with a keen,\",\n \"Still, nothing occurred to interrupt the general monotony of the voyage \\n until the 2nd of February, the date at which our narrative commences. \\n \\n It was about nine o'clock in the morning of that day that Dick and\",\n \"\\\"Yes, yes, Mr. Dick, only too well I know it. We are in Africa!\\\" \\n \\n The old man sighed mournfully. \\n \\n \\\"Tom,\\\" said Dick, in the same low voice, \\\"you must keep this a secret;\",\n \"\\\"Well, my young friend, how are you? I am glad to see you again.\\\" \\n \\n He turned round quickly. Harris stood before him. \\n \\n \\\"Where is Mrs. Weldon?\\\" asked Dick impetuously. \\n\",\n \"As Dick was so young it was most likely he would yet grow a little \\n taller, but it did not seem probable that he would ever exceed middle \\n height, he looked too stoutly and strongly built to grow much. His\",\n \"\\\"I hope you will not think that Dick is insensible to your kindness, \\n Mr. Harris,\\\" said Mrs. Weldon, apologetically. \\n \\n \\\"On the contrary,\\\" promptly observed Dick; \\\"I fully appreciate it; I\",\n \"and we shall be more than willing to share everything with you.\\\" \\n \\n \\\"That is well,\\\" answered Harris; \\\"then there can be no reason why we \\n should not start at once.\\\" \\n \\n He was turning away with the intention of fetching his horse, when Dick\",\n \"were confined, that he realized that the talk was about himself and his \\n party. \\n \\n When the negroes were brought out, Dick came close up, being anxious to \\n learn as much as he could of what was in contemplation. The old\",\n \"supported by a sincere religious spirit. She and Dick had many a long \\n conversation together. The ingenuous lad was always ready to take the \\n kind and intelligent lady into his counsel, and day by day would point\",\n \"\\\"And how, all this time, my dear boy, has it fared with you?\\\" she asked. \\n \\n Dick said,-- \\n \\n \\\"I remember very little to tell you. I recollect being fastened to a\",\n \"to impose upon the credulous natives. The result of his stratagem they \\n had all that day witnessed. \\n \\n He had hardly finished his account of himself when Mrs. Weldon, smiling \\n at his success, turned to Dick. \\n\",\n \"say. Look at him now, madam! he seems not only to be reading the \\n letters for himself, but to be inviting us to come and read them with \\n him.\\\" \\n \\n Whilst Mrs. Weldon was watching the dog with much amusement, Dick\",\n \"his companions. \\n \\n \\\"Are you English?\\\" he asked. \\n \\n \\\"No; we are Americans,\\\" replied Dick. \\n \\n \\\"North or South?\\\" inquired the man. \\n \\n \\\"North,\\\" Dick answered. \\n\",\n \"\\\"Perhaps,\\\" added Dick, as if struck by a sudden thought, \\\"it was \\n Dingo's old master. Look at him! he is pointing with his paw.\\\" \\n \\n The portion of the sycamore-trunk which formed the farther side of the\",\n \"concluding his remarks, he again pressed upon Dick his most urgent \\n request that he should abstain from firing upon any animal whatever. It \\n was of the utmost consequence. \\n \\n Dick made no reply. He was silent and thoughtful. Grave doubts had\",\n \"here; if you think you are going to get any help from old Tom or any of \\n those niggers, let me tell you that they are every one of them sold and \\n have been sent off to Zanzibar.\\\" \\n \\n \\\"Hercules is free,\\\" said Dick. \\n\",\n \"appearance upon the deck of the \\\"Pilgrim.\\\" \\n \\n The idea that flitted across Dick's mind was shared by Tom. \\n \\n \\\"Look, Mr. Dick, look at Dingo; he is at his old ways again,\\\" said he;\",\n \"Although he gave up all as now well-nigh lost, Dick neither moved nor \\n spoke. He had one lingering hope yet left. Was it not possible even now \\n that by sacrificing his own life he could save the lives of those that \\n were entrusted to him? \\n\"\n ],\n [\n \"\\\"To whalemen, madam, this is a sight that speaks for itself. It is a \\n token that we ought to lose no time in getting out our lines and \\n looking to the state of our harpoons. There is game not far away.\\\" \\n\",\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"The pursuit, or what may be more aptly termed \\\"the towing,\\\" of the \\n whale had now fairly commenced. The sailors had shipped their oars, and \\n the whale-boat darted like an arrow along the surface of the waves. In\",\n \"To the crew the sight of the whale was the opening of an unexpected \\n opportunity, and no wonder they were fired with the burning hope that \\n even now they might do something to supply the deficiency of their \\n meagre haul throughout the season. \\n\",\n \"\\\"And when he has just closed his snappers is the very time to give him \\n a good taste of the harpoon,\\\" added Captain Hull. \\n \\n The words had hardly escaped the captain's lips when a shout from one \\n of the sailors announced,-- \\n\",\n \"So scanty this year had been the supply of whales that Captain Hull had \\n resolved next year to push his way into far more southern latitudes; \\n even, if necessary, to advance to the regions known as Clarie and\",\n \"During the fishing season, when the crew was reinforced by a hired \\n complement of New Zealand whalemen, all three of these boats would be \\n brought at once into requisition, but at present the whole crew of the\",\n \"To tell his people what had happened was the work of a moment. He \\n seized his gun, and made Hercules, Bat, and Actæon take theirs, and all \\n fired simultaneously at the nearest boat. Several of the natives were\",\n \"had been killed should be towed to the side of the schooner, where it \\n would be firmly lashed. Then the sailors with their feet in spiked \\n shoes would get upon its back and proceed to cut the blubber, from head\",\n \"any whale that he can get within his reach. The larger the game the \\n more keen the excitement; and no elephant-hunter's eagerness ever \\n surpasses the zest of the whale-fisher when once started in pursuit of \\n the prey. \\n\",\n \"been very much in favour of taking a share in the whale-hunt, but he \\n had the good sense to know that the developed strength of a man would \\n be of far greater service in the boat, and accordingly without a murmur \\n he resigned himself to remain behind. \\n\",\n \"all alone; we have no whalemen to help us; we must rely upon ourselves; \\n I have thrown a harpoon before now; I can throw a harpoon again; what \\n do you say?\\\" \\n \\n The crew responded with a ringing cheer,-- \\n\",\n \"The season had been exceptionally unfortunate for the \\\"Pilgrim.\\\" At the \\n beginning of January, almost in the height of the southern summer, long \\n before the ordinary time for the whalers' return, Captain Hull had been\",\n \"his wish to be a sailor, and accordingly, as soon as he was eight, he \\n was placed as cabin-boy on board one of the ships that navigate the \\n Southern Seas. The officers all took a peculiar interest in him, and he\",\n \"undertaking; the success of their labours always told to their own \\n advantage. The present expedition was the fourth that they had taken \\n together; and, as it turned out to be the first in which they had \\n failed to meet with success, it may be imagined that they were full of\",\n \"The amateur naturalist slowly emerged from his cabin followed by \\n Captain Hull. \\n \\n \\\"Ah! yes, I see!\\\" said the captain; \\\"whales' food; just the opportunity \\n for you, Mr. Benedict; a chance not to be thrown away for studying one\",\n \"And now the immoveableness of the animal was at once accounted for. \\n \\n \\\"See; there's a youngster!\\\" exclaimed Howick. \\n \\n And he was not mistaken. Startled by the blow of the harpoon the\",\n \"The manipulation of the boat thus left to the boatswain, the captain \\n made ready for the arduous effort that was before him. At the extreme \\n bow, harpoon in hand, with his legs somewhat astride so as to insure\",\n \"an undamaged cargo, and be \\\"a good haul,\\\" to compensate them for their \\n ill-success in the last season. \\n \\n A quarter of an hour later and the \\\"Pilgrim\\\" was within half a mile of\",\n \"of the whale. \\n \\n The crew were as eager as their captain. Mounted on the fore-shrouds, \\n they scanned the movements of their coveted prey in the distance, \\n freely descanting upon the profit to be made out of a good finback and\"\n ],\n [\n \"\\\"More easily said than done,\\\" answered Harris, shaking his head; but \\n Dick was not to be diverted from his purpose, and, gun in hand, crept \\n into the grass. He had not advanced many yards before a herd of about a\",\n \"sheep, and the poultry. \\n \\n The men, meanwhile, smoke their hemp or tobacco, hunt buffaloes or \\n elephants, or are hired by the dealers to join in the slave-raids; the\",\n \"securing it. He succeeded in getting tolerably close to it and fired, \\n but he was terribly startled when a formidable creature bounded along \\n some thirty paces ahead, and took possession of the prey he had just \\n wounded. \\n\",\n \"\\\"At any rate, we have no time to wait for the animal now: if he is \\n alive, he will not fail to find us out. Move on, my lads! move on!\\\" \\n \\n The weather was very hot; ever since daybreak heavy clouds had been\",\n \"chance, in his favourite pursuit of insect-hunting. As he was rummaging \\n in the long grass, he put up a bird which flew but a very short \\n distance. Benedict recognized it by its peculiar note, and, seeing Dick\",\n \"using his gun. On the 4th of July he succeeded by a single shot in \\n killing _pokoo_, a kind of antelope about five feet long, with \\n annulated horns, a tawny skin dappled with bright spots, and a white\",\n \"And now the immoveableness of the animal was at once accounted for. \\n \\n \\\"See; there's a youngster!\\\" exclaimed Howick. \\n \\n And he was not mistaken. Startled by the blow of the harpoon the\",\n \"any whale that he can get within his reach. The larger the game the \\n more keen the excitement; and no elephant-hunter's eagerness ever \\n surpasses the zest of the whale-fisher when once started in pursuit of \\n the prey. \\n\",\n \"had urged, Dick put his gun to his shoulder, and was on the very point \\n of firing, when Harris knocked the rifle quickly aside. \\n \\n \\\"They were giraffes!\\\" shouted Dick. \\n \\n The announcement awakened the curiosity of Jack, who quickly scrambled\",\n \"side. All of a sudden it gave a jerk with its tail which carried it \\n some few yards away. \\n \\n The men were all excited. Was the beast going to escape again? Was the \\n fatiguing pursuit all to come over a second time? Must not the chase be\",\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"\\\"To whalemen, madam, this is a sight that speaks for itself. It is a \\n token that we ought to lose no time in getting out our lines and \\n looking to the state of our harpoons. There is game not far away.\\\" \\n\",\n \"descending in rapid flight to secure some tiny fish. Occasionally Dick \\n Sands would take a pistol, and now and then a rifle, and, thanks to Mr. \\n Weldon's former instructions, would bring down various specimens of the \\n feathered tribe.\",\n \"take his gun to aim at it, exclaimed,-- \\n \\n \\\"Don't fire, don't fire! that bird will be worth nothing for food among \\n five of us.\\\" \\n \\n \\\"It will be dinner enough for Jack,\\\" said Dick, who, finding that the\",\n \"such was hardly the case with another herd of animals, the \\n identification of which led to a somewhat singular discussion between \\n Harris and the rest. \\n \\n About four o'clock on the afternoon of the same day, the travellers\",\n \"they can see their calf, or a stuffed representative of it; the \\n short-horned heifers that not unfrequently have a hump; the goats that, \\n like slaves, form part of the currency of the country; the pigs, the\",\n \"Harris, who had been a silent spectator of the whole scene, now asked \\n coolly,-- \\n \\n \\\"What makes that animal have such an inveterate dislike to you?\\\" \\n \\n \\\"Oh, there is an old score to settle between us,\\\" replied the\",\n \"were halting for a few moments near an opening in the forest, when \\n three or four large animals emerged from a thicket about a hundred \\n paces ahead, and scampered off at full speed. In spite of what Harris\",\n \"seized and carried off to what Livingstone calls their \\\"pasture-lands,\\\" \\n the holes where they deposit their prey until it is decomposed. Myself \\n grazed by the scales of one of them. A slave close beside me torn out\",\n \"that the place had been recently visited either by animals or men. \\n \\n [Illustration: Upon the smooth wood were two great letters in dingy \\n red.] \\n \\n Dick took his gun and Hercules his hatchet, and they set out to search\"\n ],\n [\n \"\\\"No doubt of that,\\\" replied the captain; \\\"the only wonder is that she \\n did not sink immediately.\\\" \\n \\n \\\"Oh, how I hope the poor crew have been saved!\\\" exclaimed Mrs Weldon. \\n\",\n \"without injury to any one on board. But the vessel had parted \\n amidships, and was foundering; the water was rushing irresistibly into \\n the hold. \\n \\n The shore, however, was not half a cable's length away; there was a\",\n \"The \\\"Pilgrim,\\\" meanwhile, had glided onwards, and made dead for the \\n adjacent shore. There was a sudden shock. Caught by an enormous wave \\n the schooner had been hurled aground; her masts had fallen, fortunately\",\n \"of which there would be no difficulty in getting home. \\n \\n The ship was totally lost. She was lying in the surf a hopeless wreck, \\n and few must be the hours that would elapse before she would be broken \\n up in scattered fragments; it was impossible to save her.\",\n \"With all possible speed the boat made its way back again to the \\n \\\"Pilgrim,\\\" a girt-line was lowered from the mainyard, and the \\n unfortunate men were raised to the deck. \\n\",\n \"low, dark ridge of rocks that was united to the beach; it afforded \\n ample means of rescue, and in less than ten minutes the \\\"Pilgrim's\\\" \\n captain, crew, and passengers were all landed, with their lives, at the\",\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"tell him the particulars of how they had been shipwrecked, and how the \\n vessel had gone to pieces on the reefs. \\n \\n A look of pity crossed the man's face as he listened, and he cast his\",\n \"her side. Captain and crew had entirely disappeared, some probably \\n having been dashed into the sea, others perhaps having saved themselves \\n by clinging to the rigging of the ship which had fouled them, and which \\n could be distinguished through the darkness rapidly receding in the\",\n \"that the survivors might have strength and courage for their own hour \\n of need. \\n \\n The situation was indeed very grave. Here was the \\\"Pilgrim\\\" in the \\n middle of the Pacific, hundreds of miles away from the nearest land,\",\n \"assured them, they would be most hospitably received by her husband, \\n and provided with the necessary means for returning to Pennsylvania. \\n \\n The five men, who, as the consequence of the shipwreck, had lost all\",\n \"distance. For a while they were paralyzed, but they soon awoke to the \\n conviction that they were left alone upon a half-capsized and disabled \\n hull, twelve hundred miles from the nearest land. Mrs. Weldon was loud\",\n \"A RESCUE. \\n \\n \\n At the sound of Dick's voice all the crew, in a moment, were upon the \\n alert. The men who were not on watch rushed to the deck, and Captain\",\n \"\\\"It was a lucky thing for you, captain,\\\" resumed the vindictive \\n Portuguese, \\\"that you had a good seaman on board, otherwise the ship \\n would have run aground on some reef in the tempest, instead of coming\",\n \"Notwithstanding that Dick Sands bewailed the loss of a valuable ship \\n and her cargo to the owner, he had the satisfaction of knowing that he \\n had been instrumental in saving what was far more precious, the lives \\n of the owner's wife and son. \\n\",\n \"the \\\"Pilgrim,\\\" an inevitable fate was before them; their corpses must \\n lie at the bottom of the sea. \\n \\n Captain Hull's act of humanity, however, would not be complete unless\",\n \"Was it not possible for the unfortunate men, bleeding and wounded as \\n they were, still to save themselves by clinging to some floating spar? \\n Captain Hull is indeed seen endeavouring to hoist the boatswain on to a\",\n \"would have been a speck like a microscopic infusoria on the vast \\n surface of that sea, and that hundreds and hundreds of weary miles \\n separated her from the coast. \\n \\n No time was to be lost. Contrary winds had ceased to blow; a fresh\",\n \"Weldon observed quickly that if it were a raft it might be carrying \\n some unfortunate shipwrecked men who must be rescued if possible. \\n Cousin Benedict asserted that it was nothing more nor less than a huge\",\n \"fearful death that had befallen the victims. Captain Hull and his men \\n had been swept away before their very eyes, and they had been powerless \\n to assist. Not one was saved; the schooner had reached the spot too\"\n ],\n [\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"[Illustration: The dog began to swim slowly and with manifest weakness \\n towards the boat.] \\n \\n Taking the boat as close as was prudent to the wreck, the captain and \\n Dick called and whistled repeatedly to the dog, which after a while let\",\n \"river, and had disappeared behind the cliff, he thought no more about \\n him. Dingo likewise had quite forgotten his enemy, and desisted from \\n his growling. \\n \\n The first necessity for the shipwrecked party was to find a temporary\",\n \"lowered, and the captain and Dick, with a couple of sailors, went on \\n board. The dog kept up a continual yelping; it made the most vigourous \\n efforts to retain its hold upon the netting, but perpetually slipped\",\n \"wreck, a circumstance from which it was to be inferred that several \\n days at least had elapsed since the catastrophe. \\n \\n Meantime the dog, sliding down from the taffrail, got to the centre\",\n \"the two sailors to his aid, and although it was far from an easy task, \\n he succeeded in getting the five unconscious men, who were all negroes, \\n conveyed safely to the boat. \\n \\n The dog followed, apparently satisfied. \\n\",\n \"with animal life; and the passengers on board the \\\"Pilgrim\\\" derived no \\n little amusement from watching great flocks of birds migrating \\n northwards to escape the rigour of the polar winter, and ever and again\",\n \"\\\"Yes; and see what a distance the animal is dragging us away from the \\n 'Pilgrim,'\\\" answered Howick. \\n \\n \\\"Sooner or later, however,\\\" said Captain Hull, \\\"the thing must come to\",\n \"Dingo had been trotting up and down the deck. All at once he bounded to \\n the fore, and broke out into a piteous howl. It roused Dick from his \\n anxious cogitations. Was it possible that the animal recognized the\",\n \"One other survivor of the wreck, if he had been gifted with the power \\n of speech, would doubtless have corroborated the testimony. This was \\n the dog who seemed to have such an unaccountable dislike to Negoro. \\n\",\n \"and set up a howl that was almost human in its piteousness. It was \\n evidently in a state of alarm that the boat was not going to return to \\n the wreck. The dog's meaning could not be misunderstood. The boat was\",\n \"accordingly brought against the larboard side of the vessel, and while \\n the two sailors lashed her securely to the \\\"Waldeck's\\\" cat-head, \\n Captain Hull and Dick, with the dog persistently accompanying them,\",\n \"They ascended the ladder, but no sooner did they reappear upon the deck \\n than the dog, barking irrepressibly, began trying manifestly to drag \\n them towards the stern. \\n \\n Yielding to what might be called the importunities of the dog, they\",\n \"itself slip into the sea, and began to swim slowly and with manifest \\n weakness towards the boat. As soon as it was lifted in, the animal, \\n instead of devouring the piece of bread that was offered him, made its\",\n \"companionship. This was Dingo. The dog, unsociable as he had been on \\n board the \\\"Waldeck,\\\" seemed to have found society more congenial to his \\n tastes, and being one of those animals that are fond of children, he\",\n \"with a huge hatchet in his waist-belt, brought up the rear. Dingo had \\n no especial place in the procession, but wandered to and fro at his \\n pleasure. Ever since he had been cast ashore Dick had noticed a\",\n \"As they neared the shore, Dingo became intensely agitated. At first \\n Dick suspected that a wild beast or a native might be lurking in the \\n papyrus, but it soon became obvious that the dog was excited by grief \\n rather than by rage. \\n\",\n \"front of the boat, Mrs. Weldon and all on board renewed their good \\n wishes. \\n \\n Dingo stood with his fore paws upon the taffrail, and appeared as much \\n as any to be bidding the adventurous party farewell. \\n\",\n \"had come. He had been picked up there, two years previously, by the \\n captain of the \\\"Waldeck,\\\" who had found him wandering about and more \\n than half starved. The initials S. V. engraved upon his collar were the\",\n \"backwards and fell off again upon the inclining deck. It was soon \\n manifest, however, that all the noise the creature was making was not \\n directed exclusively towards those who were coming to its rescue, and \\n Mrs. Weldon could not divest herself of the impression that there must\"\n ],\n [\n \"perplexes me altogether to see the brute so quiet all of a sudden.\\\" \\n \\n \\\"It looks suspicious,\\\" said the captain; \\\"but never mind; go on! \\n straight ahead!\\\" \\n \\n Captain Hull was becoming more excited every moment. \\n\",\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"quit the ship. Captain Hull, however, could perceive that the \\n apprentice had had the aft-boat lowered, and was towing it along, so \\n that it should be in readiness for a refuge as soon as they should get \\n within reach. \\n\",\n \"But Mrs. Weldon urged her request, and Captain Hull, confident in the \\n sea-going qualities of his craft, and anticipating at this season \\n nothing but fair weather on either side of the equator, gave his \\n consent. \\n\",\n \"CHAPTER VIII. \\n \\n A CATASTROPHE. \\n \\n \\n Experienced whaleman as he was, Captain Hull knew the difficulty of the \\n task he had undertaken, he was alive to the importance of making his\",\n \"\\\"It must be understood, Mrs. Weldon,\\\" he said, courteously raising his \\n hat, \\\"that you take this passage entirely on your own responsibility.\\\" \\n \\n \\\"Certainly, Captain Hull,\\\" she answered; \\\"but why do you ask?\\\" \\n\",\n \"as being quicker in action in the event of any of the side oars being \\n disabled. The post of harpooner was of course assigned to Captain Hull, \\n to whose lot it would consequently fall first to hurl his weapon at the\",\n \"Captain Hull looked towards the \\\"Pilgrim,\\\" and waved his signal \\n frantically above his head. It was, however, with no hope of succour; \\n he was only too well aware that no human efforts could effectually\",\n \"shore and satisfactorily on your homeward way. When that is done, I \\n shall hope to get competent officers to take the ship to Valparaiso, \\n where she will discharge her cargo, as Captain Hull intended; and\",\n \"the \\\"Pilgrim,\\\" an inevitable fate was before them; their corpses must \\n lie at the bottom of the sea. \\n \\n Captain Hull's act of humanity, however, would not be complete unless\",\n \"attempt to capture the sea-monster became the ruling theme of \\n conversation. Mrs. Weldon expressed considerable doubt as to the \\n prudence of venturing upon so great a risk with such a limited number \\n of hands, but when Captain Hull assured her that he had more than once\",\n \"was hardly likely. Captain Hull felt only too sure that there was some \\n different cause to be assigned for its remaining so still and \\n stationary; and the rapid glances of the boatswain showed that he \\n entertained the same suspicion. But it was no time for speculation; the\",\n \"It did not take many more strokes to bring the boat close to the \\n larboard bulwark, which was half out of the water, and Captain Hull \\n obtained a view of the whole length of the deck. It was clear from end\",\n \"Hull hurried from his cabin to the bows. Mrs. Weldon, Nan, and even \\n Cousin Benedict leaned over the starboard taffrails, eager to get a \\n glimpse of what had thus suddenly attracted the attention of the young\",\n \"accordingly brought against the larboard side of the vessel, and while \\n the two sailors lashed her securely to the \\\"Waldeck's\\\" cat-head, \\n Captain Hull and Dick, with the dog persistently accompanying them,\",\n \"\\\"And when he has just closed his snappers is the very time to give him \\n a good taste of the harpoon,\\\" added Captain Hull. \\n \\n The words had hardly escaped the captain's lips when a shout from one \\n of the sailors announced,-- \\n\",\n \"Of this Captain Hull was well aware, and although he was now in a \\n latitude which was comparatively little traversed by such slavers, he \\n could not help almost involuntarily conjecturing that the negroes they\",\n \"the greatest satisfaction, and one day made a remark to that effect in \\n the presence of Captain Hull. \\n \\n [Illustration: \\\"There you are, then, Master Jack!\\\"] \\n\",\n \"the interior of the hull. Dick left his men to gather together all they \\n could in the way of food and drink from the store-room, and himself \\n went straight to the stern cabin, into which the water had not\",\n \"Hull; \\\"but I should almost take it for granted that he would have a \\n considerable retinue of natives.\\\" \\n \\n The captain spoke without being aware that Negoro had meanwhile quietly \\n stolen on deck. At first his presence was quite unnoticed, and no one\"\n ],\n [\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"To tell his people what had happened was the work of a moment. He \\n seized his gun, and made Hercules, Bat, and Actæon take theirs, and all \\n fired simultaneously at the nearest boat. Several of the natives were\",\n \"of the river to meet him; but when they reached the bank not a soul \\n could be seen, and as Dingo was quiet again, they made their way back \\n to the grotto. \\n \\n Excepting the man left on watch, they now all lay down, hoping to get\",\n \"them out to his companions. A sudden impulse seized the whole of them, \\n and they sprang into the canoe; there seemed to be a practised hand \\n amongst them, which caught hold of the rudder-oar, and the little craft \\n was quickly on its way back.\",\n \"\\\"There is nothing here; nobody here,\\\" he said. \\n \\n \\\"So I see,\\\" said the apprentice, who had made his way to the extreme \\n fore-part of the hold. \\n \\n \\\"Then we have only to go up again,\\\" remarked the captain. \\n\",\n \"of them, but Harris seriously dissuaded him, urging that the report of \\n firearms would only serve to reveal their own presence, whilst their \\n greatest safety lay in perfect silence. \\n \\n Supper was prepared. There was little need of cooking. The meal, as\",\n \"skulls with the butt end of his gun, and made off. Followed though he \\n was by a storm of bullets, he escaped in safety, and disappeared \\n beneath the cover of the woods. \\n\",\n \"excitement of the past hours, went to her cabin, where she lay down and \\n fell into a troubled doze. \\n \\n The new crew remained on watch. They were stationed on the forecastle, \\n in readiness to make any alteration which the sails might require, but\",\n \"obliged to abandon his fishing-quarters. His hired contingent, all men \\n of more than doubtful character, had given signs of such \\n insubordination as threatened to end in mutiny; and he had become aware \\n that he must part company with them on the earliest possible\",\n \"sea was calm, and the wind moreover was still moderating, so that there \\n was no likelihood of the schooner drifting away during the captain's \\n absence. \\n \\n When the starboard whale-boat had been lowered, and the four sailors\",\n \"late to offer the least resistance to the attacks of the formidable \\n sea-monster. \\n \\n When Dick and the negroes returned to the ship after their hopeless \\n search, with only the corroboration of their sad foreboding that\",\n \"her side. Captain and crew had entirely disappeared, some probably \\n having been dashed into the sea, others perhaps having saved themselves \\n by clinging to the rigging of the ship which had fouled them, and which \\n could be distinguished through the darkness rapidly receding in the\",\n \"He scanned the drifting ship carefully and continued,-- \\n \\n \\\"No, I cannot see any sign of boats here, I should guess that the crew \\n have made an attempt to get to land, at such a distance as this,\",\n \"that hunger had been overcome by fatigue, but because the indefinable \\n feeling of uneasiness, that had taken possession of them all, had \\n entirely destroyed all appetite. \\n \\n [Illustration: The man was gone, and his horse with him.] \\n\",\n \"For several years the command of the \\\"Pilgrim\\\" had been entrusted to \\n Captain Hull, an experienced seaman, and one of the most dexterous \\n harpooners in Weldon's service. The crew consisted of five sailors and\",\n \"lowered, and the captain and Dick, with a couple of sailors, went on \\n board. The dog kept up a continual yelping; it made the most vigourous \\n efforts to retain its hold upon the netting, but perpetually slipped\",\n \"\\\"At any rate, we have no time to wait for the animal now: if he is \\n alive, he will not fail to find us out. Move on, my lads! move on!\\\" \\n \\n The weather was very hot; ever since daybreak heavy clouds had been\",\n \"all alone; we have no whalemen to help us; we must rely upon ourselves; \\n I have thrown a harpoon before now; I can throw a harpoon again; what \\n do you say?\\\" \\n \\n The crew responded with a ringing cheer,-- \\n\",\n \"and his four associates. No room for them could possibly be found in \\n the crew's quarters, so that their berths had to be arranged under the \\n forecastle; and as long as the weather continued fine, there was no\",\n \"\\\"No doubt, Tom!\\\" answered Dick, \\\"and I think we may congratulate \\n ourselves on being safe out of our poor ship.\\\" \\n \\n As the night could not be otherwise than very dark, it was arranged \\n that the negroes should take their turns in keeping guard at the\"\n ],\n [\n \"Although he gave up all as now well-nigh lost, Dick neither moved nor \\n spoke. He had one lingering hope yet left. Was it not possible even now \\n that by sacrificing his own life he could save the lives of those that \\n were entrusted to him? \\n\",\n \"drew him to her side. \\n \\n \\\"And now, my men,\\\" was Dick's first order to his crew, \\\"we must brace \\n in the yards to sail fair. I will show you how.\\\" \\n\",\n \"Face to face with death, Dick lost nothing of his indomitable presence \\n of mind. Might not that light canoe, floating bottom upwards, be made \\n the means for yet another grasp at life? The danger that threatened him\",\n \"myself, and I should be glad if every survivor of the 'Pilgrim' had \\n shared his fate.\\\" \\n \\n \\\"But remember,\\\" said Dick, \\\"you have to follow them all yourself;\\\" and \\n he fixed a sharp gaze upon his persecutor's eye.\",\n \"Dick did not speak for some moments. He was manifestly pondering what \\n step he should advise. After a while he said,-- \\n \\n \\\"My own impression, Mrs. Weldon, is that we have been cast ashore upon\",\n \"means of escaping that peril by increase of speed; the adroit \\n management of the helm was the only chance of avoiding the hazardous \\n shocks, and even this repeatedly failed. \\n \\n To prevent his being washed overboard Dick lashed himself to his place\",\n \"\\\"My dear Dick,\\\" she said, \\\"in the name of us all, let me thank you for \\n the services you have rendered us in our tedious time of difficulty. As \\n you have been our captain at sea, let me beg you to be our guide upon\",\n \"their purpose. Dick had several reasons for feeling sure that one \\n existed in the neighbourhood. He knew that the little river, which fell \\n into the Atlantic near the spot where the \\\"Pilgrim\\\" stranded, could not\",\n \"\\\"Well done, my friends!\\\" said Dick, who had not left his post at the \\n helm; \\\"you will be first-rate sailors before the end of the voyage.\\\" \\n \\n \\\"We shall do our best, I promise you, Captain Sands,\\\" replied Tom,\",\n \"knowledge was small, yet their arms were strong, and added that they \\n should certainly be obedient to every order he gave. \\n \\n \\\"My friends,\\\" said Dick, addressing them in reply; \\\"I shall make it a\",\n \"surface. Here was Dick's chance, he was a good swimmer, and his life \\n depended now upon his strength of arm. \\n \\n It was a hard struggle, but he succeeded. In a quarter of an hour he\",\n \"eye, as it might be involuntarily, upon the sea, in order to discern \\n some vestige of the stranded ship. \\n \\n \\\"Ah! there is nothing to be seen of our poor schooner!\\\" said Dick\",\n \"These insinuations, that those in whose welfare he was so deeply \\n interested had succumbed to the hardships of the journey, awoke in \\n Dick's mind a sudden and irresistible desire for vengeance. Darting\",\n \"must run her aground. It will be utter destruction to the ship, but \\n there is no choice. Your safety is the first and paramount \\n consideration.\\\" \\n \\n \\\"Do you mean that there is no other course to be taken, Dick?\\\" \\n\",\n \"apart. Now, Dick tried to argue with himself, they must be coming to \\n the true pampas, or the man must be designedly misleading them; and yet \\n what motive could he have? \\n \\n Although during the earlier part of the day there occurred nothing that\",\n \"\\\"Yes, Mrs. Weldon,\\\" rejoined Dick brightly; \\\"and before long I shall \\n hope to make them good seamen. If only the weather lasts fair, \\n everything will go on well enough; and if the weather turns out bad, we\",\n \"concluding his remarks, he again pressed upon Dick his most urgent \\n request that he should abstain from firing upon any animal whatever. It \\n was of the utmost consequence. \\n \\n Dick made no reply. He was silent and thoughtful. Grave doubts had\",\n \"that the survivors might have strength and courage for their own hour \\n of need. \\n \\n The situation was indeed very grave. Here was the \\\"Pilgrim\\\" in the \\n middle of the Pacific, hundreds of miles away from the nearest land,\",\n \"The \\\"Pilgrim\\\" still made good headway, and Dick, although he was aware \\n that ultimately it would probably be necessary again to shorten sail, \\n was anxious to postpone making any alteration before he was absolutely\",\n \"DICK'S PROMOTION. \\n \\n \\n The first feeling experienced by those on board the \\\"Pilgrim,\\\" after \\n witnessing the terrible disaster was one of grief and horror at the\"\n ],\n [\n \"be some survivors still on board. All at once the animal changed its \\n gestures. Instead of the crouching attitude and supplicating whine with \\n which it seemed to be imploring the compassion of those who were \\n nearing it, it suddenly appeared to become bursting with violence and\",\n \"his crew had had. Knowing that he could not entrust the task to them, \\n and yet resolved not to be baulked of his wish to set them, he \\n undertook the task himself. He first put Tom to the helm, showing him\",\n \"had acted the traitor, he was led to the conclusion that he and Negoro \\n had been playing into each other's hands. The result of the collision, \\n he feared, might be very disastrous to the survivors of the \\\"Pilgrim.\\\"\",\n \"hurled the miserable wretch overboard, and thus relieved himself and \\n his partners in trouble from the catastrophe that had since befallen \\n them? Peril was still staring them in the face, and his sole drop of\",\n \"however, a mystery inexplicable as before, how and when they had \\n rounded Cape Horn and passed into another ocean. Suddenly the idea \\n flashed upon him that the compass must have been tampered with; and he\",\n \"that the survivors might have strength and courage for their own hour \\n of need. \\n \\n The situation was indeed very grave. Here was the \\\"Pilgrim\\\" in the \\n middle of the Pacific, hundreds of miles away from the nearest land,\",\n \"\\\"There is nothing here; nobody here,\\\" he said. \\n \\n \\\"So I see,\\\" said the apprentice, who had made his way to the extreme \\n fore-part of the hold. \\n \\n \\\"Then we have only to go up again,\\\" remarked the captain. \\n\",\n \"her side. Captain and crew had entirely disappeared, some probably \\n having been dashed into the sea, others perhaps having saved themselves \\n by clinging to the rigging of the ship which had fouled them, and which \\n could be distinguished through the darkness rapidly receding in the\",\n \"acting in such a manner with the survivors of the \\\"Pilgrim,\\\" and \\n consequently hesitated before he actually condemned him for conduct so \\n base and heartless. What could be done? he repeatedly asked himself. On\",\n \"Was it not possible for the unfortunate men, bleeding and wounded as \\n they were, still to save themselves by clinging to some floating spar? \\n Captain Hull is indeed seen endeavouring to hoist the boatswain on to a\",\n \"had had a considerably larger sum than this, and Captain Hull was known \\n always to keep a good reserve in hand. There was but one way to solve \\n the mystery. Some one had been beforehand to the wreck. It could not be\",\n \"THE NEW CREW. \\n \\n \\n Dick Sands, captain of the \\\"Pilgrim,\\\" would not lose a moment in \\n getting his ship under sail. His prime object was to land his \\n passengers safely at Valparaiso or some other American port, and to\",\n \"He scanned the drifting ship carefully and continued,-- \\n \\n \\\"No, I cannot see any sign of boats here, I should guess that the crew \\n have made an attempt to get to land, at such a distance as this,\",\n \"and had come to the resolve that if his men would back him, he would \\n make an attempt to capture the prize. \\n \\n He turned to his crew,-- \\n \\n \\\"My men! what do you think? shall we make the venture? Remember, we are\",\n \"understand, the log remained at the bottom of the sea, and one night \\n the compass was tampered with, so that the 'Pilgrim,' scudding along \\n before a tempest, was carried altogether out of her course. You may\",\n \"Now they thought they had secured their prize, but loud was their yell \\n of disappointment when on stripping off the thatch they found only one \\n person, and that a mere boy, standing beneath it. \\n\",\n \"It cannot be denied that the captain was not wholly without compunction \\n at the step he was taking; he was aware of the danger to which he was \\n exposing himself, but he beguiled himself with the persuasion that it\",\n \"answer. The sailors saw the failure, and convinced that all was lost \\n uttered one long, despairing cry that might have been heard on board \\n the \\\"Pilgrim.\\\" Another moment, and from beneath there came a tremendous\",\n \"feeding on; they only knew that, like themselves, he had suffered an \\n excruciating thirst. \\n \\n Such had been the experience of the survivors of the \\\"Waldeck.\\\" Their \\n situation had been most critical. Even if they survived the pangs of\",\n \"perplexes me altogether to see the brute so quiet all of a sudden.\\\" \\n \\n \\\"It looks suspicious,\\\" said the captain; \\\"but never mind; go on! \\n straight ahead!\\\" \\n \\n Captain Hull was becoming more excited every moment. \\n\"\n ],\n [\n \"understand, the log remained at the bottom of the sea, and one night \\n the compass was tampered with, so that the 'Pilgrim,' scudding along \\n before a tempest, was carried altogether out of her course. You may\",\n \"THE NEW CREW. \\n \\n \\n Dick Sands, captain of the \\\"Pilgrim,\\\" would not lose a moment in \\n getting his ship under sail. His prime object was to land his \\n passengers safely at Valparaiso or some other American port, and to\",\n \"\\\"There is nothing here; nobody here,\\\" he said. \\n \\n \\\"So I see,\\\" said the apprentice, who had made his way to the extreme \\n fore-part of the hold. \\n \\n \\\"Then we have only to go up again,\\\" remarked the captain. \\n\",\n \"in the Hauraki Gulf, on the east coast of North Island, the whole of \\n the gang was peremptorily discharged. \\n \\n The ship's crew were more than dissatisfied. They were angry. Never\",\n \"her side. Captain and crew had entirely disappeared, some probably \\n having been dashed into the sea, others perhaps having saved themselves \\n by clinging to the rigging of the ship which had fouled them, and which \\n could be distinguished through the darkness rapidly receding in the\",\n \"He scanned the drifting ship carefully and continued,-- \\n \\n \\\"No, I cannot see any sign of boats here, I should guess that the crew \\n have made an attempt to get to land, at such a distance as this,\",\n \"A misfortune, however, was in store for them. On the night of the 12th, \\n while Dick was on watch, the compass in the cabin became detached from \\n its fastening and fell on the floor. The accident was not discovered\",\n \"Consequently it came to pass that the \\\"Pilgrim,\\\" supposed by her young \\n commander to be making good headway due east, was in reality, under the \\n brisk north-west breeze, speeding along towards the south-east. \\n \\n \\n \\n\",\n \"however, a mystery inexplicable as before, how and when they had \\n rounded Cape Horn and passed into another ocean. Suddenly the idea \\n flashed upon him that the compass must have been tampered with; and he\",\n \"his crew had had. Knowing that he could not entrust the task to them, \\n and yet resolved not to be baulked of his wish to set them, he \\n undertook the task himself. He first put Tom to the helm, showing him\",\n \"and his four associates. No room for them could possibly be found in \\n the crew's quarters, so that their berths had to be arranged under the \\n forecastle; and as long as the weather continued fine, there was no\",\n \"mist. Then at once I put the compass to rights again, and the 'Pilgrim' \\n was carried north-eastwards by a tremendous hurricane to the very place \\n I wanted. The island Dick Sands took for Easter Island was really \\n Tristan d'Acunha.\\\"\",\n \"answer. The sailors saw the failure, and convinced that all was lost \\n uttered one long, despairing cry that might have been heard on board \\n the \\\"Pilgrim.\\\" Another moment, and from beneath there came a tremendous\",\n \"Now they thought they had secured their prize, but loud was their yell \\n of disappointment when on stripping off the thatch they found only one \\n person, and that a mere boy, standing beneath it. \\n\",\n \"captain and crew had disappeared for ever, Mrs. Weldon sank upon her \\n knees; little Jack knelt beside her crying bitterly; and Dick, old Nan, \\n and all the negroes stood reverently around her whilst with great\",\n \"currents. This accounted for the fact of their being found so far south \\n of their proper course. \\n \\n For the next ten days the negroes had subsisted upon a few scraps of \\n food that they found in the stern cabin; but as the store room was\",\n \"The \\\"Pilgrim,\\\" meanwhile, had glided onwards, and made dead for the \\n adjacent shore. There was a sudden shock. Caught by an enormous wave \\n the schooner had been hurled aground; her masts had fallen, fortunately\",\n \"them out to his companions. A sudden impulse seized the whole of them, \\n and they sprang into the canoe; there seemed to be a practised hand \\n amongst them, which caught hold of the rudder-oar, and the little craft \\n was quickly on its way back.\",\n \"It has been already stated that the crew of the \\\"Pilgrim\\\" consisted of \\n five seamen and an apprentice. This apprentice was Dick Sands. \\n \\n Dick was fifteen years old; he was a foundling, his unknown parents\",\n \"assured them, they would be most hospitably received by her husband, \\n and provided with the necessary means for returning to Pennsylvania. \\n \\n The five men, who, as the consequence of the shipwreck, had lost all\"\n ]\n]"},"questions":{"kind":"list like","value":["What job does Dick have aboard the Pilgrim?","What does the crew of the Pilgrim hunt?","Where does the crew travel to in order to hunt?","How old is Jack Weldon?","Who is the wife of the hunting firm's owner?","How many shipwrecked passengers are saved?","What kind of animal was also saved?","Who did Captain Hull leave in charge of the ship while whale hunting?","Who is the cook manager aboard the Pilgrim?","What schooner is Dick serving on?","How old was Dick when he was a sailor?","What did the crew do every year to New Zealand?","How old was Mrs. Weldon's son?","Where does Mrs Weldon and her guest want a return passage too?","What else did they save along with 5 shipwrecked passengers?","Who was the Captain of The Pilgrim schooner?","What happens to the crew members when they hunt a whale?","What coast does Dick try to lead the ship too?","What is Negoro's job on the ship?","How old is Dick?","Where do the sailors go to hunt every year?","What kind of animal do they hunt?","How many shipwrecked passengers did they save?","What kind of animal was with the shipwrecked passengers?","Who does Captain Hull leave in charge of the ship when he leaves to hunt towards the end of the passage?","What happened to the crew members after they left to hunt?","What did Dick try to teach the shipwreck survivors?","Who tried to trick the surviving crew?","Where did the lost crew end up after being tricked?"],"string":"[\n \"What job does Dick have aboard the Pilgrim?\",\n \"What does the crew of the Pilgrim hunt?\",\n \"Where does the crew travel to in order to hunt?\",\n \"How old is Jack Weldon?\",\n \"Who is the wife of the hunting firm's owner?\",\n \"How many shipwrecked passengers are saved?\",\n \"What kind of animal was also saved?\",\n \"Who did Captain Hull leave in charge of the ship while whale hunting?\",\n \"Who is the cook manager aboard the Pilgrim?\",\n \"What schooner is Dick serving on?\",\n \"How old was Dick when he was a sailor?\",\n \"What did the crew do every year to New Zealand?\",\n \"How old was Mrs. Weldon's son?\",\n \"Where does Mrs Weldon and her guest want a return passage too?\",\n \"What else did they save along with 5 shipwrecked passengers?\",\n \"Who was the Captain of The Pilgrim schooner?\",\n \"What happens to the crew members when they hunt a whale?\",\n \"What coast does Dick try to lead the ship too?\",\n \"What is Negoro's job on the ship?\",\n \"How old is Dick?\",\n \"Where do the sailors go to hunt every year?\",\n \"What kind of animal do they hunt?\",\n \"How many shipwrecked passengers did they save?\",\n \"What kind of animal was with the shipwrecked passengers?\",\n \"Who does Captain Hull leave in charge of the ship when he leaves to hunt towards the end of the passage?\",\n \"What happened to the crew members after they left to hunt?\",\n \"What did Dick try to teach the shipwreck survivors?\",\n \"Who tried to trick the surviving crew?\",\n \"Where did the lost crew end up after being tricked?\"\n]"},"answers":{"kind":"list like","value":[["He is a sailor","A sailor."],["Whales","Whales."],["New Zealand","New Zealand. "],["5 years old","Fifteen"],["Mrs Weldon","Mrs. Weldon"],["Five","Five."],["A dog","A dog."],["Dick","Dick"],["Negoro","Negoro."],["The Pilgram","Pilgrim"],["15","15 years old."],["Hunted whales.","To go whale hunting."],["5","Five."],["San Francisco","San Fransisco"],["A dog.","a dog(Dingo)"],["Captain Hull","Captain Hull."],["They are all killed.","they are all killed"],["South America","South America."],["He's a cook.","cook"],["15","Fifteen."],["New Zealand","New Zealand."],["whales","Whale"],["five","Five."],["a dog","dog"],["Dick","Dick"],["they were killed","the cook breaks all of their navigation equipment and leads them to \"equitorial Africa\""],["how to be sailors","to be sailors in order to reach south america"],["Negoro, the cook.","Negoro."],["Africa","Africa."]],"string":"[\n [\n \"He is a sailor\",\n \"A sailor.\"\n ],\n [\n \"Whales\",\n \"Whales.\"\n ],\n [\n \"New Zealand\",\n \"New Zealand. \"\n ],\n [\n \"5 years old\",\n \"Fifteen\"\n ],\n [\n \"Mrs Weldon\",\n \"Mrs. Weldon\"\n ],\n [\n \"Five\",\n \"Five.\"\n ],\n [\n \"A dog\",\n \"A dog.\"\n ],\n [\n \"Dick\",\n \"Dick\"\n ],\n [\n \"Negoro\",\n \"Negoro.\"\n ],\n [\n \"The Pilgram\",\n \"Pilgrim\"\n ],\n [\n \"15\",\n \"15 years old.\"\n ],\n [\n \"Hunted whales.\",\n \"To go whale hunting.\"\n ],\n [\n \"5\",\n \"Five.\"\n ],\n [\n \"San Francisco\",\n \"San Fransisco\"\n ],\n [\n \"A dog.\",\n \"a dog(Dingo)\"\n ],\n [\n \"Captain Hull\",\n \"Captain Hull.\"\n ],\n [\n \"They are all killed.\",\n \"they are all killed\"\n ],\n [\n \"South America\",\n \"South America.\"\n ],\n [\n \"He's a cook.\",\n \"cook\"\n ],\n [\n \"15\",\n \"Fifteen.\"\n ],\n [\n \"New Zealand\",\n \"New Zealand.\"\n ],\n [\n \"whales\",\n \"Whale\"\n ],\n [\n \"five\",\n \"Five.\"\n ],\n [\n \"a dog\",\n \"dog\"\n ],\n [\n \"Dick\",\n \"Dick\"\n ],\n [\n \"they were killed\",\n \"the cook breaks all of their navigation equipment and leads them to \\\"equitorial Africa\\\"\"\n ],\n [\n \"how to be sailors\",\n \"to be sailors in order to reach south america\"\n ],\n [\n \"Negoro, the cook.\",\n \"Negoro.\"\n ],\n [\n \"Africa\",\n \"Africa.\"\n ]\n]"},"document_id":{"kind":"string","value":"ecdd7d239978d8bdf03d163b4fb3a5e97518b715"},"split":{"kind":"string","value":"train"}}},{"rowIdx":64,"cells":{"text":{"kind":"list like","value":[["\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\t\tBut I am right, yes? She's based on \n \t\tSally. \n \n \t\t\tJOE \n \t\tIt's a novel. \n \n \t\t\tJUDY","\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n","\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\t\tSALLY (CONT'D) \n \t\tYou think this was to hurt you?! My God, \n \t\tJoe. It isn't about you. \n \n \t\t\tJOE","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\t\tI'm sure Sally's told you. \n \n \t\t\tJOE \n \t\tNo, what? \n \n \t\t\tCAL \n \t\tThe movie. \n \n \t\t\tJOE","\t\tSally, I have never considered you for \n \t\tthis part because you are too old to play \n \t\tit. And you are out of touch with \n \t\treality if you think differently. \n \n \t\t\tSALLY","\t\tIt's a shit novel anyway. \n \n \t\t\tJOE \n \t\tWell there you go. I let you off the \n \t\thook. You're one goddamn lucky actress. \n","\t\t\tSALLY \n \t\t\t(a little choked laugh) \n \t\tMe too. \n \n \t\t\tJOE \n \t\tThat's under lock and key. \n \n \t\t\tSALLY","\t\t\t(moves toward her) \n \t\tSally... \n \n \t\t\tSALLY \n \t\tDon't. \n \n \t\t\tJOE \n \t\tDon't push me away. \n","\t\tknow, that thing that was Sally - that \n \t\talways surprised you. It's gone. I \n \t\tthink she's scared. And that's death. \n \n \t\t\tJOE","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\t\t\tJOE \n \t\tOh don't. Everyone says that. \n \n \tINT. MUSIC LIBRARY \n \n \tSally's taken Gina's photograph of them from the mantelpiece","\t\t\tSOPHIA \n \t\tThe both of you. \n \n \t\t\tSALLY \n \t\tBut she really gets to the heart of Joe, \n \t\tdoesn't she? She's a genius. \n","\t\t\tJOE \n \t\t\t(comes on them with the \n \t\t\t Forsythes in tow) \n \t\tShe rarely cops to it. \n \t\t\t(kisses Sally's cheek)","\tSally's started the bath, and is watching him from the \n \tdoorway. He meets her eyes mid-sentence. \n \n \t\t\tJOE (CONT'D)","\t\tit's Sally. The character that's based \n \t\ton Sally. The character that's based on \n \t\tSally in the book. \n \n \t\t\tJOE","\t\tThe novel. No, Skye Davidson is playing \n \t\tthe lead. \n \n \t\t\tJUDY \n \t\tOh my God, I'm a huge Skye Davidson fan."],["\t\tSally, I have never considered you for \n \t\tthis part because you are too old to play \n \t\tit. And you are out of touch with \n \t\treality if you think differently. \n \n \t\t\tSALLY","\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\t\tWho, Sally? \n \n \t\t\tCAL \n \t\tAnd, you know it isn't rocket science, \n \t\tthis script. She can barely get the \n \t\tlines out. There was a scene last week -","\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\tSally's team prepares clues for charades. Sally writes them \n \tdown, throws them in a bowler hat. Her teammates are Panes, \n \tSophia, Mac, Ryan, Sanford and Jeffrey. \n","\t\tThe novel. No, Skye Davidson is playing \n \t\tthe lead. \n \n \t\t\tJUDY \n \t\tOh my God, I'm a huge Skye Davidson fan.","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\t\tSALLY \n \t\tIn the morning, after everyone's gone and \n \t\tthere's just us. \n \n \tShe pushes him on the bed. \n \n \t\t\tJOE","\t\tI'm sure Sally's told you. \n \n \t\t\tJOE \n \t\tNo, what? \n \n \t\t\tCAL \n \t\tThe movie. \n \n \t\t\tJOE","\tSally jumps out of the down dog position and runs to the \n \tphone, all angles. \n \n \t\t\tSALLY \n \t\tHello, hi, hi...and? Thank God. \n","\t\t\tSALLY (O.S.) \n \t\tHere I am. Panes, my love! \n \n \tSally starts down the hallway. \n \n \t\t\tSALLY (CONT'D)","\tblows her a kiss. She kisses her finger tips and puts her \n \thand flat against the window pane. \n \n \tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \n","\ther. Watches herself, with a professional, acute eye. More \n \tcritical than Mac's could ever be. \n \n \t\t\tSALLY (ON TV)","\t\tWell, something's wrong. \n \n \t\t\tSALLY \n \t\tNothing's wrong. It's great, okay? \n \t\tHaving the time of my life. Mac's a","\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n","\t\t\tJERRY \n \t\tI suppose. Sally, that's quite a gift. \n \t\tI'm not sure it's in your best interest. \n \n \t\t\tSALLY \n \t\tI adore him.","\tSally comes through the other door, one shoe off, one on. \n \n \t\t\tSALLY \n \t\tOh Jesus, who else is always early for \n \t\tChrist's sake? \n \n \tNEW ANGLE \n","\t\t\tSALLY \n \t\tI love you. \n \n \tINT. FOYER - EARLY EVENING \n \n \tThe house is filled with exquisite flower arrangements, \n \tcandles everywhere. \n","\t\t\tSALLY \n \t\t\t(pointed) \n \t\tWhatever you like. I'm afraid it'll all \n \t\tbe too big for you. \n \t\t\t(a moment)","\twalks in on them searching for Panes' ear, her best buddy. \n \n \t\t\tSALLY \n \t\t\t(resigned) \n \t\tOh perfect! \n"],["\t\t\tJEFFREY \n \t\tAnd you know our friends, how? \n \n \t\t\tMONICA \n \t\tWe live next door. \n \n \t\t\tJEFFREY","\t\t\tJEFFREY \n \t\tLet me. \n \t\t\t(pours for her) \n \t\tI'm Jeffrey. \n \n \t\t\tMONICA \n \t\tMonica. \n","\t\tOh. You're them. \n \n \t\t\tMONICA \n \t\tExcuse me? \n \n \t\t\tJEFFREY \n \t\tWe've heard lots about you. \n","\t\t\tJERRY \n \t\tGo! \n \n \tPanes mimes a belly laugh. \n \n \t\t\tJEFFREY \n \t\tWhat the hell is that? \n \n \t\t\tSALLY","\t\tShostackovich, as am I. \n \n \tOther arrivals pick their way through bodies and plates. \n \tWalk over to Sally and kiss her cheek. Joe and Gina and \n \tJeffrey sit off to the side. \n","\tPerrier in his hand. \n \n \tMEDIUM CLOSE \n \n \tMonica alone, uneasy, starts to pour herself a glass of \n \tchampagne. Jeffrey gets to the bottle first. \n","\t\teffect. Sally suffers, we all suffer. \n \n \t\t\tJUDY \n \t\t\t(offers) \n \t\tWe have a gift? \n \n \t\t\tJOE","\t\tIt was almost fatal. And that, my dear \n \t\tfriends, is the day... \n \n \t\t\tSALLY/JEFFREY \n \t\tI realized I had become a man. Ta da! \n","\t\tsexually ambivalent man-child. \"Oh now \n \t\tI'm a novelist, oh now I'm a director...\" \n \t\tEnglish prick bastard Joe Therrian who's","\t\t\tJUDY \n \t\t\t(mantra) \n \t\tOh Jesus oh Jesus oh Jesus. \n \n \tGrunts, groans, a scream, a peel of giggles. \n \n \t\t\tJERRY","\t\tI love you, Gina Taylor. \n \n \tSally's uncomfortable, a little jealous... feels intrusive. \n \tAware that Gina got there first. Knew him when. And always","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n","\ttheir mid-thirties, conservatively dressed. She's stunning, \n \tgenetically nervous. Jerry carries a briefcase. She's got \n \tthe gift. \n","\t\tdoing. \n \n \t\t\tSALLY \n \t\tI love you, you're a genius. \n \n \tBehind them, in the foyer, Judy wanders aimlessly. \n","\t\t\tJERRY \n \t\tI suppose. Sally, that's quite a gift. \n \t\tI'm not sure it's in your best interest. \n \n \t\t\tSALLY \n \t\tI adore him.","\t\t\tJUDY \n \t\tIt's very good. \n \t\t\t(a moment) \n \t\tI understand you won the Booker Prize. \n \n \t\t\tJOE \n \t\tYes I did. \n","\tSANFORD JEWISON is at the piano playing his own stuff, \n \toblivious to the din. The CAMERA gets a glimpse of Ryan \n \tthrough the French doors at the pool, alone, a glass of","\t\tYes, you're a monster. \n \n \tShe takes his hand. Sounds of the party come from below. \n \n \t\t\tSALLY \n \t\t\t(a moment) \n \t\tThank you, Panes.","\tJoe and Judy sit on opposite sides of the sofa -- slightly \n \tuncomfortable with each other. \n \n \t\t\tJOE \n \t\t\t(to fill the silence, \n \t\t\t conspiratorial grin)"],["\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\t\tWho, Sally? \n \n \t\t\tCAL \n \t\tAnd, you know it isn't rocket science, \n \t\tthis script. She can barely get the \n \t\tlines out. There was a scene last week -","\tSally's team prepares clues for charades. Sally writes them \n \tdown, throws them in a bowler hat. Her teammates are Panes, \n \tSophia, Mac, Ryan, Sanford and Jeffrey. \n","\tblows her a kiss. She kisses her finger tips and puts her \n \thand flat against the window pane. \n \n \tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \n","\t\t\tSALLY \n \t\tIn the morning, after everyone's gone and \n \t\tthere's just us. \n \n \tShe pushes him on the bed. \n \n \t\t\tJOE","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\t\tJOE \n \t\tYour director and your co-star of your \n \t\tcurrent movie. Don't dish if you can't \n \t\ttake it, Sally. \n \n \t\t\tSALLY","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\tFinally do. \n \n \t\t\tSALLY (O.S.) \n \t\tOtis!! Otis, come! Oh fuck! \n \n \tShe appears beside them. \n","\t\tI'm sure Sally's told you. \n \n \t\t\tJOE \n \t\tNo, what? \n \n \t\t\tCAL \n \t\tThe movie. \n \n \t\t\tJOE","\t\t\tSALLY \n \t\tOtis, good boy, come here. Oh my god, oh \n \t\tmy god, oh my god. \n \n \t\t\tJOE","\ther. Watches herself, with a professional, acute eye. More \n \tcritical than Mac's could ever be. \n \n \t\t\tSALLY (ON TV)","\tSally drops out of frame. \n \n \t\t\tSOPHIA \n \t\tDon't try and change the subject. \n \t\t\t(sitting, joining Sally)","\t\tSally? \n \n \t\t\tSALLY \n \t\tYes. And you've met Joe. \n \n \t\t\tRYAN \n \t\tYes. \n \n \t\t\tSALLY","\t\t\tSALLY \n \t\tSure. \n \n \tShe reaches out with both arms. \n \n \tINT. BATHROOM - TIGHT CLOSE \n","\t\tI'm in the same room with Sally Nash. Oh \n \t\tmy God. You're my icon. I've been \n \t\twatching your films since I was a little","\t\t\tSALLY \n \t\t\t(a deep breath) \n \t\tWell...wow... \n \n \tINT. HALLWAY - CONTINUOUS \n","\t\t\tSALLY \n \t\t\t(a little choked laugh) \n \t\tMe too. \n \n \t\t\tJOE \n \t\tThat's under lock and key. \n \n \t\t\tSALLY","\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n"],["\t\t\tSALLY \n \t\tThe Roses? And of course they said yes. \n \n \t\t\tJERRY \n \t\tThat was the plan. And you're thrilled \n \t\tto have them. \n","\t\t\tSALLY \n \t\tYou invited her to our anniversary party? \n \t\tI didn't even invite my mother. \n \n \t\t\tJOE \n \t\tShe goes on location tomorrow. Sally,","\tSally kisses his cheek on her way to the door. \n \n \t\t\tSALLY (CONT'D) \n \t\tPromise you'll be nice to the neighbors. \n \n \t\t\tJOE","\tJoe and Sally tenderly make love. It's the dissolution of \n \ttheir marriage. \n \n \tINT. FOYER - NINE A.M. \n \n \tAmerica and Rosa begins to clean up the debris from the","\t\tSally? \n \n \t\t\tSALLY \n \t\tYes. And you've met Joe. \n \n \t\t\tRYAN \n \t\tYes. \n \n \t\t\tSALLY","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\tI'm so happy you asked me to. I'm so \n \t\ttouched. I know how private you and \n \t\tSally are. \n \n \t\t\tJOE \n \t\t\t(uncomfortable)","\tand ushered them in. \n \n \t\t\tSALLY \n \t\tYou know Jerry. \n \n \t\t\tCAL \n \t\tYes, of course. \n \n \t\t\tSOPHIA","\t\t\tJOE \n \t\t\t(comes on them with the \n \t\t\t Forsythes in tow) \n \t\tShe rarely cops to it. \n \t\t\t(kisses Sally's cheek)","\tSally opens the door. Hugs and buses them, hello. \n \n \t\t\tJUDY \n \t\tI know we're early, we're so early. \n \t\tSorry. \n","\t\tthis stuff is to crop up. \n \n \t\t\tSALLY \n \t\t\t(muted) \n \t\tOh. \n \n \tThe Roses are happy to stand there on the fringe. Next to","\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\t\tJOE \n \t\tOh, well, we'll just have to try again. \n \t\tSound like a plan? \n \n \tSally nods, she and Joe, at Steven's instructions, come out","\t\t\t(a deep breath) \n \t\tWell, so glad you decided to come. \n \n \t\t\tMONICA \n \t\tWe could hardly say no. \n \n \t\t\tSALLY \n \t\tOh?","\tSally takes Panes into the living room where everyone chats, \n \tdrinks, smokes. They all like each other out of habit, if \n \tnothing else. Ryan and Monica are on the fringe, stand at","\t\teffect. Sally suffers, we all suffer. \n \n \t\t\tJUDY \n \t\t\t(offers) \n \t\tWe have a gift? \n \n \t\t\tJOE","\tSally and Joe are alone in the room. They hold each other, \n \tweep... \n \n \t\t\tRYAN \n \t\t\t(appalled) \n \t\tJesus Christ, it's a fucking dog!","\tSeveral of the other guests greet her, Mac among them. \n \n \tTIGHT CLOSE \n \n \tJoe sweeps her up to his arms. It's an intimate,","\tSally's started the bath, and is watching him from the \n \tdoorway. He meets her eyes mid-sentence. \n \n \t\t\tJOE (CONT'D)","\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves"],["\t\tI love you, Gina Taylor. \n \n \tSally's uncomfortable, a little jealous... feels intrusive. \n \tAware that Gina got there first. Knew him when. And always","\tSally approaches, gives Gina a warm kiss on the chest. \n \n \t\t\tSALLY \n \t\tThanks for coming. \n \n \t\t\tGINA \n \t\tHappy anniversary. You're a good match,","\t\tgo. \n \n \t\t\tSALLY \n \t\tWould you leave us alone right now? \n \n \t\t\tGINA \n \t\tI love her too, Joe. \n \n \t\t\tJOE","\t\t\t(realizes the import; to Gina) \n \t\tFuck you. \n \n \tTears start down Sally's face. \n \n \t\t\tGINA \n \t\tYou need to call your dad. \n","\t\t\tGINA \n \t\t\t(laughs) \n \t\tI love you, Joe Therrian. \n \n \t\t\tSALLY \n \t\t\t(at a loss, small) \n \t\tMe too. \n","\tphotos in the house are Gina's. It's a breathtaking print, \n \tan amazing caught moment. All light and shadow. A touching \n \tstudy. \n \n \t\t\tSALLY (CONT'D)","\t\tEverybody hates the messenger. \n \n \tGina exits. \n \n \t\t\tSALLY (CONT'D) \n \t\t\t(to Joe) \n \t\tI'm coming with you. \n","\tGina regards the photographs she brought for Joe and Sally. \n \tShe lifts it from the shelf, the phone rings, the machine \n \tpicks up. \n \n \t\t\tMAN'S VOICE","\tClair and Mac and Gina hug and say their goodbyes to Sally. \n \n \t\t\tGINA \n \t\t\t(kisses Sally; whispers) \n \t\tTake good care of it. \n","\t\t\tSALLY \n \t\tAnd you're not the wife. \n \n \t\t\tGINA \n \t\tIt's not a contest. \n \n \t\t\tSALLY \n \t\tDamn straight. \n","\t\t\tJOE \n \t\tOh don't. Everyone says that. \n \n \tINT. MUSIC LIBRARY \n \n \tSally's taken Gina's photograph of them from the mantelpiece","\t\twas good of you to be all this help. But \n \t\the doesn't want to go tonight. \n \n \t\t\tGINA \n \t\tJesus, Sally. I'm not the enemy. \n","\t\tknow, that thing that was Sally - that \n \t\talways surprised you. It's gone. I \n \t\tthink she's scared. And that's death. \n \n \t\t\tJOE","\t\t\tSALLY \n \t\tYou need to knock off the pills, Clair. \n \n \t\t\tCLAIR \n \t\tJust don't fucking tell her. \n \n \t\t\tSALLY","\t\t\tSALLY (CONT'D) \n \t\tYou think this was to hurt you?! My God, \n \t\tJoe. It isn't about you. \n \n \t\t\tJOE","\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\t\tWell, something's wrong. \n \n \t\t\tSALLY \n \t\tNothing's wrong. It's great, okay? \n \t\tHaving the time of my life. Mac's a","\t\tWell, I don't trust her. I never have. \n \n \t\t\tSALLY \n \t\tShe took our wedding photos, for \n \t\tchrissakes. You don't trust anyone. \n","\t\tWho, Sally? \n \n \t\t\tCAL \n \t\tAnd, you know it isn't rocket science, \n \t\tthis script. She can barely get the \n \t\tlines out. There was a scene last week -","\tThe CAMERA spots GINA TAYLOR through moving bodies. Tall, \n \tbeautiful, centered grace. She's got a Leica around her \n \tneck... drops her two large camera bags on the floor. \n"],["\t\tOh my God, this ecstacy must be really \n \t\tgood. \n \n \tEXT. POOL SIDE - CONTINUOUS \n \n \tJoe and Cal sit by the edge of the pool watching Skye dance","\t\t\t(pleased, surprised) \n \t\tDolphins. Great. \n \n \t\t\tSALLY \n \t\tIt's ecstasy, Sal. \n \n \t\t\tSKYE","\t\tthat is love. \n \n \tShe pulls an envelope from behind her back, which she's \n \tdecorated in flower-child fashion; it harkens back to the","\t\tOh God, it feels great! He's just a \n \t\tlittle narcissistic, irresponsible and \n \t\tunreliable. \n \n \t\t\tSALLY","\t\t\t lightly; shivers against the \n \t\t\t sensation) \n \t\tUtterly fantastic. \n \n \t\t\tRYAN \n \t\tYou know what Sally Therrian was saying","\tSkye's pleased she's made him happy. \n \n \t\t\tSALLY \n \t\t\t(regards Joe; to Skye) \n \t\tWhat a sweetheart you are. \n","\tdelicious moment. There's a spectacular shot of Sally, \n \tunaware, laughing, sad soft eyes on Joe. \n \n \tMEDIUM CLOSE - AMERICA \n","\tchest. \n \n \t\t\tMONICA \n \t\tI'd be thrilled. \n \n \t\t\tSOPHIA \n \t\tThen he'll be thrilled. \n","\tShe feels they've bonded. She pulls a well-thumbed copy of \n \tJoe's novel from her purse. \n \n \t\t\tMONICA (CONT'D) \n \t\tWould you sign it for me.","\t\t\tSALLY \n \t\tMaybe not. \n \n \t\t\tMAC \n \t\tSo much for ecstacy, right? \n \n \tThey all laugh a little. \n \n \t\t\tSOPHIA","\t\t\t(long moment) \n \t\tAnd a damn near perfect drug. \n \n \t\t\tJUDY \n \t\tHm. We should do it again. \n \n \t\t\tJERRY","\tOblivious, Judy and Clair turn somersaults. \n \n \tMac begins to panic. He is drowning. \n \n \tHe begins to sink. Panic gives way to acceptance. \n","\tMost everyone's moved through to the dining room. The table \n \tis filled with platters of beautifully prepared food. \n \tCandles, flowers. \n \n \tASTRID, newly arrived, carrying a miniature furball, of","\tcompounded by water-weight. \n \n \tThe drug has clearly taken effect. Mac opens his mouth to \n \tdirect his actors, forgets where he is, begins to choke, and \n \tcough, is clearly in trouble. \n","\t\t\tSALLY \n \t\tTrust him. \n \n \t\t\tPANES \n \t\tIt's Shostakovich. \n \n \tRyan spots his book on the shelf and pulls it out, delighted. \n","\tHe dances her around the kitchen, he picks up the sterling \n \tdish, arranges the pills, carries them back to the living \n \troom. \n \n \tINT. LIVING ROOM - CONTINUOUS \n","\tEXT. POOL - LATER \n \n \tThe drug has begun to take effect. The party is now in full \n \tswing. Music is playing, and Sophia and Clair are dancing. \n","\t\tdoing. \n \n \t\t\tSALLY \n \t\tI love you, you're a genius. \n \n \tBehind them, in the foyer, Judy wanders aimlessly. \n","\t\tHe's always one step removed, always \n \t\tlooking over his shoulder always looking \n \t\tfor something else, something more \n \t\tintoxicating, and I don't mean drugs. I","\tSeveral of the other guests greet her, Mac among them. \n \n \tTIGHT CLOSE \n \n \tJoe sweeps her up to his arms. It's an intimate,"],["\tShe puts down the phone. Stares into Joe's face, looks up at \n \ta photo on the wall that she took of Joe and Lucy. \n \n \tEXT. BACKYARD LANDING \n","\tJoe listens to the answering machine message Lucy left that \n \tmorning. He plays it again and again. \n \n \tHE fast forwards to his father's voice. Presses the STOP","\t\tJoe, it's Lucy. Remember me? It's the \n \t\tblack sheep here. Bah...not funny. \n \t\tHaven't heard from you, need you, call","\t\t\tLUCY (O.S.) \n \t\t\t(over answering machine) \n \t\tIt's a damn nuisance you aren't here, big \n \t\tbrother. Sorry I drone on. I miss you.","\t\tYou want to talk about bullshit? Lucy \n \t\tcalled you three times this week. She's \n \t\ta fucking mess, Joe. Your sister is a \n \t\tfucking mess. She needs you. I talk to","\tWe hear them calling for Otis. \n \n \t\t\tSALLY \n \t\tOtis!!!! \n \n \t\t\tJOE \n \t\t\t(on her heels) \n \t\tOtis!!!! \n","\t\tthem a call for you. \n \n \t\t\tJOE \n \t\tThanks, Mac. \n \t\t\t(regards him) \n \t\tAnd thanks for being so supportive about \n \t\tall this.","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\tGina regards the photographs she brought for Joe and Sally. \n \tShe lifts it from the shelf, the phone rings, the machine \n \tpicks up. \n \n \t\t\tMAN'S VOICE","\t\tJoe, Joe! It's your Dad! Pick up, \n \t\tJoe... \n \n \tGina sets the photo on the desk, leans it up against the","\t\t\tGINA (CONT'D) \n \t\tI saw Lucy when I was in London, she \n \t\tseems okay. It's hard to tell with her. \n \n \t\t\tJOE","\t\t\tGINA \n \t\tHarry called. \n \n \t\t\tJOE \n \t\t\t(growing dread) \n \t\tAnd? \n \n \t\t\tGINA","\tThe CAMERA hovers over the answering machine. \n \n \t\t\tLUCY (O.S.) \n \t\t\t(over answering machine; sweet, \n \t\t\t British, slightly desperate)","\t\t\tJOE (CONT'D) \n \t\tHave I ever told you how Lucy and I \n \t\tnearly squashed each other getting into \n \t\tthe dumb waiter. \n","\tSeveral of the other guests greet her, Mac among them. \n \n \tTIGHT CLOSE \n \n \tJoe sweeps her up to his arms. It's an intimate,","\tSally's started the bath, and is watching him from the \n \tdoorway. He meets her eyes mid-sentence. \n \n \t\t\tJOE (CONT'D)","\tThe phone RINGS again. \n \n \t\t\tVOICE (O.S.) \n \t\t\t(over answering machine) \n \t\tHello, I have Dr. Harmon calling for \n \t\tSally Therrian. \n","\t\tI'm sure Sally's told you. \n \n \t\t\tJOE \n \t\tNo, what? \n \n \t\t\tCAL \n \t\tThe movie. \n \n \t\t\tJOE","\t\tIn Cheyene Walk? Lucy's going to have a \n \t\tmeltdown. Oh, I'm so sorry. \n \n \t\t\tJOE \n \t\tI should have damn well bought it. Well,","\t\t\tJOE \n \t\t\t(humors her) \n \t\tYeah, it was. For a writer nothing's \n \t\tsacred. \n \t\t\t(thinks a moment)"],["\t\tHappy anniversary. \n \n \tThey smile. \n \n \t\t\tSTEVEN \n \t\tAnd change sides... \n \n \tAmerica slides open the dining room doors. The dining table","\t\tIt's our anniversary, Panes. \n \n \t\t\tPANES \n \t\tI didn't hear me say tonight. \n \n \t\t\tSALLY \n \t\tWe're just feeling our way back. \n","\tof their handstands and lie on the floor in a stretched \n \trelax, facing one another. \n \n \t\t\tSALLY \n \t\tHappy anniversary, baby. \n \n \t\t\tJOE","\t\t\tJACK \n \t\t\t(sings) \n \t\tHappy anniversary to you. We're glad Joe \n \t\tcame home. Don't split up again. Cause \n \t\twe like the food.","\t\tHappy anniversary, buddy! Six months \n \t\tago, who would have thunk it? \n \n \tJerry hugs Joe. \n \n \t\t\tJOE \n \t\t\t(sotto)","\tSally approaches, gives Gina a warm kiss on the chest. \n \n \t\t\tSALLY \n \t\tThanks for coming. \n \n \t\t\tGINA \n \t\tHappy anniversary. You're a good match,","\tsixties, puts it into Sally's hand, kisses her cheek. \n \n \t\t\tSKYE (CONT'D) \n \t\t\t(tears up) \n \t\tHappy anniversary. Thank you for making","\tSally opens the gift. Takes out a Calder mobile. \n \n \t\t\tJOE \n \t\tHappy anniversary. \n \n \t\t\tSALLY \n \t\tIt's a Calder. \n","\tset of keys. \n \n \t\t\tSALLY (CONT'D) \n \t\tThey're the keys to your grandad's flat. \n \t\tHappy anniversary, baby. \n \n \t\t\tJOE","\thim. His arms are wrapped around her, face pressed against \n \thers. \n \n \tThere's a SERIES OF CUTS through speeches, gifts,","\t\tAre those our dailies? You're totally \n \t\toutrageous. It's their anniversary. Is \n \t\tnothing sacred! Well...so...how am I? \n \n \t\t\tMAC","\ttheir mid-thirties, conservatively dressed. She's stunning, \n \tgenetically nervous. Jerry carries a briefcase. She's got \n \tthe gift. \n","\t\t\tSALLY \n \t\tYou invited her to our anniversary party? \n \t\tI didn't even invite my mother. \n \n \t\t\tJOE \n \t\tShe goes on location tomorrow. Sally,","\tJoe and Sally tenderly make love. It's the dissolution of \n \ttheir marriage. \n \n \tINT. FOYER - NINE A.M. \n \n \tAmerica and Rosa begins to clean up the debris from the","\tdining room, giving the couple their privacy. \n \n \t\t\tJOE (CONT'D) \n \t\t\t(calls out) \n \t\tThank you, America! \n \n \t\t\tSTEVEN","\t\tI never put myself in harm's way. \n \n \t\t\tJOE \n \t\tAnymore. \n \n \t\t\tGINA \n \t\tNo, not anymore. Happy anniversary, \n \t\tscout.","\tWe see Judy and Jerry bounding around the side of the house. \n \tJerry has his briefcase in his hand. They are laughing. \n \tThey enter the kitchen. The camera stays outside. We see","\tSeveral of the other guests greet her, Mac among them. \n \n \tTIGHT CLOSE \n \n \tJoe sweeps her up to his arms. It's an intimate,","\t\tPart of our gift. Honey!! \n \n \t\t\tCAL \n \t\t\t(clinks his glass) \n \t\tHere, here. \n \n \tClair picks up discarded dinner plates. Otis takes care of","\t\tI'm the wife. We've met. \n \n \t\t\tJERRY \n \t\t\t(hugs her) \n \t\tYou, I know. \n \n \t\t\tSALLY"],["\t\tHappy anniversary. \n \n \tThey smile. \n \n \t\t\tSTEVEN \n \t\tAnd change sides... \n \n \tAmerica slides open the dining room doors. The dining table","\t\tIt's our anniversary, Panes. \n \n \t\t\tPANES \n \t\tI didn't hear me say tonight. \n \n \t\t\tSALLY \n \t\tWe're just feeling our way back. \n","\tof their handstands and lie on the floor in a stretched \n \trelax, facing one another. \n \n \t\t\tSALLY \n \t\tHappy anniversary, baby. \n \n \t\t\tJOE","\tset of keys. \n \n \t\t\tSALLY (CONT'D) \n \t\tThey're the keys to your grandad's flat. \n \t\tHappy anniversary, baby. \n \n \t\t\tJOE","\thim. His arms are wrapped around her, face pressed against \n \thers. \n \n \tThere's a SERIES OF CUTS through speeches, gifts,","\t\tHappy anniversary, buddy! Six months \n \t\tago, who would have thunk it? \n \n \tJerry hugs Joe. \n \n \t\t\tJOE \n \t\t\t(sotto)","\t\t\tJACK \n \t\t\t(sings) \n \t\tHappy anniversary to you. We're glad Joe \n \t\tcame home. Don't split up again. Cause \n \t\twe like the food.","\tsixties, puts it into Sally's hand, kisses her cheek. \n \n \t\t\tSKYE (CONT'D) \n \t\t\t(tears up) \n \t\tHappy anniversary. Thank you for making","\tSally approaches, gives Gina a warm kiss on the chest. \n \n \t\t\tSALLY \n \t\tThanks for coming. \n \n \t\t\tGINA \n \t\tHappy anniversary. You're a good match,","\tSally opens the gift. Takes out a Calder mobile. \n \n \t\t\tJOE \n \t\tHappy anniversary. \n \n \t\t\tSALLY \n \t\tIt's a Calder. \n","\ttheir mid-thirties, conservatively dressed. She's stunning, \n \tgenetically nervous. Jerry carries a briefcase. She's got \n \tthe gift. \n","\t\tAre those our dailies? You're totally \n \t\toutrageous. It's their anniversary. Is \n \t\tnothing sacred! Well...so...how am I? \n \n \t\t\tMAC","\tJoe and Sally tenderly make love. It's the dissolution of \n \ttheir marriage. \n \n \tINT. FOYER - NINE A.M. \n \n \tAmerica and Rosa begins to clean up the debris from the","\tdining room, giving the couple their privacy. \n \n \t\t\tJOE (CONT'D) \n \t\t\t(calls out) \n \t\tThank you, America! \n \n \t\t\tSTEVEN","\tWe see Judy and Jerry bounding around the side of the house. \n \tJerry has his briefcase in his hand. They are laughing. \n \tThey enter the kitchen. The camera stays outside. We see","\t\tI never put myself in harm's way. \n \n \t\t\tJOE \n \t\tAnymore. \n \n \t\t\tGINA \n \t\tNo, not anymore. Happy anniversary, \n \t\tscout.","\t\tI'm the wife. We've met. \n \n \t\t\tJERRY \n \t\t\t(hugs her) \n \t\tYou, I know. \n \n \t\t\tSALLY","\tthem brought up short by the gloom, but hear nothing. \n \n \tINT. KITCHEN - CONTINUOUS \n \n \tSally and Joe are at the table, signing their tax returns.","\t\t\t(his face lights) \n \t\tI'm so glad you're able to make it...it's \n \t\tour sixth, actually. \n \t\t\t(flattered)","\t\tPart of our gift. Honey!! \n \n \t\t\tCAL \n \t\t\t(clinks his glass) \n \t\tHere, here. \n \n \tClair picks up discarded dinner plates. Otis takes care of"],["\t\t\tJOE \n \t\t\t(opens the door) \n \t\tPanes! How are you? \n \n \t\t\tPANES \n \t\tOh, you know, I am. \n \n \t\t\tJOE","\t\t\tJOE \n \t\t\t(humors her) \n \t\tYeah, it was. For a writer nothing's \n \t\tsacred. \n \t\t\t(thinks a moment)","\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n","\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\tYou're Joe, aren't you? \n \t\t\t(nods knowingly) \n \t\tI recognized you from the book jacket. \n \n \tJoe grins from ear to ear. Uncharacteristically star struck","\tJoe comes through the left hand door, nearly dressed. \n \n \t\t\tJOE \n \t\tWho the fuck can be here at this time? \n \t\tIt's not even seven! \n","\t\tAnd Joe's huge in Europe. He's like a \n \t\trock star in London. His novels sell \n \t\tmillions. \n \n \t\t\tJERRY \n \t\tNot millions. \n","\t\t\tJOE \n \t\t\t(bereft) \n \t\tStupid tart. \n \n \tINT. KITCHEN - LATER \n","\tJoe and Judy sit on opposite sides of the sofa -- slightly \n \tuncomfortable with each other. \n \n \t\t\tJOE \n \t\t\t(to fill the silence, \n \t\t\t conspiratorial grin)","\t\t\tJOE \n \t\tHe'll find his way back. \n \n \t\t\tSALLY \n \t\tThere are fucking coyotes out there. \n \n \t\t\tJOE \n \t\t\t(calming)","\tSally's started the bath, and is watching him from the \n \tdoorway. He meets her eyes mid-sentence. \n \n \t\t\tJOE (CONT'D)","\tSeveral of the other guests greet her, Mac among them. \n \n \tTIGHT CLOSE \n \n \tJoe sweeps her up to his arms. It's an intimate,","\tJoe listens to the answering machine message Lucy left that \n \tmorning. He plays it again and again. \n \n \tHE fast forwards to his father's voice. Presses the STOP","\t\t\tJOE \n \t\t\t(comes on them with the \n \t\t\t Forsythes in tow) \n \t\tShe rarely cops to it. \n \t\t\t(kisses Sally's cheek)","\tJoe regards the open trusting face, is touched by it. Leans \n \tin, kisses her lips very lightly... and again. Her arms \n \tcan't make up her mind, whether to come up around him or not.","\t\t\tJOE \n \t\tI have no idea who you are. \n \n \tThey stand their in silence. Joe is devastated. We hear \n \tSkye and Panes up ahead calling for Otis. \n","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\t\tJOE \n \t\tI know. \n \n \t\t\tSALLY \n \t\tHe's my favorite. \n \n \t\t\tJOE","\t\t\tJOE \n \t\tOh shit. I'm sorry. I'm a total fucking \n \t\tmaniac. Delete all that, okay? I spoke \n \t\tfor myself, this needn't rub off on my","\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves"],["\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n","\tblows her a kiss. She kisses her finger tips and puts her \n \thand flat against the window pane. \n \n \tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \n","\t\t\tSALLY \n \t\tIn the morning, after everyone's gone and \n \t\tthere's just us. \n \n \tShe pushes him on the bed. \n \n \t\t\tJOE","\tSally drops out of frame. \n \n \t\t\tSOPHIA \n \t\tDon't try and change the subject. \n \t\t\t(sitting, joining Sally)","\tSally sits at the edge of the bed, regards the sleeping \n \tchildren. Reaches over and smoothens the tangled, tousled \n \thair. Studies their faces. \n","\tSally jumps out of the down dog position and runs to the \n \tphone, all angles. \n \n \t\t\tSALLY \n \t\tHello, hi, hi...and? Thank God. \n","\ther. Watches herself, with a professional, acute eye. More \n \tcritical than Mac's could ever be. \n \n \t\t\tSALLY (ON TV)","\tSally opens the door. Hugs and buses them, hello. \n \n \t\t\tJUDY \n \t\tI know we're early, we're so early. \n \t\tSorry. \n","\t\t\tMONICA \n \t\t\t(nods) \n \t\tSally did all this herself? \n \n \t\t\tJOE \n \t\tIn fits and starts -- and then, later, of","\t\t\tSALLY \n \t\t\t(a little choked laugh) \n \t\tMe too. \n \n \t\t\tJOE \n \t\tThat's under lock and key. \n \n \t\t\tSALLY","\t\t\tSALLY \n \t\t\t(a deep breath) \n \t\tWell...wow... \n \n \tINT. HALLWAY - CONTINUOUS \n","\t\tknow, that thing that was Sally - that \n \t\talways surprised you. It's gone. I \n \t\tthink she's scared. And that's death. \n \n \t\t\tJOE","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\tClair's started down the hallway, reaches the landing. Sally \n \trushes into the guest bedroom to avoid her. Clair, just \n \tmissing Sally, wanders into the dailies room. \n","\t\t\tSALLY \n \t\tI love you. \n \n \tINT. FOYER - EARLY EVENING \n \n \tThe house is filled with exquisite flower arrangements, \n \tcandles everywhere. \n","\tSally comes through the other door, one shoe off, one on. \n \n \t\t\tSALLY \n \t\tOh Jesus, who else is always early for \n \t\tChrist's sake? \n \n \tNEW ANGLE \n","\t\t\tSALLY \n \t\tSure. \n \n \tShe reaches out with both arms. \n \n \tINT. BATHROOM - TIGHT CLOSE \n","\t\t\tSALLY \n \t\tOtis, good boy, come here. Oh my god, oh \n \t\tmy god, oh my god. \n \n \t\t\tJOE","\t\tdoing. \n \n \t\t\tSALLY \n \t\tI love you, you're a genius. \n \n \tBehind them, in the foyer, Judy wanders aimlessly. \n","\tSally who is coming up. \n \n \t\t\tSOPHIA \n \t\tI'm going to be home all weekend, call if \n \t\tyou need anything. \n \n \tSally kisses Cal's cheek. \n"],["\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\t\tSally, I have never considered you for \n \t\tthis part because you are too old to play \n \t\tit. And you are out of touch with \n \t\treality if you think differently. \n \n \t\t\tSALLY","\tblows her a kiss. She kisses her finger tips and puts her \n \thand flat against the window pane. \n \n \tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \n","\ther. Watches herself, with a professional, acute eye. More \n \tcritical than Mac's could ever be. \n \n \t\t\tSALLY (ON TV)","\t\tWho, Sally? \n \n \t\t\tCAL \n \t\tAnd, you know it isn't rocket science, \n \t\tthis script. She can barely get the \n \t\tlines out. There was a scene last week -","\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\t\tI love you, Gina Taylor. \n \n \tSally's uncomfortable, a little jealous... feels intrusive. \n \tAware that Gina got there first. Knew him when. And always","\tSally's team prepares clues for charades. Sally writes them \n \tdown, throws them in a bowler hat. Her teammates are Panes, \n \tSophia, Mac, Ryan, Sanford and Jeffrey. \n","\tSally comes through the other door, one shoe off, one on. \n \n \t\t\tSALLY \n \t\tOh Jesus, who else is always early for \n \t\tChrist's sake? \n \n \tNEW ANGLE \n","\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\tBut I am a possessive, fragile neurotic. \n \n \t\t\tSOPHIA \n \t\t\t(also tearing up) \n \t\tNo you are not. You're Sally Nash.","\t\tRight. And when was the last time you \n \t\tspoke to her? \n \n \tJoe is silent. \n \n \t\t\tSALLY (CONT'D) \n \t\tAnd how fucking dare you cast Skye","\t\t\tSALLY \n \t\tSure. \n \n \tShe reaches out with both arms. \n \n \tINT. BATHROOM - TIGHT CLOSE \n","\t\t\tSALLY \n \t\tIn the morning, after everyone's gone and \n \t\tthere's just us. \n \n \tShe pushes him on the bed. \n \n \t\t\tJOE","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\t\t\tJERRY \n \t\tI suppose. Sally, that's quite a gift. \n \t\tI'm not sure it's in your best interest. \n \n \t\t\tSALLY \n \t\tI adore him.","\t\t\tJOE \n \t\t\t(comes on them with the \n \t\t\t Forsythes in tow) \n \t\tShe rarely cops to it. \n \t\t\t(kisses Sally's cheek)","\t\tmy entire life. Including my mother. \n \t\tThe character is also clearly in her \n \t\tearly twenties, Sally. \n \n \t\t\tSALLY \n \t\tWhat are you saying? \n","\t\t\tSALLY (O.S.) \n \t\tHere I am. Panes, my love! \n \n \tSally starts down the hallway. \n \n \t\t\tSALLY (CONT'D)","\twalks in on them searching for Panes' ear, her best buddy. \n \n \t\t\tSALLY \n \t\t\t(resigned) \n \t\tOh perfect! \n"],["\tSally kisses his cheek on her way to the door. \n \n \t\t\tSALLY (CONT'D) \n \t\tPromise you'll be nice to the neighbors. \n \n \t\t\tJOE","\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\tOh, okay, forgive me. Your neighbors are \n \t\there, for fuck's sake. \n \n \t\t\tSALLY \n \t\tExactly what I mean. It's all ruined. \n","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\t\tJOE \n \t\tOkay, knock it off. \n \n \t\t\tSALLY \n \t\tTruce? \n \n \t\t\tJOE \n \t\tTruce. \n","\tthem brought up short by the gloom, but hear nothing. \n \n \tINT. KITCHEN - CONTINUOUS \n \n \tSally and Joe are at the table, signing their tax returns.","\tJoe and Sally tenderly make love. It's the dissolution of \n \ttheir marriage. \n \n \tINT. FOYER - NINE A.M. \n \n \tAmerica and Rosa begins to clean up the debris from the","\t\t\tSALLY \n \t\tYou invited her to our anniversary party? \n \t\tI didn't even invite my mother. \n \n \t\t\tJOE \n \t\tShe goes on location tomorrow. Sally,","\tSally and Joe are alone in the room. They hold each other, \n \tweep... \n \n \t\t\tRYAN \n \t\t\t(appalled) \n \t\tJesus Christ, it's a fucking dog!","\t\tThese are the people who live next door. \n \t\tSay hello. \n \n \tJack does. \n \n \t\t\tJOE (CONT'D) \n \t\tAnd close the door, Jack. Because if we","\t\t\t(to Joe) \n \t\tI'm sure you understand. \n \n \t\t\tSALLY \n \t\tWell the neighborhood is full of dogs, \n \t\tand it's not always Otis. \n","\t\t\tJOE \n \t\tOh, well, we'll just have to try again. \n \t\tSound like a plan? \n \n \tSally nods, she and Joe, at Steven's instructions, come out","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\t\tEverybody hates the messenger. \n \n \tGina exits. \n \n \t\t\tSALLY (CONT'D) \n \t\t\t(to Joe) \n \t\tI'm coming with you. \n","\tOtis is barking. \n \n \t\t\tJOE (O.S.) \n \t\tOtis! No barking! \n \n \t\t\tSALLY \n \t\t\t(touched)","\tJoe and Judy sit on opposite sides of the sofa -- slightly \n \tuncomfortable with each other. \n \n \t\t\tJOE \n \t\t\t(to fill the silence, \n \t\t\t conspiratorial grin)","\t\t\tSALLY \n \t\t\t(a little choked laugh) \n \t\tMe too. \n \n \t\t\tJOE \n \t\tThat's under lock and key. \n \n \t\t\tSALLY","\t\tSally? \n \n \t\t\tSALLY \n \t\tYes. And you've met Joe. \n \n \t\t\tRYAN \n \t\tYes. \n \n \t\t\tSALLY","\tSally takes Panes into the living room where everyone chats, \n \tdrinks, smokes. They all like each other out of habit, if \n \tnothing else. Ryan and Monica are on the fringe, stand at","\t\teffect. Sally suffers, we all suffer. \n \n \t\t\tJUDY \n \t\t\t(offers) \n \t\tWe have a gift? \n \n \t\t\tJOE"],["\tSkye's pleased she's made him happy. \n \n \t\t\tSALLY \n \t\t\t(regards Joe; to Skye) \n \t\tWhat a sweetheart you are. \n","\t\t\tSKYE \n \t\tFriends. And talented friends. This \n \t\troom is so filled with love.. \n \n \t\t\tASTRID \n \t\t\t(sings out)","\t\tI was impressed. \n \n \t\t\tSKYE \n \t\tOh? \n \n \t\t\tPANES \n \t\tThe charades. \n \n \t\t\tSKYE \n \t\tThank you.","\tt-shirt. Very similar to what Skye is wearing. She sits a \n \tmoment on the floor. The sounds of the party below are \n \tmuted. \n \n \t\t\tSALLY (O.S.)","\tsixties, puts it into Sally's hand, kisses her cheek. \n \n \t\t\tSKYE (CONT'D) \n \t\t\t(tears up) \n \t\tHappy anniversary. Thank you for making","\t\tAnd the winner is... \n \n \t\t\tPANES \n \t\tLet the woman speak. \n \n \t\t\tSKYE \n \t\tAnd I brought a gift of love. A gift","\t\tNo, no of course not. It's Skye fucking \n \t\tDavidson, for fuck's sake. \n \n \t\t\tJOE \n \t\t\t(regards her)","\t\t\tSKYE \n \t\tOh my god. I've been so rude. I'm Skye \n \t\tDavidson. Has anyone ever told you, you \n \t\tlook like Peter Sellers? \n","\t\tprobably going to leave you for Skye \n \t\tDavidson anyway. \n \n \tThey hug a bit weepy. \n \n \t\t\tSOPHIA (CONT'D)","\t\t\tSKYE \n \t\tAnd my favorite novelist. And all their \n \t\tamazing -- \n \n \t\t\tSAM \n \t\t\t(sings out) \n \t\tAnd talented. \n","\t\tRight. And when was the last time you \n \t\tspoke to her? \n \n \tJoe is silent. \n \n \t\t\tSALLY (CONT'D) \n \t\tAnd how fucking dare you cast Skye","\tin front of this beauty. \n \n \t\t\tJOE \n \t\tHow do you do, Skye? \n \n \t\t\tSKYE \n \t\tOh, I love that.","\t\t\tJOE \n \t\tWith great tits. I'm going to ask her if \n \t\tI can touch them. \n \n \tHe gets up to go towards Skye, is stopped by... \n","\t\tIs there space here? \n \n \t\t\tSKYE \n \t\tYes. \n \n \t\t\tPANES \n \t\tDo you need anything else? \n \n \t\t\tSKYE","\t\tJust a moment. \n \t\t\t(puts the call on hold) \n \t\tIt's Skye Davidson. She needs directions \n \t\tto the house. You invited Skye fucking","\tJoe winces, uncomfortable, picks up the bottle of wine and \n \tleaves. \n \n \t\t\tSKYE (CONT'D) \n \t\tAnd I'm overwhelmed. And I want to do it","\tby herself at the far end. Joe has his hand on Cal's chest. \n \tCal is stroking Joe's hair. \n \n \t\t\tJOE \n \t\tIsn't Skye amazing? \n","\t\tYeah, well, it's just us and a few \n \t\thundred of our closest friends. \n \n \t\t\tSKYE \n \t\t\t(genuine) \n \t\tWhen I read your work I felt that you","\tSkye giggles appreciative response. \n \n \t\t\tPANES (CONT'D) \n \t\t\t(still Indian) \n \t\tSo you are well acquainted with this","\tisn't buying it. \n \n \t\t\tJOE (O.S.) (CONT'D) \n \t\tI'm looking forward to meeting you, too. \n \t\tAnd Skye, I'm thrilled that you're"],["\tOblivious, Judy and Clair turn somersaults. \n \n \tMac begins to panic. He is drowning. \n \n \tHe begins to sink. Panic gives way to acceptance. \n","\t\tknow, that thing that was Sally - that \n \t\talways surprised you. It's gone. I \n \t\tthink she's scared. And that's death. \n \n \t\t\tJOE","\tThey step out onto the porch. Judy's left alone, unsure \n \twhether to follow or not. \n \n \t\t\tJUDY \n \t\t\t(finally, to no one, and to no","\tClair wanders up. She's changed into her own clothes. \n \n \t\t\tCLAIR \n \t\tI've lost my husband and my beeper. Have \n \t\teither of you seen either of them? \n","\tEXT. HIGH SHOT - CONTINUOUS \n \n \tOtis wanders along the street, up the driveway and disappears \n \tthrough the flap in the kitchen door. \n","\t\t\tJOE \n \t\tI have no idea who you are. \n \n \tThey stand their in silence. Joe is devastated. We hear \n \tSkye and Panes up ahead calling for Otis. \n","\tA pall descends on the party. There's a FULL SHOT of the \n \tgroup. Nobody quite knows what to do. There's torn wrapping \n \tpaper all over the room. \n \n \t\t\tASTRID","\t\tEverybody hates the messenger. \n \n \tGina exits. \n \n \t\t\tSALLY (CONT'D) \n \t\t\t(to Joe) \n \t\tI'm coming with you. \n","\t\t\t\t\t\t FADE OUT. \n \n \n","\t\tPart of our gift. Honey!! \n \n \t\t\tCAL \n \t\t\t(clinks his glass) \n \t\tHere, here. \n \n \tClair picks up discarded dinner plates. Otis takes care of","\t\tprobably going to leave you for Skye \n \t\tDavidson anyway. \n \n \tThey hug a bit weepy. \n \n \t\t\tSOPHIA (CONT'D)","\tThere are awkward excuses. Some of the guests leave. \n \n \tINT. LIVING ROOM - MOMENTS LATER \n \n \tThe core group remains. \n \n \t\t\tJOE","\t\teverything alright? \n \t\t\t(a deep intake of breath) \n \t\tOh my God. When? He's not here. \n \t\tThey're out looking for Otis. The dog,","\t\tPanes is not on your team anymore. \n \n \t\t\tPANES \n \t\tWhat did I do? \n \n \t\t\tSALLY \n \t\tPanes is not on my team anymore. I'll","\t\tSally, calm down. We're not going to \n \t\tfind him any quicker by you being \n \t\thysterical. \n \n \tMonica retreats, backs off a step or two. \n","\tJoe and Sally tenderly make love. It's the dissolution of \n \ttheir marriage. \n \n \tINT. FOYER - NINE A.M. \n \n \tAmerica and Rosa begins to clean up the debris from the","\tIt's empty but for glasses, wrapping paper, abandoned dishes \n \tof leftover cake. \n \n \tINT. EMPTY KITCHEN - CONTINUOUS \n","\t\tanyone. \n \n \tShe walks in front of the television set, blocks it with her \n \tbody, switches it off. \n \n \t\t\tMAC \n \t\t\t(an observation)","\t\tYes, you're a monster. \n \n \tShe takes his hand. Sounds of the party come from below. \n \n \t\t\tSALLY \n \t\t\t(a moment) \n \t\tThank you, Panes.","\t\tdoing. \n \n \t\t\tSALLY \n \t\tI love you, you're a genius. \n \n \tBehind them, in the foyer, Judy wanders aimlessly. \n"],["\t\t\tGINA \n \t\tHarry called. \n \n \t\t\tJOE \n \t\t\t(growing dread) \n \t\tAnd? \n \n \t\t\tGINA","\t\tHas she called? \n \n \t\t\tPANES \n \t\tShe'll never call again. She called last \n \t\tweek to tell me she'll never call again. \n \t\tWhere's Sally? \n","\tThe phone RINGS again. \n \n \t\t\tVOICE (O.S.) \n \t\t\t(over answering machine) \n \t\tHello, I have Dr. Harmon calling for \n \t\tSally Therrian. \n","\t\tnot. Harry. I'm so sorry. I will. \n \t\t\t(writes down the number) \n \t\tYes I will. Take care, Harry. Bye. \n","\tGina regards the photographs she brought for Joe and Sally. \n \tShe lifts it from the shelf, the phone rings, the machine \n \tpicks up. \n \n \t\t\tMAN'S VOICE","\tSally and Joe are alone in the room. They hold each other, \n \tweep... \n \n \t\t\tRYAN \n \t\t\t(appalled) \n \t\tJesus Christ, it's a fucking dog!","\t\teverything alright? \n \t\t\t(a deep intake of breath) \n \t\tOh my God. When? He's not here. \n \t\tThey're out looking for Otis. The dog,","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\tWe hear them calling for Otis. \n \n \t\t\tSALLY \n \t\tOtis!!!! \n \n \t\t\tJOE \n \t\t\t(on her heels) \n \t\tOtis!!!! \n","\t\t\tJOE \n \t\tI have no idea who you are. \n \n \tThey stand their in silence. Joe is devastated. We hear \n \tSkye and Panes up ahead calling for Otis. \n","\t\tFor good. \n \n \tThey begin to make love...the phone RINGS. \n \n \t\t\tJOE (CONT'D) \n \t\tDon't get it. \n \n \t\t\tSALLY","\tSally jumps out of the down dog position and runs to the \n \tphone, all angles. \n \n \t\t\tSALLY \n \t\tHello, hi, hi...and? Thank God. \n","\tShe puts down the phone. Stares into Joe's face, looks up at \n \ta photo on the wall that she took of Joe and Lucy. \n \n \tEXT. BACKYARD LANDING \n","\tJoe listens to the answering machine message Lucy left that \n \tmorning. He plays it again and again. \n \n \tHE fast forwards to his father's voice. Presses the STOP","\tA pall descends on the party. There's a FULL SHOT of the \n \tgroup. Nobody quite knows what to do. There's torn wrapping \n \tpaper all over the room. \n \n \t\t\tASTRID","\t\tknow, that thing that was Sally - that \n \t\talways surprised you. It's gone. I \n \t\tthink she's scared. And that's death. \n \n \t\t\tJOE","\t\t\tMONICA/RYAN \n \t\t\t(a little late; into silence) \n \t\tPanes. \n \n \tPanes gives them another little wave. Doorbell rings. \n","\t\t\tSALLY'S VOICE FROM THE T.V. (O.S.) \n \t\tA bird with dropsy. A caged bird. That \n \t\thasn't long to live. \n","\t\tJoe, Joe! It's your Dad! Pick up, \n \t\tJoe... \n \n \tGina sets the photo on the desk, leans it up against the","\tThey step out onto the porch. Judy's left alone, unsure \n \twhether to follow or not. \n \n \t\t\tJUDY \n \t\t\t(finally, to no one, and to no"],["\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\t\tRight. And when was the last time you \n \t\tspoke to her? \n \n \tJoe is silent. \n \n \t\t\tSALLY (CONT'D) \n \t\tAnd how fucking dare you cast Skye","\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\t\tSally, I have never considered you for \n \t\tthis part because you are too old to play \n \t\tit. And you are out of touch with \n \t\treality if you think differently. \n \n \t\t\tSALLY","\t\t\tSALLY (CONT'D) \n \t\tYou think this was to hurt you?! My God, \n \t\tJoe. It isn't about you. \n \n \t\t\tJOE","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\t\t(moves toward her) \n \t\tSally... \n \n \t\t\tSALLY \n \t\tDon't. \n \n \t\t\tJOE \n \t\tDon't push me away. \n","\t\tI'm sure Sally's told you. \n \n \t\t\tJOE \n \t\tNo, what? \n \n \t\t\tCAL \n \t\tThe movie. \n \n \t\t\tJOE","\t\t\tJOE \n \t\tYou changed your mind. \n \n \t\t\tSALLY \n \t\tI wanted you back. \n \n \tJoe slaps her hard across the face. \n","\t\tMac's a pretty great director, Joe. He's \n \t\ta woman's director. And nothing's \n \t\thappening. Course he won't fire her, \n \t\tbecause of the friendship... But it was","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\t\t\tSALLY \n \t\t\t(a little choked laugh) \n \t\tMe too. \n \n \t\t\tJOE \n \t\tThat's under lock and key. \n \n \t\t\tSALLY","\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n","\t\tknow, that thing that was Sally - that \n \t\talways surprised you. It's gone. I \n \t\tthink she's scared. And that's death. \n \n \t\t\tJOE","\t\t\tSALLY \n \t\tYes. \n \n \t\t\tJOE \n \t\tI'll never forgive you. \n \n \t\t\tSALLY \n \t\tI know. \n","\t\tthe same way. \n \n \t\t\tJOE \n \t\tLove? \n \n \t\t\tSALLY \n \t\tYou walked out on a five year marriage. \n \n \t\t\tJOE","\t\t\tSALLY \n \t\tYou invited her to our anniversary party? \n \t\tI didn't even invite my mother. \n \n \t\t\tJOE \n \t\tShe goes on location tomorrow. Sally,","\t\t\tJOE \n \t\t\t(comes on them with the \n \t\t\t Forsythes in tow) \n \t\tShe rarely cops to it. \n \t\t\t(kisses Sally's cheek)","\t\tRyan! \n \n \t\t\tSALLY \n \t\t\t(cuts off response from Joe; to \n \t\t\t Ryan) \n \t\tAre you working on a new book? \n \n \t\t\tRYAN"],["\tSally kisses his cheek on her way to the door. \n \n \t\t\tSALLY (CONT'D) \n \t\tPromise you'll be nice to the neighbors. \n \n \t\t\tJOE","\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\tOh, okay, forgive me. Your neighbors are \n \t\there, for fuck's sake. \n \n \t\t\tSALLY \n \t\tExactly what I mean. It's all ruined. \n","\tSally and Joe are alone in the room. They hold each other, \n \tweep... \n \n \t\t\tRYAN \n \t\t\t(appalled) \n \t\tJesus Christ, it's a fucking dog!","\t\t\tJOE \n \t\tOkay, knock it off. \n \n \t\t\tSALLY \n \t\tTruce? \n \n \t\t\tJOE \n \t\tTruce. \n","\tOtis is barking. \n \n \t\t\tJOE (O.S.) \n \t\tOtis! No barking! \n \n \t\t\tSALLY \n \t\t\t(touched)","\tJoe and Sally tenderly make love. It's the dissolution of \n \ttheir marriage. \n \n \tINT. FOYER - NINE A.M. \n \n \tAmerica and Rosa begins to clean up the debris from the","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\t\t\t(to Joe) \n \t\tI'm sure you understand. \n \n \t\t\tSALLY \n \t\tWell the neighborhood is full of dogs, \n \t\tand it's not always Otis. \n","\t\tEverybody hates the messenger. \n \n \tGina exits. \n \n \t\t\tSALLY (CONT'D) \n \t\t\t(to Joe) \n \t\tI'm coming with you. \n","\t\t\tSALLY (CONT'D) \n \t\tYou think this was to hurt you?! My God, \n \t\tJoe. It isn't about you. \n \n \t\t\tJOE","\t\t\tJOE \n \t\tHe'll find his way back. \n \n \t\t\tSALLY \n \t\tThere are fucking coyotes out there. \n \n \t\t\tJOE \n \t\t\t(calming)","\t\t\tJOE \n \t\t\t(comes on them with the \n \t\t\t Forsythes in tow) \n \t\tShe rarely cops to it. \n \t\t\t(kisses Sally's cheek)","\t\t\tJOE \n \t\tOh, well, we'll just have to try again. \n \t\tSound like a plan? \n \n \tSally nods, she and Joe, at Steven's instructions, come out","\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\t\tSally's never even seen it. I thought \n \t\twe'd raise our kids there. \n \n \tSally held in Joe's arms, smiles. The cat who ate the \n \tcanary. \n","\tMac raises his hand on Sally's side, Jerry on Joe's. \n \n \t\t\tJOE (CONT'D) \n \t\tTwo minutes. \n \n \t\t\tSALLY","\tthem brought up short by the gloom, but hear nothing. \n \n \tINT. KITCHEN - CONTINUOUS \n \n \tSally and Joe are at the table, signing their tax returns.","\tWe hear them calling for Otis. \n \n \t\t\tSALLY \n \t\tOtis!!!! \n \n \t\t\tJOE \n \t\t\t(on her heels) \n \t\tOtis!!!! \n"],["\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\t\tWho, Sally? \n \n \t\t\tCAL \n \t\tAnd, you know it isn't rocket science, \n \t\tthis script. She can barely get the \n \t\tlines out. There was a scene last week -","\tSally's team prepares clues for charades. Sally writes them \n \tdown, throws them in a bowler hat. Her teammates are Panes, \n \tSophia, Mac, Ryan, Sanford and Jeffrey. \n","\tblows her a kiss. She kisses her finger tips and puts her \n \thand flat against the window pane. \n \n \tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \n","\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\t\t\tSALLY \n \t\tIn the morning, after everyone's gone and \n \t\tthere's just us. \n \n \tShe pushes him on the bed. \n \n \t\t\tJOE","\t\t\tSALLY \n \t\tOtis, good boy, come here. Oh my god, oh \n \t\tmy god, oh my god. \n \n \t\t\tJOE","\tFinally do. \n \n \t\t\tSALLY (O.S.) \n \t\tOtis!! Otis, come! Oh fuck! \n \n \tShe appears beside them. \n","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\tSally, I have never considered you for \n \t\tthis part because you are too old to play \n \t\tit. And you are out of touch with \n \t\treality if you think differently. \n \n \t\t\tSALLY","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\ther. Watches herself, with a professional, acute eye. More \n \tcritical than Mac's could ever be. \n \n \t\t\tSALLY (ON TV)","\t\t\tSALLY \n \t\t\t(a deep breath) \n \t\tWell...wow... \n \n \tINT. HALLWAY - CONTINUOUS \n","\tSally drops out of frame. \n \n \t\t\tSOPHIA \n \t\tDon't try and change the subject. \n \t\t\t(sitting, joining Sally)","\tSally comes through the other door, one shoe off, one on. \n \n \t\t\tSALLY \n \t\tOh Jesus, who else is always early for \n \t\tChrist's sake? \n \n \tNEW ANGLE \n","\t\tI'm sure Sally's told you. \n \n \t\t\tJOE \n \t\tNo, what? \n \n \t\t\tCAL \n \t\tThe movie. \n \n \t\t\tJOE","\t\tSally? \n \n \t\t\tSALLY \n \t\tYes. And you've met Joe. \n \n \t\t\tRYAN \n \t\tYes. \n \n \t\t\tSALLY","\t\t\tSALLY \n \t\t\t(a little choked laugh) \n \t\tMe too. \n \n \t\t\tJOE \n \t\tThat's under lock and key. \n \n \t\t\tSALLY","\t\t\tSALLY \n \t\tSure. \n \n \tShe reaches out with both arms. \n \n \tINT. BATHROOM - TIGHT CLOSE \n","\t\tWell, something's wrong. \n \n \t\t\tSALLY \n \t\tNothing's wrong. It's great, okay? \n \t\tHaving the time of my life. Mac's a"],["\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\t\tBut I am right, yes? She's based on \n \t\tSally. \n \n \t\t\tJOE \n \t\tIt's a novel. \n \n \t\t\tJUDY","\t\tit's Sally. The character that's based \n \t\ton Sally. The character that's based on \n \t\tSally in the book. \n \n \t\t\tJOE","\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\t\tI'm sure Sally's told you. \n \n \t\t\tJOE \n \t\tNo, what? \n \n \t\t\tCAL \n \t\tThe movie. \n \n \t\t\tJOE","\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n","\t\t\tJOE \n \t\t\t(comes on them with the \n \t\t\t Forsythes in tow) \n \t\tShe rarely cops to it. \n \t\t\t(kisses Sally's cheek)","\t\tSally? \n \n \t\t\tSALLY \n \t\tYes. And you've met Joe. \n \n \t\t\tRYAN \n \t\tYes. \n \n \t\t\tSALLY","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\t\tRight. And when was the last time you \n \t\tspoke to her? \n \n \tJoe is silent. \n \n \t\t\tSALLY (CONT'D) \n \t\tAnd how fucking dare you cast Skye","\t\tyou were too real. I worship you. And I \n \t\tcouldn't be more flattered, because I \n \t\tknow the part I'm playing in Joe's movie \n \t\tis based on you as a young woman.","\t\t\tJOE \n \t\tOh don't. Everyone says that. \n \n \tINT. MUSIC LIBRARY \n \n \tSally's taken Gina's photograph of them from the mantelpiece","\t\tI will treasure this. \n \n \t\t\tJOE \n \t\t\t(shouting down the hall) \n \t\tSally!!!! \n \n \tINT. DAILIES ROOM - LATER - DAY \n","\t\t\tJOE \n \t\tOh, well, we'll just have to try again. \n \t\tSound like a plan? \n \n \tSally nods, she and Joe, at Steven's instructions, come out","\t\t\tSALLY \n \t\tIn the morning, after everyone's gone and \n \t\tthere's just us. \n \n \tShe pushes him on the bed. \n \n \t\t\tJOE","\t\tSally? \n \n \t\t\tJOE \n \t\tPlease? \n \n \t\t\tSALLY \n \t\tHe's impossible. Go on then. \n","\t\t\tJOE \n \t\tYour director and your co-star of your \n \t\tcurrent movie. Don't dish if you can't \n \t\ttake it, Sally. \n \n \t\t\tSALLY","\t\tknow, that thing that was Sally - that \n \t\talways surprised you. It's gone. I \n \t\tthink she's scared. And that's death. \n \n \t\t\tJOE","\t\t\tSOPHIA \n \t\tThe both of you. \n \n \t\t\tSALLY \n \t\tBut she really gets to the heart of Joe, \n \t\tdoesn't she? She's a genius. \n"],["\t\t\tJOE \n \t\t\t(humors her) \n \t\tYeah, it was. For a writer nothing's \n \t\tsacred. \n \t\t\t(thinks a moment)","\t\tYou're Joe, aren't you? \n \t\t\t(nods knowingly) \n \t\tI recognized you from the book jacket. \n \n \tJoe grins from ear to ear. Uncharacteristically star struck","\t\t\tJOE \n \t\tFive years ago, I was at the party, \n \t\tremember? \n \n \tJoe looks up and sees Sally standing in the sun room. He","\t\t\tJOE \n \t\t\t(opens the door) \n \t\tPanes! How are you? \n \n \t\t\tPANES \n \t\tOh, you know, I am. \n \n \t\t\tJOE","\tJoe listens to the answering machine message Lucy left that \n \tmorning. He plays it again and again. \n \n \tHE fast forwards to his father's voice. Presses the STOP","\tSeveral of the other guests greet her, Mac among them. \n \n \tTIGHT CLOSE \n \n \tJoe sweeps her up to his arms. It's an intimate,","\tJoe comes through the left hand door, nearly dressed. \n \n \t\t\tJOE \n \t\tWho the fuck can be here at this time? \n \t\tIt's not even seven! \n","\t\t\tJOE \n \t\tHad a little help? \n \n \t\t\tCAL \n \t\tAbsolutely not. \n \n \t\t\tJOE \n \t\tIt has your ring. \n \n \t\t\tCAL","\t\tAnd Joe's huge in Europe. He's like a \n \t\trock star in London. His novels sell \n \t\tmillions. \n \n \t\t\tJERRY \n \t\tNot millions. \n","\t\t\tJOE \n \t\tOh shit. I'm sorry. I'm a total fucking \n \t\tmaniac. Delete all that, okay? I spoke \n \t\tfor myself, this needn't rub off on my","\t\tJoe, Joe! It's your Dad! Pick up, \n \t\tJoe... \n \n \tGina sets the photo on the desk, leans it up against the","\t\t\tSALLY \n \t\tHe's a novelist. \n \n \t\t\tSOPHIA \n \t\tAh. \n \n \t\t\tSALLY \n \t\tLike Joe. \n","\t\t\tJOE \n \t\tI hate the idea of some one else living \n \t\tin it. \n \n \tJoe pulls Sally to him and wraps his arms around her. \n \n \t\t\tJOE (CONT'D)","\t\t\tJOE \n \t\t\t(bereft) \n \t\tStupid tart. \n \n \tINT. KITCHEN - LATER \n","\tparty. \n \n \tEXT. HOUSE - CONTINUOUS \n \n \tA taxi pulls up. Joe gets in with his bags. The cab backs \n \tout... \n","\tJoe and Judy sit on opposite sides of the sofa -- slightly \n \tuncomfortable with each other. \n \n \t\t\tJOE \n \t\t\t(to fill the silence, \n \t\t\t conspiratorial grin)","\t\t\tJOE \n \t\t\t(stops jumping, studies him) \n \t\tOh. You're serious. \n \n \t\t\tMAC \n \t\t\t(throws and arm around him)","\t\tSally? \n \n \t\t\tSALLY \n \t\tYes. And you've met Joe. \n \n \t\t\tRYAN \n \t\tYes. \n \n \t\t\tSALLY","\t\t\tJOE \n \t\t\t(after a beat) \n \t\tNo. I missed that. \n \n \t\t\tSALLY \n \t\tI missed all of you. We're okay, aren't","\tJoe regards the open trusting face, is touched by it. Leans \n \tin, kisses her lips very lightly... and again. Her arms \n \tcan't make up her mind, whether to come up around him or not."],["\tEcstasy is passed from guest to guest. Ryan expects Monica \n \tto abstain. \n \n \t\t\tMONICA \n \t\t\t(his glare; simply) \n \t\tI want to try it, Ryan.","\tcompounded by water-weight. \n \n \tThe drug has clearly taken effect. Mac opens his mouth to \n \tdirect his actors, forgets where he is, begins to choke, and \n \tcough, is clearly in trouble. \n","\t\t\tSALLY \n \t\tMaybe not. \n \n \t\t\tMAC \n \t\tSo much for ecstacy, right? \n \n \tThey all laugh a little. \n \n \t\t\tSOPHIA","\t\t\t(long moment) \n \t\tAnd a damn near perfect drug. \n \n \t\t\tJUDY \n \t\tHm. We should do it again. \n \n \t\t\tJERRY","\tEXT. POOL - LATER \n \n \tThe drug has begun to take effect. The party is now in full \n \tswing. Music is playing, and Sophia and Clair are dancing. \n","\t\tI think we should all take it tonight. \n \t\tEveryone's staying, stays. No driving. \n \t\tThat's the rule. I love you Sally-Mae.","\t\tme a part of it. \n \n \t\t\tSALLY \n \t\t\t(pours the pills into her hand) \n \t\tWhat are they? \n \n \t\t\tJOE","\tA pall descends on the party. There's a FULL SHOT of the \n \tgroup. Nobody quite knows what to do. There's torn wrapping \n \tpaper all over the room. \n \n \t\t\tASTRID","\t\tOh my God, this ecstacy must be really \n \t\tgood. \n \n \tEXT. POOL SIDE - CONTINUOUS \n \n \tJoe and Cal sit by the edge of the pool watching Skye dance","\tMorning's finally come. Light fills the room, empty except \n \tfor party debris. \n \n \tINT. LIVING ROOM - CONTINUOUS \n","\tSally takes Panes into the living room where everyone chats, \n \tdrinks, smokes. They all like each other out of habit, if \n \tnothing else. Ryan and Monica are on the fringe, stand at","\tHe dances her around the kitchen, he picks up the sterling \n \tdish, arranges the pills, carries them back to the living \n \troom. \n \n \tINT. LIVING ROOM - CONTINUOUS \n","\t\tJesus, Sally. You are a medical miracle. \n \t\tThe only person who's ever taken ecstacy \n \t\tand become angrier. \n \n \t\t\tSALLY","\tparty. \n \n \tEXT. HOUSE - CONTINUOUS \n \n \tA taxi pulls up. Joe gets in with his bags. The cab backs \n \tout... \n","\tMost everyone's moved through to the dining room. The table \n \tis filled with platters of beautifully prepared food. \n \tCandles, flowers. \n \n \tASTRID, newly arrived, carrying a miniature furball, of","\t\tparties. \n \n \t\t\tJOE \n \t\tRave parties?! That's so typical - you \n \t\twould think it was called rage. Perfect! \n \n \t\t\tSALLY","\t\t\t(pleased, surprised) \n \t\tDolphins. Great. \n \n \t\t\tSALLY \n \t\tIt's ecstasy, Sal. \n \n \t\t\tSKYE","\t\tWhat else don't I know about, Joe? Let's \n \t\tget really clear here. \n \n \t\t\tJOE \n \t\tSally, so I took a few pills. I went out","\t\t\t(gives everyone a shy, pained \n \t\t\t little wave) \n \t\tOh great. \n \n \tEveryone stops, turns, toasts. \n \n \t\t\tEVERYONE \n \t\tPanes!","\t\tReady to go? \n \n \t\t\tMONICA \n \t\tI'm going to go get my swimsuit. I do \n \t\tknow, Ryan, this is non addictive so you"],["\tSANFORD JEWISON is at the piano playing his own stuff, \n \toblivious to the din. The CAMERA gets a glimpse of Ryan \n \tthrough the French doors at the pool, alone, a glass of","\t\tI'm Levi Panes. Will you excuse us, \n \t\tSkye? It's time for Sally's meds. \n \n \tPanes steers Sally out of the kitchen. \n","\tseparation, the custody of Otis, their trying to have a \n \tbaby... \n \n \tPanes plays a piece on the violin. Someone else sings. And \n \tfinally... \n","\tthe edges of conversation. There's always someone at the \n \tpiano, and they can all pretty much play. \n \n \t\t\tSALLY \n \t\tPanes is here! \n \n \t\t\tPANES","\t\tIt's not going to come up. \n \n \tINT. FOYER - LEVI PANES THROUGH THE GLASS DOOR - DAY \n \n \tA Peter Sellers look-a-like holding a violin case.","\t\t\tSALLY \n \t\tTrust him. \n \n \t\t\tPANES \n \t\tIt's Shostakovich. \n \n \tRyan spots his book on the shelf and pulls it out, delighted. \n","\tMuch laughter and clapping. \n \n \t\t\tJOE \n \t\t\t(in the archway) \n \t\tJack. Did you compose that yourself? \n \n \t\t\tCAL \n \t\tAbsolutely.","\t\t\t(for Panes; a long supportive \n \t\t\t hug; a kiss) \n \t\tGood, you brought your violin. I want \n \t\tyou to play. \n \n \t\t\tPANES","\t\tcare to guess. Mac's really unhappy. \n \t\tShe isn't there, that's all. She's no \n \t\tidea what she's playing, not a clue. \n \n \t\t\tJOE","\tbow in hand -- the archer prepares his next shot. \n \n \tINT. LIVING ROOM \n \n \tCal is at the piano, charming the neighbors. Judy chats with","\tJoe goes off with the children to find Otis. Cal sits at the \n \tpiano, plays. \n \n \t\t\t\tINT. FOYER - FRONT DOOR - CONTINUOUS \n","\tINT. LIVING ROOM - CONTINUOUS \n \n \tMore guests have arrived. Sophia and her children play with \n \tOtis. America and Rosa pass round hot hors d'oeuvres. \n","\t\t\tPANES \n \t\tDo you really, you really, like \n \t\tShostakovich? \n \n \t\t\tSKYE \n \t\tYeah. \n \n \t\t\tPANES","\tHe dances her around the kitchen, he picks up the sterling \n \tdish, arranges the pills, carries them back to the living \n \troom. \n \n \tINT. LIVING ROOM - CONTINUOUS \n","\t\tShostackovich, as am I. \n \n \tOther arrivals pick their way through bodies and plates. \n \tWalk over to Sally and kiss her cheek. Joe and Gina and \n \tJeffrey sit off to the side. \n","\tEvie stands against the far wall. She wears a helmet and is \n \tsurrounded by toy suction arrows. The arrows make a perfect \n \toutline of her head and body. Jack stands three feet away,","\the drops his head. Stops watching... \n \n \tINT. MOVIE SET \n \n \t\t\tCAL'S VOICE FROM THE T.V. (O.S.) \n \t\tYou sing like a bird. \n","\t\tthat is love. \n \n \tShe pulls an envelope from behind her back, which she's \n \tdecorated in flower-child fashion; it harkens back to the","\t\t\t(to Evie) \n \t\tHey, beautiful girl. \n \n \tShe picks up the four-year-old, swings her around. Jack \n \thides behind his father's legs. \n","\t\tit's alright, it's alright, it's alright. \n \t\tAnd God, I will be humble. \n \n \tINT. MUSIC LIBRARY - MEDIUM FULL SHOT \n"],["\tA pall descends on the party. There's a FULL SHOT of the \n \tgroup. Nobody quite knows what to do. There's torn wrapping \n \tpaper all over the room. \n \n \t\t\tASTRID","\tparty. \n \n \tEXT. HOUSE - CONTINUOUS \n \n \tA taxi pulls up. Joe gets in with his bags. The cab backs \n \tout... \n","\tThere are awkward excuses. Some of the guests leave. \n \n \tINT. LIVING ROOM - MOMENTS LATER \n \n \tThe core group remains. \n \n \t\t\tJOE","\tIt's empty but for glasses, wrapping paper, abandoned dishes \n \tof leftover cake. \n \n \tINT. EMPTY KITCHEN - CONTINUOUS \n","\tThere are sounds of the search party approaching. \n \n \tNEW ANGLE \n \n \tPanes, Skye, Sally and Joe come into the room dogless. \n \n \t\t\tJOE \n \t\tWhat is it? \n","\tt-shirt. Very similar to what Skye is wearing. She sits a \n \tmoment on the floor. The sounds of the party below are \n \tmuted. \n \n \t\t\tSALLY (O.S.)","\tMorning's finally come. Light fills the room, empty except \n \tfor party debris. \n \n \tINT. LIVING ROOM - CONTINUOUS \n","\tMost everyone's moved through to the dining room. The table \n \tis filled with platters of beautifully prepared food. \n \tCandles, flowers. \n \n \tASTRID, newly arrived, carrying a miniature furball, of","\t\teverything alright? \n \t\t\t(a deep intake of breath) \n \t\tOh my God. When? He's not here. \n \t\tThey're out looking for Otis. The dog,","\t\tSally, calm down. We're not going to \n \t\tfind him any quicker by you being \n \t\thysterical. \n \n \tMonica retreats, backs off a step or two. \n","\tClair wanders up. She's changed into her own clothes. \n \n \t\t\tCLAIR \n \t\tI've lost my husband and my beeper. Have \n \t\teither of you seen either of them? \n","\tThey move out of the room. \n \n \t\t\tSALLY \n \t\t\t(on the way upstairs) \n \t\tIs it Otis? \n \n \tSkye and Panes look at the other guests. \n","\t\tYes, you're a monster. \n \n \tShe takes his hand. Sounds of the party come from below. \n \n \t\t\tSALLY \n \t\t\t(a moment) \n \t\tThank you, Panes.","\tEXT. POOL - LATER \n \n \tThe drug has begun to take effect. The party is now in full \n \tswing. Music is playing, and Sophia and Clair are dancing. \n","\tSeveral of the other guests greet her, Mac among them. \n \n \tTIGHT CLOSE \n \n \tJoe sweeps her up to his arms. It's an intimate,","\tClair's started down the hallway, reaches the landing. Sally \n \trushes into the guest bedroom to avoid her. Clair, just \n \tmissing Sally, wanders into the dailies room. \n","\tAl the guests are a little stunned. \n \n \t\t\tGINA \n \t\tIs he not going? I booked a flight. \n \n \t\t\tSALLY \n \t\tHe's not going tonight. \n","\tOblivious, Judy and Clair turn somersaults. \n \n \tMac begins to panic. He is drowning. \n \n \tHe begins to sink. Panic gives way to acceptance. \n","\twalks in on them searching for Panes' ear, her best buddy. \n \n \t\t\tSALLY \n \t\t\t(resigned) \n \t\tOh perfect! \n","\tcaptures something naked and vulnerable in his face. \n \n \t\t\t\t\t\t CUT TO: \n \n \tINT. GUEST ROOM - CONTINUOUS \n"],["\t\t\tSALLY \n \t\tHe's directing now. \n \n \t\t\tJERRY \n \t\tThey're paying him scale. \n \n \tThe CAMERA catches sight of Joe behind them. He moves","\t\tI'm sure Sally's told you. \n \n \t\t\tJOE \n \t\tNo, what? \n \n \t\t\tCAL \n \t\tThe movie. \n \n \t\t\tJOE","\t\tWho, Sally? \n \n \t\t\tCAL \n \t\tAnd, you know it isn't rocket science, \n \t\tthis script. She can barely get the \n \t\tlines out. There was a scene last week -","\t\t\tCAL'S VOICE FROM THE T.V. (O.S) \n \t\tYou seem so alive up there. \n \n \tSally stands at the open door. Stunned. Watches Mac watch","\tSally stands at the threshold, watches Cal and Sophia load \n \ttheir kids into the car. \n \n \tINT. FOYER - CONTINUOUS \n","\tSally who is coming up. \n \n \t\t\tSOPHIA \n \t\tI'm going to be home all weekend, call if \n \t\tyou need anything. \n \n \tSally kisses Cal's cheek. \n","\tSally opens the gift. Takes out a Calder mobile. \n \n \t\t\tJOE \n \t\tHappy anniversary. \n \n \t\t\tSALLY \n \t\tIt's a Calder. \n","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\t\t\tCAL \n \t\tHang in. \n \n \tINT. MASTER BEDROOM - CONTINUOUS \n \n \tPanes and Skye are fucking on Joe and Sally's bed. Sally","\tCal blows her a kiss. \n \n \t\t\tSALLY'S TEAM \n \t\t\t(in unison) \n \t\tTen...twenty...thirty...seven, eight.","\tand ushered them in. \n \n \t\t\tSALLY \n \t\tYou know Jerry. \n \n \t\t\tCAL \n \t\tYes, of course. \n \n \t\t\tSOPHIA","\t\tfantastic director. And what can anyone \n \t\tsay about Cal that hasn't been said. And \n \t\tit's great working with friends, blah \n \t\tblah blah. \n","\t\tMac's a pretty great director, Joe. He's \n \t\ta woman's director. And nothing's \n \t\thappening. Course he won't fire her, \n \t\tbecause of the friendship... But it was","\t\t\tSALLY \n \t\t\t(a deep breath) \n \t\tWell...wow... \n \n \tINT. HALLWAY - CONTINUOUS \n","\ther. Watches herself, with a professional, acute eye. More \n \tcritical than Mac's could ever be. \n \n \t\t\tSALLY (ON TV)","\t\tShe could be playing the role in Joe's \n \t\tmovie that should be yours. \n \n \t\t\tSALLY \n \t\tFuck you, Panes. \n \n \t\t\tPANES","\tFinally do. \n \n \t\t\tSALLY (O.S.) \n \t\tOtis!! Otis, come! Oh fuck! \n \n \tShe appears beside them. \n","\tSally's team prepares clues for charades. Sally writes them \n \tdown, throws them in a bowler hat. Her teammates are Panes, \n \tSophia, Mac, Ryan, Sanford and Jeffrey. \n","\tSally jumps out of the down dog position and runs to the \n \tphone, all angles. \n \n \t\t\tSALLY \n \t\tHello, hi, hi...and? Thank God. \n","\tblows her a kiss. She kisses her finger tips and puts her \n \thand flat against the window pane. \n \n \tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \n"],["\tThe phone RINGS again. \n \n \t\t\tVOICE (O.S.) \n \t\t\t(over answering machine) \n \t\tHello, I have Dr. Harmon calling for \n \t\tSally Therrian. \n","\tGina regards the photographs she brought for Joe and Sally. \n \tShe lifts it from the shelf, the phone rings, the machine \n \tpicks up. \n \n \t\t\tMAN'S VOICE","\tSally stands with the phone to her ear, her back to Joe. \n \n \tEXT. POOL AREA - CONTINUOUS \n \n \tJoe watches her from his position, not concentrating on the","\tWe hear them calling for Otis. \n \n \t\t\tSALLY \n \t\tOtis!!!! \n \n \t\t\tJOE \n \t\t\t(on her heels) \n \t\tOtis!!!! \n","\tSally jumps out of the down dog position and runs to the \n \tphone, all angles. \n \n \t\t\tSALLY \n \t\tHello, hi, hi...and? Thank God. \n","\t\tJust a moment. \n \t\t\t(puts the call on hold) \n \t\tIt's Skye Davidson. She needs directions \n \t\tto the house. You invited Skye fucking","\t\tthem a call for you. \n \n \t\t\tJOE \n \t\tThanks, Mac. \n \t\t\t(regards him) \n \t\tAnd thanks for being so supportive about \n \t\tall this.","\twall. Joe and Sally's faces stare out of it. \n \n \t\t\tGINA \n \t\t\t(picks up receiver) \n \t\tHarry, hi, it's Gina! Gina. Is","\t\tHas she called? \n \n \t\t\tPANES \n \t\tShe'll never call again. She called last \n \t\tweek to tell me she'll never call again. \n \t\tWhere's Sally? \n","\tparty. \n \n \tEXT. HOUSE - CONTINUOUS \n \n \tA taxi pulls up. Joe gets in with his bags. The cab backs \n \tout... \n","\tt-shirt. Very similar to what Skye is wearing. She sits a \n \tmoment on the floor. The sounds of the party below are \n \tmuted. \n \n \t\t\tSALLY (O.S.)","\tINT. BEDROOM - LATER \n \n \tThe doorbell rings. There are two closed doors on either \n \tside of the room. The bed shows no sign of consummated sex.","\t\tFor good. \n \n \tThey begin to make love...the phone RINGS. \n \n \t\t\tJOE (CONT'D) \n \t\tDon't get it. \n \n \t\t\tSALLY","\tShe puts down the phone. Stares into Joe's face, looks up at \n \ta photo on the wall that she took of Joe and Lucy. \n \n \tEXT. BACKYARD LANDING \n","\t\t\tMONICA/RYAN \n \t\t\t(a little late; into silence) \n \t\tPanes. \n \n \tPanes gives them another little wave. Doorbell rings. \n","\tSeveral of the other guests greet her, Mac among them. \n \n \tTIGHT CLOSE \n \n \tJoe sweeps her up to his arms. It's an intimate,","\tA pall descends on the party. There's a FULL SHOT of the \n \tgroup. Nobody quite knows what to do. There's torn wrapping \n \tpaper all over the room. \n \n \t\t\tASTRID","\tThere are awkward excuses. Some of the guests leave. \n \n \tINT. LIVING ROOM - MOMENTS LATER \n \n \tThe core group remains. \n \n \t\t\tJOE","\t\t\tGINA \n \t\tHarry called. \n \n \t\t\tJOE \n \t\t\t(growing dread) \n \t\tAnd? \n \n \t\t\tGINA","\tSMOOTH LINES. \n \n \tThe calm is broken by the telephone. Joe and Sally ignore it \n \tuntil the answering machine picks up. They break their yoga \n \tposes and listen. \n"]],"string":"[\n [\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\t\\tBut I am right, yes? She's based on \\n \\t\\tSally. \\n \\n \\t\\t\\tJOE \\n \\t\\tIt's a novel. \\n \\n \\t\\t\\tJUDY\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\t\\tSALLY (CONT'D) \\n \\t\\tYou think this was to hurt you?! My God, \\n \\t\\tJoe. It isn't about you. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\t\\tI'm sure Sally's told you. \\n \\n \\t\\t\\tJOE \\n \\t\\tNo, what? \\n \\n \\t\\t\\tCAL \\n \\t\\tThe movie. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tSally, I have never considered you for \\n \\t\\tthis part because you are too old to play \\n \\t\\tit. And you are out of touch with \\n \\t\\treality if you think differently. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\tIt's a shit novel anyway. \\n \\n \\t\\t\\tJOE \\n \\t\\tWell there you go. I let you off the \\n \\t\\thook. You're one goddamn lucky actress. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a little choked laugh) \\n \\t\\tMe too. \\n \\n \\t\\t\\tJOE \\n \\t\\tThat's under lock and key. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\t(moves toward her) \\n \\t\\tSally... \\n \\n \\t\\t\\tSALLY \\n \\t\\tDon't. \\n \\n \\t\\t\\tJOE \\n \\t\\tDon't push me away. \\n\",\n \"\\t\\tknow, that thing that was Sally - that \\n \\t\\talways surprised you. It's gone. I \\n \\t\\tthink she's scared. And that's death. \\n \\n \\t\\t\\tJOE\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\t\\t\\tJOE \\n \\t\\tOh don't. Everyone says that. \\n \\n \\tINT. MUSIC LIBRARY \\n \\n \\tSally's taken Gina's photograph of them from the mantelpiece\",\n \"\\t\\t\\tSOPHIA \\n \\t\\tThe both of you. \\n \\n \\t\\t\\tSALLY \\n \\t\\tBut she really gets to the heart of Joe, \\n \\t\\tdoesn't she? She's a genius. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(comes on them with the \\n \\t\\t\\t Forsythes in tow) \\n \\t\\tShe rarely cops to it. \\n \\t\\t\\t(kisses Sally's cheek)\",\n \"\\tSally's started the bath, and is watching him from the \\n \\tdoorway. He meets her eyes mid-sentence. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\tit's Sally. The character that's based \\n \\t\\ton Sally. The character that's based on \\n \\t\\tSally in the book. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tThe novel. No, Skye Davidson is playing \\n \\t\\tthe lead. \\n \\n \\t\\t\\tJUDY \\n \\t\\tOh my God, I'm a huge Skye Davidson fan.\"\n ],\n [\n \"\\t\\tSally, I have never considered you for \\n \\t\\tthis part because you are too old to play \\n \\t\\tit. And you are out of touch with \\n \\t\\treality if you think differently. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\t\\tWho, Sally? \\n \\n \\t\\t\\tCAL \\n \\t\\tAnd, you know it isn't rocket science, \\n \\t\\tthis script. She can barely get the \\n \\t\\tlines out. There was a scene last week -\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\tSally's team prepares clues for charades. Sally writes them \\n \\tdown, throws them in a bowler hat. Her teammates are Panes, \\n \\tSophia, Mac, Ryan, Sanford and Jeffrey. \\n\",\n \"\\t\\tThe novel. No, Skye Davidson is playing \\n \\t\\tthe lead. \\n \\n \\t\\t\\tJUDY \\n \\t\\tOh my God, I'm a huge Skye Davidson fan.\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tIn the morning, after everyone's gone and \\n \\t\\tthere's just us. \\n \\n \\tShe pushes him on the bed. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tI'm sure Sally's told you. \\n \\n \\t\\t\\tJOE \\n \\t\\tNo, what? \\n \\n \\t\\t\\tCAL \\n \\t\\tThe movie. \\n \\n \\t\\t\\tJOE\",\n \"\\tSally jumps out of the down dog position and runs to the \\n \\tphone, all angles. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHello, hi, hi...and? Thank God. \\n\",\n \"\\t\\t\\tSALLY (O.S.) \\n \\t\\tHere I am. Panes, my love! \\n \\n \\tSally starts down the hallway. \\n \\n \\t\\t\\tSALLY (CONT'D)\",\n \"\\tblows her a kiss. She kisses her finger tips and puts her \\n \\thand flat against the window pane. \\n \\n \\tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \\n\",\n \"\\ther. Watches herself, with a professional, acute eye. More \\n \\tcritical than Mac's could ever be. \\n \\n \\t\\t\\tSALLY (ON TV)\",\n \"\\t\\tWell, something's wrong. \\n \\n \\t\\t\\tSALLY \\n \\t\\tNothing's wrong. It's great, okay? \\n \\t\\tHaving the time of my life. Mac's a\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\",\n \"\\t\\t\\tJERRY \\n \\t\\tI suppose. Sally, that's quite a gift. \\n \\t\\tI'm not sure it's in your best interest. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI adore him.\",\n \"\\tSally comes through the other door, one shoe off, one on. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOh Jesus, who else is always early for \\n \\t\\tChrist's sake? \\n \\n \\tNEW ANGLE \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tI love you. \\n \\n \\tINT. FOYER - EARLY EVENING \\n \\n \\tThe house is filled with exquisite flower arrangements, \\n \\tcandles everywhere. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(pointed) \\n \\t\\tWhatever you like. I'm afraid it'll all \\n \\t\\tbe too big for you. \\n \\t\\t\\t(a moment)\",\n \"\\twalks in on them searching for Panes' ear, her best buddy. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(resigned) \\n \\t\\tOh perfect! \\n\"\n ],\n [\n \"\\t\\t\\tJEFFREY \\n \\t\\tAnd you know our friends, how? \\n \\n \\t\\t\\tMONICA \\n \\t\\tWe live next door. \\n \\n \\t\\t\\tJEFFREY\",\n \"\\t\\t\\tJEFFREY \\n \\t\\tLet me. \\n \\t\\t\\t(pours for her) \\n \\t\\tI'm Jeffrey. \\n \\n \\t\\t\\tMONICA \\n \\t\\tMonica. \\n\",\n \"\\t\\tOh. You're them. \\n \\n \\t\\t\\tMONICA \\n \\t\\tExcuse me? \\n \\n \\t\\t\\tJEFFREY \\n \\t\\tWe've heard lots about you. \\n\",\n \"\\t\\t\\tJERRY \\n \\t\\tGo! \\n \\n \\tPanes mimes a belly laugh. \\n \\n \\t\\t\\tJEFFREY \\n \\t\\tWhat the hell is that? \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\tShostackovich, as am I. \\n \\n \\tOther arrivals pick their way through bodies and plates. \\n \\tWalk over to Sally and kiss her cheek. Joe and Gina and \\n \\tJeffrey sit off to the side. \\n\",\n \"\\tPerrier in his hand. \\n \\n \\tMEDIUM CLOSE \\n \\n \\tMonica alone, uneasy, starts to pour herself a glass of \\n \\tchampagne. Jeffrey gets to the bottle first. \\n\",\n \"\\t\\teffect. Sally suffers, we all suffer. \\n \\n \\t\\t\\tJUDY \\n \\t\\t\\t(offers) \\n \\t\\tWe have a gift? \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tIt was almost fatal. And that, my dear \\n \\t\\tfriends, is the day... \\n \\n \\t\\t\\tSALLY/JEFFREY \\n \\t\\tI realized I had become a man. Ta da! \\n\",\n \"\\t\\tsexually ambivalent man-child. \\\"Oh now \\n \\t\\tI'm a novelist, oh now I'm a director...\\\" \\n \\t\\tEnglish prick bastard Joe Therrian who's\",\n \"\\t\\t\\tJUDY \\n \\t\\t\\t(mantra) \\n \\t\\tOh Jesus oh Jesus oh Jesus. \\n \\n \\tGrunts, groans, a scream, a peel of giggles. \\n \\n \\t\\t\\tJERRY\",\n \"\\t\\tI love you, Gina Taylor. \\n \\n \\tSally's uncomfortable, a little jealous... feels intrusive. \\n \\tAware that Gina got there first. Knew him when. And always\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\",\n \"\\ttheir mid-thirties, conservatively dressed. She's stunning, \\n \\tgenetically nervous. Jerry carries a briefcase. She's got \\n \\tthe gift. \\n\",\n \"\\t\\tdoing. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI love you, you're a genius. \\n \\n \\tBehind them, in the foyer, Judy wanders aimlessly. \\n\",\n \"\\t\\t\\tJERRY \\n \\t\\tI suppose. Sally, that's quite a gift. \\n \\t\\tI'm not sure it's in your best interest. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI adore him.\",\n \"\\t\\t\\tJUDY \\n \\t\\tIt's very good. \\n \\t\\t\\t(a moment) \\n \\t\\tI understand you won the Booker Prize. \\n \\n \\t\\t\\tJOE \\n \\t\\tYes I did. \\n\",\n \"\\tSANFORD JEWISON is at the piano playing his own stuff, \\n \\toblivious to the din. The CAMERA gets a glimpse of Ryan \\n \\tthrough the French doors at the pool, alone, a glass of\",\n \"\\t\\tYes, you're a monster. \\n \\n \\tShe takes his hand. Sounds of the party come from below. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(a moment) \\n \\t\\tThank you, Panes.\",\n \"\\tJoe and Judy sit on opposite sides of the sofa -- slightly \\n \\tuncomfortable with each other. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(to fill the silence, \\n \\t\\t\\t conspiratorial grin)\"\n ],\n [\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\t\\tWho, Sally? \\n \\n \\t\\t\\tCAL \\n \\t\\tAnd, you know it isn't rocket science, \\n \\t\\tthis script. She can barely get the \\n \\t\\tlines out. There was a scene last week -\",\n \"\\tSally's team prepares clues for charades. Sally writes them \\n \\tdown, throws them in a bowler hat. Her teammates are Panes, \\n \\tSophia, Mac, Ryan, Sanford and Jeffrey. \\n\",\n \"\\tblows her a kiss. She kisses her finger tips and puts her \\n \\thand flat against the window pane. \\n \\n \\tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tIn the morning, after everyone's gone and \\n \\t\\tthere's just us. \\n \\n \\tShe pushes him on the bed. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tYour director and your co-star of your \\n \\t\\tcurrent movie. Don't dish if you can't \\n \\t\\ttake it, Sally. \\n \\n \\t\\t\\tSALLY\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\tFinally do. \\n \\n \\t\\t\\tSALLY (O.S.) \\n \\t\\tOtis!! Otis, come! Oh fuck! \\n \\n \\tShe appears beside them. \\n\",\n \"\\t\\tI'm sure Sally's told you. \\n \\n \\t\\t\\tJOE \\n \\t\\tNo, what? \\n \\n \\t\\t\\tCAL \\n \\t\\tThe movie. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tSALLY \\n \\t\\tOtis, good boy, come here. Oh my god, oh \\n \\t\\tmy god, oh my god. \\n \\n \\t\\t\\tJOE\",\n \"\\ther. Watches herself, with a professional, acute eye. More \\n \\tcritical than Mac's could ever be. \\n \\n \\t\\t\\tSALLY (ON TV)\",\n \"\\tSally drops out of frame. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tDon't try and change the subject. \\n \\t\\t\\t(sitting, joining Sally)\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tSALLY \\n \\t\\tYes. And you've met Joe. \\n \\n \\t\\t\\tRYAN \\n \\t\\tYes. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tSALLY \\n \\t\\tSure. \\n \\n \\tShe reaches out with both arms. \\n \\n \\tINT. BATHROOM - TIGHT CLOSE \\n\",\n \"\\t\\tI'm in the same room with Sally Nash. Oh \\n \\t\\tmy God. You're my icon. I've been \\n \\t\\twatching your films since I was a little\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a deep breath) \\n \\t\\tWell...wow... \\n \\n \\tINT. HALLWAY - CONTINUOUS \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a little choked laugh) \\n \\t\\tMe too. \\n \\n \\t\\t\\tJOE \\n \\t\\tThat's under lock and key. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\"\n ],\n [\n \"\\t\\t\\tSALLY \\n \\t\\tThe Roses? And of course they said yes. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThat was the plan. And you're thrilled \\n \\t\\tto have them. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tYou invited her to our anniversary party? \\n \\t\\tI didn't even invite my mother. \\n \\n \\t\\t\\tJOE \\n \\t\\tShe goes on location tomorrow. Sally,\",\n \"\\tSally kisses his cheek on her way to the door. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tPromise you'll be nice to the neighbors. \\n \\n \\t\\t\\tJOE\",\n \"\\tJoe and Sally tenderly make love. It's the dissolution of \\n \\ttheir marriage. \\n \\n \\tINT. FOYER - NINE A.M. \\n \\n \\tAmerica and Rosa begins to clean up the debris from the\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tSALLY \\n \\t\\tYes. And you've met Joe. \\n \\n \\t\\t\\tRYAN \\n \\t\\tYes. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\tI'm so happy you asked me to. I'm so \\n \\t\\ttouched. I know how private you and \\n \\t\\tSally are. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(uncomfortable)\",\n \"\\tand ushered them in. \\n \\n \\t\\t\\tSALLY \\n \\t\\tYou know Jerry. \\n \\n \\t\\t\\tCAL \\n \\t\\tYes, of course. \\n \\n \\t\\t\\tSOPHIA\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(comes on them with the \\n \\t\\t\\t Forsythes in tow) \\n \\t\\tShe rarely cops to it. \\n \\t\\t\\t(kisses Sally's cheek)\",\n \"\\tSally opens the door. Hugs and buses them, hello. \\n \\n \\t\\t\\tJUDY \\n \\t\\tI know we're early, we're so early. \\n \\t\\tSorry. \\n\",\n \"\\t\\tthis stuff is to crop up. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(muted) \\n \\t\\tOh. \\n \\n \\tThe Roses are happy to stand there on the fringe. Next to\",\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\t\\tJOE \\n \\t\\tOh, well, we'll just have to try again. \\n \\t\\tSound like a plan? \\n \\n \\tSally nods, she and Joe, at Steven's instructions, come out\",\n \"\\t\\t\\t(a deep breath) \\n \\t\\tWell, so glad you decided to come. \\n \\n \\t\\t\\tMONICA \\n \\t\\tWe could hardly say no. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOh?\",\n \"\\tSally takes Panes into the living room where everyone chats, \\n \\tdrinks, smokes. They all like each other out of habit, if \\n \\tnothing else. Ryan and Monica are on the fringe, stand at\",\n \"\\t\\teffect. Sally suffers, we all suffer. \\n \\n \\t\\t\\tJUDY \\n \\t\\t\\t(offers) \\n \\t\\tWe have a gift? \\n \\n \\t\\t\\tJOE\",\n \"\\tSally and Joe are alone in the room. They hold each other, \\n \\tweep... \\n \\n \\t\\t\\tRYAN \\n \\t\\t\\t(appalled) \\n \\t\\tJesus Christ, it's a fucking dog!\",\n \"\\tSeveral of the other guests greet her, Mac among them. \\n \\n \\tTIGHT CLOSE \\n \\n \\tJoe sweeps her up to his arms. It's an intimate,\",\n \"\\tSally's started the bath, and is watching him from the \\n \\tdoorway. He meets her eyes mid-sentence. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\"\n ],\n [\n \"\\t\\tI love you, Gina Taylor. \\n \\n \\tSally's uncomfortable, a little jealous... feels intrusive. \\n \\tAware that Gina got there first. Knew him when. And always\",\n \"\\tSally approaches, gives Gina a warm kiss on the chest. \\n \\n \\t\\t\\tSALLY \\n \\t\\tThanks for coming. \\n \\n \\t\\t\\tGINA \\n \\t\\tHappy anniversary. You're a good match,\",\n \"\\t\\tgo. \\n \\n \\t\\t\\tSALLY \\n \\t\\tWould you leave us alone right now? \\n \\n \\t\\t\\tGINA \\n \\t\\tI love her too, Joe. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\t(realizes the import; to Gina) \\n \\t\\tFuck you. \\n \\n \\tTears start down Sally's face. \\n \\n \\t\\t\\tGINA \\n \\t\\tYou need to call your dad. \\n\",\n \"\\t\\t\\tGINA \\n \\t\\t\\t(laughs) \\n \\t\\tI love you, Joe Therrian. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(at a loss, small) \\n \\t\\tMe too. \\n\",\n \"\\tphotos in the house are Gina's. It's a breathtaking print, \\n \\tan amazing caught moment. All light and shadow. A touching \\n \\tstudy. \\n \\n \\t\\t\\tSALLY (CONT'D)\",\n \"\\t\\tEverybody hates the messenger. \\n \\n \\tGina exits. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\t\\t(to Joe) \\n \\t\\tI'm coming with you. \\n\",\n \"\\tGina regards the photographs she brought for Joe and Sally. \\n \\tShe lifts it from the shelf, the phone rings, the machine \\n \\tpicks up. \\n \\n \\t\\t\\tMAN'S VOICE\",\n \"\\tClair and Mac and Gina hug and say their goodbyes to Sally. \\n \\n \\t\\t\\tGINA \\n \\t\\t\\t(kisses Sally; whispers) \\n \\t\\tTake good care of it. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tAnd you're not the wife. \\n \\n \\t\\t\\tGINA \\n \\t\\tIt's not a contest. \\n \\n \\t\\t\\tSALLY \\n \\t\\tDamn straight. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tOh don't. Everyone says that. \\n \\n \\tINT. MUSIC LIBRARY \\n \\n \\tSally's taken Gina's photograph of them from the mantelpiece\",\n \"\\t\\twas good of you to be all this help. But \\n \\t\\the doesn't want to go tonight. \\n \\n \\t\\t\\tGINA \\n \\t\\tJesus, Sally. I'm not the enemy. \\n\",\n \"\\t\\tknow, that thing that was Sally - that \\n \\t\\talways surprised you. It's gone. I \\n \\t\\tthink she's scared. And that's death. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tSALLY \\n \\t\\tYou need to knock off the pills, Clair. \\n \\n \\t\\t\\tCLAIR \\n \\t\\tJust don't fucking tell her. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tSALLY (CONT'D) \\n \\t\\tYou think this was to hurt you?! My God, \\n \\t\\tJoe. It isn't about you. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\t\\tWell, something's wrong. \\n \\n \\t\\t\\tSALLY \\n \\t\\tNothing's wrong. It's great, okay? \\n \\t\\tHaving the time of my life. Mac's a\",\n \"\\t\\tWell, I don't trust her. I never have. \\n \\n \\t\\t\\tSALLY \\n \\t\\tShe took our wedding photos, for \\n \\t\\tchrissakes. You don't trust anyone. \\n\",\n \"\\t\\tWho, Sally? \\n \\n \\t\\t\\tCAL \\n \\t\\tAnd, you know it isn't rocket science, \\n \\t\\tthis script. She can barely get the \\n \\t\\tlines out. There was a scene last week -\",\n \"\\tThe CAMERA spots GINA TAYLOR through moving bodies. Tall, \\n \\tbeautiful, centered grace. She's got a Leica around her \\n \\tneck... drops her two large camera bags on the floor. \\n\"\n ],\n [\n \"\\t\\tOh my God, this ecstacy must be really \\n \\t\\tgood. \\n \\n \\tEXT. POOL SIDE - CONTINUOUS \\n \\n \\tJoe and Cal sit by the edge of the pool watching Skye dance\",\n \"\\t\\t\\t(pleased, surprised) \\n \\t\\tDolphins. Great. \\n \\n \\t\\t\\tSALLY \\n \\t\\tIt's ecstasy, Sal. \\n \\n \\t\\t\\tSKYE\",\n \"\\t\\tthat is love. \\n \\n \\tShe pulls an envelope from behind her back, which she's \\n \\tdecorated in flower-child fashion; it harkens back to the\",\n \"\\t\\tOh God, it feels great! He's just a \\n \\t\\tlittle narcissistic, irresponsible and \\n \\t\\tunreliable. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\t lightly; shivers against the \\n \\t\\t\\t sensation) \\n \\t\\tUtterly fantastic. \\n \\n \\t\\t\\tRYAN \\n \\t\\tYou know what Sally Therrian was saying\",\n \"\\tSkye's pleased she's made him happy. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(regards Joe; to Skye) \\n \\t\\tWhat a sweetheart you are. \\n\",\n \"\\tdelicious moment. There's a spectacular shot of Sally, \\n \\tunaware, laughing, sad soft eyes on Joe. \\n \\n \\tMEDIUM CLOSE - AMERICA \\n\",\n \"\\tchest. \\n \\n \\t\\t\\tMONICA \\n \\t\\tI'd be thrilled. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tThen he'll be thrilled. \\n\",\n \"\\tShe feels they've bonded. She pulls a well-thumbed copy of \\n \\tJoe's novel from her purse. \\n \\n \\t\\t\\tMONICA (CONT'D) \\n \\t\\tWould you sign it for me.\",\n \"\\t\\t\\tSALLY \\n \\t\\tMaybe not. \\n \\n \\t\\t\\tMAC \\n \\t\\tSo much for ecstacy, right? \\n \\n \\tThey all laugh a little. \\n \\n \\t\\t\\tSOPHIA\",\n \"\\t\\t\\t(long moment) \\n \\t\\tAnd a damn near perfect drug. \\n \\n \\t\\t\\tJUDY \\n \\t\\tHm. We should do it again. \\n \\n \\t\\t\\tJERRY\",\n \"\\tOblivious, Judy and Clair turn somersaults. \\n \\n \\tMac begins to panic. He is drowning. \\n \\n \\tHe begins to sink. Panic gives way to acceptance. \\n\",\n \"\\tMost everyone's moved through to the dining room. The table \\n \\tis filled with platters of beautifully prepared food. \\n \\tCandles, flowers. \\n \\n \\tASTRID, newly arrived, carrying a miniature furball, of\",\n \"\\tcompounded by water-weight. \\n \\n \\tThe drug has clearly taken effect. Mac opens his mouth to \\n \\tdirect his actors, forgets where he is, begins to choke, and \\n \\tcough, is clearly in trouble. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tTrust him. \\n \\n \\t\\t\\tPANES \\n \\t\\tIt's Shostakovich. \\n \\n \\tRyan spots his book on the shelf and pulls it out, delighted. \\n\",\n \"\\tHe dances her around the kitchen, he picks up the sterling \\n \\tdish, arranges the pills, carries them back to the living \\n \\troom. \\n \\n \\tINT. LIVING ROOM - CONTINUOUS \\n\",\n \"\\tEXT. POOL - LATER \\n \\n \\tThe drug has begun to take effect. The party is now in full \\n \\tswing. Music is playing, and Sophia and Clair are dancing. \\n\",\n \"\\t\\tdoing. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI love you, you're a genius. \\n \\n \\tBehind them, in the foyer, Judy wanders aimlessly. \\n\",\n \"\\t\\tHe's always one step removed, always \\n \\t\\tlooking over his shoulder always looking \\n \\t\\tfor something else, something more \\n \\t\\tintoxicating, and I don't mean drugs. I\",\n \"\\tSeveral of the other guests greet her, Mac among them. \\n \\n \\tTIGHT CLOSE \\n \\n \\tJoe sweeps her up to his arms. It's an intimate,\"\n ],\n [\n \"\\tShe puts down the phone. Stares into Joe's face, looks up at \\n \\ta photo on the wall that she took of Joe and Lucy. \\n \\n \\tEXT. BACKYARD LANDING \\n\",\n \"\\tJoe listens to the answering machine message Lucy left that \\n \\tmorning. He plays it again and again. \\n \\n \\tHE fast forwards to his father's voice. Presses the STOP\",\n \"\\t\\tJoe, it's Lucy. Remember me? It's the \\n \\t\\tblack sheep here. Bah...not funny. \\n \\t\\tHaven't heard from you, need you, call\",\n \"\\t\\t\\tLUCY (O.S.) \\n \\t\\t\\t(over answering machine) \\n \\t\\tIt's a damn nuisance you aren't here, big \\n \\t\\tbrother. Sorry I drone on. I miss you.\",\n \"\\t\\tYou want to talk about bullshit? Lucy \\n \\t\\tcalled you three times this week. She's \\n \\t\\ta fucking mess, Joe. Your sister is a \\n \\t\\tfucking mess. She needs you. I talk to\",\n \"\\tWe hear them calling for Otis. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOtis!!!! \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(on her heels) \\n \\t\\tOtis!!!! \\n\",\n \"\\t\\tthem a call for you. \\n \\n \\t\\t\\tJOE \\n \\t\\tThanks, Mac. \\n \\t\\t\\t(regards him) \\n \\t\\tAnd thanks for being so supportive about \\n \\t\\tall this.\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\tGina regards the photographs she brought for Joe and Sally. \\n \\tShe lifts it from the shelf, the phone rings, the machine \\n \\tpicks up. \\n \\n \\t\\t\\tMAN'S VOICE\",\n \"\\t\\tJoe, Joe! It's your Dad! Pick up, \\n \\t\\tJoe... \\n \\n \\tGina sets the photo on the desk, leans it up against the\",\n \"\\t\\t\\tGINA (CONT'D) \\n \\t\\tI saw Lucy when I was in London, she \\n \\t\\tseems okay. It's hard to tell with her. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tGINA \\n \\t\\tHarry called. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(growing dread) \\n \\t\\tAnd? \\n \\n \\t\\t\\tGINA\",\n \"\\tThe CAMERA hovers over the answering machine. \\n \\n \\t\\t\\tLUCY (O.S.) \\n \\t\\t\\t(over answering machine; sweet, \\n \\t\\t\\t British, slightly desperate)\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\t\\tHave I ever told you how Lucy and I \\n \\t\\tnearly squashed each other getting into \\n \\t\\tthe dumb waiter. \\n\",\n \"\\tSeveral of the other guests greet her, Mac among them. \\n \\n \\tTIGHT CLOSE \\n \\n \\tJoe sweeps her up to his arms. It's an intimate,\",\n \"\\tSally's started the bath, and is watching him from the \\n \\tdoorway. He meets her eyes mid-sentence. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\tThe phone RINGS again. \\n \\n \\t\\t\\tVOICE (O.S.) \\n \\t\\t\\t(over answering machine) \\n \\t\\tHello, I have Dr. Harmon calling for \\n \\t\\tSally Therrian. \\n\",\n \"\\t\\tI'm sure Sally's told you. \\n \\n \\t\\t\\tJOE \\n \\t\\tNo, what? \\n \\n \\t\\t\\tCAL \\n \\t\\tThe movie. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tIn Cheyene Walk? Lucy's going to have a \\n \\t\\tmeltdown. Oh, I'm so sorry. \\n \\n \\t\\t\\tJOE \\n \\t\\tI should have damn well bought it. Well,\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(humors her) \\n \\t\\tYeah, it was. For a writer nothing's \\n \\t\\tsacred. \\n \\t\\t\\t(thinks a moment)\"\n ],\n [\n \"\\t\\tHappy anniversary. \\n \\n \\tThey smile. \\n \\n \\t\\t\\tSTEVEN \\n \\t\\tAnd change sides... \\n \\n \\tAmerica slides open the dining room doors. The dining table\",\n \"\\t\\tIt's our anniversary, Panes. \\n \\n \\t\\t\\tPANES \\n \\t\\tI didn't hear me say tonight. \\n \\n \\t\\t\\tSALLY \\n \\t\\tWe're just feeling our way back. \\n\",\n \"\\tof their handstands and lie on the floor in a stretched \\n \\trelax, facing one another. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHappy anniversary, baby. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tJACK \\n \\t\\t\\t(sings) \\n \\t\\tHappy anniversary to you. We're glad Joe \\n \\t\\tcame home. Don't split up again. Cause \\n \\t\\twe like the food.\",\n \"\\t\\tHappy anniversary, buddy! Six months \\n \\t\\tago, who would have thunk it? \\n \\n \\tJerry hugs Joe. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(sotto)\",\n \"\\tSally approaches, gives Gina a warm kiss on the chest. \\n \\n \\t\\t\\tSALLY \\n \\t\\tThanks for coming. \\n \\n \\t\\t\\tGINA \\n \\t\\tHappy anniversary. You're a good match,\",\n \"\\tsixties, puts it into Sally's hand, kisses her cheek. \\n \\n \\t\\t\\tSKYE (CONT'D) \\n \\t\\t\\t(tears up) \\n \\t\\tHappy anniversary. Thank you for making\",\n \"\\tSally opens the gift. Takes out a Calder mobile. \\n \\n \\t\\t\\tJOE \\n \\t\\tHappy anniversary. \\n \\n \\t\\t\\tSALLY \\n \\t\\tIt's a Calder. \\n\",\n \"\\tset of keys. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tThey're the keys to your grandad's flat. \\n \\t\\tHappy anniversary, baby. \\n \\n \\t\\t\\tJOE\",\n \"\\thim. His arms are wrapped around her, face pressed against \\n \\thers. \\n \\n \\tThere's a SERIES OF CUTS through speeches, gifts,\",\n \"\\t\\tAre those our dailies? You're totally \\n \\t\\toutrageous. It's their anniversary. Is \\n \\t\\tnothing sacred! Well...so...how am I? \\n \\n \\t\\t\\tMAC\",\n \"\\ttheir mid-thirties, conservatively dressed. She's stunning, \\n \\tgenetically nervous. Jerry carries a briefcase. She's got \\n \\tthe gift. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tYou invited her to our anniversary party? \\n \\t\\tI didn't even invite my mother. \\n \\n \\t\\t\\tJOE \\n \\t\\tShe goes on location tomorrow. Sally,\",\n \"\\tJoe and Sally tenderly make love. It's the dissolution of \\n \\ttheir marriage. \\n \\n \\tINT. FOYER - NINE A.M. \\n \\n \\tAmerica and Rosa begins to clean up the debris from the\",\n \"\\tdining room, giving the couple their privacy. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\t\\t\\t(calls out) \\n \\t\\tThank you, America! \\n \\n \\t\\t\\tSTEVEN\",\n \"\\t\\tI never put myself in harm's way. \\n \\n \\t\\t\\tJOE \\n \\t\\tAnymore. \\n \\n \\t\\t\\tGINA \\n \\t\\tNo, not anymore. Happy anniversary, \\n \\t\\tscout.\",\n \"\\tWe see Judy and Jerry bounding around the side of the house. \\n \\tJerry has his briefcase in his hand. They are laughing. \\n \\tThey enter the kitchen. The camera stays outside. We see\",\n \"\\tSeveral of the other guests greet her, Mac among them. \\n \\n \\tTIGHT CLOSE \\n \\n \\tJoe sweeps her up to his arms. It's an intimate,\",\n \"\\t\\tPart of our gift. Honey!! \\n \\n \\t\\t\\tCAL \\n \\t\\t\\t(clinks his glass) \\n \\t\\tHere, here. \\n \\n \\tClair picks up discarded dinner plates. Otis takes care of\",\n \"\\t\\tI'm the wife. We've met. \\n \\n \\t\\t\\tJERRY \\n \\t\\t\\t(hugs her) \\n \\t\\tYou, I know. \\n \\n \\t\\t\\tSALLY\"\n ],\n [\n \"\\t\\tHappy anniversary. \\n \\n \\tThey smile. \\n \\n \\t\\t\\tSTEVEN \\n \\t\\tAnd change sides... \\n \\n \\tAmerica slides open the dining room doors. The dining table\",\n \"\\t\\tIt's our anniversary, Panes. \\n \\n \\t\\t\\tPANES \\n \\t\\tI didn't hear me say tonight. \\n \\n \\t\\t\\tSALLY \\n \\t\\tWe're just feeling our way back. \\n\",\n \"\\tof their handstands and lie on the floor in a stretched \\n \\trelax, facing one another. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHappy anniversary, baby. \\n \\n \\t\\t\\tJOE\",\n \"\\tset of keys. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tThey're the keys to your grandad's flat. \\n \\t\\tHappy anniversary, baby. \\n \\n \\t\\t\\tJOE\",\n \"\\thim. His arms are wrapped around her, face pressed against \\n \\thers. \\n \\n \\tThere's a SERIES OF CUTS through speeches, gifts,\",\n \"\\t\\tHappy anniversary, buddy! Six months \\n \\t\\tago, who would have thunk it? \\n \\n \\tJerry hugs Joe. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(sotto)\",\n \"\\t\\t\\tJACK \\n \\t\\t\\t(sings) \\n \\t\\tHappy anniversary to you. We're glad Joe \\n \\t\\tcame home. Don't split up again. Cause \\n \\t\\twe like the food.\",\n \"\\tsixties, puts it into Sally's hand, kisses her cheek. \\n \\n \\t\\t\\tSKYE (CONT'D) \\n \\t\\t\\t(tears up) \\n \\t\\tHappy anniversary. Thank you for making\",\n \"\\tSally approaches, gives Gina a warm kiss on the chest. \\n \\n \\t\\t\\tSALLY \\n \\t\\tThanks for coming. \\n \\n \\t\\t\\tGINA \\n \\t\\tHappy anniversary. You're a good match,\",\n \"\\tSally opens the gift. Takes out a Calder mobile. \\n \\n \\t\\t\\tJOE \\n \\t\\tHappy anniversary. \\n \\n \\t\\t\\tSALLY \\n \\t\\tIt's a Calder. \\n\",\n \"\\ttheir mid-thirties, conservatively dressed. She's stunning, \\n \\tgenetically nervous. Jerry carries a briefcase. She's got \\n \\tthe gift. \\n\",\n \"\\t\\tAre those our dailies? You're totally \\n \\t\\toutrageous. It's their anniversary. Is \\n \\t\\tnothing sacred! Well...so...how am I? \\n \\n \\t\\t\\tMAC\",\n \"\\tJoe and Sally tenderly make love. It's the dissolution of \\n \\ttheir marriage. \\n \\n \\tINT. FOYER - NINE A.M. \\n \\n \\tAmerica and Rosa begins to clean up the debris from the\",\n \"\\tdining room, giving the couple their privacy. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\t\\t\\t(calls out) \\n \\t\\tThank you, America! \\n \\n \\t\\t\\tSTEVEN\",\n \"\\tWe see Judy and Jerry bounding around the side of the house. \\n \\tJerry has his briefcase in his hand. They are laughing. \\n \\tThey enter the kitchen. The camera stays outside. We see\",\n \"\\t\\tI never put myself in harm's way. \\n \\n \\t\\t\\tJOE \\n \\t\\tAnymore. \\n \\n \\t\\t\\tGINA \\n \\t\\tNo, not anymore. Happy anniversary, \\n \\t\\tscout.\",\n \"\\t\\tI'm the wife. We've met. \\n \\n \\t\\t\\tJERRY \\n \\t\\t\\t(hugs her) \\n \\t\\tYou, I know. \\n \\n \\t\\t\\tSALLY\",\n \"\\tthem brought up short by the gloom, but hear nothing. \\n \\n \\tINT. KITCHEN - CONTINUOUS \\n \\n \\tSally and Joe are at the table, signing their tax returns.\",\n \"\\t\\t\\t(his face lights) \\n \\t\\tI'm so glad you're able to make it...it's \\n \\t\\tour sixth, actually. \\n \\t\\t\\t(flattered)\",\n \"\\t\\tPart of our gift. Honey!! \\n \\n \\t\\t\\tCAL \\n \\t\\t\\t(clinks his glass) \\n \\t\\tHere, here. \\n \\n \\tClair picks up discarded dinner plates. Otis takes care of\"\n ],\n [\n \"\\t\\t\\tJOE \\n \\t\\t\\t(opens the door) \\n \\t\\tPanes! How are you? \\n \\n \\t\\t\\tPANES \\n \\t\\tOh, you know, I am. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(humors her) \\n \\t\\tYeah, it was. For a writer nothing's \\n \\t\\tsacred. \\n \\t\\t\\t(thinks a moment)\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\tYou're Joe, aren't you? \\n \\t\\t\\t(nods knowingly) \\n \\t\\tI recognized you from the book jacket. \\n \\n \\tJoe grins from ear to ear. Uncharacteristically star struck\",\n \"\\tJoe comes through the left hand door, nearly dressed. \\n \\n \\t\\t\\tJOE \\n \\t\\tWho the fuck can be here at this time? \\n \\t\\tIt's not even seven! \\n\",\n \"\\t\\tAnd Joe's huge in Europe. He's like a \\n \\t\\trock star in London. His novels sell \\n \\t\\tmillions. \\n \\n \\t\\t\\tJERRY \\n \\t\\tNot millions. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(bereft) \\n \\t\\tStupid tart. \\n \\n \\tINT. KITCHEN - LATER \\n\",\n \"\\tJoe and Judy sit on opposite sides of the sofa -- slightly \\n \\tuncomfortable with each other. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(to fill the silence, \\n \\t\\t\\t conspiratorial grin)\",\n \"\\t\\t\\tJOE \\n \\t\\tHe'll find his way back. \\n \\n \\t\\t\\tSALLY \\n \\t\\tThere are fucking coyotes out there. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(calming)\",\n \"\\tSally's started the bath, and is watching him from the \\n \\tdoorway. He meets her eyes mid-sentence. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\tSeveral of the other guests greet her, Mac among them. \\n \\n \\tTIGHT CLOSE \\n \\n \\tJoe sweeps her up to his arms. It's an intimate,\",\n \"\\tJoe listens to the answering machine message Lucy left that \\n \\tmorning. He plays it again and again. \\n \\n \\tHE fast forwards to his father's voice. Presses the STOP\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(comes on them with the \\n \\t\\t\\t Forsythes in tow) \\n \\t\\tShe rarely cops to it. \\n \\t\\t\\t(kisses Sally's cheek)\",\n \"\\tJoe regards the open trusting face, is touched by it. Leans \\n \\tin, kisses her lips very lightly... and again. Her arms \\n \\tcan't make up her mind, whether to come up around him or not.\",\n \"\\t\\t\\tJOE \\n \\t\\tI have no idea who you are. \\n \\n \\tThey stand their in silence. Joe is devastated. We hear \\n \\tSkye and Panes up ahead calling for Otis. \\n\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tI know. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's my favorite. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tJOE \\n \\t\\tOh shit. I'm sorry. I'm a total fucking \\n \\t\\tmaniac. Delete all that, okay? I spoke \\n \\t\\tfor myself, this needn't rub off on my\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\"\n ],\n [\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\",\n \"\\tblows her a kiss. She kisses her finger tips and puts her \\n \\thand flat against the window pane. \\n \\n \\tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tIn the morning, after everyone's gone and \\n \\t\\tthere's just us. \\n \\n \\tShe pushes him on the bed. \\n \\n \\t\\t\\tJOE\",\n \"\\tSally drops out of frame. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tDon't try and change the subject. \\n \\t\\t\\t(sitting, joining Sally)\",\n \"\\tSally sits at the edge of the bed, regards the sleeping \\n \\tchildren. Reaches over and smoothens the tangled, tousled \\n \\thair. Studies their faces. \\n\",\n \"\\tSally jumps out of the down dog position and runs to the \\n \\tphone, all angles. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHello, hi, hi...and? Thank God. \\n\",\n \"\\ther. Watches herself, with a professional, acute eye. More \\n \\tcritical than Mac's could ever be. \\n \\n \\t\\t\\tSALLY (ON TV)\",\n \"\\tSally opens the door. Hugs and buses them, hello. \\n \\n \\t\\t\\tJUDY \\n \\t\\tI know we're early, we're so early. \\n \\t\\tSorry. \\n\",\n \"\\t\\t\\tMONICA \\n \\t\\t\\t(nods) \\n \\t\\tSally did all this herself? \\n \\n \\t\\t\\tJOE \\n \\t\\tIn fits and starts -- and then, later, of\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a little choked laugh) \\n \\t\\tMe too. \\n \\n \\t\\t\\tJOE \\n \\t\\tThat's under lock and key. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a deep breath) \\n \\t\\tWell...wow... \\n \\n \\tINT. HALLWAY - CONTINUOUS \\n\",\n \"\\t\\tknow, that thing that was Sally - that \\n \\t\\talways surprised you. It's gone. I \\n \\t\\tthink she's scared. And that's death. \\n \\n \\t\\t\\tJOE\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\tClair's started down the hallway, reaches the landing. Sally \\n \\trushes into the guest bedroom to avoid her. Clair, just \\n \\tmissing Sally, wanders into the dailies room. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tI love you. \\n \\n \\tINT. FOYER - EARLY EVENING \\n \\n \\tThe house is filled with exquisite flower arrangements, \\n \\tcandles everywhere. \\n\",\n \"\\tSally comes through the other door, one shoe off, one on. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOh Jesus, who else is always early for \\n \\t\\tChrist's sake? \\n \\n \\tNEW ANGLE \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tSure. \\n \\n \\tShe reaches out with both arms. \\n \\n \\tINT. BATHROOM - TIGHT CLOSE \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tOtis, good boy, come here. Oh my god, oh \\n \\t\\tmy god, oh my god. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tdoing. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI love you, you're a genius. \\n \\n \\tBehind them, in the foyer, Judy wanders aimlessly. \\n\",\n \"\\tSally who is coming up. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tI'm going to be home all weekend, call if \\n \\t\\tyou need anything. \\n \\n \\tSally kisses Cal's cheek. \\n\"\n ],\n [\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\t\\tSally, I have never considered you for \\n \\t\\tthis part because you are too old to play \\n \\t\\tit. And you are out of touch with \\n \\t\\treality if you think differently. \\n \\n \\t\\t\\tSALLY\",\n \"\\tblows her a kiss. She kisses her finger tips and puts her \\n \\thand flat against the window pane. \\n \\n \\tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \\n\",\n \"\\ther. Watches herself, with a professional, acute eye. More \\n \\tcritical than Mac's could ever be. \\n \\n \\t\\t\\tSALLY (ON TV)\",\n \"\\t\\tWho, Sally? \\n \\n \\t\\t\\tCAL \\n \\t\\tAnd, you know it isn't rocket science, \\n \\t\\tthis script. She can barely get the \\n \\t\\tlines out. There was a scene last week -\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\t\\tI love you, Gina Taylor. \\n \\n \\tSally's uncomfortable, a little jealous... feels intrusive. \\n \\tAware that Gina got there first. Knew him when. And always\",\n \"\\tSally's team prepares clues for charades. Sally writes them \\n \\tdown, throws them in a bowler hat. Her teammates are Panes, \\n \\tSophia, Mac, Ryan, Sanford and Jeffrey. \\n\",\n \"\\tSally comes through the other door, one shoe off, one on. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOh Jesus, who else is always early for \\n \\t\\tChrist's sake? \\n \\n \\tNEW ANGLE \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\tBut I am a possessive, fragile neurotic. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\t\\t(also tearing up) \\n \\t\\tNo you are not. You're Sally Nash.\",\n \"\\t\\tRight. And when was the last time you \\n \\t\\tspoke to her? \\n \\n \\tJoe is silent. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tAnd how fucking dare you cast Skye\",\n \"\\t\\t\\tSALLY \\n \\t\\tSure. \\n \\n \\tShe reaches out with both arms. \\n \\n \\tINT. BATHROOM - TIGHT CLOSE \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tIn the morning, after everyone's gone and \\n \\t\\tthere's just us. \\n \\n \\tShe pushes him on the bed. \\n \\n \\t\\t\\tJOE\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\t\\t\\tJERRY \\n \\t\\tI suppose. Sally, that's quite a gift. \\n \\t\\tI'm not sure it's in your best interest. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI adore him.\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(comes on them with the \\n \\t\\t\\t Forsythes in tow) \\n \\t\\tShe rarely cops to it. \\n \\t\\t\\t(kisses Sally's cheek)\",\n \"\\t\\tmy entire life. Including my mother. \\n \\t\\tThe character is also clearly in her \\n \\t\\tearly twenties, Sally. \\n \\n \\t\\t\\tSALLY \\n \\t\\tWhat are you saying? \\n\",\n \"\\t\\t\\tSALLY (O.S.) \\n \\t\\tHere I am. Panes, my love! \\n \\n \\tSally starts down the hallway. \\n \\n \\t\\t\\tSALLY (CONT'D)\",\n \"\\twalks in on them searching for Panes' ear, her best buddy. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(resigned) \\n \\t\\tOh perfect! \\n\"\n ],\n [\n \"\\tSally kisses his cheek on her way to the door. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tPromise you'll be nice to the neighbors. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\tOh, okay, forgive me. Your neighbors are \\n \\t\\there, for fuck's sake. \\n \\n \\t\\t\\tSALLY \\n \\t\\tExactly what I mean. It's all ruined. \\n\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tOkay, knock it off. \\n \\n \\t\\t\\tSALLY \\n \\t\\tTruce? \\n \\n \\t\\t\\tJOE \\n \\t\\tTruce. \\n\",\n \"\\tthem brought up short by the gloom, but hear nothing. \\n \\n \\tINT. KITCHEN - CONTINUOUS \\n \\n \\tSally and Joe are at the table, signing their tax returns.\",\n \"\\tJoe and Sally tenderly make love. It's the dissolution of \\n \\ttheir marriage. \\n \\n \\tINT. FOYER - NINE A.M. \\n \\n \\tAmerica and Rosa begins to clean up the debris from the\",\n \"\\t\\t\\tSALLY \\n \\t\\tYou invited her to our anniversary party? \\n \\t\\tI didn't even invite my mother. \\n \\n \\t\\t\\tJOE \\n \\t\\tShe goes on location tomorrow. Sally,\",\n \"\\tSally and Joe are alone in the room. They hold each other, \\n \\tweep... \\n \\n \\t\\t\\tRYAN \\n \\t\\t\\t(appalled) \\n \\t\\tJesus Christ, it's a fucking dog!\",\n \"\\t\\tThese are the people who live next door. \\n \\t\\tSay hello. \\n \\n \\tJack does. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\t\\tAnd close the door, Jack. Because if we\",\n \"\\t\\t\\t(to Joe) \\n \\t\\tI'm sure you understand. \\n \\n \\t\\t\\tSALLY \\n \\t\\tWell the neighborhood is full of dogs, \\n \\t\\tand it's not always Otis. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tOh, well, we'll just have to try again. \\n \\t\\tSound like a plan? \\n \\n \\tSally nods, she and Joe, at Steven's instructions, come out\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\t\\tEverybody hates the messenger. \\n \\n \\tGina exits. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\t\\t(to Joe) \\n \\t\\tI'm coming with you. \\n\",\n \"\\tOtis is barking. \\n \\n \\t\\t\\tJOE (O.S.) \\n \\t\\tOtis! No barking! \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(touched)\",\n \"\\tJoe and Judy sit on opposite sides of the sofa -- slightly \\n \\tuncomfortable with each other. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(to fill the silence, \\n \\t\\t\\t conspiratorial grin)\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a little choked laugh) \\n \\t\\tMe too. \\n \\n \\t\\t\\tJOE \\n \\t\\tThat's under lock and key. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tSALLY \\n \\t\\tYes. And you've met Joe. \\n \\n \\t\\t\\tRYAN \\n \\t\\tYes. \\n \\n \\t\\t\\tSALLY\",\n \"\\tSally takes Panes into the living room where everyone chats, \\n \\tdrinks, smokes. They all like each other out of habit, if \\n \\tnothing else. Ryan and Monica are on the fringe, stand at\",\n \"\\t\\teffect. Sally suffers, we all suffer. \\n \\n \\t\\t\\tJUDY \\n \\t\\t\\t(offers) \\n \\t\\tWe have a gift? \\n \\n \\t\\t\\tJOE\"\n ],\n [\n \"\\tSkye's pleased she's made him happy. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(regards Joe; to Skye) \\n \\t\\tWhat a sweetheart you are. \\n\",\n \"\\t\\t\\tSKYE \\n \\t\\tFriends. And talented friends. This \\n \\t\\troom is so filled with love.. \\n \\n \\t\\t\\tASTRID \\n \\t\\t\\t(sings out)\",\n \"\\t\\tI was impressed. \\n \\n \\t\\t\\tSKYE \\n \\t\\tOh? \\n \\n \\t\\t\\tPANES \\n \\t\\tThe charades. \\n \\n \\t\\t\\tSKYE \\n \\t\\tThank you.\",\n \"\\tt-shirt. Very similar to what Skye is wearing. She sits a \\n \\tmoment on the floor. The sounds of the party below are \\n \\tmuted. \\n \\n \\t\\t\\tSALLY (O.S.)\",\n \"\\tsixties, puts it into Sally's hand, kisses her cheek. \\n \\n \\t\\t\\tSKYE (CONT'D) \\n \\t\\t\\t(tears up) \\n \\t\\tHappy anniversary. Thank you for making\",\n \"\\t\\tAnd the winner is... \\n \\n \\t\\t\\tPANES \\n \\t\\tLet the woman speak. \\n \\n \\t\\t\\tSKYE \\n \\t\\tAnd I brought a gift of love. A gift\",\n \"\\t\\tNo, no of course not. It's Skye fucking \\n \\t\\tDavidson, for fuck's sake. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(regards her)\",\n \"\\t\\t\\tSKYE \\n \\t\\tOh my god. I've been so rude. I'm Skye \\n \\t\\tDavidson. Has anyone ever told you, you \\n \\t\\tlook like Peter Sellers? \\n\",\n \"\\t\\tprobably going to leave you for Skye \\n \\t\\tDavidson anyway. \\n \\n \\tThey hug a bit weepy. \\n \\n \\t\\t\\tSOPHIA (CONT'D)\",\n \"\\t\\t\\tSKYE \\n \\t\\tAnd my favorite novelist. And all their \\n \\t\\tamazing -- \\n \\n \\t\\t\\tSAM \\n \\t\\t\\t(sings out) \\n \\t\\tAnd talented. \\n\",\n \"\\t\\tRight. And when was the last time you \\n \\t\\tspoke to her? \\n \\n \\tJoe is silent. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tAnd how fucking dare you cast Skye\",\n \"\\tin front of this beauty. \\n \\n \\t\\t\\tJOE \\n \\t\\tHow do you do, Skye? \\n \\n \\t\\t\\tSKYE \\n \\t\\tOh, I love that.\",\n \"\\t\\t\\tJOE \\n \\t\\tWith great tits. I'm going to ask her if \\n \\t\\tI can touch them. \\n \\n \\tHe gets up to go towards Skye, is stopped by... \\n\",\n \"\\t\\tIs there space here? \\n \\n \\t\\t\\tSKYE \\n \\t\\tYes. \\n \\n \\t\\t\\tPANES \\n \\t\\tDo you need anything else? \\n \\n \\t\\t\\tSKYE\",\n \"\\t\\tJust a moment. \\n \\t\\t\\t(puts the call on hold) \\n \\t\\tIt's Skye Davidson. She needs directions \\n \\t\\tto the house. You invited Skye fucking\",\n \"\\tJoe winces, uncomfortable, picks up the bottle of wine and \\n \\tleaves. \\n \\n \\t\\t\\tSKYE (CONT'D) \\n \\t\\tAnd I'm overwhelmed. And I want to do it\",\n \"\\tby herself at the far end. Joe has his hand on Cal's chest. \\n \\tCal is stroking Joe's hair. \\n \\n \\t\\t\\tJOE \\n \\t\\tIsn't Skye amazing? \\n\",\n \"\\t\\tYeah, well, it's just us and a few \\n \\t\\thundred of our closest friends. \\n \\n \\t\\t\\tSKYE \\n \\t\\t\\t(genuine) \\n \\t\\tWhen I read your work I felt that you\",\n \"\\tSkye giggles appreciative response. \\n \\n \\t\\t\\tPANES (CONT'D) \\n \\t\\t\\t(still Indian) \\n \\t\\tSo you are well acquainted with this\",\n \"\\tisn't buying it. \\n \\n \\t\\t\\tJOE (O.S.) (CONT'D) \\n \\t\\tI'm looking forward to meeting you, too. \\n \\t\\tAnd Skye, I'm thrilled that you're\"\n ],\n [\n \"\\tOblivious, Judy and Clair turn somersaults. \\n \\n \\tMac begins to panic. He is drowning. \\n \\n \\tHe begins to sink. Panic gives way to acceptance. \\n\",\n \"\\t\\tknow, that thing that was Sally - that \\n \\t\\talways surprised you. It's gone. I \\n \\t\\tthink she's scared. And that's death. \\n \\n \\t\\t\\tJOE\",\n \"\\tThey step out onto the porch. Judy's left alone, unsure \\n \\twhether to follow or not. \\n \\n \\t\\t\\tJUDY \\n \\t\\t\\t(finally, to no one, and to no\",\n \"\\tClair wanders up. She's changed into her own clothes. \\n \\n \\t\\t\\tCLAIR \\n \\t\\tI've lost my husband and my beeper. Have \\n \\t\\teither of you seen either of them? \\n\",\n \"\\tEXT. HIGH SHOT - CONTINUOUS \\n \\n \\tOtis wanders along the street, up the driveway and disappears \\n \\tthrough the flap in the kitchen door. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tI have no idea who you are. \\n \\n \\tThey stand their in silence. Joe is devastated. We hear \\n \\tSkye and Panes up ahead calling for Otis. \\n\",\n \"\\tA pall descends on the party. There's a FULL SHOT of the \\n \\tgroup. Nobody quite knows what to do. There's torn wrapping \\n \\tpaper all over the room. \\n \\n \\t\\t\\tASTRID\",\n \"\\t\\tEverybody hates the messenger. \\n \\n \\tGina exits. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\t\\t(to Joe) \\n \\t\\tI'm coming with you. \\n\",\n \"\\t\\t\\t\\t\\t\\t FADE OUT. \\n \\n \\n\",\n \"\\t\\tPart of our gift. Honey!! \\n \\n \\t\\t\\tCAL \\n \\t\\t\\t(clinks his glass) \\n \\t\\tHere, here. \\n \\n \\tClair picks up discarded dinner plates. Otis takes care of\",\n \"\\t\\tprobably going to leave you for Skye \\n \\t\\tDavidson anyway. \\n \\n \\tThey hug a bit weepy. \\n \\n \\t\\t\\tSOPHIA (CONT'D)\",\n \"\\tThere are awkward excuses. Some of the guests leave. \\n \\n \\tINT. LIVING ROOM - MOMENTS LATER \\n \\n \\tThe core group remains. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\teverything alright? \\n \\t\\t\\t(a deep intake of breath) \\n \\t\\tOh my God. When? He's not here. \\n \\t\\tThey're out looking for Otis. The dog,\",\n \"\\t\\tPanes is not on your team anymore. \\n \\n \\t\\t\\tPANES \\n \\t\\tWhat did I do? \\n \\n \\t\\t\\tSALLY \\n \\t\\tPanes is not on my team anymore. I'll\",\n \"\\t\\tSally, calm down. We're not going to \\n \\t\\tfind him any quicker by you being \\n \\t\\thysterical. \\n \\n \\tMonica retreats, backs off a step or two. \\n\",\n \"\\tJoe and Sally tenderly make love. It's the dissolution of \\n \\ttheir marriage. \\n \\n \\tINT. FOYER - NINE A.M. \\n \\n \\tAmerica and Rosa begins to clean up the debris from the\",\n \"\\tIt's empty but for glasses, wrapping paper, abandoned dishes \\n \\tof leftover cake. \\n \\n \\tINT. EMPTY KITCHEN - CONTINUOUS \\n\",\n \"\\t\\tanyone. \\n \\n \\tShe walks in front of the television set, blocks it with her \\n \\tbody, switches it off. \\n \\n \\t\\t\\tMAC \\n \\t\\t\\t(an observation)\",\n \"\\t\\tYes, you're a monster. \\n \\n \\tShe takes his hand. Sounds of the party come from below. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(a moment) \\n \\t\\tThank you, Panes.\",\n \"\\t\\tdoing. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI love you, you're a genius. \\n \\n \\tBehind them, in the foyer, Judy wanders aimlessly. \\n\"\n ],\n [\n \"\\t\\t\\tGINA \\n \\t\\tHarry called. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(growing dread) \\n \\t\\tAnd? \\n \\n \\t\\t\\tGINA\",\n \"\\t\\tHas she called? \\n \\n \\t\\t\\tPANES \\n \\t\\tShe'll never call again. She called last \\n \\t\\tweek to tell me she'll never call again. \\n \\t\\tWhere's Sally? \\n\",\n \"\\tThe phone RINGS again. \\n \\n \\t\\t\\tVOICE (O.S.) \\n \\t\\t\\t(over answering machine) \\n \\t\\tHello, I have Dr. Harmon calling for \\n \\t\\tSally Therrian. \\n\",\n \"\\t\\tnot. Harry. I'm so sorry. I will. \\n \\t\\t\\t(writes down the number) \\n \\t\\tYes I will. Take care, Harry. Bye. \\n\",\n \"\\tGina regards the photographs she brought for Joe and Sally. \\n \\tShe lifts it from the shelf, the phone rings, the machine \\n \\tpicks up. \\n \\n \\t\\t\\tMAN'S VOICE\",\n \"\\tSally and Joe are alone in the room. They hold each other, \\n \\tweep... \\n \\n \\t\\t\\tRYAN \\n \\t\\t\\t(appalled) \\n \\t\\tJesus Christ, it's a fucking dog!\",\n \"\\t\\teverything alright? \\n \\t\\t\\t(a deep intake of breath) \\n \\t\\tOh my God. When? He's not here. \\n \\t\\tThey're out looking for Otis. The dog,\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\tWe hear them calling for Otis. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOtis!!!! \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(on her heels) \\n \\t\\tOtis!!!! \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tI have no idea who you are. \\n \\n \\tThey stand their in silence. Joe is devastated. We hear \\n \\tSkye and Panes up ahead calling for Otis. \\n\",\n \"\\t\\tFor good. \\n \\n \\tThey begin to make love...the phone RINGS. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\t\\tDon't get it. \\n \\n \\t\\t\\tSALLY\",\n \"\\tSally jumps out of the down dog position and runs to the \\n \\tphone, all angles. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHello, hi, hi...and? Thank God. \\n\",\n \"\\tShe puts down the phone. Stares into Joe's face, looks up at \\n \\ta photo on the wall that she took of Joe and Lucy. \\n \\n \\tEXT. BACKYARD LANDING \\n\",\n \"\\tJoe listens to the answering machine message Lucy left that \\n \\tmorning. He plays it again and again. \\n \\n \\tHE fast forwards to his father's voice. Presses the STOP\",\n \"\\tA pall descends on the party. There's a FULL SHOT of the \\n \\tgroup. Nobody quite knows what to do. There's torn wrapping \\n \\tpaper all over the room. \\n \\n \\t\\t\\tASTRID\",\n \"\\t\\tknow, that thing that was Sally - that \\n \\t\\talways surprised you. It's gone. I \\n \\t\\tthink she's scared. And that's death. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tMONICA/RYAN \\n \\t\\t\\t(a little late; into silence) \\n \\t\\tPanes. \\n \\n \\tPanes gives them another little wave. Doorbell rings. \\n\",\n \"\\t\\t\\tSALLY'S VOICE FROM THE T.V. (O.S.) \\n \\t\\tA bird with dropsy. A caged bird. That \\n \\t\\thasn't long to live. \\n\",\n \"\\t\\tJoe, Joe! It's your Dad! Pick up, \\n \\t\\tJoe... \\n \\n \\tGina sets the photo on the desk, leans it up against the\",\n \"\\tThey step out onto the porch. Judy's left alone, unsure \\n \\twhether to follow or not. \\n \\n \\t\\t\\tJUDY \\n \\t\\t\\t(finally, to no one, and to no\"\n ],\n [\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\t\\tRight. And when was the last time you \\n \\t\\tspoke to her? \\n \\n \\tJoe is silent. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tAnd how fucking dare you cast Skye\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\t\\tSally, I have never considered you for \\n \\t\\tthis part because you are too old to play \\n \\t\\tit. And you are out of touch with \\n \\t\\treality if you think differently. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tSALLY (CONT'D) \\n \\t\\tYou think this was to hurt you?! My God, \\n \\t\\tJoe. It isn't about you. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\t\\t(moves toward her) \\n \\t\\tSally... \\n \\n \\t\\t\\tSALLY \\n \\t\\tDon't. \\n \\n \\t\\t\\tJOE \\n \\t\\tDon't push me away. \\n\",\n \"\\t\\tI'm sure Sally's told you. \\n \\n \\t\\t\\tJOE \\n \\t\\tNo, what? \\n \\n \\t\\t\\tCAL \\n \\t\\tThe movie. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tJOE \\n \\t\\tYou changed your mind. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI wanted you back. \\n \\n \\tJoe slaps her hard across the face. \\n\",\n \"\\t\\tMac's a pretty great director, Joe. He's \\n \\t\\ta woman's director. And nothing's \\n \\t\\thappening. Course he won't fire her, \\n \\t\\tbecause of the friendship... But it was\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a little choked laugh) \\n \\t\\tMe too. \\n \\n \\t\\t\\tJOE \\n \\t\\tThat's under lock and key. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\",\n \"\\t\\tknow, that thing that was Sally - that \\n \\t\\talways surprised you. It's gone. I \\n \\t\\tthink she's scared. And that's death. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tSALLY \\n \\t\\tYes. \\n \\n \\t\\t\\tJOE \\n \\t\\tI'll never forgive you. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI know. \\n\",\n \"\\t\\tthe same way. \\n \\n \\t\\t\\tJOE \\n \\t\\tLove? \\n \\n \\t\\t\\tSALLY \\n \\t\\tYou walked out on a five year marriage. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tSALLY \\n \\t\\tYou invited her to our anniversary party? \\n \\t\\tI didn't even invite my mother. \\n \\n \\t\\t\\tJOE \\n \\t\\tShe goes on location tomorrow. Sally,\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(comes on them with the \\n \\t\\t\\t Forsythes in tow) \\n \\t\\tShe rarely cops to it. \\n \\t\\t\\t(kisses Sally's cheek)\",\n \"\\t\\tRyan! \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(cuts off response from Joe; to \\n \\t\\t\\t Ryan) \\n \\t\\tAre you working on a new book? \\n \\n \\t\\t\\tRYAN\"\n ],\n [\n \"\\tSally kisses his cheek on her way to the door. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tPromise you'll be nice to the neighbors. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\tOh, okay, forgive me. Your neighbors are \\n \\t\\there, for fuck's sake. \\n \\n \\t\\t\\tSALLY \\n \\t\\tExactly what I mean. It's all ruined. \\n\",\n \"\\tSally and Joe are alone in the room. They hold each other, \\n \\tweep... \\n \\n \\t\\t\\tRYAN \\n \\t\\t\\t(appalled) \\n \\t\\tJesus Christ, it's a fucking dog!\",\n \"\\t\\t\\tJOE \\n \\t\\tOkay, knock it off. \\n \\n \\t\\t\\tSALLY \\n \\t\\tTruce? \\n \\n \\t\\t\\tJOE \\n \\t\\tTruce. \\n\",\n \"\\tOtis is barking. \\n \\n \\t\\t\\tJOE (O.S.) \\n \\t\\tOtis! No barking! \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(touched)\",\n \"\\tJoe and Sally tenderly make love. It's the dissolution of \\n \\ttheir marriage. \\n \\n \\tINT. FOYER - NINE A.M. \\n \\n \\tAmerica and Rosa begins to clean up the debris from the\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\t\\t\\t(to Joe) \\n \\t\\tI'm sure you understand. \\n \\n \\t\\t\\tSALLY \\n \\t\\tWell the neighborhood is full of dogs, \\n \\t\\tand it's not always Otis. \\n\",\n \"\\t\\tEverybody hates the messenger. \\n \\n \\tGina exits. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\t\\t(to Joe) \\n \\t\\tI'm coming with you. \\n\",\n \"\\t\\t\\tSALLY (CONT'D) \\n \\t\\tYou think this was to hurt you?! My God, \\n \\t\\tJoe. It isn't about you. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tJOE \\n \\t\\tHe'll find his way back. \\n \\n \\t\\t\\tSALLY \\n \\t\\tThere are fucking coyotes out there. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(calming)\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(comes on them with the \\n \\t\\t\\t Forsythes in tow) \\n \\t\\tShe rarely cops to it. \\n \\t\\t\\t(kisses Sally's cheek)\",\n \"\\t\\t\\tJOE \\n \\t\\tOh, well, we'll just have to try again. \\n \\t\\tSound like a plan? \\n \\n \\tSally nods, she and Joe, at Steven's instructions, come out\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\t\\tSally's never even seen it. I thought \\n \\t\\twe'd raise our kids there. \\n \\n \\tSally held in Joe's arms, smiles. The cat who ate the \\n \\tcanary. \\n\",\n \"\\tMac raises his hand on Sally's side, Jerry on Joe's. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\t\\tTwo minutes. \\n \\n \\t\\t\\tSALLY\",\n \"\\tthem brought up short by the gloom, but hear nothing. \\n \\n \\tINT. KITCHEN - CONTINUOUS \\n \\n \\tSally and Joe are at the table, signing their tax returns.\",\n \"\\tWe hear them calling for Otis. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOtis!!!! \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(on her heels) \\n \\t\\tOtis!!!! \\n\"\n ],\n [\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\t\\tWho, Sally? \\n \\n \\t\\t\\tCAL \\n \\t\\tAnd, you know it isn't rocket science, \\n \\t\\tthis script. She can barely get the \\n \\t\\tlines out. There was a scene last week -\",\n \"\\tSally's team prepares clues for charades. Sally writes them \\n \\tdown, throws them in a bowler hat. Her teammates are Panes, \\n \\tSophia, Mac, Ryan, Sanford and Jeffrey. \\n\",\n \"\\tblows her a kiss. She kisses her finger tips and puts her \\n \\thand flat against the window pane. \\n \\n \\tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \\n\",\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\t\\t\\tSALLY \\n \\t\\tIn the morning, after everyone's gone and \\n \\t\\tthere's just us. \\n \\n \\tShe pushes him on the bed. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tSALLY \\n \\t\\tOtis, good boy, come here. Oh my god, oh \\n \\t\\tmy god, oh my god. \\n \\n \\t\\t\\tJOE\",\n \"\\tFinally do. \\n \\n \\t\\t\\tSALLY (O.S.) \\n \\t\\tOtis!! Otis, come! Oh fuck! \\n \\n \\tShe appears beside them. \\n\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\tSally, I have never considered you for \\n \\t\\tthis part because you are too old to play \\n \\t\\tit. And you are out of touch with \\n \\t\\treality if you think differently. \\n \\n \\t\\t\\tSALLY\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\ther. Watches herself, with a professional, acute eye. More \\n \\tcritical than Mac's could ever be. \\n \\n \\t\\t\\tSALLY (ON TV)\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a deep breath) \\n \\t\\tWell...wow... \\n \\n \\tINT. HALLWAY - CONTINUOUS \\n\",\n \"\\tSally drops out of frame. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tDon't try and change the subject. \\n \\t\\t\\t(sitting, joining Sally)\",\n \"\\tSally comes through the other door, one shoe off, one on. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOh Jesus, who else is always early for \\n \\t\\tChrist's sake? \\n \\n \\tNEW ANGLE \\n\",\n \"\\t\\tI'm sure Sally's told you. \\n \\n \\t\\t\\tJOE \\n \\t\\tNo, what? \\n \\n \\t\\t\\tCAL \\n \\t\\tThe movie. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tSALLY \\n \\t\\tYes. And you've met Joe. \\n \\n \\t\\t\\tRYAN \\n \\t\\tYes. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a little choked laugh) \\n \\t\\tMe too. \\n \\n \\t\\t\\tJOE \\n \\t\\tThat's under lock and key. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tSALLY \\n \\t\\tSure. \\n \\n \\tShe reaches out with both arms. \\n \\n \\tINT. BATHROOM - TIGHT CLOSE \\n\",\n \"\\t\\tWell, something's wrong. \\n \\n \\t\\t\\tSALLY \\n \\t\\tNothing's wrong. It's great, okay? \\n \\t\\tHaving the time of my life. Mac's a\"\n ],\n [\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\t\\tBut I am right, yes? She's based on \\n \\t\\tSally. \\n \\n \\t\\t\\tJOE \\n \\t\\tIt's a novel. \\n \\n \\t\\t\\tJUDY\",\n \"\\t\\tit's Sally. The character that's based \\n \\t\\ton Sally. The character that's based on \\n \\t\\tSally in the book. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\t\\tI'm sure Sally's told you. \\n \\n \\t\\t\\tJOE \\n \\t\\tNo, what? \\n \\n \\t\\t\\tCAL \\n \\t\\tThe movie. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(comes on them with the \\n \\t\\t\\t Forsythes in tow) \\n \\t\\tShe rarely cops to it. \\n \\t\\t\\t(kisses Sally's cheek)\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tSALLY \\n \\t\\tYes. And you've met Joe. \\n \\n \\t\\t\\tRYAN \\n \\t\\tYes. \\n \\n \\t\\t\\tSALLY\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\t\\tRight. And when was the last time you \\n \\t\\tspoke to her? \\n \\n \\tJoe is silent. \\n \\n \\t\\t\\tSALLY (CONT'D) \\n \\t\\tAnd how fucking dare you cast Skye\",\n \"\\t\\tyou were too real. I worship you. And I \\n \\t\\tcouldn't be more flattered, because I \\n \\t\\tknow the part I'm playing in Joe's movie \\n \\t\\tis based on you as a young woman.\",\n \"\\t\\t\\tJOE \\n \\t\\tOh don't. Everyone says that. \\n \\n \\tINT. MUSIC LIBRARY \\n \\n \\tSally's taken Gina's photograph of them from the mantelpiece\",\n \"\\t\\tI will treasure this. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(shouting down the hall) \\n \\t\\tSally!!!! \\n \\n \\tINT. DAILIES ROOM - LATER - DAY \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tOh, well, we'll just have to try again. \\n \\t\\tSound like a plan? \\n \\n \\tSally nods, she and Joe, at Steven's instructions, come out\",\n \"\\t\\t\\tSALLY \\n \\t\\tIn the morning, after everyone's gone and \\n \\t\\tthere's just us. \\n \\n \\tShe pushes him on the bed. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tJOE \\n \\t\\tPlease? \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's impossible. Go on then. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tYour director and your co-star of your \\n \\t\\tcurrent movie. Don't dish if you can't \\n \\t\\ttake it, Sally. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\tknow, that thing that was Sally - that \\n \\t\\talways surprised you. It's gone. I \\n \\t\\tthink she's scared. And that's death. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tSOPHIA \\n \\t\\tThe both of you. \\n \\n \\t\\t\\tSALLY \\n \\t\\tBut she really gets to the heart of Joe, \\n \\t\\tdoesn't she? She's a genius. \\n\"\n ],\n [\n \"\\t\\t\\tJOE \\n \\t\\t\\t(humors her) \\n \\t\\tYeah, it was. For a writer nothing's \\n \\t\\tsacred. \\n \\t\\t\\t(thinks a moment)\",\n \"\\t\\tYou're Joe, aren't you? \\n \\t\\t\\t(nods knowingly) \\n \\t\\tI recognized you from the book jacket. \\n \\n \\tJoe grins from ear to ear. Uncharacteristically star struck\",\n \"\\t\\t\\tJOE \\n \\t\\tFive years ago, I was at the party, \\n \\t\\tremember? \\n \\n \\tJoe looks up and sees Sally standing in the sun room. He\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(opens the door) \\n \\t\\tPanes! How are you? \\n \\n \\t\\t\\tPANES \\n \\t\\tOh, you know, I am. \\n \\n \\t\\t\\tJOE\",\n \"\\tJoe listens to the answering machine message Lucy left that \\n \\tmorning. He plays it again and again. \\n \\n \\tHE fast forwards to his father's voice. Presses the STOP\",\n \"\\tSeveral of the other guests greet her, Mac among them. \\n \\n \\tTIGHT CLOSE \\n \\n \\tJoe sweeps her up to his arms. It's an intimate,\",\n \"\\tJoe comes through the left hand door, nearly dressed. \\n \\n \\t\\t\\tJOE \\n \\t\\tWho the fuck can be here at this time? \\n \\t\\tIt's not even seven! \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tHad a little help? \\n \\n \\t\\t\\tCAL \\n \\t\\tAbsolutely not. \\n \\n \\t\\t\\tJOE \\n \\t\\tIt has your ring. \\n \\n \\t\\t\\tCAL\",\n \"\\t\\tAnd Joe's huge in Europe. He's like a \\n \\t\\trock star in London. His novels sell \\n \\t\\tmillions. \\n \\n \\t\\t\\tJERRY \\n \\t\\tNot millions. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tOh shit. I'm sorry. I'm a total fucking \\n \\t\\tmaniac. Delete all that, okay? I spoke \\n \\t\\tfor myself, this needn't rub off on my\",\n \"\\t\\tJoe, Joe! It's your Dad! Pick up, \\n \\t\\tJoe... \\n \\n \\tGina sets the photo on the desk, leans it up against the\",\n \"\\t\\t\\tSALLY \\n \\t\\tHe's a novelist. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tAh. \\n \\n \\t\\t\\tSALLY \\n \\t\\tLike Joe. \\n\",\n \"\\t\\t\\tJOE \\n \\t\\tI hate the idea of some one else living \\n \\t\\tin it. \\n \\n \\tJoe pulls Sally to him and wraps his arms around her. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(bereft) \\n \\t\\tStupid tart. \\n \\n \\tINT. KITCHEN - LATER \\n\",\n \"\\tparty. \\n \\n \\tEXT. HOUSE - CONTINUOUS \\n \\n \\tA taxi pulls up. Joe gets in with his bags. The cab backs \\n \\tout... \\n\",\n \"\\tJoe and Judy sit on opposite sides of the sofa -- slightly \\n \\tuncomfortable with each other. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(to fill the silence, \\n \\t\\t\\t conspiratorial grin)\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(stops jumping, studies him) \\n \\t\\tOh. You're serious. \\n \\n \\t\\t\\tMAC \\n \\t\\t\\t(throws and arm around him)\",\n \"\\t\\tSally? \\n \\n \\t\\t\\tSALLY \\n \\t\\tYes. And you've met Joe. \\n \\n \\t\\t\\tRYAN \\n \\t\\tYes. \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\tJOE \\n \\t\\t\\t(after a beat) \\n \\t\\tNo. I missed that. \\n \\n \\t\\t\\tSALLY \\n \\t\\tI missed all of you. We're okay, aren't\",\n \"\\tJoe regards the open trusting face, is touched by it. Leans \\n \\tin, kisses her lips very lightly... and again. Her arms \\n \\tcan't make up her mind, whether to come up around him or not.\"\n ],\n [\n \"\\tEcstasy is passed from guest to guest. Ryan expects Monica \\n \\tto abstain. \\n \\n \\t\\t\\tMONICA \\n \\t\\t\\t(his glare; simply) \\n \\t\\tI want to try it, Ryan.\",\n \"\\tcompounded by water-weight. \\n \\n \\tThe drug has clearly taken effect. Mac opens his mouth to \\n \\tdirect his actors, forgets where he is, begins to choke, and \\n \\tcough, is clearly in trouble. \\n\",\n \"\\t\\t\\tSALLY \\n \\t\\tMaybe not. \\n \\n \\t\\t\\tMAC \\n \\t\\tSo much for ecstacy, right? \\n \\n \\tThey all laugh a little. \\n \\n \\t\\t\\tSOPHIA\",\n \"\\t\\t\\t(long moment) \\n \\t\\tAnd a damn near perfect drug. \\n \\n \\t\\t\\tJUDY \\n \\t\\tHm. We should do it again. \\n \\n \\t\\t\\tJERRY\",\n \"\\tEXT. POOL - LATER \\n \\n \\tThe drug has begun to take effect. The party is now in full \\n \\tswing. Music is playing, and Sophia and Clair are dancing. \\n\",\n \"\\t\\tI think we should all take it tonight. \\n \\t\\tEveryone's staying, stays. No driving. \\n \\t\\tThat's the rule. I love you Sally-Mae.\",\n \"\\t\\tme a part of it. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(pours the pills into her hand) \\n \\t\\tWhat are they? \\n \\n \\t\\t\\tJOE\",\n \"\\tA pall descends on the party. There's a FULL SHOT of the \\n \\tgroup. Nobody quite knows what to do. There's torn wrapping \\n \\tpaper all over the room. \\n \\n \\t\\t\\tASTRID\",\n \"\\t\\tOh my God, this ecstacy must be really \\n \\t\\tgood. \\n \\n \\tEXT. POOL SIDE - CONTINUOUS \\n \\n \\tJoe and Cal sit by the edge of the pool watching Skye dance\",\n \"\\tMorning's finally come. Light fills the room, empty except \\n \\tfor party debris. \\n \\n \\tINT. LIVING ROOM - CONTINUOUS \\n\",\n \"\\tSally takes Panes into the living room where everyone chats, \\n \\tdrinks, smokes. They all like each other out of habit, if \\n \\tnothing else. Ryan and Monica are on the fringe, stand at\",\n \"\\tHe dances her around the kitchen, he picks up the sterling \\n \\tdish, arranges the pills, carries them back to the living \\n \\troom. \\n \\n \\tINT. LIVING ROOM - CONTINUOUS \\n\",\n \"\\t\\tJesus, Sally. You are a medical miracle. \\n \\t\\tThe only person who's ever taken ecstacy \\n \\t\\tand become angrier. \\n \\n \\t\\t\\tSALLY\",\n \"\\tparty. \\n \\n \\tEXT. HOUSE - CONTINUOUS \\n \\n \\tA taxi pulls up. Joe gets in with his bags. The cab backs \\n \\tout... \\n\",\n \"\\tMost everyone's moved through to the dining room. The table \\n \\tis filled with platters of beautifully prepared food. \\n \\tCandles, flowers. \\n \\n \\tASTRID, newly arrived, carrying a miniature furball, of\",\n \"\\t\\tparties. \\n \\n \\t\\t\\tJOE \\n \\t\\tRave parties?! That's so typical - you \\n \\t\\twould think it was called rage. Perfect! \\n \\n \\t\\t\\tSALLY\",\n \"\\t\\t\\t(pleased, surprised) \\n \\t\\tDolphins. Great. \\n \\n \\t\\t\\tSALLY \\n \\t\\tIt's ecstasy, Sal. \\n \\n \\t\\t\\tSKYE\",\n \"\\t\\tWhat else don't I know about, Joe? Let's \\n \\t\\tget really clear here. \\n \\n \\t\\t\\tJOE \\n \\t\\tSally, so I took a few pills. I went out\",\n \"\\t\\t\\t(gives everyone a shy, pained \\n \\t\\t\\t little wave) \\n \\t\\tOh great. \\n \\n \\tEveryone stops, turns, toasts. \\n \\n \\t\\t\\tEVERYONE \\n \\t\\tPanes!\",\n \"\\t\\tReady to go? \\n \\n \\t\\t\\tMONICA \\n \\t\\tI'm going to go get my swimsuit. I do \\n \\t\\tknow, Ryan, this is non addictive so you\"\n ],\n [\n \"\\tSANFORD JEWISON is at the piano playing his own stuff, \\n \\toblivious to the din. The CAMERA gets a glimpse of Ryan \\n \\tthrough the French doors at the pool, alone, a glass of\",\n \"\\t\\tI'm Levi Panes. Will you excuse us, \\n \\t\\tSkye? It's time for Sally's meds. \\n \\n \\tPanes steers Sally out of the kitchen. \\n\",\n \"\\tseparation, the custody of Otis, their trying to have a \\n \\tbaby... \\n \\n \\tPanes plays a piece on the violin. Someone else sings. And \\n \\tfinally... \\n\",\n \"\\tthe edges of conversation. There's always someone at the \\n \\tpiano, and they can all pretty much play. \\n \\n \\t\\t\\tSALLY \\n \\t\\tPanes is here! \\n \\n \\t\\t\\tPANES\",\n \"\\t\\tIt's not going to come up. \\n \\n \\tINT. FOYER - LEVI PANES THROUGH THE GLASS DOOR - DAY \\n \\n \\tA Peter Sellers look-a-like holding a violin case.\",\n \"\\t\\t\\tSALLY \\n \\t\\tTrust him. \\n \\n \\t\\t\\tPANES \\n \\t\\tIt's Shostakovich. \\n \\n \\tRyan spots his book on the shelf and pulls it out, delighted. \\n\",\n \"\\tMuch laughter and clapping. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(in the archway) \\n \\t\\tJack. Did you compose that yourself? \\n \\n \\t\\t\\tCAL \\n \\t\\tAbsolutely.\",\n \"\\t\\t\\t(for Panes; a long supportive \\n \\t\\t\\t hug; a kiss) \\n \\t\\tGood, you brought your violin. I want \\n \\t\\tyou to play. \\n \\n \\t\\t\\tPANES\",\n \"\\t\\tcare to guess. Mac's really unhappy. \\n \\t\\tShe isn't there, that's all. She's no \\n \\t\\tidea what she's playing, not a clue. \\n \\n \\t\\t\\tJOE\",\n \"\\tbow in hand -- the archer prepares his next shot. \\n \\n \\tINT. LIVING ROOM \\n \\n \\tCal is at the piano, charming the neighbors. Judy chats with\",\n \"\\tJoe goes off with the children to find Otis. Cal sits at the \\n \\tpiano, plays. \\n \\n \\t\\t\\t\\tINT. FOYER - FRONT DOOR - CONTINUOUS \\n\",\n \"\\tINT. LIVING ROOM - CONTINUOUS \\n \\n \\tMore guests have arrived. Sophia and her children play with \\n \\tOtis. America and Rosa pass round hot hors d'oeuvres. \\n\",\n \"\\t\\t\\tPANES \\n \\t\\tDo you really, you really, like \\n \\t\\tShostakovich? \\n \\n \\t\\t\\tSKYE \\n \\t\\tYeah. \\n \\n \\t\\t\\tPANES\",\n \"\\tHe dances her around the kitchen, he picks up the sterling \\n \\tdish, arranges the pills, carries them back to the living \\n \\troom. \\n \\n \\tINT. LIVING ROOM - CONTINUOUS \\n\",\n \"\\t\\tShostackovich, as am I. \\n \\n \\tOther arrivals pick their way through bodies and plates. \\n \\tWalk over to Sally and kiss her cheek. Joe and Gina and \\n \\tJeffrey sit off to the side. \\n\",\n \"\\tEvie stands against the far wall. She wears a helmet and is \\n \\tsurrounded by toy suction arrows. The arrows make a perfect \\n \\toutline of her head and body. Jack stands three feet away,\",\n \"\\the drops his head. Stops watching... \\n \\n \\tINT. MOVIE SET \\n \\n \\t\\t\\tCAL'S VOICE FROM THE T.V. (O.S.) \\n \\t\\tYou sing like a bird. \\n\",\n \"\\t\\tthat is love. \\n \\n \\tShe pulls an envelope from behind her back, which she's \\n \\tdecorated in flower-child fashion; it harkens back to the\",\n \"\\t\\t\\t(to Evie) \\n \\t\\tHey, beautiful girl. \\n \\n \\tShe picks up the four-year-old, swings her around. Jack \\n \\thides behind his father's legs. \\n\",\n \"\\t\\tit's alright, it's alright, it's alright. \\n \\t\\tAnd God, I will be humble. \\n \\n \\tINT. MUSIC LIBRARY - MEDIUM FULL SHOT \\n\"\n ],\n [\n \"\\tA pall descends on the party. There's a FULL SHOT of the \\n \\tgroup. Nobody quite knows what to do. There's torn wrapping \\n \\tpaper all over the room. \\n \\n \\t\\t\\tASTRID\",\n \"\\tparty. \\n \\n \\tEXT. HOUSE - CONTINUOUS \\n \\n \\tA taxi pulls up. Joe gets in with his bags. The cab backs \\n \\tout... \\n\",\n \"\\tThere are awkward excuses. Some of the guests leave. \\n \\n \\tINT. LIVING ROOM - MOMENTS LATER \\n \\n \\tThe core group remains. \\n \\n \\t\\t\\tJOE\",\n \"\\tIt's empty but for glasses, wrapping paper, abandoned dishes \\n \\tof leftover cake. \\n \\n \\tINT. EMPTY KITCHEN - CONTINUOUS \\n\",\n \"\\tThere are sounds of the search party approaching. \\n \\n \\tNEW ANGLE \\n \\n \\tPanes, Skye, Sally and Joe come into the room dogless. \\n \\n \\t\\t\\tJOE \\n \\t\\tWhat is it? \\n\",\n \"\\tt-shirt. Very similar to what Skye is wearing. She sits a \\n \\tmoment on the floor. The sounds of the party below are \\n \\tmuted. \\n \\n \\t\\t\\tSALLY (O.S.)\",\n \"\\tMorning's finally come. Light fills the room, empty except \\n \\tfor party debris. \\n \\n \\tINT. LIVING ROOM - CONTINUOUS \\n\",\n \"\\tMost everyone's moved through to the dining room. The table \\n \\tis filled with platters of beautifully prepared food. \\n \\tCandles, flowers. \\n \\n \\tASTRID, newly arrived, carrying a miniature furball, of\",\n \"\\t\\teverything alright? \\n \\t\\t\\t(a deep intake of breath) \\n \\t\\tOh my God. When? He's not here. \\n \\t\\tThey're out looking for Otis. The dog,\",\n \"\\t\\tSally, calm down. We're not going to \\n \\t\\tfind him any quicker by you being \\n \\t\\thysterical. \\n \\n \\tMonica retreats, backs off a step or two. \\n\",\n \"\\tClair wanders up. She's changed into her own clothes. \\n \\n \\t\\t\\tCLAIR \\n \\t\\tI've lost my husband and my beeper. Have \\n \\t\\teither of you seen either of them? \\n\",\n \"\\tThey move out of the room. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(on the way upstairs) \\n \\t\\tIs it Otis? \\n \\n \\tSkye and Panes look at the other guests. \\n\",\n \"\\t\\tYes, you're a monster. \\n \\n \\tShe takes his hand. Sounds of the party come from below. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(a moment) \\n \\t\\tThank you, Panes.\",\n \"\\tEXT. POOL - LATER \\n \\n \\tThe drug has begun to take effect. The party is now in full \\n \\tswing. Music is playing, and Sophia and Clair are dancing. \\n\",\n \"\\tSeveral of the other guests greet her, Mac among them. \\n \\n \\tTIGHT CLOSE \\n \\n \\tJoe sweeps her up to his arms. It's an intimate,\",\n \"\\tClair's started down the hallway, reaches the landing. Sally \\n \\trushes into the guest bedroom to avoid her. Clair, just \\n \\tmissing Sally, wanders into the dailies room. \\n\",\n \"\\tAl the guests are a little stunned. \\n \\n \\t\\t\\tGINA \\n \\t\\tIs he not going? I booked a flight. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHe's not going tonight. \\n\",\n \"\\tOblivious, Judy and Clair turn somersaults. \\n \\n \\tMac begins to panic. He is drowning. \\n \\n \\tHe begins to sink. Panic gives way to acceptance. \\n\",\n \"\\twalks in on them searching for Panes' ear, her best buddy. \\n \\n \\t\\t\\tSALLY \\n \\t\\t\\t(resigned) \\n \\t\\tOh perfect! \\n\",\n \"\\tcaptures something naked and vulnerable in his face. \\n \\n \\t\\t\\t\\t\\t\\t CUT TO: \\n \\n \\tINT. GUEST ROOM - CONTINUOUS \\n\"\n ],\n [\n \"\\t\\t\\tSALLY \\n \\t\\tHe's directing now. \\n \\n \\t\\t\\tJERRY \\n \\t\\tThey're paying him scale. \\n \\n \\tThe CAMERA catches sight of Joe behind them. He moves\",\n \"\\t\\tI'm sure Sally's told you. \\n \\n \\t\\t\\tJOE \\n \\t\\tNo, what? \\n \\n \\t\\t\\tCAL \\n \\t\\tThe movie. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\tWho, Sally? \\n \\n \\t\\t\\tCAL \\n \\t\\tAnd, you know it isn't rocket science, \\n \\t\\tthis script. She can barely get the \\n \\t\\tlines out. There was a scene last week -\",\n \"\\t\\t\\tCAL'S VOICE FROM THE T.V. (O.S) \\n \\t\\tYou seem so alive up there. \\n \\n \\tSally stands at the open door. Stunned. Watches Mac watch\",\n \"\\tSally stands at the threshold, watches Cal and Sophia load \\n \\ttheir kids into the car. \\n \\n \\tINT. FOYER - CONTINUOUS \\n\",\n \"\\tSally who is coming up. \\n \\n \\t\\t\\tSOPHIA \\n \\t\\tI'm going to be home all weekend, call if \\n \\t\\tyou need anything. \\n \\n \\tSally kisses Cal's cheek. \\n\",\n \"\\tSally opens the gift. Takes out a Calder mobile. \\n \\n \\t\\t\\tJOE \\n \\t\\tHappy anniversary. \\n \\n \\t\\t\\tSALLY \\n \\t\\tIt's a Calder. \\n\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\t\\t\\tCAL \\n \\t\\tHang in. \\n \\n \\tINT. MASTER BEDROOM - CONTINUOUS \\n \\n \\tPanes and Skye are fucking on Joe and Sally's bed. Sally\",\n \"\\tCal blows her a kiss. \\n \\n \\t\\t\\tSALLY'S TEAM \\n \\t\\t\\t(in unison) \\n \\t\\tTen...twenty...thirty...seven, eight.\",\n \"\\tand ushered them in. \\n \\n \\t\\t\\tSALLY \\n \\t\\tYou know Jerry. \\n \\n \\t\\t\\tCAL \\n \\t\\tYes, of course. \\n \\n \\t\\t\\tSOPHIA\",\n \"\\t\\tfantastic director. And what can anyone \\n \\t\\tsay about Cal that hasn't been said. And \\n \\t\\tit's great working with friends, blah \\n \\t\\tblah blah. \\n\",\n \"\\t\\tMac's a pretty great director, Joe. He's \\n \\t\\ta woman's director. And nothing's \\n \\t\\thappening. Course he won't fire her, \\n \\t\\tbecause of the friendship... But it was\",\n \"\\t\\t\\tSALLY \\n \\t\\t\\t(a deep breath) \\n \\t\\tWell...wow... \\n \\n \\tINT. HALLWAY - CONTINUOUS \\n\",\n \"\\ther. Watches herself, with a professional, acute eye. More \\n \\tcritical than Mac's could ever be. \\n \\n \\t\\t\\tSALLY (ON TV)\",\n \"\\t\\tShe could be playing the role in Joe's \\n \\t\\tmovie that should be yours. \\n \\n \\t\\t\\tSALLY \\n \\t\\tFuck you, Panes. \\n \\n \\t\\t\\tPANES\",\n \"\\tFinally do. \\n \\n \\t\\t\\tSALLY (O.S.) \\n \\t\\tOtis!! Otis, come! Oh fuck! \\n \\n \\tShe appears beside them. \\n\",\n \"\\tSally's team prepares clues for charades. Sally writes them \\n \\tdown, throws them in a bowler hat. Her teammates are Panes, \\n \\tSophia, Mac, Ryan, Sanford and Jeffrey. \\n\",\n \"\\tSally jumps out of the down dog position and runs to the \\n \\tphone, all angles. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHello, hi, hi...and? Thank God. \\n\",\n \"\\tblows her a kiss. She kisses her finger tips and puts her \\n \\thand flat against the window pane. \\n \\n \\tINT. BEDROOM CLOSET - TIGHT CLOSE - SALLY \\n\"\n ],\n [\n \"\\tThe phone RINGS again. \\n \\n \\t\\t\\tVOICE (O.S.) \\n \\t\\t\\t(over answering machine) \\n \\t\\tHello, I have Dr. Harmon calling for \\n \\t\\tSally Therrian. \\n\",\n \"\\tGina regards the photographs she brought for Joe and Sally. \\n \\tShe lifts it from the shelf, the phone rings, the machine \\n \\tpicks up. \\n \\n \\t\\t\\tMAN'S VOICE\",\n \"\\tSally stands with the phone to her ear, her back to Joe. \\n \\n \\tEXT. POOL AREA - CONTINUOUS \\n \\n \\tJoe watches her from his position, not concentrating on the\",\n \"\\tWe hear them calling for Otis. \\n \\n \\t\\t\\tSALLY \\n \\t\\tOtis!!!! \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(on her heels) \\n \\t\\tOtis!!!! \\n\",\n \"\\tSally jumps out of the down dog position and runs to the \\n \\tphone, all angles. \\n \\n \\t\\t\\tSALLY \\n \\t\\tHello, hi, hi...and? Thank God. \\n\",\n \"\\t\\tJust a moment. \\n \\t\\t\\t(puts the call on hold) \\n \\t\\tIt's Skye Davidson. She needs directions \\n \\t\\tto the house. You invited Skye fucking\",\n \"\\t\\tthem a call for you. \\n \\n \\t\\t\\tJOE \\n \\t\\tThanks, Mac. \\n \\t\\t\\t(regards him) \\n \\t\\tAnd thanks for being so supportive about \\n \\t\\tall this.\",\n \"\\twall. Joe and Sally's faces stare out of it. \\n \\n \\t\\t\\tGINA \\n \\t\\t\\t(picks up receiver) \\n \\t\\tHarry, hi, it's Gina! Gina. Is\",\n \"\\t\\tHas she called? \\n \\n \\t\\t\\tPANES \\n \\t\\tShe'll never call again. She called last \\n \\t\\tweek to tell me she'll never call again. \\n \\t\\tWhere's Sally? \\n\",\n \"\\tparty. \\n \\n \\tEXT. HOUSE - CONTINUOUS \\n \\n \\tA taxi pulls up. Joe gets in with his bags. The cab backs \\n \\tout... \\n\",\n \"\\tt-shirt. Very similar to what Skye is wearing. She sits a \\n \\tmoment on the floor. The sounds of the party below are \\n \\tmuted. \\n \\n \\t\\t\\tSALLY (O.S.)\",\n \"\\tINT. BEDROOM - LATER \\n \\n \\tThe doorbell rings. There are two closed doors on either \\n \\tside of the room. The bed shows no sign of consummated sex.\",\n \"\\t\\tFor good. \\n \\n \\tThey begin to make love...the phone RINGS. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\t\\tDon't get it. \\n \\n \\t\\t\\tSALLY\",\n \"\\tShe puts down the phone. Stares into Joe's face, looks up at \\n \\ta photo on the wall that she took of Joe and Lucy. \\n \\n \\tEXT. BACKYARD LANDING \\n\",\n \"\\t\\t\\tMONICA/RYAN \\n \\t\\t\\t(a little late; into silence) \\n \\t\\tPanes. \\n \\n \\tPanes gives them another little wave. Doorbell rings. \\n\",\n \"\\tSeveral of the other guests greet her, Mac among them. \\n \\n \\tTIGHT CLOSE \\n \\n \\tJoe sweeps her up to his arms. It's an intimate,\",\n \"\\tA pall descends on the party. There's a FULL SHOT of the \\n \\tgroup. Nobody quite knows what to do. There's torn wrapping \\n \\tpaper all over the room. \\n \\n \\t\\t\\tASTRID\",\n \"\\tThere are awkward excuses. Some of the guests leave. \\n \\n \\tINT. LIVING ROOM - MOMENTS LATER \\n \\n \\tThe core group remains. \\n \\n \\t\\t\\tJOE\",\n \"\\t\\t\\tGINA \\n \\t\\tHarry called. \\n \\n \\t\\t\\tJOE \\n \\t\\t\\t(growing dread) \\n \\t\\tAnd? \\n \\n \\t\\t\\tGINA\",\n \"\\tSMOOTH LINES. \\n \\n \\tThe calm is broken by the telephone. Joe and Sally ignore it \\n \\tuntil the answering machine picks up. They break their yoga \\n \\tposes and listen. \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["Why doesn't Joe think Sally should be lead in the screen adaptation of his novel?","Who is going to play the lead role that Sally wants?","Who is Jeffrey?","Who is Sally's co-star?","Why do Sally and Joe invite the Roses?","Why is Sally troubled by Gina Taylor?","Who provides the estasy?","Who calls Joe about his sister Lucy?","Who is celebrating their anniversary?","What anniversary are the couple celebrating?","What is Joe's occupation?","What is Sally's occupation?","Who is cast in the role Sally feels is hers?","What nieghbors did Sally and Joe invite to dispel animosity?","What was Skye's gift?","Who disappears at the end of the story?","Who calls with tragic news at the end of the story?","Why won't Joe cast Sally in his new project?","Why are Sally and Joe fighting with their neighbors?","Who is Sally's costar?","Who plays the part in Joe's new project that is based on Sally?","What college did Joe attend?","What drug do the partygoers decide to take?","What instrument does Levi play?","Who goes missing during the party?","Who is directing Sally and Cal's current project?","Who calls during the party?"],"string":"[\n \"Why doesn't Joe think Sally should be lead in the screen adaptation of his novel?\",\n \"Who is going to play the lead role that Sally wants?\",\n \"Who is Jeffrey?\",\n \"Who is Sally's co-star?\",\n \"Why do Sally and Joe invite the Roses?\",\n \"Why is Sally troubled by Gina Taylor?\",\n \"Who provides the estasy?\",\n \"Who calls Joe about his sister Lucy?\",\n \"Who is celebrating their anniversary?\",\n \"What anniversary are the couple celebrating?\",\n \"What is Joe's occupation?\",\n \"What is Sally's occupation?\",\n \"Who is cast in the role Sally feels is hers?\",\n \"What nieghbors did Sally and Joe invite to dispel animosity?\",\n \"What was Skye's gift?\",\n \"Who disappears at the end of the story?\",\n \"Who calls with tragic news at the end of the story?\",\n \"Why won't Joe cast Sally in his new project?\",\n \"Why are Sally and Joe fighting with their neighbors?\",\n \"Who is Sally's costar?\",\n \"Who plays the part in Joe's new project that is based on Sally?\",\n \"What college did Joe attend?\",\n \"What drug do the partygoers decide to take?\",\n \"What instrument does Levi play?\",\n \"Who goes missing during the party?\",\n \"Who is directing Sally and Cal's current project?\",\n \"Who calls during the party?\"\n]"},"answers":{"kind":"list like","value":[["He thinks she is too old for the part","He feels she is too old for the part"],["Skye Davidson","Syke Davidson"],["Joe's roommate/lover from Oxford","Joe's roommate and lover. "],["Cal Gold","Cal Gold"],["To end the animosity between them","To dispel the simmering animosity."],["Joe had a previous relationship with Gina and they are still close friends","because of her ongoing close relationship with Joe"],["Skye gives it to Joe and Sally as a gift","Skye"],["Joe's father","Joe's Father"],["Sally Nash and Joe Therrian","Sally Nash and Joe Therrian"],["Their sixth wedding anneversary","Sixth wedding anniversary"],["A novelist","novelist"],["An actress","actress"],["Skye Davidson","Skye Davidson. "],["The Roses","The Roses"],["ecstasy","ecstacy"],["Otis the dog","Otis"],["Joe's father","Joe's father"],["He feels she's too old for the part","She's too old."],["Their dog won't stop barking.","barking dog "],["Cal Gold","Cal Gold"],["Skye Davidson","Cal Gold "],["Oxford","oxford"],["Ecstasy","ecstacy"],["violin","violin"],["Otis","Otis"],["Mac","Joe Therrian"],["Joe's father","Joe's father."]],"string":"[\n [\n \"He thinks she is too old for the part\",\n \"He feels she is too old for the part\"\n ],\n [\n \"Skye Davidson\",\n \"Syke Davidson\"\n ],\n [\n \"Joe's roommate/lover from Oxford\",\n \"Joe's roommate and lover. \"\n ],\n [\n \"Cal Gold\",\n \"Cal Gold\"\n ],\n [\n \"To end the animosity between them\",\n \"To dispel the simmering animosity.\"\n ],\n [\n \"Joe had a previous relationship with Gina and they are still close friends\",\n \"because of her ongoing close relationship with Joe\"\n ],\n [\n \"Skye gives it to Joe and Sally as a gift\",\n \"Skye\"\n ],\n [\n \"Joe's father\",\n \"Joe's Father\"\n ],\n [\n \"Sally Nash and Joe Therrian\",\n \"Sally Nash and Joe Therrian\"\n ],\n [\n \"Their sixth wedding anneversary\",\n \"Sixth wedding anniversary\"\n ],\n [\n \"A novelist\",\n \"novelist\"\n ],\n [\n \"An actress\",\n \"actress\"\n ],\n [\n \"Skye Davidson\",\n \"Skye Davidson. \"\n ],\n [\n \"The Roses\",\n \"The Roses\"\n ],\n [\n \"ecstasy\",\n \"ecstacy\"\n ],\n [\n \"Otis the dog\",\n \"Otis\"\n ],\n [\n \"Joe's father\",\n \"Joe's father\"\n ],\n [\n \"He feels she's too old for the part\",\n \"She's too old.\"\n ],\n [\n \"Their dog won't stop barking.\",\n \"barking dog \"\n ],\n [\n \"Cal Gold\",\n \"Cal Gold\"\n ],\n [\n \"Skye Davidson\",\n \"Cal Gold \"\n ],\n [\n \"Oxford\",\n \"oxford\"\n ],\n [\n \"Ecstasy\",\n \"ecstacy\"\n ],\n [\n \"violin\",\n \"violin\"\n ],\n [\n \"Otis\",\n \"Otis\"\n ],\n [\n \"Mac\",\n \"Joe Therrian\"\n ],\n [\n \"Joe's father\",\n \"Joe's father.\"\n ]\n]"},"document_id":{"kind":"string","value":"f070ce5262bb59e814309025a4fb2adde266fe35"},"split":{"kind":"string","value":"train"}}},{"rowIdx":65,"cells":{"text":{"kind":"list like","value":[["Higgins.' \n \n \n \n \n CHAPTER II \n \n \n 'Runnymede' (so the Mumfords' house was named) stood on its own \n little plot of ground in one of the tree-shadowed roads which","Louise hired a carriage and took her friends for a drive into the \n country; at her special request the child accompanied them. Nothing \n could have been more delightful. She had quite made up her mind to \n have a house, some day, at Sutton. She hoped the Mumfords would","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","Then restlessness again came upon her. One day she all but declared \n her disappointment that the Mumfords saw so few people. Emmeline, \n repeating this to her husband, avowed a certain compunction. \n","'Something like the Mumfords'. It needn't be quite so large,' she \n added quickly; 'but a house with a garden, in a nice road, and in a \n respectable part.' \n","husband, Emmeline summoned him from his book to the bedroom. \n \n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \n thing goes on much longer I shall feel inclined to take a lodging in \n town.' \n","Mumford? It's all right. There's been a fire, but we've got it out.' \n \n Emmeline learnt at the same moment that her child had suffered no \n harm, but she would not pause until she saw the little one and held","library, of which the door was left ajar, she heard Louise and her \n mother pass upstairs, both silent. Mumford, too well aware that yet \n another disturbance had come upon his unhappy household, affected to","which they had gone. Mumford's holiday time approached, and they \n were making arrangements for a visit to the seaside, when one \n morning a carrier's cart delivered a large package, unexpected and \n of unknown contents. Emmeline stripped off the matting, and found--a","'Whilst we're thoroughly upset,' replied Mumford, with irritation at \n this purposeless talk, 'hadn't we better leave the house and go to \n live as far away as possible?' \n","His wife did not linger more than a minute behind him, and she sat \n in the drawing-room to await Miss Derrick's return; Mumford kept \n apart in what was called the library. To her credit, Emmeline tried","quite incapable of passing a satisfactory cross-examination on the \n subject. \n \n Mrs. Mumford, foreseeing the difficulty of spending the next day at \n home, told her husband in the morning that she would have early","with his wife, and Miss Derrick kept silence. After dinner, she \n passed out into the garden. \n \n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \n shall have to get rid of her.' \n","Mumford, and that's why I thought I would ask to see you. You have a \n good deal of influence over her.' \n \n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \n use it for her good.' \n","each time, and you have a sort of feeling, you know, that you can be \n in town whenever you like.' \n \n It had not hitherto been the Mumfords' wont to dress for dinner, but","'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \n 'And a very good thing too. I should be sorry for her to see you in \n the state you're in.' \n","house. But I don't think so; in spite of all her faults, she never \n seemed deceitful or malicious.' \n \n Mumford was strongly tempted to reveal what had happened at the","very large family, which must be rather a bore.' She laughed \n ingenuously. 'And one gets to town so easily. What do you pay for \n your season-ticket, Mr. Mumford? Oh, well! that isn't much. I almost","day. \n \n A fortnight passed, and the Mumfords once more lived in \n enjoyment of tranquillity, though Emmeline could not quite recover \n her old self. They never spoke of the dread experiences through","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon"],["The Paying Guest \n \n \n by \n \n George Gissing \n \n \n \n \n CHAPTER I \n \n \n It was Mumford who saw the advertisement and made the suggestion. \n His wife gave him a startled look.","she came forward panting and perspiring, and, before paying any heed \n to her hostess, closely surveyed the room. \n \n 'Mrs. Mumford,' said the girl, 'this is my mother. Mother, this is","'It wouldn't be nice if people said that we were taking lodgers.' \n \n 'No fear of that. This is evidently some well-to-do person. It's a \n very common arrangement nowadays, you know; they are called \"paying","Emmeline, wishing to lock up for the night, went to summon her \n troublesome guest. \n \n 'Hadn't you better come in?' \n \n 'Yes. But I think you are very unkind, Mrs. Mumford.' \n","boarding out,' he says. And he means it. He has told me to write to \n you at once, and you're to come as soon as you can, and he won't be \n responsible to Mrs. Mumford for more than another week's","husband, Emmeline summoned him from his book to the bedroom. \n \n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \n thing goes on much longer I shall feel inclined to take a lodging in \n town.' \n","eyes never moved in Mumford's direction. \n \n The threatened letter from Mrs. Higgins had arrived; Emmeline and \n her husband read it before their guest came down. If Louise \n continued to reside with them, they entertained her with a full","with his wife, and Miss Derrick kept silence. After dinner, she \n passed out into the garden. \n \n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \n shall have to get rid of her.' \n","cry aloud for her child, and Mumford rushed like a madman through \n the garden. \n \n 'It's all right,' said a man who stood in the doorway. 'You Mr.","of Mrs. Mumford's latest remark. Louise listened with a smile. \n \n 'Now look here, mother,' she said, when silence came for a moment, \n 'you can't expect Mrs. Mumford to have a lot of strangers coming to","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","'I don't see any harm if Mr. Mumford had been here,' replied the \n girl calmly. \n \n 'I'm sure it's most unwise of you to leave your bed,' began","drawing-room? He must have come knowing that she and her husband \n were away for the evening. \n \n 'You can question him, if you like,' said Mumford. 'He's out there.' \n","'You're quite right, Mrs. Mumford. I'm sure you've been very kind to \n me, and I've had a very pleasant time here, but it wouldn't do for \n me to stay longer. May I wait over to-morrow, just till Wednesday","lodging-house, but no distinctly offensive word escaped her. And \n this was almost entirely due to Louise's influence for the girl \n impressed upon her mother that 'to make a row' would be the sure and \n certain way of proving that Mrs. Mumford was justified in claiming","she looked him in the face, and it was Mumford who had to avert his \n eyes. The young man felt very uncomfortable. \n \n 'Oh! I'm quite sure Emmy will be glad to let you come for the night, \n Miss Derrick--' \n","'Dear Mrs. Mumford,' it ran, 'L. is coming to-morrow morning, and I \n hope you won't repent. There's just one thing I meant to have said","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","remove her at once to her own bed room, and the strangers were eager \n to assist. \n \n 'What will the Mumfords say?' Louise asked of a sudden, trying to \n raise herself. \n","which they had gone. Mumford's holiday time approached, and they \n were making arrangements for a visit to the seaside, when one \n morning a carrier's cart delivered a large package, unexpected and \n of unknown contents. Emmeline stripped off the matting, and found--a"],["said bluntly that he was glad Louise had come. \n \n 'Well, I wanted to see you,' was her answer. \n \n 'What about?' \n \n 'I don't think I shall be able to stay with the Mumfords. They're","eyes never moved in Mumford's direction. \n \n The threatened letter from Mrs. Higgins had arrived; Emmeline and \n her husband read it before their guest came down. If Louise \n continued to reside with them, they entertained her with a full","Higgins, after a deliberate surveyal of the house front, followed \n her daughter up the pathway. \n \n The first sight of the portly lady made the situation clearer to \n Mrs. Mumford. Louise Derrick represented a certain stage of","Louise hired a carriage and took her friends for a drive into the \n country; at her special request the child accompanied them. Nothing \n could have been more delightful. She had quite made up her mind to \n have a house, some day, at Sutton. She hoped the Mumfords would","remove her at once to her own bed room, and the strangers were eager \n to assist. \n \n 'What will the Mumfords say?' Louise asked of a sudden, trying to \n raise herself. \n","of Mrs. Mumford's latest remark. Louise listened with a smile. \n \n 'Now look here, mother,' she said, when silence came for a moment, \n 'you can't expect Mrs. Mumford to have a lot of strangers coming to","she looked him in the face, and it was Mumford who had to avert his \n eyes. The young man felt very uncomfortable. \n \n 'Oh! I'm quite sure Emmy will be glad to let you come for the night, \n Miss Derrick--' \n","returned, and looked in at the drawing-room, with a pleasant smile. \n 'Good-night, Mrs. Mumford.' 'Good-night, Miss Derrick.' For the \n grace of the thing, Emmeline would have liked to say 'Louise,' but","lodging-house, but no distinctly offensive word escaped her. And \n this was almost entirely due to Louise's influence for the girl \n impressed upon her mother that 'to make a row' would be the sure and \n certain way of proving that Mrs. Mumford was justified in claiming","Louise often used expressions which to a stranger would have implied \n that her intimacy with Mrs. Mumford was of years' standing. 'He \n wrote for the first time last week. Such a silly letter! I wish you","Very soon after Mumford's departure, Louise begged for a few \n minutes' private talk. \n \n 'Every time I come into this drawing-room, Mrs. Mumford, I think how \n pretty it is. What pains you must have taken in furnishing it! I","They were away from home for three weeks. On returning, Emmeline \n found a letter which had arrived for her the day before; it was from \n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","the servant announced to her that a gentleman had called to see Miss \n Derrick; on learning that Miss Derrick was away, he had asked sundry \n questions, and ended by requesting an interview with Mrs. Mumford. \n His name was Cobb. \n","it relieved her when Clarence moved away. \n \n The next morning Louise was an hour late for breakfast. She came \n down when Mumford had left the house, and Emmeline saw with surprise \n that she was dressed for going out. \n","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","His wife did not linger more than a minute behind him, and she sat \n in the drawing-room to await Miss Derrick's return; Mumford kept \n apart in what was called the library. To her credit, Emmeline tried","library, of which the door was left ajar, she heard Louise and her \n mother pass upstairs, both silent. Mumford, too well aware that yet \n another disturbance had come upon his unhappy household, affected to","with his wife, and Miss Derrick kept silence. After dinner, she \n passed out into the garden. \n \n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \n shall have to get rid of her.' \n","drawing-room screen, not unlike that which she had lost in the \n fire. Of course it came from Louise, and, though she professed \n herself very much annoyed, Mrs. Mumford had no choice but to \n acknowledge it in a civil little note addressed to Coburg Lodge."],["Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","friends and neighbours, Emmeline enjoyed Sutton because it was a \n most respectable little portion of the great town, set in a purer \n atmosphere. The country would have depressed her. \n \n In this respect Miss Derrick proved a congenial companion. Louise","with Louise. I dessay she's told you a good deal about me and her \n stepfather. I don't think she's any reason to complain of the \n treatment--' \n \n 'She said you were both very kind to her,' interposed the hostess.","Louise, next day, put a point-blank question. \n \n 'Didn't you say that you knew some people at West Kensington?' \n \n 'Oh, yes,' answered Emmeline, carelessly. 'The Kirby Simpsons.","Louise. Hitherto uncertain in her judgment, she had now the relief \n of an assurance that Miss Derrick was not at all a proper person to \n entertain as a guest, on whatever terms. The incident of the railway","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","Higgins, after a deliberate surveyal of the house front, followed \n her daughter up the pathway. \n \n The first sight of the portly lady made the situation clearer to \n Mrs. Mumford. Louise Derrick represented a certain stage of","Next morning arrived a letter, signed 'Louise E. Derrick.' The \n writer said she had been waiting to compare and think over some two \n hundred answers to her advertisement. 'It's really too absurd. How","readdressed from Tulse Hill. Emmeline observed the eagerness with \n which this epistle was pounced upon and carried off for private \n perusal. She saw, too, that in half-an-hour's time Louise left the","Derrick, and Emmeline did not know what pains the girl had taken, \n ever since her arrival, to live in conformity with the habits of a \n 'nice' household. \n \n Louise, meanwhile, had gone to the railway station, intending to","'I shall say nothing more about it, Louise. It isn't my business \n to--' \n \n The girl's face threatened a tempest. As Emmeline was moving away, \n she rudely obstructed her. \n","Louise often used expressions which to a stranger would have implied \n that her intimacy with Mrs. Mumford was of years' standing. 'He \n wrote for the first time last week. Such a silly letter! I wish you","By the first post in the morning came a letter from Louise. She \n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \n but do please have me. I like Sutton, and I like your house, and I","it relieved her when Clarence moved away. \n \n The next morning Louise was an hour late for breakfast. She came \n down when Mumford had left the house, and Emmeline saw with surprise \n that she was dressed for going out. \n","'Pooh! We shall do well enough.--Who's that?' \n \n Someone was entering the garden by the side path. And in a moment \n there remained no doubt who the person was. Louise came forward, her","right, both for Lou's sake and for yours, and to satisfy us all. \n They're making a mystery, d'you see, of Lou leaving 'ome and going \n off to live with strangers; and Cissy's been doing her best to make","Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","permitting Louise to stay for more than a day or two, whatever the \n suggestion offered. This morning she had again heard from her \n sister, Mrs. Grove, who was strongly of opinion that Miss Derrick \n should be sent back to her native sphere. \n"],["Enclosed was a wedding-card. \n \n 'Mr. and Mrs. Thomas Cobb,' in gilt lettering, occupied the middle, \n and across the right-hand upper corner ran 'Louise E. Derrick,' an","Louise. The girl, as soon as she found herself alone, broke Mr. \n Cobb's envelope, which contained four sides of bold handwriting--not \n a long letter, but, as usual, vigorously worded. 'Dear Miss","the two men walked with him to his house in the next road. They \n learned that Louise was not dangerously injured; her recovery would \n be merely a matter of time and care. Cobb gave a description of the","Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \n was a plain, formal letter, giving a brief account of his doings in \n Ireland, and making a request that Louise would meet him, if","Louise stood in an attitude of joyous excitement, her eyes \n sparkling. But at the first glance she perceived that her lover's \n mood was by no means correspondingly gay. Cobb stalked forward and \n kept a stern gaze upon her, but said nothing. \n","Emmeline made no mention of Mr. Cobb's call until they reached the \n house. \n \n 'He came here!' Louise exclaimed, reddening. 'What impudence! I \n shall at once write and tell him that his behaviour is outrageous.","house. Bring water, you!' \n \n All three servants were scampering and screeching about the hall. \n Cobb caught hold of one of them and all but twisted her arm out of \n its socket. At his fierce command, the woman supported Louise into","'Bring water!' roared Cobb, who had just succeeded in extinguishing \n Louise's dress, and was carrying her, still despite her struggles, \n out of the room. 'Here, one of you take Miss Derrick to the next","Louise's dress, well sprinkled with paraffin, aided the \n conflagration. Cobb, of course, saw only the danger to the girl. He \n seized the woollen hearthrug and tried to wrap it about her; but","'Don't be vulgar, Clarence. And we've talked enough of Louise for \n the present.' \n \n Miss Derrick's presentiment that a letter from Mr. Cobb would soon \n reach her was justified the next day; it arrived in the afternoon,","with this impression. He had not the tone of an educated man, yet \n committed no vulgar errors. \n \n 'My name is Cobb. I must beg your pardon for troubling you. Perhaps \n you have heard of me from Miss Derrick?' \n","Cobb was prepared for a hot retort, but it did not come. After a \n moment's reflection, Louise said quietly: \n \n 'I can't go home. I've quarrelled with them too badly. You haven't","the servant announced to her that a gentleman had called to see Miss \n Derrick; on learning that Miss Derrick was away, he had asked sundry \n questions, and ended by requesting an interview with Mrs. Mumford. \n His name was Cobb. \n","peace was not perfectly restored. \n \n In another room, Louise lay communing with her thoughts, which were \n not at all disagreeable. She had written to Cobb, telling him what \n had happened, and asking him to let her know by Wednesday morning","had made to Mrs. Mumford. In talking with Cobb, Louise seemed to \n drop a degree or so in social status; her language was much less \n careful than when she conversed with the Mumfords, and even her","chair blazed gallantly, and with such a volleying of poisonous fumes \n that Cobb could scarce hold his ground to do battle. Louise out of \n the way, he at once became cool and resourceful. Before a flame","enjoying myself in a _very_ quiet way.--I remain, sincerely yours, \n LOUISE E. DERRICK.' Finally she penned a reply to Mr. Cobb, and \n this, after a glance at a railway time-table, gave her no trouble at","show of friendliness. When the fifty pounds came from Cobb, Emmeline \n made no mention of it. Louise said with an air of satisfaction, \n \n 'So he has paid the money! I'm very glad of that.' \n","'You may go if you like. But you understand, if you do--' \n \n Cobb, inflamed with desire and jealousy, made an effort to recapture \n her. Louise sprang away from him; but immediately behind her lay the","up, hearty boys as ever you saw. If it wasn't for this trouble with \n Louise--' She stopped to wipe her face. 'I dessay she's told you \n that Mr. 'Iggins, who was a widower when I met him, has a daughter"],["remove her at once to her own bed room, and the strangers were eager \n to assist. \n \n 'What will the Mumfords say?' Louise asked of a sudden, trying to \n raise herself. \n","'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \n 'And a very good thing too. I should be sorry for her to see you in \n the state you're in.' \n","library, of which the door was left ajar, she heard Louise and her \n mother pass upstairs, both silent. Mumford, too well aware that yet \n another disturbance had come upon his unhappy household, affected to","A slight emphasis on the \"he\" touched Mrs. Mumford unpleasantly. She \n rose, and began to pick out some overblown flowers from a vase on \n the table near her. Presently Louise became silent. Before either of","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","Very soon after Mumford's departure, Louise begged for a few \n minutes' private talk. \n \n 'Every time I come into this drawing-room, Mrs. Mumford, I think how \n pretty it is. What pains you must have taken in furnishing it! I","about? It's too bad of you, mother--' \n \n 'The idea, Louise, of coming down like that!' cried her parent \n indignantly. 'How did you know Mr. Mumford wasn't here? For shame! \n Go up again this moment.'","eyes never moved in Mumford's direction. \n \n The threatened letter from Mrs. Higgins had arrived; Emmeline and \n her husband read it before their guest came down. If Louise \n continued to reside with them, they entertained her with a full","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","said bluntly that he was glad Louise had come. \n \n 'Well, I wanted to see you,' was her answer. \n \n 'What about?' \n \n 'I don't think I shall be able to stay with the Mumfords. They're","it relieved her when Clarence moved away. \n \n The next morning Louise was an hour late for breakfast. She came \n down when Mumford had left the house, and Emmeline saw with surprise \n that she was dressed for going out. \n","Louise went from the room and remained invisible till just before \n dinner, when she came down with a grave and rather haughty \n countenance. To Mumford's remarks she replied with curt formality; \n he, prepared for this state of things, began conversing cheerfully","hurried to inquire after Louise. She lay on a couch, wrapped in a \n dressing-gown; for the side and one sleeve of her dress had been \n burnt away. Her moaning never ceased; there was a fire-mark on the","few things she needed to purchase. But this time Emmeline begged her \n to go alone, and Louise seemed quite satisfied with the arrangement. \n \n Early in the afternoon, as Mrs. Mumford was making ready to go out,","deemed the event an insoluble mystery, and, in familiar talk with \n Mrs. Mumford, breathed singular charges against Louise's lover. \n 'She's shielding him, my dear. I've no doubt of it. I never had a","the two men walked with him to his house in the next road. They \n learned that Louise was not dangerously injured; her recovery would \n be merely a matter of time and care. Cobb gave a description of the","Higgins, after a deliberate surveyal of the house front, followed \n her daughter up the pathway. \n \n The first sight of the portly lady made the situation clearer to \n Mrs. Mumford. Louise Derrick represented a certain stage of","They were away from home for three weeks. On returning, Emmeline \n found a letter which had arrived for her the day before; it was from \n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know","slam it seemed wonderful to Emmeline. The girl was not wholly a \n savage. \n \n Presently Mrs. Mumford went up to inspect the forsaken chamber. \n Louise had packed all her things: of course she must have tumbled","Louise hired a carriage and took her friends for a drive into the \n country; at her special request the child accompanied them. Nothing \n could have been more delightful. She had quite made up her mind to \n have a house, some day, at Sutton. She hoped the Mumfords would"],["half way to the ceiling. The lamp-shade was ablaze; the \n much-embroidered screen, Mrs. Mumford's wedding present, forthwith \n caught fire from a burning tongue that ran along the carpet; and","Mumford? It's all right. There's been a fire, but we've got it out.' \n \n Emmeline learnt at the same moment that her child had suffered no \n harm, but she would not pause until she saw the little one and held","'Upstairs. She got rather badly burnt, I'm afraid. We've sent for a \n doctor.' \n \n 'And here I am,' spoke a voice behind them. 'Sorry to see this, Mr. \n Mumford.' \n","fire must have been accidental, but the accident, to be sure, was \n extraordinary enough. Thereupon Mrs. Mumford's wrath turned against \n Cobb. What business had such a man--a low-class savage--in _her_","library, of which the door was left ajar, she heard Louise and her \n mother pass upstairs, both silent. Mumford, too well aware that yet \n another disturbance had come upon his unhappy household, affected to","house. But I don't think so; in spite of all her faults, she never \n seemed deceitful or malicious.' \n \n Mumford was strongly tempted to reveal what had happened at the","Emmeline opened the door, and at once heard a cry of pain from \n upstairs. Mumford, also hearing it, and seeing Cobb's \n misery-stricken face by the light of the hall lamp, whispered to his \n wife: \n","His wife did not linger more than a minute behind him, and she sat \n in the drawing-room to await Miss Derrick's return; Mumford kept \n apart in what was called the library. To her credit, Emmeline tried","cry aloud for her child, and Mumford rushed like a madman through \n the garden. \n \n 'It's all right,' said a man who stood in the doorway. 'You Mr.","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","Higgins.' \n \n \n \n \n CHAPTER II \n \n \n 'Runnymede' (so the Mumfords' house was named) stood on its own \n little plot of ground in one of the tree-shadowed roads which","A slight emphasis on the \"he\" touched Mrs. Mumford unpleasantly. She \n rose, and began to pick out some overblown flowers from a vase on \n the table near her. Presently Louise became silent. Before either of","of people in the quiet road, the smell of burning, loud voices of \n excited servants, caused them to run forward in alarm. Emmeline, \n frenzied by the certainty that her own house was on fire, began to","husband, Emmeline summoned him from his book to the bedroom. \n \n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \n thing goes on much longer I shall feel inclined to take a lodging in \n town.' \n","him in her embrace. Meanwhile, Cobb and Mumford talked in the \n devastated drawing-room, which was illumined with candles. \n \n 'It's a bad job, Mr. Mumford. My name is Cobb: I daresay you've","ran at once to Mrs. Mumford, whom she found in the nursery. \n \n 'Do please come down. Here's something I must tell you about. What \n do you think mother says? I've to go back home again at once.' \n","days of confusion, the master of the house had been left at his \n servants' mercy. On her return, late in the evening, she entered \n flurried and perspiring, and asked the servant who admitted her \n where Mrs. Mumford was. \n","'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \n 'And a very good thing too. I should be sorry for her to see you in \n the state you're in.' \n","Insolence was no characteristic of Mrs. Mumford. But calamity had \n put her beside herself; she spoke, not in her own person, but as a \n woman whose carpets, curtains and bric-a-brac have \n ignominiously perished. \n","quite incapable of passing a satisfactory cross-examination on the \n subject. \n \n Mrs. Mumford, foreseeing the difficulty of spending the next day at \n home, told her husband in the morning that she would have early"],["fire must have been accidental, but the accident, to be sure, was \n extraordinary enough. Thereupon Mrs. Mumford's wrath turned against \n Cobb. What business had such a man--a low-class savage--in _her_","Mumford? It's all right. There's been a fire, but we've got it out.' \n \n Emmeline learnt at the same moment that her child had suffered no \n harm, but she would not pause until she saw the little one and held","half way to the ceiling. The lamp-shade was ablaze; the \n much-embroidered screen, Mrs. Mumford's wedding present, forthwith \n caught fire from a burning tongue that ran along the carpet; and","house. But I don't think so; in spite of all her faults, she never \n seemed deceitful or malicious.' \n \n Mumford was strongly tempted to reveal what had happened at the","'Upstairs. She got rather badly burnt, I'm afraid. We've sent for a \n doctor.' \n \n 'And here I am,' spoke a voice behind them. 'Sorry to see this, Mr. \n Mumford.' \n","library, of which the door was left ajar, she heard Louise and her \n mother pass upstairs, both silent. Mumford, too well aware that yet \n another disturbance had come upon his unhappy household, affected to","Emmeline opened the door, and at once heard a cry of pain from \n upstairs. Mumford, also hearing it, and seeing Cobb's \n misery-stricken face by the light of the hall lamp, whispered to his \n wife: \n","quite incapable of passing a satisfactory cross-examination on the \n subject. \n \n Mrs. Mumford, foreseeing the difficulty of spending the next day at \n home, told her husband in the morning that she would have early","Higgins.' \n \n \n \n \n CHAPTER II \n \n \n 'Runnymede' (so the Mumfords' house was named) stood on its own \n little plot of ground in one of the tree-shadowed roads which","cry aloud for her child, and Mumford rushed like a madman through \n the garden. \n \n 'It's all right,' said a man who stood in the doorway. 'You Mr.","A slight emphasis on the \"he\" touched Mrs. Mumford unpleasantly. She \n rose, and began to pick out some overblown flowers from a vase on \n the table near her. Presently Louise became silent. Before either of","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","ran at once to Mrs. Mumford, whom she found in the nursery. \n \n 'Do please come down. Here's something I must tell you about. What \n do you think mother says? I've to go back home again at once.' \n","'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \n 'And a very good thing too. I should be sorry for her to see you in \n the state you're in.' \n","of people in the quiet road, the smell of burning, loud voices of \n excited servants, caused them to run forward in alarm. Emmeline, \n frenzied by the certainty that her own house was on fire, began to","in a voice of fierce conviction, 'She did it! _She_ did it! It was \n because I told her to leave. I _know_ she did it on purpose!' \n \n Mumford closed the door of the room, shutting out Cobb and the cook","'I am, Mrs. Mumford, and I can only say that I'll do my best to make \n good the damage to your house.' \n \n 'Make good I fancy you have strange ideas of the value of the \n property destroyed.' \n","Insolence was no characteristic of Mrs. Mumford. But calamity had \n put her beside herself; she spoke, not in her own person, but as a \n woman whose carpets, curtains and bric-a-brac have \n ignominiously perished. \n","which they had gone. Mumford's holiday time approached, and they \n were making arrangements for a visit to the seaside, when one \n morning a carrier's cart delivered a large package, unexpected and \n of unknown contents. Emmeline stripped off the matting, and found--a","days of confusion, the master of the house had been left at his \n servants' mercy. On her return, late in the evening, she entered \n flurried and perspiring, and asked the servant who admitted her \n where Mrs. Mumford was. \n"],["girl's conscience, at all events. Yes, this explained everything. \n And, on the whole, it seemed to speak in Louise's favour. Her \n ridicule of Mr. Bowling's person and character became, in this new","'I am going to marry Mr. Bowling.' \n \n Emmeline could no longer feel astonishment at anything her guest said \n or did. The tone, the air, with which Louise made this declaration \n affected her with a sense of something quite unforeseen; but, at the","Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","would hold her ground until her actual marriage with Mr. Bowling. \n Whether that unknown person would discharge the debt his betrothed \n was incurring seemed an altogether uncertain matter. Louise, in the \n meantime, kept quiet as a mouse--so strangely quiet, indeed, that","Bowling, and the letter, though brief, cost her some thought. 'Dear \n Mr. Bowling,--Your last is so very nice and kind that I feel I ought \n to answer it without delay, but I cannot answer in the way you wish.","her voice Louise added eagerly: \n \n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \n \n ''You are quite mistaken,' said Emmeline distantly, 'if you think","him. Mr. B.\"--that's Mr. Bowling, you know--\"has told him plain that \n he doesn't think any more of Cissy, and that nothing mustn't be \n expected of him.\"--Oh what sweet letters mother does write!--\"That","Louise. The girl, as soon as she found herself alone, broke Mr. \n Cobb's envelope, which contained four sides of bold handwriting--not \n a long letter, but, as usual, vigorously worded. 'Dear Miss","'Don't be vulgar, Clarence. And we've talked enough of Louise for \n the present.' \n \n Miss Derrick's presentiment that a letter from Mr. Cobb would soon \n reach her was justified the next day; it arrived in the afternoon,","Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","same time, she asked herself why she had not foreseen it. Was not \n this the obvious answer to the riddle? All along, Louise had wished \n to marry Mr. Bowling. She might or might not have consciously helped","seen mother lately? Then I must tell you how things are.' \n \n She did so, with no concealment save of the correspondence with Mr. \n Bowling, and the not unimportant statements concerning him which she","Mr.--Mr. Bowling are _half_ engaged?' \n \n 'Oh, I mean she has refused him once, just for form's sake; but he \n knows very well she means to have him. People of your kind don't do","Mr. Bowling doesn't seem to know his own mind, and just lately he's \n been paying so much attention to _me_ that Cissy has got quite \n frantic about it. This was really and truly the reason why I left \n home.' \n","Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \n was a plain, formal letter, giving a brief account of his doings in \n Ireland, and making a request that Louise would meet him, if","'He's very nice sometimes,' answered Louise, thoughtfully. \n \n 'But do you really mean that he is \"rough and coarse\"?' \n \n 'Yes, I do. You couldn't call him a gentleman. I've never seen his","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","Next morning arrived a letter, signed 'Louise E. Derrick.' The \n writer said she had been waiting to compare and think over some two \n hundred answers to her advertisement. 'It's really too absurd. How","up, hearty boys as ever you saw. If it wasn't for this trouble with \n Louise--' She stopped to wipe her face. 'I dessay she's told you \n that Mr. 'Iggins, who was a widower when I met him, has a daughter"],["of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","Mumford? It's all right. There's been a fire, but we've got it out.' \n \n Emmeline learnt at the same moment that her child had suffered no \n harm, but she would not pause until she saw the little one and held","cry aloud for her child, and Mumford rushed like a madman through \n the garden. \n \n 'It's all right,' said a man who stood in the doorway. 'You Mr.","'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \n 'And a very good thing too. I should be sorry for her to see you in \n the state you're in.' \n","Mumford, and that's why I thought I would ask to see you. You have a \n good deal of influence over her.' \n \n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \n use it for her good.' \n","library, of which the door was left ajar, she heard Louise and her \n mother pass upstairs, both silent. Mumford, too well aware that yet \n another disturbance had come upon his unhappy household, affected to","ran at once to Mrs. Mumford, whom she found in the nursery. \n \n 'Do please come down. Here's something I must tell you about. What \n do you think mother says? I've to go back home again at once.' \n","sit down.' She did so, on the nearest chair, with a little laugh at \n her strange feebleness. \n \n 'Now please _don't_ quarrel, you two. Mrs. Mumford, don't mind \n anything that mother says.' \n","boarding out,' he says. And he means it. He has told me to write to \n you at once, and you're to come as soon as you can, and he won't be \n responsible to Mrs. Mumford for more than another week's","severely. 'She may perhaps go before lunch; but in any case we shall \n not sit down at table with her again.' \n \n 'All right,' Mumford replied, studiously refraining from any hint of \n curiosity. \n","A slight emphasis on the \"he\" touched Mrs. Mumford unpleasantly. She \n rose, and began to pick out some overblown flowers from a vase on \n the table near her. Presently Louise became silent. Before either of","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","caring little or nothing for music, she had hardly touched a key for \n several years. Now the idea possessed her that she must resume her \n practising, and to-day she had spent hours at the piano, with \n painful effect upon Mrs. Mumford's nerves. After dinner she offered","quite incapable of passing a satisfactory cross-examination on the \n subject. \n \n Mrs. Mumford, foreseeing the difficulty of spending the next day at \n home, told her husband in the morning that she would have early","Mrs. Mumford was offended, and showed it. \n \n 'I have a perfect right, and I shall do so. Please don't let us \n quarrel. You may be fond of it, but I am not.' \n","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","husband, Emmeline summoned him from his book to the bedroom. \n \n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \n thing goes on much longer I shall feel inclined to take a lodging in \n town.' \n","house. But I don't think so; in spite of all her faults, she never \n seemed deceitful or malicious.' \n \n Mumford was strongly tempted to reveal what had happened at the","know I am. But I'll be so quiet, dear Mrs. Mumford. You shall hardly \n know I'm in the house. If once it's all settled I shall _never_ be","'Whilst we're thoroughly upset,' replied Mumford, with irritation at \n this purposeless talk, 'hadn't we better leave the house and go to \n live as far away as possible?' \n"],["permitting Louise to stay for more than a day or two, whatever the \n suggestion offered. This morning she had again heard from her \n sister, Mrs. Grove, who was strongly of opinion that Miss Derrick \n should be sent back to her native sphere. \n","Derrick, and Emmeline did not know what pains the girl had taken, \n ever since her arrival, to live in conformity with the habits of a \n 'nice' household. \n \n Louise, meanwhile, had gone to the railway station, intending to","Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","Louise. Hitherto uncertain in her judgment, she had now the relief \n of an assurance that Miss Derrick was not at all a proper person to \n entertain as a guest, on whatever terms. The incident of the railway","of telling Miss Derrick she must leave. If not, that disagreeable \n necessity must be faced. \n \n 'I had rather cut down expenses all round,' said Emmeline, 'than \n have our home upset in this way. It isn't like home at all. Louise","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","lodging, and take no end of trouble, and then in a week's time get a \n letter to say that you want nothing more to do with me.' \n \n Louise was pale with anger and fear, and as many other emotions as","Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \n was a plain, formal letter, giving a brief account of his doings in \n Ireland, and making a request that Louise would meet him, if","friends and neighbours, Emmeline enjoyed Sutton because it was a \n most respectable little portion of the great town, set in a purer \n atmosphere. The country would have depressed her. \n \n In this respect Miss Derrick proved a congenial companion. Louise","said bluntly that he was glad Louise had come. \n \n 'Well, I wanted to see you,' was her answer. \n \n 'What about?' \n \n 'I don't think I shall be able to stay with the Mumfords. They're","house--doubtless to post a reply. But, to her surprise, not a word \n of the matter escaped Miss Derrick during the whole evening. \n \n In her school-days, Louise had learned to \"play the piano,\" but,","Cobb was prepared for a hot retort, but it did not come. After a \n moment's reflection, Louise said quietly: \n \n 'I can't go home. I've quarrelled with them too badly. You haven't","'Of course you may stay, Miss Derrick. It was very far from my wish \n to see you go off at a moment's notice. But I really couldn't stop \n you.' \n \n Mumford had stepped aside, out of hearing. He forgot his private","Perhaps this was the only possible issue of the difficulties in \n which they had all become involved; neither Louise nor her parents \n could be dealt with in the rational, peaceful way preferred by \n well-conditioned people. To get her out of the house was the main","Higgins, after a deliberate surveyal of the house front, followed \n her daughter up the pathway. \n \n The first sight of the portly lady made the situation clearer to \n Mrs. Mumford. Louise Derrick represented a certain stage of","enjoying myself in a _very_ quiet way.--I remain, sincerely yours, \n LOUISE E. DERRICK.' Finally she penned a reply to Mr. Cobb, and \n this, after a glance at a railway time-table, gave her no trouble at","Next morning arrived a letter, signed 'Louise E. Derrick.' The \n writer said she had been waiting to compare and think over some two \n hundred answers to her advertisement. 'It's really too absurd. How","out of temper. Do, please, let me stay! I like you so much, and how \n wretched it would be if I had to be married from a lodging-house.' \n \n 'I'm afraid, Louise--I'm really afraid--' \n","'The upshot of it is this,' cried Mumford: 'Miss Derrick has to \n leave the house, and, if necessary, I shall tell her so myself.' \n \n Again Emmeline was cold and lofty. There was no necessity whatever","lodging-house, but no distinctly offensive word escaped her. And \n this was almost entirely due to Louise's influence for the girl \n impressed upon her mother that 'to make a row' would be the sure and \n certain way of proving that Mrs. Mumford was justified in claiming"],["Louise. The girl, as soon as she found herself alone, broke Mr. \n Cobb's envelope, which contained four sides of bold handwriting--not \n a long letter, but, as usual, vigorously worded. 'Dear Miss","Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","'He's very nice sometimes,' answered Louise, thoughtfully. \n \n 'But do you really mean that he is \"rough and coarse\"?' \n \n 'Yes, I do. You couldn't call him a gentleman. I've never seen his","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","lodging, and take no end of trouble, and then in a week's time get a \n letter to say that you want nothing more to do with me.' \n \n Louise was pale with anger and fear, and as many other emotions as","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","impressed Louise, say what she might of pretended fears. At parting, \n he merely shook hands with her, as always. \n \n \n \n \n CHAPTER VII \n \n \n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.","Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","thinking of him in that way all along; and you've been writing to \n him, or meeting him, since you came here. What sort of behaviour do \n you call this?' \n \n Louise was recovering self-possession; the irritability of her own","people were near. Upon Louise, however, it had a pleasing effect, \n and she smiled. \n \n 'Very well,' she made answer, in the same subdued tone. 'Then let us \n settle it in that way.' \n","By the first post in the morning came a letter from Louise. She \n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \n but do please have me. I like Sutton, and I like your house, and I","Louise laughed. \n \n 'Oh, there's no knowing what I might do to spite Cissy. We hate each \n other, of course. But I can't fancy myself marrying him, He has a","up, hearty boys as ever you saw. If it wasn't for this trouble with \n Louise--' She stopped to wipe her face. 'I dessay she's told you \n that Mr. 'Iggins, who was a widower when I met him, has a daughter","'Well, I can only propose one thing,' sounded the masculine voice. \n 'You can get out of it by marrying me.' \n \n Louise gave a little laugh, rather timid than scornful. \n","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","and violent onslaught. When the front door at length closed she \n rejoiced, but with trembling; for the words that fell upon her ear \n from the hall announced too plainly that Louise was determined to \n stay. \n \n \n \n \n CHAPTER V \n","Next morning arrived a letter, signed 'Louise E. Derrick.' The \n writer said she had been waiting to compare and think over some two \n hundred answers to her advertisement. 'It's really too absurd. How","'It may be someone calling upon me,' said Louise to the servant. \n 'Let me know the name before you show anyone in.' \n \n 'Of course, miss,' replied the domestic, with pert familiarity, and","hurried to inquire after Louise. She lay on a couch, wrapped in a \n dressing-gown; for the side and one sleeve of her dress had been \n burnt away. Her moaning never ceased; there was a fire-mark on the"],["Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","girl's conscience, at all events. Yes, this explained everything. \n And, on the whole, it seemed to speak in Louise's favour. Her \n ridicule of Mr. Bowling's person and character became, in this new","'I am going to marry Mr. Bowling.' \n \n Emmeline could no longer feel astonishment at anything her guest said \n or did. The tone, the air, with which Louise made this declaration \n affected her with a sense of something quite unforeseen; but, at the","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","him. Mr. B.\"--that's Mr. Bowling, you know--\"has told him plain that \n he doesn't think any more of Cissy, and that nothing mustn't be \n expected of him.\"--Oh what sweet letters mother does write!--\"That","'Well, they're very nice people,' said Louise, with a little sigh. \n 'And I like your sister so much. I'm glad she asked me to go and see \n her. Is Mr. Bilton often at her house?--Don't misunderstand me, Mrs.","would hold her ground until her actual marriage with Mr. Bowling. \n Whether that unknown person would discharge the debt his betrothed \n was incurring seemed an altogether uncertain matter. Louise, in the \n meantime, kept quiet as a mouse--so strangely quiet, indeed, that","Louise. The girl, as soon as she found herself alone, broke Mr. \n Cobb's envelope, which contained four sides of bold handwriting--not \n a long letter, but, as usual, vigorously worded. 'Dear Miss","up, hearty boys as ever you saw. If it wasn't for this trouble with \n Louise--' She stopped to wipe her face. 'I dessay she's told you \n that Mr. 'Iggins, who was a widower when I met him, has a daughter","thinking of him in that way all along; and you've been writing to \n him, or meeting him, since you came here. What sort of behaviour do \n you call this?' \n \n Louise was recovering self-possession; the irritability of her own","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","Mr.--Mr. Bowling are _half_ engaged?' \n \n 'Oh, I mean she has refused him once, just for form's sake; but he \n knows very well she means to have him. People of your kind don't do","her voice Louise added eagerly: \n \n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \n \n ''You are quite mistaken,' said Emmeline distantly, 'if you think","Emmeline made no mention of Mr. Cobb's call until they reached the \n house. \n \n 'He came here!' Louise exclaimed, reddening. 'What impudence! I \n shall at once write and tell him that his behaviour is outrageous.","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","impressed Louise, say what she might of pretended fears. At parting, \n he merely shook hands with her, as always. \n \n \n \n \n CHAPTER VII \n \n \n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.","Louise, neither. Mr. 'Iggins, he's kindness itself; but when it \n comes to differences between his daughter and _my_ daughter, well, \n it isn't in nature he shouldn't favour his own. There's more be'ind,","Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","Mr. Bowling doesn't seem to know his own mind, and just lately he's \n been paying so much attention to _me_ that Cissy has got quite \n frantic about it. This was really and truly the reason why I left \n home.' \n"],["little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \n 'And a very good thing too. I should be sorry for her to see you in \n the state you're in.' \n","said bluntly that he was glad Louise had come. \n \n 'Well, I wanted to see you,' was her answer. \n \n 'What about?' \n \n 'I don't think I shall be able to stay with the Mumfords. They're","remove her at once to her own bed room, and the strangers were eager \n to assist. \n \n 'What will the Mumfords say?' Louise asked of a sudden, trying to \n raise herself. \n","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","of Mrs. Mumford's latest remark. Louise listened with a smile. \n \n 'Now look here, mother,' she said, when silence came for a moment, \n 'you can't expect Mrs. Mumford to have a lot of strangers coming to","'There's no harm in saying that to _me_, Louise,' replied Mrs. \n Mumford. 'But pray be careful not to seem \"forward.\" People \n think--and say--such disagreeable things.' \n","A slight emphasis on the \"he\" touched Mrs. Mumford unpleasantly. She \n rose, and began to pick out some overblown flowers from a vase on \n the table near her. Presently Louise became silent. Before either of","Very soon after Mumford's departure, Louise begged for a few \n minutes' private talk. \n \n 'Every time I come into this drawing-room, Mrs. Mumford, I think how \n pretty it is. What pains you must have taken in furnishing it! I","Louise often used expressions which to a stranger would have implied \n that her intimacy with Mrs. Mumford was of years' standing. 'He \n wrote for the first time last week. Such a silly letter! I wish you","Louise hired a carriage and took her friends for a drive into the \n country; at her special request the child accompanied them. Nothing \n could have been more delightful. She had quite made up her mind to \n have a house, some day, at Sutton. She hoped the Mumfords would","lodging-house, but no distinctly offensive word escaped her. And \n this was almost entirely due to Louise's influence for the girl \n impressed upon her mother that 'to make a row' would be the sure and \n certain way of proving that Mrs. Mumford was justified in claiming","Louise went from the room and remained invisible till just before \n dinner, when she came down with a grave and rather haughty \n countenance. To Mumford's remarks she replied with curt formality; \n he, prepared for this state of things, began conversing cheerfully","had made to Mrs. Mumford. In talking with Cobb, Louise seemed to \n drop a degree or so in social status; her language was much less \n careful than when she conversed with the Mumfords, and even her","Fentiman's. Louise had put a restraint upon the wonted friendly \n intercourse between the Mumfords and their only familiar \n acquaintances at Sutton. Mrs. Fentiman liked to talk of purely","eyes never moved in Mumford's direction. \n \n The threatened letter from Mrs. Higgins had arrived; Emmeline and \n her husband read it before their guest came down. If Louise \n continued to reside with them, they entertained her with a full","few things she needed to purchase. But this time Emmeline begged her \n to go alone, and Louise seemed quite satisfied with the arrangement. \n \n Early in the afternoon, as Mrs. Mumford was making ready to go out,","'I can't--I really can't give you a definite answer till I have \n spoken with Mr. Mumford.' \n \n 'Oh! I am sure he will do me this kindness,' sobbed Louise. \n","'Don't talk nonsense, Louise.' \n \n 'Should you like me to go at once, Mrs. Mumford?' the girl asked, \n with a submissive sigh. \n","Mumford, and that's why I thought I would ask to see you. You have a \n good deal of influence over her.' \n \n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \n use it for her good.' \n"],["hurried to inquire after Louise. She lay on a couch, wrapped in a \n dressing-gown; for the side and one sleeve of her dress had been \n burnt away. Her moaning never ceased; there was a fire-mark on the","and violent onslaught. When the front door at length closed she \n rejoiced, but with trembling; for the words that fell upon her ear \n from the hall announced too plainly that Louise was determined to \n stay. \n \n \n \n \n CHAPTER V \n","house. Bring water, you!' \n \n All three servants were scampering and screeching about the hall. \n Cobb caught hold of one of them and all but twisted her arm out of \n its socket. At his fierce command, the woman supported Louise into","the two men walked with him to his house in the next road. They \n learned that Louise was not dangerously injured; her recovery would \n be merely a matter of time and care. Cobb gave a description of the","lodging, and take no end of trouble, and then in a week's time get a \n letter to say that you want nothing more to do with me.' \n \n Louise was pale with anger and fear, and as many other emotions as","Perhaps this was the only possible issue of the difficulties in \n which they had all become involved; neither Louise nor her parents \n could be dealt with in the rational, peaceful way preferred by \n well-conditioned people. To get her out of the house was the main","Louise did not appear again that evening. Thoroughly tired, she \n unpacked her trunks, sat awhile by the open window, listening to a \n piano in a neighbouring house, and then jumped into bed. From ten \n o'clock to eight next morning she slept soundly.","For a week or ten days Louise lay very ill; then her vigorous \n constitution began to assert itself. It helped her greatly towards \n convalescence when she found that the scorches on her face would not","He flashed a glance at her, and Louise answered with a defiant \n motion of the head. \n \n 'No, I don't. But they put the blame on me, all the same. I \n shouldn't wonder if they think I'm trying to get him.'","'Now do let me advise you, Louise,' she answered gently. 'Are you \n acting wisely? Wouldn't it be very much better to go home?', \n \n Louise lost all her self-control. Flushed with anger, her eyes","it relieved her when Clarence moved away. \n \n The next morning Louise was an hour late for breakfast. She came \n down when Mumford had left the house, and Emmeline saw with surprise \n that she was dressed for going out. \n","the table, and brought the lamp crashing to the floor. A shriek of \n terror from Louise, from her lover a shout of alarm, blended with \n the sound of breaking glass. In an instant a great flame shot up","with screams of pain and frantic struggles, Louise did her best to \n thwart his purpose. \n \n The window was open, and now a servant, rushing in to see what the \n uproar meant, gave the blaze every benefit of draught. \n","Derrick, and Emmeline did not know what pains the girl had taken, \n ever since her arrival, to live in conformity with the habits of a \n 'nice' household. \n \n Louise, meanwhile, had gone to the railway station, intending to","thought so; those hands must be attended to.' \n \n Meanwhile, Emmeline sat by the bedside and listened to the \n hysterical lamentation in which Louise gave her own--the","Thereupon Louise's mother burst into a vehement exposition of the \n reasons of discord, beginning with the calumnious stories she had \n heard at Mrs. Jolliffe's, and ending with the outrageous arrogance","Louise's dress, well sprinkled with paraffin, aided the \n conflagration. Cobb, of course, saw only the danger to the girl. He \n seized the woollen hearthrug and tried to wrap it about her; but","The next day Louise carried out her resolve to write for information \n regarding the progress of things at Coburg Lodge. She had not long \n to wait for a reply, and it was of so startling a nature that she","'I shall say nothing more about it, Louise. It isn't my business \n to--' \n \n The girl's face threatened a tempest. As Emmeline was moving away, \n she rudely obstructed her. \n","A slight emphasis on the \"he\" touched Mrs. Mumford unpleasantly. She \n rose, and began to pick out some overblown flowers from a vase on \n the table near her. Presently Louise became silent. Before either of"],["The Paying Guest \n \n \n by \n \n George Gissing \n \n \n \n \n CHAPTER I \n \n \n It was Mumford who saw the advertisement and made the suggestion. \n His wife gave him a startled look.","boarding out,' he says. And he means it. He has told me to write to \n you at once, and you're to come as soon as you can, and he won't be \n responsible to Mrs. Mumford for more than another week's","husband, Emmeline summoned him from his book to the bedroom. \n \n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \n thing goes on much longer I shall feel inclined to take a lodging in \n town.' \n","Emmeline, wishing to lock up for the night, went to summon her \n troublesome guest. \n \n 'Hadn't you better come in?' \n \n 'Yes. But I think you are very unkind, Mrs. Mumford.' \n","of Mrs. Mumford's latest remark. Louise listened with a smile. \n \n 'Now look here, mother,' she said, when silence came for a moment, \n 'you can't expect Mrs. Mumford to have a lot of strangers coming to","'It wouldn't be nice if people said that we were taking lodgers.' \n \n 'No fear of that. This is evidently some well-to-do person. It's a \n very common arrangement nowadays, you know; they are called \"paying","'Something like the Mumfords'. It needn't be quite so large,' she \n added quickly; 'but a house with a garden, in a nice road, and in a \n respectable part.' \n","said bluntly that he was glad Louise had come. \n \n 'Well, I wanted to see you,' was her answer. \n \n 'What about?' \n \n 'I don't think I shall be able to stay with the Mumfords. They're","lodging-house, but no distinctly offensive word escaped her. And \n this was almost entirely due to Louise's influence for the girl \n impressed upon her mother that 'to make a row' would be the sure and \n certain way of proving that Mrs. Mumford was justified in claiming","'You're quite right, Mrs. Mumford. I'm sure you've been very kind to \n me, and I've had a very pleasant time here, but it wouldn't do for \n me to stay longer. May I wait over to-morrow, just till Wednesday","'It's so easy to explain to people,' said Mumford, with an air of \n satisfaction, when he came back from the post, 'that you wanted a \n companion. As I'm quite sure you do. A friend coming to stay with","Mumford, and that's why I thought I would ask to see you. You have a \n good deal of influence over her.' \n \n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \n use it for her good.' \n","she came forward panting and perspiring, and, before paying any heed \n to her hostess, closely surveyed the room. \n \n 'Mrs. Mumford,' said the girl, 'this is my mother. Mother, this is","very large family, which must be rather a bore.' She laughed \n ingenuously. 'And one gets to town so easily. What do you pay for \n your season-ticket, Mr. Mumford? Oh, well! that isn't much. I almost","the house just on my account. She's sick and tired of us all, and \n wants to see our backs as soon as ever she can. I don't say it to \n offend you, Mrs. Mumford, but you know it's true. And I tell you","'So do I. But--well, it comes to this, Mrs. Mumford. She seemed to \n hint--though she didn't exactly say so--that you were advising her \n to have nothing more to do with me. Of course you don't know me, and","remove her at once to her own bed room, and the strangers were eager \n to assist. \n \n 'What will the Mumfords say?' Louise asked of a sudden, trying to \n raise herself. \n","with his wife, and Miss Derrick kept silence. After dinner, she \n passed out into the garden. \n \n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \n shall have to get rid of her.' \n","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","'Dear Mrs. Mumford,' it ran, 'L. is coming to-morrow morning, and I \n hope you won't repent. There's just one thing I meant to have said"],["hurried to inquire after Louise. She lay on a couch, wrapped in a \n dressing-gown; for the side and one sleeve of her dress had been \n burnt away. Her moaning never ceased; there was a fire-mark on the","and violent onslaught. When the front door at length closed she \n rejoiced, but with trembling; for the words that fell upon her ear \n from the hall announced too plainly that Louise was determined to \n stay. \n \n \n \n \n CHAPTER V \n","Whitewashers and paperhangers had done their work; a new carpet was \n laid down; but pictures had still to be restored to their places, \n and the furniture stood all together in the middle of the room. Not \n till Louise had entered did her hostess look round. \n","the two men walked with him to his house in the next road. They \n learned that Louise was not dangerously injured; her recovery would \n be merely a matter of time and care. Cobb gave a description of the","Whilst Mrs. Higgins was uttering these words the door opened, and \n there entered a figure which startled her into silence. It was that \n of Louise, in a dressing-gown and slippers, with a shawl wrapped \n about the upper part of her body.","Louise went from the room and remained invisible till just before \n dinner, when she came down with a grave and rather haughty \n countenance. To Mumford's remarks she replied with curt formality; \n he, prepared for this state of things, began conversing cheerfully","'It may be someone calling upon me,' said Louise to the servant. \n 'Let me know the name before you show anyone in.' \n \n 'Of course, miss,' replied the domestic, with pert familiarity, and","'Pooh! We shall do well enough.--Who's that?' \n \n Someone was entering the garden by the side path. And in a moment \n there remained no doubt who the person was. Louise came forward, her","lodging, and take no end of trouble, and then in a week's time get a \n letter to say that you want nothing more to do with me.' \n \n Louise was pale with anger and fear, and as many other emotions as","house. Bring water, you!' \n \n All three servants were scampering and screeching about the hall. \n Cobb caught hold of one of them and all but twisted her arm out of \n its socket. At his fierce command, the woman supported Louise into","lawn. Without delay, Louise was conveyed beneath the roof, and her \n host, a man of energy, sped towards the fire to be of what \n assistance he could. \n \n The lamp-shade, the screen, the little table and the diminutive","of Mrs. Mumford's latest remark. Louise listened with a smile. \n \n 'Now look here, mother,' she said, when silence came for a moment, \n 'you can't expect Mrs. Mumford to have a lot of strangers coming to","remove her at once to her own bed room, and the strangers were eager \n to assist. \n \n 'What will the Mumfords say?' Louise asked of a sudden, trying to \n raise herself. \n","Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","down to dine, and had just risen from the table, when Louise \n appeared. \n \n She was in excellent spirits, without a trace of the morning's \n ill-humour. No apologies! If she didn't feel quite free to come and","library, of which the door was left ajar, she heard Louise and her \n mother pass upstairs, both silent. Mumford, too well aware that yet \n another disturbance had come upon his unhappy household, affected to","Louise did not appear again that evening. Thoroughly tired, she \n unpacked her trunks, sat awhile by the open window, listening to a \n piano in a neighbouring house, and then jumped into bed. From ten \n o'clock to eight next morning she slept soundly.","allowing Louise to suspect the real cause of what she was about to \n say--that would have seemed to her undignified; but she could not \n speak quite naturally. 'Still, I should be glad if you would sit \n down for a minute.' \n","said bluntly that he was glad Louise had come. \n \n 'Well, I wanted to see you,' was her answer. \n \n 'What about?' \n \n 'I don't think I shall be able to stay with the Mumfords. They're","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline"],["girl's conscience, at all events. Yes, this explained everything. \n And, on the whole, it seemed to speak in Louise's favour. Her \n ridicule of Mr. Bowling's person and character became, in this new","'I am going to marry Mr. Bowling.' \n \n Emmeline could no longer feel astonishment at anything her guest said \n or did. The tone, the air, with which Louise made this declaration \n affected her with a sense of something quite unforeseen; but, at the","would hold her ground until her actual marriage with Mr. Bowling. \n Whether that unknown person would discharge the debt his betrothed \n was incurring seemed an altogether uncertain matter. Louise, in the \n meantime, kept quiet as a mouse--so strangely quiet, indeed, that","Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","her voice Louise added eagerly: \n \n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \n \n ''You are quite mistaken,' said Emmeline distantly, 'if you think","'There's no harm in saying that to _me_, Louise,' replied Mrs. \n Mumford. 'But pray be careful not to seem \"forward.\" People \n think--and say--such disagreeable things.' \n","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","impressed Louise, say what she might of pretended fears. At parting, \n he merely shook hands with her, as always. \n \n \n \n \n CHAPTER VII \n \n \n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.","By the first post in the morning came a letter from Louise. She \n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \n but do please have me. I like Sutton, and I like your house, and I","Whether she felt the force of this innuendo or not, Louise took it \n in good part. As if the idea had only just struck her, she looked up \n cheerfully. \n","Bowling, and the letter, though brief, cost her some thought. 'Dear \n Mr. Bowling,--Your last is so very nice and kind that I feel I ought \n to answer it without delay, but I cannot answer in the way you wish.","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","people were near. Upon Louise, however, it had a pleasing effect, \n and she smiled. \n \n 'Very well,' she made answer, in the same subdued tone. 'Then let us \n settle it in that way.' \n","Louise plucked at the fringe on the arm of her chair, and replied at \n length with maidenly frankness. \n \n 'I always thought it would be a good marriage for me. But I","Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","want to know, first of all, whether you've been encouraging that man \n Bowling.' \n \n 'No, I haven't.' \n \n 'Very well, I believe you. And now I'll make you a fair offer. Marry","him. Mr. B.\"--that's Mr. Bowling, you know--\"has told him plain that \n he doesn't think any more of Cissy, and that nothing mustn't be \n expected of him.\"--Oh what sweet letters mother does write!--\"That","same time, she asked herself why she had not foreseen it. Was not \n this the obvious answer to the riddle? All along, Louise had wished \n to marry Mr. Bowling. She might or might not have consciously helped","'Well, they're very nice people,' said Louise, with a little sigh. \n 'And I like your sister so much. I'm glad she asked me to go and see \n her. Is Mr. Bilton often at her house?--Don't misunderstand me, Mrs.","with Louise. I dessay she's told you a good deal about me and her \n stepfather. I don't think she's any reason to complain of the \n treatment--' \n \n 'She said you were both very kind to her,' interposed the hostess."],["see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","'I am going to marry Mr. Bowling.' \n \n Emmeline could no longer feel astonishment at anything her guest said \n or did. The tone, the air, with which Louise made this declaration \n affected her with a sense of something quite unforeseen; but, at the","Louise laughed. \n \n 'Oh, there's no knowing what I might do to spite Cissy. We hate each \n other, of course. But I can't fancy myself marrying him, He has a","They were away from home for three weeks. On returning, Emmeline \n found a letter which had arrived for her the day before; it was from \n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know","Louise plucked at the fringe on the arm of her chair, and replied at \n length with maidenly frankness. \n \n 'I always thought it would be a good marriage for me. But I","would hold her ground until her actual marriage with Mr. Bowling. \n Whether that unknown person would discharge the debt his betrothed \n was incurring seemed an altogether uncertain matter. Louise, in the \n meantime, kept quiet as a mouse--so strangely quiet, indeed, that","Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","'Well, I can only propose one thing,' sounded the masculine voice. \n 'You can get out of it by marrying me.' \n \n Louise gave a little laugh, rather timid than scornful. \n","impressed Louise, say what she might of pretended fears. At parting, \n he merely shook hands with her, as always. \n \n \n \n \n CHAPTER VII \n \n \n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","By the first post in the morning came a letter from Louise. She \n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \n but do please have me. I like Sutton, and I like your house, and I","contemptuously. But what a woman to make ones wife! Unless--unless-- \n \n Louise had gone into the house. Emmeline approached her husband. \n \n 'There! I foresaw it. Isn't vexing?' \n","her voice Louise added eagerly: \n \n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \n \n ''You are quite mistaken,' said Emmeline distantly, 'if you think","said bluntly that he was glad Louise had come. \n \n 'Well, I wanted to see you,' was her answer. \n \n 'What about?' \n \n 'I don't think I shall be able to stay with the Mumfords. They're","and violent onslaught. When the front door at length closed she \n rejoiced, but with trembling; for the words that fell upon her ear \n from the hall announced too plainly that Louise was determined to \n stay. \n \n \n \n \n CHAPTER V \n","people were near. Upon Louise, however, it had a pleasing effect, \n and she smiled. \n \n 'Very well,' she made answer, in the same subdued tone. 'Then let us \n settle it in that way.' \n","his wife did not mean to supervise him henceforth and for ever. If \n so, their troubles were only beginning. \n \n At breakfast, Louise continued to be discretion itself. She talked \n of her departure on the morrow as though it had long been a settled","Louise did not appear again that evening. Thoroughly tired, she \n unpacked her trunks, sat awhile by the open window, listening to a \n piano in a neighbouring house, and then jumped into bed. From ten \n o'clock to eight next morning she slept soundly."],["Mumford, and that's why I thought I would ask to see you. You have a \n good deal of influence over her.' \n \n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \n use it for her good.' \n","husband, Emmeline summoned him from his book to the bedroom. \n \n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \n thing goes on much longer I shall feel inclined to take a lodging in \n town.' \n","'Do you know Sutton at all?' Emmeline inquired. \n \n 'Never was here before. But I like the look of it. I like this \n house, too. I suppose you know a lot of people here, Mrs. Mumford?' \n","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","His wife did not linger more than a minute behind him, and she sat \n in the drawing-room to await Miss Derrick's return; Mumford kept \n apart in what was called the library. To her credit, Emmeline tried","Higgins.' \n \n \n \n \n CHAPTER II \n \n \n 'Runnymede' (so the Mumfords' house was named) stood on its own \n little plot of ground in one of the tree-shadowed roads which","'Mrs. Mumford, I want to say good-bye.' \n \n 'Oh, yes,' Emmeline answered civilly, but without a smile. \n 'Good-bye, Miss Derrick.' \n \n And she stepped forward to shake hands. \n","Mumford? It's all right. There's been a fire, but we've got it out.' \n \n Emmeline learnt at the same moment that her child had suffered no \n harm, but she would not pause until she saw the little one and held","As the train came in she took up a position near the exit. Among the \n people who had alighted, her eye soon perceived Clarence Mumford. \n She stepped up to him and drew his attention. \n","eyes never moved in Mumford's direction. \n \n The threatened letter from Mrs. Higgins had arrived; Emmeline and \n her husband read it before their guest came down. If Louise \n continued to reside with them, they entertained her with a full","'The upshot of it is this,' cried Mumford: 'Miss Derrick has to \n leave the house, and, if necessary, I shall tell her so myself.' \n \n Again Emmeline was cold and lofty. There was no necessity whatever","which they had gone. Mumford's holiday time approached, and they \n were making arrangements for a visit to the seaside, when one \n morning a carrier's cart delivered a large package, unexpected and \n of unknown contents. Emmeline stripped off the matting, and found--a","They were away from home for three weeks. On returning, Emmeline \n found a letter which had arrived for her the day before; it was from \n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know","\"Runnymede\" had undergone no change whatever; Emmeline still waited \n for a moment of courage, and Mumford, though he did not relish the \n prospect, began to think it more than probable that Miss Derrick","it relieved her when Clarence moved away. \n \n The next morning Louise was an hour late for breakfast. She came \n down when Mumford had left the house, and Emmeline saw with surprise \n that she was dressed for going out. \n","Then restlessness again came upon her. One day she all but declared \n her disappointment that the Mumfords saw so few people. Emmeline, \n repeating this to her husband, avowed a certain compunction. \n","'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \n 'And a very good thing too. I should be sorry for her to see you in \n the state you're in.' \n","to play to Mumford, and he, good-natured fellow, stood by her to \n turn over the leaves. Emmeline, with fancy work in her hands, \n watched the two. She was not one of the most foolish of her sex, but","she isn't vulgar!' said Emmeline to herself. 'I don't like the \n hat--I don't. And that sunshade with the immense handle.' From the \n top of the stairs she heard a clear, unaffected voice: 'Mrs. Mumford","I could do. Please let me have my dinner alone. Mrs. Mumford, I want \n to tell you something afterwards.' \n \n Clarence went round to see his friend Fentiman, with whom he usually"],["As the train came in she took up a position near the exit. Among the \n people who had alighted, her eye soon perceived Clarence Mumford. \n She stepped up to him and drew his attention. \n","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","I could do. Please let me have my dinner alone. Mrs. Mumford, I want \n to tell you something afterwards.' \n \n Clarence went round to see his friend Fentiman, with whom he usually","cry aloud for her child, and Mumford rushed like a madman through \n the garden. \n \n 'It's all right,' said a man who stood in the doorway. 'You Mr.","boarding out,' he says. And he means it. He has told me to write to \n you at once, and you're to come as soon as you can, and he won't be \n responsible to Mrs. Mumford for more than another week's","Mumford, and that's why I thought I would ask to see you. You have a \n good deal of influence over her.' \n \n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \n use it for her good.' \n","Mumford? It's all right. There's been a fire, but we've got it out.' \n \n Emmeline learnt at the same moment that her child had suffered no \n harm, but she would not pause until she saw the little one and held","'My dear girl! Surely we have nothing to be ashamed of?' \n \n 'Of course not, Clarence. But--and \"pleasant society.\" What about \n that?' \n \n 'Your society is pleasant enough, I hope,' answered Mumford,","sit down.' She did so, on the nearest chair, with a little laugh at \n her strange feebleness. \n \n 'Now please _don't_ quarrel, you two. Mrs. Mumford, don't mind \n anything that mother says.' \n","library, of which the door was left ajar, she heard Louise and her \n mother pass upstairs, both silent. Mumford, too well aware that yet \n another disturbance had come upon his unhappy household, affected to","A slight emphasis on the \"he\" touched Mrs. Mumford unpleasantly. She \n rose, and began to pick out some overblown flowers from a vase on \n the table near her. Presently Louise became silent. Before either of","ran at once to Mrs. Mumford, whom she found in the nursery. \n \n 'Do please come down. Here's something I must tell you about. What \n do you think mother says? I've to go back home again at once.' \n","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","quite incapable of passing a satisfactory cross-examination on the \n subject. \n \n Mrs. Mumford, foreseeing the difficulty of spending the next day at \n home, told her husband in the morning that she would have early","caring little or nothing for music, she had hardly touched a key for \n several years. Now the idea possessed her that she must resume her \n practising, and to-day she had spent hours at the piano, with \n painful effect upon Mrs. Mumford's nerves. After dinner she offered","'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \n 'And a very good thing too. I should be sorry for her to see you in \n the state you're in.' \n","Mrs. Mumford was offended, and showed it. \n \n 'I have a perfect right, and I shall do so. Please don't let us \n quarrel. You may be fond of it, but I am not.' \n","it relieved her when Clarence moved away. \n \n The next morning Louise was an hour late for breakfast. She came \n down when Mumford had left the house, and Emmeline saw with surprise \n that she was dressed for going out. \n","Higgins.' \n \n \n \n \n CHAPTER II \n \n \n 'Runnymede' (so the Mumfords' house was named) stood on its own \n little plot of ground in one of the tree-shadowed roads which"],["Mumford, and that's why I thought I would ask to see you. You have a \n good deal of influence over her.' \n \n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \n use it for her good.' \n","husband, Emmeline summoned him from his book to the bedroom. \n \n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \n thing goes on much longer I shall feel inclined to take a lodging in \n town.' \n","Emmeline, wishing to lock up for the night, went to summon her \n troublesome guest. \n \n 'Hadn't you better come in?' \n \n 'Yes. But I think you are very unkind, Mrs. Mumford.' \n","Then restlessness again came upon her. One day she all but declared \n her disappointment that the Mumfords saw so few people. Emmeline, \n repeating this to her husband, avowed a certain compunction. \n","'The upshot of it is this,' cried Mumford: 'Miss Derrick has to \n leave the house, and, if necessary, I shall tell her so myself.' \n \n Again Emmeline was cold and lofty. There was no necessity whatever","'Do you know Sutton at all?' Emmeline inquired. \n \n 'Never was here before. But I like the look of it. I like this \n house, too. I suppose you know a lot of people here, Mrs. Mumford?' \n","she looked him in the face, and it was Mumford who had to avert his \n eyes. The young man felt very uncomfortable. \n \n 'Oh! I'm quite sure Emmy will be glad to let you come for the night, \n Miss Derrick--' \n","boarding out,' he says. And he means it. He has told me to write to \n you at once, and you're to come as soon as you can, and he won't be \n responsible to Mrs. Mumford for more than another week's","eyes never moved in Mumford's direction. \n \n The threatened letter from Mrs. Higgins had arrived; Emmeline and \n her husband read it before their guest came down. If Louise \n continued to reside with them, they entertained her with a full","'So do I. But--well, it comes to this, Mrs. Mumford. She seemed to \n hint--though she didn't exactly say so--that you were advising her \n to have nothing more to do with me. Of course you don't know me, and","'Mrs. Mumford, I want to say good-bye.' \n \n 'Oh, yes,' Emmeline answered civilly, but without a smile. \n 'Good-bye, Miss Derrick.' \n \n And she stepped forward to shake hands. \n","\"Runnymede\" had undergone no change whatever; Emmeline still waited \n for a moment of courage, and Mumford, though he did not relish the \n prospect, began to think it more than probable that Miss Derrick","to play to Mumford, and he, good-natured fellow, stood by her to \n turn over the leaves. Emmeline, with fancy work in her hands, \n watched the two. She was not one of the most foolish of her sex, but","she isn't vulgar!' said Emmeline to herself. 'I don't like the \n hat--I don't. And that sunshade with the immense handle.' From the \n top of the stairs she heard a clear, unaffected voice: 'Mrs. Mumford","I could do. Please let me have my dinner alone. Mrs. Mumford, I want \n to tell you something afterwards.' \n \n Clarence went round to see his friend Fentiman, with whom he usually","the house just on my account. She's sick and tired of us all, and \n wants to see our backs as soon as ever she can. I don't say it to \n offend you, Mrs. Mumford, but you know it's true. And I tell you","few things she needed to purchase. But this time Emmeline begged her \n to go alone, and Louise seemed quite satisfied with the arrangement. \n \n Early in the afternoon, as Mrs. Mumford was making ready to go out,","slam it seemed wonderful to Emmeline. The girl was not wholly a \n savage. \n \n Presently Mrs. Mumford went up to inspect the forsaken chamber. \n Louise had packed all her things: of course she must have tumbled","of Mrs. Mumford's latest remark. Louise listened with a smile. \n \n 'Now look here, mother,' she said, when silence came for a moment, \n 'you can't expect Mrs. Mumford to have a lot of strangers coming to","'Something like the Mumfords'. It needn't be quite so large,' she \n added quickly; 'but a house with a garden, in a nice road, and in a \n respectable part.' \n"],["Higgins.' \n \n \n \n \n CHAPTER II \n \n \n 'Runnymede' (so the Mumfords' house was named) stood on its own \n little plot of ground in one of the tree-shadowed roads which","boarding out,' he says. And he means it. He has told me to write to \n you at once, and you're to come as soon as you can, and he won't be \n responsible to Mrs. Mumford for more than another week's","husband, Emmeline summoned him from his book to the bedroom. \n \n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \n thing goes on much longer I shall feel inclined to take a lodging in \n town.' \n","she came forward panting and perspiring, and, before paying any heed \n to her hostess, closely surveyed the room. \n \n 'Mrs. Mumford,' said the girl, 'this is my mother. Mother, this is","cry aloud for her child, and Mumford rushed like a madman through \n the garden. \n \n 'It's all right,' said a man who stood in the doorway. 'You Mr.","'Do you know Sutton at all?' Emmeline inquired. \n \n 'Never was here before. But I like the look of it. I like this \n house, too. I suppose you know a lot of people here, Mrs. Mumford?' \n","Emmeline, wishing to lock up for the night, went to summon her \n troublesome guest. \n \n 'Hadn't you better come in?' \n \n 'Yes. But I think you are very unkind, Mrs. Mumford.' \n","chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \n station, approached their garden gate. The sight of a little crowd","'Something like the Mumfords'. It needn't be quite so large,' she \n added quickly; 'but a house with a garden, in a nice road, and in a \n respectable part.' \n","the servant announced to her that a gentleman had called to see Miss \n Derrick; on learning that Miss Derrick was away, he had asked sundry \n questions, and ended by requesting an interview with Mrs. Mumford. \n His name was Cobb. \n","Mumford? It's all right. There's been a fire, but we've got it out.' \n \n Emmeline learnt at the same moment that her child had suffered no \n harm, but she would not pause until she saw the little one and held","with his wife, and Miss Derrick kept silence. After dinner, she \n passed out into the garden. \n \n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \n shall have to get rid of her.' \n","'He'll be here at ten in the morning, and I know he will give me \n leave. So there's an end of it. And you can go to bed and sleep in \n peace, Mrs. Mumford.' \n","Louise hired a carriage and took her friends for a drive into the \n country; at her special request the child accompanied them. Nothing \n could have been more delightful. She had quite made up her mind to \n have a house, some day, at Sutton. She hoped the Mumfords would","the house just on my account. She's sick and tired of us all, and \n wants to see our backs as soon as ever she can. I don't say it to \n offend you, Mrs. Mumford, but you know it's true. And I tell you","remove her at once to her own bed room, and the strangers were eager \n to assist. \n \n 'What will the Mumfords say?' Louise asked of a sudden, trying to \n raise herself. \n","Mrs. Mumford was offended, and showed it. \n \n 'I have a perfect right, and I shall do so. Please don't let us \n quarrel. You may be fond of it, but I am not.' \n","him in her embrace. Meanwhile, Cobb and Mumford talked in the \n devastated drawing-room, which was illumined with candles. \n \n 'It's a bad job, Mr. Mumford. My name is Cobb: I daresay you've","The Paying Guest \n \n \n by \n \n George Gissing \n \n \n \n \n CHAPTER I \n \n \n It was Mumford who saw the advertisement and made the suggestion. \n His wife gave him a startled look.","lodging-house, but no distinctly offensive word escaped her. And \n this was almost entirely due to Louise's influence for the girl \n impressed upon her mother that 'to make a row' would be the sure and \n certain way of proving that Mrs. Mumford was justified in claiming"],["Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","friends and neighbours, Emmeline enjoyed Sutton because it was a \n most respectable little portion of the great town, set in a purer \n atmosphere. The country would have depressed her. \n \n In this respect Miss Derrick proved a congenial companion. Louise","Louise. Hitherto uncertain in her judgment, she had now the relief \n of an assurance that Miss Derrick was not at all a proper person to \n entertain as a guest, on whatever terms. The incident of the railway","'Don't be vulgar, Clarence. And we've talked enough of Louise for \n the present.' \n \n Miss Derrick's presentiment that a letter from Mr. Cobb would soon \n reach her was justified the next day; it arrived in the afternoon,","Next morning arrived a letter, signed 'Louise E. Derrick.' The \n writer said she had been waiting to compare and think over some two \n hundred answers to her advertisement. 'It's really too absurd. How","Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \n was a plain, formal letter, giving a brief account of his doings in \n Ireland, and making a request that Louise would meet him, if","Derrick, and Emmeline did not know what pains the girl had taken, \n ever since her arrival, to live in conformity with the habits of a \n 'nice' household. \n \n Louise, meanwhile, had gone to the railway station, intending to","please let me know it by return.--Affectionately yours, L. E. \n DERRICK.' This she addressed to Margate, and stamped with a little \n thump of the fist. Her next sheet of paper was devoted to Mr.","enjoying myself in a _very_ quiet way.--I remain, sincerely yours, \n LOUISE E. DERRICK.' Finally she penned a reply to Mr. Cobb, and \n this, after a glance at a railway time-table, gave her no trouble at","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","'He's very nice sometimes,' answered Louise, thoughtfully. \n \n 'But do you really mean that he is \"rough and coarse\"?' \n \n 'Yes, I do. You couldn't call him a gentleman. I've never seen his","Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","Enclosed was a wedding-card. \n \n 'Mr. and Mrs. Thomas Cobb,' in gilt lettering, occupied the middle, \n and across the right-hand upper corner ran 'Louise E. Derrick,' an","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","house--doubtless to post a reply. But, to her surprise, not a word \n of the matter escaped Miss Derrick during the whole evening. \n \n In her school-days, Louise had learned to \"play the piano,\" but,","thinking of him in that way all along; and you've been writing to \n him, or meeting him, since you came here. What sort of behaviour do \n you call this?' \n \n Louise was recovering self-possession; the irritability of her own","Louise had not the power of loving at all. Yet, for his own part, he \n couldn't help liking her; the eyes that had looked into his at the \n station haunted him a little, and would not let him think of her","Higgins, after a deliberate surveyal of the house front, followed \n her daughter up the pathway. \n \n The first sight of the portly lady made the situation clearer to \n Mrs. Mumford. Louise Derrick represented a certain stage of","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","permitting Louise to stay for more than a day or two, whatever the \n suggestion offered. This morning she had again heard from her \n sister, Mrs. Grove, who was strongly of opinion that Miss Derrick \n should be sent back to her native sphere. \n"],["Derrick's departure, it would be a positive pleasure. \n \n Louise very soon entered; she came into the room with her brightest \n look, and cried gaily: \n \n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'","Louise. Hitherto uncertain in her judgment, she had now the relief \n of an assurance that Miss Derrick was not at all a proper person to \n entertain as a guest, on whatever terms. The incident of the railway","friends and neighbours, Emmeline enjoyed Sutton because it was a \n most respectable little portion of the great town, set in a purer \n atmosphere. The country would have depressed her. \n \n In this respect Miss Derrick proved a congenial companion. Louise","Derrick, and Emmeline did not know what pains the girl had taken, \n ever since her arrival, to live in conformity with the habits of a \n 'nice' household. \n \n Louise, meanwhile, had gone to the railway station, intending to","Higgins, after a deliberate surveyal of the house front, followed \n her daughter up the pathway. \n \n The first sight of the portly lady made the situation clearer to \n Mrs. Mumford. Louise Derrick represented a certain stage of","house--doubtless to post a reply. But, to her surprise, not a word \n of the matter escaped Miss Derrick during the whole evening. \n \n In her school-days, Louise had learned to \"play the piano,\" but,","permitting Louise to stay for more than a day or two, whatever the \n suggestion offered. This morning she had again heard from her \n sister, Mrs. Grove, who was strongly of opinion that Miss Derrick \n should be sent back to her native sphere. \n","'Don't be vulgar, Clarence. And we've talked enough of Louise for \n the present.' \n \n Miss Derrick's presentiment that a letter from Mr. Cobb would soon \n reach her was justified the next day; it arrived in the afternoon,","Next morning arrived a letter, signed 'Louise E. Derrick.' The \n writer said she had been waiting to compare and think over some two \n hundred answers to her advertisement. 'It's really too absurd. How","Louise, next day, put a point-blank question. \n \n 'Didn't you say that you knew some people at West Kensington?' \n \n 'Oh, yes,' answered Emmeline, carelessly. 'The Kirby Simpsons.","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","of telling Miss Derrick she must leave. If not, that disagreeable \n necessity must be faced. \n \n 'I had rather cut down expenses all round,' said Emmeline, 'than \n have our home upset in this way. It isn't like home at all. Louise","returned, and looked in at the drawing-room, with a pleasant smile. \n 'Good-night, Mrs. Mumford.' 'Good-night, Miss Derrick.' For the \n grace of the thing, Emmeline would have liked to say 'Louise,' but","with Louise. I dessay she's told you a good deal about me and her \n stepfather. I don't think she's any reason to complain of the \n treatment--' \n \n 'She said you were both very kind to her,' interposed the hostess.","Enclosed was a wedding-card. \n \n 'Mr. and Mrs. Thomas Cobb,' in gilt lettering, occupied the middle, \n and across the right-hand upper corner ran 'Louise E. Derrick,' an","Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \n was a plain, formal letter, giving a brief account of his doings in \n Ireland, and making a request that Louise would meet him, if","enjoying myself in a _very_ quiet way.--I remain, sincerely yours, \n LOUISE E. DERRICK.' Finally she penned a reply to Mr. Cobb, and \n this, after a glance at a railway time-table, gave her no trouble at","eyes never moved in Mumford's direction. \n \n The threatened letter from Mrs. Higgins had arrived; Emmeline and \n her husband read it before their guest came down. If Louise \n continued to reside with them, they entertained her with a full","right, both for Lou's sake and for yours, and to satisfy us all. \n They're making a mystery, d'you see, of Lou leaving 'ome and going \n off to live with strangers; and Cissy's been doing her best to make"],["hurried to inquire after Louise. She lay on a couch, wrapped in a \n dressing-gown; for the side and one sleeve of her dress had been \n burnt away. Her moaning never ceased; there was a fire-mark on the","Louise's dress, well sprinkled with paraffin, aided the \n conflagration. Cobb, of course, saw only the danger to the girl. He \n seized the woollen hearthrug and tried to wrap it about her; but","with screams of pain and frantic struggles, Louise did her best to \n thwart his purpose. \n \n The window was open, and now a servant, rushing in to see what the \n uproar meant, gave the blaze every benefit of draught. \n","the table, and brought the lamp crashing to the floor. A shriek of \n terror from Louise, from her lover a shout of alarm, blended with \n the sound of breaking glass. In an instant a great flame shot up","house. Bring water, you!' \n \n All three servants were scampering and screeching about the hall. \n Cobb caught hold of one of them and all but twisted her arm out of \n its socket. At his fierce command, the woman supported Louise into","lawn. Without delay, Louise was conveyed beneath the roof, and her \n host, a man of energy, sped towards the fire to be of what \n assistance he could. \n \n The lamp-shade, the screen, the little table and the diminutive","He flashed a glance at her, and Louise answered with a defiant \n motion of the head. \n \n 'No, I don't. But they put the blame on me, all the same. I \n shouldn't wonder if they think I'm trying to get him.'","chair blazed gallantly, and with such a volleying of poisonous fumes \n that Cobb could scarce hold his ground to do battle. Louise out of \n the way, he at once became cool and resourceful. Before a flame","lodging, and take no end of trouble, and then in a week's time get a \n letter to say that you want nothing more to do with me.' \n \n Louise was pale with anger and fear, and as many other emotions as","'Now do let me advise you, Louise,' she answered gently. 'Are you \n acting wisely? Wouldn't it be very much better to go home?', \n \n Louise lost all her self-control. Flushed with anger, her eyes","Thereupon Louise's mother burst into a vehement exposition of the \n reasons of discord, beginning with the calumnious stories she had \n heard at Mrs. Jolliffe's, and ending with the outrageous arrogance","and violent onslaught. When the front door at length closed she \n rejoiced, but with trembling; for the words that fell upon her ear \n from the hall announced too plainly that Louise was determined to \n stay. \n \n \n \n \n CHAPTER V \n","of people in the quiet road, the smell of burning, loud voices of \n excited servants, caused them to run forward in alarm. Emmeline, \n frenzied by the certainty that her own house was on fire, began to","Perhaps this was the only possible issue of the difficulties in \n which they had all become involved; neither Louise nor her parents \n could be dealt with in the rational, peaceful way preferred by \n well-conditioned people. To get her out of the house was the main","Louise did not appear again that evening. Thoroughly tired, she \n unpacked her trunks, sat awhile by the open window, listening to a \n piano in a neighbouring house, and then jumped into bed. From ten \n o'clock to eight next morning she slept soundly.","it relieved her when Clarence moved away. \n \n The next morning Louise was an hour late for breakfast. She came \n down when Mumford had left the house, and Emmeline saw with surprise \n that she was dressed for going out. \n","'Bring water!' roared Cobb, who had just succeeded in extinguishing \n Louise's dress, and was carrying her, still despite her struggles, \n out of the room. 'Here, one of you take Miss Derrick to the next","A slight emphasis on the \"he\" touched Mrs. Mumford unpleasantly. She \n rose, and began to pick out some overblown flowers from a vase on \n the table near her. Presently Louise became silent. Before either of","For a week or ten days Louise lay very ill; then her vigorous \n constitution began to assert itself. It helped her greatly towards \n convalescence when she found that the scorches on her face would not","half way to the ceiling. The lamp-shade was ablaze; the \n much-embroidered screen, Mrs. Mumford's wedding present, forthwith \n caught fire from a burning tongue that ran along the carpet; and"],["see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","'I am going to marry Mr. Bowling.' \n \n Emmeline could no longer feel astonishment at anything her guest said \n or did. The tone, the air, with which Louise made this declaration \n affected her with a sense of something quite unforeseen; but, at the","They were away from home for three weeks. On returning, Emmeline \n found a letter which had arrived for her the day before; it was from \n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know","Louise laughed. \n \n 'Oh, there's no knowing what I might do to spite Cissy. We hate each \n other, of course. But I can't fancy myself marrying him, He has a","Louise plucked at the fringe on the arm of her chair, and replied at \n length with maidenly frankness. \n \n 'I always thought it would be a good marriage for me. But I","would hold her ground until her actual marriage with Mr. Bowling. \n Whether that unknown person would discharge the debt his betrothed \n was incurring seemed an altogether uncertain matter. Louise, in the \n meantime, kept quiet as a mouse--so strangely quiet, indeed, that","'Well, I can only propose one thing,' sounded the masculine voice. \n 'You can get out of it by marrying me.' \n \n Louise gave a little laugh, rather timid than scornful. \n","Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","impressed Louise, say what she might of pretended fears. At parting, \n he merely shook hands with her, as always. \n \n \n \n \n CHAPTER VII \n \n \n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","contemptuously. But what a woman to make ones wife! Unless--unless-- \n \n Louise had gone into the house. Emmeline approached her husband. \n \n 'There! I foresaw it. Isn't vexing?' \n","people were near. Upon Louise, however, it had a pleasing effect, \n and she smiled. \n \n 'Very well,' she made answer, in the same subdued tone. 'Then let us \n settle it in that way.' \n","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","By the first post in the morning came a letter from Louise. She \n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \n but do please have me. I like Sutton, and I like your house, and I","her voice Louise added eagerly: \n \n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \n \n ''You are quite mistaken,' said Emmeline distantly, 'if you think","and violent onslaught. When the front door at length closed she \n rejoiced, but with trembling; for the words that fell upon her ear \n from the hall announced too plainly that Louise was determined to \n stay. \n \n \n \n \n CHAPTER V \n","his wife did not mean to supervise him henceforth and for ever. If \n so, their troubles were only beginning. \n \n At breakfast, Louise continued to be discretion itself. She talked \n of her departure on the morrow as though it had long been a settled","out of temper. Do, please, let me stay! I like you so much, and how \n wretched it would be if I had to be married from a lodging-house.' \n \n 'I'm afraid, Louise--I'm really afraid--' \n","Louise did not appear again that evening. Thoroughly tired, she \n unpacked her trunks, sat awhile by the open window, listening to a \n piano in a neighbouring house, and then jumped into bed. From ten \n o'clock to eight next morning she slept soundly."],["Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \n know. And she told me in confidence what people are saying--as how \n Louise was to marry Mr. Bowling, but he broke it off when he found","Louise laughed. \n \n 'Oh, there's no knowing what I might do to spite Cissy. We hate each \n other, of course. But I can't fancy myself marrying him, He has a","Louise received Mr. Bilton's name with moderate interest. But she \n dropped the subject, and seemed to reconcile herself to domestic \n pleasures. \n \n It was on the evening of this day that Emmeline received a letter","of his first marriage--her poor mother died at the birth, and she's \n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \n close upon six-and-twenty, and nothing like so good-looking as","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","with Louise. I dessay she's told you a good deal about me and her \n stepfather. I don't think she's any reason to complain of the \n treatment--' \n \n 'She said you were both very kind to her,' interposed the hostess.","impressed Louise, say what she might of pretended fears. At parting, \n he merely shook hands with her, as always. \n \n \n \n \n CHAPTER VII \n \n \n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.","'Well, they're very nice people,' said Louise, with a little sigh. \n 'And I like your sister so much. I'm glad she asked me to go and see \n her. Is Mr. Bilton often at her house?--Don't misunderstand me, Mrs.","that, whatever the issue of Louise's appeal to her stepfather, this \n was a very good opportunity for getting rid of their guest. They \n would wait till Louise made known the upshot of her negotiations. It \n seemed probable that Mr. Higgins would spare them the unpleasantness","up, hearty boys as ever you saw. If it wasn't for this trouble with \n Louise--' She stopped to wipe her face. 'I dessay she's told you \n that Mr. 'Iggins, who was a widower when I met him, has a daughter","By the first post in the morning came a letter from Louise. She \n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \n but do please have me. I like Sutton, and I like your house, and I","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","girl's conscience, at all events. Yes, this explained everything. \n And, on the whole, it seemed to speak in Louise's favour. Her \n ridicule of Mr. Bowling's person and character became, in this new","Louise. The girl, as soon as she found herself alone, broke Mr. \n Cobb's envelope, which contained four sides of bold handwriting--not \n a long letter, but, as usual, vigorously worded. 'Dear Miss","thinking of him in that way all along; and you've been writing to \n him, or meeting him, since you came here. What sort of behaviour do \n you call this?' \n \n Louise was recovering self-possession; the irritability of her own","Emmeline made no mention of Mr. Cobb's call until they reached the \n house. \n \n 'He came here!' Louise exclaimed, reddening. 'What impudence! I \n shall at once write and tell him that his behaviour is outrageous.","Louise. Hitherto uncertain in her judgment, she had now the relief \n of an assurance that Miss Derrick was not at all a proper person to \n entertain as a guest, on whatever terms. The incident of the railway","'Well, I can only propose one thing,' sounded the masculine voice. \n 'You can get out of it by marrying me.' \n \n Louise gave a little laugh, rather timid than scornful. \n","Louise hired a carriage and took her friends for a drive into the \n country; at her special request the child accompanied them. Nothing \n could have been more delightful. She had quite made up her mind to \n have a house, some day, at Sutton. She hoped the Mumfords would","'Pooh! We shall do well enough.--Who's that?' \n \n Someone was entering the garden by the side path. And in a moment \n there remained no doubt who the person was. Louise came forward, her"],["'Now do let me advise you, Louise,' she answered gently. 'Are you \n acting wisely? Wouldn't it be very much better to go home?', \n \n Louise lost all her self-control. Flushed with anger, her eyes","sensibilities was indeed remarkable, and Emmeline observed with \n pleasure that her mind seemed to have a very wholesome tone. Louise \n might commit follies, and be guilty of bad taste to any extent, but \n nothing in her savoured of depravity. \n","lodging, and take no end of trouble, and then in a week's time get a \n letter to say that you want nothing more to do with me.' \n \n Louise was pale with anger and fear, and as many other emotions as","Emmeline, with anxious thought for Louise's health, due probably to \n her dread of having the girl in the house for an indefinite period. \n \n 'Oh, I've wrapped up. I feel shaky, that's all, and I shall have to","Perhaps this was the only possible issue of the difficulties in \n which they had all become involved; neither Louise nor her parents \n could be dealt with in the rational, peaceful way preferred by \n well-conditioned people. To get her out of the house was the main","'I shall do nothing of the kind,' answered Louise, her temper \n rising. \n \n Mrs. Higgins glared at her and began to rail; the voice was \n painfully audible to Emmeline, who just then passed through the","and violent onslaught. When the front door at length closed she \n rejoiced, but with trembling; for the words that fell upon her ear \n from the hall announced too plainly that Louise was determined to \n stay. \n \n \n \n \n CHAPTER V \n","out of temper. Do, please, let me stay! I like you so much, and how \n wretched it would be if I had to be married from a lodging-house.' \n \n 'I'm afraid, Louise--I'm really afraid--' \n","thinking of him in that way all along; and you've been writing to \n him, or meeting him, since you came here. What sort of behaviour do \n you call this?' \n \n Louise was recovering self-possession; the irritability of her own","'I shall say nothing more about it, Louise. It isn't my business \n to--' \n \n The girl's face threatened a tempest. As Emmeline was moving away, \n she rudely obstructed her. \n","see Louise speedily married. To the bribe with which the letter \n ended they could give no serious thought. Having secured their \n \"paying guest,\" they hoped she would remain with them for a year or \n two at least. But already Louise had dropped hints such as Emmeline","For a week or ten days Louise lay very ill; then her vigorous \n constitution began to assert itself. It helped her greatly towards \n convalescence when she found that the scorches on her face would not","Whether she felt the force of this innuendo or not, Louise took it \n in good part. As if the idea had only just struck her, she looked up \n cheerfully. \n","'When did you make up your mind to this, Louise?' \n \n 'Yesterday, after our horrid quarrel. No, _you_ didn't quarrel; it \n was all my abominable temper. This morning I'm going to answer Mr.","'He's very nice sometimes,' answered Louise, thoughtfully. \n \n 'But do you really mean that he is \"rough and coarse\"?' \n \n 'Yes, I do. You couldn't call him a gentleman. I've never seen his","Louise did not appear again that evening. Thoroughly tired, she \n unpacked her trunks, sat awhile by the open window, listening to a \n piano in a neighbouring house, and then jumped into bed. From ten \n o'clock to eight next morning she slept soundly.","with Louise. I dessay she's told you a good deal about me and her \n stepfather. I don't think she's any reason to complain of the \n treatment--' \n \n 'She said you were both very kind to her,' interposed the hostess.","little quieter in your manners, Louise--' \n \n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \n \n For a day or two there was halcyon weather. On Saturday afternoon","down to dine, and had just risen from the table, when Louise \n appeared. \n \n She was in excellent spirits, without a trace of the morning's \n ill-humour. No apologies! If she didn't feel quite free to come and","Louise stood in an attitude of joyous excitement, her eyes \n sparkling. But at the first glance she perceived that her lover's \n mood was by no means correspondingly gay. Cobb stalked forward and \n kept a stern gaze upon her, but said nothing. \n"]],"string":"[\n [\n \"Higgins.' \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n 'Runnymede' (so the Mumfords' house was named) stood on its own \\n little plot of ground in one of the tree-shadowed roads which\",\n \"Louise hired a carriage and took her friends for a drive into the \\n country; at her special request the child accompanied them. Nothing \\n could have been more delightful. She had quite made up her mind to \\n have a house, some day, at Sutton. She hoped the Mumfords would\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"Then restlessness again came upon her. One day she all but declared \\n her disappointment that the Mumfords saw so few people. Emmeline, \\n repeating this to her husband, avowed a certain compunction. \\n\",\n \"'Something like the Mumfords'. It needn't be quite so large,' she \\n added quickly; 'but a house with a garden, in a nice road, and in a \\n respectable part.' \\n\",\n \"husband, Emmeline summoned him from his book to the bedroom. \\n \\n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \\n thing goes on much longer I shall feel inclined to take a lodging in \\n town.' \\n\",\n \"Mumford? It's all right. There's been a fire, but we've got it out.' \\n \\n Emmeline learnt at the same moment that her child had suffered no \\n harm, but she would not pause until she saw the little one and held\",\n \"library, of which the door was left ajar, she heard Louise and her \\n mother pass upstairs, both silent. Mumford, too well aware that yet \\n another disturbance had come upon his unhappy household, affected to\",\n \"which they had gone. Mumford's holiday time approached, and they \\n were making arrangements for a visit to the seaside, when one \\n morning a carrier's cart delivered a large package, unexpected and \\n of unknown contents. Emmeline stripped off the matting, and found--a\",\n \"'Whilst we're thoroughly upset,' replied Mumford, with irritation at \\n this purposeless talk, 'hadn't we better leave the house and go to \\n live as far away as possible?' \\n\",\n \"His wife did not linger more than a minute behind him, and she sat \\n in the drawing-room to await Miss Derrick's return; Mumford kept \\n apart in what was called the library. To her credit, Emmeline tried\",\n \"quite incapable of passing a satisfactory cross-examination on the \\n subject. \\n \\n Mrs. Mumford, foreseeing the difficulty of spending the next day at \\n home, told her husband in the morning that she would have early\",\n \"with his wife, and Miss Derrick kept silence. After dinner, she \\n passed out into the garden. \\n \\n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \\n shall have to get rid of her.' \\n\",\n \"Mumford, and that's why I thought I would ask to see you. You have a \\n good deal of influence over her.' \\n \\n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \\n use it for her good.' \\n\",\n \"each time, and you have a sort of feeling, you know, that you can be \\n in town whenever you like.' \\n \\n It had not hitherto been the Mumfords' wont to dress for dinner, but\",\n \"'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \\n 'And a very good thing too. I should be sorry for her to see you in \\n the state you're in.' \\n\",\n \"house. But I don't think so; in spite of all her faults, she never \\n seemed deceitful or malicious.' \\n \\n Mumford was strongly tempted to reveal what had happened at the\",\n \"very large family, which must be rather a bore.' She laughed \\n ingenuously. 'And one gets to town so easily. What do you pay for \\n your season-ticket, Mr. Mumford? Oh, well! that isn't much. I almost\",\n \"day. \\n \\n A fortnight passed, and the Mumfords once more lived in \\n enjoyment of tranquillity, though Emmeline could not quite recover \\n her old self. They never spoke of the dread experiences through\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\"\n ],\n [\n \"The Paying Guest \\n \\n \\n by \\n \\n George Gissing \\n \\n \\n \\n \\n CHAPTER I \\n \\n \\n It was Mumford who saw the advertisement and made the suggestion. \\n His wife gave him a startled look.\",\n \"she came forward panting and perspiring, and, before paying any heed \\n to her hostess, closely surveyed the room. \\n \\n 'Mrs. Mumford,' said the girl, 'this is my mother. Mother, this is\",\n \"'It wouldn't be nice if people said that we were taking lodgers.' \\n \\n 'No fear of that. This is evidently some well-to-do person. It's a \\n very common arrangement nowadays, you know; they are called \\\"paying\",\n \"Emmeline, wishing to lock up for the night, went to summon her \\n troublesome guest. \\n \\n 'Hadn't you better come in?' \\n \\n 'Yes. But I think you are very unkind, Mrs. Mumford.' \\n\",\n \"boarding out,' he says. And he means it. He has told me to write to \\n you at once, and you're to come as soon as you can, and he won't be \\n responsible to Mrs. Mumford for more than another week's\",\n \"husband, Emmeline summoned him from his book to the bedroom. \\n \\n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \\n thing goes on much longer I shall feel inclined to take a lodging in \\n town.' \\n\",\n \"eyes never moved in Mumford's direction. \\n \\n The threatened letter from Mrs. Higgins had arrived; Emmeline and \\n her husband read it before their guest came down. If Louise \\n continued to reside with them, they entertained her with a full\",\n \"with his wife, and Miss Derrick kept silence. After dinner, she \\n passed out into the garden. \\n \\n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \\n shall have to get rid of her.' \\n\",\n \"cry aloud for her child, and Mumford rushed like a madman through \\n the garden. \\n \\n 'It's all right,' said a man who stood in the doorway. 'You Mr.\",\n \"of Mrs. Mumford's latest remark. Louise listened with a smile. \\n \\n 'Now look here, mother,' she said, when silence came for a moment, \\n 'you can't expect Mrs. Mumford to have a lot of strangers coming to\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"'I don't see any harm if Mr. Mumford had been here,' replied the \\n girl calmly. \\n \\n 'I'm sure it's most unwise of you to leave your bed,' began\",\n \"drawing-room? He must have come knowing that she and her husband \\n were away for the evening. \\n \\n 'You can question him, if you like,' said Mumford. 'He's out there.' \\n\",\n \"'You're quite right, Mrs. Mumford. I'm sure you've been very kind to \\n me, and I've had a very pleasant time here, but it wouldn't do for \\n me to stay longer. May I wait over to-morrow, just till Wednesday\",\n \"lodging-house, but no distinctly offensive word escaped her. And \\n this was almost entirely due to Louise's influence for the girl \\n impressed upon her mother that 'to make a row' would be the sure and \\n certain way of proving that Mrs. Mumford was justified in claiming\",\n \"she looked him in the face, and it was Mumford who had to avert his \\n eyes. The young man felt very uncomfortable. \\n \\n 'Oh! I'm quite sure Emmy will be glad to let you come for the night, \\n Miss Derrick--' \\n\",\n \"'Dear Mrs. Mumford,' it ran, 'L. is coming to-morrow morning, and I \\n hope you won't repent. There's just one thing I meant to have said\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"remove her at once to her own bed room, and the strangers were eager \\n to assist. \\n \\n 'What will the Mumfords say?' Louise asked of a sudden, trying to \\n raise herself. \\n\",\n \"which they had gone. Mumford's holiday time approached, and they \\n were making arrangements for a visit to the seaside, when one \\n morning a carrier's cart delivered a large package, unexpected and \\n of unknown contents. Emmeline stripped off the matting, and found--a\"\n ],\n [\n \"said bluntly that he was glad Louise had come. \\n \\n 'Well, I wanted to see you,' was her answer. \\n \\n 'What about?' \\n \\n 'I don't think I shall be able to stay with the Mumfords. They're\",\n \"eyes never moved in Mumford's direction. \\n \\n The threatened letter from Mrs. Higgins had arrived; Emmeline and \\n her husband read it before their guest came down. If Louise \\n continued to reside with them, they entertained her with a full\",\n \"Higgins, after a deliberate surveyal of the house front, followed \\n her daughter up the pathway. \\n \\n The first sight of the portly lady made the situation clearer to \\n Mrs. Mumford. Louise Derrick represented a certain stage of\",\n \"Louise hired a carriage and took her friends for a drive into the \\n country; at her special request the child accompanied them. Nothing \\n could have been more delightful. She had quite made up her mind to \\n have a house, some day, at Sutton. She hoped the Mumfords would\",\n \"remove her at once to her own bed room, and the strangers were eager \\n to assist. \\n \\n 'What will the Mumfords say?' Louise asked of a sudden, trying to \\n raise herself. \\n\",\n \"of Mrs. Mumford's latest remark. Louise listened with a smile. \\n \\n 'Now look here, mother,' she said, when silence came for a moment, \\n 'you can't expect Mrs. Mumford to have a lot of strangers coming to\",\n \"she looked him in the face, and it was Mumford who had to avert his \\n eyes. The young man felt very uncomfortable. \\n \\n 'Oh! I'm quite sure Emmy will be glad to let you come for the night, \\n Miss Derrick--' \\n\",\n \"returned, and looked in at the drawing-room, with a pleasant smile. \\n 'Good-night, Mrs. Mumford.' 'Good-night, Miss Derrick.' For the \\n grace of the thing, Emmeline would have liked to say 'Louise,' but\",\n \"lodging-house, but no distinctly offensive word escaped her. And \\n this was almost entirely due to Louise's influence for the girl \\n impressed upon her mother that 'to make a row' would be the sure and \\n certain way of proving that Mrs. Mumford was justified in claiming\",\n \"Louise often used expressions which to a stranger would have implied \\n that her intimacy with Mrs. Mumford was of years' standing. 'He \\n wrote for the first time last week. Such a silly letter! I wish you\",\n \"Very soon after Mumford's departure, Louise begged for a few \\n minutes' private talk. \\n \\n 'Every time I come into this drawing-room, Mrs. Mumford, I think how \\n pretty it is. What pains you must have taken in furnishing it! I\",\n \"They were away from home for three weeks. On returning, Emmeline \\n found a letter which had arrived for her the day before; it was from \\n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"the servant announced to her that a gentleman had called to see Miss \\n Derrick; on learning that Miss Derrick was away, he had asked sundry \\n questions, and ended by requesting an interview with Mrs. Mumford. \\n His name was Cobb. \\n\",\n \"it relieved her when Clarence moved away. \\n \\n The next morning Louise was an hour late for breakfast. She came \\n down when Mumford had left the house, and Emmeline saw with surprise \\n that she was dressed for going out. \\n\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"His wife did not linger more than a minute behind him, and she sat \\n in the drawing-room to await Miss Derrick's return; Mumford kept \\n apart in what was called the library. To her credit, Emmeline tried\",\n \"library, of which the door was left ajar, she heard Louise and her \\n mother pass upstairs, both silent. Mumford, too well aware that yet \\n another disturbance had come upon his unhappy household, affected to\",\n \"with his wife, and Miss Derrick kept silence. After dinner, she \\n passed out into the garden. \\n \\n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \\n shall have to get rid of her.' \\n\",\n \"drawing-room screen, not unlike that which she had lost in the \\n fire. Of course it came from Louise, and, though she professed \\n herself very much annoyed, Mrs. Mumford had no choice but to \\n acknowledge it in a civil little note addressed to Coburg Lodge.\"\n ],\n [\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"friends and neighbours, Emmeline enjoyed Sutton because it was a \\n most respectable little portion of the great town, set in a purer \\n atmosphere. The country would have depressed her. \\n \\n In this respect Miss Derrick proved a congenial companion. Louise\",\n \"with Louise. I dessay she's told you a good deal about me and her \\n stepfather. I don't think she's any reason to complain of the \\n treatment--' \\n \\n 'She said you were both very kind to her,' interposed the hostess.\",\n \"Louise, next day, put a point-blank question. \\n \\n 'Didn't you say that you knew some people at West Kensington?' \\n \\n 'Oh, yes,' answered Emmeline, carelessly. 'The Kirby Simpsons.\",\n \"Louise. Hitherto uncertain in her judgment, she had now the relief \\n of an assurance that Miss Derrick was not at all a proper person to \\n entertain as a guest, on whatever terms. The incident of the railway\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"Higgins, after a deliberate surveyal of the house front, followed \\n her daughter up the pathway. \\n \\n The first sight of the portly lady made the situation clearer to \\n Mrs. Mumford. Louise Derrick represented a certain stage of\",\n \"Next morning arrived a letter, signed 'Louise E. Derrick.' The \\n writer said she had been waiting to compare and think over some two \\n hundred answers to her advertisement. 'It's really too absurd. How\",\n \"readdressed from Tulse Hill. Emmeline observed the eagerness with \\n which this epistle was pounced upon and carried off for private \\n perusal. She saw, too, that in half-an-hour's time Louise left the\",\n \"Derrick, and Emmeline did not know what pains the girl had taken, \\n ever since her arrival, to live in conformity with the habits of a \\n 'nice' household. \\n \\n Louise, meanwhile, had gone to the railway station, intending to\",\n \"'I shall say nothing more about it, Louise. It isn't my business \\n to--' \\n \\n The girl's face threatened a tempest. As Emmeline was moving away, \\n she rudely obstructed her. \\n\",\n \"Louise often used expressions which to a stranger would have implied \\n that her intimacy with Mrs. Mumford was of years' standing. 'He \\n wrote for the first time last week. Such a silly letter! I wish you\",\n \"By the first post in the morning came a letter from Louise. She \\n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \\n but do please have me. I like Sutton, and I like your house, and I\",\n \"it relieved her when Clarence moved away. \\n \\n The next morning Louise was an hour late for breakfast. She came \\n down when Mumford had left the house, and Emmeline saw with surprise \\n that she was dressed for going out. \\n\",\n \"'Pooh! We shall do well enough.--Who's that?' \\n \\n Someone was entering the garden by the side path. And in a moment \\n there remained no doubt who the person was. Louise came forward, her\",\n \"right, both for Lou's sake and for yours, and to satisfy us all. \\n They're making a mystery, d'you see, of Lou leaving 'ome and going \\n off to live with strangers; and Cissy's been doing her best to make\",\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"permitting Louise to stay for more than a day or two, whatever the \\n suggestion offered. This morning she had again heard from her \\n sister, Mrs. Grove, who was strongly of opinion that Miss Derrick \\n should be sent back to her native sphere. \\n\"\n ],\n [\n \"Enclosed was a wedding-card. \\n \\n 'Mr. and Mrs. Thomas Cobb,' in gilt lettering, occupied the middle, \\n and across the right-hand upper corner ran 'Louise E. Derrick,' an\",\n \"Louise. The girl, as soon as she found herself alone, broke Mr. \\n Cobb's envelope, which contained four sides of bold handwriting--not \\n a long letter, but, as usual, vigorously worded. 'Dear Miss\",\n \"the two men walked with him to his house in the next road. They \\n learned that Louise was not dangerously injured; her recovery would \\n be merely a matter of time and care. Cobb gave a description of the\",\n \"Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \\n was a plain, formal letter, giving a brief account of his doings in \\n Ireland, and making a request that Louise would meet him, if\",\n \"Louise stood in an attitude of joyous excitement, her eyes \\n sparkling. But at the first glance she perceived that her lover's \\n mood was by no means correspondingly gay. Cobb stalked forward and \\n kept a stern gaze upon her, but said nothing. \\n\",\n \"Emmeline made no mention of Mr. Cobb's call until they reached the \\n house. \\n \\n 'He came here!' Louise exclaimed, reddening. 'What impudence! I \\n shall at once write and tell him that his behaviour is outrageous.\",\n \"house. Bring water, you!' \\n \\n All three servants were scampering and screeching about the hall. \\n Cobb caught hold of one of them and all but twisted her arm out of \\n its socket. At his fierce command, the woman supported Louise into\",\n \"'Bring water!' roared Cobb, who had just succeeded in extinguishing \\n Louise's dress, and was carrying her, still despite her struggles, \\n out of the room. 'Here, one of you take Miss Derrick to the next\",\n \"Louise's dress, well sprinkled with paraffin, aided the \\n conflagration. Cobb, of course, saw only the danger to the girl. He \\n seized the woollen hearthrug and tried to wrap it about her; but\",\n \"'Don't be vulgar, Clarence. And we've talked enough of Louise for \\n the present.' \\n \\n Miss Derrick's presentiment that a letter from Mr. Cobb would soon \\n reach her was justified the next day; it arrived in the afternoon,\",\n \"with this impression. He had not the tone of an educated man, yet \\n committed no vulgar errors. \\n \\n 'My name is Cobb. I must beg your pardon for troubling you. Perhaps \\n you have heard of me from Miss Derrick?' \\n\",\n \"Cobb was prepared for a hot retort, but it did not come. After a \\n moment's reflection, Louise said quietly: \\n \\n 'I can't go home. I've quarrelled with them too badly. You haven't\",\n \"the servant announced to her that a gentleman had called to see Miss \\n Derrick; on learning that Miss Derrick was away, he had asked sundry \\n questions, and ended by requesting an interview with Mrs. Mumford. \\n His name was Cobb. \\n\",\n \"peace was not perfectly restored. \\n \\n In another room, Louise lay communing with her thoughts, which were \\n not at all disagreeable. She had written to Cobb, telling him what \\n had happened, and asking him to let her know by Wednesday morning\",\n \"had made to Mrs. Mumford. In talking with Cobb, Louise seemed to \\n drop a degree or so in social status; her language was much less \\n careful than when she conversed with the Mumfords, and even her\",\n \"chair blazed gallantly, and with such a volleying of poisonous fumes \\n that Cobb could scarce hold his ground to do battle. Louise out of \\n the way, he at once became cool and resourceful. Before a flame\",\n \"enjoying myself in a _very_ quiet way.--I remain, sincerely yours, \\n LOUISE E. DERRICK.' Finally she penned a reply to Mr. Cobb, and \\n this, after a glance at a railway time-table, gave her no trouble at\",\n \"show of friendliness. When the fifty pounds came from Cobb, Emmeline \\n made no mention of it. Louise said with an air of satisfaction, \\n \\n 'So he has paid the money! I'm very glad of that.' \\n\",\n \"'You may go if you like. But you understand, if you do--' \\n \\n Cobb, inflamed with desire and jealousy, made an effort to recapture \\n her. Louise sprang away from him; but immediately behind her lay the\",\n \"up, hearty boys as ever you saw. If it wasn't for this trouble with \\n Louise--' She stopped to wipe her face. 'I dessay she's told you \\n that Mr. 'Iggins, who was a widower when I met him, has a daughter\"\n ],\n [\n \"remove her at once to her own bed room, and the strangers were eager \\n to assist. \\n \\n 'What will the Mumfords say?' Louise asked of a sudden, trying to \\n raise herself. \\n\",\n \"'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \\n 'And a very good thing too. I should be sorry for her to see you in \\n the state you're in.' \\n\",\n \"library, of which the door was left ajar, she heard Louise and her \\n mother pass upstairs, both silent. Mumford, too well aware that yet \\n another disturbance had come upon his unhappy household, affected to\",\n \"A slight emphasis on the \\\"he\\\" touched Mrs. Mumford unpleasantly. She \\n rose, and began to pick out some overblown flowers from a vase on \\n the table near her. Presently Louise became silent. Before either of\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"Very soon after Mumford's departure, Louise begged for a few \\n minutes' private talk. \\n \\n 'Every time I come into this drawing-room, Mrs. Mumford, I think how \\n pretty it is. What pains you must have taken in furnishing it! I\",\n \"about? It's too bad of you, mother--' \\n \\n 'The idea, Louise, of coming down like that!' cried her parent \\n indignantly. 'How did you know Mr. Mumford wasn't here? For shame! \\n Go up again this moment.'\",\n \"eyes never moved in Mumford's direction. \\n \\n The threatened letter from Mrs. Higgins had arrived; Emmeline and \\n her husband read it before their guest came down. If Louise \\n continued to reside with them, they entertained her with a full\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"said bluntly that he was glad Louise had come. \\n \\n 'Well, I wanted to see you,' was her answer. \\n \\n 'What about?' \\n \\n 'I don't think I shall be able to stay with the Mumfords. They're\",\n \"it relieved her when Clarence moved away. \\n \\n The next morning Louise was an hour late for breakfast. She came \\n down when Mumford had left the house, and Emmeline saw with surprise \\n that she was dressed for going out. \\n\",\n \"Louise went from the room and remained invisible till just before \\n dinner, when she came down with a grave and rather haughty \\n countenance. To Mumford's remarks she replied with curt formality; \\n he, prepared for this state of things, began conversing cheerfully\",\n \"hurried to inquire after Louise. She lay on a couch, wrapped in a \\n dressing-gown; for the side and one sleeve of her dress had been \\n burnt away. Her moaning never ceased; there was a fire-mark on the\",\n \"few things she needed to purchase. But this time Emmeline begged her \\n to go alone, and Louise seemed quite satisfied with the arrangement. \\n \\n Early in the afternoon, as Mrs. Mumford was making ready to go out,\",\n \"deemed the event an insoluble mystery, and, in familiar talk with \\n Mrs. Mumford, breathed singular charges against Louise's lover. \\n 'She's shielding him, my dear. I've no doubt of it. I never had a\",\n \"the two men walked with him to his house in the next road. They \\n learned that Louise was not dangerously injured; her recovery would \\n be merely a matter of time and care. Cobb gave a description of the\",\n \"Higgins, after a deliberate surveyal of the house front, followed \\n her daughter up the pathway. \\n \\n The first sight of the portly lady made the situation clearer to \\n Mrs. Mumford. Louise Derrick represented a certain stage of\",\n \"They were away from home for three weeks. On returning, Emmeline \\n found a letter which had arrived for her the day before; it was from \\n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know\",\n \"slam it seemed wonderful to Emmeline. The girl was not wholly a \\n savage. \\n \\n Presently Mrs. Mumford went up to inspect the forsaken chamber. \\n Louise had packed all her things: of course she must have tumbled\",\n \"Louise hired a carriage and took her friends for a drive into the \\n country; at her special request the child accompanied them. Nothing \\n could have been more delightful. She had quite made up her mind to \\n have a house, some day, at Sutton. She hoped the Mumfords would\"\n ],\n [\n \"half way to the ceiling. The lamp-shade was ablaze; the \\n much-embroidered screen, Mrs. Mumford's wedding present, forthwith \\n caught fire from a burning tongue that ran along the carpet; and\",\n \"Mumford? It's all right. There's been a fire, but we've got it out.' \\n \\n Emmeline learnt at the same moment that her child had suffered no \\n harm, but she would not pause until she saw the little one and held\",\n \"'Upstairs. She got rather badly burnt, I'm afraid. We've sent for a \\n doctor.' \\n \\n 'And here I am,' spoke a voice behind them. 'Sorry to see this, Mr. \\n Mumford.' \\n\",\n \"fire must have been accidental, but the accident, to be sure, was \\n extraordinary enough. Thereupon Mrs. Mumford's wrath turned against \\n Cobb. What business had such a man--a low-class savage--in _her_\",\n \"library, of which the door was left ajar, she heard Louise and her \\n mother pass upstairs, both silent. Mumford, too well aware that yet \\n another disturbance had come upon his unhappy household, affected to\",\n \"house. But I don't think so; in spite of all her faults, she never \\n seemed deceitful or malicious.' \\n \\n Mumford was strongly tempted to reveal what had happened at the\",\n \"Emmeline opened the door, and at once heard a cry of pain from \\n upstairs. Mumford, also hearing it, and seeing Cobb's \\n misery-stricken face by the light of the hall lamp, whispered to his \\n wife: \\n\",\n \"His wife did not linger more than a minute behind him, and she sat \\n in the drawing-room to await Miss Derrick's return; Mumford kept \\n apart in what was called the library. To her credit, Emmeline tried\",\n \"cry aloud for her child, and Mumford rushed like a madman through \\n the garden. \\n \\n 'It's all right,' said a man who stood in the doorway. 'You Mr.\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"Higgins.' \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n 'Runnymede' (so the Mumfords' house was named) stood on its own \\n little plot of ground in one of the tree-shadowed roads which\",\n \"A slight emphasis on the \\\"he\\\" touched Mrs. Mumford unpleasantly. She \\n rose, and began to pick out some overblown flowers from a vase on \\n the table near her. Presently Louise became silent. Before either of\",\n \"of people in the quiet road, the smell of burning, loud voices of \\n excited servants, caused them to run forward in alarm. Emmeline, \\n frenzied by the certainty that her own house was on fire, began to\",\n \"husband, Emmeline summoned him from his book to the bedroom. \\n \\n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \\n thing goes on much longer I shall feel inclined to take a lodging in \\n town.' \\n\",\n \"him in her embrace. Meanwhile, Cobb and Mumford talked in the \\n devastated drawing-room, which was illumined with candles. \\n \\n 'It's a bad job, Mr. Mumford. My name is Cobb: I daresay you've\",\n \"ran at once to Mrs. Mumford, whom she found in the nursery. \\n \\n 'Do please come down. Here's something I must tell you about. What \\n do you think mother says? I've to go back home again at once.' \\n\",\n \"days of confusion, the master of the house had been left at his \\n servants' mercy. On her return, late in the evening, she entered \\n flurried and perspiring, and asked the servant who admitted her \\n where Mrs. Mumford was. \\n\",\n \"'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \\n 'And a very good thing too. I should be sorry for her to see you in \\n the state you're in.' \\n\",\n \"Insolence was no characteristic of Mrs. Mumford. But calamity had \\n put her beside herself; she spoke, not in her own person, but as a \\n woman whose carpets, curtains and bric-a-brac have \\n ignominiously perished. \\n\",\n \"quite incapable of passing a satisfactory cross-examination on the \\n subject. \\n \\n Mrs. Mumford, foreseeing the difficulty of spending the next day at \\n home, told her husband in the morning that she would have early\"\n ],\n [\n \"fire must have been accidental, but the accident, to be sure, was \\n extraordinary enough. Thereupon Mrs. Mumford's wrath turned against \\n Cobb. What business had such a man--a low-class savage--in _her_\",\n \"Mumford? It's all right. There's been a fire, but we've got it out.' \\n \\n Emmeline learnt at the same moment that her child had suffered no \\n harm, but she would not pause until she saw the little one and held\",\n \"half way to the ceiling. The lamp-shade was ablaze; the \\n much-embroidered screen, Mrs. Mumford's wedding present, forthwith \\n caught fire from a burning tongue that ran along the carpet; and\",\n \"house. But I don't think so; in spite of all her faults, she never \\n seemed deceitful or malicious.' \\n \\n Mumford was strongly tempted to reveal what had happened at the\",\n \"'Upstairs. She got rather badly burnt, I'm afraid. We've sent for a \\n doctor.' \\n \\n 'And here I am,' spoke a voice behind them. 'Sorry to see this, Mr. \\n Mumford.' \\n\",\n \"library, of which the door was left ajar, she heard Louise and her \\n mother pass upstairs, both silent. Mumford, too well aware that yet \\n another disturbance had come upon his unhappy household, affected to\",\n \"Emmeline opened the door, and at once heard a cry of pain from \\n upstairs. Mumford, also hearing it, and seeing Cobb's \\n misery-stricken face by the light of the hall lamp, whispered to his \\n wife: \\n\",\n \"quite incapable of passing a satisfactory cross-examination on the \\n subject. \\n \\n Mrs. Mumford, foreseeing the difficulty of spending the next day at \\n home, told her husband in the morning that she would have early\",\n \"Higgins.' \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n 'Runnymede' (so the Mumfords' house was named) stood on its own \\n little plot of ground in one of the tree-shadowed roads which\",\n \"cry aloud for her child, and Mumford rushed like a madman through \\n the garden. \\n \\n 'It's all right,' said a man who stood in the doorway. 'You Mr.\",\n \"A slight emphasis on the \\\"he\\\" touched Mrs. Mumford unpleasantly. She \\n rose, and began to pick out some overblown flowers from a vase on \\n the table near her. Presently Louise became silent. Before either of\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"ran at once to Mrs. Mumford, whom she found in the nursery. \\n \\n 'Do please come down. Here's something I must tell you about. What \\n do you think mother says? I've to go back home again at once.' \\n\",\n \"'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \\n 'And a very good thing too. I should be sorry for her to see you in \\n the state you're in.' \\n\",\n \"of people in the quiet road, the smell of burning, loud voices of \\n excited servants, caused them to run forward in alarm. Emmeline, \\n frenzied by the certainty that her own house was on fire, began to\",\n \"in a voice of fierce conviction, 'She did it! _She_ did it! It was \\n because I told her to leave. I _know_ she did it on purpose!' \\n \\n Mumford closed the door of the room, shutting out Cobb and the cook\",\n \"'I am, Mrs. Mumford, and I can only say that I'll do my best to make \\n good the damage to your house.' \\n \\n 'Make good I fancy you have strange ideas of the value of the \\n property destroyed.' \\n\",\n \"Insolence was no characteristic of Mrs. Mumford. But calamity had \\n put her beside herself; she spoke, not in her own person, but as a \\n woman whose carpets, curtains and bric-a-brac have \\n ignominiously perished. \\n\",\n \"which they had gone. Mumford's holiday time approached, and they \\n were making arrangements for a visit to the seaside, when one \\n morning a carrier's cart delivered a large package, unexpected and \\n of unknown contents. Emmeline stripped off the matting, and found--a\",\n \"days of confusion, the master of the house had been left at his \\n servants' mercy. On her return, late in the evening, she entered \\n flurried and perspiring, and asked the servant who admitted her \\n where Mrs. Mumford was. \\n\"\n ],\n [\n \"girl's conscience, at all events. Yes, this explained everything. \\n And, on the whole, it seemed to speak in Louise's favour. Her \\n ridicule of Mr. Bowling's person and character became, in this new\",\n \"'I am going to marry Mr. Bowling.' \\n \\n Emmeline could no longer feel astonishment at anything her guest said \\n or did. The tone, the air, with which Louise made this declaration \\n affected her with a sense of something quite unforeseen; but, at the\",\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"would hold her ground until her actual marriage with Mr. Bowling. \\n Whether that unknown person would discharge the debt his betrothed \\n was incurring seemed an altogether uncertain matter. Louise, in the \\n meantime, kept quiet as a mouse--so strangely quiet, indeed, that\",\n \"Bowling, and the letter, though brief, cost her some thought. 'Dear \\n Mr. Bowling,--Your last is so very nice and kind that I feel I ought \\n to answer it without delay, but I cannot answer in the way you wish.\",\n \"her voice Louise added eagerly: \\n \\n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \\n \\n ''You are quite mistaken,' said Emmeline distantly, 'if you think\",\n \"him. Mr. B.\\\"--that's Mr. Bowling, you know--\\\"has told him plain that \\n he doesn't think any more of Cissy, and that nothing mustn't be \\n expected of him.\\\"--Oh what sweet letters mother does write!--\\\"That\",\n \"Louise. The girl, as soon as she found herself alone, broke Mr. \\n Cobb's envelope, which contained four sides of bold handwriting--not \\n a long letter, but, as usual, vigorously worded. 'Dear Miss\",\n \"'Don't be vulgar, Clarence. And we've talked enough of Louise for \\n the present.' \\n \\n Miss Derrick's presentiment that a letter from Mr. Cobb would soon \\n reach her was justified the next day; it arrived in the afternoon,\",\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"same time, she asked herself why she had not foreseen it. Was not \\n this the obvious answer to the riddle? All along, Louise had wished \\n to marry Mr. Bowling. She might or might not have consciously helped\",\n \"seen mother lately? Then I must tell you how things are.' \\n \\n She did so, with no concealment save of the correspondence with Mr. \\n Bowling, and the not unimportant statements concerning him which she\",\n \"Mr.--Mr. Bowling are _half_ engaged?' \\n \\n 'Oh, I mean she has refused him once, just for form's sake; but he \\n knows very well she means to have him. People of your kind don't do\",\n \"Mr. Bowling doesn't seem to know his own mind, and just lately he's \\n been paying so much attention to _me_ that Cissy has got quite \\n frantic about it. This was really and truly the reason why I left \\n home.' \\n\",\n \"Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \\n was a plain, formal letter, giving a brief account of his doings in \\n Ireland, and making a request that Louise would meet him, if\",\n \"'He's very nice sometimes,' answered Louise, thoughtfully. \\n \\n 'But do you really mean that he is \\\"rough and coarse\\\"?' \\n \\n 'Yes, I do. You couldn't call him a gentleman. I've never seen his\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"Next morning arrived a letter, signed 'Louise E. Derrick.' The \\n writer said she had been waiting to compare and think over some two \\n hundred answers to her advertisement. 'It's really too absurd. How\",\n \"up, hearty boys as ever you saw. If it wasn't for this trouble with \\n Louise--' She stopped to wipe her face. 'I dessay she's told you \\n that Mr. 'Iggins, who was a widower when I met him, has a daughter\"\n ],\n [\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"Mumford? It's all right. There's been a fire, but we've got it out.' \\n \\n Emmeline learnt at the same moment that her child had suffered no \\n harm, but she would not pause until she saw the little one and held\",\n \"cry aloud for her child, and Mumford rushed like a madman through \\n the garden. \\n \\n 'It's all right,' said a man who stood in the doorway. 'You Mr.\",\n \"'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \\n 'And a very good thing too. I should be sorry for her to see you in \\n the state you're in.' \\n\",\n \"Mumford, and that's why I thought I would ask to see you. You have a \\n good deal of influence over her.' \\n \\n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \\n use it for her good.' \\n\",\n \"library, of which the door was left ajar, she heard Louise and her \\n mother pass upstairs, both silent. Mumford, too well aware that yet \\n another disturbance had come upon his unhappy household, affected to\",\n \"ran at once to Mrs. Mumford, whom she found in the nursery. \\n \\n 'Do please come down. Here's something I must tell you about. What \\n do you think mother says? I've to go back home again at once.' \\n\",\n \"sit down.' She did so, on the nearest chair, with a little laugh at \\n her strange feebleness. \\n \\n 'Now please _don't_ quarrel, you two. Mrs. Mumford, don't mind \\n anything that mother says.' \\n\",\n \"boarding out,' he says. And he means it. He has told me to write to \\n you at once, and you're to come as soon as you can, and he won't be \\n responsible to Mrs. Mumford for more than another week's\",\n \"severely. 'She may perhaps go before lunch; but in any case we shall \\n not sit down at table with her again.' \\n \\n 'All right,' Mumford replied, studiously refraining from any hint of \\n curiosity. \\n\",\n \"A slight emphasis on the \\\"he\\\" touched Mrs. Mumford unpleasantly. She \\n rose, and began to pick out some overblown flowers from a vase on \\n the table near her. Presently Louise became silent. Before either of\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"caring little or nothing for music, she had hardly touched a key for \\n several years. Now the idea possessed her that she must resume her \\n practising, and to-day she had spent hours at the piano, with \\n painful effect upon Mrs. Mumford's nerves. After dinner she offered\",\n \"quite incapable of passing a satisfactory cross-examination on the \\n subject. \\n \\n Mrs. Mumford, foreseeing the difficulty of spending the next day at \\n home, told her husband in the morning that she would have early\",\n \"Mrs. Mumford was offended, and showed it. \\n \\n 'I have a perfect right, and I shall do so. Please don't let us \\n quarrel. You may be fond of it, but I am not.' \\n\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"husband, Emmeline summoned him from his book to the bedroom. \\n \\n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \\n thing goes on much longer I shall feel inclined to take a lodging in \\n town.' \\n\",\n \"house. But I don't think so; in spite of all her faults, she never \\n seemed deceitful or malicious.' \\n \\n Mumford was strongly tempted to reveal what had happened at the\",\n \"know I am. But I'll be so quiet, dear Mrs. Mumford. You shall hardly \\n know I'm in the house. If once it's all settled I shall _never_ be\",\n \"'Whilst we're thoroughly upset,' replied Mumford, with irritation at \\n this purposeless talk, 'hadn't we better leave the house and go to \\n live as far away as possible?' \\n\"\n ],\n [\n \"permitting Louise to stay for more than a day or two, whatever the \\n suggestion offered. This morning she had again heard from her \\n sister, Mrs. Grove, who was strongly of opinion that Miss Derrick \\n should be sent back to her native sphere. \\n\",\n \"Derrick, and Emmeline did not know what pains the girl had taken, \\n ever since her arrival, to live in conformity with the habits of a \\n 'nice' household. \\n \\n Louise, meanwhile, had gone to the railway station, intending to\",\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"Louise. Hitherto uncertain in her judgment, she had now the relief \\n of an assurance that Miss Derrick was not at all a proper person to \\n entertain as a guest, on whatever terms. The incident of the railway\",\n \"of telling Miss Derrick she must leave. If not, that disagreeable \\n necessity must be faced. \\n \\n 'I had rather cut down expenses all round,' said Emmeline, 'than \\n have our home upset in this way. It isn't like home at all. Louise\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"lodging, and take no end of trouble, and then in a week's time get a \\n letter to say that you want nothing more to do with me.' \\n \\n Louise was pale with anger and fear, and as many other emotions as\",\n \"Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \\n was a plain, formal letter, giving a brief account of his doings in \\n Ireland, and making a request that Louise would meet him, if\",\n \"friends and neighbours, Emmeline enjoyed Sutton because it was a \\n most respectable little portion of the great town, set in a purer \\n atmosphere. The country would have depressed her. \\n \\n In this respect Miss Derrick proved a congenial companion. Louise\",\n \"said bluntly that he was glad Louise had come. \\n \\n 'Well, I wanted to see you,' was her answer. \\n \\n 'What about?' \\n \\n 'I don't think I shall be able to stay with the Mumfords. They're\",\n \"house--doubtless to post a reply. But, to her surprise, not a word \\n of the matter escaped Miss Derrick during the whole evening. \\n \\n In her school-days, Louise had learned to \\\"play the piano,\\\" but,\",\n \"Cobb was prepared for a hot retort, but it did not come. After a \\n moment's reflection, Louise said quietly: \\n \\n 'I can't go home. I've quarrelled with them too badly. You haven't\",\n \"'Of course you may stay, Miss Derrick. It was very far from my wish \\n to see you go off at a moment's notice. But I really couldn't stop \\n you.' \\n \\n Mumford had stepped aside, out of hearing. He forgot his private\",\n \"Perhaps this was the only possible issue of the difficulties in \\n which they had all become involved; neither Louise nor her parents \\n could be dealt with in the rational, peaceful way preferred by \\n well-conditioned people. To get her out of the house was the main\",\n \"Higgins, after a deliberate surveyal of the house front, followed \\n her daughter up the pathway. \\n \\n The first sight of the portly lady made the situation clearer to \\n Mrs. Mumford. Louise Derrick represented a certain stage of\",\n \"enjoying myself in a _very_ quiet way.--I remain, sincerely yours, \\n LOUISE E. DERRICK.' Finally she penned a reply to Mr. Cobb, and \\n this, after a glance at a railway time-table, gave her no trouble at\",\n \"Next morning arrived a letter, signed 'Louise E. Derrick.' The \\n writer said she had been waiting to compare and think over some two \\n hundred answers to her advertisement. 'It's really too absurd. How\",\n \"out of temper. Do, please, let me stay! I like you so much, and how \\n wretched it would be if I had to be married from a lodging-house.' \\n \\n 'I'm afraid, Louise--I'm really afraid--' \\n\",\n \"'The upshot of it is this,' cried Mumford: 'Miss Derrick has to \\n leave the house, and, if necessary, I shall tell her so myself.' \\n \\n Again Emmeline was cold and lofty. There was no necessity whatever\",\n \"lodging-house, but no distinctly offensive word escaped her. And \\n this was almost entirely due to Louise's influence for the girl \\n impressed upon her mother that 'to make a row' would be the sure and \\n certain way of proving that Mrs. Mumford was justified in claiming\"\n ],\n [\n \"Louise. The girl, as soon as she found herself alone, broke Mr. \\n Cobb's envelope, which contained four sides of bold handwriting--not \\n a long letter, but, as usual, vigorously worded. 'Dear Miss\",\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"'He's very nice sometimes,' answered Louise, thoughtfully. \\n \\n 'But do you really mean that he is \\\"rough and coarse\\\"?' \\n \\n 'Yes, I do. You couldn't call him a gentleman. I've never seen his\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"lodging, and take no end of trouble, and then in a week's time get a \\n letter to say that you want nothing more to do with me.' \\n \\n Louise was pale with anger and fear, and as many other emotions as\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"impressed Louise, say what she might of pretended fears. At parting, \\n he merely shook hands with her, as always. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n \\n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.\",\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"thinking of him in that way all along; and you've been writing to \\n him, or meeting him, since you came here. What sort of behaviour do \\n you call this?' \\n \\n Louise was recovering self-possession; the irritability of her own\",\n \"people were near. Upon Louise, however, it had a pleasing effect, \\n and she smiled. \\n \\n 'Very well,' she made answer, in the same subdued tone. 'Then let us \\n settle it in that way.' \\n\",\n \"By the first post in the morning came a letter from Louise. She \\n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \\n but do please have me. I like Sutton, and I like your house, and I\",\n \"Louise laughed. \\n \\n 'Oh, there's no knowing what I might do to spite Cissy. We hate each \\n other, of course. But I can't fancy myself marrying him, He has a\",\n \"up, hearty boys as ever you saw. If it wasn't for this trouble with \\n Louise--' She stopped to wipe her face. 'I dessay she's told you \\n that Mr. 'Iggins, who was a widower when I met him, has a daughter\",\n \"'Well, I can only propose one thing,' sounded the masculine voice. \\n 'You can get out of it by marrying me.' \\n \\n Louise gave a little laugh, rather timid than scornful. \\n\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"and violent onslaught. When the front door at length closed she \\n rejoiced, but with trembling; for the words that fell upon her ear \\n from the hall announced too plainly that Louise was determined to \\n stay. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"Next morning arrived a letter, signed 'Louise E. Derrick.' The \\n writer said she had been waiting to compare and think over some two \\n hundred answers to her advertisement. 'It's really too absurd. How\",\n \"'It may be someone calling upon me,' said Louise to the servant. \\n 'Let me know the name before you show anyone in.' \\n \\n 'Of course, miss,' replied the domestic, with pert familiarity, and\",\n \"hurried to inquire after Louise. She lay on a couch, wrapped in a \\n dressing-gown; for the side and one sleeve of her dress had been \\n burnt away. Her moaning never ceased; there was a fire-mark on the\"\n ],\n [\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"girl's conscience, at all events. Yes, this explained everything. \\n And, on the whole, it seemed to speak in Louise's favour. Her \\n ridicule of Mr. Bowling's person and character became, in this new\",\n \"'I am going to marry Mr. Bowling.' \\n \\n Emmeline could no longer feel astonishment at anything her guest said \\n or did. The tone, the air, with which Louise made this declaration \\n affected her with a sense of something quite unforeseen; but, at the\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"him. Mr. B.\\\"--that's Mr. Bowling, you know--\\\"has told him plain that \\n he doesn't think any more of Cissy, and that nothing mustn't be \\n expected of him.\\\"--Oh what sweet letters mother does write!--\\\"That\",\n \"'Well, they're very nice people,' said Louise, with a little sigh. \\n 'And I like your sister so much. I'm glad she asked me to go and see \\n her. Is Mr. Bilton often at her house?--Don't misunderstand me, Mrs.\",\n \"would hold her ground until her actual marriage with Mr. Bowling. \\n Whether that unknown person would discharge the debt his betrothed \\n was incurring seemed an altogether uncertain matter. Louise, in the \\n meantime, kept quiet as a mouse--so strangely quiet, indeed, that\",\n \"Louise. The girl, as soon as she found herself alone, broke Mr. \\n Cobb's envelope, which contained four sides of bold handwriting--not \\n a long letter, but, as usual, vigorously worded. 'Dear Miss\",\n \"up, hearty boys as ever you saw. If it wasn't for this trouble with \\n Louise--' She stopped to wipe her face. 'I dessay she's told you \\n that Mr. 'Iggins, who was a widower when I met him, has a daughter\",\n \"thinking of him in that way all along; and you've been writing to \\n him, or meeting him, since you came here. What sort of behaviour do \\n you call this?' \\n \\n Louise was recovering self-possession; the irritability of her own\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"Mr.--Mr. Bowling are _half_ engaged?' \\n \\n 'Oh, I mean she has refused him once, just for form's sake; but he \\n knows very well she means to have him. People of your kind don't do\",\n \"her voice Louise added eagerly: \\n \\n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \\n \\n ''You are quite mistaken,' said Emmeline distantly, 'if you think\",\n \"Emmeline made no mention of Mr. Cobb's call until they reached the \\n house. \\n \\n 'He came here!' Louise exclaimed, reddening. 'What impudence! I \\n shall at once write and tell him that his behaviour is outrageous.\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"impressed Louise, say what she might of pretended fears. At parting, \\n he merely shook hands with her, as always. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n \\n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.\",\n \"Louise, neither. Mr. 'Iggins, he's kindness itself; but when it \\n comes to differences between his daughter and _my_ daughter, well, \\n it isn't in nature he shouldn't favour his own. There's more be'ind,\",\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"Mr. Bowling doesn't seem to know his own mind, and just lately he's \\n been paying so much attention to _me_ that Cissy has got quite \\n frantic about it. This was really and truly the reason why I left \\n home.' \\n\"\n ],\n [\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \\n 'And a very good thing too. I should be sorry for her to see you in \\n the state you're in.' \\n\",\n \"said bluntly that he was glad Louise had come. \\n \\n 'Well, I wanted to see you,' was her answer. \\n \\n 'What about?' \\n \\n 'I don't think I shall be able to stay with the Mumfords. They're\",\n \"remove her at once to her own bed room, and the strangers were eager \\n to assist. \\n \\n 'What will the Mumfords say?' Louise asked of a sudden, trying to \\n raise herself. \\n\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"of Mrs. Mumford's latest remark. Louise listened with a smile. \\n \\n 'Now look here, mother,' she said, when silence came for a moment, \\n 'you can't expect Mrs. Mumford to have a lot of strangers coming to\",\n \"'There's no harm in saying that to _me_, Louise,' replied Mrs. \\n Mumford. 'But pray be careful not to seem \\\"forward.\\\" People \\n think--and say--such disagreeable things.' \\n\",\n \"A slight emphasis on the \\\"he\\\" touched Mrs. Mumford unpleasantly. She \\n rose, and began to pick out some overblown flowers from a vase on \\n the table near her. Presently Louise became silent. Before either of\",\n \"Very soon after Mumford's departure, Louise begged for a few \\n minutes' private talk. \\n \\n 'Every time I come into this drawing-room, Mrs. Mumford, I think how \\n pretty it is. What pains you must have taken in furnishing it! I\",\n \"Louise often used expressions which to a stranger would have implied \\n that her intimacy with Mrs. Mumford was of years' standing. 'He \\n wrote for the first time last week. Such a silly letter! I wish you\",\n \"Louise hired a carriage and took her friends for a drive into the \\n country; at her special request the child accompanied them. Nothing \\n could have been more delightful. She had quite made up her mind to \\n have a house, some day, at Sutton. She hoped the Mumfords would\",\n \"lodging-house, but no distinctly offensive word escaped her. And \\n this was almost entirely due to Louise's influence for the girl \\n impressed upon her mother that 'to make a row' would be the sure and \\n certain way of proving that Mrs. Mumford was justified in claiming\",\n \"Louise went from the room and remained invisible till just before \\n dinner, when she came down with a grave and rather haughty \\n countenance. To Mumford's remarks she replied with curt formality; \\n he, prepared for this state of things, began conversing cheerfully\",\n \"had made to Mrs. Mumford. In talking with Cobb, Louise seemed to \\n drop a degree or so in social status; her language was much less \\n careful than when she conversed with the Mumfords, and even her\",\n \"Fentiman's. Louise had put a restraint upon the wonted friendly \\n intercourse between the Mumfords and their only familiar \\n acquaintances at Sutton. Mrs. Fentiman liked to talk of purely\",\n \"eyes never moved in Mumford's direction. \\n \\n The threatened letter from Mrs. Higgins had arrived; Emmeline and \\n her husband read it before their guest came down. If Louise \\n continued to reside with them, they entertained her with a full\",\n \"few things she needed to purchase. But this time Emmeline begged her \\n to go alone, and Louise seemed quite satisfied with the arrangement. \\n \\n Early in the afternoon, as Mrs. Mumford was making ready to go out,\",\n \"'I can't--I really can't give you a definite answer till I have \\n spoken with Mr. Mumford.' \\n \\n 'Oh! I am sure he will do me this kindness,' sobbed Louise. \\n\",\n \"'Don't talk nonsense, Louise.' \\n \\n 'Should you like me to go at once, Mrs. Mumford?' the girl asked, \\n with a submissive sigh. \\n\",\n \"Mumford, and that's why I thought I would ask to see you. You have a \\n good deal of influence over her.' \\n \\n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \\n use it for her good.' \\n\"\n ],\n [\n \"hurried to inquire after Louise. She lay on a couch, wrapped in a \\n dressing-gown; for the side and one sleeve of her dress had been \\n burnt away. Her moaning never ceased; there was a fire-mark on the\",\n \"and violent onslaught. When the front door at length closed she \\n rejoiced, but with trembling; for the words that fell upon her ear \\n from the hall announced too plainly that Louise was determined to \\n stay. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"house. Bring water, you!' \\n \\n All three servants were scampering and screeching about the hall. \\n Cobb caught hold of one of them and all but twisted her arm out of \\n its socket. At his fierce command, the woman supported Louise into\",\n \"the two men walked with him to his house in the next road. They \\n learned that Louise was not dangerously injured; her recovery would \\n be merely a matter of time and care. Cobb gave a description of the\",\n \"lodging, and take no end of trouble, and then in a week's time get a \\n letter to say that you want nothing more to do with me.' \\n \\n Louise was pale with anger and fear, and as many other emotions as\",\n \"Perhaps this was the only possible issue of the difficulties in \\n which they had all become involved; neither Louise nor her parents \\n could be dealt with in the rational, peaceful way preferred by \\n well-conditioned people. To get her out of the house was the main\",\n \"Louise did not appear again that evening. Thoroughly tired, she \\n unpacked her trunks, sat awhile by the open window, listening to a \\n piano in a neighbouring house, and then jumped into bed. From ten \\n o'clock to eight next morning she slept soundly.\",\n \"For a week or ten days Louise lay very ill; then her vigorous \\n constitution began to assert itself. It helped her greatly towards \\n convalescence when she found that the scorches on her face would not\",\n \"He flashed a glance at her, and Louise answered with a defiant \\n motion of the head. \\n \\n 'No, I don't. But they put the blame on me, all the same. I \\n shouldn't wonder if they think I'm trying to get him.'\",\n \"'Now do let me advise you, Louise,' she answered gently. 'Are you \\n acting wisely? Wouldn't it be very much better to go home?', \\n \\n Louise lost all her self-control. Flushed with anger, her eyes\",\n \"it relieved her when Clarence moved away. \\n \\n The next morning Louise was an hour late for breakfast. She came \\n down when Mumford had left the house, and Emmeline saw with surprise \\n that she was dressed for going out. \\n\",\n \"the table, and brought the lamp crashing to the floor. A shriek of \\n terror from Louise, from her lover a shout of alarm, blended with \\n the sound of breaking glass. In an instant a great flame shot up\",\n \"with screams of pain and frantic struggles, Louise did her best to \\n thwart his purpose. \\n \\n The window was open, and now a servant, rushing in to see what the \\n uproar meant, gave the blaze every benefit of draught. \\n\",\n \"Derrick, and Emmeline did not know what pains the girl had taken, \\n ever since her arrival, to live in conformity with the habits of a \\n 'nice' household. \\n \\n Louise, meanwhile, had gone to the railway station, intending to\",\n \"thought so; those hands must be attended to.' \\n \\n Meanwhile, Emmeline sat by the bedside and listened to the \\n hysterical lamentation in which Louise gave her own--the\",\n \"Thereupon Louise's mother burst into a vehement exposition of the \\n reasons of discord, beginning with the calumnious stories she had \\n heard at Mrs. Jolliffe's, and ending with the outrageous arrogance\",\n \"Louise's dress, well sprinkled with paraffin, aided the \\n conflagration. Cobb, of course, saw only the danger to the girl. He \\n seized the woollen hearthrug and tried to wrap it about her; but\",\n \"The next day Louise carried out her resolve to write for information \\n regarding the progress of things at Coburg Lodge. She had not long \\n to wait for a reply, and it was of so startling a nature that she\",\n \"'I shall say nothing more about it, Louise. It isn't my business \\n to--' \\n \\n The girl's face threatened a tempest. As Emmeline was moving away, \\n she rudely obstructed her. \\n\",\n \"A slight emphasis on the \\\"he\\\" touched Mrs. Mumford unpleasantly. She \\n rose, and began to pick out some overblown flowers from a vase on \\n the table near her. Presently Louise became silent. Before either of\"\n ],\n [\n \"The Paying Guest \\n \\n \\n by \\n \\n George Gissing \\n \\n \\n \\n \\n CHAPTER I \\n \\n \\n It was Mumford who saw the advertisement and made the suggestion. \\n His wife gave him a startled look.\",\n \"boarding out,' he says. And he means it. He has told me to write to \\n you at once, and you're to come as soon as you can, and he won't be \\n responsible to Mrs. Mumford for more than another week's\",\n \"husband, Emmeline summoned him from his book to the bedroom. \\n \\n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \\n thing goes on much longer I shall feel inclined to take a lodging in \\n town.' \\n\",\n \"Emmeline, wishing to lock up for the night, went to summon her \\n troublesome guest. \\n \\n 'Hadn't you better come in?' \\n \\n 'Yes. But I think you are very unkind, Mrs. Mumford.' \\n\",\n \"of Mrs. Mumford's latest remark. Louise listened with a smile. \\n \\n 'Now look here, mother,' she said, when silence came for a moment, \\n 'you can't expect Mrs. Mumford to have a lot of strangers coming to\",\n \"'It wouldn't be nice if people said that we were taking lodgers.' \\n \\n 'No fear of that. This is evidently some well-to-do person. It's a \\n very common arrangement nowadays, you know; they are called \\\"paying\",\n \"'Something like the Mumfords'. It needn't be quite so large,' she \\n added quickly; 'but a house with a garden, in a nice road, and in a \\n respectable part.' \\n\",\n \"said bluntly that he was glad Louise had come. \\n \\n 'Well, I wanted to see you,' was her answer. \\n \\n 'What about?' \\n \\n 'I don't think I shall be able to stay with the Mumfords. They're\",\n \"lodging-house, but no distinctly offensive word escaped her. And \\n this was almost entirely due to Louise's influence for the girl \\n impressed upon her mother that 'to make a row' would be the sure and \\n certain way of proving that Mrs. Mumford was justified in claiming\",\n \"'You're quite right, Mrs. Mumford. I'm sure you've been very kind to \\n me, and I've had a very pleasant time here, but it wouldn't do for \\n me to stay longer. May I wait over to-morrow, just till Wednesday\",\n \"'It's so easy to explain to people,' said Mumford, with an air of \\n satisfaction, when he came back from the post, 'that you wanted a \\n companion. As I'm quite sure you do. A friend coming to stay with\",\n \"Mumford, and that's why I thought I would ask to see you. You have a \\n good deal of influence over her.' \\n \\n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \\n use it for her good.' \\n\",\n \"she came forward panting and perspiring, and, before paying any heed \\n to her hostess, closely surveyed the room. \\n \\n 'Mrs. Mumford,' said the girl, 'this is my mother. Mother, this is\",\n \"very large family, which must be rather a bore.' She laughed \\n ingenuously. 'And one gets to town so easily. What do you pay for \\n your season-ticket, Mr. Mumford? Oh, well! that isn't much. I almost\",\n \"the house just on my account. She's sick and tired of us all, and \\n wants to see our backs as soon as ever she can. I don't say it to \\n offend you, Mrs. Mumford, but you know it's true. And I tell you\",\n \"'So do I. But--well, it comes to this, Mrs. Mumford. She seemed to \\n hint--though she didn't exactly say so--that you were advising her \\n to have nothing more to do with me. Of course you don't know me, and\",\n \"remove her at once to her own bed room, and the strangers were eager \\n to assist. \\n \\n 'What will the Mumfords say?' Louise asked of a sudden, trying to \\n raise herself. \\n\",\n \"with his wife, and Miss Derrick kept silence. After dinner, she \\n passed out into the garden. \\n \\n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \\n shall have to get rid of her.' \\n\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"'Dear Mrs. Mumford,' it ran, 'L. is coming to-morrow morning, and I \\n hope you won't repent. There's just one thing I meant to have said\"\n ],\n [\n \"hurried to inquire after Louise. She lay on a couch, wrapped in a \\n dressing-gown; for the side and one sleeve of her dress had been \\n burnt away. Her moaning never ceased; there was a fire-mark on the\",\n \"and violent onslaught. When the front door at length closed she \\n rejoiced, but with trembling; for the words that fell upon her ear \\n from the hall announced too plainly that Louise was determined to \\n stay. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"Whitewashers and paperhangers had done their work; a new carpet was \\n laid down; but pictures had still to be restored to their places, \\n and the furniture stood all together in the middle of the room. Not \\n till Louise had entered did her hostess look round. \\n\",\n \"the two men walked with him to his house in the next road. They \\n learned that Louise was not dangerously injured; her recovery would \\n be merely a matter of time and care. Cobb gave a description of the\",\n \"Whilst Mrs. Higgins was uttering these words the door opened, and \\n there entered a figure which startled her into silence. It was that \\n of Louise, in a dressing-gown and slippers, with a shawl wrapped \\n about the upper part of her body.\",\n \"Louise went from the room and remained invisible till just before \\n dinner, when she came down with a grave and rather haughty \\n countenance. To Mumford's remarks she replied with curt formality; \\n he, prepared for this state of things, began conversing cheerfully\",\n \"'It may be someone calling upon me,' said Louise to the servant. \\n 'Let me know the name before you show anyone in.' \\n \\n 'Of course, miss,' replied the domestic, with pert familiarity, and\",\n \"'Pooh! We shall do well enough.--Who's that?' \\n \\n Someone was entering the garden by the side path. And in a moment \\n there remained no doubt who the person was. Louise came forward, her\",\n \"lodging, and take no end of trouble, and then in a week's time get a \\n letter to say that you want nothing more to do with me.' \\n \\n Louise was pale with anger and fear, and as many other emotions as\",\n \"house. Bring water, you!' \\n \\n All three servants were scampering and screeching about the hall. \\n Cobb caught hold of one of them and all but twisted her arm out of \\n its socket. At his fierce command, the woman supported Louise into\",\n \"lawn. Without delay, Louise was conveyed beneath the roof, and her \\n host, a man of energy, sped towards the fire to be of what \\n assistance he could. \\n \\n The lamp-shade, the screen, the little table and the diminutive\",\n \"of Mrs. Mumford's latest remark. Louise listened with a smile. \\n \\n 'Now look here, mother,' she said, when silence came for a moment, \\n 'you can't expect Mrs. Mumford to have a lot of strangers coming to\",\n \"remove her at once to her own bed room, and the strangers were eager \\n to assist. \\n \\n 'What will the Mumfords say?' Louise asked of a sudden, trying to \\n raise herself. \\n\",\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"down to dine, and had just risen from the table, when Louise \\n appeared. \\n \\n She was in excellent spirits, without a trace of the morning's \\n ill-humour. No apologies! If she didn't feel quite free to come and\",\n \"library, of which the door was left ajar, she heard Louise and her \\n mother pass upstairs, both silent. Mumford, too well aware that yet \\n another disturbance had come upon his unhappy household, affected to\",\n \"Louise did not appear again that evening. Thoroughly tired, she \\n unpacked her trunks, sat awhile by the open window, listening to a \\n piano in a neighbouring house, and then jumped into bed. From ten \\n o'clock to eight next morning she slept soundly.\",\n \"allowing Louise to suspect the real cause of what she was about to \\n say--that would have seemed to her undignified; but she could not \\n speak quite naturally. 'Still, I should be glad if you would sit \\n down for a minute.' \\n\",\n \"said bluntly that he was glad Louise had come. \\n \\n 'Well, I wanted to see you,' was her answer. \\n \\n 'What about?' \\n \\n 'I don't think I shall be able to stay with the Mumfords. They're\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\"\n ],\n [\n \"girl's conscience, at all events. Yes, this explained everything. \\n And, on the whole, it seemed to speak in Louise's favour. Her \\n ridicule of Mr. Bowling's person and character became, in this new\",\n \"'I am going to marry Mr. Bowling.' \\n \\n Emmeline could no longer feel astonishment at anything her guest said \\n or did. The tone, the air, with which Louise made this declaration \\n affected her with a sense of something quite unforeseen; but, at the\",\n \"would hold her ground until her actual marriage with Mr. Bowling. \\n Whether that unknown person would discharge the debt his betrothed \\n was incurring seemed an altogether uncertain matter. Louise, in the \\n meantime, kept quiet as a mouse--so strangely quiet, indeed, that\",\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"her voice Louise added eagerly: \\n \\n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \\n \\n ''You are quite mistaken,' said Emmeline distantly, 'if you think\",\n \"'There's no harm in saying that to _me_, Louise,' replied Mrs. \\n Mumford. 'But pray be careful not to seem \\\"forward.\\\" People \\n think--and say--such disagreeable things.' \\n\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"impressed Louise, say what she might of pretended fears. At parting, \\n he merely shook hands with her, as always. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n \\n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.\",\n \"By the first post in the morning came a letter from Louise. She \\n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \\n but do please have me. I like Sutton, and I like your house, and I\",\n \"Whether she felt the force of this innuendo or not, Louise took it \\n in good part. As if the idea had only just struck her, she looked up \\n cheerfully. \\n\",\n \"Bowling, and the letter, though brief, cost her some thought. 'Dear \\n Mr. Bowling,--Your last is so very nice and kind that I feel I ought \\n to answer it without delay, but I cannot answer in the way you wish.\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"people were near. Upon Louise, however, it had a pleasing effect, \\n and she smiled. \\n \\n 'Very well,' she made answer, in the same subdued tone. 'Then let us \\n settle it in that way.' \\n\",\n \"Louise plucked at the fringe on the arm of her chair, and replied at \\n length with maidenly frankness. \\n \\n 'I always thought it would be a good marriage for me. But I\",\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"want to know, first of all, whether you've been encouraging that man \\n Bowling.' \\n \\n 'No, I haven't.' \\n \\n 'Very well, I believe you. And now I'll make you a fair offer. Marry\",\n \"him. Mr. B.\\\"--that's Mr. Bowling, you know--\\\"has told him plain that \\n he doesn't think any more of Cissy, and that nothing mustn't be \\n expected of him.\\\"--Oh what sweet letters mother does write!--\\\"That\",\n \"same time, she asked herself why she had not foreseen it. Was not \\n this the obvious answer to the riddle? All along, Louise had wished \\n to marry Mr. Bowling. She might or might not have consciously helped\",\n \"'Well, they're very nice people,' said Louise, with a little sigh. \\n 'And I like your sister so much. I'm glad she asked me to go and see \\n her. Is Mr. Bilton often at her house?--Don't misunderstand me, Mrs.\",\n \"with Louise. I dessay she's told you a good deal about me and her \\n stepfather. I don't think she's any reason to complain of the \\n treatment--' \\n \\n 'She said you were both very kind to her,' interposed the hostess.\"\n ],\n [\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"'I am going to marry Mr. Bowling.' \\n \\n Emmeline could no longer feel astonishment at anything her guest said \\n or did. The tone, the air, with which Louise made this declaration \\n affected her with a sense of something quite unforeseen; but, at the\",\n \"Louise laughed. \\n \\n 'Oh, there's no knowing what I might do to spite Cissy. We hate each \\n other, of course. But I can't fancy myself marrying him, He has a\",\n \"They were away from home for three weeks. On returning, Emmeline \\n found a letter which had arrived for her the day before; it was from \\n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know\",\n \"Louise plucked at the fringe on the arm of her chair, and replied at \\n length with maidenly frankness. \\n \\n 'I always thought it would be a good marriage for me. But I\",\n \"would hold her ground until her actual marriage with Mr. Bowling. \\n Whether that unknown person would discharge the debt his betrothed \\n was incurring seemed an altogether uncertain matter. Louise, in the \\n meantime, kept quiet as a mouse--so strangely quiet, indeed, that\",\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"'Well, I can only propose one thing,' sounded the masculine voice. \\n 'You can get out of it by marrying me.' \\n \\n Louise gave a little laugh, rather timid than scornful. \\n\",\n \"impressed Louise, say what she might of pretended fears. At parting, \\n he merely shook hands with her, as always. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n \\n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"By the first post in the morning came a letter from Louise. She \\n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \\n but do please have me. I like Sutton, and I like your house, and I\",\n \"contemptuously. But what a woman to make ones wife! Unless--unless-- \\n \\n Louise had gone into the house. Emmeline approached her husband. \\n \\n 'There! I foresaw it. Isn't vexing?' \\n\",\n \"her voice Louise added eagerly: \\n \\n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \\n \\n ''You are quite mistaken,' said Emmeline distantly, 'if you think\",\n \"said bluntly that he was glad Louise had come. \\n \\n 'Well, I wanted to see you,' was her answer. \\n \\n 'What about?' \\n \\n 'I don't think I shall be able to stay with the Mumfords. They're\",\n \"and violent onslaught. When the front door at length closed she \\n rejoiced, but with trembling; for the words that fell upon her ear \\n from the hall announced too plainly that Louise was determined to \\n stay. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"people were near. Upon Louise, however, it had a pleasing effect, \\n and she smiled. \\n \\n 'Very well,' she made answer, in the same subdued tone. 'Then let us \\n settle it in that way.' \\n\",\n \"his wife did not mean to supervise him henceforth and for ever. If \\n so, their troubles were only beginning. \\n \\n At breakfast, Louise continued to be discretion itself. She talked \\n of her departure on the morrow as though it had long been a settled\",\n \"Louise did not appear again that evening. Thoroughly tired, she \\n unpacked her trunks, sat awhile by the open window, listening to a \\n piano in a neighbouring house, and then jumped into bed. From ten \\n o'clock to eight next morning she slept soundly.\"\n ],\n [\n \"Mumford, and that's why I thought I would ask to see you. You have a \\n good deal of influence over her.' \\n \\n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \\n use it for her good.' \\n\",\n \"husband, Emmeline summoned him from his book to the bedroom. \\n \\n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \\n thing goes on much longer I shall feel inclined to take a lodging in \\n town.' \\n\",\n \"'Do you know Sutton at all?' Emmeline inquired. \\n \\n 'Never was here before. But I like the look of it. I like this \\n house, too. I suppose you know a lot of people here, Mrs. Mumford?' \\n\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"His wife did not linger more than a minute behind him, and she sat \\n in the drawing-room to await Miss Derrick's return; Mumford kept \\n apart in what was called the library. To her credit, Emmeline tried\",\n \"Higgins.' \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n 'Runnymede' (so the Mumfords' house was named) stood on its own \\n little plot of ground in one of the tree-shadowed roads which\",\n \"'Mrs. Mumford, I want to say good-bye.' \\n \\n 'Oh, yes,' Emmeline answered civilly, but without a smile. \\n 'Good-bye, Miss Derrick.' \\n \\n And she stepped forward to shake hands. \\n\",\n \"Mumford? It's all right. There's been a fire, but we've got it out.' \\n \\n Emmeline learnt at the same moment that her child had suffered no \\n harm, but she would not pause until she saw the little one and held\",\n \"As the train came in she took up a position near the exit. Among the \\n people who had alighted, her eye soon perceived Clarence Mumford. \\n She stepped up to him and drew his attention. \\n\",\n \"eyes never moved in Mumford's direction. \\n \\n The threatened letter from Mrs. Higgins had arrived; Emmeline and \\n her husband read it before their guest came down. If Louise \\n continued to reside with them, they entertained her with a full\",\n \"'The upshot of it is this,' cried Mumford: 'Miss Derrick has to \\n leave the house, and, if necessary, I shall tell her so myself.' \\n \\n Again Emmeline was cold and lofty. There was no necessity whatever\",\n \"which they had gone. Mumford's holiday time approached, and they \\n were making arrangements for a visit to the seaside, when one \\n morning a carrier's cart delivered a large package, unexpected and \\n of unknown contents. Emmeline stripped off the matting, and found--a\",\n \"They were away from home for three weeks. On returning, Emmeline \\n found a letter which had arrived for her the day before; it was from \\n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know\",\n \"\\\"Runnymede\\\" had undergone no change whatever; Emmeline still waited \\n for a moment of courage, and Mumford, though he did not relish the \\n prospect, began to think it more than probable that Miss Derrick\",\n \"it relieved her when Clarence moved away. \\n \\n The next morning Louise was an hour late for breakfast. She came \\n down when Mumford had left the house, and Emmeline saw with surprise \\n that she was dressed for going out. \\n\",\n \"Then restlessness again came upon her. One day she all but declared \\n her disappointment that the Mumfords saw so few people. Emmeline, \\n repeating this to her husband, avowed a certain compunction. \\n\",\n \"'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \\n 'And a very good thing too. I should be sorry for her to see you in \\n the state you're in.' \\n\",\n \"to play to Mumford, and he, good-natured fellow, stood by her to \\n turn over the leaves. Emmeline, with fancy work in her hands, \\n watched the two. She was not one of the most foolish of her sex, but\",\n \"she isn't vulgar!' said Emmeline to herself. 'I don't like the \\n hat--I don't. And that sunshade with the immense handle.' From the \\n top of the stairs she heard a clear, unaffected voice: 'Mrs. Mumford\",\n \"I could do. Please let me have my dinner alone. Mrs. Mumford, I want \\n to tell you something afterwards.' \\n \\n Clarence went round to see his friend Fentiman, with whom he usually\"\n ],\n [\n \"As the train came in she took up a position near the exit. Among the \\n people who had alighted, her eye soon perceived Clarence Mumford. \\n She stepped up to him and drew his attention. \\n\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"I could do. Please let me have my dinner alone. Mrs. Mumford, I want \\n to tell you something afterwards.' \\n \\n Clarence went round to see his friend Fentiman, with whom he usually\",\n \"cry aloud for her child, and Mumford rushed like a madman through \\n the garden. \\n \\n 'It's all right,' said a man who stood in the doorway. 'You Mr.\",\n \"boarding out,' he says. And he means it. He has told me to write to \\n you at once, and you're to come as soon as you can, and he won't be \\n responsible to Mrs. Mumford for more than another week's\",\n \"Mumford, and that's why I thought I would ask to see you. You have a \\n good deal of influence over her.' \\n \\n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \\n use it for her good.' \\n\",\n \"Mumford? It's all right. There's been a fire, but we've got it out.' \\n \\n Emmeline learnt at the same moment that her child had suffered no \\n harm, but she would not pause until she saw the little one and held\",\n \"'My dear girl! Surely we have nothing to be ashamed of?' \\n \\n 'Of course not, Clarence. But--and \\\"pleasant society.\\\" What about \\n that?' \\n \\n 'Your society is pleasant enough, I hope,' answered Mumford,\",\n \"sit down.' She did so, on the nearest chair, with a little laugh at \\n her strange feebleness. \\n \\n 'Now please _don't_ quarrel, you two. Mrs. Mumford, don't mind \\n anything that mother says.' \\n\",\n \"library, of which the door was left ajar, she heard Louise and her \\n mother pass upstairs, both silent. Mumford, too well aware that yet \\n another disturbance had come upon his unhappy household, affected to\",\n \"A slight emphasis on the \\\"he\\\" touched Mrs. Mumford unpleasantly. She \\n rose, and began to pick out some overblown flowers from a vase on \\n the table near her. Presently Louise became silent. Before either of\",\n \"ran at once to Mrs. Mumford, whom she found in the nursery. \\n \\n 'Do please come down. Here's something I must tell you about. What \\n do you think mother says? I've to go back home again at once.' \\n\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"quite incapable of passing a satisfactory cross-examination on the \\n subject. \\n \\n Mrs. Mumford, foreseeing the difficulty of spending the next day at \\n home, told her husband in the morning that she would have early\",\n \"caring little or nothing for music, she had hardly touched a key for \\n several years. Now the idea possessed her that she must resume her \\n practising, and to-day she had spent hours at the piano, with \\n painful effect upon Mrs. Mumford's nerves. After dinner she offered\",\n \"'Mrs. Mumford isn't at home,' answered Louise, with bold mendacity. \\n 'And a very good thing too. I should be sorry for her to see you in \\n the state you're in.' \\n\",\n \"Mrs. Mumford was offended, and showed it. \\n \\n 'I have a perfect right, and I shall do so. Please don't let us \\n quarrel. You may be fond of it, but I am not.' \\n\",\n \"it relieved her when Clarence moved away. \\n \\n The next morning Louise was an hour late for breakfast. She came \\n down when Mumford had left the house, and Emmeline saw with surprise \\n that she was dressed for going out. \\n\",\n \"Higgins.' \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n 'Runnymede' (so the Mumfords' house was named) stood on its own \\n little plot of ground in one of the tree-shadowed roads which\"\n ],\n [\n \"Mumford, and that's why I thought I would ask to see you. You have a \\n good deal of influence over her.' \\n \\n 'Do you think so?' returned Emmeline, not displeased. 'I hope I may \\n use it for her good.' \\n\",\n \"husband, Emmeline summoned him from his book to the bedroom. \\n \\n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \\n thing goes on much longer I shall feel inclined to take a lodging in \\n town.' \\n\",\n \"Emmeline, wishing to lock up for the night, went to summon her \\n troublesome guest. \\n \\n 'Hadn't you better come in?' \\n \\n 'Yes. But I think you are very unkind, Mrs. Mumford.' \\n\",\n \"Then restlessness again came upon her. One day she all but declared \\n her disappointment that the Mumfords saw so few people. Emmeline, \\n repeating this to her husband, avowed a certain compunction. \\n\",\n \"'The upshot of it is this,' cried Mumford: 'Miss Derrick has to \\n leave the house, and, if necessary, I shall tell her so myself.' \\n \\n Again Emmeline was cold and lofty. There was no necessity whatever\",\n \"'Do you know Sutton at all?' Emmeline inquired. \\n \\n 'Never was here before. But I like the look of it. I like this \\n house, too. I suppose you know a lot of people here, Mrs. Mumford?' \\n\",\n \"she looked him in the face, and it was Mumford who had to avert his \\n eyes. The young man felt very uncomfortable. \\n \\n 'Oh! I'm quite sure Emmy will be glad to let you come for the night, \\n Miss Derrick--' \\n\",\n \"boarding out,' he says. And he means it. He has told me to write to \\n you at once, and you're to come as soon as you can, and he won't be \\n responsible to Mrs. Mumford for more than another week's\",\n \"eyes never moved in Mumford's direction. \\n \\n The threatened letter from Mrs. Higgins had arrived; Emmeline and \\n her husband read it before their guest came down. If Louise \\n continued to reside with them, they entertained her with a full\",\n \"'So do I. But--well, it comes to this, Mrs. Mumford. She seemed to \\n hint--though she didn't exactly say so--that you were advising her \\n to have nothing more to do with me. Of course you don't know me, and\",\n \"'Mrs. Mumford, I want to say good-bye.' \\n \\n 'Oh, yes,' Emmeline answered civilly, but without a smile. \\n 'Good-bye, Miss Derrick.' \\n \\n And she stepped forward to shake hands. \\n\",\n \"\\\"Runnymede\\\" had undergone no change whatever; Emmeline still waited \\n for a moment of courage, and Mumford, though he did not relish the \\n prospect, began to think it more than probable that Miss Derrick\",\n \"to play to Mumford, and he, good-natured fellow, stood by her to \\n turn over the leaves. Emmeline, with fancy work in her hands, \\n watched the two. She was not one of the most foolish of her sex, but\",\n \"she isn't vulgar!' said Emmeline to herself. 'I don't like the \\n hat--I don't. And that sunshade with the immense handle.' From the \\n top of the stairs she heard a clear, unaffected voice: 'Mrs. Mumford\",\n \"I could do. Please let me have my dinner alone. Mrs. Mumford, I want \\n to tell you something afterwards.' \\n \\n Clarence went round to see his friend Fentiman, with whom he usually\",\n \"the house just on my account. She's sick and tired of us all, and \\n wants to see our backs as soon as ever she can. I don't say it to \\n offend you, Mrs. Mumford, but you know it's true. And I tell you\",\n \"few things she needed to purchase. But this time Emmeline begged her \\n to go alone, and Louise seemed quite satisfied with the arrangement. \\n \\n Early in the afternoon, as Mrs. Mumford was making ready to go out,\",\n \"slam it seemed wonderful to Emmeline. The girl was not wholly a \\n savage. \\n \\n Presently Mrs. Mumford went up to inspect the forsaken chamber. \\n Louise had packed all her things: of course she must have tumbled\",\n \"of Mrs. Mumford's latest remark. Louise listened with a smile. \\n \\n 'Now look here, mother,' she said, when silence came for a moment, \\n 'you can't expect Mrs. Mumford to have a lot of strangers coming to\",\n \"'Something like the Mumfords'. It needn't be quite so large,' she \\n added quickly; 'but a house with a garden, in a nice road, and in a \\n respectable part.' \\n\"\n ],\n [\n \"Higgins.' \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n 'Runnymede' (so the Mumfords' house was named) stood on its own \\n little plot of ground in one of the tree-shadowed roads which\",\n \"boarding out,' he says. And he means it. He has told me to write to \\n you at once, and you're to come as soon as you can, and he won't be \\n responsible to Mrs. Mumford for more than another week's\",\n \"husband, Emmeline summoned him from his book to the bedroom. \\n \\n 'Well, what has happened now?' exclaimed Mumford. 'If this kind of \\n thing goes on much longer I shall feel inclined to take a lodging in \\n town.' \\n\",\n \"she came forward panting and perspiring, and, before paying any heed \\n to her hostess, closely surveyed the room. \\n \\n 'Mrs. Mumford,' said the girl, 'this is my mother. Mother, this is\",\n \"cry aloud for her child, and Mumford rushed like a madman through \\n the garden. \\n \\n 'It's all right,' said a man who stood in the doorway. 'You Mr.\",\n \"'Do you know Sutton at all?' Emmeline inquired. \\n \\n 'Never was here before. But I like the look of it. I like this \\n house, too. I suppose you know a lot of people here, Mrs. Mumford?' \\n\",\n \"Emmeline, wishing to lock up for the night, went to summon her \\n troublesome guest. \\n \\n 'Hadn't you better come in?' \\n \\n 'Yes. But I think you are very unkind, Mrs. Mumford.' \\n\",\n \"chair back to 'Runnymede,' and upstairs to her bedroom. Scarcely was \\n this done when Mr. and Mrs. Mumford, after a leisurely walk from the \\n station, approached their garden gate. The sight of a little crowd\",\n \"'Something like the Mumfords'. It needn't be quite so large,' she \\n added quickly; 'but a house with a garden, in a nice road, and in a \\n respectable part.' \\n\",\n \"the servant announced to her that a gentleman had called to see Miss \\n Derrick; on learning that Miss Derrick was away, he had asked sundry \\n questions, and ended by requesting an interview with Mrs. Mumford. \\n His name was Cobb. \\n\",\n \"Mumford? It's all right. There's been a fire, but we've got it out.' \\n \\n Emmeline learnt at the same moment that her child had suffered no \\n harm, but she would not pause until she saw the little one and held\",\n \"with his wife, and Miss Derrick kept silence. After dinner, she \\n passed out into the garden. \\n \\n 'It won't do,' said Mumford. 'The house is upset. I'm afraid we \\n shall have to get rid of her.' \\n\",\n \"'He'll be here at ten in the morning, and I know he will give me \\n leave. So there's an end of it. And you can go to bed and sleep in \\n peace, Mrs. Mumford.' \\n\",\n \"Louise hired a carriage and took her friends for a drive into the \\n country; at her special request the child accompanied them. Nothing \\n could have been more delightful. She had quite made up her mind to \\n have a house, some day, at Sutton. She hoped the Mumfords would\",\n \"the house just on my account. She's sick and tired of us all, and \\n wants to see our backs as soon as ever she can. I don't say it to \\n offend you, Mrs. Mumford, but you know it's true. And I tell you\",\n \"remove her at once to her own bed room, and the strangers were eager \\n to assist. \\n \\n 'What will the Mumfords say?' Louise asked of a sudden, trying to \\n raise herself. \\n\",\n \"Mrs. Mumford was offended, and showed it. \\n \\n 'I have a perfect right, and I shall do so. Please don't let us \\n quarrel. You may be fond of it, but I am not.' \\n\",\n \"him in her embrace. Meanwhile, Cobb and Mumford talked in the \\n devastated drawing-room, which was illumined with candles. \\n \\n 'It's a bad job, Mr. Mumford. My name is Cobb: I daresay you've\",\n \"The Paying Guest \\n \\n \\n by \\n \\n George Gissing \\n \\n \\n \\n \\n CHAPTER I \\n \\n \\n It was Mumford who saw the advertisement and made the suggestion. \\n His wife gave him a startled look.\",\n \"lodging-house, but no distinctly offensive word escaped her. And \\n this was almost entirely due to Louise's influence for the girl \\n impressed upon her mother that 'to make a row' would be the sure and \\n certain way of proving that Mrs. Mumford was justified in claiming\"\n ],\n [\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"friends and neighbours, Emmeline enjoyed Sutton because it was a \\n most respectable little portion of the great town, set in a purer \\n atmosphere. The country would have depressed her. \\n \\n In this respect Miss Derrick proved a congenial companion. Louise\",\n \"Louise. Hitherto uncertain in her judgment, she had now the relief \\n of an assurance that Miss Derrick was not at all a proper person to \\n entertain as a guest, on whatever terms. The incident of the railway\",\n \"'Don't be vulgar, Clarence. And we've talked enough of Louise for \\n the present.' \\n \\n Miss Derrick's presentiment that a letter from Mr. Cobb would soon \\n reach her was justified the next day; it arrived in the afternoon,\",\n \"Next morning arrived a letter, signed 'Louise E. Derrick.' The \\n writer said she had been waiting to compare and think over some two \\n hundred answers to her advertisement. 'It's really too absurd. How\",\n \"Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \\n was a plain, formal letter, giving a brief account of his doings in \\n Ireland, and making a request that Louise would meet him, if\",\n \"Derrick, and Emmeline did not know what pains the girl had taken, \\n ever since her arrival, to live in conformity with the habits of a \\n 'nice' household. \\n \\n Louise, meanwhile, had gone to the railway station, intending to\",\n \"please let me know it by return.--Affectionately yours, L. E. \\n DERRICK.' This she addressed to Margate, and stamped with a little \\n thump of the fist. Her next sheet of paper was devoted to Mr.\",\n \"enjoying myself in a _very_ quiet way.--I remain, sincerely yours, \\n LOUISE E. DERRICK.' Finally she penned a reply to Mr. Cobb, and \\n this, after a glance at a railway time-table, gave her no trouble at\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"'He's very nice sometimes,' answered Louise, thoughtfully. \\n \\n 'But do you really mean that he is \\\"rough and coarse\\\"?' \\n \\n 'Yes, I do. You couldn't call him a gentleman. I've never seen his\",\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"Enclosed was a wedding-card. \\n \\n 'Mr. and Mrs. Thomas Cobb,' in gilt lettering, occupied the middle, \\n and across the right-hand upper corner ran 'Louise E. Derrick,' an\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"house--doubtless to post a reply. But, to her surprise, not a word \\n of the matter escaped Miss Derrick during the whole evening. \\n \\n In her school-days, Louise had learned to \\\"play the piano,\\\" but,\",\n \"thinking of him in that way all along; and you've been writing to \\n him, or meeting him, since you came here. What sort of behaviour do \\n you call this?' \\n \\n Louise was recovering self-possession; the irritability of her own\",\n \"Louise had not the power of loving at all. Yet, for his own part, he \\n couldn't help liking her; the eyes that had looked into his at the \\n station haunted him a little, and would not let him think of her\",\n \"Higgins, after a deliberate surveyal of the house front, followed \\n her daughter up the pathway. \\n \\n The first sight of the portly lady made the situation clearer to \\n Mrs. Mumford. Louise Derrick represented a certain stage of\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"permitting Louise to stay for more than a day or two, whatever the \\n suggestion offered. This morning she had again heard from her \\n sister, Mrs. Grove, who was strongly of opinion that Miss Derrick \\n should be sent back to her native sphere. \\n\"\n ],\n [\n \"Derrick's departure, it would be a positive pleasure. \\n \\n Louise very soon entered; she came into the room with her brightest \\n look, and cried gaily: \\n \\n 'Oh, I hope I haven't kept you waiting for me. Are you alone?'\",\n \"Louise. Hitherto uncertain in her judgment, she had now the relief \\n of an assurance that Miss Derrick was not at all a proper person to \\n entertain as a guest, on whatever terms. The incident of the railway\",\n \"friends and neighbours, Emmeline enjoyed Sutton because it was a \\n most respectable little portion of the great town, set in a purer \\n atmosphere. The country would have depressed her. \\n \\n In this respect Miss Derrick proved a congenial companion. Louise\",\n \"Derrick, and Emmeline did not know what pains the girl had taken, \\n ever since her arrival, to live in conformity with the habits of a \\n 'nice' household. \\n \\n Louise, meanwhile, had gone to the railway station, intending to\",\n \"Higgins, after a deliberate surveyal of the house front, followed \\n her daughter up the pathway. \\n \\n The first sight of the portly lady made the situation clearer to \\n Mrs. Mumford. Louise Derrick represented a certain stage of\",\n \"house--doubtless to post a reply. But, to her surprise, not a word \\n of the matter escaped Miss Derrick during the whole evening. \\n \\n In her school-days, Louise had learned to \\\"play the piano,\\\" but,\",\n \"permitting Louise to stay for more than a day or two, whatever the \\n suggestion offered. This morning she had again heard from her \\n sister, Mrs. Grove, who was strongly of opinion that Miss Derrick \\n should be sent back to her native sphere. \\n\",\n \"'Don't be vulgar, Clarence. And we've talked enough of Louise for \\n the present.' \\n \\n Miss Derrick's presentiment that a letter from Mr. Cobb would soon \\n reach her was justified the next day; it arrived in the afternoon,\",\n \"Next morning arrived a letter, signed 'Louise E. Derrick.' The \\n writer said she had been waiting to compare and think over some two \\n hundred answers to her advertisement. 'It's really too absurd. How\",\n \"Louise, next day, put a point-blank question. \\n \\n 'Didn't you say that you knew some people at West Kensington?' \\n \\n 'Oh, yes,' answered Emmeline, carelessly. 'The Kirby Simpsons.\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"of telling Miss Derrick she must leave. If not, that disagreeable \\n necessity must be faced. \\n \\n 'I had rather cut down expenses all round,' said Emmeline, 'than \\n have our home upset in this way. It isn't like home at all. Louise\",\n \"returned, and looked in at the drawing-room, with a pleasant smile. \\n 'Good-night, Mrs. Mumford.' 'Good-night, Miss Derrick.' For the \\n grace of the thing, Emmeline would have liked to say 'Louise,' but\",\n \"with Louise. I dessay she's told you a good deal about me and her \\n stepfather. I don't think she's any reason to complain of the \\n treatment--' \\n \\n 'She said you were both very kind to her,' interposed the hostess.\",\n \"Enclosed was a wedding-card. \\n \\n 'Mr. and Mrs. Thomas Cobb,' in gilt lettering, occupied the middle, \\n and across the right-hand upper corner ran 'Louise E. Derrick,' an\",\n \"Mr. Cobb wrote in ignorance of Miss Derrick's having left home. It \\n was a plain, formal letter, giving a brief account of his doings in \\n Ireland, and making a request that Louise would meet him, if\",\n \"enjoying myself in a _very_ quiet way.--I remain, sincerely yours, \\n LOUISE E. DERRICK.' Finally she penned a reply to Mr. Cobb, and \\n this, after a glance at a railway time-table, gave her no trouble at\",\n \"eyes never moved in Mumford's direction. \\n \\n The threatened letter from Mrs. Higgins had arrived; Emmeline and \\n her husband read it before their guest came down. If Louise \\n continued to reside with them, they entertained her with a full\",\n \"right, both for Lou's sake and for yours, and to satisfy us all. \\n They're making a mystery, d'you see, of Lou leaving 'ome and going \\n off to live with strangers; and Cissy's been doing her best to make\"\n ],\n [\n \"hurried to inquire after Louise. She lay on a couch, wrapped in a \\n dressing-gown; for the side and one sleeve of her dress had been \\n burnt away. Her moaning never ceased; there was a fire-mark on the\",\n \"Louise's dress, well sprinkled with paraffin, aided the \\n conflagration. Cobb, of course, saw only the danger to the girl. He \\n seized the woollen hearthrug and tried to wrap it about her; but\",\n \"with screams of pain and frantic struggles, Louise did her best to \\n thwart his purpose. \\n \\n The window was open, and now a servant, rushing in to see what the \\n uproar meant, gave the blaze every benefit of draught. \\n\",\n \"the table, and brought the lamp crashing to the floor. A shriek of \\n terror from Louise, from her lover a shout of alarm, blended with \\n the sound of breaking glass. In an instant a great flame shot up\",\n \"house. Bring water, you!' \\n \\n All three servants were scampering and screeching about the hall. \\n Cobb caught hold of one of them and all but twisted her arm out of \\n its socket. At his fierce command, the woman supported Louise into\",\n \"lawn. Without delay, Louise was conveyed beneath the roof, and her \\n host, a man of energy, sped towards the fire to be of what \\n assistance he could. \\n \\n The lamp-shade, the screen, the little table and the diminutive\",\n \"He flashed a glance at her, and Louise answered with a defiant \\n motion of the head. \\n \\n 'No, I don't. But they put the blame on me, all the same. I \\n shouldn't wonder if they think I'm trying to get him.'\",\n \"chair blazed gallantly, and with such a volleying of poisonous fumes \\n that Cobb could scarce hold his ground to do battle. Louise out of \\n the way, he at once became cool and resourceful. Before a flame\",\n \"lodging, and take no end of trouble, and then in a week's time get a \\n letter to say that you want nothing more to do with me.' \\n \\n Louise was pale with anger and fear, and as many other emotions as\",\n \"'Now do let me advise you, Louise,' she answered gently. 'Are you \\n acting wisely? Wouldn't it be very much better to go home?', \\n \\n Louise lost all her self-control. Flushed with anger, her eyes\",\n \"Thereupon Louise's mother burst into a vehement exposition of the \\n reasons of discord, beginning with the calumnious stories she had \\n heard at Mrs. Jolliffe's, and ending with the outrageous arrogance\",\n \"and violent onslaught. When the front door at length closed she \\n rejoiced, but with trembling; for the words that fell upon her ear \\n from the hall announced too plainly that Louise was determined to \\n stay. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"of people in the quiet road, the smell of burning, loud voices of \\n excited servants, caused them to run forward in alarm. Emmeline, \\n frenzied by the certainty that her own house was on fire, began to\",\n \"Perhaps this was the only possible issue of the difficulties in \\n which they had all become involved; neither Louise nor her parents \\n could be dealt with in the rational, peaceful way preferred by \\n well-conditioned people. To get her out of the house was the main\",\n \"Louise did not appear again that evening. Thoroughly tired, she \\n unpacked her trunks, sat awhile by the open window, listening to a \\n piano in a neighbouring house, and then jumped into bed. From ten \\n o'clock to eight next morning she slept soundly.\",\n \"it relieved her when Clarence moved away. \\n \\n The next morning Louise was an hour late for breakfast. She came \\n down when Mumford had left the house, and Emmeline saw with surprise \\n that she was dressed for going out. \\n\",\n \"'Bring water!' roared Cobb, who had just succeeded in extinguishing \\n Louise's dress, and was carrying her, still despite her struggles, \\n out of the room. 'Here, one of you take Miss Derrick to the next\",\n \"A slight emphasis on the \\\"he\\\" touched Mrs. Mumford unpleasantly. She \\n rose, and began to pick out some overblown flowers from a vase on \\n the table near her. Presently Louise became silent. Before either of\",\n \"For a week or ten days Louise lay very ill; then her vigorous \\n constitution began to assert itself. It helped her greatly towards \\n convalescence when she found that the scorches on her face would not\",\n \"half way to the ceiling. The lamp-shade was ablaze; the \\n much-embroidered screen, Mrs. Mumford's wedding present, forthwith \\n caught fire from a burning tongue that ran along the carpet; and\"\n ],\n [\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"'I am going to marry Mr. Bowling.' \\n \\n Emmeline could no longer feel astonishment at anything her guest said \\n or did. The tone, the air, with which Louise made this declaration \\n affected her with a sense of something quite unforeseen; but, at the\",\n \"They were away from home for three weeks. On returning, Emmeline \\n found a letter which had arrived for her the day before; it was from \\n Louise, and announced her marriage. 'Dear Mrs. Mumford,--I know\",\n \"Louise laughed. \\n \\n 'Oh, there's no knowing what I might do to spite Cissy. We hate each \\n other, of course. But I can't fancy myself marrying him, He has a\",\n \"Louise plucked at the fringe on the arm of her chair, and replied at \\n length with maidenly frankness. \\n \\n 'I always thought it would be a good marriage for me. But I\",\n \"would hold her ground until her actual marriage with Mr. Bowling. \\n Whether that unknown person would discharge the debt his betrothed \\n was incurring seemed an altogether uncertain matter. Louise, in the \\n meantime, kept quiet as a mouse--so strangely quiet, indeed, that\",\n \"'Well, I can only propose one thing,' sounded the masculine voice. \\n 'You can get out of it by marrying me.' \\n \\n Louise gave a little laugh, rather timid than scornful. \\n\",\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"impressed Louise, say what she might of pretended fears. At parting, \\n he merely shook hands with her, as always. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n \\n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"contemptuously. But what a woman to make ones wife! Unless--unless-- \\n \\n Louise had gone into the house. Emmeline approached her husband. \\n \\n 'There! I foresaw it. Isn't vexing?' \\n\",\n \"people were near. Upon Louise, however, it had a pleasing effect, \\n and she smiled. \\n \\n 'Very well,' she made answer, in the same subdued tone. 'Then let us \\n settle it in that way.' \\n\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"By the first post in the morning came a letter from Louise. She \\n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \\n but do please have me. I like Sutton, and I like your house, and I\",\n \"her voice Louise added eagerly: \\n \\n 'Of course, when we're married, Mr. Bowling will pay all my debts.' \\n \\n ''You are quite mistaken,' said Emmeline distantly, 'if you think\",\n \"and violent onslaught. When the front door at length closed she \\n rejoiced, but with trembling; for the words that fell upon her ear \\n from the hall announced too plainly that Louise was determined to \\n stay. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"his wife did not mean to supervise him henceforth and for ever. If \\n so, their troubles were only beginning. \\n \\n At breakfast, Louise continued to be discretion itself. She talked \\n of her departure on the morrow as though it had long been a settled\",\n \"out of temper. Do, please, let me stay! I like you so much, and how \\n wretched it would be if I had to be married from a lodging-house.' \\n \\n 'I'm afraid, Louise--I'm really afraid--' \\n\",\n \"Louise did not appear again that evening. Thoroughly tired, she \\n unpacked her trunks, sat awhile by the open window, listening to a \\n piano in a neighbouring house, and then jumped into bed. From ten \\n o'clock to eight next morning she slept soundly.\"\n ],\n [\n \"Mrs. Jolliffe, a niece of Mr. Baxter--Baxter, Lukin and Co., you \\n know. And she told me in confidence what people are saying--as how \\n Louise was to marry Mr. Bowling, but he broke it off when he found\",\n \"Louise laughed. \\n \\n 'Oh, there's no knowing what I might do to spite Cissy. We hate each \\n other, of course. But I can't fancy myself marrying him, He has a\",\n \"Louise received Mr. Bilton's name with moderate interest. But she \\n dropped the subject, and seemed to reconcile herself to domestic \\n pleasures. \\n \\n It was on the evening of this day that Emmeline received a letter\",\n \"of his first marriage--her poor mother died at the birth, and she's \\n older than Louise. I don't mind telling _you_, Mrs. Mumford, she's \\n close upon six-and-twenty, and nothing like so good-looking as\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"with Louise. I dessay she's told you a good deal about me and her \\n stepfather. I don't think she's any reason to complain of the \\n treatment--' \\n \\n 'She said you were both very kind to her,' interposed the hostess.\",\n \"impressed Louise, say what she might of pretended fears. At parting, \\n he merely shook hands with her, as always. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n \\n Glad of a free evening, Emmeline, after dinner, walked round to Mrs.\",\n \"'Well, they're very nice people,' said Louise, with a little sigh. \\n 'And I like your sister so much. I'm glad she asked me to go and see \\n her. Is Mr. Bilton often at her house?--Don't misunderstand me, Mrs.\",\n \"that, whatever the issue of Louise's appeal to her stepfather, this \\n was a very good opportunity for getting rid of their guest. They \\n would wait till Louise made known the upshot of her negotiations. It \\n seemed probable that Mr. Higgins would spare them the unpleasantness\",\n \"up, hearty boys as ever you saw. If it wasn't for this trouble with \\n Louise--' She stopped to wipe her face. 'I dessay she's told you \\n that Mr. 'Iggins, who was a widower when I met him, has a daughter\",\n \"By the first post in the morning came a letter from Louise. She \\n wrote appealingly, touchingly. 'I know you couldn't stand my mother, \\n but do please have me. I like Sutton, and I like your house, and I\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"girl's conscience, at all events. Yes, this explained everything. \\n And, on the whole, it seemed to speak in Louise's favour. Her \\n ridicule of Mr. Bowling's person and character became, in this new\",\n \"Louise. The girl, as soon as she found herself alone, broke Mr. \\n Cobb's envelope, which contained four sides of bold handwriting--not \\n a long letter, but, as usual, vigorously worded. 'Dear Miss\",\n \"thinking of him in that way all along; and you've been writing to \\n him, or meeting him, since you came here. What sort of behaviour do \\n you call this?' \\n \\n Louise was recovering self-possession; the irritability of her own\",\n \"Emmeline made no mention of Mr. Cobb's call until they reached the \\n house. \\n \\n 'He came here!' Louise exclaimed, reddening. 'What impudence! I \\n shall at once write and tell him that his behaviour is outrageous.\",\n \"Louise. Hitherto uncertain in her judgment, she had now the relief \\n of an assurance that Miss Derrick was not at all a proper person to \\n entertain as a guest, on whatever terms. The incident of the railway\",\n \"'Well, I can only propose one thing,' sounded the masculine voice. \\n 'You can get out of it by marrying me.' \\n \\n Louise gave a little laugh, rather timid than scornful. \\n\",\n \"Louise hired a carriage and took her friends for a drive into the \\n country; at her special request the child accompanied them. Nothing \\n could have been more delightful. She had quite made up her mind to \\n have a house, some day, at Sutton. She hoped the Mumfords would\",\n \"'Pooh! We shall do well enough.--Who's that?' \\n \\n Someone was entering the garden by the side path. And in a moment \\n there remained no doubt who the person was. Louise came forward, her\"\n ],\n [\n \"'Now do let me advise you, Louise,' she answered gently. 'Are you \\n acting wisely? Wouldn't it be very much better to go home?', \\n \\n Louise lost all her self-control. Flushed with anger, her eyes\",\n \"sensibilities was indeed remarkable, and Emmeline observed with \\n pleasure that her mind seemed to have a very wholesome tone. Louise \\n might commit follies, and be guilty of bad taste to any extent, but \\n nothing in her savoured of depravity. \\n\",\n \"lodging, and take no end of trouble, and then in a week's time get a \\n letter to say that you want nothing more to do with me.' \\n \\n Louise was pale with anger and fear, and as many other emotions as\",\n \"Emmeline, with anxious thought for Louise's health, due probably to \\n her dread of having the girl in the house for an indefinite period. \\n \\n 'Oh, I've wrapped up. I feel shaky, that's all, and I shall have to\",\n \"Perhaps this was the only possible issue of the difficulties in \\n which they had all become involved; neither Louise nor her parents \\n could be dealt with in the rational, peaceful way preferred by \\n well-conditioned people. To get her out of the house was the main\",\n \"'I shall do nothing of the kind,' answered Louise, her temper \\n rising. \\n \\n Mrs. Higgins glared at her and began to rail; the voice was \\n painfully audible to Emmeline, who just then passed through the\",\n \"and violent onslaught. When the front door at length closed she \\n rejoiced, but with trembling; for the words that fell upon her ear \\n from the hall announced too plainly that Louise was determined to \\n stay. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"out of temper. Do, please, let me stay! I like you so much, and how \\n wretched it would be if I had to be married from a lodging-house.' \\n \\n 'I'm afraid, Louise--I'm really afraid--' \\n\",\n \"thinking of him in that way all along; and you've been writing to \\n him, or meeting him, since you came here. What sort of behaviour do \\n you call this?' \\n \\n Louise was recovering self-possession; the irritability of her own\",\n \"'I shall say nothing more about it, Louise. It isn't my business \\n to--' \\n \\n The girl's face threatened a tempest. As Emmeline was moving away, \\n she rudely obstructed her. \\n\",\n \"see Louise speedily married. To the bribe with which the letter \\n ended they could give no serious thought. Having secured their \\n \\\"paying guest,\\\" they hoped she would remain with them for a year or \\n two at least. But already Louise had dropped hints such as Emmeline\",\n \"For a week or ten days Louise lay very ill; then her vigorous \\n constitution began to assert itself. It helped her greatly towards \\n convalescence when she found that the scorches on her face would not\",\n \"Whether she felt the force of this innuendo or not, Louise took it \\n in good part. As if the idea had only just struck her, she looked up \\n cheerfully. \\n\",\n \"'When did you make up your mind to this, Louise?' \\n \\n 'Yesterday, after our horrid quarrel. No, _you_ didn't quarrel; it \\n was all my abominable temper. This morning I'm going to answer Mr.\",\n \"'He's very nice sometimes,' answered Louise, thoughtfully. \\n \\n 'But do you really mean that he is \\\"rough and coarse\\\"?' \\n \\n 'Yes, I do. You couldn't call him a gentleman. I've never seen his\",\n \"Louise did not appear again that evening. Thoroughly tired, she \\n unpacked her trunks, sat awhile by the open window, listening to a \\n piano in a neighbouring house, and then jumped into bed. From ten \\n o'clock to eight next morning she slept soundly.\",\n \"with Louise. I dessay she's told you a good deal about me and her \\n stepfather. I don't think she's any reason to complain of the \\n treatment--' \\n \\n 'She said you were both very kind to her,' interposed the hostess.\",\n \"little quieter in your manners, Louise--' \\n \\n 'I will, I promise I will! Let me say good-night to Mr. Mumford.' \\n \\n For a day or two there was halcyon weather. On Saturday afternoon\",\n \"down to dine, and had just risen from the table, when Louise \\n appeared. \\n \\n She was in excellent spirits, without a trace of the morning's \\n ill-humour. No apologies! If she didn't feel quite free to come and\",\n \"Louise stood in an attitude of joyous excitement, her eyes \\n sparkling. But at the first glance she perceived that her lover's \\n mood was by no means correspondingly gay. Cobb stalked forward and \\n kept a stern gaze upon her, but said nothing. \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["IN WHAT COUNTRY DID THE MUMFORDS LIVE?","WHO WAS THE MUMFOR'D'S PAYING GUEST?","HOW DID THE MUMFORDS LEARN THAT LOUISE DERRICK WAS LOOKING FOR A PLACE TO STAY?","WHO IS CECILY TO LOUISE DEKKER?","WHO IS TOM COBB TO LOUISE DEKKER?","HOW DID LOUISE GET INJURED IN THE MUMFORD HOME?","WHERE IN THE MUMFORD HOME WAS THE FIRE STARTED?","HOW WAS THE MUMFORD HOME FIRE STARTED?","WHO IS MR BOWLING TO LOUISE DEKKER?","How old is the Mumford's son?","Why does Louise Derrick need a place to stay?","How many men are courting Louise?","Who is Mr. Boling also courting, in addition to Louise?","Do the Mumfords and Louise get along well?","How does Louise get injured?","Why do the Mumfords want a paying guest?","Who is visiting when Louise injures herself?","Does Louise encourage Bowlings courting?","Who does Louise marry?","Where do Clarence and Emmeline Mumford live?","How old is the son of Clarence Mumford?","Why do Clarence and Emmeline Mumford consider having a tenant?","What is the name of the tenant the Mumfords take on?","What two men pursue Louise Derrick's affections?","Who is Cecily to Louise Derrick?","How does Louise accidently start the fire?","Whom does Louise marry?","Who was at one time courting Louise's stepsister?","What sort of temperament does Louise have?"],"string":"[\n \"IN WHAT COUNTRY DID THE MUMFORDS LIVE?\",\n \"WHO WAS THE MUMFOR'D'S PAYING GUEST?\",\n \"HOW DID THE MUMFORDS LEARN THAT LOUISE DERRICK WAS LOOKING FOR A PLACE TO STAY?\",\n \"WHO IS CECILY TO LOUISE DEKKER?\",\n \"WHO IS TOM COBB TO LOUISE DEKKER?\",\n \"HOW DID LOUISE GET INJURED IN THE MUMFORD HOME?\",\n \"WHERE IN THE MUMFORD HOME WAS THE FIRE STARTED?\",\n \"HOW WAS THE MUMFORD HOME FIRE STARTED?\",\n \"WHO IS MR BOWLING TO LOUISE DEKKER?\",\n \"How old is the Mumford's son?\",\n \"Why does Louise Derrick need a place to stay?\",\n \"How many men are courting Louise?\",\n \"Who is Mr. Boling also courting, in addition to Louise?\",\n \"Do the Mumfords and Louise get along well?\",\n \"How does Louise get injured?\",\n \"Why do the Mumfords want a paying guest?\",\n \"Who is visiting when Louise injures herself?\",\n \"Does Louise encourage Bowlings courting?\",\n \"Who does Louise marry?\",\n \"Where do Clarence and Emmeline Mumford live?\",\n \"How old is the son of Clarence Mumford?\",\n \"Why do Clarence and Emmeline Mumford consider having a tenant?\",\n \"What is the name of the tenant the Mumfords take on?\",\n \"What two men pursue Louise Derrick's affections?\",\n \"Who is Cecily to Louise Derrick?\",\n \"How does Louise accidently start the fire?\",\n \"Whom does Louise marry?\",\n \"Who was at one time courting Louise's stepsister?\",\n \"What sort of temperament does Louise have?\"\n]"},"answers":{"kind":"list like","value":[["ENGLAND","England "],["LOUISE DERRICK","Louise Derrick"],["THROUGH AN AD IN THE NEWSPAPER","From the newspaper"],["HER STEPSISTER","She is Cecily's stepsister."],["ONE OF HER SUITORS","He is courting Louise and later becomes her husband."],["IN A FIRE","She tripped on a chair."],["IN THE DRAWING ROOM","The Drawing Room of the Property."],["LOUISE TRIPPED OVER A CHAIR","Accidentlly "],["ANOTHER SUITOR","Her step-sister's beau"],["Two","2"],["Disagreements with her immediate family","Disagreements with family"],["Two","2"],["Cecily","Cecily, Louise's stepsister."],["They do not","No"],["Trips over a chair and starts a fire","in a fire"],["To supplement their income","To supplement their income. "],["Mr. Tom Cobb","Cobb"],["Not particularly","Yes "],["Tom Cobb","Cobb"],["Sutton","Sutton."],["2","He is two years old."],["To supplement their income.","To supplement their income"],["Louise Derrick","Louise Derrick"],["Mr Bowling and Tom Cobb.","Mr Bowling and Tom Cobb"],["Stepsister ","Step sister"],["Tripping on a chair.","She trips on a chair."],["Tom Cobb","Tom Cobb"],["Mr Bowling","Mr bowing "],["Bad temper ","She has a bad temperament."]],"string":"[\n [\n \"ENGLAND\",\n \"England \"\n ],\n [\n \"LOUISE DERRICK\",\n \"Louise Derrick\"\n ],\n [\n \"THROUGH AN AD IN THE NEWSPAPER\",\n \"From the newspaper\"\n ],\n [\n \"HER STEPSISTER\",\n \"She is Cecily's stepsister.\"\n ],\n [\n \"ONE OF HER SUITORS\",\n \"He is courting Louise and later becomes her husband.\"\n ],\n [\n \"IN A FIRE\",\n \"She tripped on a chair.\"\n ],\n [\n \"IN THE DRAWING ROOM\",\n \"The Drawing Room of the Property.\"\n ],\n [\n \"LOUISE TRIPPED OVER A CHAIR\",\n \"Accidentlly \"\n ],\n [\n \"ANOTHER SUITOR\",\n \"Her step-sister's beau\"\n ],\n [\n \"Two\",\n \"2\"\n ],\n [\n \"Disagreements with her immediate family\",\n \"Disagreements with family\"\n ],\n [\n \"Two\",\n \"2\"\n ],\n [\n \"Cecily\",\n \"Cecily, Louise's stepsister.\"\n ],\n [\n \"They do not\",\n \"No\"\n ],\n [\n \"Trips over a chair and starts a fire\",\n \"in a fire\"\n ],\n [\n \"To supplement their income\",\n \"To supplement their income. \"\n ],\n [\n \"Mr. Tom Cobb\",\n \"Cobb\"\n ],\n [\n \"Not particularly\",\n \"Yes \"\n ],\n [\n \"Tom Cobb\",\n \"Cobb\"\n ],\n [\n \"Sutton\",\n \"Sutton.\"\n ],\n [\n \"2\",\n \"He is two years old.\"\n ],\n [\n \"To supplement their income.\",\n \"To supplement their income\"\n ],\n [\n \"Louise Derrick\",\n \"Louise Derrick\"\n ],\n [\n \"Mr Bowling and Tom Cobb.\",\n \"Mr Bowling and Tom Cobb\"\n ],\n [\n \"Stepsister \",\n \"Step sister\"\n ],\n [\n \"Tripping on a chair.\",\n \"She trips on a chair.\"\n ],\n [\n \"Tom Cobb\",\n \"Tom Cobb\"\n ],\n [\n \"Mr Bowling\",\n \"Mr bowing \"\n ],\n [\n \"Bad temper \",\n \"She has a bad temperament.\"\n ]\n]"},"document_id":{"kind":"string","value":"f4148de27a9751817e9823d0b2e1d253d7b6b8e9"},"split":{"kind":"string","value":"train"}}},{"rowIdx":66,"cells":{"text":{"kind":"list like","value":[[" Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," I love you, Joe. I love you, Joe. \n I love you, Joe. I love you, Joe. \n \n There is the sound of footsteps below and the ringing \n of a doorbell. Gillis rises."," He is driving as fast as he dares, keeping an eye out \n for pursuit in his rear-view mirror. Suddenly his \n right front tire blows out. Gillis clutches desperately \n at the steering wheel and manages to turn the careening"," A-25 GILLIS \n He watches his pursuers GILLIS' VOICE \n shoot past and out of Yeah... \n sight. He opens the \n door and looks down at I had landed myself in the"," Don't hate me, Joe. I did it because \n I need you. I need you as I never \n needed you. Look at me. Look at my \n hands, look at my face, look under my"," rushes towards the door and out. Betty stands look- \n ing after him, completely bewildered. \n \n DISSOLVE TO: \n \n"," ing. I'm all right again. Joe, \n tell me you're not cross -- tell \n me everything is just as it was, \n Joe. \n \n She opens the door. \n \n"," world, and they have to wprry \n about getting enough money to \n re-sole their shoes. To me it \n can be as exciting as any chase, \n any gunplay. \n \n GILLIS"," If you love me, Joe. \n \n GILLIS \n Look, sweetie -- be practical. \n l've got a good thing here. \n A long-term contract with no options."," Joe. Is it something awful? \n \n GILLIS \n Come on in, Betty, \n \n Betty enters. As he leads her into the living room, \n Gillis puts his arm around her shoulders. \n"," He jumps out of bed. He \n wears, shirt, trousers \n and socks. Suddenly he \n realizes that all his \n possessions have GILLIS' VOICE"," In a deep freeze. \n \n ARTIE \n I almost reported you to the Bureau \n of Missing Persons. \n (To the company) \n Fans, you all know Joe Gillis, the"," pulls down the leather sunshade to screen his face. \n As the light changes. Gillis gives his car the gun \n and shoots away. The men narrowly avoid hitting \n another car as they make a U-turn into oncoming"," The car drives up and Gillis hurries into the store. \n \n \n D-4 INT. SCHWAB'S DRUGSTORE \n Business is still rather lively. There are about a"," NORMA \n What are you going to do, Joe? \n \n Without a word, he leaves the room. Norma raises \n herself on the bed, reaching for a black negligee"," his hair and face wet, the collar of his Vicuna coat \n turned up. Artie stops conducting, but the commer- \n cial goes right on. \n \n ARTIE \n Well, what do you know ! Joe"," There is a metallic of the finance company. \n noise as some loose \n change and keys drop \n from the trouser pockets. \n As Gillis bends over to \n pick them up, we see that \n he has dropped the car"," Don't just stand there hating \n me! Shout at me, strike me! \n But don't hate me, Joe. Don't \n you hear me, Joe? \n \n GILLIS"," Gillis gets out. From the seat next him he takes a \n batch of script, folds it and puts it in his pocket. \n He suddenly becomes aware that he is watched, turns. \n Max stands in the moonlight, evidently waiting for"," installed. Gillis looks \n around startled, then \n sits down and starts \n putting on his moccasins \n hastily. \n \n DISSOLVE TO: \n \n"],[" It was the room of the husband. \n Or of the husbands, I should say. \n Madame has been married three \n times. \n \n Slightly embarrassed, Gillis picks up his toilet"," I'm trying to tell you. This is \n an enormous place. Eight master \n bedrooms. A sunken tub in every \n bathroom. There's a bowling alley"," The oddity of the situation has caught Gillis' \n imagination. He climbs the stairs with a kind of \n morbid fascination. At the top he stops, undecided, \n then turns to the right and is stopped by \n"," Gillis goes into the house. \n \n \n C-29 ENRANCE HALL AND STAIRCASE \n \n Gillis crosses the hall and starts up the stairs. \n \n"," It is a sunny day. The garden is in somewhat better \n shape. The old house looks less unkept. The pool \n is filled. Norma sits on a wicker chaise longue, her"," Gillis looks up at her. Without a word he pushes \n her aside so that she spills the drink. He makes \n his way through the guests to the Vicuna coat, pulls \n it from the shelf, some books tumbling with it, and"," Gillis, in the moonlit porch, \n is closing the main door \n behind him. \n \n \n E-8 LIVING ROOM \n \n Max looks after Gillis, his \n face enigmatic as ever. \n"," Gillis enters. \n \n \n A-31 INT. NORMA DESMOND'S ENTRANCE HALL \n \n It is grandiose and grim. The whole place is one of"," paper on the cracked plaster walls. For furniture \n there is a neatly made bed, a table and a few chairs \n which might have been discarded from the main house. \n \n MAX \n This room has not been used for"," You there! \n \n Gillls turns and looks. \n \n A-28 UPSTAIRS LOGGIA \n \n Behind a bamboo blind there is a movement of \n a dark figure. \n"," Her own movie theatre. \n \n BETTY \n I didn't come here to see a house. \n What about Norma Desmond? \n \n GILLIS"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," A-33 THE HUGE LIVING ROOM \n \n It is dark and damp and filled with black oak and \n red velvet furniture which looks like crappy props \n from the Mark of Zorro set. Along the main wall,"," HOUSE (NIGHT) \n \n Gillis is coming down the GILLIS' VOICE \n stairs in his tailcoat It was at her New Year's \n adjusting the handkerchief party that I found out"," Gillis stands looking at her helplessly. \n \n \n C-31 LIVING ROOM, THE DESMOND HOUSE \n \n The candles burned down, the orchestra playing to"," She rushes into her room. Gillis closes the suitcase \n calmly, notices that he is still wearing some cuff- \n links Norma gave him, takes them off. \n"," I don't know, sir. Madame made \n the arrangements. \n \n Max leaves. Gillis comes out of the bathroom, picks \n up his shirts, goes over to a closet, opens it. As"," It is half open. Gillis comes into the shot \n and, taking cover, looks out. \n \n \n B-19 COURTYARD (FROM GILLIS' ANGLE) \n"," He leads her in the direction of the door. \n \n E-33 UPPER LANDING, DESMOND HOUSE \n \n Sitting crouched behind the balustrade is Norma, \n peering down into \n \n"," It is obviously a man's room -- heavy Spanish \n furniture -- one wall nothing but a closet with \n shelves and drawers for shirts and shoes. Max is \n hanging up the suits. Gillis throws the shirts on"],[" Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," NORMA \n (Impatiently) \n Well? \n \n GILLIS \n This is fascinating. \n \n NORMA \n Of course it is. \n"," Norma looks at him, tears in her eyes. Slowly she \n enfolds him in her bandaged arms. \n \n NORMA \n Happy New Year. darling. \n \n She kisses him. \n"," Down the staircase rushes Norma. a disordered wild- \n ness in the way she moves. \n \n NORMA \n You're not leaving me! \n \n She hurries after Gillis. \n \n"," The beam of the lamp moves toward Norma. It hits \n her. She sits bathed in light. A couple of old \n costume extras recognize her. \n \n EXTRAS"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," From the house comes Norma. \n \n NORMA \n Now what is it? Where's the \n fire? \n \n GILLIS \n I've lost my car. \n"," NORMA \n This is a rock. \n \n She climbs on it, pantomimes timidity, an attempted \n dive, then jumps off. \n \n Gillis lolls on a couch, watching the performance,"," NORMA'S VOICE \n Open your eyes. \n \n Gillis opens his eyes. \n \n Norma has equipped herselr with a derby hat, a cane,"," He leaves. \n \n NORMA \n You heard him. I'm a star! \n \n GILLIS \n Norma, grow up. You're a woman"," NORMA \n This is to be a very important \n picture. I have written it \n myself. Took me years. \n \n GILLIS \n (Looking at the piles"," NORMA \n What are you going to do, Joe? \n \n Without a word, he leaves the room. Norma raises \n herself on the bed, reaching for a black negligee"," is showing Norma out. \n \n DE MILLE \n Goodbye, young fellow. We'll see \n what we can do. \n \n NORMA \n (embracing him)"," Norma reappears in the door, carrying the revolver. \n \n NORMA \n See, you didn't believe me!.. \n Now I suppose you don't think I \n have the courage! \n"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," Gillis takes two or three pages from Norma's hand- \n written script, crosses them out and puts them to \n one side. \n \n Norma rises, crosses towards Gillis, looks over his \n shoulder. \n"," During the preceding. Max has entered. He stands \n listening, paralyzed. \n \n NORMA \n That's a lie! They still want me! \n \n GILLIS"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," Gillis seated in the rear. Max is helping Norma \n in and putting the robe over her. \n \n GILLIS \n (Apprehensively) \n How did it go? \n \n NORMA"],[" the heart. \n \n NORMA \n That's a lie! They want me, they \n want me! I get letters every day! \n \n GILLIS"," Gillis takes two or three pages from Norma's hand- \n written script, crosses them out and puts them to \n one side. \n \n Norma rises, crosses towards Gillis, looks over his \n shoulder. \n"," NORMA \n (Impatiently) \n Well? \n \n GILLIS \n This is fascinating. \n \n NORMA \n Of course it is. \n"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," The beam of the lamp moves toward Norma. It hits \n her. She sits bathed in light. A couple of old \n costume extras recognize her. \n \n EXTRAS"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," From Norma's room comes the sound of a telephone \n being dialled. Gillis enters the shot and stands \n listening. \n \n NORMA'S VOICE \n Is this Gladstone 0858? \n"," Norma is examining her face in the mirror of her \n vanity. Max, while driving, sees her in the rear \n view mirror. \n \n MAX \n If you will pardon me, Madame."," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," to De Mille? \n \n NORMA \n This is the right day. \n \n She indicates a typewritten letter she is holding. \n \n NORMA (Cont'd)"," Norma looks at him, tears in her eyes. Slowly she \n enfolds him in her bandaged arms. \n \n NORMA \n Happy New Year. darling. \n \n She kisses him. \n"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," NORMA \n This is to be a very important \n picture. I have written it \n myself. Took me years. \n \n GILLIS \n (Looking at the piles"," Meanwhile, Norma starts to sit, sees the name \n MISS LAMARR on the chair and with a look of \n distaste changes and sits on the one marked \n C.B. DE MILLE. From somewhere comes \n"," He leaves. \n \n NORMA \n You heard him. I'm a star! \n \n GILLIS \n Norma, grow up. You're a woman"," Down the staircase rushes Norma. a disordered wild- \n ness in the way she moves. \n \n NORMA \n You're not leaving me! \n \n She hurries after Gillis. \n \n"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"],[" I love you, Joe. I love you, Joe. \n I love you, Joe. I love you, Joe. \n \n There is the sound of footsteps below and the ringing \n of a doorbell. Gillis rises."," If you love me, Joe. \n \n GILLIS \n Look, sweetie -- be practical. \n l've got a good thing here. \n A long-term contract with no options."," Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," I'm locked up in this house? \n \n NORMA \n Of course not, Joe. It's just \n that I don't want to be left alone. \n Not now, while I'm under this"," Don't hate me, Joe. I did it because \n I need you. I need you as I never \n needed you. Look at me. Look at my \n hands, look at my face, look under my"," Gillis doesn't answer. Norma slaps his face and \n rushes from the room and upstairs. \n \n Gillis stands paralyzed, the slap burning his cheek. \n \n"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," in. Norma stands staring, speechless, for a second. \n Gillis moves out of the shot towards the closets. \n \n NORMA \n What are you doing, Joe? What"," Joe. Is it something awful? \n \n GILLIS \n Come on in, Betty, \n \n Betty enters. As he leads her into the living room, \n Gillis puts his arm around her shoulders. \n"," Don't just stand there hating \n me! Shout at me, strike me! \n But don't hate me, Joe. Don't \n you hear me, Joe? \n \n GILLIS"," ing. I'm all right again. Joe, \n tell me you're not cross -- tell \n me everything is just as it was, \n Joe. \n \n She opens the door. \n \n"," You can stay here. \n \n GILLIS \n I'll come early tomorrow. \n \n Norma takes off her glasses. \n \n NORMA \n Nonsense. There's room over the"," That didn't leave much for Wallace \n Reid. \n \n MAX \n He had a great big bungalow on \n wheels. I had the upstairs. See"," is carrying the typewriter. He doesn't accelerate \n his step, although he has heard the shot. Behind \n him Norma comes from the lighted house. \n \n NORMA \n You're not leaving me! \n"," She leans against a post, crying. Gillis comes out \n after her. \n \n GILLIS \n Betty, there's no use running \n out on it. Let's face it, what-"," I like it that way. Maybe it's not \n very admirable. Well, you and Artie \n can be admirable. \n \n BETTY \n Joe, I can't look at you any more."," It's true, it's moving. Now \n why don't you use that character... \n \n GILLIS \n Who wants true? Who wants moving? \n \n BETTY"," Thanks. \n (On second thought) \n How did you know I was going to \n stay, this afternoon? \n \n Max doesn't answer. He walks across to the bed,"," Gillis ascends the stairs. \n \n NORMA \n Thank you, Joe -- thank you, Joe. \n \n She tries to take his hand to kiss it as he passes."," It is a one-room affair with an unmade Murphy bed \n pulled out of the wall at which Gillis sits typing. \n There are a couple of worn-out plush chairs and a \n Spanish-style, wrought-iron standing lamp. Also a"],[" He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," NORMA \n What are you going to do, Joe? \n \n Without a word, he leaves the room. Norma raises \n herself on the bed, reaching for a black negligee"," DE MILLE \n Well, Norma ... \n (He sits down next to her) \n I got hold of Gordon Cole. \n \n Norma hasn't heard a word. \n \n NORMA"," Gordon Cole... Look, Norma, \n I'm in the middle of a rehearsal. \n (Indicating his \n own chair) \n Make yourself comfortable. \n"," During the preceding. Max has entered. He stands \n listening, paralyzed. \n \n NORMA \n That's a lie! They still want me! \n \n GILLIS"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," From the house comes Norma. \n \n NORMA \n Now what is it? Where's the \n fire? \n \n GILLIS \n I've lost my car. \n"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," MAX \n It is not Mr. deMille in person. \n It is someone by the name or Gordon \n Cole. He says it's very important. \n \n NORMA"," NORMA'S VOICE \n Open your eyes. \n \n Gillis opens his eyes. \n \n Norma has equipped herselr with a derby hat, a cane,"," He leaves. \n \n NORMA \n You heard him. I'm a star! \n \n GILLIS \n Norma, grow up. You're a woman"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," Gillis takes two or three pages from Norma's hand- \n written script, crosses them out and puts them to \n one side. \n \n Norma rises, crosses towards Gillis, looks over his \n shoulder. \n"," Gillis seated in the rear. Max is helping Norma \n in and putting the robe over her. \n \n GILLIS \n (Apprehensively) \n How did it go? \n \n NORMA"," Norma reappears in the door, carrying the revolver. \n \n NORMA \n See, you didn't believe me!.. \n Now I suppose you don't think I \n have the courage! \n"],[" MAX \n Mr. Gillis, if you please. \n \n GILLIS \n Right with you. \n \n Max leaves. \n \n ARTIE"," Max is driving. In the were going to the house of \n tonneau sit Norma, in a one of the waxworks for \n chinchilla wrap, and some bridge. She'd taught"," (Calling) \n Max! Max! \n \n GILLIS \n Max is a good idea. He can help \n with my luggage. \n (He gestures in the"," Gillis gets out. From the seat next him he takes a \n batch of script, folds it and puts it in his pocket. \n He suddenly becomes aware that he is watched, turns. \n Max stands in the moonlight, evidently waiting for"," face shielded by an enormous straw hat, her eyes by \n dark glasses. Gillis, in bathing trunks, is on a \n rubber mattress in the pool. Max comes to the \n entrance door. \n \n MAX"," mphasized lack of interest. Finally it winds up \n on Max, behind the buffet. He stands watching Gillis, \n a faint trace of pity in his eyes. \n \n DISSOLVE TO: \n \n"," him. \n \n GILLIS \n What is it, Max? Want to wash \n the car, or are you doing a little \n spying in your off hours? \n \n MAX"," Max is at the phone, in the lower hall. \n \n MAX \n I am sorry, Mr. Gillis. \n I cannot talk now. \n \n \n C-23 GILLIS ON THE PHONE \n"," (To Gillis) \n Sit down. Is there enough light? \n \n GILLIS \n I've got twenty-twenty vision. \n \n Max has entered. \n \n NORMA"," on her forefinger with found out that Max was the \n a clip which holds a only other person in that \n cigarette. She gets up grim Sunset castle, and I \n and forces on Gillis found out a few other things"," Max takes off. \n \n NORMA \n What on earth, darling? It took \n you hours. \n \n GILLIS \n I ran into some people I knew. \n \n NORMA"," MAX \n You did, sir. \n GILLIS' VOICE \n He goes out. Gillis I pegged him as slightly \n looks after him, hangs cuckoo, too. A stroke maybe."," MAX \n She never will. That is my job. \n It has been for a long time. You \n must understand I discovered her \n when she was eighteen. I made her"," and blacked in a small moustache. She goes into a \n little Chaplin routine. While she is doing it, the \n telephone rings. After a moment Max comes to the \n living room door. \n \n MAX"," It is obviously a man's room -- heavy Spanish \n furniture -- one wall nothing but a closet with \n shelves and drawers for shirts and shoes. Max is \n hanging up the suits. Gillis throws the shirts on"," Gillis enters the shot. \n \n \n GILLIS \n I just put my car in the garage. \n I had a blow-out. I thought -- \n \n MAX \n Go on in. \n"," Max is rush1ng up the stairs toward the descending \n Gillis. \n \n GILLIS \n What's the matter, Max? \n \n MAX \n I just found out why all those tele-"," MAX \n Yes, Madame. \n \n He goes into the house. \n \n GILLIS \n (climbing out \n of the water) \n You're really going to send it"," Max is at the wheel, GILLIS' VOICE \n dressed as usual except So Max got that old bus \n for a chauffeurfs cap. down off its blocks and \n polished it up. She'd"," may steal it. \n \n NORMA \n I am not afraid. Read it! \n \n NORMA (Cont'd) \n (Calling) \n Max! Max!"],[" Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," I love you, Joe. I love you, Joe. \n I love you, Joe. I love you, Joe. \n \n There is the sound of footsteps below and the ringing \n of a doorbell. Gillis rises."," ing. I'm all right again. Joe, \n tell me you're not cross -- tell \n me everything is just as it was, \n Joe. \n \n She opens the door. \n \n"," Don't hate me, Joe. I did it because \n I need you. I need you as I never \n needed you. Look at me. Look at my \n hands, look at my face, look under my"," She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," He is driving as fast as he dares, keeping an eye out \n for pursuit in his rear-view mirror. Suddenly his \n right front tire blows out. Gillis clutches desperately \n at the steering wheel and manages to turn the careening"," There is a metallic of the finance company. \n noise as some loose \n change and keys drop \n from the trouser pockets. \n As Gillis bends over to \n pick them up, we see that \n he has dropped the car"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," that got small. \n \n GILLIS \n I knew there was something \n wrong with them. \n \n NORMA \n They're dead. They're finished."," his hair and face wet, the collar of his Vicuna coat \n turned up. Artie stops conducting, but the commer- \n cial goes right on. \n \n ARTIE \n Well, what do you know ! Joe"," The oddity of the situation has caught Gillis' \n imagination. He climbs the stairs with a kind of \n morbid fascination. At the top he stops, undecided, \n then turns to the right and is stopped by \n"," Gillis ascends the stairs. \n \n NORMA \n Thank you, Joe -- thank you, Joe. \n \n She tries to take his hand to kiss it as he passes."," She picks up the shawl to make up her mind about the \n color. From under the shawl flops down a dead arm. \n Gillis stares and recoils a little. It is like a"," drives slowly. His pects. They now added up to \n mind is working. exactly zero. Apparently I \n just didn't have what it takes, \n and the time had come to wrap"," rushes towards the door and out. Betty stands look- \n ing after him, completely bewildered. \n \n DISSOLVE TO: \n \n"," Joe. Is it something awful? \n \n GILLIS \n Come on in, Betty, \n \n Betty enters. As he leads her into the living room, \n Gillis puts his arm around her shoulders. \n"," In a deep freeze. \n \n ARTIE \n I almost reported you to the Bureau \n of Missing Persons. \n (To the company) \n Fans, you all know Joe Gillis, the"," He starts away, but some- GILLIS' VOICE \n thing attracts his atten- There was something \n tion. He turns back and else going on below: \n looks down again. the last rites for"," each eye. She is rubbing lotion on her hands. \n \n She gets up and crosses to the door of Gillis' room \n and opens it a crack. \n \n NORMA \n Joe darling, are you there?"," mphasized lack of interest. Finally it winds up \n on Max, behind the buffet. He stands watching Gillis, \n a faint trace of pity in his eyes. \n \n DISSOLVE TO: \n \n"],[" Cameras? ...What is it, Max? \n \n MAX \n The cameras have arrived, Madame. \n \n NORMA \n They have? Thank you, Max. Tell"," starts to descend the stair- after all, those cam- \n case. The cameras grind. eras. Life, which can \n Everyone watches in awe. be strangely merciful, \n had taken pity on Norma"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," Are the lights ready? \n \n 2ND CAMERA MAN \n All set. \n \n MAX \n Quiet, everybody! Lights! \n Are you ready, Norma? \n"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," E-21 NORMA'S BEDROOM \n Norma lies in bed, dialing a number. She has the \n beauty patches at the corners of her eyes and over \n her nose. \n \n NORMA"," The beam of the lamp moves toward Norma. It hits \n her. She sits bathed in light. A couple of old \n costume extras recognize her. \n \n EXTRAS"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," garage. Max will take you there...Max! \n \n THE CAMERA MOVES GILLIS' VOICE \n TOWARD NORMA'S FACE, She sure could say a lot of"," She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," Norma puts the glass down that's all she wanted \n doesn't find his arn, but to see. \n is not aware of any signifi- \n cance in his maneuver. They \n both watch the screen. \n"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," C-1O THE TOP OF THE STAIRCASE AND CORRIDOR \n \n Norma rushes up the last few steps, down the corridor \n and into her bedroom, banging the door. MOVE THE"," NORMA'S VOICE \n Open your eyes. \n \n Gillis opens his eyes. \n \n Norma has equipped herselr with a derby hat, a cane,"," Norma is examining her face in the mirror of her \n vanity. Max, while driving, sees her in the rear \n view mirror. \n \n MAX \n If you will pardon me, Madame."," Are the lights ready? \n \n From the stairway comes a murnur. They look up. \n \n Norma has emerged from the bedroom and comes to the \n head of the stairs. There are golden spangles in"," Norma reappears in the door, carrying the revolver. \n \n NORMA \n See, you didn't believe me!.. \n Now I suppose you don't think I \n have the courage! \n"],[" In a deep freeze. \n \n ARTIE \n I almost reported you to the Bureau \n of Missing Persons. \n (To the company) \n Fans, you all know Joe Gillis, the"," yes men at Twentieth. To me \n they said no. Finally I \n located that agent of mine, the \n big faker. Was he out digging \n up a job for poor Joe Gillis?"," THE CAMERA SLOWLY DRAWS BACK to include Norma \n Desmond sitting in the dusk, just as she was before. \n Gillis puts down a batch of script. There is a \n little pause. \n"," is C.B. himself. He is rehearsing a scene with \n Hedy Lamarr. \n \n 1ST ASSISTANT \n Norma Desmond is coming in to \n see you, Mr. deMille. \n"," Gillis looks around. \n \n On the couch by the fireplace reclines Norma Desmond, \n dressed in a negligee. She rises. \n \n NORMA \n I don't know why you should be"," starring Norma Desmond...Home, Max. \n \n MAX \n Yes, Miss Desmond. \n \n As he says the words, he and Gillis exchange a glance \n in the rear view mirror. \n"," Her own movie theatre. \n \n BETTY \n I didn't come here to see a house. \n What about Norma Desmond? \n \n GILLIS"," WOMAN'S VOICE \n This way! \n \n Gillis swings around. \n \n Norma Desmond stands down the corridor next to a \n doorway from which emerges a flickering light. She"," She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," the door. Two men wearing hats stand outside one of \n them carrying a briefcase. \n \n NO. 1 \n Joseph C. Gillis? \n \n GILLIS \n That's right. \n"," I love you, Joe. I love you, Joe. \n I love you, Joe. I love you, Joe. \n \n There is the sound of footsteps below and the ringing \n of a doorbell. Gillis rises."," remember the face, you must have \n heard the name of Norma Desmond. \n \n BETTY \n That was Norma Desmond on the phone? \n \n GILLIS"," Gillis enters. \n \n \n A-31 INT. NORMA DESMOND'S ENTRANCE HALL \n \n It is grandiose and grim. The whole place is one of"," D-1 INT. HALLWAY, NORMA GILLIS' VOICE \n DESMOND'S HOUSE (DAY) Around the middle of May \n some incidents happened \n The telephone is heard which I think I should tell"," each eye. She is rubbing lotion on her hands. \n \n She gets up and crosses to the door of Gillis' room \n and opens it a crack. \n \n NORMA \n Joe darling, are you there?"," I am! Now get off, this is more \n important ... Times City Desk? \n Hedda Hopper speaking. I'm talking \n from the bedroom of Norma Desmond."," a gigantic fireplace has been freezing for years. \n On the gold piano is a galaxy of photographs of \n Norma Desmond in her various roles. On one wall \n is a painting -- a California Gold Rush scene,"," For the first time. Norma really looks at him \n through her dark glasses. \n \n GILLIS \n I had some trouble with my car. \n Flat tire. I pulled into your"," floor, where we look my touch. Maybe they \n in on JOE GILLIS' APART- weren't original \n MENT. Joe Gillis, bare- enough. Maybe they"],[" SHELDRAKE \n (To the secretary) \n Get the Readers' Department and \n see what they have on Bases Loaded. \n \n The secretary exits. Sheldrake takes a pill and"," piles or scripts, a few pipes and, somewhere in the \n background, some set models. \n \n Start on Sheldrake. He is about 45. Behind his wor-"," them on Sheldrake's desk, not noticing Gillis, who \n stands near the door. \n \n BETTY \n Hello, Mr. Sheldrake. On that Bases"," Goodbye, Mr. Sheldrake. \n \n DISSOLVE TO: \n \n \n A-12 EXT. SCHWAB'S DRUG STORE"," the towering main gate of advantage of it. His \n Paramount. A few loafers, name was Sheldrake. He \n studio cops and extras are was a smart producer,"," stars, with dedications to Mr. Sheldrake. Also a \n couple of framed critics' awards certificates, and an \n Oscar on a bookshelf. A shooting schedule chart is \n thumb-tacked into a large bulletin board. There are"," This is on the level. Sheldrake \n really went for it. \n \n GILLIS \n O.K. Where's the cash? \n \n BETTY"," GILLIS \n Is that so? What's the wonderful \n news? \n \n BETTY \n Sheldrake likes that angle about \n the teacher. \n \n GILLIS"," SHELDRAKE \n No, that was me. I said, Who \n wants to see a Civil War picture? \n \n BETTY \n Perhaps the reason I hated Bases"," Sheldrake. \n \n SHELDRAKE \n Got a title? \n \n GILLIS \n Bases Loaded. There's a 4O-page \n outline. \n"," lounging there. with a set of ulcers to \n prove it. \n \n DISSOLVE TO: \n \n A-11 SHELDRAKE'S OFFICE \n"," Gillis looks at her a little puzzled. \n \n BETTY \n Let me help you. Betty Schaeter, \n Sheldrake's office. \n \n GILLIS"," Dialogue. \n \n SHELDRAKE \n There's nothing, Gillis. Not \n even if you were a relative. \n \n GILLIS \n (Hating it)"," GILLIS \n Frankly, no. \n \n SHELDRAKE \n (Amusing himself) \n Now wait a minute. If we made \n it a girls' softball team, put"," GILLIS \n Along is no good. I need it now. \n \n SHELDRAKE \n Haven't got a thing. \n \n GILLIS \n Any kind of assignment. Additional"," Loaded. I covered it with a 2-page \n synopsis. \n (She holds it out) \n But I wouldn't bother. \n \n SHELDRAKE"," ried face there hides a coated tongue. He is en- \n gaged in changing the stained rilter cigarette in \n his Zeus holder. \n \n SHELDRAKE"," I'm all out of laughs. I'm over a \n barrel and I need a job. \n \n SHELDRAKE \n Sure, Gillis. If something should \n come along - \n"," Betty turns towards Gillis, embarrassed. \n \n SHELDRAKE \n This is Miss Kramer. \n \n BETTY \n Schaefer. Betty Schaefer. And"," Look, Mr. Sheldrake, could you \n let me have three hundred bucks \n yourself, as a personal loan? \n \n SHELDRAKE \n Could I? Gillis, last year some-"],[" The beam of the lamp moves toward Norma. It hits \n her. She sits bathed in light. A couple of old \n costume extras recognize her. \n \n EXTRAS"," It sure would have made attractive \n headlines: Great Star Kills Her- \n self for Unknown Writer. \n \n NORMA \n Great stars have great pride. \n"," NORMA \n (Impatiently) \n Well? \n \n GILLIS \n This is fascinating. \n \n NORMA \n Of course it is. \n"," He leaves. \n \n NORMA \n You heard him. I'm a star! \n \n GILLIS \n Norma, grow up. You're a woman"," Meanwhile, Norma starts to sit, sees the name \n MISS LAMARR on the chair and with a look of \n distaste changes and sits on the one marked \n C.B. DE MILLE. From somewhere comes \n"," Madame is wanted on the telephone. \n \n NORMA \n You know better than to interrupt me. \n \n MAX \n Paramount is calling. \n \n NORMA \n Who? \n"," And you'll play Salome? \n \n NORMA \n Who else ? \n \n GILLIS \n Only asking. I did't know \n you were planning a comeback. \n"," Norma is examining her face in the mirror of her \n vanity. Max, while driving, sees her in the rear \n view mirror. \n \n MAX \n If you will pardon me, Madame."," NORMA \n (From the top of the \n stairs) \n What is the scene? Where am I? \n \n MAX \n This is the staircase of the palace. \n \n NORMA"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," NORMA \n This is to be a very important \n picture. I have written it \n myself. Took me years. \n \n GILLIS \n (Looking at the piles"," NORMA \n I can't go on with the scene. \n I'm too happy. Do you mind, \n Mr. DeMille, if I say a few words? \n Thank you. I just want to tell"," NORMA \n Hello, Mr. deMille. \n \n She has reached him. They embrace. \n \n NORMA \n Last time I saw you was someplace"," Norma, I want to apologize for \n not calling you. \n \n NORMA \n You'd better. I'm very angry. \n \n DE MILLE"," Norma looks at him, tears in her eyes. Slowly she \n enfolds him in her bandaged arms. \n \n NORMA \n Happy New Year. darling. \n \n She kisses him. \n"," NORMA \n This is a rock. \n \n She climbs on it, pantomimes timidity, an attempted \n dive, then jumps off. \n \n Gillis lolls on a couch, watching the performance,"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," Her own movie theatre. \n \n BETTY \n I didn't come here to see a house. \n What about Norma Desmond? \n \n GILLIS"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," is old-fashioned, but shows her incredible beauty \n and the screen presence which made her the great star \n of her day. \n \n B-14 NORMA AND GILLIS ON THE COUCH \n \n NORMA"],[" Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," in. Norma stands staring, speechless, for a second. \n Gillis moves out of the shot towards the closets. \n \n NORMA \n What are you doing, Joe? What"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," NORMA \n What are you going to do, Joe? \n \n Without a word, he leaves the room. Norma raises \n herself on the bed, reaching for a black negligee"," I'm locked up in this house? \n \n NORMA \n Of course not, Joe. It's just \n that I don't want to be left alone. \n Not now, while I'm under this"," You can stay here. \n \n GILLIS \n I'll come early tomorrow. \n \n Norma takes off her glasses. \n \n NORMA \n Nonsense. There's room over the"," Down the staircase rushes Norma. a disordered wild- \n ness in the way she moves. \n \n NORMA \n You're not leaving me! \n \n She hurries after Gillis. \n \n"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," From the house comes Norma. \n \n NORMA \n Now what is it? Where's the \n fire? \n \n GILLIS \n I've lost my car. \n"," During the preceding. Max has entered. He stands \n listening, paralyzed. \n \n NORMA \n That's a lie! They still want me! \n \n GILLIS"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," Gillis ascends the stairs. \n \n NORMA \n Thank you, Joe -- thank you, Joe. \n \n She tries to take his hand to kiss it as he passes."," Her own movie theatre. \n \n BETTY \n I didn't come here to see a house. \n What about Norma Desmond? \n \n GILLIS"," each eye. She is rubbing lotion on her hands. \n \n She gets up and crosses to the door of Gillis' room \n and opens it a crack. \n \n NORMA \n Joe darling, are you there?"," NORMA \n (Impatiently) \n Well? \n \n GILLIS \n This is fascinating. \n \n NORMA \n Of course it is. \n"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"," second. Then he slowly moves to the toot of the bed. \n He takes the shoes from her feet and puts them on \n the floor. \n \n NORMA \n Go away. \n \n GILLIS"," Norma looks at him, tears in her eyes. Slowly she \n enfolds him in her bandaged arms. \n \n NORMA \n Happy New Year. darling. \n \n She kisses him. \n"],[" NORMA \n Wait a minute. I want you to get \n out the car. You're going to \n take the script over to Paramount \n and deliver it to Mr. De Mille in \n person."," Norma Desmond is coming to see \n Mr. deMille. \n \n The second assistant walks (CAMERA WITH HIM) \n to the first assistant. \n \n 2nd ASSISTANT"," DEMILLE \n That's what I want to talk to you about. \n \n NORMA \n It's a good script, isn't it? \n \n DEMILLE"," NORMA \n Hello, Mr. deMille. \n \n She has reached him. They embrace. \n \n NORMA \n Last time I saw you was someplace"," The first assistant is holding it open. In the door- \n way stands Mr. deMille. Seeing Norma, he stretches \n out his arms. \n \n DE MILLE \n Hello, young fellow. \n"," He leads her into \n \n \n D-13 STAGE 18 \n \n During the ensuing dialogue, Mr. deMille walks Norma \n towards the set. \n \n DE MILLE"," is C.B. himself. He is rehearsing a scene with \n Hedy Lamarr. \n \n 1ST ASSISTANT \n Norma Desmond is coming in to \n see you, Mr. deMille. \n"," Maybe deMille is shooting. \n \n NORMA \n I know that trick! He wants to \n belittle me. He's trying to get \n my price down. I've waited"," The studio wanted to rent your car. \n \n NORMA \n Wanted what? \n \n GILLIS \n De Mille didn't have the heart \n to tell you. None of us has had"," Meanwhile, Norma starts to sit, sees the name \n MISS LAMARR on the chair and with a look of \n distaste changes and sits on the one marked \n C.B. DE MILLE. From somewhere comes \n"," Norma Desmond coming in to \n see Mr. deMille. \n \n The first assistant (CAMERA WITH HIM) hurries \n to the set. Sitting with his back toward us"," to De Mille? \n \n NORMA \n This is the right day. \n \n She indicates a typewritten letter she is holding. \n \n NORMA (Cont'd)"," Suddenly he realizes that she is crying. She takes \n the handkerchief from his pocket and puts it over her \n eyes. \n \n DEMILLE \n What's the matter, Norma? \n"," No, they don't. \n \n NORMA \n What about the studio? \n What about De Mille? \n \n GILLIS \n He was trying to spare your feelings."," MAX \n It is not Mr. deMille in person. \n It is someone by the name or Gordon \n Cole. He says it's very important. \n \n NORMA"," MAX \n Paramount studios. \n \n NORMA \n (To Gillis) \n Now, now do you belive me? I told \n you deMille would jump at it. \n"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," We're ready with the shot, Mr. deMille. \n \n DEMILLE \n You'll pardon me, Norma? Why \n don't you just sit and watch?"," I'm pretty busy, as you can see... \n \n NORMA \n That's no excuse. You read the \n script, didn't you? \n \n DE MILLE"," To see Mr. de Mille. Open the gate. \n \n YOUNG POLICEMAN \n Mr. deMille is shooting. You \n got an appointment? \n \n MAX"],[" (To Gillis) \n Sit down. Is there enough light? \n \n GILLIS \n I've got twenty-twenty vision. \n \n Max has entered. \n \n NORMA"," Norma is examining her face in the mirror of her \n vanity. Max, while driving, sees her in the rear \n view mirror. \n \n MAX \n If you will pardon me, Madame."," During the preceding. Max has entered. He stands \n listening, paralyzed. \n \n NORMA \n That's a lie! They still want me! \n \n GILLIS"," Max is driving. In the were going to the house of \n tonneau sit Norma, in a one of the waxworks for \n chinchilla wrap, and some bridge. She'd taught"," may steal it. \n \n NORMA \n I am not afraid. Read it! \n \n NORMA (Cont'd) \n (Calling) \n Max! Max!"," Max takes off. \n \n NORMA \n What on earth, darling? It took \n you hours. \n \n GILLIS \n I ran into some people I knew. \n \n NORMA"," NORMA \n (From the top of the \n stairs) \n What is the scene? Where am I? \n \n MAX \n This is the staircase of the palace. \n \n NORMA"," Gillis seated in the rear. Max is helping Norma \n in and putting the robe over her. \n \n GILLIS \n (Apprehensively) \n How did it go? \n \n NORMA"," Madame is wanted on the telephone. \n \n NORMA \n You know better than to interrupt me. \n \n MAX \n Paramount is calling. \n \n NORMA \n Who? \n"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," MAX \n It is not Mr. deMille in person. \n It is someone by the name or Gordon \n Cole. He says it's very important. \n \n NORMA"," NORMA \n Why begrudge me a little fun? \n I just want you to look nice, \n my stray little boy. \n \n By this time Max has made a U-turn. \n"," D-11 EXT. STAGE 18 \n \n Norma's limousine drives up. Max dismounts \n and opens the door. \n \n NORMA \n (taking Gillis's hand)"," Bring something to drink. \n \n MAX \n Yes. Madame. \n \n He leaves. Norma turns to Gillis again. \n \n NORMA \n I said sit down. \n"," NORMA \n That isn't true! Max? \n \n MAX \n Madame is the greatest star of \n them all... I will take Mr. \n Gillis' bags. \n"," starring Norma Desmond...Home, Max. \n \n MAX \n Yes, Miss Desmond. \n \n As he says the words, he and Gillis exchange a glance \n in the rear view mirror. \n"," (To Max) \n Go on, unpack Mr. Gillis' things. \n \n GILLIS \n Unpack nothing. I didn't say \n I was staying. \n \n NORMA"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," garage. Max will take you there...Max! \n \n THE CAMERA MOVES GILLIS' VOICE \n TOWARD NORMA'S FACE, She sure could say a lot of"," They reach the buffet. Max is ready with two \n glasses of champagne. Norma hands Gillis a glass. \n \n NORMA \n Here's to us. \n \n They drink. \n"],[" Fair enough. \n \n NORMA \n Salome -- what a woman! What a \n part! The Princess in love with \n a Holy man. She dances the Dance"," after \"Salome\" we'll make another \n picture, and another and another. \n You see, this is my life. It always \n will be. There's nothing else - \n just us and the cameras and those"," to outfox him a litt1e. This isn't \n going to be C. B. deMille's Salome. \n It's going to be Norma Desmond's \n Salome, a Norma Desmond Production,"," And you'll play Salome? \n \n NORMA \n Who else ? \n \n GILLIS \n Only asking. I did't know \n you were planning a comeback. \n"," of the Seven Veils. He rejects \n her, so she demands his head on a \n golden tray, kissing his cold, dead \n lips. \n \n GILLIS"," of script) \n Looks like enough for six impor- \n tant pictures. \n \n NORMA \n It's the story or Salome. I \n think I'll have DeMille direct it."," is a little woman. There is a curious style, a \n great sense of high voltage about her. She is dress- \n ed in black house pyjamas and black high-heeled"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," IN HER BEDROOM \n \n It is nine o'clock in the evening. She is in night \n gown and negligee and has put triangular patches on \n the saddle of her nose and at the outer corner of"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," sole, pulls herself up by it, starts towards Gillis' \n door, passes a mirror, realizes how she looks, moves \n back to the mirror and takes the patches off her \n face and does a hasty job of removing the cream with"," Eve. \n (to a salesman) \n Where are your evening clothes? \n \n SALESMAN \n This way, Madame. \n \n He leads her off. The other salesman arrives with a"," NORMA \n This is a rock. \n \n She climbs on it, pantomimes timidity, an attempted \n dive, then jumps off. \n \n Gillis lolls on a couch, watching the performance,"," D-10 STAGE 18 \n \n A scene from SAMPSON AND DELILAH is being rehearsed \n in the background. The usual turbulent activity \n surrounds it: extras. makeup men, grips,"," in the cellar. It's lonely here, \n so she got herself a companion. \n A very simple set-up: An older \n woman who is well-to-do. A younger"," a glass of champagne. She is wearing a diamonte \n evening dress. very high style. with long black \n gloves and a headdress of paradise feathers. Her \n eyes fall on Gillis. She puts down the glass of"," There is compulsion in her voice. \n \n Gillis looks at her GILLIS' VOICE \n and starts slowly Well. I had no pressing \n reading. engagement, and she'd men-"," She picks up the shawl to make up her mind about the \n color. From under the shawl flops down a dead arm. \n Gillis stares and recoils a little. It is like a"," Hers. \n \n BETTY \n Whose? \n \n GILLIS \n Just look around. There's a lot \n of her spread about. If you don't"," ing. On the massage table before it lies a small \n form shrouded under a Spanish shawl. At each end on \n a baroque pedestal stands a three-branched cande- \n labrum, the candles lighted."],[" Norma reappears in the door, carrying the revolver. \n \n NORMA \n See, you didn't believe me!.. \n Now I suppose you don't think I \n have the courage! \n"," She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," GILLIS \n That's between you and yourself, \n Norma. \n \n NORMA \n You think I made that up about \n the gun... \n"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," From the house comes Norma. \n \n NORMA \n Now what is it? Where's the \n fire? \n \n GILLIS \n I've lost my car. \n"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," is carrying the typewriter. He doesn't accelerate \n his step, although he has heard the shot. Behind \n him Norma comes from the lighted house. \n \n NORMA \n You're not leaving me! \n"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," in. Norma stands staring, speechless, for a second. \n Gillis moves out of the shot towards the closets. \n \n NORMA \n What are you doing, Joe? What"," Norma looks at him, tears in her eyes. Slowly she \n enfolds him in her bandaged arms. \n \n NORMA \n Happy New Year. darling. \n \n She kisses him. \n"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," Down the staircase rushes Norma. a disordered wild- \n ness in the way she moves. \n \n NORMA \n You're not leaving me! \n \n She hurries after Gillis. \n \n"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"," me anything more. \n \n NORMA \n Don't be silly. \n (She reaches under a \n pillow of the couch \n and brings out a \n leather box)"," Gillis seated in the rear. Max is helping Norma \n in and putting the robe over her. \n \n GILLIS \n (Apprehensively) \n How did it go? \n \n NORMA"," She puts one bandaged forearm over her eyes, sobbing. \n Gillis walks slowly over to the mantelpiece, stands \n there for awhile. \n \n NORMA \n Go away. Go to that girl of yours. \n"," NORMA'S VOICE \n Open your eyes. \n \n Gillis opens his eyes. \n \n Norma has equipped herselr with a derby hat, a cane,"],[" She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," in. Norma stands staring, speechless, for a second. \n Gillis moves out of the shot towards the closets. \n \n NORMA \n What are you doing, Joe? What"," NORMA \n What are you going to do, Joe? \n \n Without a word, he leaves the room. Norma raises \n herself on the bed, reaching for a black negligee"," Norma reappears in the door, carrying the revolver. \n \n NORMA \n See, you didn't believe me!.. \n Now I suppose you don't think I \n have the courage! \n"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," is carrying the typewriter. He doesn't accelerate \n his step, although he has heard the shot. Behind \n him Norma comes from the lighted house. \n \n NORMA \n You're not leaving me! \n"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," Norma looks at him, tears in her eyes. Slowly she \n enfolds him in her bandaged arms. \n \n NORMA \n Happy New Year. darling. \n \n She kisses him. \n"," Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," GILLIS \n That's between you and yourself, \n Norma. \n \n NORMA \n You think I made that up about \n the gun... \n"," C-32 INT. NORMA'S ROOM \n \n Gillis still stands. Norma lies on the bed, arms \n over her eyes, sobbing. \n \n GILLIS \n Happy New Year. \n"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," Gillis ascends the stairs. \n \n NORMA \n Thank you, Joe -- thank you, Joe. \n \n She tries to take his hand to kiss it as he passes."," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," I'm locked up in this house? \n \n NORMA \n Of course not, Joe. It's just \n that I don't want to be left alone. \n Not now, while I'm under this"," During the preceding. Max has entered. He stands \n listening, paralyzed. \n \n NORMA \n That's a lie! They still want me! \n \n GILLIS"," each eye. She is rubbing lotion on her hands. \n \n She gets up and crosses to the door of Gillis' room \n and opens it a crack. \n \n NORMA \n Joe darling, are you there?"],[" Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," starts to descend the stair- after all, those cam- \n case. The cameras grind. eras. Life, which can \n Everyone watches in awe. be strangely merciful, \n had taken pity on Norma"," The beam of the lamp moves toward Norma. It hits \n her. She sits bathed in light. A couple of old \n costume extras recognize her. \n \n EXTRAS"," She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," THE CAMERA SLOWLY DRAWS BACK to include Norma \n Desmond sitting in the dusk, just as she was before. \n Gillis puts down a batch of script. There is a \n little pause. \n"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," Cameras? ...What is it, Max? \n \n MAX \n The cameras have arrived, Madame. \n \n NORMA \n They have? Thank you, Max. Tell"," goes to wall phone beside the gate, dials a number. \n \n OLD POLICEMAN \n (Into phone) \n Norma Desmond coming in to \n see Mr. deMille. \n"," Are the lights ready? \n \n 2ND CAMERA MAN \n All set. \n \n MAX \n Quiet, everybody! Lights! \n Are you ready, Norma? \n"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," a state of complete mental shock ... \n \n THE CAMERA PANS TO ANOTHER PART OF THE BEDROOM, where \n Norma sits at a mirror, staring at herself blankly."," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," garage. Max will take you there...Max! \n \n THE CAMERA MOVES GILLIS' VOICE \n TOWARD NORMA'S FACE, She sure could say a lot of"," HEAD OF HOMICIDE \n Tell them to go fly a kite. This \n is no time for cameras. \n \n A word has pierced the mists that surround Norma. \n \n NORMA"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," From the house comes Norma. \n \n NORMA \n Now what is it? Where's the \n fire? \n \n GILLIS \n I've lost my car. \n"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," Suddenly he realizes that she is crying. She takes \n the handkerchief from his pocket and puts it over her \n eyes. \n \n DEMILLE \n What's the matter, Norma? \n"," a gigantic fireplace has been freezing for years. \n On the gold piano is a galaxy of photographs of \n Norma Desmond in her various roles. On one wall \n is a painting -- a California Gold Rush scene,"],[" Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," NORMA'S VOICE \n Open your eyes. \n \n Gillis opens his eyes. \n \n Norma has equipped herselr with a derby hat, a cane,"," NORMA \n (Impatiently) \n Well? \n \n GILLIS \n This is fascinating. \n \n NORMA \n Of course it is. \n"," Norma looks at him, tears in her eyes. Slowly she \n enfolds him in her bandaged arms. \n \n NORMA \n Happy New Year. darling. \n \n She kisses him. \n"," Down the staircase rushes Norma. a disordered wild- \n ness in the way she moves. \n \n NORMA \n You're not leaving me! \n \n She hurries after Gillis. \n \n"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"," During the preceding. Max has entered. He stands \n listening, paralyzed. \n \n NORMA \n That's a lie! They still want me! \n \n GILLIS"," Gillis enters. \n \n \n A-31 INT. NORMA DESMOND'S ENTRANCE HALL \n \n It is grandiose and grim. The whole place is one of"," (To Gillis) \n Sit down. Is there enough light? \n \n GILLIS \n I've got twenty-twenty vision. \n \n Max has entered. \n \n NORMA"," From the house comes Norma. \n \n NORMA \n Now what is it? Where's the \n fire? \n \n GILLIS \n I've lost my car. \n"," Gillis seated in the rear. Max is helping Norma \n in and putting the robe over her. \n \n GILLIS \n (Apprehensively) \n How did it go? \n \n NORMA"," He leaves. \n \n NORMA \n You heard him. I'm a star! \n \n GILLIS \n Norma, grow up. You're a woman"," Gillis doesn't answer. Norma slaps his face and \n rushes from the room and upstairs. \n \n Gillis stands paralyzed, the slap burning his cheek. \n \n"," Gillis takes two or three pages from Norma's hand- \n written script, crosses them out and puts them to \n one side. \n \n Norma rises, crosses towards Gillis, looks over his \n shoulder. \n"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," NORMA \n Good night, my darling. \n \n She goes into her room, shutting the door behind her. \n \n Gillis puts his book down and looks at her door. \n \n"],[" He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," Gillis takes two or three pages from Norma's hand- \n written script, crosses them out and puts them to \n one side. \n \n Norma rises, crosses towards Gillis, looks over his \n shoulder. \n"," the heart. \n \n NORMA \n That's a lie! They want me, they \n want me! I get letters every day! \n \n GILLIS"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," Yes, Norma. \n \n Through the slit in the door there is a suggestion \n of Norma. \n \n NORMA \n Don't turn around. Keep your \n eyes on the book. \n"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"," NORMA \n What are you going to do, Joe? \n \n Without a word, he leaves the room. Norma raises \n herself on the bed, reaching for a black negligee"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," From Norma's room comes the sound of a telephone \n being dialled. Gillis enters the shot and stands \n listening. \n \n NORMA'S VOICE \n Is this Gladstone 0858? \n"," C-32 INT. NORMA'S ROOM \n \n Gillis still stands. Norma lies on the bed, arms \n over her eyes, sobbing. \n \n GILLIS \n Happy New Year. \n"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," The beam of the lamp moves toward Norma. It hits \n her. She sits bathed in light. A couple of old \n costume extras recognize her. \n \n EXTRAS"," you. \n \n She puts the towel around his sholders and starts \n drying him. \n \n GILLIS \n I hope you realize, Norma, \n that scripts don't sell on"," Honestly, it's a little old hat. \n They don't want that any more. \n \n NORMA \n They don't? Then why do they still \n write me fan letters every day."," Meanwhile, Norma starts to sit, sees the name \n MISS LAMARR on the chair and with a look of \n distaste changes and sits on the one marked \n C.B. DE MILLE. From somewhere comes \n"," You're a writer, you said. \n \n GILLIS \n Why? \n \n Norma starts down the stairs. \n \n NORMA \n Are you or aren't you? \n"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"],[" yes men at Twentieth. To me \n they said no. Finally I \n located that agent of mine, the \n big faker. Was he out digging \n up a job for poor Joe Gillis?"," In a deep freeze. \n \n ARTIE \n I almost reported you to the Bureau \n of Missing Persons. \n (To the company) \n Fans, you all know Joe Gillis, the"," the door. Two men wearing hats stand outside one of \n them carrying a briefcase. \n \n NO. 1 \n Joseph C. Gillis? \n \n GILLIS \n That's right. \n"," I love you, Joe. I love you, Joe. \n I love you, Joe. I love you, Joe. \n \n There is the sound of footsteps below and the ringing \n of a doorbell. Gillis rises."," THE CAMERA SLOWLY DRAWS BACK to include Norma \n Desmond sitting in the dusk, just as she was before. \n Gillis puts down a batch of script. There is a \n little pause. \n"," GILLIS \n The name is Gillis. I'm single. \n \n NORMA \n Where do you live? \n \n GILLIS \n Hollywood. The Alto Nido Apart-"," Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," There is a metallic of the finance company. \n noise as some loose \n change and keys drop \n from the trouser pockets. \n As Gillis bends over to \n pick them up, we see that \n he has dropped the car"," Her own movie theatre. \n \n BETTY \n I didn't come here to see a house. \n What about Norma Desmond? \n \n GILLIS"," It is a one-room affair with an unmade Murphy bed \n pulled out of the wall at which Gillis sits typing. \n There are a couple of worn-out plush chairs and a \n Spanish-style, wrought-iron standing lamp. Also a"," Gillis looks around. \n \n On the couch by the fireplace reclines Norma Desmond, \n dressed in a negligee. She rises. \n \n NORMA \n I don't know why you should be"," The car drives up and Gillis hurries into the store. \n \n \n D-4 INT. SCHWAB'S DRUGSTORE \n Business is still rather lively. There are about a"," Gillis enters. \n \n \n A-31 INT. NORMA DESMOND'S ENTRANCE HALL \n \n It is grandiose and grim. The whole place is one of"," Gillis gets out. From the seat next him he takes a \n batch of script, folds it and puts it in his pocket. \n He suddenly becomes aware that he is watched, turns. \n Max stands in the moonlight, evidently waiting for"," is C.B. himself. He is rehearsing a scene with \n Hedy Lamarr. \n \n 1ST ASSISTANT \n Norma Desmond is coming in to \n see you, Mr. deMille. \n"," Joe. Is it something awful? \n \n GILLIS \n Come on in, Betty, \n \n Betty enters. As he leads her into the living room, \n Gillis puts his arm around her shoulders. \n"," You're a writer, you said. \n \n GILLIS \n Why? \n \n Norma starts down the stairs. \n \n NORMA \n Are you or aren't you? \n"," He walks toward the exit. He is stopped by the \n voice of \n \n SKOLSKY \n Hello, Gillis. \n \n Gillis looks around. At the fountain sits Skolsky,"," floor, where we look my touch. Maybe they \n in on JOE GILLIS' APART- weren't original \n MENT. Joe Gillis, bare- enough. Maybe they"," Gillis ascends the stairs. \n \n NORMA \n Thank you, Joe -- thank you, Joe. \n \n She tries to take his hand to kiss it as he passes."],[" here? \n \n NORMA \n Who? \n \n GILLIS \n The other guests? \n \n NORMA \n There are no other guests. We"," Norma continues to sob. Gillis goes to the bed, \n puts his arms on her shoulders and turns her around. \n \n GILLIS \n Happy New Year. \n"," Norma looks at him, tears in her eyes. Slowly she \n enfolds him in her bandaged arms. \n \n NORMA \n Happy New Year. darling. \n \n She kisses him. \n"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," The beam of the lamp moves toward Norma. It hits \n her. She sits bathed in light. A couple of old \n costume extras recognize her. \n \n EXTRAS"," They reach the buffet. Max is ready with two \n glasses of champagne. Norma hands Gillis a glass. \n \n NORMA \n Here's to us. \n \n They drink. \n"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," by about a dozen people who have come up to pay court. \n DeMille gestures up to Hog-eye and the light shifts \n away. The people about Norma disperse slowly with \n various ad-libs. \n"," (To Gillis) \n Sit down. Is there enough light? \n \n GILLIS \n I've got twenty-twenty vision. \n \n Max has entered. \n \n NORMA"," C-32 INT. NORMA'S ROOM \n \n Gillis still stands. Norma lies on the bed, arms \n over her eyes, sobbing. \n \n GILLIS \n Happy New Year. \n"," Are the lights ready? \n \n From the stairway comes a murnur. They look up. \n \n Norma has emerged from the bedroom and comes to the \n head of the stairs. There are golden spangles in"," You can stay here. \n \n GILLIS \n I'll come early tomorrow. \n \n Norma takes off her glasses. \n \n NORMA \n Nonsense. There's room over the"," caviar on ice. In one corner \n on a little platform banked \n with palms. a four-piece \n orchestra is playing. \n \n At the buffet are Max and Norma. She is drinking"," gotten Madame's New Year's party. \n \n GILLIS \n No, I haven't. I suppose all \n the waxworks are coming? \n \n MAX"," a gigantic fireplace has been freezing for years. \n On the gold piano is a galaxy of photographs of \n Norma Desmond in her various roles. On one wall \n is a painting -- a California Gold Rush scene,"," During the preceding. Max has entered. He stands \n listening, paralyzed. \n \n NORMA \n That's a lie! They still want me! \n \n GILLIS"," Meanwhile, Norma starts to sit, sees the name \n MISS LAMARR on the chair and with a look of \n distaste changes and sits on the one marked \n C.B. DE MILLE. From somewhere comes \n"," Gillis seated in the rear. Max is helping Norma \n in and putting the robe over her. \n \n GILLIS \n (Apprehensively) \n How did it go? \n \n NORMA"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"],[" From the house comes Norma. \n \n NORMA \n Now what is it? Where's the \n fire? \n \n GILLIS \n I've lost my car. \n"," Max is driving. In the were going to the house of \n tonneau sit Norma, in a one of the waxworks for \n chinchilla wrap, and some bridge. She'd taught"," It is a sunny day. The garden is in somewhat better \n shape. The old house looks less unkept. The pool \n is filled. Norma sits on a wicker chaise longue, her"," ments. \n \n NORMA \n There's something wrong with \n your car, you said. \n \n GILLIS \n There sure is. \n \n NORMA"," Norma is examining her face in the mirror of her \n vanity. Max, while driving, sees her in the rear \n view mirror. \n \n MAX \n If you will pardon me, Madame."," The beam of the lamp moves toward Norma. It hits \n her. She sits bathed in light. A couple of old \n costume extras recognize her. \n \n EXTRAS"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," No, I'll be all right. \n \n She shuts the door of the car and goes up the steps. \n \n \n E-30 NORMA'S BEDROOM \n"," For the first time. Norma really looks at him \n through her dark glasses. \n \n GILLIS \n I had some trouble with my car. \n Flat tire. I pulled into your"," She rushes into her room. Gillis closes the suitcase \n calmly, notices that he is still wearing some cuff- \n links Norma gave him, takes them off. \n"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," Gillis seated in the rear. Max is helping Norma \n in and putting the robe over her. \n \n GILLIS \n (Apprehensively) \n How did it go? \n \n NORMA"," garage. Max will take you there...Max! \n \n THE CAMERA MOVES GILLIS' VOICE \n TOWARD NORMA'S FACE, She sure could say a lot of"," She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," to this house. That's why I took \n this job -- ghost writing! \n \n NORMA \n Now you're being silly. We don't \n need two cars. We have a car. And"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"," take me for rides in the \n B-22 INSIDE THE CAR hills above Sunset. \n \n Gillis sits beside Norma, The whole thing was up-"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"],[" him. \n \n GILLIS \n What is it, Max? Want to wash \n the car, or are you doing a little \n spying in your off hours? \n \n MAX"," mphasized lack of interest. Finally it winds up \n on Max, behind the buffet. He stands watching Gillis, \n a faint trace of pity in his eyes. \n \n DISSOLVE TO: \n \n"," Gillis gets out. From the seat next him he takes a \n batch of script, folds it and puts it in his pocket. \n He suddenly becomes aware that he is watched, turns. \n Max stands in the moonlight, evidently waiting for"," It is obviously a man's room -- heavy Spanish \n furniture -- one wall nothing but a closet with \n shelves and drawers for shirts and shoes. Max is \n hanging up the suits. Gillis throws the shirts on"," the lights. Max exits in, \n the direction of the liv- used to sneak out on the \n ing room. \n folks to see a gangster \n After a moment Gillis starts"," on her forefinger with found out that Max was the \n a clip which holds a only other person in that \n cigarette. She gets up grim Sunset castle, and I \n and forces on Gillis found out a few other things"," MAX \n Mr. Gillis, if you please. \n \n GILLIS \n Right with you. \n \n Max leaves. \n \n ARTIE"," I love you, Joe. I love you, Joe. \n I love you, Joe. I love you, Joe. \n \n There is the sound of footsteps below and the ringing \n of a doorbell. Gillis rises."," MAX \n You did, sir. \n GILLIS' VOICE \n He goes out. Gillis I pegged him as slightly \n looks after him, hangs cuckoo, too. A stroke maybe."," Max is rush1ng up the stairs toward the descending \n Gillis. \n \n GILLIS \n What's the matter, Max? \n \n MAX \n I just found out why all those tele-"," GILLIS \n How come? \n \n MAX \n The doctor suggested it. \n \n GILLIS \n What doctor? \n \n MAX"," The men from the finance company are cranking up \n the car. Max stands watching silently. When they \n finish the cranking job, the men climb into the \n front seat of the truck. \n \n"," I don't know, sir. Madame made \n the arrangements. \n \n Max leaves. Gillis comes out of the bathroom, picks \n up his shirts, goes over to a closet, opens it. As"," Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," It couldn't have gone better. \n It's practically set. Of course, \n he has to finish this picture \n first, but mine will be his next. \n \n There is an exchange of looks between Max and Gillis. \n"," so upset. Stop that playing, \n Max. \n (To Gillis again) \n It seemed like a good idea -- \n if we are to work together. \n \n GILLIS"," Will that do it? \n \n MAX \n I'm not inquiring where Mr. \n Gillis goes every night... \n \n GILLIS \n Why don't you? I'm writing a"," Thanks. \n (On second thought) \n How did you know I was going to \n stay, this afternoon? \n \n Max doesn't answer. He walks across to the bed,"," Gillis enters the shot. \n \n \n GILLIS \n I just put my car in the garage. \n I had a blow-out. I thought -- \n \n MAX \n Go on in. \n"," Max is driving. In the were going to the house of \n tonneau sit Norma, in a one of the waxworks for \n chinchilla wrap, and some bridge. She'd taught"],[" Max is driving. In the were going to the house of \n tonneau sit Norma, in a one of the waxworks for \n chinchilla wrap, and some bridge. She'd taught"," MAX \n She never will. That is my job. \n It has been for a long time. You \n must understand I discovered her \n when she was eighteen. I made her"," mphasized lack of interest. Finally it winds up \n on Max, behind the buffet. He stands watching Gillis, \n a faint trace of pity in his eyes. \n \n DISSOLVE TO: \n \n"," on her forefinger with found out that Max was the \n a clip which holds a only other person in that \n cigarette. She gets up grim Sunset castle, and I \n and forces on Gillis found out a few other things"," Max takes off. \n \n NORMA \n What on earth, darling? It took \n you hours. \n \n GILLIS \n I ran into some people I knew. \n \n NORMA"," During the preceding. Max has entered. He stands \n listening, paralyzed. \n \n NORMA \n That's a lie! They still want me! \n \n GILLIS"," Madame's doctor. She has moments \n of melancholy. There have been \n some suicide attempts. \n \n GILLIS \n Uh-huh? \n \n MAX"," face shielded by an enormous straw hat, her eyes by \n dark glasses. Gillis, in bathing trunks, is on a \n rubber mattress in the pool. Max comes to the \n entrance door. \n \n MAX"," and blacked in a small moustache. She goes into a \n little Chaplin routine. While she is doing it, the \n telephone rings. After a moment Max comes to the \n living room door. \n \n MAX"," GILLIS \n Max ! Max ! \n \n He hangs up the dead receiver, stands numb with \n shock. Betty elbows her way up to him, carrying \n the two punch glasses filled again. \n"," (To Gillis) \n Sit down. Is there enough light? \n \n GILLIS \n I've got twenty-twenty vision. \n \n Max has entered. \n \n NORMA"," a star. I cannot let her be destroyed. \n \n GILLIS \n You made her a star? \n \n MAX \n I directed all her early pictures. \n There were three young directors"," MAX \n Mr. Gillis, if you please. \n \n GILLIS \n Right with you. \n \n Max leaves. \n \n ARTIE"," Gillis gets out. From the seat next him he takes a \n batch of script, folds it and puts it in his pocket. \n He suddenly becomes aware that he is watched, turns. \n Max stands in the moonlight, evidently waiting for"," Norma is examining her face in the mirror of her \n vanity. Max, while driving, sees her in the rear \n view mirror. \n \n MAX \n If you will pardon me, Madame."," him. \n \n GILLIS \n What is it, Max? Want to wash \n the car, or are you doing a little \n spying in your off hours? \n \n MAX"," may steal it. \n \n NORMA \n I am not afraid. Read it! \n \n NORMA (Cont'd) \n (Calling) \n Max! Max!"," I don't know, sir. Madame made \n the arrangements. \n \n Max leaves. Gillis comes out of the bathroom, picks \n up his shirts, goes over to a closet, opens it. As"," Gillis seated in the rear. Max is helping Norma \n in and putting the robe over her. \n \n GILLIS \n (Apprehensively) \n How did it go? \n \n NORMA"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"],[" She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," in. Norma stands staring, speechless, for a second. \n Gillis moves out of the shot towards the closets. \n \n NORMA \n What are you doing, Joe? What"," NORMA \n What are you going to do, Joe? \n \n Without a word, he leaves the room. Norma raises \n herself on the bed, reaching for a black negligee"," is carrying the typewriter. He doesn't accelerate \n his step, although he has heard the shot. Behind \n him Norma comes from the lighted house. \n \n NORMA \n You're not leaving me! \n"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," Down the staircase rushes Norma. a disordered wild- \n ness in the way she moves. \n \n NORMA \n You're not leaving me! \n \n She hurries after Gillis. \n \n"," Norma reappears in the door, carrying the revolver. \n \n NORMA \n See, you didn't believe me!.. \n Now I suppose you don't think I \n have the courage! \n"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," second. Then he slowly moves to the toot of the bed. \n He takes the shoes from her feet and puts them on \n the floor. \n \n NORMA \n Go away. \n \n GILLIS"," Gillis ascends the stairs. \n \n NORMA \n Thank you, Joe -- thank you, Joe. \n \n She tries to take his hand to kiss it as he passes."," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," He leaves. \n \n NORMA \n You heard him. I'm a star! \n \n GILLIS \n Norma, grow up. You're a woman"," each eye. She is rubbing lotion on her hands. \n \n She gets up and crosses to the door of Gillis' room \n and opens it a crack. \n \n NORMA \n Joe darling, are you there?"," I'm locked up in this house? \n \n NORMA \n Of course not, Joe. It's just \n that I don't want to be left alone. \n Not now, while I'm under this"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," Gillis doesn't answer. Norma slaps his face and \n rushes from the room and upstairs. \n \n Gillis stands paralyzed, the slap burning his cheek. \n \n"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"],[" She shoots twice in rapid succession. Gillis drops \n the typewriter. The shots have swung him around. He \n is now facing Norma. She shoots him. This shot"," hits him in the belly. He doubles up, instinctively \n backs away from her, plummets into the lit pool. \n \n Up the stone steps from the garage rushes Max. \n He sees the situation, hurries towards Norma, who"," He doesn't stop. Norma catches his coat. Gillis \n moves right on into his room. Norma lies on the \n floor looking after him. She crawls toward a con-"," Joe! ...Joe! \n \n There is the SOUND OF A SHOT. The glass of the front \n door is shattered. Gillis at the door opens it and \n walks out, without looking back. \n"," in. Norma stands staring, speechless, for a second. \n Gillis moves out of the shot towards the closets. \n \n NORMA \n What are you doing, Joe? What"," He leads her in the direction of the door. \n \n E-33 UPPER LANDING, DESMOND HOUSE \n \n Sitting crouched behind the balustrade is Norma, \n peering down into \n \n"," Oh. Well, thank you. \n \n He hangs up, walks back towards Norma. (CAMERA \n WITH HIM). \n \n Norma stills sits in the shaft of light, surrounded"," Norma has reached him at the bottom of the staircase. \n \n NORMA \n I want to ask you something. \n Come in here. \n \n She leads him into \n \n"," NORMA \n What are you going to do, Joe? \n \n Without a word, he leaves the room. Norma raises \n herself on the bed, reaching for a black negligee"," He hangs up. Norma looks up at him as he crosses to \n the other end of the room and stands staring at her. \n The silence becomes unbearable. \n \n NORMA"," is carrying the typewriter. He doesn't accelerate \n his step, although he has heard the shot. Behind \n him Norma comes from the lighted house. \n \n NORMA \n You're not leaving me! \n"," Norma lies on the bed. Gillis sits in a far corner \n of the room, motionless. \n \n NORMA \n (In a whimpering monotone)"," C-1O THE TOP OF THE STAIRCASE AND CORRIDOR \n \n Norma rushes up the last few steps, down the corridor \n and into her bedroom, banging the door. MOVE THE"," One lamp lit. Norma, in a white negligee, with the \n patches on her face, is pacing up and down -- a \n small, tormented, pitiable woman. Finally she opens \n the door to: \n \n"," starts to descend the stair- after all, those cam- \n case. The cameras grind. eras. Life, which can \n Everyone watches in awe. be strangely merciful, \n had taken pity on Norma"," each eye. She is rubbing lotion on her hands. \n \n She gets up and crosses to the door of Gillis' room \n and opens it a crack. \n \n NORMA \n Joe darling, are you there?"," Gillis enters the SHOT and she leads him into \n \n \n A-32 NORMA DESMOND'S BEDROOM \n \n It is a huge, gloomy room hung in white brocade which"," Down the staircase rushes Norma. a disordered wild- \n ness in the way she moves. \n \n NORMA \n You're not leaving me! \n \n She hurries after Gillis. \n \n"," Gillis doesn't answer. Norma slaps his face and \n rushes from the room and upstairs. \n \n Gillis stands paralyzed, the slap burning his cheek. \n \n"," walked towards her. Suddenly Norma senses his pre- \n sence and turns around. The telephone freezes in her \n hand. She tries to hang it up. Very calmly Gillis \n takes the receiver from her hand. \n"],[" We're engaged. \n \n GILLIS \n Good for you. You've got yourself \n the best guy in town. \n \n BETTY \n I think so. They're on location"," BETTY \n You did. \n \n There is a moment's pause before he takes her in \n his arms. THE CAMERA MOVES AWAY. \n \n DISSOLVE TO: \n \n"," rushes towards the door and out. Betty stands look- \n ing after him, completely bewildered. \n \n DISSOLVE TO: \n \n"," Betty turns towards Gillis, embarrassed. \n \n SHELDRAKE \n This is Miss Kramer. \n \n BETTY \n Schaefer. Betty Schaefer. And"," married. That's what you've \n always wanted. \n \n BETTY \n I don't want it now. \n \n GILLIS \n Why not? Don't you love Artie?"," Betty reaches for a cigarette. The inscription en- \n graved inside the case catches her eye. It reads: \n \n MAD ABOUT THE BOY -- \n \n Norma \n \n"," He resumes typing. Betty puts the water on. She \n picks up a pack of cigarettes on the desk, finds it's \n empty and throws it away, sees Gillis' open gold \n cigarette case and lighter on the table by the couch."," Betty gets up. \n \n GILLIS \n Is it about me? \n \n Betty doesn't answer, walks out on \n \n \n E-18 THE BALCONY \n"," (He whistles and \n catches her attention) \n Why are you staring at me like that? \n \n BETTY \n Was I? I'm sorry. \n \n GILLIS"," Gillis kisses her nose. As he stands there, his \n face close to hers - \n \n GILLIS \n May I say you smell real special. \n \n BETTY"," Betty Schaefer \n \n DISSOLVE: \n \n \n E-17 BETTY'S CUBICLE (NIGHT) \n \n Betty is typing. Gillis sits on the couch, proof-"," Connie, a girl of Betty's age with whom she shares \n the flat, is on the phone. Betty, in a dressing- \n gown, comes from the bathroom, toothbrush in hand. \n \n CONNIE"," BETTY \n Stop it, Artie, will you? \n (To Gillis) \n Where have you been keeping your- \n self? I've got the most wonderful \n news for you. \n"," reading a scene. Betty stops typing and Gillis \n becomes aware of her eyes fixed on him. \n \n GILLIS \n Hey, what's the matter... \n Betty, wake up!"," BETTY \n Whose house is it? \n \n They have reached \n \n \n E-32 THE LIVING ROOM \n \n Gillis leads Betty in. \n \n GILLIS"," Hers. \n \n BETTY \n Whose? \n \n GILLIS \n Just look around. There's a lot \n of her spread about. If you don't"," It's true, it's moving. Now \n why don't you use that character... \n \n GILLIS \n Who wants true? Who wants moving? \n \n BETTY"," BETTY \n I tell you this is half sold. \n \n GILLIS \n As a matter of fact. I've given \n up writing altogether. \n \n Max has appeared in the door."," them on Sheldrake's desk, not noticing Gillis, who \n stands near the door. \n \n BETTY \n Hello, Mr. Sheldrake. On that Bases"," place, stops at the entrance steps. Betty gets out. \n \n CONNIE \n Betty, let me come along with \n you. Please. \n \n BETTY"]],"string":"[\n [\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" I love you, Joe. I love you, Joe. \\n I love you, Joe. I love you, Joe. \\n \\n There is the sound of footsteps below and the ringing \\n of a doorbell. Gillis rises.\",\n \" He is driving as fast as he dares, keeping an eye out \\n for pursuit in his rear-view mirror. Suddenly his \\n right front tire blows out. Gillis clutches desperately \\n at the steering wheel and manages to turn the careening\",\n \" A-25 GILLIS \\n He watches his pursuers GILLIS' VOICE \\n shoot past and out of Yeah... \\n sight. He opens the \\n door and looks down at I had landed myself in the\",\n \" Don't hate me, Joe. I did it because \\n I need you. I need you as I never \\n needed you. Look at me. Look at my \\n hands, look at my face, look under my\",\n \" rushes towards the door and out. Betty stands look- \\n ing after him, completely bewildered. \\n \\n DISSOLVE TO: \\n \\n\",\n \" ing. I'm all right again. Joe, \\n tell me you're not cross -- tell \\n me everything is just as it was, \\n Joe. \\n \\n She opens the door. \\n \\n\",\n \" world, and they have to wprry \\n about getting enough money to \\n re-sole their shoes. To me it \\n can be as exciting as any chase, \\n any gunplay. \\n \\n GILLIS\",\n \" If you love me, Joe. \\n \\n GILLIS \\n Look, sweetie -- be practical. \\n l've got a good thing here. \\n A long-term contract with no options.\",\n \" Joe. Is it something awful? \\n \\n GILLIS \\n Come on in, Betty, \\n \\n Betty enters. As he leads her into the living room, \\n Gillis puts his arm around her shoulders. \\n\",\n \" He jumps out of bed. He \\n wears, shirt, trousers \\n and socks. Suddenly he \\n realizes that all his \\n possessions have GILLIS' VOICE\",\n \" In a deep freeze. \\n \\n ARTIE \\n I almost reported you to the Bureau \\n of Missing Persons. \\n (To the company) \\n Fans, you all know Joe Gillis, the\",\n \" pulls down the leather sunshade to screen his face. \\n As the light changes. Gillis gives his car the gun \\n and shoots away. The men narrowly avoid hitting \\n another car as they make a U-turn into oncoming\",\n \" The car drives up and Gillis hurries into the store. \\n \\n \\n D-4 INT. SCHWAB'S DRUGSTORE \\n Business is still rather lively. There are about a\",\n \" NORMA \\n What are you going to do, Joe? \\n \\n Without a word, he leaves the room. Norma raises \\n herself on the bed, reaching for a black negligee\",\n \" his hair and face wet, the collar of his Vicuna coat \\n turned up. Artie stops conducting, but the commer- \\n cial goes right on. \\n \\n ARTIE \\n Well, what do you know ! Joe\",\n \" There is a metallic of the finance company. \\n noise as some loose \\n change and keys drop \\n from the trouser pockets. \\n As Gillis bends over to \\n pick them up, we see that \\n he has dropped the car\",\n \" Don't just stand there hating \\n me! Shout at me, strike me! \\n But don't hate me, Joe. Don't \\n you hear me, Joe? \\n \\n GILLIS\",\n \" Gillis gets out. From the seat next him he takes a \\n batch of script, folds it and puts it in his pocket. \\n He suddenly becomes aware that he is watched, turns. \\n Max stands in the moonlight, evidently waiting for\",\n \" installed. Gillis looks \\n around startled, then \\n sits down and starts \\n putting on his moccasins \\n hastily. \\n \\n DISSOLVE TO: \\n \\n\"\n ],\n [\n \" It was the room of the husband. \\n Or of the husbands, I should say. \\n Madame has been married three \\n times. \\n \\n Slightly embarrassed, Gillis picks up his toilet\",\n \" I'm trying to tell you. This is \\n an enormous place. Eight master \\n bedrooms. A sunken tub in every \\n bathroom. There's a bowling alley\",\n \" The oddity of the situation has caught Gillis' \\n imagination. He climbs the stairs with a kind of \\n morbid fascination. At the top he stops, undecided, \\n then turns to the right and is stopped by \\n\",\n \" Gillis goes into the house. \\n \\n \\n C-29 ENRANCE HALL AND STAIRCASE \\n \\n Gillis crosses the hall and starts up the stairs. \\n \\n\",\n \" It is a sunny day. The garden is in somewhat better \\n shape. The old house looks less unkept. The pool \\n is filled. Norma sits on a wicker chaise longue, her\",\n \" Gillis looks up at her. Without a word he pushes \\n her aside so that she spills the drink. He makes \\n his way through the guests to the Vicuna coat, pulls \\n it from the shelf, some books tumbling with it, and\",\n \" Gillis, in the moonlit porch, \\n is closing the main door \\n behind him. \\n \\n \\n E-8 LIVING ROOM \\n \\n Max looks after Gillis, his \\n face enigmatic as ever. \\n\",\n \" Gillis enters. \\n \\n \\n A-31 INT. NORMA DESMOND'S ENTRANCE HALL \\n \\n It is grandiose and grim. The whole place is one of\",\n \" paper on the cracked plaster walls. For furniture \\n there is a neatly made bed, a table and a few chairs \\n which might have been discarded from the main house. \\n \\n MAX \\n This room has not been used for\",\n \" You there! \\n \\n Gillls turns and looks. \\n \\n A-28 UPSTAIRS LOGGIA \\n \\n Behind a bamboo blind there is a movement of \\n a dark figure. \\n\",\n \" Her own movie theatre. \\n \\n BETTY \\n I didn't come here to see a house. \\n What about Norma Desmond? \\n \\n GILLIS\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" A-33 THE HUGE LIVING ROOM \\n \\n It is dark and damp and filled with black oak and \\n red velvet furniture which looks like crappy props \\n from the Mark of Zorro set. Along the main wall,\",\n \" HOUSE (NIGHT) \\n \\n Gillis is coming down the GILLIS' VOICE \\n stairs in his tailcoat It was at her New Year's \\n adjusting the handkerchief party that I found out\",\n \" Gillis stands looking at her helplessly. \\n \\n \\n C-31 LIVING ROOM, THE DESMOND HOUSE \\n \\n The candles burned down, the orchestra playing to\",\n \" She rushes into her room. Gillis closes the suitcase \\n calmly, notices that he is still wearing some cuff- \\n links Norma gave him, takes them off. \\n\",\n \" I don't know, sir. Madame made \\n the arrangements. \\n \\n Max leaves. Gillis comes out of the bathroom, picks \\n up his shirts, goes over to a closet, opens it. As\",\n \" It is half open. Gillis comes into the shot \\n and, taking cover, looks out. \\n \\n \\n B-19 COURTYARD (FROM GILLIS' ANGLE) \\n\",\n \" He leads her in the direction of the door. \\n \\n E-33 UPPER LANDING, DESMOND HOUSE \\n \\n Sitting crouched behind the balustrade is Norma, \\n peering down into \\n \\n\",\n \" It is obviously a man's room -- heavy Spanish \\n furniture -- one wall nothing but a closet with \\n shelves and drawers for shirts and shoes. Max is \\n hanging up the suits. Gillis throws the shirts on\"\n ],\n [\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" NORMA \\n (Impatiently) \\n Well? \\n \\n GILLIS \\n This is fascinating. \\n \\n NORMA \\n Of course it is. \\n\",\n \" Norma looks at him, tears in her eyes. Slowly she \\n enfolds him in her bandaged arms. \\n \\n NORMA \\n Happy New Year. darling. \\n \\n She kisses him. \\n\",\n \" Down the staircase rushes Norma. a disordered wild- \\n ness in the way she moves. \\n \\n NORMA \\n You're not leaving me! \\n \\n She hurries after Gillis. \\n \\n\",\n \" The beam of the lamp moves toward Norma. It hits \\n her. She sits bathed in light. A couple of old \\n costume extras recognize her. \\n \\n EXTRAS\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" From the house comes Norma. \\n \\n NORMA \\n Now what is it? Where's the \\n fire? \\n \\n GILLIS \\n I've lost my car. \\n\",\n \" NORMA \\n This is a rock. \\n \\n She climbs on it, pantomimes timidity, an attempted \\n dive, then jumps off. \\n \\n Gillis lolls on a couch, watching the performance,\",\n \" NORMA'S VOICE \\n Open your eyes. \\n \\n Gillis opens his eyes. \\n \\n Norma has equipped herselr with a derby hat, a cane,\",\n \" He leaves. \\n \\n NORMA \\n You heard him. I'm a star! \\n \\n GILLIS \\n Norma, grow up. You're a woman\",\n \" NORMA \\n This is to be a very important \\n picture. I have written it \\n myself. Took me years. \\n \\n GILLIS \\n (Looking at the piles\",\n \" NORMA \\n What are you going to do, Joe? \\n \\n Without a word, he leaves the room. Norma raises \\n herself on the bed, reaching for a black negligee\",\n \" is showing Norma out. \\n \\n DE MILLE \\n Goodbye, young fellow. We'll see \\n what we can do. \\n \\n NORMA \\n (embracing him)\",\n \" Norma reappears in the door, carrying the revolver. \\n \\n NORMA \\n See, you didn't believe me!.. \\n Now I suppose you don't think I \\n have the courage! \\n\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" Gillis takes two or three pages from Norma's hand- \\n written script, crosses them out and puts them to \\n one side. \\n \\n Norma rises, crosses towards Gillis, looks over his \\n shoulder. \\n\",\n \" During the preceding. Max has entered. He stands \\n listening, paralyzed. \\n \\n NORMA \\n That's a lie! They still want me! \\n \\n GILLIS\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" Gillis seated in the rear. Max is helping Norma \\n in and putting the robe over her. \\n \\n GILLIS \\n (Apprehensively) \\n How did it go? \\n \\n NORMA\"\n ],\n [\n \" the heart. \\n \\n NORMA \\n That's a lie! They want me, they \\n want me! I get letters every day! \\n \\n GILLIS\",\n \" Gillis takes two or three pages from Norma's hand- \\n written script, crosses them out and puts them to \\n one side. \\n \\n Norma rises, crosses towards Gillis, looks over his \\n shoulder. \\n\",\n \" NORMA \\n (Impatiently) \\n Well? \\n \\n GILLIS \\n This is fascinating. \\n \\n NORMA \\n Of course it is. \\n\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" The beam of the lamp moves toward Norma. It hits \\n her. She sits bathed in light. A couple of old \\n costume extras recognize her. \\n \\n EXTRAS\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" From Norma's room comes the sound of a telephone \\n being dialled. Gillis enters the shot and stands \\n listening. \\n \\n NORMA'S VOICE \\n Is this Gladstone 0858? \\n\",\n \" Norma is examining her face in the mirror of her \\n vanity. Max, while driving, sees her in the rear \\n view mirror. \\n \\n MAX \\n If you will pardon me, Madame.\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" to De Mille? \\n \\n NORMA \\n This is the right day. \\n \\n She indicates a typewritten letter she is holding. \\n \\n NORMA (Cont'd)\",\n \" Norma looks at him, tears in her eyes. Slowly she \\n enfolds him in her bandaged arms. \\n \\n NORMA \\n Happy New Year. darling. \\n \\n She kisses him. \\n\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" NORMA \\n This is to be a very important \\n picture. I have written it \\n myself. Took me years. \\n \\n GILLIS \\n (Looking at the piles\",\n \" Meanwhile, Norma starts to sit, sees the name \\n MISS LAMARR on the chair and with a look of \\n distaste changes and sits on the one marked \\n C.B. DE MILLE. From somewhere comes \\n\",\n \" He leaves. \\n \\n NORMA \\n You heard him. I'm a star! \\n \\n GILLIS \\n Norma, grow up. You're a woman\",\n \" Down the staircase rushes Norma. a disordered wild- \\n ness in the way she moves. \\n \\n NORMA \\n You're not leaving me! \\n \\n She hurries after Gillis. \\n \\n\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\"\n ],\n [\n \" I love you, Joe. I love you, Joe. \\n I love you, Joe. I love you, Joe. \\n \\n There is the sound of footsteps below and the ringing \\n of a doorbell. Gillis rises.\",\n \" If you love me, Joe. \\n \\n GILLIS \\n Look, sweetie -- be practical. \\n l've got a good thing here. \\n A long-term contract with no options.\",\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" I'm locked up in this house? \\n \\n NORMA \\n Of course not, Joe. It's just \\n that I don't want to be left alone. \\n Not now, while I'm under this\",\n \" Don't hate me, Joe. I did it because \\n I need you. I need you as I never \\n needed you. Look at me. Look at my \\n hands, look at my face, look under my\",\n \" Gillis doesn't answer. Norma slaps his face and \\n rushes from the room and upstairs. \\n \\n Gillis stands paralyzed, the slap burning his cheek. \\n \\n\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" in. Norma stands staring, speechless, for a second. \\n Gillis moves out of the shot towards the closets. \\n \\n NORMA \\n What are you doing, Joe? What\",\n \" Joe. Is it something awful? \\n \\n GILLIS \\n Come on in, Betty, \\n \\n Betty enters. As he leads her into the living room, \\n Gillis puts his arm around her shoulders. \\n\",\n \" Don't just stand there hating \\n me! Shout at me, strike me! \\n But don't hate me, Joe. Don't \\n you hear me, Joe? \\n \\n GILLIS\",\n \" ing. I'm all right again. Joe, \\n tell me you're not cross -- tell \\n me everything is just as it was, \\n Joe. \\n \\n She opens the door. \\n \\n\",\n \" You can stay here. \\n \\n GILLIS \\n I'll come early tomorrow. \\n \\n Norma takes off her glasses. \\n \\n NORMA \\n Nonsense. There's room over the\",\n \" That didn't leave much for Wallace \\n Reid. \\n \\n MAX \\n He had a great big bungalow on \\n wheels. I had the upstairs. See\",\n \" is carrying the typewriter. He doesn't accelerate \\n his step, although he has heard the shot. Behind \\n him Norma comes from the lighted house. \\n \\n NORMA \\n You're not leaving me! \\n\",\n \" She leans against a post, crying. Gillis comes out \\n after her. \\n \\n GILLIS \\n Betty, there's no use running \\n out on it. Let's face it, what-\",\n \" I like it that way. Maybe it's not \\n very admirable. Well, you and Artie \\n can be admirable. \\n \\n BETTY \\n Joe, I can't look at you any more.\",\n \" It's true, it's moving. Now \\n why don't you use that character... \\n \\n GILLIS \\n Who wants true? Who wants moving? \\n \\n BETTY\",\n \" Thanks. \\n (On second thought) \\n How did you know I was going to \\n stay, this afternoon? \\n \\n Max doesn't answer. He walks across to the bed,\",\n \" Gillis ascends the stairs. \\n \\n NORMA \\n Thank you, Joe -- thank you, Joe. \\n \\n She tries to take his hand to kiss it as he passes.\",\n \" It is a one-room affair with an unmade Murphy bed \\n pulled out of the wall at which Gillis sits typing. \\n There are a couple of worn-out plush chairs and a \\n Spanish-style, wrought-iron standing lamp. Also a\"\n ],\n [\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" NORMA \\n What are you going to do, Joe? \\n \\n Without a word, he leaves the room. Norma raises \\n herself on the bed, reaching for a black negligee\",\n \" DE MILLE \\n Well, Norma ... \\n (He sits down next to her) \\n I got hold of Gordon Cole. \\n \\n Norma hasn't heard a word. \\n \\n NORMA\",\n \" Gordon Cole... Look, Norma, \\n I'm in the middle of a rehearsal. \\n (Indicating his \\n own chair) \\n Make yourself comfortable. \\n\",\n \" During the preceding. Max has entered. He stands \\n listening, paralyzed. \\n \\n NORMA \\n That's a lie! They still want me! \\n \\n GILLIS\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" From the house comes Norma. \\n \\n NORMA \\n Now what is it? Where's the \\n fire? \\n \\n GILLIS \\n I've lost my car. \\n\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" MAX \\n It is not Mr. deMille in person. \\n It is someone by the name or Gordon \\n Cole. He says it's very important. \\n \\n NORMA\",\n \" NORMA'S VOICE \\n Open your eyes. \\n \\n Gillis opens his eyes. \\n \\n Norma has equipped herselr with a derby hat, a cane,\",\n \" He leaves. \\n \\n NORMA \\n You heard him. I'm a star! \\n \\n GILLIS \\n Norma, grow up. You're a woman\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" Gillis takes two or three pages from Norma's hand- \\n written script, crosses them out and puts them to \\n one side. \\n \\n Norma rises, crosses towards Gillis, looks over his \\n shoulder. \\n\",\n \" Gillis seated in the rear. Max is helping Norma \\n in and putting the robe over her. \\n \\n GILLIS \\n (Apprehensively) \\n How did it go? \\n \\n NORMA\",\n \" Norma reappears in the door, carrying the revolver. \\n \\n NORMA \\n See, you didn't believe me!.. \\n Now I suppose you don't think I \\n have the courage! \\n\"\n ],\n [\n \" MAX \\n Mr. Gillis, if you please. \\n \\n GILLIS \\n Right with you. \\n \\n Max leaves. \\n \\n ARTIE\",\n \" Max is driving. In the were going to the house of \\n tonneau sit Norma, in a one of the waxworks for \\n chinchilla wrap, and some bridge. She'd taught\",\n \" (Calling) \\n Max! Max! \\n \\n GILLIS \\n Max is a good idea. He can help \\n with my luggage. \\n (He gestures in the\",\n \" Gillis gets out. From the seat next him he takes a \\n batch of script, folds it and puts it in his pocket. \\n He suddenly becomes aware that he is watched, turns. \\n Max stands in the moonlight, evidently waiting for\",\n \" face shielded by an enormous straw hat, her eyes by \\n dark glasses. Gillis, in bathing trunks, is on a \\n rubber mattress in the pool. Max comes to the \\n entrance door. \\n \\n MAX\",\n \" mphasized lack of interest. Finally it winds up \\n on Max, behind the buffet. He stands watching Gillis, \\n a faint trace of pity in his eyes. \\n \\n DISSOLVE TO: \\n \\n\",\n \" him. \\n \\n GILLIS \\n What is it, Max? Want to wash \\n the car, or are you doing a little \\n spying in your off hours? \\n \\n MAX\",\n \" Max is at the phone, in the lower hall. \\n \\n MAX \\n I am sorry, Mr. Gillis. \\n I cannot talk now. \\n \\n \\n C-23 GILLIS ON THE PHONE \\n\",\n \" (To Gillis) \\n Sit down. Is there enough light? \\n \\n GILLIS \\n I've got twenty-twenty vision. \\n \\n Max has entered. \\n \\n NORMA\",\n \" on her forefinger with found out that Max was the \\n a clip which holds a only other person in that \\n cigarette. She gets up grim Sunset castle, and I \\n and forces on Gillis found out a few other things\",\n \" Max takes off. \\n \\n NORMA \\n What on earth, darling? It took \\n you hours. \\n \\n GILLIS \\n I ran into some people I knew. \\n \\n NORMA\",\n \" MAX \\n You did, sir. \\n GILLIS' VOICE \\n He goes out. Gillis I pegged him as slightly \\n looks after him, hangs cuckoo, too. A stroke maybe.\",\n \" MAX \\n She never will. That is my job. \\n It has been for a long time. You \\n must understand I discovered her \\n when she was eighteen. I made her\",\n \" and blacked in a small moustache. She goes into a \\n little Chaplin routine. While she is doing it, the \\n telephone rings. After a moment Max comes to the \\n living room door. \\n \\n MAX\",\n \" It is obviously a man's room -- heavy Spanish \\n furniture -- one wall nothing but a closet with \\n shelves and drawers for shirts and shoes. Max is \\n hanging up the suits. Gillis throws the shirts on\",\n \" Gillis enters the shot. \\n \\n \\n GILLIS \\n I just put my car in the garage. \\n I had a blow-out. I thought -- \\n \\n MAX \\n Go on in. \\n\",\n \" Max is rush1ng up the stairs toward the descending \\n Gillis. \\n \\n GILLIS \\n What's the matter, Max? \\n \\n MAX \\n I just found out why all those tele-\",\n \" MAX \\n Yes, Madame. \\n \\n He goes into the house. \\n \\n GILLIS \\n (climbing out \\n of the water) \\n You're really going to send it\",\n \" Max is at the wheel, GILLIS' VOICE \\n dressed as usual except So Max got that old bus \\n for a chauffeurfs cap. down off its blocks and \\n polished it up. She'd\",\n \" may steal it. \\n \\n NORMA \\n I am not afraid. Read it! \\n \\n NORMA (Cont'd) \\n (Calling) \\n Max! Max!\"\n ],\n [\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" I love you, Joe. I love you, Joe. \\n I love you, Joe. I love you, Joe. \\n \\n There is the sound of footsteps below and the ringing \\n of a doorbell. Gillis rises.\",\n \" ing. I'm all right again. Joe, \\n tell me you're not cross -- tell \\n me everything is just as it was, \\n Joe. \\n \\n She opens the door. \\n \\n\",\n \" Don't hate me, Joe. I did it because \\n I need you. I need you as I never \\n needed you. Look at me. Look at my \\n hands, look at my face, look under my\",\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" He is driving as fast as he dares, keeping an eye out \\n for pursuit in his rear-view mirror. Suddenly his \\n right front tire blows out. Gillis clutches desperately \\n at the steering wheel and manages to turn the careening\",\n \" There is a metallic of the finance company. \\n noise as some loose \\n change and keys drop \\n from the trouser pockets. \\n As Gillis bends over to \\n pick them up, we see that \\n he has dropped the car\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" that got small. \\n \\n GILLIS \\n I knew there was something \\n wrong with them. \\n \\n NORMA \\n They're dead. They're finished.\",\n \" his hair and face wet, the collar of his Vicuna coat \\n turned up. Artie stops conducting, but the commer- \\n cial goes right on. \\n \\n ARTIE \\n Well, what do you know ! Joe\",\n \" The oddity of the situation has caught Gillis' \\n imagination. He climbs the stairs with a kind of \\n morbid fascination. At the top he stops, undecided, \\n then turns to the right and is stopped by \\n\",\n \" Gillis ascends the stairs. \\n \\n NORMA \\n Thank you, Joe -- thank you, Joe. \\n \\n She tries to take his hand to kiss it as he passes.\",\n \" She picks up the shawl to make up her mind about the \\n color. From under the shawl flops down a dead arm. \\n Gillis stares and recoils a little. It is like a\",\n \" drives slowly. His pects. They now added up to \\n mind is working. exactly zero. Apparently I \\n just didn't have what it takes, \\n and the time had come to wrap\",\n \" rushes towards the door and out. Betty stands look- \\n ing after him, completely bewildered. \\n \\n DISSOLVE TO: \\n \\n\",\n \" Joe. Is it something awful? \\n \\n GILLIS \\n Come on in, Betty, \\n \\n Betty enters. As he leads her into the living room, \\n Gillis puts his arm around her shoulders. \\n\",\n \" In a deep freeze. \\n \\n ARTIE \\n I almost reported you to the Bureau \\n of Missing Persons. \\n (To the company) \\n Fans, you all know Joe Gillis, the\",\n \" He starts away, but some- GILLIS' VOICE \\n thing attracts his atten- There was something \\n tion. He turns back and else going on below: \\n looks down again. the last rites for\",\n \" each eye. She is rubbing lotion on her hands. \\n \\n She gets up and crosses to the door of Gillis' room \\n and opens it a crack. \\n \\n NORMA \\n Joe darling, are you there?\",\n \" mphasized lack of interest. Finally it winds up \\n on Max, behind the buffet. He stands watching Gillis, \\n a faint trace of pity in his eyes. \\n \\n DISSOLVE TO: \\n \\n\"\n ],\n [\n \" Cameras? ...What is it, Max? \\n \\n MAX \\n The cameras have arrived, Madame. \\n \\n NORMA \\n They have? Thank you, Max. Tell\",\n \" starts to descend the stair- after all, those cam- \\n case. The cameras grind. eras. Life, which can \\n Everyone watches in awe. be strangely merciful, \\n had taken pity on Norma\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" Are the lights ready? \\n \\n 2ND CAMERA MAN \\n All set. \\n \\n MAX \\n Quiet, everybody! Lights! \\n Are you ready, Norma? \\n\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" E-21 NORMA'S BEDROOM \\n Norma lies in bed, dialing a number. She has the \\n beauty patches at the corners of her eyes and over \\n her nose. \\n \\n NORMA\",\n \" The beam of the lamp moves toward Norma. It hits \\n her. She sits bathed in light. A couple of old \\n costume extras recognize her. \\n \\n EXTRAS\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" garage. Max will take you there...Max! \\n \\n THE CAMERA MOVES GILLIS' VOICE \\n TOWARD NORMA'S FACE, She sure could say a lot of\",\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" Norma puts the glass down that's all she wanted \\n doesn't find his arn, but to see. \\n is not aware of any signifi- \\n cance in his maneuver. They \\n both watch the screen. \\n\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" C-1O THE TOP OF THE STAIRCASE AND CORRIDOR \\n \\n Norma rushes up the last few steps, down the corridor \\n and into her bedroom, banging the door. MOVE THE\",\n \" NORMA'S VOICE \\n Open your eyes. \\n \\n Gillis opens his eyes. \\n \\n Norma has equipped herselr with a derby hat, a cane,\",\n \" Norma is examining her face in the mirror of her \\n vanity. Max, while driving, sees her in the rear \\n view mirror. \\n \\n MAX \\n If you will pardon me, Madame.\",\n \" Are the lights ready? \\n \\n From the stairway comes a murnur. They look up. \\n \\n Norma has emerged from the bedroom and comes to the \\n head of the stairs. There are golden spangles in\",\n \" Norma reappears in the door, carrying the revolver. \\n \\n NORMA \\n See, you didn't believe me!.. \\n Now I suppose you don't think I \\n have the courage! \\n\"\n ],\n [\n \" In a deep freeze. \\n \\n ARTIE \\n I almost reported you to the Bureau \\n of Missing Persons. \\n (To the company) \\n Fans, you all know Joe Gillis, the\",\n \" yes men at Twentieth. To me \\n they said no. Finally I \\n located that agent of mine, the \\n big faker. Was he out digging \\n up a job for poor Joe Gillis?\",\n \" THE CAMERA SLOWLY DRAWS BACK to include Norma \\n Desmond sitting in the dusk, just as she was before. \\n Gillis puts down a batch of script. There is a \\n little pause. \\n\",\n \" is C.B. himself. He is rehearsing a scene with \\n Hedy Lamarr. \\n \\n 1ST ASSISTANT \\n Norma Desmond is coming in to \\n see you, Mr. deMille. \\n\",\n \" Gillis looks around. \\n \\n On the couch by the fireplace reclines Norma Desmond, \\n dressed in a negligee. She rises. \\n \\n NORMA \\n I don't know why you should be\",\n \" starring Norma Desmond...Home, Max. \\n \\n MAX \\n Yes, Miss Desmond. \\n \\n As he says the words, he and Gillis exchange a glance \\n in the rear view mirror. \\n\",\n \" Her own movie theatre. \\n \\n BETTY \\n I didn't come here to see a house. \\n What about Norma Desmond? \\n \\n GILLIS\",\n \" WOMAN'S VOICE \\n This way! \\n \\n Gillis swings around. \\n \\n Norma Desmond stands down the corridor next to a \\n doorway from which emerges a flickering light. She\",\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" the door. Two men wearing hats stand outside one of \\n them carrying a briefcase. \\n \\n NO. 1 \\n Joseph C. Gillis? \\n \\n GILLIS \\n That's right. \\n\",\n \" I love you, Joe. I love you, Joe. \\n I love you, Joe. I love you, Joe. \\n \\n There is the sound of footsteps below and the ringing \\n of a doorbell. Gillis rises.\",\n \" remember the face, you must have \\n heard the name of Norma Desmond. \\n \\n BETTY \\n That was Norma Desmond on the phone? \\n \\n GILLIS\",\n \" Gillis enters. \\n \\n \\n A-31 INT. NORMA DESMOND'S ENTRANCE HALL \\n \\n It is grandiose and grim. The whole place is one of\",\n \" D-1 INT. HALLWAY, NORMA GILLIS' VOICE \\n DESMOND'S HOUSE (DAY) Around the middle of May \\n some incidents happened \\n The telephone is heard which I think I should tell\",\n \" each eye. She is rubbing lotion on her hands. \\n \\n She gets up and crosses to the door of Gillis' room \\n and opens it a crack. \\n \\n NORMA \\n Joe darling, are you there?\",\n \" I am! Now get off, this is more \\n important ... Times City Desk? \\n Hedda Hopper speaking. I'm talking \\n from the bedroom of Norma Desmond.\",\n \" a gigantic fireplace has been freezing for years. \\n On the gold piano is a galaxy of photographs of \\n Norma Desmond in her various roles. On one wall \\n is a painting -- a California Gold Rush scene,\",\n \" For the first time. Norma really looks at him \\n through her dark glasses. \\n \\n GILLIS \\n I had some trouble with my car. \\n Flat tire. I pulled into your\",\n \" floor, where we look my touch. Maybe they \\n in on JOE GILLIS' APART- weren't original \\n MENT. Joe Gillis, bare- enough. Maybe they\"\n ],\n [\n \" SHELDRAKE \\n (To the secretary) \\n Get the Readers' Department and \\n see what they have on Bases Loaded. \\n \\n The secretary exits. Sheldrake takes a pill and\",\n \" piles or scripts, a few pipes and, somewhere in the \\n background, some set models. \\n \\n Start on Sheldrake. He is about 45. Behind his wor-\",\n \" them on Sheldrake's desk, not noticing Gillis, who \\n stands near the door. \\n \\n BETTY \\n Hello, Mr. Sheldrake. On that Bases\",\n \" Goodbye, Mr. Sheldrake. \\n \\n DISSOLVE TO: \\n \\n \\n A-12 EXT. SCHWAB'S DRUG STORE\",\n \" the towering main gate of advantage of it. His \\n Paramount. A few loafers, name was Sheldrake. He \\n studio cops and extras are was a smart producer,\",\n \" stars, with dedications to Mr. Sheldrake. Also a \\n couple of framed critics' awards certificates, and an \\n Oscar on a bookshelf. A shooting schedule chart is \\n thumb-tacked into a large bulletin board. There are\",\n \" This is on the level. Sheldrake \\n really went for it. \\n \\n GILLIS \\n O.K. Where's the cash? \\n \\n BETTY\",\n \" GILLIS \\n Is that so? What's the wonderful \\n news? \\n \\n BETTY \\n Sheldrake likes that angle about \\n the teacher. \\n \\n GILLIS\",\n \" SHELDRAKE \\n No, that was me. I said, Who \\n wants to see a Civil War picture? \\n \\n BETTY \\n Perhaps the reason I hated Bases\",\n \" Sheldrake. \\n \\n SHELDRAKE \\n Got a title? \\n \\n GILLIS \\n Bases Loaded. There's a 4O-page \\n outline. \\n\",\n \" lounging there. with a set of ulcers to \\n prove it. \\n \\n DISSOLVE TO: \\n \\n A-11 SHELDRAKE'S OFFICE \\n\",\n \" Gillis looks at her a little puzzled. \\n \\n BETTY \\n Let me help you. Betty Schaeter, \\n Sheldrake's office. \\n \\n GILLIS\",\n \" Dialogue. \\n \\n SHELDRAKE \\n There's nothing, Gillis. Not \\n even if you were a relative. \\n \\n GILLIS \\n (Hating it)\",\n \" GILLIS \\n Frankly, no. \\n \\n SHELDRAKE \\n (Amusing himself) \\n Now wait a minute. If we made \\n it a girls' softball team, put\",\n \" GILLIS \\n Along is no good. I need it now. \\n \\n SHELDRAKE \\n Haven't got a thing. \\n \\n GILLIS \\n Any kind of assignment. Additional\",\n \" Loaded. I covered it with a 2-page \\n synopsis. \\n (She holds it out) \\n But I wouldn't bother. \\n \\n SHELDRAKE\",\n \" ried face there hides a coated tongue. He is en- \\n gaged in changing the stained rilter cigarette in \\n his Zeus holder. \\n \\n SHELDRAKE\",\n \" I'm all out of laughs. I'm over a \\n barrel and I need a job. \\n \\n SHELDRAKE \\n Sure, Gillis. If something should \\n come along - \\n\",\n \" Betty turns towards Gillis, embarrassed. \\n \\n SHELDRAKE \\n This is Miss Kramer. \\n \\n BETTY \\n Schaefer. Betty Schaefer. And\",\n \" Look, Mr. Sheldrake, could you \\n let me have three hundred bucks \\n yourself, as a personal loan? \\n \\n SHELDRAKE \\n Could I? Gillis, last year some-\"\n ],\n [\n \" The beam of the lamp moves toward Norma. It hits \\n her. She sits bathed in light. A couple of old \\n costume extras recognize her. \\n \\n EXTRAS\",\n \" It sure would have made attractive \\n headlines: Great Star Kills Her- \\n self for Unknown Writer. \\n \\n NORMA \\n Great stars have great pride. \\n\",\n \" NORMA \\n (Impatiently) \\n Well? \\n \\n GILLIS \\n This is fascinating. \\n \\n NORMA \\n Of course it is. \\n\",\n \" He leaves. \\n \\n NORMA \\n You heard him. I'm a star! \\n \\n GILLIS \\n Norma, grow up. You're a woman\",\n \" Meanwhile, Norma starts to sit, sees the name \\n MISS LAMARR on the chair and with a look of \\n distaste changes and sits on the one marked \\n C.B. DE MILLE. From somewhere comes \\n\",\n \" Madame is wanted on the telephone. \\n \\n NORMA \\n You know better than to interrupt me. \\n \\n MAX \\n Paramount is calling. \\n \\n NORMA \\n Who? \\n\",\n \" And you'll play Salome? \\n \\n NORMA \\n Who else ? \\n \\n GILLIS \\n Only asking. I did't know \\n you were planning a comeback. \\n\",\n \" Norma is examining her face in the mirror of her \\n vanity. Max, while driving, sees her in the rear \\n view mirror. \\n \\n MAX \\n If you will pardon me, Madame.\",\n \" NORMA \\n (From the top of the \\n stairs) \\n What is the scene? Where am I? \\n \\n MAX \\n This is the staircase of the palace. \\n \\n NORMA\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" NORMA \\n This is to be a very important \\n picture. I have written it \\n myself. Took me years. \\n \\n GILLIS \\n (Looking at the piles\",\n \" NORMA \\n I can't go on with the scene. \\n I'm too happy. Do you mind, \\n Mr. DeMille, if I say a few words? \\n Thank you. I just want to tell\",\n \" NORMA \\n Hello, Mr. deMille. \\n \\n She has reached him. They embrace. \\n \\n NORMA \\n Last time I saw you was someplace\",\n \" Norma, I want to apologize for \\n not calling you. \\n \\n NORMA \\n You'd better. I'm very angry. \\n \\n DE MILLE\",\n \" Norma looks at him, tears in her eyes. Slowly she \\n enfolds him in her bandaged arms. \\n \\n NORMA \\n Happy New Year. darling. \\n \\n She kisses him. \\n\",\n \" NORMA \\n This is a rock. \\n \\n She climbs on it, pantomimes timidity, an attempted \\n dive, then jumps off. \\n \\n Gillis lolls on a couch, watching the performance,\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" Her own movie theatre. \\n \\n BETTY \\n I didn't come here to see a house. \\n What about Norma Desmond? \\n \\n GILLIS\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" is old-fashioned, but shows her incredible beauty \\n and the screen presence which made her the great star \\n of her day. \\n \\n B-14 NORMA AND GILLIS ON THE COUCH \\n \\n NORMA\"\n ],\n [\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" in. Norma stands staring, speechless, for a second. \\n Gillis moves out of the shot towards the closets. \\n \\n NORMA \\n What are you doing, Joe? What\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" NORMA \\n What are you going to do, Joe? \\n \\n Without a word, he leaves the room. Norma raises \\n herself on the bed, reaching for a black negligee\",\n \" I'm locked up in this house? \\n \\n NORMA \\n Of course not, Joe. It's just \\n that I don't want to be left alone. \\n Not now, while I'm under this\",\n \" You can stay here. \\n \\n GILLIS \\n I'll come early tomorrow. \\n \\n Norma takes off her glasses. \\n \\n NORMA \\n Nonsense. There's room over the\",\n \" Down the staircase rushes Norma. a disordered wild- \\n ness in the way she moves. \\n \\n NORMA \\n You're not leaving me! \\n \\n She hurries after Gillis. \\n \\n\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" From the house comes Norma. \\n \\n NORMA \\n Now what is it? Where's the \\n fire? \\n \\n GILLIS \\n I've lost my car. \\n\",\n \" During the preceding. Max has entered. He stands \\n listening, paralyzed. \\n \\n NORMA \\n That's a lie! They still want me! \\n \\n GILLIS\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" Gillis ascends the stairs. \\n \\n NORMA \\n Thank you, Joe -- thank you, Joe. \\n \\n She tries to take his hand to kiss it as he passes.\",\n \" Her own movie theatre. \\n \\n BETTY \\n I didn't come here to see a house. \\n What about Norma Desmond? \\n \\n GILLIS\",\n \" each eye. She is rubbing lotion on her hands. \\n \\n She gets up and crosses to the door of Gillis' room \\n and opens it a crack. \\n \\n NORMA \\n Joe darling, are you there?\",\n \" NORMA \\n (Impatiently) \\n Well? \\n \\n GILLIS \\n This is fascinating. \\n \\n NORMA \\n Of course it is. \\n\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\",\n \" second. Then he slowly moves to the toot of the bed. \\n He takes the shoes from her feet and puts them on \\n the floor. \\n \\n NORMA \\n Go away. \\n \\n GILLIS\",\n \" Norma looks at him, tears in her eyes. Slowly she \\n enfolds him in her bandaged arms. \\n \\n NORMA \\n Happy New Year. darling. \\n \\n She kisses him. \\n\"\n ],\n [\n \" NORMA \\n Wait a minute. I want you to get \\n out the car. You're going to \\n take the script over to Paramount \\n and deliver it to Mr. De Mille in \\n person.\",\n \" Norma Desmond is coming to see \\n Mr. deMille. \\n \\n The second assistant walks (CAMERA WITH HIM) \\n to the first assistant. \\n \\n 2nd ASSISTANT\",\n \" DEMILLE \\n That's what I want to talk to you about. \\n \\n NORMA \\n It's a good script, isn't it? \\n \\n DEMILLE\",\n \" NORMA \\n Hello, Mr. deMille. \\n \\n She has reached him. They embrace. \\n \\n NORMA \\n Last time I saw you was someplace\",\n \" The first assistant is holding it open. In the door- \\n way stands Mr. deMille. Seeing Norma, he stretches \\n out his arms. \\n \\n DE MILLE \\n Hello, young fellow. \\n\",\n \" He leads her into \\n \\n \\n D-13 STAGE 18 \\n \\n During the ensuing dialogue, Mr. deMille walks Norma \\n towards the set. \\n \\n DE MILLE\",\n \" is C.B. himself. He is rehearsing a scene with \\n Hedy Lamarr. \\n \\n 1ST ASSISTANT \\n Norma Desmond is coming in to \\n see you, Mr. deMille. \\n\",\n \" Maybe deMille is shooting. \\n \\n NORMA \\n I know that trick! He wants to \\n belittle me. He's trying to get \\n my price down. I've waited\",\n \" The studio wanted to rent your car. \\n \\n NORMA \\n Wanted what? \\n \\n GILLIS \\n De Mille didn't have the heart \\n to tell you. None of us has had\",\n \" Meanwhile, Norma starts to sit, sees the name \\n MISS LAMARR on the chair and with a look of \\n distaste changes and sits on the one marked \\n C.B. DE MILLE. From somewhere comes \\n\",\n \" Norma Desmond coming in to \\n see Mr. deMille. \\n \\n The first assistant (CAMERA WITH HIM) hurries \\n to the set. Sitting with his back toward us\",\n \" to De Mille? \\n \\n NORMA \\n This is the right day. \\n \\n She indicates a typewritten letter she is holding. \\n \\n NORMA (Cont'd)\",\n \" Suddenly he realizes that she is crying. She takes \\n the handkerchief from his pocket and puts it over her \\n eyes. \\n \\n DEMILLE \\n What's the matter, Norma? \\n\",\n \" No, they don't. \\n \\n NORMA \\n What about the studio? \\n What about De Mille? \\n \\n GILLIS \\n He was trying to spare your feelings.\",\n \" MAX \\n It is not Mr. deMille in person. \\n It is someone by the name or Gordon \\n Cole. He says it's very important. \\n \\n NORMA\",\n \" MAX \\n Paramount studios. \\n \\n NORMA \\n (To Gillis) \\n Now, now do you belive me? I told \\n you deMille would jump at it. \\n\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" We're ready with the shot, Mr. deMille. \\n \\n DEMILLE \\n You'll pardon me, Norma? Why \\n don't you just sit and watch?\",\n \" I'm pretty busy, as you can see... \\n \\n NORMA \\n That's no excuse. You read the \\n script, didn't you? \\n \\n DE MILLE\",\n \" To see Mr. de Mille. Open the gate. \\n \\n YOUNG POLICEMAN \\n Mr. deMille is shooting. You \\n got an appointment? \\n \\n MAX\"\n ],\n [\n \" (To Gillis) \\n Sit down. Is there enough light? \\n \\n GILLIS \\n I've got twenty-twenty vision. \\n \\n Max has entered. \\n \\n NORMA\",\n \" Norma is examining her face in the mirror of her \\n vanity. Max, while driving, sees her in the rear \\n view mirror. \\n \\n MAX \\n If you will pardon me, Madame.\",\n \" During the preceding. Max has entered. He stands \\n listening, paralyzed. \\n \\n NORMA \\n That's a lie! They still want me! \\n \\n GILLIS\",\n \" Max is driving. In the were going to the house of \\n tonneau sit Norma, in a one of the waxworks for \\n chinchilla wrap, and some bridge. She'd taught\",\n \" may steal it. \\n \\n NORMA \\n I am not afraid. Read it! \\n \\n NORMA (Cont'd) \\n (Calling) \\n Max! Max!\",\n \" Max takes off. \\n \\n NORMA \\n What on earth, darling? It took \\n you hours. \\n \\n GILLIS \\n I ran into some people I knew. \\n \\n NORMA\",\n \" NORMA \\n (From the top of the \\n stairs) \\n What is the scene? Where am I? \\n \\n MAX \\n This is the staircase of the palace. \\n \\n NORMA\",\n \" Gillis seated in the rear. Max is helping Norma \\n in and putting the robe over her. \\n \\n GILLIS \\n (Apprehensively) \\n How did it go? \\n \\n NORMA\",\n \" Madame is wanted on the telephone. \\n \\n NORMA \\n You know better than to interrupt me. \\n \\n MAX \\n Paramount is calling. \\n \\n NORMA \\n Who? \\n\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" MAX \\n It is not Mr. deMille in person. \\n It is someone by the name or Gordon \\n Cole. He says it's very important. \\n \\n NORMA\",\n \" NORMA \\n Why begrudge me a little fun? \\n I just want you to look nice, \\n my stray little boy. \\n \\n By this time Max has made a U-turn. \\n\",\n \" D-11 EXT. STAGE 18 \\n \\n Norma's limousine drives up. Max dismounts \\n and opens the door. \\n \\n NORMA \\n (taking Gillis's hand)\",\n \" Bring something to drink. \\n \\n MAX \\n Yes. Madame. \\n \\n He leaves. Norma turns to Gillis again. \\n \\n NORMA \\n I said sit down. \\n\",\n \" NORMA \\n That isn't true! Max? \\n \\n MAX \\n Madame is the greatest star of \\n them all... I will take Mr. \\n Gillis' bags. \\n\",\n \" starring Norma Desmond...Home, Max. \\n \\n MAX \\n Yes, Miss Desmond. \\n \\n As he says the words, he and Gillis exchange a glance \\n in the rear view mirror. \\n\",\n \" (To Max) \\n Go on, unpack Mr. Gillis' things. \\n \\n GILLIS \\n Unpack nothing. I didn't say \\n I was staying. \\n \\n NORMA\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" garage. Max will take you there...Max! \\n \\n THE CAMERA MOVES GILLIS' VOICE \\n TOWARD NORMA'S FACE, She sure could say a lot of\",\n \" They reach the buffet. Max is ready with two \\n glasses of champagne. Norma hands Gillis a glass. \\n \\n NORMA \\n Here's to us. \\n \\n They drink. \\n\"\n ],\n [\n \" Fair enough. \\n \\n NORMA \\n Salome -- what a woman! What a \\n part! The Princess in love with \\n a Holy man. She dances the Dance\",\n \" after \\\"Salome\\\" we'll make another \\n picture, and another and another. \\n You see, this is my life. It always \\n will be. There's nothing else - \\n just us and the cameras and those\",\n \" to outfox him a litt1e. This isn't \\n going to be C. B. deMille's Salome. \\n It's going to be Norma Desmond's \\n Salome, a Norma Desmond Production,\",\n \" And you'll play Salome? \\n \\n NORMA \\n Who else ? \\n \\n GILLIS \\n Only asking. I did't know \\n you were planning a comeback. \\n\",\n \" of the Seven Veils. He rejects \\n her, so she demands his head on a \\n golden tray, kissing his cold, dead \\n lips. \\n \\n GILLIS\",\n \" of script) \\n Looks like enough for six impor- \\n tant pictures. \\n \\n NORMA \\n It's the story or Salome. I \\n think I'll have DeMille direct it.\",\n \" is a little woman. There is a curious style, a \\n great sense of high voltage about her. She is dress- \\n ed in black house pyjamas and black high-heeled\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" IN HER BEDROOM \\n \\n It is nine o'clock in the evening. She is in night \\n gown and negligee and has put triangular patches on \\n the saddle of her nose and at the outer corner of\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" sole, pulls herself up by it, starts towards Gillis' \\n door, passes a mirror, realizes how she looks, moves \\n back to the mirror and takes the patches off her \\n face and does a hasty job of removing the cream with\",\n \" Eve. \\n (to a salesman) \\n Where are your evening clothes? \\n \\n SALESMAN \\n This way, Madame. \\n \\n He leads her off. The other salesman arrives with a\",\n \" NORMA \\n This is a rock. \\n \\n She climbs on it, pantomimes timidity, an attempted \\n dive, then jumps off. \\n \\n Gillis lolls on a couch, watching the performance,\",\n \" D-10 STAGE 18 \\n \\n A scene from SAMPSON AND DELILAH is being rehearsed \\n in the background. The usual turbulent activity \\n surrounds it: extras. makeup men, grips,\",\n \" in the cellar. It's lonely here, \\n so she got herself a companion. \\n A very simple set-up: An older \\n woman who is well-to-do. A younger\",\n \" a glass of champagne. She is wearing a diamonte \\n evening dress. very high style. with long black \\n gloves and a headdress of paradise feathers. Her \\n eyes fall on Gillis. She puts down the glass of\",\n \" There is compulsion in her voice. \\n \\n Gillis looks at her GILLIS' VOICE \\n and starts slowly Well. I had no pressing \\n reading. engagement, and she'd men-\",\n \" She picks up the shawl to make up her mind about the \\n color. From under the shawl flops down a dead arm. \\n Gillis stares and recoils a little. It is like a\",\n \" Hers. \\n \\n BETTY \\n Whose? \\n \\n GILLIS \\n Just look around. There's a lot \\n of her spread about. If you don't\",\n \" ing. On the massage table before it lies a small \\n form shrouded under a Spanish shawl. At each end on \\n a baroque pedestal stands a three-branched cande- \\n labrum, the candles lighted.\"\n ],\n [\n \" Norma reappears in the door, carrying the revolver. \\n \\n NORMA \\n See, you didn't believe me!.. \\n Now I suppose you don't think I \\n have the courage! \\n\",\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" GILLIS \\n That's between you and yourself, \\n Norma. \\n \\n NORMA \\n You think I made that up about \\n the gun... \\n\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" From the house comes Norma. \\n \\n NORMA \\n Now what is it? Where's the \\n fire? \\n \\n GILLIS \\n I've lost my car. \\n\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" is carrying the typewriter. He doesn't accelerate \\n his step, although he has heard the shot. Behind \\n him Norma comes from the lighted house. \\n \\n NORMA \\n You're not leaving me! \\n\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" in. Norma stands staring, speechless, for a second. \\n Gillis moves out of the shot towards the closets. \\n \\n NORMA \\n What are you doing, Joe? What\",\n \" Norma looks at him, tears in her eyes. Slowly she \\n enfolds him in her bandaged arms. \\n \\n NORMA \\n Happy New Year. darling. \\n \\n She kisses him. \\n\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" Down the staircase rushes Norma. a disordered wild- \\n ness in the way she moves. \\n \\n NORMA \\n You're not leaving me! \\n \\n She hurries after Gillis. \\n \\n\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\",\n \" me anything more. \\n \\n NORMA \\n Don't be silly. \\n (She reaches under a \\n pillow of the couch \\n and brings out a \\n leather box)\",\n \" Gillis seated in the rear. Max is helping Norma \\n in and putting the robe over her. \\n \\n GILLIS \\n (Apprehensively) \\n How did it go? \\n \\n NORMA\",\n \" She puts one bandaged forearm over her eyes, sobbing. \\n Gillis walks slowly over to the mantelpiece, stands \\n there for awhile. \\n \\n NORMA \\n Go away. Go to that girl of yours. \\n\",\n \" NORMA'S VOICE \\n Open your eyes. \\n \\n Gillis opens his eyes. \\n \\n Norma has equipped herselr with a derby hat, a cane,\"\n ],\n [\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" in. Norma stands staring, speechless, for a second. \\n Gillis moves out of the shot towards the closets. \\n \\n NORMA \\n What are you doing, Joe? What\",\n \" NORMA \\n What are you going to do, Joe? \\n \\n Without a word, he leaves the room. Norma raises \\n herself on the bed, reaching for a black negligee\",\n \" Norma reappears in the door, carrying the revolver. \\n \\n NORMA \\n See, you didn't believe me!.. \\n Now I suppose you don't think I \\n have the courage! \\n\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" is carrying the typewriter. He doesn't accelerate \\n his step, although he has heard the shot. Behind \\n him Norma comes from the lighted house. \\n \\n NORMA \\n You're not leaving me! \\n\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" Norma looks at him, tears in her eyes. Slowly she \\n enfolds him in her bandaged arms. \\n \\n NORMA \\n Happy New Year. darling. \\n \\n She kisses him. \\n\",\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" GILLIS \\n That's between you and yourself, \\n Norma. \\n \\n NORMA \\n You think I made that up about \\n the gun... \\n\",\n \" C-32 INT. NORMA'S ROOM \\n \\n Gillis still stands. Norma lies on the bed, arms \\n over her eyes, sobbing. \\n \\n GILLIS \\n Happy New Year. \\n\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" Gillis ascends the stairs. \\n \\n NORMA \\n Thank you, Joe -- thank you, Joe. \\n \\n She tries to take his hand to kiss it as he passes.\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" I'm locked up in this house? \\n \\n NORMA \\n Of course not, Joe. It's just \\n that I don't want to be left alone. \\n Not now, while I'm under this\",\n \" During the preceding. Max has entered. He stands \\n listening, paralyzed. \\n \\n NORMA \\n That's a lie! They still want me! \\n \\n GILLIS\",\n \" each eye. She is rubbing lotion on her hands. \\n \\n She gets up and crosses to the door of Gillis' room \\n and opens it a crack. \\n \\n NORMA \\n Joe darling, are you there?\"\n ],\n [\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" starts to descend the stair- after all, those cam- \\n case. The cameras grind. eras. Life, which can \\n Everyone watches in awe. be strangely merciful, \\n had taken pity on Norma\",\n \" The beam of the lamp moves toward Norma. It hits \\n her. She sits bathed in light. A couple of old \\n costume extras recognize her. \\n \\n EXTRAS\",\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" THE CAMERA SLOWLY DRAWS BACK to include Norma \\n Desmond sitting in the dusk, just as she was before. \\n Gillis puts down a batch of script. There is a \\n little pause. \\n\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" Cameras? ...What is it, Max? \\n \\n MAX \\n The cameras have arrived, Madame. \\n \\n NORMA \\n They have? Thank you, Max. Tell\",\n \" goes to wall phone beside the gate, dials a number. \\n \\n OLD POLICEMAN \\n (Into phone) \\n Norma Desmond coming in to \\n see Mr. deMille. \\n\",\n \" Are the lights ready? \\n \\n 2ND CAMERA MAN \\n All set. \\n \\n MAX \\n Quiet, everybody! Lights! \\n Are you ready, Norma? \\n\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" a state of complete mental shock ... \\n \\n THE CAMERA PANS TO ANOTHER PART OF THE BEDROOM, where \\n Norma sits at a mirror, staring at herself blankly.\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" garage. Max will take you there...Max! \\n \\n THE CAMERA MOVES GILLIS' VOICE \\n TOWARD NORMA'S FACE, She sure could say a lot of\",\n \" HEAD OF HOMICIDE \\n Tell them to go fly a kite. This \\n is no time for cameras. \\n \\n A word has pierced the mists that surround Norma. \\n \\n NORMA\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" From the house comes Norma. \\n \\n NORMA \\n Now what is it? Where's the \\n fire? \\n \\n GILLIS \\n I've lost my car. \\n\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" Suddenly he realizes that she is crying. She takes \\n the handkerchief from his pocket and puts it over her \\n eyes. \\n \\n DEMILLE \\n What's the matter, Norma? \\n\",\n \" a gigantic fireplace has been freezing for years. \\n On the gold piano is a galaxy of photographs of \\n Norma Desmond in her various roles. On one wall \\n is a painting -- a California Gold Rush scene,\"\n ],\n [\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" NORMA'S VOICE \\n Open your eyes. \\n \\n Gillis opens his eyes. \\n \\n Norma has equipped herselr with a derby hat, a cane,\",\n \" NORMA \\n (Impatiently) \\n Well? \\n \\n GILLIS \\n This is fascinating. \\n \\n NORMA \\n Of course it is. \\n\",\n \" Norma looks at him, tears in her eyes. Slowly she \\n enfolds him in her bandaged arms. \\n \\n NORMA \\n Happy New Year. darling. \\n \\n She kisses him. \\n\",\n \" Down the staircase rushes Norma. a disordered wild- \\n ness in the way she moves. \\n \\n NORMA \\n You're not leaving me! \\n \\n She hurries after Gillis. \\n \\n\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\",\n \" During the preceding. Max has entered. He stands \\n listening, paralyzed. \\n \\n NORMA \\n That's a lie! They still want me! \\n \\n GILLIS\",\n \" Gillis enters. \\n \\n \\n A-31 INT. NORMA DESMOND'S ENTRANCE HALL \\n \\n It is grandiose and grim. The whole place is one of\",\n \" (To Gillis) \\n Sit down. Is there enough light? \\n \\n GILLIS \\n I've got twenty-twenty vision. \\n \\n Max has entered. \\n \\n NORMA\",\n \" From the house comes Norma. \\n \\n NORMA \\n Now what is it? Where's the \\n fire? \\n \\n GILLIS \\n I've lost my car. \\n\",\n \" Gillis seated in the rear. Max is helping Norma \\n in and putting the robe over her. \\n \\n GILLIS \\n (Apprehensively) \\n How did it go? \\n \\n NORMA\",\n \" He leaves. \\n \\n NORMA \\n You heard him. I'm a star! \\n \\n GILLIS \\n Norma, grow up. You're a woman\",\n \" Gillis doesn't answer. Norma slaps his face and \\n rushes from the room and upstairs. \\n \\n Gillis stands paralyzed, the slap burning his cheek. \\n \\n\",\n \" Gillis takes two or three pages from Norma's hand- \\n written script, crosses them out and puts them to \\n one side. \\n \\n Norma rises, crosses towards Gillis, looks over his \\n shoulder. \\n\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" NORMA \\n Good night, my darling. \\n \\n She goes into her room, shutting the door behind her. \\n \\n Gillis puts his book down and looks at her door. \\n \\n\"\n ],\n [\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" Gillis takes two or three pages from Norma's hand- \\n written script, crosses them out and puts them to \\n one side. \\n \\n Norma rises, crosses towards Gillis, looks over his \\n shoulder. \\n\",\n \" the heart. \\n \\n NORMA \\n That's a lie! They want me, they \\n want me! I get letters every day! \\n \\n GILLIS\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" Yes, Norma. \\n \\n Through the slit in the door there is a suggestion \\n of Norma. \\n \\n NORMA \\n Don't turn around. Keep your \\n eyes on the book. \\n\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\",\n \" NORMA \\n What are you going to do, Joe? \\n \\n Without a word, he leaves the room. Norma raises \\n herself on the bed, reaching for a black negligee\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" From Norma's room comes the sound of a telephone \\n being dialled. Gillis enters the shot and stands \\n listening. \\n \\n NORMA'S VOICE \\n Is this Gladstone 0858? \\n\",\n \" C-32 INT. NORMA'S ROOM \\n \\n Gillis still stands. Norma lies on the bed, arms \\n over her eyes, sobbing. \\n \\n GILLIS \\n Happy New Year. \\n\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" The beam of the lamp moves toward Norma. It hits \\n her. She sits bathed in light. A couple of old \\n costume extras recognize her. \\n \\n EXTRAS\",\n \" you. \\n \\n She puts the towel around his sholders and starts \\n drying him. \\n \\n GILLIS \\n I hope you realize, Norma, \\n that scripts don't sell on\",\n \" Honestly, it's a little old hat. \\n They don't want that any more. \\n \\n NORMA \\n They don't? Then why do they still \\n write me fan letters every day.\",\n \" Meanwhile, Norma starts to sit, sees the name \\n MISS LAMARR on the chair and with a look of \\n distaste changes and sits on the one marked \\n C.B. DE MILLE. From somewhere comes \\n\",\n \" You're a writer, you said. \\n \\n GILLIS \\n Why? \\n \\n Norma starts down the stairs. \\n \\n NORMA \\n Are you or aren't you? \\n\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\"\n ],\n [\n \" yes men at Twentieth. To me \\n they said no. Finally I \\n located that agent of mine, the \\n big faker. Was he out digging \\n up a job for poor Joe Gillis?\",\n \" In a deep freeze. \\n \\n ARTIE \\n I almost reported you to the Bureau \\n of Missing Persons. \\n (To the company) \\n Fans, you all know Joe Gillis, the\",\n \" the door. Two men wearing hats stand outside one of \\n them carrying a briefcase. \\n \\n NO. 1 \\n Joseph C. Gillis? \\n \\n GILLIS \\n That's right. \\n\",\n \" I love you, Joe. I love you, Joe. \\n I love you, Joe. I love you, Joe. \\n \\n There is the sound of footsteps below and the ringing \\n of a doorbell. Gillis rises.\",\n \" THE CAMERA SLOWLY DRAWS BACK to include Norma \\n Desmond sitting in the dusk, just as she was before. \\n Gillis puts down a batch of script. There is a \\n little pause. \\n\",\n \" GILLIS \\n The name is Gillis. I'm single. \\n \\n NORMA \\n Where do you live? \\n \\n GILLIS \\n Hollywood. The Alto Nido Apart-\",\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" There is a metallic of the finance company. \\n noise as some loose \\n change and keys drop \\n from the trouser pockets. \\n As Gillis bends over to \\n pick them up, we see that \\n he has dropped the car\",\n \" Her own movie theatre. \\n \\n BETTY \\n I didn't come here to see a house. \\n What about Norma Desmond? \\n \\n GILLIS\",\n \" It is a one-room affair with an unmade Murphy bed \\n pulled out of the wall at which Gillis sits typing. \\n There are a couple of worn-out plush chairs and a \\n Spanish-style, wrought-iron standing lamp. Also a\",\n \" Gillis looks around. \\n \\n On the couch by the fireplace reclines Norma Desmond, \\n dressed in a negligee. She rises. \\n \\n NORMA \\n I don't know why you should be\",\n \" The car drives up and Gillis hurries into the store. \\n \\n \\n D-4 INT. SCHWAB'S DRUGSTORE \\n Business is still rather lively. There are about a\",\n \" Gillis enters. \\n \\n \\n A-31 INT. NORMA DESMOND'S ENTRANCE HALL \\n \\n It is grandiose and grim. The whole place is one of\",\n \" Gillis gets out. From the seat next him he takes a \\n batch of script, folds it and puts it in his pocket. \\n He suddenly becomes aware that he is watched, turns. \\n Max stands in the moonlight, evidently waiting for\",\n \" is C.B. himself. He is rehearsing a scene with \\n Hedy Lamarr. \\n \\n 1ST ASSISTANT \\n Norma Desmond is coming in to \\n see you, Mr. deMille. \\n\",\n \" Joe. Is it something awful? \\n \\n GILLIS \\n Come on in, Betty, \\n \\n Betty enters. As he leads her into the living room, \\n Gillis puts his arm around her shoulders. \\n\",\n \" You're a writer, you said. \\n \\n GILLIS \\n Why? \\n \\n Norma starts down the stairs. \\n \\n NORMA \\n Are you or aren't you? \\n\",\n \" He walks toward the exit. He is stopped by the \\n voice of \\n \\n SKOLSKY \\n Hello, Gillis. \\n \\n Gillis looks around. At the fountain sits Skolsky,\",\n \" floor, where we look my touch. Maybe they \\n in on JOE GILLIS' APART- weren't original \\n MENT. Joe Gillis, bare- enough. Maybe they\",\n \" Gillis ascends the stairs. \\n \\n NORMA \\n Thank you, Joe -- thank you, Joe. \\n \\n She tries to take his hand to kiss it as he passes.\"\n ],\n [\n \" here? \\n \\n NORMA \\n Who? \\n \\n GILLIS \\n The other guests? \\n \\n NORMA \\n There are no other guests. We\",\n \" Norma continues to sob. Gillis goes to the bed, \\n puts his arms on her shoulders and turns her around. \\n \\n GILLIS \\n Happy New Year. \\n\",\n \" Norma looks at him, tears in her eyes. Slowly she \\n enfolds him in her bandaged arms. \\n \\n NORMA \\n Happy New Year. darling. \\n \\n She kisses him. \\n\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" The beam of the lamp moves toward Norma. It hits \\n her. She sits bathed in light. A couple of old \\n costume extras recognize her. \\n \\n EXTRAS\",\n \" They reach the buffet. Max is ready with two \\n glasses of champagne. Norma hands Gillis a glass. \\n \\n NORMA \\n Here's to us. \\n \\n They drink. \\n\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" by about a dozen people who have come up to pay court. \\n DeMille gestures up to Hog-eye and the light shifts \\n away. The people about Norma disperse slowly with \\n various ad-libs. \\n\",\n \" (To Gillis) \\n Sit down. Is there enough light? \\n \\n GILLIS \\n I've got twenty-twenty vision. \\n \\n Max has entered. \\n \\n NORMA\",\n \" C-32 INT. NORMA'S ROOM \\n \\n Gillis still stands. Norma lies on the bed, arms \\n over her eyes, sobbing. \\n \\n GILLIS \\n Happy New Year. \\n\",\n \" Are the lights ready? \\n \\n From the stairway comes a murnur. They look up. \\n \\n Norma has emerged from the bedroom and comes to the \\n head of the stairs. There are golden spangles in\",\n \" You can stay here. \\n \\n GILLIS \\n I'll come early tomorrow. \\n \\n Norma takes off her glasses. \\n \\n NORMA \\n Nonsense. There's room over the\",\n \" caviar on ice. In one corner \\n on a little platform banked \\n with palms. a four-piece \\n orchestra is playing. \\n \\n At the buffet are Max and Norma. She is drinking\",\n \" gotten Madame's New Year's party. \\n \\n GILLIS \\n No, I haven't. I suppose all \\n the waxworks are coming? \\n \\n MAX\",\n \" a gigantic fireplace has been freezing for years. \\n On the gold piano is a galaxy of photographs of \\n Norma Desmond in her various roles. On one wall \\n is a painting -- a California Gold Rush scene,\",\n \" During the preceding. Max has entered. He stands \\n listening, paralyzed. \\n \\n NORMA \\n That's a lie! They still want me! \\n \\n GILLIS\",\n \" Meanwhile, Norma starts to sit, sees the name \\n MISS LAMARR on the chair and with a look of \\n distaste changes and sits on the one marked \\n C.B. DE MILLE. From somewhere comes \\n\",\n \" Gillis seated in the rear. Max is helping Norma \\n in and putting the robe over her. \\n \\n GILLIS \\n (Apprehensively) \\n How did it go? \\n \\n NORMA\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\"\n ],\n [\n \" From the house comes Norma. \\n \\n NORMA \\n Now what is it? Where's the \\n fire? \\n \\n GILLIS \\n I've lost my car. \\n\",\n \" Max is driving. In the were going to the house of \\n tonneau sit Norma, in a one of the waxworks for \\n chinchilla wrap, and some bridge. She'd taught\",\n \" It is a sunny day. The garden is in somewhat better \\n shape. The old house looks less unkept. The pool \\n is filled. Norma sits on a wicker chaise longue, her\",\n \" ments. \\n \\n NORMA \\n There's something wrong with \\n your car, you said. \\n \\n GILLIS \\n There sure is. \\n \\n NORMA\",\n \" Norma is examining her face in the mirror of her \\n vanity. Max, while driving, sees her in the rear \\n view mirror. \\n \\n MAX \\n If you will pardon me, Madame.\",\n \" The beam of the lamp moves toward Norma. It hits \\n her. She sits bathed in light. A couple of old \\n costume extras recognize her. \\n \\n EXTRAS\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" No, I'll be all right. \\n \\n She shuts the door of the car and goes up the steps. \\n \\n \\n E-30 NORMA'S BEDROOM \\n\",\n \" For the first time. Norma really looks at him \\n through her dark glasses. \\n \\n GILLIS \\n I had some trouble with my car. \\n Flat tire. I pulled into your\",\n \" She rushes into her room. Gillis closes the suitcase \\n calmly, notices that he is still wearing some cuff- \\n links Norma gave him, takes them off. \\n\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" Gillis seated in the rear. Max is helping Norma \\n in and putting the robe over her. \\n \\n GILLIS \\n (Apprehensively) \\n How did it go? \\n \\n NORMA\",\n \" garage. Max will take you there...Max! \\n \\n THE CAMERA MOVES GILLIS' VOICE \\n TOWARD NORMA'S FACE, She sure could say a lot of\",\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" to this house. That's why I took \\n this job -- ghost writing! \\n \\n NORMA \\n Now you're being silly. We don't \\n need two cars. We have a car. And\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\",\n \" take me for rides in the \\n B-22 INSIDE THE CAR hills above Sunset. \\n \\n Gillis sits beside Norma, The whole thing was up-\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\"\n ],\n [\n \" him. \\n \\n GILLIS \\n What is it, Max? Want to wash \\n the car, or are you doing a little \\n spying in your off hours? \\n \\n MAX\",\n \" mphasized lack of interest. Finally it winds up \\n on Max, behind the buffet. He stands watching Gillis, \\n a faint trace of pity in his eyes. \\n \\n DISSOLVE TO: \\n \\n\",\n \" Gillis gets out. From the seat next him he takes a \\n batch of script, folds it and puts it in his pocket. \\n He suddenly becomes aware that he is watched, turns. \\n Max stands in the moonlight, evidently waiting for\",\n \" It is obviously a man's room -- heavy Spanish \\n furniture -- one wall nothing but a closet with \\n shelves and drawers for shirts and shoes. Max is \\n hanging up the suits. Gillis throws the shirts on\",\n \" the lights. Max exits in, \\n the direction of the liv- used to sneak out on the \\n ing room. \\n folks to see a gangster \\n After a moment Gillis starts\",\n \" on her forefinger with found out that Max was the \\n a clip which holds a only other person in that \\n cigarette. She gets up grim Sunset castle, and I \\n and forces on Gillis found out a few other things\",\n \" MAX \\n Mr. Gillis, if you please. \\n \\n GILLIS \\n Right with you. \\n \\n Max leaves. \\n \\n ARTIE\",\n \" I love you, Joe. I love you, Joe. \\n I love you, Joe. I love you, Joe. \\n \\n There is the sound of footsteps below and the ringing \\n of a doorbell. Gillis rises.\",\n \" MAX \\n You did, sir. \\n GILLIS' VOICE \\n He goes out. Gillis I pegged him as slightly \\n looks after him, hangs cuckoo, too. A stroke maybe.\",\n \" Max is rush1ng up the stairs toward the descending \\n Gillis. \\n \\n GILLIS \\n What's the matter, Max? \\n \\n MAX \\n I just found out why all those tele-\",\n \" GILLIS \\n How come? \\n \\n MAX \\n The doctor suggested it. \\n \\n GILLIS \\n What doctor? \\n \\n MAX\",\n \" The men from the finance company are cranking up \\n the car. Max stands watching silently. When they \\n finish the cranking job, the men climb into the \\n front seat of the truck. \\n \\n\",\n \" I don't know, sir. Madame made \\n the arrangements. \\n \\n Max leaves. Gillis comes out of the bathroom, picks \\n up his shirts, goes over to a closet, opens it. As\",\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" It couldn't have gone better. \\n It's practically set. Of course, \\n he has to finish this picture \\n first, but mine will be his next. \\n \\n There is an exchange of looks between Max and Gillis. \\n\",\n \" so upset. Stop that playing, \\n Max. \\n (To Gillis again) \\n It seemed like a good idea -- \\n if we are to work together. \\n \\n GILLIS\",\n \" Will that do it? \\n \\n MAX \\n I'm not inquiring where Mr. \\n Gillis goes every night... \\n \\n GILLIS \\n Why don't you? I'm writing a\",\n \" Thanks. \\n (On second thought) \\n How did you know I was going to \\n stay, this afternoon? \\n \\n Max doesn't answer. He walks across to the bed,\",\n \" Gillis enters the shot. \\n \\n \\n GILLIS \\n I just put my car in the garage. \\n I had a blow-out. I thought -- \\n \\n MAX \\n Go on in. \\n\",\n \" Max is driving. In the were going to the house of \\n tonneau sit Norma, in a one of the waxworks for \\n chinchilla wrap, and some bridge. She'd taught\"\n ],\n [\n \" Max is driving. In the were going to the house of \\n tonneau sit Norma, in a one of the waxworks for \\n chinchilla wrap, and some bridge. She'd taught\",\n \" MAX \\n She never will. That is my job. \\n It has been for a long time. You \\n must understand I discovered her \\n when she was eighteen. I made her\",\n \" mphasized lack of interest. Finally it winds up \\n on Max, behind the buffet. He stands watching Gillis, \\n a faint trace of pity in his eyes. \\n \\n DISSOLVE TO: \\n \\n\",\n \" on her forefinger with found out that Max was the \\n a clip which holds a only other person in that \\n cigarette. She gets up grim Sunset castle, and I \\n and forces on Gillis found out a few other things\",\n \" Max takes off. \\n \\n NORMA \\n What on earth, darling? It took \\n you hours. \\n \\n GILLIS \\n I ran into some people I knew. \\n \\n NORMA\",\n \" During the preceding. Max has entered. He stands \\n listening, paralyzed. \\n \\n NORMA \\n That's a lie! They still want me! \\n \\n GILLIS\",\n \" Madame's doctor. She has moments \\n of melancholy. There have been \\n some suicide attempts. \\n \\n GILLIS \\n Uh-huh? \\n \\n MAX\",\n \" face shielded by an enormous straw hat, her eyes by \\n dark glasses. Gillis, in bathing trunks, is on a \\n rubber mattress in the pool. Max comes to the \\n entrance door. \\n \\n MAX\",\n \" and blacked in a small moustache. She goes into a \\n little Chaplin routine. While she is doing it, the \\n telephone rings. After a moment Max comes to the \\n living room door. \\n \\n MAX\",\n \" GILLIS \\n Max ! Max ! \\n \\n He hangs up the dead receiver, stands numb with \\n shock. Betty elbows her way up to him, carrying \\n the two punch glasses filled again. \\n\",\n \" (To Gillis) \\n Sit down. Is there enough light? \\n \\n GILLIS \\n I've got twenty-twenty vision. \\n \\n Max has entered. \\n \\n NORMA\",\n \" a star. I cannot let her be destroyed. \\n \\n GILLIS \\n You made her a star? \\n \\n MAX \\n I directed all her early pictures. \\n There were three young directors\",\n \" MAX \\n Mr. Gillis, if you please. \\n \\n GILLIS \\n Right with you. \\n \\n Max leaves. \\n \\n ARTIE\",\n \" Gillis gets out. From the seat next him he takes a \\n batch of script, folds it and puts it in his pocket. \\n He suddenly becomes aware that he is watched, turns. \\n Max stands in the moonlight, evidently waiting for\",\n \" Norma is examining her face in the mirror of her \\n vanity. Max, while driving, sees her in the rear \\n view mirror. \\n \\n MAX \\n If you will pardon me, Madame.\",\n \" him. \\n \\n GILLIS \\n What is it, Max? Want to wash \\n the car, or are you doing a little \\n spying in your off hours? \\n \\n MAX\",\n \" may steal it. \\n \\n NORMA \\n I am not afraid. Read it! \\n \\n NORMA (Cont'd) \\n (Calling) \\n Max! Max!\",\n \" I don't know, sir. Madame made \\n the arrangements. \\n \\n Max leaves. Gillis comes out of the bathroom, picks \\n up his shirts, goes over to a closet, opens it. As\",\n \" Gillis seated in the rear. Max is helping Norma \\n in and putting the robe over her. \\n \\n GILLIS \\n (Apprehensively) \\n How did it go? \\n \\n NORMA\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\"\n ],\n [\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" in. Norma stands staring, speechless, for a second. \\n Gillis moves out of the shot towards the closets. \\n \\n NORMA \\n What are you doing, Joe? What\",\n \" NORMA \\n What are you going to do, Joe? \\n \\n Without a word, he leaves the room. Norma raises \\n herself on the bed, reaching for a black negligee\",\n \" is carrying the typewriter. He doesn't accelerate \\n his step, although he has heard the shot. Behind \\n him Norma comes from the lighted house. \\n \\n NORMA \\n You're not leaving me! \\n\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" Down the staircase rushes Norma. a disordered wild- \\n ness in the way she moves. \\n \\n NORMA \\n You're not leaving me! \\n \\n She hurries after Gillis. \\n \\n\",\n \" Norma reappears in the door, carrying the revolver. \\n \\n NORMA \\n See, you didn't believe me!.. \\n Now I suppose you don't think I \\n have the courage! \\n\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" second. Then he slowly moves to the toot of the bed. \\n He takes the shoes from her feet and puts them on \\n the floor. \\n \\n NORMA \\n Go away. \\n \\n GILLIS\",\n \" Gillis ascends the stairs. \\n \\n NORMA \\n Thank you, Joe -- thank you, Joe. \\n \\n She tries to take his hand to kiss it as he passes.\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" He leaves. \\n \\n NORMA \\n You heard him. I'm a star! \\n \\n GILLIS \\n Norma, grow up. You're a woman\",\n \" each eye. She is rubbing lotion on her hands. \\n \\n She gets up and crosses to the door of Gillis' room \\n and opens it a crack. \\n \\n NORMA \\n Joe darling, are you there?\",\n \" I'm locked up in this house? \\n \\n NORMA \\n Of course not, Joe. It's just \\n that I don't want to be left alone. \\n Not now, while I'm under this\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" Gillis doesn't answer. Norma slaps his face and \\n rushes from the room and upstairs. \\n \\n Gillis stands paralyzed, the slap burning his cheek. \\n \\n\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\"\n ],\n [\n \" She shoots twice in rapid succession. Gillis drops \\n the typewriter. The shots have swung him around. He \\n is now facing Norma. She shoots him. This shot\",\n \" hits him in the belly. He doubles up, instinctively \\n backs away from her, plummets into the lit pool. \\n \\n Up the stone steps from the garage rushes Max. \\n He sees the situation, hurries towards Norma, who\",\n \" He doesn't stop. Norma catches his coat. Gillis \\n moves right on into his room. Norma lies on the \\n floor looking after him. She crawls toward a con-\",\n \" Joe! ...Joe! \\n \\n There is the SOUND OF A SHOT. The glass of the front \\n door is shattered. Gillis at the door opens it and \\n walks out, without looking back. \\n\",\n \" in. Norma stands staring, speechless, for a second. \\n Gillis moves out of the shot towards the closets. \\n \\n NORMA \\n What are you doing, Joe? What\",\n \" He leads her in the direction of the door. \\n \\n E-33 UPPER LANDING, DESMOND HOUSE \\n \\n Sitting crouched behind the balustrade is Norma, \\n peering down into \\n \\n\",\n \" Oh. Well, thank you. \\n \\n He hangs up, walks back towards Norma. (CAMERA \\n WITH HIM). \\n \\n Norma stills sits in the shaft of light, surrounded\",\n \" Norma has reached him at the bottom of the staircase. \\n \\n NORMA \\n I want to ask you something. \\n Come in here. \\n \\n She leads him into \\n \\n\",\n \" NORMA \\n What are you going to do, Joe? \\n \\n Without a word, he leaves the room. Norma raises \\n herself on the bed, reaching for a black negligee\",\n \" He hangs up. Norma looks up at him as he crosses to \\n the other end of the room and stands staring at her. \\n The silence becomes unbearable. \\n \\n NORMA\",\n \" is carrying the typewriter. He doesn't accelerate \\n his step, although he has heard the shot. Behind \\n him Norma comes from the lighted house. \\n \\n NORMA \\n You're not leaving me! \\n\",\n \" Norma lies on the bed. Gillis sits in a far corner \\n of the room, motionless. \\n \\n NORMA \\n (In a whimpering monotone)\",\n \" C-1O THE TOP OF THE STAIRCASE AND CORRIDOR \\n \\n Norma rushes up the last few steps, down the corridor \\n and into her bedroom, banging the door. MOVE THE\",\n \" One lamp lit. Norma, in a white negligee, with the \\n patches on her face, is pacing up and down -- a \\n small, tormented, pitiable woman. Finally she opens \\n the door to: \\n \\n\",\n \" starts to descend the stair- after all, those cam- \\n case. The cameras grind. eras. Life, which can \\n Everyone watches in awe. be strangely merciful, \\n had taken pity on Norma\",\n \" each eye. She is rubbing lotion on her hands. \\n \\n She gets up and crosses to the door of Gillis' room \\n and opens it a crack. \\n \\n NORMA \\n Joe darling, are you there?\",\n \" Gillis enters the SHOT and she leads him into \\n \\n \\n A-32 NORMA DESMOND'S BEDROOM \\n \\n It is a huge, gloomy room hung in white brocade which\",\n \" Down the staircase rushes Norma. a disordered wild- \\n ness in the way she moves. \\n \\n NORMA \\n You're not leaving me! \\n \\n She hurries after Gillis. \\n \\n\",\n \" Gillis doesn't answer. Norma slaps his face and \\n rushes from the room and upstairs. \\n \\n Gillis stands paralyzed, the slap burning his cheek. \\n \\n\",\n \" walked towards her. Suddenly Norma senses his pre- \\n sence and turns around. The telephone freezes in her \\n hand. She tries to hang it up. Very calmly Gillis \\n takes the receiver from her hand. \\n\"\n ],\n [\n \" We're engaged. \\n \\n GILLIS \\n Good for you. You've got yourself \\n the best guy in town. \\n \\n BETTY \\n I think so. They're on location\",\n \" BETTY \\n You did. \\n \\n There is a moment's pause before he takes her in \\n his arms. THE CAMERA MOVES AWAY. \\n \\n DISSOLVE TO: \\n \\n\",\n \" rushes towards the door and out. Betty stands look- \\n ing after him, completely bewildered. \\n \\n DISSOLVE TO: \\n \\n\",\n \" Betty turns towards Gillis, embarrassed. \\n \\n SHELDRAKE \\n This is Miss Kramer. \\n \\n BETTY \\n Schaefer. Betty Schaefer. And\",\n \" married. That's what you've \\n always wanted. \\n \\n BETTY \\n I don't want it now. \\n \\n GILLIS \\n Why not? Don't you love Artie?\",\n \" Betty reaches for a cigarette. The inscription en- \\n graved inside the case catches her eye. It reads: \\n \\n MAD ABOUT THE BOY -- \\n \\n Norma \\n \\n\",\n \" He resumes typing. Betty puts the water on. She \\n picks up a pack of cigarettes on the desk, finds it's \\n empty and throws it away, sees Gillis' open gold \\n cigarette case and lighter on the table by the couch.\",\n \" Betty gets up. \\n \\n GILLIS \\n Is it about me? \\n \\n Betty doesn't answer, walks out on \\n \\n \\n E-18 THE BALCONY \\n\",\n \" (He whistles and \\n catches her attention) \\n Why are you staring at me like that? \\n \\n BETTY \\n Was I? I'm sorry. \\n \\n GILLIS\",\n \" Gillis kisses her nose. As he stands there, his \\n face close to hers - \\n \\n GILLIS \\n May I say you smell real special. \\n \\n BETTY\",\n \" Betty Schaefer \\n \\n DISSOLVE: \\n \\n \\n E-17 BETTY'S CUBICLE (NIGHT) \\n \\n Betty is typing. Gillis sits on the couch, proof-\",\n \" Connie, a girl of Betty's age with whom she shares \\n the flat, is on the phone. Betty, in a dressing- \\n gown, comes from the bathroom, toothbrush in hand. \\n \\n CONNIE\",\n \" BETTY \\n Stop it, Artie, will you? \\n (To Gillis) \\n Where have you been keeping your- \\n self? I've got the most wonderful \\n news for you. \\n\",\n \" reading a scene. Betty stops typing and Gillis \\n becomes aware of her eyes fixed on him. \\n \\n GILLIS \\n Hey, what's the matter... \\n Betty, wake up!\",\n \" BETTY \\n Whose house is it? \\n \\n They have reached \\n \\n \\n E-32 THE LIVING ROOM \\n \\n Gillis leads Betty in. \\n \\n GILLIS\",\n \" Hers. \\n \\n BETTY \\n Whose? \\n \\n GILLIS \\n Just look around. There's a lot \\n of her spread about. If you don't\",\n \" It's true, it's moving. Now \\n why don't you use that character... \\n \\n GILLIS \\n Who wants true? Who wants moving? \\n \\n BETTY\",\n \" BETTY \\n I tell you this is half sold. \\n \\n GILLIS \\n As a matter of fact. I've given \\n up writing altogether. \\n \\n Max has appeared in the door.\",\n \" them on Sheldrake's desk, not noticing Gillis, who \\n stands near the door. \\n \\n BETTY \\n Hello, Mr. Sheldrake. On that Bases\",\n \" place, stops at the entrance steps. Betty gets out. \\n \\n CONNIE \\n Betty, let me come along with \\n you. Please. \\n \\n BETTY\"\n ]\n]"},"questions":{"kind":"list like","value":["Who is Joe running from?","Who owns the masion?","What is Norma's goal?","Who writes Norma's fan letters?","Why doesn't Joe move out?","What does Cole want from Norma?","Who is Max?","How does Joe die?","Why does Norma believe that the cameras are in her house?","Who is explaining the events surrounding the death of Joe Gillis?","What company does Sheldrake work for?","Why was Norma famous?","Why does Norma insist Joe move in with her?","When Norma meets with Mr. DeMille about her script, what is the real reason she has been invited to the studio?","Who is Max to Norma?","What is Salome?","Why does Norma have a gun?","Why does Norma shoot Joe?","At the end of the story, surrounded by cameras and police, why does Norma think she is on set?","Who is Norma's butler?","Who is secretly writing fan mail to Norma?","What is Joe Gillis profession?","How many guests does Norma have at her New Years Eve party?","What kind of car does Norma own?","What does Max reveal to Joe that he used to do?","Who was Max formerly married to?","How many times does Norma shoot Joe when he tries to leave?","When Joe is shot by Norma where doe he fall?","Who is Betty engaged to?"],"string":"[\n \"Who is Joe running from?\",\n \"Who owns the masion?\",\n \"What is Norma's goal?\",\n \"Who writes Norma's fan letters?\",\n \"Why doesn't Joe move out?\",\n \"What does Cole want from Norma?\",\n \"Who is Max?\",\n \"How does Joe die?\",\n \"Why does Norma believe that the cameras are in her house?\",\n \"Who is explaining the events surrounding the death of Joe Gillis?\",\n \"What company does Sheldrake work for?\",\n \"Why was Norma famous?\",\n \"Why does Norma insist Joe move in with her?\",\n \"When Norma meets with Mr. DeMille about her script, what is the real reason she has been invited to the studio?\",\n \"Who is Max to Norma?\",\n \"What is Salome?\",\n \"Why does Norma have a gun?\",\n \"Why does Norma shoot Joe?\",\n \"At the end of the story, surrounded by cameras and police, why does Norma think she is on set?\",\n \"Who is Norma's butler?\",\n \"Who is secretly writing fan mail to Norma?\",\n \"What is Joe Gillis profession?\",\n \"How many guests does Norma have at her New Years Eve party?\",\n \"What kind of car does Norma own?\",\n \"What does Max reveal to Joe that he used to do?\",\n \"Who was Max formerly married to?\",\n \"How many times does Norma shoot Joe when he tries to leave?\",\n \"When Joe is shot by Norma where doe he fall?\",\n \"Who is Betty engaged to?\"\n]"},"answers":{"kind":"list like","value":[["Repossession men","Repossession men"],["Norma Desmond.","Norma Desmond "],["To rekindle her movie star career.","To become famous again"],["Max.","Max"],["Norma has slit her wrists with his razor.","Norma cuts her wrists."],["To rent her unusual car for a movie.","To rent her car for a film."],["The producer who found Norma and her first husband.","her first director/husband and now servant"],["Norma shoots him.","Norma shoots him"],["To film a moive.","She believes the cameras are there to film her screenplay."],["Joe Gillis.","Joe Gillis himself"],["Paramount Pictures.","Paramount Pictures"],["She was a silent film star.","she was a silent film star"],["Because he offers to fix her terrible script.","She falls in love with him."],["The studio executive wants to rent her unusual car for a film. ","Cole wants to borrow her car for a film"],["He discovered her, made her a star, was her first husband, and is now her assistant. ","Her ex-husband and servant."],["The name of the comeback script Norma wrote.","A movie script."],["She is threatening to kill herself.","Norma has a gun to show Joe that she is serious about killing herself if Joe leaves."],["Because he tells her the truth, that the public has forgotten her and her fan letters are actually from Max.","he tells her she is forgotten and will not be able to make a comeback"],["She has been traumatized and has lost touch with reality.","The newsreel cameras and bright lights, combined with her precarious mental state."],["Max.","Max"],["Max.","Max"],["Writer.","he is a screen writer"],["One,","1"],["A 1929 Isotta Fraschini.","1929 Isotta Fraschini"],["That he was once a film director.","That he was once a film director."],["Norma. ","Norma "],["Three.","3"],["Into the pool.","In the swimming pool"],["Artie.","Artie."]],"string":"[\n [\n \"Repossession men\",\n \"Repossession men\"\n ],\n [\n \"Norma Desmond.\",\n \"Norma Desmond \"\n ],\n [\n \"To rekindle her movie star career.\",\n \"To become famous again\"\n ],\n [\n \"Max.\",\n \"Max\"\n ],\n [\n \"Norma has slit her wrists with his razor.\",\n \"Norma cuts her wrists.\"\n ],\n [\n \"To rent her unusual car for a movie.\",\n \"To rent her car for a film.\"\n ],\n [\n \"The producer who found Norma and her first husband.\",\n \"her first director/husband and now servant\"\n ],\n [\n \"Norma shoots him.\",\n \"Norma shoots him\"\n ],\n [\n \"To film a moive.\",\n \"She believes the cameras are there to film her screenplay.\"\n ],\n [\n \"Joe Gillis.\",\n \"Joe Gillis himself\"\n ],\n [\n \"Paramount Pictures.\",\n \"Paramount Pictures\"\n ],\n [\n \"She was a silent film star.\",\n \"she was a silent film star\"\n ],\n [\n \"Because he offers to fix her terrible script.\",\n \"She falls in love with him.\"\n ],\n [\n \"The studio executive wants to rent her unusual car for a film. \",\n \"Cole wants to borrow her car for a film\"\n ],\n [\n \"He discovered her, made her a star, was her first husband, and is now her assistant. \",\n \"Her ex-husband and servant.\"\n ],\n [\n \"The name of the comeback script Norma wrote.\",\n \"A movie script.\"\n ],\n [\n \"She is threatening to kill herself.\",\n \"Norma has a gun to show Joe that she is serious about killing herself if Joe leaves.\"\n ],\n [\n \"Because he tells her the truth, that the public has forgotten her and her fan letters are actually from Max.\",\n \"he tells her she is forgotten and will not be able to make a comeback\"\n ],\n [\n \"She has been traumatized and has lost touch with reality.\",\n \"The newsreel cameras and bright lights, combined with her precarious mental state.\"\n ],\n [\n \"Max.\",\n \"Max\"\n ],\n [\n \"Max.\",\n \"Max\"\n ],\n [\n \"Writer.\",\n \"he is a screen writer\"\n ],\n [\n \"One,\",\n \"1\"\n ],\n [\n \"A 1929 Isotta Fraschini.\",\n \"1929 Isotta Fraschini\"\n ],\n [\n \"That he was once a film director.\",\n \"That he was once a film director.\"\n ],\n [\n \"Norma. \",\n \"Norma \"\n ],\n [\n \"Three.\",\n \"3\"\n ],\n [\n \"Into the pool.\",\n \"In the swimming pool\"\n ],\n [\n \"Artie.\",\n \"Artie.\"\n ]\n]"},"document_id":{"kind":"string","value":"f865713a51422129cd8d15ea2bb1ac324d65afdb"},"split":{"kind":"string","value":"train"}}},{"rowIdx":67,"cells":{"text":{"kind":"list like","value":[[" CUT TO: \n \n 22 INT. ARCHER COUNTY MORGUE - DAY 22 \n \n Harold Speck lies on a table. A BESPECTACLED CORONER examines"," him. Victim #2, BARNEY FULCHER, lies on another, his ample \n frame yet to be examined. \n \n The lights are out, but that Coroner wears a FLUORESCENT HALO,"," We see the VICTIMS photographed face up, face down, waist and \n above, waist and below. Charlton gives the photos a cursory \n glance, nothing more. \n \n But we notice something, on one of the bodies: the male from","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," Mackelway stares. So does Fran. Before them lies a body, \n stripped to the waist: a chunky middle-aged MAN. Dead. \n \n Mackelway sighs. Things just got tougher... \n"," No more pulse. He has lost the \"connection\" that had somehow \n transported him. He notes his watch. Jots down the exact time. \n Slips the pad into that FOLDER: \"Mackelway.\" \n"," (takes her hand) \n I didn't know him well but... I think \n Harold was a much more complex man than \n people realized. \n \n Jan is so raw that anything about Speck touches her now. \n"," He gestures toward a ravine, where a TOW TRUCK is currently \n lowering a winch toward an abandoned vehicle. \n \n It is Harold Speck's Buick, nose-down in the ravine, teetering","Mackelway pauses, thinks he must've heard wrong. But he turns \n toward the face, as ANOTHER FLASHBULB illuminates it, searing \n the image into the darkness. Starkey. Dead. His eyelids ripped \n away. \n"," (Charlton nods) \n Looks like a robbery/homicide. Body's \n over that way. \n \n 10. \n \n"," (4:30 A.M.) \n \n HAROLD SPECK sits: mid 40's, pleasant face. A family man. \n Reads \"Rod and Reel\" magazine. Has a SALESMAN'S CASE by his"," He FIRES... Then looks to see who he's just shot. \n \n A body. He turns it over. \n \n ...and is staring at himself, lying dead on the ground in the"," She watches him vanish around a corner. \n \n CUT TO: \n \n 89 EXT. HAROLD SPECK'S HOUSE - 6:00 A.M. 89 \n"," Ya miss fucking her, Harold? \n \n SPECK \n Listen, I don't know who you are but you \n can't-- \n \n O'Ryan silences him... by holding up a piece of paper. On it"," Mackelway stares, at once satisfied and sickened. COP #1 can \n be heard, approaching across the attic floor. His gun is \n drawn... \n \n ...until he too sees what's in there. \n","The check-list continues: my mouth is sore, but that GAG has \n been removed. \n \n And MY ARMS ARE UNBOUND. Legs too. Maybe I am dead. \n \n Mackelway tries to move his hand. It takes some effort."," facing in the other direction, twisted unnaturally. \n \n Mackelway kneels beside the open window, pulls out some \n gloves, puts them on. He will not lean on the car, or even \n breathe on it, his caution around evidence obvious."," fishing reel, tackle-box, a kid's bicycle helmet. \n \n Mackelway eyes it all, but his instincts tell him there's \n nothing significant here. So he returns to Speck's body. \n"," Wounds on Speck's throat indicate that he \n was strangled from behind... I think our \n guy waited for him in the backseat, \n sprung this on him once the car was \n moving. \n"," It's like looking at a ghost - a spectre that's been haunting \n him, dead now... Mackelway pulls out his Minox, starts \n photographing, moving in on those LIDLESS EYES... \n"],[" Mackelway studies it, his face working. Another of those \n WHIMPERS from Loretta seems to hang, suspended. Mackelway \n shakes it off, certain that he's imagining it. \n"," MACKELWAY (CONT'D) \n You guys ever heard of evidentiary \n procedure? \n \n No one replies. Charlton approaches. Mackelway tightens, \n expecting a reprimand for overstepping his bounds. \n"," Mackelway has a busted wrist. Hardly a fair fight. \n \n But Mackelway is battling: kicking, clawing, getting in as \n many shots as he can. His shirt rips away from his body,","Mackelway is still bracing for torture, or at least combat. So \n he's a step behind. \n \n O'RYAN (CONT'D) \n We really do have to go. \n"," case was thrown out of court. It is this: \n \n The F.B.I. Agent on the case had made a mistake in \n \"evidentiary procedure.\" Hence, Mackelway's picture. \n"," MACKELWAY \n Put the fucking thing down, O'Ryan. \n \n O'Ryan keeps pursuing. Another swing. Mackelway keeps backing \n up. The swing misses. \n \n O'RYAN"," Mackelway drops his gun, kicks it toward the cop, who doesn't \n quite know what to make of that. \n \n Also confusing him is the odd smile playing its way across \n Mackelway's face. But we understand it now: \n"," MACKWELWAY (CONT'D) \n Sorry, Sir. There wasn't time. \n \n Charlton eyes the car. Then Mackelway. \n \n CHARLTON \n Did the right thing, Agent Mackelway."," Those words just hang there, haunting Mackelway. Charlton \n tears off the sheet with those two words and stuffs them into \n Mackelway's hand. \n \n CHARLTON (CONT'D)"," Mackelway turns, but Vic's already past us. \n \n Something about him attracts Mackelway's attention. The walk, \n the attitude. Something. \n \n So Mackelway is watching - without really knowing why - as Vic","Then Mackelway is distracted, for just a second. No. Less than \n a second... by a glimpse of that SHATTERED MIRROR - his own \n twisted image. \n \n He looks away from it, refusing to be distracted, determined"," MACKELWAY \n (that stung) \n Give me the fucking gun! \n \n O'Ryan turns, studies him. \n \n ...and hands him the gun. Just like that. \n"," Mackelway has some history with her, so he tries not to react. \n It takes some effort. \n \n CHARLTON (CONT'D) \n Seems your former office has decided we \n might need some help on this one. So they","Mackelway tightens. His head just began to throb... \n \n MACKELWAY \n Okay. You made your point. \n \n 119. \n \n \n O'RYAN","Mackelway pauses, thinks he must've heard wrong. But he turns \n toward the face, as ANOTHER FLASHBULB illuminates it, searing \n the image into the darkness. Starkey. Dead. His eyelids ripped \n away. \n"," MACKELWAY (CONT'D) \n (re: burn) \n Fuck! \n \n Cuffs are unlocked now. O'Ryan starts up the Yukon. \n"," It was... poor judgment, Sir. \n \n CHARLTON \n You wanna work alone, start your own \n agency. \n \n Mackelway can do nothing but nod. Then, bailing him out,"," MACKELWAY \n (struggling for composure:) \n Starkey did this? \n CHARLTON \n No. Starkey's the one on the ground. \n"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at"," MACKELWAY \n (knows already) \n But the Trooper wasn't hurt... \n \n CHARLTON \n What makes you so sure? \n \n MACKELWAY \n Professional courtesy. \n"],[" Mackelway studies it, his face working. Another of those \n WHIMPERS from Loretta seems to hang, suspended. Mackelway \n shakes it off, certain that he's imagining it. \n"," MACKELWAY (CONT'D) \n You guys ever heard of evidentiary \n procedure? \n \n No one replies. Charlton approaches. Mackelway tightens, \n expecting a reprimand for overstepping his bounds. \n"," Mackelway and the others look inside... \n \n There, they find restaurant supplies: napkin dispensers, salt- \n shakers, ketchup dispensers, a short-order wheel... And a"," Those words just hang there, haunting Mackelway. Charlton \n tears off the sheet with those two words and stuffs them into \n Mackelway's hand. \n \n CHARLTON (CONT'D)"," Charlton eyes the report, then hands it to Mackelway. The \n hierarchy is being made clear. Very. \n \n Mackelway turns: this ravine runs right up against a SIGN that"," Mackelway looks around: lots of dusty junk around here - old \n clothes, mementoes. \n \n ...and one more trunk. A steamer-trunk. Huge. And locked."," MACKELWAY (CONT'D) \n locate him, without ever leaving this \n building, what would you say? \n \n CHARLTON \n I'd say you'd watched too many \"X-Files.\" \n"," off. It's gruesome, but Mackelway notes it calmly. Charlton \n leans in, gets a look. \n \n CHARLTON \n Christ... \n"," rolling back in his head, foaming at the mouth. \n \n Mackelway tries to shake it off, tries to keep his focus on \n Katie. He buries his head into her neck, as: \n"," KATIE (CONT'D) \n (a beat) \n Just had a feeling you'd like it. \n \n MACKELWAY \n How? \n \n KATIE"," He flips through a few pages - odd images: a TRIBESMAN with \n eyes rolling back in his head, strange rites, etc. \n \n Mackelway sets the book down. Then, amidst the other materials","Mackelway tightens. His head just began to throb... \n \n MACKELWAY \n Okay. You made your point. \n \n 119. \n \n \n O'RYAN"," MACKELWAY \n Put the fucking thing down, O'Ryan. \n \n O'Ryan keeps pursuing. Another swing. Mackelway keeps backing \n up. The swing misses. \n \n O'RYAN","Mackelway stares, stunned. Can't fucking believe it. \n \n MACKELWAY \n (breathless) \n My God... \n \n 37. \n \n"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at"," Mackelway has a busted wrist. Hardly a fair fight. \n \n But Mackelway is battling: kicking, clawing, getting in as \n many shots as he can. His shirt rips away from his body,"," MACKELWAY \n How? \n \n O'RYAN \n Same way I found Starkey, and Speck, and \n Fulcher... and you. \n \n That rang a bell. \n"," 57. \n \n \n MACKELWAY (CONT'D) \n Anyway, thank you. And thanks for the \n coffee. Next time I'll call first, I \n promise. \n \n JAN"," Mackelway drops his gun, kicks it toward the cop, who doesn't \n quite know what to make of that. \n \n Also confusing him is the odd smile playing its way across \n Mackelway's face. But we understand it now: \n"," Her sadness is obvious. Mackelway nods. \n \n KATIE (CONT'D) \n Anyway, I know you're gonna be in on the \n autopsies - of the girls they found over"],[" Mackelway STARES out the window; seems like he just HEARD that \n scream. Of course, that'd be impossible. He looks to that map. \n His PHONE RINGS. He eyes it, unsurprised... \n"," Those words just hang there, haunting Mackelway. Charlton \n tears off the sheet with those two words and stuffs them into \n Mackelway's hand. \n \n CHARLTON (CONT'D)","Then she eyes Mackelway. Charlton notes the tension. \n \n 18. \n \n \n CHARLTON \n Okay. So our guy likes to draw pictures \n of body parts and then spring 'em on"," He could be sending these to any agent in \n any office in the country... But he's \n sending them to you. Why? \n \n Mackelway's been asking himself that same question lately. \n \n MACKELWAY"," Mackelway studies it, his face working. Another of those \n WHIMPERS from Loretta seems to hang, suspended. Mackelway \n shakes it off, certain that he's imagining it. \n"," MACKELWAY \n And what if I told you that the way I'd \n catch him involved sitting in a dark \n room, with nothing in front of me but a \n pad of paper... until I'd tapped into","This is a Mackelway we've never met before. His eyes are wild, \n hateful - even as the last gasps of breath rasp their way out \n of O'Ryan's throat. \n"," off. It's gruesome, but Mackelway notes it calmly. Charlton \n leans in, gets a look. \n \n CHARLTON \n Christ... \n"," Okay. We've got a serial killer of serial \n killers. \n \n Fran scribbles something on a piece of paper: \"What a genius!\" \n Slides it over. Mackelway conceals the note, as: \n"," kind. No hidden desire to be caught. A \n perfect vessel of evil.\" \n \n All Mackelway can see is his own reflection - the fear in his \n eyes - bouncing off a mirror that's only inches away. \n"," Mackelway stands, rigid. He raises the gun. Maybe I'll just \n shoot this fucker in the back. \n \n Then those IMAGES come at us again, out of nowhere: \n \n 107. \n \n","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," Beneath this newspaper article are OTHER ARTICLES, all \n concerning Starkey: his crimes, his capture, all of it. \n \n Mackelway's memory just got stoked again: \n"," MACKELWAY (CONT'D) \n That was him. \n \n FRAN \n He called you at home? \n \n MACKELWAY \n Yes. \n \n BEEP. Call-Waiting again.","Mackelway pauses, thinks he must've heard wrong. But he turns \n toward the face, as ANOTHER FLASHBULB illuminates it, searing \n the image into the darkness. Starkey. Dead. His eyelids ripped \n away. \n"," CHARLTON \n Oh. 'Fore I forget. This came in for you: \n \n He tosses a 9-by-12 ENVELOPE at Mackelway, who opens it. Six \n sheets of paper slide out. \n"," MACKELWAY \n So... he keeps the bodies in a freezer, \n then buries them...? \n \n That was a question. He can't do any better. \n \n FRAN"," abductions are the work of one guy? Do \n you know how fucking insane that is?! \n (over Mackelway) \n Not let's try something that actually \n makes sense: He sends in these faxes,"," Mackelway drops his gun, kicks it toward the cop, who doesn't \n quite know what to make of that. \n \n Also confusing him is the odd smile playing its way across \n Mackelway's face. But we understand it now: \n"," Mackelway waits... as Katie hands over a manila envelope. \n Mackelway opens it. \n \n Inside, a photo of a heartbreakingly-sweet 22 year-old girl"],[" O'Ryan rears back and swings that tire-iron right at \n Mackelway's head. \n \n Fran has no choice. She fires. \n \n O'Ryan is hit right between the shoulder blades. The tire-iron","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at"," Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \n over him, looming large as a Grizzly... is O'Ryan. A long \n HUNTING KNIFE extends from his hand. \n","O'Ryan's eyes roll back. Mackelway now puts both hands around \n this fucker's throat. He's going to kill him - right here. \n He's going to squeeze the life from him. \n"," Two men, neither of them flinching... until O'Ryan nods - as \n if to say \"Good-bye.\" \n \n ...more of that vision interrupts now: a gun, rising... \n"," hits Mackelway in the shoulder. O'Ryan crumbles to the ground, \n landing face up. \n \n ...a body slumping to the ground. O'Ryan... Mackelway stands \n over him... \n"," O'Ryan's face, just inches away. \n \n We're TIGHT on Mackelway's hand. It trembles with rage. \n \n But O'Ryan, looking right down the barrel, seems unafraid. In","O'Ryan wheels around, aiming the gun right at Zero's face. \n That shuts the guy up in a hurry. \n \n 118. \n \n \n From that service road now, we hear a line of SIRENS,","Mackelway pulls the car over, under an I-30 overpass... and \n out comes his gun, pointed right at O'Ryan's forehead. \n \n MACKELWAY (CONT'D)"," He eases Mackelway's hand down, thus lowering the gun. Then \n O'Ryan turns, grabs Mackelway's car keys, and heads for the \n front door. \n"," kill me. \n \n O'Ryan, without ceremony, puts a bullet through Zero's left \n palm. That got Mackelway's attention. \n \n Zero howls with pain, his palm gushing. The TIRE-IRON falls to"," O'Ryan falls on him, knocking Mackelway hard into the sharp \n CORNER of that furnace, then down to the ground. Mackelway's \n gun skids across the floor. \n"," that furnace.) Wait. Did we just see the glint of a KNIFE? \n \n O'Ryan is leaning over us, in utter control. \n \n Then O'Ryan's head turns, abruptly - at the sound of"," 106. \n \n \n O'Ryan gasps for air. His face has been bloodied. Mackelway \n rises, disgusted, removing a great weight from O'Ryan's chest."," O'RYAN (CONT'D) \n (weak) \n Thank you. \n \n Then he dies, eyes open. Mackelway looks to Fran... \n \n DISSOLVE TO: \n","Mackelway is silent. Stunned. The blood from Zero's caved-in \n skull finds its way to O'Ryan's knees. \n \n But O'Ryan remains peaceful. Calm. Ready. \n \n MACKELWAY","Zero freezes. Mackelway too. They turn to find: \n \n O'Ryan... who stands here, Mackelway's gun in hand. \n \n O'RYAN (CONT'D) \n Up. \n","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n"],[" There, one man sits. Alone. Quiet. O'Ryan. \n \n Odd expression on his face - it's as if he can't hear this \n rousing music, or feel the power of this place. People in the"," O'Ryan, at his desk, seems to be getting all of this. And it \n is agitating him. There's perspiration on his forehead. \n \n 76. \n \n"," Two men, neither of them flinching... until O'Ryan nods - as \n if to say \"Good-bye.\" \n \n ...more of that vision interrupts now: a gun, rising... \n"," O'RYAN (CONT'D) \n If you did it right, you got all of it: \n The way it sounded. The way it smelled... \n Those people were looking up at you, \n begging you for mercy. It was like being"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at","O'Ryan rises, crossing toward us. Even unbound, Mackelway is \n expecting another onslaught... But all O'Ryan does is drop a \n piece of paper onto Mackelway's lap. \n"," face with O'Ryan. \n \n And O'Ryan isn't running. In fact, he almost seems amused. \n \n O'RYAN \n Well, well... Must be quite a moment for"," O'Ryan reaches into his back pocket, produces an I.D. Hands it \n over. \n \n Trooper eyes it. According to this i.d., we are now staring at"," rigs, then turns a corner and: \n \n ...runs smack into Benjamin O'Ryan. \n \n The shock is so total it takes each of them a moment to"," 106. \n \n \n O'Ryan gasps for air. His face has been bloodied. Mackelway \n rises, disgusted, removing a great weight from O'Ryan's chest."," O'RYAN \n Every time, we're in this field: same \n wind, same rain. And you... \n \n He puts a finger to his head, pretending it's a gun. Then he","O'Ryan jams the gag back into his mouth, angrily. \n \n O'RYAN \n (re: the mirror) \n My, my. Must be extremely satisfying to \n watch yourself say something so heroic."," Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \n over him, looming large as a Grizzly... is O'Ryan. A long \n HUNTING KNIFE extends from his hand. \n"," O'RYAN (CONT'D) \n Really says it all, wouldn't you agree? \n \n SPECK \n You're a... You're sick. \n \n O'RYAN"," O'Ryan pauses. There is no way in hell he's going to let \n himself get deterred by a State Trooper. But he gets out. \n"," O'RYAN (CONT'D) \n (quoting himself, as Daitz:) \n \"Imagine a killer with no patterns, no \n tell-tale fetishes, no rituals of any","around it - covering up the source of that searing pain. Looks \n as though a nurse had tended to it. \n \n But this sure as hell isn't a hospital... \n \n Then, O'Ryan turns, facing us. Mackelway recoils without"," that he is going to wind up in that wheat field, somehow, with \n O'Ryan. \n \n And O'Ryan will be begging him for mercy. \"Please...\" \n"," Enough of this shit. Where's the boy? \n \n O'Ryan can't help it. He's pleased. \n \n O'RYAN \n Good. This is good. Sort of thing you'd"," O'RYAN (CONT'D) \n How about now? \n \n Just like that, that red-hot knife is an inch from Mackelway's \n face. The heat alone makes his head jerk back. Wisps of smoke"],[" (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," Suspect Zero \n \n \n Written by \n \n Zak Penn \n \n \n \n Revisions - Billy Ray \n \n Director's Shooting Script \n \n"," MACKELWAY \n So we'd be paying attention when he found \n Suspect Zero. \n \n CHARLTON \n Ya know what? I'm getting extremely tired \n of hearing that word. In fact, that's"," mean they don't exist. Hence Suspect \n Zero. \n \n Mackelway eyes those books on evil, then those ancient \n weapons... Casually, almost imperceptibly, he reaches for his \n sidearm, as O'Ryan continues: \n"," Okay. We've got a serial killer of serial \n killers. \n \n Fran scribbles something on a piece of paper: \"What a genius!\" \n Slides it over. Mackelway conceals the note, as: \n"," former agent of this Bureau. And he is \n pursuing something that he calls \"Suspect \n Zero.\" Anybody got anything intelligent \n to say? \n \n Nobody's volunteering. There's just silence. \n"," It's Virgil Ray Starkey. \n \n Mackelway pales. \n \n We stay on him for a moment as it registers. The man he \n caught, and then lost, has killed again. No. God, no. \n","ZIPLOC BAGS. Inside the bags are BODY PARTS. \n \n It's realized so accurately that it looks more like a \n photograph. No wonder it horrified Speck so deeply. \n \n THE BOOTH - RESUMING \n"," O'RYAN (CONT'D) \n And the name we give that killer... is \n Zero. \n (again:) \n Are you afraid? \n \n Slowly, he lowers the knife into the flame of that candle on"," overflowing. Mackelway sits across from O'Ryan... \n \n O'RYAN \n (as \"Daitz:\") \n ...The name of this theory was \"Suspect \n Zero.\""," Mackelway gets a look at the DRIVER now - a wiry, sinewy man \n of 35... Let's call him ZERO. \n \n Their eyes lock - until Zero throws his rig into gear again"," O'RYAN (CONT'D) \n Tell me, what makes a killer catchable? \n \n MACKELWAY \n Patterns, repetition of behavior. \n \n O'RYAN"," We see the VICTIMS photographed face up, face down, waist and \n above, waist and below. Charlton gives the photos a cursory \n glance, nothing more. \n \n But we notice something, on one of the bodies: the male from","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is"," O'RYAN (THRU PHONE) \n I've found him, you know. \n \n MACKELWAY \n Who? \n \n O'RYAN \n Zero. \n"," O'RYAN (CONT'D) \n (quoting himself, as Daitz:) \n \"Imagine a killer with no patterns, no \n tell-tale fetishes, no rituals of any"," revealing a hideous wound. \n \n It's a ZERO, WITH A SLASH THROUGH IT. \n \n Now everything clicks: O'Ryan was branding him. Initiating him \n with that red-hot knife. \n"," kill me. \n \n O'Ryan, without ceremony, puts a bullet through Zero's left \n palm. That got Mackelway's attention. \n \n Zero howls with pain, his palm gushing. The TIRE-IRON falls to"," them. The feeling is so unsettling that for a moment he \n forgets about Zero, and the rig, and the kid... \n \n Everything has just crystallized in a horrible way. He knows","That's the million-dollar question, and it hangs there. \n \n Mackelway's about to answer... when he stops himself. Just \n noticing something. That MORGUE PHOTO from Logan, Utah: \n"],[" Mackelway heads into the carnival. \n \n 173 EXT. CARNIVAL - CONTINUING 173 \n \n He begins running now, past the table where ladies are selling"," Mackelway has a busted wrist. Hardly a fair fight. \n \n But Mackelway is battling: kicking, clawing, getting in as \n many shots as he can. His shirt rips away from his body,","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," Mackelway studies it, his face working. Another of those \n WHIMPERS from Loretta seems to hang, suspended. Mackelway \n shakes it off, certain that he's imagining it. \n"," tray or two. Then he stops. There's the ferris wheel. Was that \n Vic on the other side of it? \n \n Mackelway takes off. \n","rise from its edge. \n \n And Mackelway is forced to watch his own reaction to it. \n \n He struggles against these ropes, to no use. A guttural sound \n comes out of him. \n"," Mackelway braces himself, as O'Ryan guns his car up the left \n side of the rig, shredded tire and all. Then: \n \n He pulls right in front of the rig. At about 60 m.p.h. And he","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is"," Then that TIRE IRON lashes out, from the right. \n \n It catches Mackelway with horrific force, shattering his wrist \n and sending that gun flying into the wheat. \n"," O'Ryan falls on him, knocking Mackelway hard into the sharp \n CORNER of that furnace, then down to the ground. Mackelway's \n gun skids across the floor. \n"," Mackelway drops his gun, kicks it toward the cop, who doesn't \n quite know what to make of that. \n \n Also confusing him is the odd smile playing its way across \n Mackelway's face. But we understand it now: \n","Mackelway pauses, thinks he must've heard wrong. But he turns \n toward the face, as ANOTHER FLASHBULB illuminates it, searing \n the image into the darkness. Starkey. Dead. His eyelids ripped \n away. \n","Then Mackelway is distracted, for just a second. No. Less than \n a second... by a glimpse of that SHATTERED MIRROR - his own \n twisted image. \n \n He looks away from it, refusing to be distracted, determined","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n"," MACKELWAY (CONT'D) \n (re: burn) \n Fuck! \n \n Cuffs are unlocked now. O'Ryan starts up the Yukon. \n"," Mackelway sits in his car. Through his windshield we see Jan \n as she backs out of the driveway. \n \n She pulls past us, giving Mackelway as friendly a wave as a \n grieving widow can give. He waves back.","comes down like a sledgehammer. \n \n One blow. Then another. The sounds coming out of Mackelway are \n savage, barely human. He's out of control. \n"," hits Mackelway in the shoulder. O'Ryan crumbles to the ground, \n landing face up. \n \n ...a body slumping to the ground. O'Ryan... Mackelway stands \n over him... \n"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at"," Mackelway, inching along, heart pounding. He hears a noise to \n his left. Whips around, gun poised. \n \n But it's nothing. He sighs. The wheat almost sounds like it's \n laughing at him."],["O'Ryan wheels around, aiming the gun right at Zero's face. \n That shuts the guy up in a hurry. \n \n 118. \n \n \n From that service road now, we hear a line of SIRENS,"," O'Ryan rears back and swings that tire-iron right at \n Mackelway's head. \n \n Fran has no choice. She fires. \n \n O'Ryan is hit right between the shoulder blades. The tire-iron"," O'RYAN \n Are you going to shoot him? \n \n MACKELWAY \n Give me the gun, O'Ryan. \n \n ZERO \n Hey, I just surrendered. \n","Zero freezes. Mackelway too. They turn to find: \n \n O'Ryan... who stands here, Mackelway's gun in hand. \n \n O'RYAN (CONT'D) \n Up. \n"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at"," kill me. \n \n O'Ryan, without ceremony, puts a bullet through Zero's left \n palm. That got Mackelway's attention. \n \n Zero howls with pain, his palm gushing. The TIRE-IRON falls to","Mackelway pulls the car over, under an I-30 overpass... and \n out comes his gun, pointed right at O'Ryan's forehead. \n \n MACKELWAY (CONT'D)"," Two men, neither of them flinching... until O'Ryan nods - as \n if to say \"Good-bye.\" \n \n ...more of that vision interrupts now: a gun, rising... \n","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is","Silence. Mackelway turns. So does O'Ryan. \n \n There's Fran, emerging from the tall wheat, gun trained right \n on O'Ryan. His shock is total. \n \n FRAN (CONT'D)"," O'Ryan guns the Yukon, attempting to cut in front of the rig. \n Zero swings wide, sending the Yukon into a curb this time. \n That shreds their front tire. \n"," O'RYAN \n Or what? \n \n MACKELWAY \n Just drop it. \n \n O'RYAN \n Would you shoot me? \n","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \n over him, looming large as a Grizzly... is O'Ryan. A long \n HUNTING KNIFE extends from his hand. \n","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n"," O'Ryan falls on him, knocking Mackelway hard into the sharp \n CORNER of that furnace, then down to the ground. Mackelway's \n gun skids across the floor. \n"," O'Ryan's face, just inches away. \n \n We're TIGHT on Mackelway's hand. It trembles with rage. \n \n But O'Ryan, looking right down the barrel, seems unafraid. In"," He eases Mackelway's hand down, thus lowering the gun. Then \n O'Ryan turns, grabs Mackelway's car keys, and heads for the \n front door. \n"," O'RYAN \n (at Mackelway) \n You have to understand: none of this was \n arbitrary. We were chosen, you and I. \n WHAP! O'Ryan just swung that tire-iron into Zero's rib cage."," O'RYAN (CONT'D) \n And the name we give that killer... is \n Zero. \n (again:) \n Are you afraid? \n \n Slowly, he lowers the knife into the flame of that candle on"],[" (4:30 A.M.) \n \n HAROLD SPECK sits: mid 40's, pleasant face. A family man. \n Reads \"Rod and Reel\" magazine. Has a SALESMAN'S CASE by his"," (takes her hand) \n I didn't know him well but... I think \n Harold was a much more complex man than \n people realized. \n \n Jan is so raw that anything about Speck touches her now. \n"," CUT TO: \n \n 22 INT. ARCHER COUNTY MORGUE - DAY 22 \n \n Harold Speck lies on a table. A BESPECTACLED CORONER examines"," Ya miss fucking her, Harold? \n \n SPECK \n Listen, I don't know who you are but you \n can't-- \n \n O'Ryan silences him... by holding up a piece of paper. On it"," reminding himself to remember his new rank. Dylan hands a \n preliminary report to Charlton. \n \n DYLAN \n Fella's name is Harold Speck. Traveling \n salesman, from Abilene. \n"," He gestures toward a ravine, where a TOW TRUCK is currently \n lowering a winch toward an abandoned vehicle. \n \n It is Harold Speck's Buick, nose-down in the ravine, teetering"," She watches him vanish around a corner. \n \n CUT TO: \n \n 89 EXT. HAROLD SPECK'S HOUSE - 6:00 A.M. 89 \n"," Speck's. Speck reacts, startled. \n \n SPECK \n Jesus... \n \n The MAN's name is O'RYAN. We only see PIECES of him: his eyes,"," Speck hurries out to his Buick, checking over his shoulder \n repeatedly. Gets to the car, fumbles with his keys. They fall \n to the asphalt. He grabs them, opens the door. \n \n CUT TO:"," Speck finds the off-ramp. His breaths are shallow now. \n \n SPECK \n Please, Mister - what do you want from \n me? \n"," He leans in, lifts Speck's head a few inches away from the \n steering wheel. Gently. \n \n ...which is when we learn that Speck's EYELIDS have been torn"," Look, I... \n \n O'RYAN \n Do you get lonely? \n \n Speck's so thrown now he can't answer. \n \n O'RYAN (CONT'D)"," looks up, smiles thinly, \"No.\" Dolly heads off. Speck returns \n to his article, underlining a particular passage. \n \n ...until a MAN seats himself, suddenly, in the seat opposite","That spun things a bit. Speck pauses. \n \n SPECK \n What? \n \n O'RYAN \n She must get lonely, with you gone all \n the time. Does she? \n \n SPECK"," customer. I'd like you to ask him to \n leave, please. \n \n MEL \n What kind of problem? \n \n SPECK \n He's-- \n"," fishing reel, tackle-box, a kid's bicycle helmet. \n \n Mackelway eyes it all, but his instincts tell him there's \n nothing significant here. So he returns to Speck's body. \n","4 INT. SPECK'S CAR - DRIVING - MOMENTS LATER 4 \n \n Speck guns the Buick. Interstate 35 flies by. The farther he","a rendering of a young, naked WOMAN. \n \n And, just like that, Speck finds himself STARING. Glued. \n \n O'RYAN (CONT'D) \n Did it myself. It's sort of a hobby."," O'RYAN (CONT'D) \n What do you sell? \n \n SPECK \n I'm... in restaurant supplies. I didn't \n get your name? \n \n O'RYAN"," O'RYAN (CONT'D) \n Really says it all, wouldn't you agree? \n \n SPECK \n You're a... You're sick. \n \n O'RYAN"],[" Then, ANOTHER SOUND bleeds in. The BANGING of the Diner's back \n door, which leads on to that Play Area. \n \n And we hear a horrified yell: \n"," Loretta walks to her VW Bug. Starkey exits the bar. She \n doesn't notice. We TILT UP: the lights are off in O'Ryan's \n motel room... \n","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," gets away from that Diner, the happier he'll be. \n \n ...until a strange SOUND gets his attention: it's WIND, as if \n whistling through a ghost town. Hollow, varied - building then"," CUT TO: \n \n 5. \n \n \n 3 EXT. ALL-AMERICAN DINER - PARKING LOT - MOMENTS LATER 3 \n"," him. Victim #2, BARNEY FULCHER, lies on another, his ample \n frame yet to be examined. \n \n The lights are out, but that Coroner wears a FLUORESCENT HALO,"," (Charlton nods) \n Looks like a robbery/homicide. Body's \n over that way. \n \n 10. \n \n"," somehow. And they've left him rattled. \n \n It's time to get out of this room. Quickly. \n \n CUT TO: \n"," But then she hears FOOTSTEPS, trailing away. So she rises, \n peeking over the edge of the window. WE STAY ON HER FACE, as \n she sees what's become of her attacker. \n"," and begins to rumble down the street. \n \n DELIA (CONT'D) \n (confused) \n Daryl? Honey? \n \n No answer. That truck is rumbling away. Mackelway turns,"," Then, one last gasp from Starkey... followed by an awful \n silence... and the assault is over. \n \n Loretta's too afraid to look up - certain that the maniac with \n the knife will be coming after her next. \n"," We see the VICTIMS photographed face up, face down, waist and \n above, waist and below. Charlton gives the photos a cursory \n glance, nothing more. \n \n But we notice something, on one of the bodies: the male from"," Mackelway stares. So does Fran. Before them lies a body, \n stripped to the waist: a chunky middle-aged MAN. Dead. \n \n Mackelway sighs. Things just got tougher... \n"," CUT TO: \n \n 21 EXT. DINER - PARKING LOT - MOMENTS LATER 21 \n \n Fran and Mackelway emerge, heading for the Bonneville. \n","84 INT. LONGHORN DINER WICHITA FALLS - MOMENTS LATER 84 \n \n Hardly a sound in here. Mackelway stands at the register,"," Mackelway sits in his car. Through his windshield we see Jan \n as she backs out of the driveway. \n \n She pulls past us, giving Mackelway as friendly a wave as a \n grieving widow can give. He waves back.","182 INT. THAT UNIDENTIFIED MOTEL ROOM - LATER NIGHT 182 \n \n Time has passed. We don't know how much. Or maybe we're dead,"," Ranger gets over the last of the carcasses, pulling himself up \n to the now-open compartment. \n \n First thing we see is a REFRIGERATION ROD, the one that was \n responsible for those freezer burns. \n"," He has hit \"End\" before she can reply. Heads to his Yukon. \n \n Fran eyes the phone: that was odd... \n \n CUT TO: \n"," Mackelway and the others look inside... \n \n There, they find restaurant supplies: napkin dispensers, salt- \n shakers, ketchup dispensers, a short-order wheel... And a"],[" Mackelway has a busted wrist. Hardly a fair fight. \n \n But Mackelway is battling: kicking, clawing, getting in as \n many shots as he can. His shirt rips away from his body,"," MACKELWAY \n Put the fucking thing down, O'Ryan. \n \n O'Ryan keeps pursuing. Another swing. Mackelway keeps backing \n up. The swing misses. \n \n O'RYAN","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is","Mackelway pauses, thinks he must've heard wrong. But he turns \n toward the face, as ANOTHER FLASHBULB illuminates it, searing \n the image into the darkness. Starkey. Dead. His eyelids ripped \n away. \n","35 INT. COURTHOUSE - HALLWAY - RESUMING FLASHBACK 35 \n \n Mackelway emerges from that courthouse anteroom, whipped. \n"," hits Mackelway in the shoulder. O'Ryan crumbles to the ground, \n landing face up. \n \n ...a body slumping to the ground. O'Ryan... Mackelway stands \n over him... \n"," Mackelway turns, but Vic's already past us. \n \n Something about him attracts Mackelway's attention. The walk, \n the attitude. Something. \n \n So Mackelway is watching - without really knowing why - as Vic","comes down like a sledgehammer. \n \n One blow. Then another. The sounds coming out of Mackelway are \n savage, barely human. He's out of control. \n"," Mackelway is expressionless. But something about these LIDLESS \n EYES draws him closer. He leans in, then BAM! We are rocketed \n into a series of dark, disjointed images: \n","36 INT. COURTHOUSE BATHROOM - CONTINUING FLASHBACK 36 \n \n The door bursts open and Mackelway storms in. No need to look"," Mackelway's watching. O'Ryan, who blacked out for a second now \n opens his eyes, getting the picture in a hurry. \n \n Zero leaps to the ground, rolls, and rises. Only thing in his","Basic: Sorry I was so hard on you but it had to be done... Can \n we shake on it? \n \n Instead, Mackelway simply EXPLODES: \n \n It is a blur, faster than a blur, but Mackelway rises with an","Then Mackelway is distracted, for just a second. No. Less than \n a second... by a glimpse of that SHATTERED MIRROR - his own \n twisted image. \n \n He looks away from it, refusing to be distracted, determined"," O'Ryan falls on him, knocking Mackelway hard into the sharp \n CORNER of that furnace, then down to the ground. Mackelway's \n gun skids across the floor. \n","Mackelway is silent. Stunned. The blood from Zero's caved-in \n skull finds its way to O'Ryan's knees. \n \n But O'Ryan remains peaceful. Calm. Ready. \n \n MACKELWAY"," Mackelway drops his gun, kicks it toward the cop, who doesn't \n quite know what to make of that. \n \n Also confusing him is the odd smile playing its way across \n Mackelway's face. But we understand it now: \n"," MACKELWAY \n (that stung) \n Give me the fucking gun! \n \n O'Ryan turns, studies him. \n \n ...and hands him the gun. Just like that. \n"," Beside him is a GRIM COP, his chaperone. Starkey passes by \n Mackelway, almost snickering. Then he's gone. Mackelway shuts \n his eyes tight. His head is pounding. END FLASHBACK. \n","This is a Mackelway we've never met before. His eyes are wild, \n hateful - even as the last gasps of breath rasp their way out \n of O'Ryan's throat. \n"," MACKELWAY \n (fuck yes) \n No, Sir. \n \n CHARLTON \n Good. \n \n An abandoned SPORTS PAGE tells us about that World Series, so"],[" Okay. We've got a serial killer of serial \n killers. \n \n Fran scribbles something on a piece of paper: \"What a genius!\" \n Slides it over. Mackelway conceals the note, as: \n"," It's Virgil Ray Starkey. \n \n Mackelway pales. \n \n We stay on him for a moment as it registers. The man he \n caught, and then lost, has killed again. No. God, no. \n"," O'RYAN (CONT'D) \n Tell me, what makes a killer catchable? \n \n MACKELWAY \n Patterns, repetition of behavior. \n \n O'RYAN"," O'RYAN (CONT'D) \n (quoting himself, as Daitz:) \n \"Imagine a killer with no patterns, no \n tell-tale fetishes, no rituals of any"," O'RYAN (CONT'D) \n And the name we give that killer... is \n Zero. \n (again:) \n Are you afraid? \n \n Slowly, he lowers the knife into the flame of that candle on"," (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," O'RYAN (CONT'D) \n your pad of paper, always alone, and \n you'd try to lock in. Son of Sam. John \n Wayne Gacy. Ted Bundy. He might be"," Now imagine a killer with no patterns, no \n tell-tale fetishes, no rituals, no hidden \n desire to be caught. A perfect vessel of \n evil, killing without ever leaving a \n single meaningful clue in his wake..."," Beneath this newspaper article are OTHER ARTICLES, all \n concerning Starkey: his crimes, his capture, all of it. \n \n Mackelway's memory just got stoked again: \n","ZIPLOC BAGS. Inside the bags are BODY PARTS. \n \n It's realized so accurately that it looks more like a \n photograph. No wonder it horrified Speck so deeply. \n \n THE BOOTH - RESUMING \n"," MACKELWAY (CONT'D) \n Army stole it from the Soviets. The \n Bureau stole it from the Army - used it \n to track serial killers. \n (a beat)","54 INT. FBI OFFICE - CONFERENCE ROOM - CONTINUING 54 \n \n A room has been dedicated solely to those three murders. On an \n erasure board are the words: The \"O'Ryan\" Room.","a-slash-through-it. But Mackelway hasn't seen the guy's face \n yet. \n \n MACKELWAY \n Sir? \n (Charlton turns) \n We got an i.d. yet? \n"," Well guess what? They didn't. And this \n prick's gonna walk, ten murders or not. \n \n That registered. \n \n 34 INT. HOPE HOUSE - BASEMENT - RESUMING 34 \n","Then she eyes Mackelway. Charlton notes the tension. \n \n 18. \n \n \n CHARLTON \n Okay. So our guy likes to draw pictures \n of body parts and then spring 'em on"," She sighs, aloud: \"I know that already, Asshole.\" Coroner \n keeps his head down, speaking into that microphone. \n \n MACKELWAY (CONT'D) \n It's a metaphor - to make certain the","to kill this guy. \n \n ...then those eyes drift back to the mirror again. \n \n ...and he sees his reflection: a hardened, crazed stranger. An \n animal. \n \n His hands, without warning, release their grip. \n"," him. Victim #2, BARNEY FULCHER, lies on another, his ample \n frame yet to be examined. \n \n The lights are out, but that Coroner wears a FLUORESCENT HALO,","(Neither city is represented with black pins on that map.) \n \n She slides over a packet of PHOTOS: two FEMALE VICTIMS, \n photographed in separate morgues - face up, face down, waist"," mean they don't exist. Hence Suspect \n Zero. \n \n Mackelway eyes those books on evil, then those ancient \n weapons... Casually, almost imperceptibly, he reaches for his \n sidearm, as O'Ryan continues: \n"],[" The inside of that steamer-trunk is filled with BODY PARTS: \n bagged, stacked, and sealed in Ziplocs... \n \n Powdered LIME is sprinkled on them. \n"," The freezer is open. A team of FORENSICS GUYS study it. \n \n Inside this freezer, frozen into a block of ice... are six \n female HANDS. No arms, no heads. Just six slender hands, each"," In goes the knife again, prompting another agonized cry from \n Starkey. Loretta's crying too: from fear, shock... She keeps \n her face buried, shutting her eyes tight. The sounds of \n savagery fill the night. \n","Then she eyes Mackelway. Charlton notes the tension. \n \n 18. \n \n \n CHARLTON \n Okay. So our guy likes to draw pictures \n of body parts and then spring 'em on"," driving his car, or having a beer or \n brushing his teeth... or cutting \n someone's eyes out. \n \n That was said flatly, matter-of-factly. It's chilling. \n"," We see the VICTIMS photographed face up, face down, waist and \n above, waist and below. Charlton gives the photos a cursory \n glance, nothing more. \n \n But we notice something, on one of the bodies: the male from","to kill this guy. \n \n ...then those eyes drift back to the mirror again. \n \n ...and he sees his reflection: a hardened, crazed stranger. An \n animal. \n \n His hands, without warning, release their grip. \n"," victim sees... or to make certain that we \n see something. \n (she's silent) \n Or maybe it's just a fuck-you. \n \n Coroner continues his monotone narration... then crosses to"," But then she hears FOOTSTEPS, trailing away. So she rises, \n peeking over the edge of the window. WE STAY ON HER FACE, as \n she sees what's become of her attacker. \n","ZIPLOC BAGS. Inside the bags are BODY PARTS. \n \n It's realized so accurately that it looks more like a \n photograph. No wonder it horrified Speck so deeply. \n \n THE BOOTH - RESUMING \n"," Then, one last gasp from Starkey... followed by an awful \n silence... and the assault is over. \n \n Loretta's too afraid to look up - certain that the maniac with \n the knife will be coming after her next. \n"," He leans in, lifts Speck's head a few inches away from the \n steering wheel. Gently. \n \n ...which is when we learn that Speck's EYELIDS have been torn","O'Ryan moves the blade again, this time an eighth of an inch \n above Mackelway's right arm. The heat from it is so incendiary \n that Mackelway's shirt begins to smoke. \n"," particularly focused on Fulcher's face. His EYELIDS, we now \n see, have also been torn off. Hmmmm... \n \n FRAN \n Why eyelids? \n \n MACKELWAY"," that furnace.) Wait. Did we just see the glint of a KNIFE? \n \n O'Ryan is leaning over us, in utter control. \n \n Then O'Ryan's head turns, abruptly - at the sound of"," or I'll cut the fucking lids off!! \n \n Mackelway opens his eyes, forced to watch himself break. Deep \n sobs shudder through him, as... \n \n O'Ryan digs that red-hot blade into Mackelway's arm:","Mackelway pauses, thinks he must've heard wrong. But he turns \n toward the face, as ANOTHER FLASHBULB illuminates it, searing \n the image into the darkness. Starkey. Dead. His eyelids ripped \n away. \n"," off. It's gruesome, but Mackelway notes it calmly. Charlton \n leans in, gets a look. \n \n CHARLTON \n Christ... \n"," It's a hunting knife, right here on my \n hip. \n \n Trooper notes the shape of that large, sheathed KNIFE - the \n one O'Ryan butchered Starkey with - visible beneath O'Ryan's"," The rendering of a steamer-trunk, lined with plastic, \n containing body parts in plastic bags... Mackelway seems to be \n fixated on it now. \n \n CUT TO: \n"],[" Experimental program. O'Ryan was the \n first agent they recruited. \n \n CHARLTON \n Good for him. \n \n MACKELWAY \n Voodoo, right? Pure Bullshit."," O'Ryan, at his desk, seems to be getting all of this. And it \n is agitating him. There's perspiration on his forehead. \n \n 76. \n \n"," Two men, neither of them flinching... until O'Ryan nods - as \n if to say \"Good-bye.\" \n \n ...more of that vision interrupts now: a gun, rising... \n"," O'RYAN (CONT'D) \n They broke down. Then they opted out. \n (Mackelway's a blank) \n Killed themselves... After a while, those \n conversations about the Yankees became"," He really was FBI. \n \n FRAN \n Huh? \n \n MACKELWAY \n O'Ryan. He left his file on my doorstep. \n Fran, he was FBI. \n"," O'RYAN (CONT'D) \n If you did it right, you got all of it: \n The way it sounded. The way it smelled... \n Those people were looking up at you, \n begging you for mercy. It was like being"," There, one man sits. Alone. Quiet. O'Ryan. \n \n Odd expression on his face - it's as if he can't hear this \n rousing music, or feel the power of this place. People in the"," O'RYAN \n Or what? \n \n MACKELWAY \n Just drop it. \n \n O'RYAN \n Would you shoot me? \n"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at","O'Ryan laughs. He liked that. \n \n O'RYAN \n Fair enough. We'll stick to business: \n How'd ya like my old room? \n \n MACKELWAY \n Huh?","That wasn't just the echo of a question he's heard before; it \n was a red flag. A big one. Mackelway tightens. \n \n MACKELWAY \n I'm sorry? \n \n O'RYAN"," O'RYAN (CONT'D) \n How about now? \n \n Just like that, that red-hot knife is an inch from Mackelway's \n face. The heat alone makes his head jerk back. Wisps of smoke"," Tall wheat in a wet wind. He has been here before. He has seen \n it before. \n \n And so has O'Ryan... \n \n Mackelway just stares, slack-jawed, as that wheat whips past"," O'Ryan reaches into his back pocket, produces an I.D. Hands it \n over. \n \n Trooper eyes it. According to this i.d., we are now staring at"," O'RYAN \n (at Mackelway) \n You have to understand: none of this was \n arbitrary. We were chosen, you and I. \n WHAP! O'Ryan just swung that tire-iron into Zero's rib cage."," Professor Daitz? \n \n O'RYAN (O.S.) \n Yes? \n \n Mackelway opens the door. Looks inside. \n \n Here sits O'Ryan, looking as much like a tweedy professor as"," O'RYAN \n ...But you saw what was underneath, of \n course. \n \n MACKELWAY \n No. Tell me about it. \n \n O'RYAN"," Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \n over him, looming large as a Grizzly... is O'Ryan. A long \n HUNTING KNIFE extends from his hand. \n"," She sniffs back a tear, thanks him with a smile. O'Ryan \n extends his hand to her. She takes it. He moves off. \n \n Beside her is a FRAMED PORTRAIT of Speck. We blow past it, and","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"],[" Two men, neither of them flinching... until O'Ryan nods - as \n if to say \"Good-bye.\" \n \n ...more of that vision interrupts now: a gun, rising... \n"," WITH HER... able only to hear what follows: \n \n The sound is animal, awful - like a pig being gutted - a \n horrible SQUEAL, covering the GRUNTS coming from O'Ryan. \n"," O'Ryan, at his desk, seems to be getting all of this. And it \n is agitating him. There's perspiration on his forehead. \n \n 76. \n \n"," There, one man sits. Alone. Quiet. O'Ryan. \n \n Odd expression on his face - it's as if he can't hear this \n rousing music, or feel the power of this place. People in the"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at","O'Ryan rises, crossing toward us. Even unbound, Mackelway is \n expecting another onslaught... But all O'Ryan does is drop a \n piece of paper onto Mackelway's lap. \n"," Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \n over him, looming large as a Grizzly... is O'Ryan. A long \n HUNTING KNIFE extends from his hand. \n"," O'Ryan's face: a knowing grin fans across it... \n \n CUT TO: \n \n ...the face of VIRGIL RAY STARKEY, on a bulletin board. \n"," Tall wheat in a wet wind. He has been here before. He has seen \n it before. \n \n And so has O'Ryan... \n \n Mackelway just stares, slack-jawed, as that wheat whips past","And we still haven't seen all of O'Ryan's face. \n \n But we can see Speck, and his reaction. Utter horror. In fact \n he recoils so violently that his coffee spills. \n"," O'Ryan shrugs. He appreciates it. The windshield wipers beat \n back rain... \n \n CUT TO: \n"," O'Ryan reaches into his back pocket, produces an I.D. Hands it \n over. \n \n Trooper eyes it. According to this i.d., we are now staring at"," 106. \n \n \n O'Ryan gasps for air. His face has been bloodied. Mackelway \n rises, disgusted, removing a great weight from O'Ryan's chest."," No, they were... I don't really know. \n \n Composite Artist keeps trying, but his attempt doesn't look \n anything like the face of O'Ryan. \n \n Charlton, meanwhile, stands over the body, mind racing. \n"," O'RYAN (CONT'D) \n If you did it right, you got all of it: \n The way it sounded. The way it smelled... \n Those people were looking up at you, \n begging you for mercy. It was like being"," face with O'Ryan. \n \n And O'Ryan isn't running. In fact, he almost seems amused. \n \n O'RYAN \n Well, well... Must be quite a moment for","around it - covering up the source of that searing pain. Looks \n as though a nurse had tended to it. \n \n But this sure as hell isn't a hospital... \n \n Then, O'Ryan turns, facing us. Mackelway recoils without","O'Ryan jams the gag back into his mouth, angrily. \n \n O'RYAN \n (re: the mirror) \n My, my. Must be extremely satisfying to \n watch yourself say something so heroic.","He turns, to point out O'Ryan. \n \n ...but the booth, suddenly, is empty. The guy has simply \n disappeared, taking those drawings with him. \n \n Speck tightens. Mel eyes him, annoyed. \n"," She sniffs back a tear, thanks him with a smile. O'Ryan \n extends his hand to her. She takes it. He moves off. \n \n Beside her is a FRAMED PORTRAIT of Speck. We blow past it, and"],[" O'Ryan, at his desk, seems to be getting all of this. And it \n is agitating him. There's perspiration on his forehead. \n \n 76. \n \n"," Two men, neither of them flinching... until O'Ryan nods - as \n if to say \"Good-bye.\" \n \n ...more of that vision interrupts now: a gun, rising... \n"," He moves to another window. \n \n 192 INT. MACKELWAY'S YUKON - RESUMING 192 \n \n O'Ryan, keeping his eyes on that house, now lights the"," O'RYAN \n (again) \n But I've seen it! \n \n MACKELWAY \n Open your eyes, O'Ryan! Here I am, \n standing here. I'm not shooting you."," O'Ryan's face, just inches away. \n \n We're TIGHT on Mackelway's hand. It trembles with rage. \n \n But O'Ryan, looking right down the barrel, seems unafraid. In"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at","O'Ryan's eyes roll back. Mackelway now puts both hands around \n this fucker's throat. He's going to kill him - right here. \n He's going to squeeze the life from him. \n"," We start on the EYES OF O'RYAN. Cross-Dissolve to a pad of \n paper, on a DESK. Scrawled on the pad is a WAVY LINE. He holds"," There, one man sits. Alone. Quiet. O'Ryan. \n \n Odd expression on his face - it's as if he can't hear this \n rousing music, or feel the power of this place. People in the","around it - covering up the source of that searing pain. Looks \n as though a nurse had tended to it. \n \n But this sure as hell isn't a hospital... \n \n Then, O'Ryan turns, facing us. Mackelway recoils without","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," O'RYAN (CONT'D) \n (weak) \n Thank you. \n \n Then he dies, eyes open. Mackelway looks to Fran... \n \n DISSOLVE TO: \n"," Now, real-life again, Mackelway stands over O'Ryan, just as \n O'Ryan had always envisioned it. That makes him smile, even as \n he's dying. \n \n 125. \n"," Mackelway stares at the wound, his eyes lifeless. He splashes \n some water on his face, his mind still reeling. \n \n Then O'Ryan appears in the doorway. He too looks like hell -"," You can't see everything. \n O'RYAN \n Yes I can! And you can too! That's why I \n chose you! \n \n FRAN (O.S.) \n Mack? \n"," He's helpless, powerless. And that mirror is forcing him to \n watch it all with perfect clarity. \n \n 100. \n \n \n A few feet away, O'Ryan sits in a chair, calmly peeling the","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n"," that furnace.) Wait. Did we just see the glint of a KNIFE? \n \n O'Ryan is leaning over us, in utter control. \n \n Then O'Ryan's head turns, abruptly - at the sound of"," O'Ryan shrugs. He appreciates it. The windshield wipers beat \n back rain... \n \n CUT TO: \n","O'Ryan eyes the flames as they dance over the blade. \n \n O'RYAN (CONT'D) \n I know what you're thinking: \"There is \n pain coming. Am I going to take it like a"],[" (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," Zero's rig turns hard onto a SERVICE ROAD, running parallel to \n the Interstate. Mackelway is locked in on that truck. \n \n MACKELWAY (CONT'D) \n (into cel-phone again)"," Mackelway gets a look at the DRIVER now - a wiry, sinewy man \n of 35... Let's call him ZERO. \n \n Their eyes lock - until Zero throws his rig into gear again"," MACKELWAY \n So we'd be paying attention when he found \n Suspect Zero. \n \n CHARLTON \n Ya know what? I'm getting extremely tired \n of hearing that word. In fact, that's"," mean they don't exist. Hence Suspect \n Zero. \n \n Mackelway eyes those books on evil, then those ancient \n weapons... Casually, almost imperceptibly, he reaches for his \n sidearm, as O'Ryan continues: \n"," Suspect Zero \n \n \n Written by \n \n Zak Penn \n \n \n \n Revisions - Billy Ray \n \n Director's Shooting Script \n \n"," former agent of this Bureau. And he is \n pursuing something that he calls \"Suspect \n Zero.\" Anybody got anything intelligent \n to say? \n \n Nobody's volunteering. There's just silence. \n"," The torque pulls Zero's rig onto its side, sliding hard. Metal \n hits concrete, sending up a shower of SPARKS. \n \n The Yukon winds up in a ditch alongside the service road,"," The rig's cab lies driver's-side down. But the passenger-side \n door pops open. And Zero pokes through it, his eyes \n immediately scanning that TALL WHEAT. Rain pours. \n"," jams on the brakes. \n \n Zero swerves, out of instinct. It throws the rig into a \n vicious JACK-KNIFE. The van whips around in front of the cab,"," O'Ryan guns the Yukon, attempting to cut in front of the rig. \n Zero swings wide, sending the Yukon into a curb this time. \n That shreds their front tire. \n"," Then Zero jams on the brakes. Mackelway's eyes go wide. \n \n MACKELWAY (CONT'D) \n (at O'Ryan) \n Brakes! \n"," Mackelway sits behind the wheel of his Chevy Yukon, parked \n between two big-rigs in the lot of the \"All-American Diner.\" \n Sky looks black tonight. It rumbles... \n","A Missouri Highway Patrol car pulls up. Mackelway steps out of \n it. We follow him as he takes in the scene. \n \n A FLASHBULB illuminates Starkey's CHEST; is got a zero-with-","O'Ryan wheels around, aiming the gun right at Zero's face. \n That shuts the guy up in a hurry. \n \n 118. \n \n \n From that service road now, we hear a line of SIRENS,"," upside down. Mackelway, alive and awake, strains to look out \n the busted windshield. \n \n What he sees is hard to discern - but it looks like Zero's rig \n is lying flat on its side. \n"," Happen to see what he was driving? \n \n DOLLY \n That one's easy. It's still in the lot. \n (they perk up) \n The Bonneville out there with the awful \n paint job."," crosses the parking lot, heading for his rig. It's a beast. \n Vic climbs in, unaware that he's being watched. \n \n Mackelway looks away, chiding himself for allowing the guy to"," Vic passes the Interstate on-ramp. The three cars turn on to \n it... putting Mackelway right on Vic's tail. \n \n He grabs his cel, dials. This truck has license plates from \n ten states. \n","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n"],[" MACKELWAY \n So we'd be paying attention when he found \n Suspect Zero. \n \n CHARLTON \n Ya know what? I'm getting extremely tired \n of hearing that word. In fact, that's","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is"," Then Zero jams on the brakes. Mackelway's eyes go wide. \n \n MACKELWAY (CONT'D) \n (at O'Ryan) \n Brakes! \n","Zero freezes. Mackelway too. They turn to find: \n \n O'Ryan... who stands here, Mackelway's gun in hand. \n \n O'RYAN (CONT'D) \n Up. \n","Mackelway is silent. Stunned. The blood from Zero's caved-in \n skull finds its way to O'Ryan's knees. \n \n But O'Ryan remains peaceful. Calm. Ready. \n \n MACKELWAY"," Mackelway finds himself facing another endless corridor: One \n door after another, for what seems like a mile. But no O'Ryan. \n Then Mackelway spots an EXIT SIGN. A stairwell... \n"," (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," O'RYAN (THRU PHONE) \n I've found him, you know. \n \n MACKELWAY \n Who? \n \n O'RYAN \n Zero. \n","Mackelway pulls the car over, under an I-30 overpass... and \n out comes his gun, pointed right at O'Ryan's forehead. \n \n MACKELWAY (CONT'D)","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," Mackelway gets a look at the DRIVER now - a wiry, sinewy man \n of 35... Let's call him ZERO. \n \n Their eyes lock - until Zero throws his rig into gear again"," mean they don't exist. Hence Suspect \n Zero. \n \n Mackelway eyes those books on evil, then those ancient \n weapons... Casually, almost imperceptibly, he reaches for his \n sidearm, as O'Ryan continues: \n","Mackelway's relief is total. He pushes Zero away, rising. Zero \n pulls himself off the ground, chagrinned. \n \n ZERO \n (re: Mackelway) \n Glad you're here, Man. Guy was about to"," Mackelway's watching. O'Ryan, who blacked out for a second now \n opens his eyes, getting the picture in a hurry. \n \n Zero leaps to the ground, rolls, and rises. Only thing in his"," overflowing. Mackelway sits across from O'Ryan... \n \n O'RYAN \n (as \"Daitz:\") \n ...The name of this theory was \"Suspect \n Zero.\""," Hands up. \n \n O'Ryan raises his hands. Mackelway reaches for his cuffs. \n \n CUT TO: \n"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at"," kill me. \n \n O'Ryan, without ceremony, puts a bullet through Zero's left \n palm. That got Mackelway's attention. \n \n Zero howls with pain, his palm gushing. The TIRE-IRON falls to"," Mackelway laughs. He appreciates a good jab. \n \n MACKELWAY \n I'm at the truck-stop we traced. Off the \n I-30. \n \n FRAN"],[" He reaches Vic's truck, looks in the passenger window. There's \n the five year-old kid, tears streaming down his face. (We \n still can't tell if it's Charlie.) \n"," Trooper. 'Bout an hour later a five-year \n old boy was abducted, roughly a mile up \n the Interstate. \n \n It's 3 a.m. What's this guy doing here? \n"," beside the open VW door. A battered PICK-UP speeds away, \n kicking up gravel. \n \n CUT TO: \n \n ...Loretta's eyes, wide with terror and dread. \n"," It's Charlie, five years-old, whose abduction we just \n witnessed. He sleeps fitfully. \n \n A MAN'S HAND can be seen, edging into frame - the DRIVER. He"," Mackelway locks in on the kid. Holy shit... \n \n Vic's rig pulls out. The kid pounds on his window. Looks like \n he's saying \"Lemme out of here! I want my Mommy!\" He might be"," MACKELWAY \n (over his shoulder, running) \n Get the van open! He's got a kid in the \n van! \n \n STATE RANGER hurries out of his squad car. Mackelway sprints"," away from that milk carton, revealing a face. A child. \"Have \n You Seen Me?\" It's heartbreaking. \n TILT UP... to take in the vast flatness of Texas' I-35:"," Mackelway laughs. He appreciates a good jab. \n \n MACKELWAY \n I'm at the truck-stop we traced. Off the \n I-30. \n \n FRAN"," We've stepped out of that SUBJECTIVE POV now. Kathleen grabs \n her infant, distraught, as another massive 18-WHEEL TRUCK \n blows by us in the distance... \n"," distract him. That WAITRESS comes by with more coffee. \n Mackelway smiles, looking absently out the window again. \n \n And sees a LITTLE BOY of 5, in the cab of Vic's rig... \n"," Vic gets out of the rig. From here we can see that that 5-year- \n old BOY is still stick in his car seat, and he is still \n screaming and flailing. \n"," and begins to rumble down the street. \n \n DELIA (CONT'D) \n (confused) \n Daryl? Honey? \n \n No answer. That truck is rumbling away. Mackelway turns,","He pulls out a fax from the stack: a Korean boy named \"Steven \n Kim. Age 16. Last Seen: Greenville, Tx. Date of Disappearance: \n 8-7-98.\" \n"," But this little boy is SCREAMING, struggling to get out of his \n car-seat, until Vic grabs the kid by the shoulders, roughly... \n all of this visible through the windshield. \n"," He gestures toward a ravine, where a TOW TRUCK is currently \n lowering a winch toward an abandoned vehicle. \n \n It is Harold Speck's Buick, nose-down in the ravine, teetering"," little Charlie - we can't tell from here. \n \n But we can see that Vic is yelling at him: \"Shut up!\" \n \n And we can see that Vic's truck is refrigerated. He's hauling \n dairy products."," The noise of the Interstate doesn't make things any easier. A \n huge TRUCK rumbles by. 18 wheels. \n \n Mackelway eyes it, absently. Then a bolt hits him: \n"," ...just as the Ranger brings Charlie out of the rig. The kid \n is shaking, traumatized. He begins to cry... \n \n Fran gets the idea. She hurries over. \n"," ...until we hear the rumble of an 18-WHEEL TRUCK. \n \n It turns a corner onto this street. Mackelway turns now... \n \n We've seen this truck before. A monstrous, rolling beast. And"," of what's going on inside that truck. \n \n That cel-phone continues to ring... We keep pulling back, \n under this sparsely-trafficked overpass, rain falling. \n"],[" MACKELWAY \n So we'd be paying attention when he found \n Suspect Zero. \n \n CHARLTON \n Ya know what? I'm getting extremely tired \n of hearing that word. In fact, that's","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is"," Suspect Zero \n \n \n Written by \n \n Zak Penn \n \n \n \n Revisions - Billy Ray \n \n Director's Shooting Script \n \n"," kill me. \n \n O'Ryan, without ceremony, puts a bullet through Zero's left \n palm. That got Mackelway's attention. \n \n Zero howls with pain, his palm gushing. The TIRE-IRON falls to"," (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," former agent of this Bureau. And he is \n pursuing something that he calls \"Suspect \n Zero.\" Anybody got anything intelligent \n to say? \n \n Nobody's volunteering. There's just silence. \n"," mean they don't exist. Hence Suspect \n Zero. \n \n Mackelway eyes those books on evil, then those ancient \n weapons... Casually, almost imperceptibly, he reaches for his \n sidearm, as O'Ryan continues: \n","Zero freezes. Mackelway too. They turn to find: \n \n O'Ryan... who stands here, Mackelway's gun in hand. \n \n O'RYAN (CONT'D) \n Up. \n","O'Ryan wheels around, aiming the gun right at Zero's face. \n That shuts the guy up in a hurry. \n \n 118. \n \n \n From that service road now, we hear a line of SIRENS,","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n","Mackelway is silent. Stunned. The blood from Zero's caved-in \n skull finds its way to O'Ryan's knees. \n \n But O'Ryan remains peaceful. Calm. Ready. \n \n MACKELWAY"," Bullshit! If I'd made my fucking point \n you would've shot him yourself by now! \n \n Another swing of that tire-iron, across the back of Zero's \n neck. He crumbles, face down. \n"," Then Zero jams on the brakes. Mackelway's eyes go wide. \n \n MACKELWAY (CONT'D) \n (at O'Ryan) \n Brakes! \n"," them. The feeling is so unsettling that for a moment he \n forgets about Zero, and the rig, and the kid... \n \n Everything has just crystallized in a horrible way. He knows"," Mackelway gets a look at the DRIVER now - a wiry, sinewy man \n of 35... Let's call him ZERO. \n \n Their eyes lock - until Zero throws his rig into gear again"," O'RYAN (CONT'D) \n And the name we give that killer... is \n Zero. \n (again:) \n Are you afraid? \n \n Slowly, he lowers the knife into the flame of that candle on","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," But then she hears FOOTSTEPS, trailing away. So she rises, \n peeking over the edge of the window. WE STAY ON HER FACE, as \n she sees what's become of her attacker. \n","THUMP! Another violent swing of that tire-iron, busting up the \n other side of Zero's torso. Now both sides of his rib-cage \n have shattered. Breathing is almost impossible. \n"," overflowing. Mackelway sits across from O'Ryan... \n \n O'RYAN \n (as \"Daitz:\") \n ...The name of this theory was \"Suspect \n Zero.\""],[" (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," Mackelway gets a look at the DRIVER now - a wiry, sinewy man \n of 35... Let's call him ZERO. \n \n Their eyes lock - until Zero throws his rig into gear again"," Zero's rig turns hard onto a SERVICE ROAD, running parallel to \n the Interstate. Mackelway is locked in on that truck. \n \n MACKELWAY (CONT'D) \n (into cel-phone again)"," mean they don't exist. Hence Suspect \n Zero. \n \n Mackelway eyes those books on evil, then those ancient \n weapons... Casually, almost imperceptibly, he reaches for his \n sidearm, as O'Ryan continues: \n"," former agent of this Bureau. And he is \n pursuing something that he calls \"Suspect \n Zero.\" Anybody got anything intelligent \n to say? \n \n Nobody's volunteering. There's just silence. \n"," The rig's cab lies driver's-side down. But the passenger-side \n door pops open. And Zero pokes through it, his eyes \n immediately scanning that TALL WHEAT. Rain pours. \n"," MACKELWAY \n So we'd be paying attention when he found \n Suspect Zero. \n \n CHARLTON \n Ya know what? I'm getting extremely tired \n of hearing that word. In fact, that's"," Suspect Zero \n \n \n Written by \n \n Zak Penn \n \n \n \n Revisions - Billy Ray \n \n Director's Shooting Script \n \n"," Then Zero jams on the brakes. Mackelway's eyes go wide. \n \n MACKELWAY (CONT'D) \n (at O'Ryan) \n Brakes! \n"," The torque pulls Zero's rig onto its side, sliding hard. Metal \n hits concrete, sending up a shower of SPARKS. \n \n The Yukon winds up in a ditch alongside the service road,","O'Ryan wheels around, aiming the gun right at Zero's face. \n That shuts the guy up in a hurry. \n \n 118. \n \n \n From that service road now, we hear a line of SIRENS,"," jams on the brakes. \n \n Zero swerves, out of instinct. It throws the rig into a \n vicious JACK-KNIFE. The van whips around in front of the cab,"," upside down. Mackelway, alive and awake, strains to look out \n the busted windshield. \n \n What he sees is hard to discern - but it looks like Zero's rig \n is lying flat on its side. \n","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n"," them. The feeling is so unsettling that for a moment he \n forgets about Zero, and the rig, and the kid... \n \n Everything has just crystallized in a horrible way. He knows","A Missouri Highway Patrol car pulls up. Mackelway steps out of \n it. We follow him as he takes in the scene. \n \n A FLASHBULB illuminates Starkey's CHEST; is got a zero-with-"," arrived. Sherrifs, Feds. Zero's rig remains on its side. \n \n Mackelway sits nearby on a CURB, his shattered wrist is in a \n SLING. Up above, the CLOUDS have parted. Morning sun streaks"," He doesn't have gloves on him, so he uses his jacket pocket to \n protect against prints. He opens the trunk. \n \n First thing he sees is that SYMBOL again: a circle-with-a-"," kill me. \n \n O'Ryan, without ceremony, puts a bullet through Zero's left \n palm. That got Mackelway's attention. \n \n Zero howls with pain, his palm gushing. The TIRE-IRON falls to"," overflowing. Mackelway sits across from O'Ryan... \n \n O'RYAN \n (as \"Daitz:\") \n ...The name of this theory was \"Suspect \n Zero.\""],[" (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," MACKELWAY \n So we'd be paying attention when he found \n Suspect Zero. \n \n CHARLTON \n Ya know what? I'm getting extremely tired \n of hearing that word. In fact, that's"," Suspect Zero \n \n \n Written by \n \n Zak Penn \n \n \n \n Revisions - Billy Ray \n \n Director's Shooting Script \n \n"," mean they don't exist. Hence Suspect \n Zero. \n \n Mackelway eyes those books on evil, then those ancient \n weapons... Casually, almost imperceptibly, he reaches for his \n sidearm, as O'Ryan continues: \n"," former agent of this Bureau. And he is \n pursuing something that he calls \"Suspect \n Zero.\" Anybody got anything intelligent \n to say? \n \n Nobody's volunteering. There's just silence. \n"," Mackelway gets a look at the DRIVER now - a wiry, sinewy man \n of 35... Let's call him ZERO. \n \n Their eyes lock - until Zero throws his rig into gear again"," We see the VICTIMS photographed face up, face down, waist and \n above, waist and below. Charlton gives the photos a cursory \n glance, nothing more. \n \n But we notice something, on one of the bodies: the male from","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is","ZIPLOC BAGS. Inside the bags are BODY PARTS. \n \n It's realized so accurately that it looks more like a \n photograph. No wonder it horrified Speck so deeply. \n \n THE BOOTH - RESUMING \n"," Zero's rig turns hard onto a SERVICE ROAD, running parallel to \n the Interstate. Mackelway is locked in on that truck. \n \n MACKELWAY (CONT'D) \n (into cel-phone again)"," kill me. \n \n O'Ryan, without ceremony, puts a bullet through Zero's left \n palm. That got Mackelway's attention. \n \n Zero howls with pain, his palm gushing. The TIRE-IRON falls to","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n"," Okay. We've got a serial killer of serial \n killers. \n \n Fran scribbles something on a piece of paper: \"What a genius!\" \n Slides it over. Mackelway conceals the note, as: \n"," MACKELWAY \n So... he keeps the bodies in a freezer, \n then buries them...? \n \n That was a question. He can't do any better. \n \n FRAN"," them. The feeling is so unsettling that for a moment he \n forgets about Zero, and the rig, and the kid... \n \n Everything has just crystallized in a horrible way. He knows"," O'RYAN (CONT'D) \n (quoting himself, as Daitz:) \n \"Imagine a killer with no patterns, no \n tell-tale fetishes, no rituals of any"," The inside of that steamer-trunk is filled with BODY PARTS: \n bagged, stacked, and sealed in Ziplocs... \n \n Powdered LIME is sprinkled on them. \n"," He enters. The fax has spun out a single sheet. No top-sheet. \n That's odd... \n \n But here's another face, another victim, with the customary \n HAVE YOU SEEN ME? across the top. \n"," O'RYAN (CONT'D) \n Tell me, what makes a killer catchable? \n \n MACKELWAY \n Patterns, repetition of behavior. \n \n O'RYAN"," him. Victim #2, BARNEY FULCHER, lies on another, his ample \n frame yet to be examined. \n \n The lights are out, but that Coroner wears a FLUORESCENT HALO,"],[" MACKELWAY \n So... he keeps the bodies in a freezer, \n then buries them...? \n \n That was a question. He can't do any better. \n \n FRAN"," The rendering of a steamer-trunk, lined with plastic, \n containing body parts in plastic bags... Mackelway seems to be \n fixated on it now. \n \n CUT TO: \n"," Mackelway stares. So does Fran. Before them lies a body, \n stripped to the waist: a chunky middle-aged MAN. Dead. \n \n Mackelway sighs. Things just got tougher... \n","Mackelway pauses, thinks he must've heard wrong. But he turns \n toward the face, as ANOTHER FLASHBULB illuminates it, searing \n the image into the darkness. Starkey. Dead. His eyelids ripped \n away. \n"," off. It's gruesome, but Mackelway notes it calmly. Charlton \n leans in, gets a look. \n \n CHARLTON \n Christ... \n"," kind. No hidden desire to be caught. A \n perfect vessel of evil.\" \n \n All Mackelway can see is his own reflection - the fear in his \n eyes - bouncing off a mirror that's only inches away. \n"," Mackelway awakens. The room feels like it's swimming. His arms \n and legs are bound. His mouth has been GAGGED. \n \n And he is staring into his own REFLECTION. \n"," Mackelway stares, at once satisfied and sickened. COP #1 can \n be heard, approaching across the attic floor. His gun is \n drawn... \n \n ...until he too sees what's in there. \n","Then she eyes Mackelway. Charlton notes the tension. \n \n 18. \n \n \n CHARLTON \n Okay. So our guy likes to draw pictures \n of body parts and then spring 'em on"," Fran is at a phone, in the Morgue. The Logan Utah BODY lies on \n the table. \n \n FRAN \n It's not a burn. It's a freezer-burn. \n MACKELWAY"," But before we can get a good look at it, Mackelway spots \n something else, at the bottom of this box, a shocker: \n \n A photograph of himself. \n \n It takes him a second to realize what he's looking at. But"," Mackelway studies it, his face working. Another of those \n WHIMPERS from Loretta seems to hang, suspended. Mackelway \n shakes it off, certain that he's imagining it. \n"," MACKELWAY (CONT'D) \n (into cel) \n Mackelway. \n \n 164 INTERCUT WITH/INT. MORGUE - SAME 164 \n","dead. \n \n Mackelway's eyes go wide. Whole thing has been a blur. \n \n O'Ryan releases the tire-iron... and drops to his knees like a \n man awaiting execution, his back to Mackelway. \n"," Her sadness is obvious. Mackelway nods. \n \n KATIE (CONT'D) \n Anyway, I know you're gonna be in on the \n autopsies - of the girls they found over"," Mackelway is expressionless. But something about these LIDLESS \n EYES draws him closer. He leans in, then BAM! We are rocketed \n into a series of dark, disjointed images: \n","Mackelway doesn't know what to do. Then, making matters worse: \n \n FRAN (O.S.) \n (aloud) \n Mack? \n \n She's about a hundred yards away... but she'll be here soon"," MACKELWAY \n Trunk's ajar. \n \n She turns. Sure enough, the Bonneville's trunk is ajar. \n Mackelway approaches, cautiously. \n"," It's like looking at a ghost - a spectre that's been haunting \n him, dead now... Mackelway pulls out his Minox, starts \n photographing, moving in on those LIDLESS EYES... \n"," Mackelway locks in on the kid. Holy shit... \n \n Vic's rig pulls out. The kid pounds on his window. Looks like \n he's saying \"Lemme out of here! I want my Mommy!\" He might be"],[" Okay. We've got a serial killer of serial \n killers. \n \n Fran scribbles something on a piece of paper: \"What a genius!\" \n Slides it over. Mackelway conceals the note, as: \n"," victim sees... or to make certain that we \n see something. \n (she's silent) \n Or maybe it's just a fuck-you. \n \n Coroner continues his monotone narration... then crosses to"," O'RYAN (CONT'D) \n Tell me, what makes a killer catchable? \n \n MACKELWAY \n Patterns, repetition of behavior. \n \n O'RYAN"," Now imagine a killer with no patterns, no \n tell-tale fetishes, no rituals, no hidden \n desire to be caught. A perfect vessel of \n evil, killing without ever leaving a \n single meaningful clue in his wake..."," We see the VICTIMS photographed face up, face down, waist and \n above, waist and below. Charlton gives the photos a cursory \n glance, nothing more. \n \n But we notice something, on one of the bodies: the male from"," O'RYAN (CONT'D) \n (quoting himself, as Daitz:) \n \"Imagine a killer with no patterns, no \n tell-tale fetishes, no rituals of any"," kind. No hidden desire to be caught. A \n perfect vessel of evil.\" \n \n All Mackelway can see is his own reflection - the fear in his \n eyes - bouncing off a mirror that's only inches away. \n"," off. It's gruesome, but Mackelway notes it calmly. Charlton \n leans in, gets a look. \n \n CHARLTON \n Christ... \n"," (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," driving his car, or having a beer or \n brushing his teeth... or cutting \n someone's eyes out. \n \n That was said flatly, matter-of-factly. It's chilling. \n"," But then she hears FOOTSTEPS, trailing away. So she rises, \n peeking over the edge of the window. WE STAY ON HER FACE, as \n she sees what's become of her attacker. \n","to kill this guy. \n \n ...then those eyes drift back to the mirror again. \n \n ...and he sees his reflection: a hardened, crazed stranger. An \n animal. \n \n His hands, without warning, release their grip. \n","ZIPLOC BAGS. Inside the bags are BODY PARTS. \n \n It's realized so accurately that it looks more like a \n photograph. No wonder it horrified Speck so deeply. \n \n THE BOOTH - RESUMING \n","about evil, the devil, the minds of sociopaths, the history of \n serial-killers, ritual killers, tribal rites... \n \n MACKELWAY \n Is that something you believe in, \n Professor? Evil? \n"," Mackelway stares, at once satisfied and sickened. COP #1 can \n be heard, approaching across the attic floor. His gun is \n drawn... \n \n ...until he too sees what's in there. \n"," Well guess what? They didn't. And this \n prick's gonna walk, ten murders or not. \n \n That registered. \n \n 34 INT. HOPE HOUSE - BASEMENT - RESUMING 34 \n"," is visible to us, but we can tell that his concentration is \n total. \n \n His pen continues its furious work, a spasm of activity, as \n the SOUNDS of that vision bleed in: the gun-shot, the rain,"," It's like looking at a ghost - a spectre that's been haunting \n him, dead now... Mackelway pulls out his Minox, starts \n photographing, moving in on those LIDLESS EYES... \n","Then she eyes Mackelway. Charlton notes the tension. \n \n 18. \n \n \n CHARLTON \n Okay. So our guy likes to draw pictures \n of body parts and then spring 'em on"," Her sadness is obvious. Mackelway nods. \n \n KATIE (CONT'D) \n Anyway, I know you're gonna be in on the \n autopsies - of the girls they found over"],[" (takes her hand) \n I didn't know him well but... I think \n Harold was a much more complex man than \n people realized. \n \n Jan is so raw that anything about Speck touches her now. \n"," CUT TO: \n \n 22 INT. ARCHER COUNTY MORGUE - DAY 22 \n \n Harold Speck lies on a table. A BESPECTACLED CORONER examines"," Ya miss fucking her, Harold? \n \n SPECK \n Listen, I don't know who you are but you \n can't-- \n \n O'Ryan silences him... by holding up a piece of paper. On it"," MEL \n Like I said, I never really saw him. \n Harold came up, complainin' about the guy \n - but time I turned, he was gone. \n \n FRAN MACK"," him. Victim #2, BARNEY FULCHER, lies on another, his ample \n frame yet to be examined. \n \n The lights are out, but that Coroner wears a FLUORESCENT HALO,"," or I'll cut the fucking lids off!! \n \n Mackelway opens his eyes, forced to watch himself break. Deep \n sobs shudder through him, as... \n \n O'Ryan digs that red-hot blade into Mackelway's arm:"," particularly focused on Fulcher's face. His EYELIDS, we now \n see, have also been torn off. Hmmmm... \n \n FRAN \n Why eyelids? \n \n MACKELWAY"," We see the VICTIMS photographed face up, face down, waist and \n above, waist and below. Charlton gives the photos a cursory \n glance, nothing more. \n \n But we notice something, on one of the bodies: the male from"," revealing a hideous wound. \n \n It's a ZERO, WITH A SLASH THROUGH IT. \n \n Now everything clicks: O'Ryan was branding him. Initiating him \n with that red-hot knife. \n"," He gestures toward a ravine, where a TOW TRUCK is currently \n lowering a winch toward an abandoned vehicle. \n \n It is Harold Speck's Buick, nose-down in the ravine, teetering"," off. It's gruesome, but Mackelway notes it calmly. Charlton \n leans in, gets a look. \n \n CHARLTON \n Christ... \n","O'Ryan moves the blade again, this time an eighth of an inch \n above Mackelway's right arm. The heat from it is so incendiary \n that Mackelway's shirt begins to smoke. \n"," reminding himself to remember his new rank. Dylan hands a \n preliminary report to Charlton. \n \n DYLAN \n Fella's name is Harold Speck. Traveling \n salesman, from Abilene. \n"," No more pulse. He has lost the \"connection\" that had somehow \n transported him. He notes his watch. Jots down the exact time. \n Slips the pad into that FOLDER: \"Mackelway.\" \n","Mackelway pauses, thinks he must've heard wrong. But he turns \n toward the face, as ANOTHER FLASHBULB illuminates it, searing \n the image into the darkness. Starkey. Dead. His eyelids ripped \n away. \n"," Then that TIRE IRON lashes out, from the right. \n \n It catches Mackelway with horrific force, shattering his wrist \n and sending that gun flying into the wheat. \n"," He's fine, Sir. \n \n 84. \n \n \n CHARLTON \n Talk to him. \n \n With that, he's gone. Fran watches as he heads for the Front"," She watches him vanish around a corner. \n \n CUT TO: \n \n 89 EXT. HAROLD SPECK'S HOUSE - 6:00 A.M. 89 \n"," kill me. \n \n O'Ryan, without ceremony, puts a bullet through Zero's left \n palm. That got Mackelway's attention. \n \n Zero howls with pain, his palm gushing. The TIRE-IRON falls to"," driving his car, or having a beer or \n brushing his teeth... or cutting \n someone's eyes out. \n \n That was said flatly, matter-of-factly. It's chilling. \n"],[" case was thrown out of court. It is this: \n \n The F.B.I. Agent on the case had made a mistake in \n \"evidentiary procedure.\" Hence, Mackelway's picture. \n"," MACKELWAY (CONT'D) \n You guys ever heard of evidentiary \n procedure? \n \n No one replies. Charlton approaches. Mackelway tightens, \n expecting a reprimand for overstepping his bounds. \n"," Mackelway studies it, his face working. Another of those \n WHIMPERS from Loretta seems to hang, suspended. Mackelway \n shakes it off, certain that he's imagining it. \n"," It was... poor judgment, Sir. \n \n CHARLTON \n You wanna work alone, start your own \n agency. \n \n Mackelway can do nothing but nod. Then, bailing him out,"," MACKWELWAY (CONT'D) \n Sorry, Sir. There wasn't time. \n \n Charlton eyes the car. Then Mackelway. \n \n CHARLTON \n Did the right thing, Agent Mackelway."," Mackelway drops his gun, kicks it toward the cop, who doesn't \n quite know what to make of that. \n \n Also confusing him is the odd smile playing its way across \n Mackelway's face. But we understand it now: \n"," MACKELWAY \n (that stung) \n Give me the fucking gun! \n \n O'Ryan turns, studies him. \n \n ...and hands him the gun. Just like that. \n"," Those words just hang there, haunting Mackelway. Charlton \n tears off the sheet with those two words and stuffs them into \n Mackelway's hand. \n \n CHARLTON (CONT'D)"," Mackelway has a busted wrist. Hardly a fair fight. \n \n But Mackelway is battling: kicking, clawing, getting in as \n many shots as he can. His shirt rips away from his body,"," MACKELWAY \n Put the fucking thing down, O'Ryan. \n \n O'Ryan keeps pursuing. Another swing. Mackelway keeps backing \n up. The swing misses. \n \n O'RYAN"," Three months have passed since the arrest in Matamoros. Now \n Mackelway sits in this courthouse ANTEROOM, adjacent to a \n courtroom. Four sour PROSECUTORS surround him. \n \n PROSECUTOR #1","Mackelway tightens. His head just began to throb... \n \n MACKELWAY \n Okay. You made your point. \n \n 119. \n \n \n O'RYAN"," MACKELWAY \n (fuck yes) \n No, Sir. \n \n CHARLTON \n Good. \n \n An abandoned SPORTS PAGE tells us about that World Series, so","Basic: Sorry I was so hard on you but it had to be done... Can \n we shake on it? \n \n Instead, Mackelway simply EXPLODES: \n \n It is a blur, faster than a blur, but Mackelway rises with an"," MACKELWAY (CONT'D) \n That was him. \n \n FRAN \n He called you at home? \n \n MACKELWAY \n Yes. \n \n BEEP. Call-Waiting again."," Hands up. \n \n O'Ryan raises his hands. Mackelway reaches for his cuffs. \n \n CUT TO: \n","Mackelway stares, stunned. Can't fucking believe it. \n \n MACKELWAY \n (breathless) \n My God... \n \n 37. \n \n","Mackelway doesn't know what to do. Then, making matters worse: \n \n FRAN (O.S.) \n (aloud) \n Mack? \n \n She's about a hundred yards away... but she'll be here soon"," Then O'Ryan stuns him... by laying Mackelway's GUN atop the \n drawing, without a word. \n \n Mackelway eyes the gun, then grabs it and points it right at"," MACKELWAY (CONT'D) \n (re: burn) \n Fuck! \n \n Cuffs are unlocked now. O'Ryan starts up the Yukon. \n"],[" MACKELWAY \n So we'd be paying attention when he found \n Suspect Zero. \n \n CHARLTON \n Ya know what? I'm getting extremely tired \n of hearing that word. In fact, that's"," former agent of this Bureau. And he is \n pursuing something that he calls \"Suspect \n Zero.\" Anybody got anything intelligent \n to say? \n \n Nobody's volunteering. There's just silence. \n"," (Mackelway nods) \n The idea of Suspect Zero posits that if a \n serial killer were diabolical enough, he \n could traverse the country without ever \n being caught, killing randomly. \n"," mean they don't exist. Hence Suspect \n Zero. \n \n Mackelway eyes those books on evil, then those ancient \n weapons... Casually, almost imperceptibly, he reaches for his \n sidearm, as O'Ryan continues: \n"," Suspect Zero \n \n \n Written by \n \n Zak Penn \n \n \n \n Revisions - Billy Ray \n \n Director's Shooting Script \n \n"," overflowing. Mackelway sits across from O'Ryan... \n \n O'RYAN \n (as \"Daitz:\") \n ...The name of this theory was \"Suspect \n Zero.\""," Mackelway gets a look at the DRIVER now - a wiry, sinewy man \n of 35... Let's call him ZERO. \n \n Their eyes lock - until Zero throws his rig into gear again"," O'RYAN (THRU PHONE) \n I've found him, you know. \n \n MACKELWAY \n Who? \n \n O'RYAN \n Zero. \n"," them. The feeling is so unsettling that for a moment he \n forgets about Zero, and the rig, and the kid... \n \n Everything has just crystallized in a horrible way. He knows"," We see the VICTIMS photographed face up, face down, waist and \n above, waist and below. Charlton gives the photos a cursory \n glance, nothing more. \n \n But we notice something, on one of the bodies: the male from"," revealing a hideous wound. \n \n It's a ZERO, WITH A SLASH THROUGH IT. \n \n Now everything clicks: O'Ryan was branding him. Initiating him \n with that red-hot knife. \n"," What makes you think so? \n \n MACKELWAY \n That's where Zero is. \n (Fran's a blank) \n Lloyd Simms - October 26, '99. Karen"," FRAN \n Wait. When did we establish that Zero was \n real? \n \n MACKELWAY \n O'Ryan thinks so. \n \n FRAN \n Do you? \n"," O'RYAN (CONT'D) \n And the name we give that killer... is \n Zero. \n (again:) \n Are you afraid? \n \n Slowly, he lowers the knife into the flame of that candle on"," gonna be policy from now on. No Zero. \n MACKELWAY \n Sir, profile the guy. He's straight outta \n Quantico. All he's doing is working a \n case, like we would. He's not kidnapping","Mackelway eyes it. O'Ryan doesn't say a word, just crosses \n back to Zero, and grabs that TIRE-IRON off the ground. \n \n O'Ryan's now standing right behind Zero, as: \n","That threw Mackelway badly. O'Ryan seizes the moment - \n wheeling around... \n \n He takes one last swing at Zero, like a lumberjack. The tire- \n iron impacts Zero's skull with a dull THUD, cracking it. He is"," Then Zero jams on the brakes. Mackelway's eyes go wide. \n \n MACKELWAY (CONT'D) \n (at O'Ryan) \n Brakes! \n","Zero freezes. Mackelway too. They turn to find: \n \n O'Ryan... who stands here, Mackelway's gun in hand. \n \n O'RYAN (CONT'D) \n Up. \n","O'Ryan wheels around, aiming the gun right at Zero's face. \n That shuts the guy up in a hurry. \n \n 118. \n \n \n From that service road now, we hear a line of SIRENS,"],[" MACKELWAY (CONT'D) \n You guys ever heard of evidentiary \n procedure? \n \n No one replies. Charlton approaches. Mackelway tightens, \n expecting a reprimand for overstepping his bounds. \n"," MACKELWAY (CONT'D) \n That was him. \n \n FRAN \n He called you at home? \n \n MACKELWAY \n Yes. \n \n BEEP. Call-Waiting again."," Mackelway studies it, his face working. Another of those \n WHIMPERS from Loretta seems to hang, suspended. Mackelway \n shakes it off, certain that he's imagining it. \n"," Mackelway has some history with her, so he tries not to react. \n It takes some effort. \n \n CHARLTON (CONT'D) \n Seems your former office has decided we \n might need some help on this one. So they"," Those words just hang there, haunting Mackelway. Charlton \n tears off the sheet with those two words and stuffs them into \n Mackelway's hand. \n \n CHARLTON (CONT'D)"," He can barely believe it himself, but we get a look at what \n was in that file now; PAGES are splayed across Mackelway's \n coffee table: \n"," The door bursts open. The greasy bag and the soda fall to the \n floor. Mackelway hurries to a phone, clutching that file. He \n dials hurriedly. \n"," CHARLTON \n Oh. 'Fore I forget. This came in for you: \n \n He tosses a 9-by-12 ENVELOPE at Mackelway, who opens it. Six \n sheets of paper slide out. \n"," Beneath this newspaper article are OTHER ARTICLES, all \n concerning Starkey: his crimes, his capture, all of it. \n \n Mackelway's memory just got stoked again: \n"," MACKELWAY \n (that stung) \n Give me the fucking gun! \n \n O'Ryan turns, studies him. \n \n ...and hands him the gun. Just like that. \n"," Mackelway STARES out the window; seems like he just HEARD that \n scream. Of course, that'd be impossible. He looks to that map. \n His PHONE RINGS. He eyes it, unsurprised... \n","Mackelway continues, as: \n \n FRAN (O.S.) \n Got nothing on the last fax. \n \n Mackelway turns. In comes Fran. \n \n FRAN (CONT'D)"," Mackelway drops his gun, kicks it toward the cop, who doesn't \n quite know what to make of that. \n \n Also confusing him is the odd smile playing its way across \n Mackelway's face. But we understand it now: \n","Mackelway doesn't know what to do. Then, making matters worse: \n \n FRAN (O.S.) \n (aloud) \n Mack? \n \n She's about a hundred yards away... but she'll be here soon"," MACKELWAY \n And what if I told you that the way I'd \n catch him involved sitting in a dark \n room, with nothing in front of me but a \n pad of paper... until I'd tapped into","That was unsettling. Very. Mackelway looks around feeling \n violated, feeling \"watched.\" He draws the blinds. Double bolts \n the front door. Runs his hand under the window frame for any \n kind of wire tapping. \n"," MACKWELWAY (CONT'D) \n Sorry, Sir. There wasn't time. \n \n Charlton eyes the car. Then Mackelway. \n \n CHARLTON \n Did the right thing, Agent Mackelway.","But Mackelway won't allow himself to over-react. Not now, with \n O'Ryan on the phone. \n \n MACKELWAY \n (calmly) \n You tell me. \n","Mackelway is still bracing for torture, or at least combat. So \n he's a step behind. \n \n O'RYAN (CONT'D) \n We really do have to go. \n"," MACKELWAY (CONT'D) \n locate him, without ever leaving this \n building, what would you say? \n \n CHARLTON \n I'd say you'd watched too many \"X-Files.\" \n"]],"string":"[\n [\n \" CUT TO: \\n \\n 22 INT. ARCHER COUNTY MORGUE - DAY 22 \\n \\n Harold Speck lies on a table. A BESPECTACLED CORONER examines\",\n \" him. Victim #2, BARNEY FULCHER, lies on another, his ample \\n frame yet to be examined. \\n \\n The lights are out, but that Coroner wears a FLUORESCENT HALO,\",\n \" We see the VICTIMS photographed face up, face down, waist and \\n above, waist and below. Charlton gives the photos a cursory \\n glance, nothing more. \\n \\n But we notice something, on one of the bodies: the male from\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" Mackelway stares. So does Fran. Before them lies a body, \\n stripped to the waist: a chunky middle-aged MAN. Dead. \\n \\n Mackelway sighs. Things just got tougher... \\n\",\n \" No more pulse. He has lost the \\\"connection\\\" that had somehow \\n transported him. He notes his watch. Jots down the exact time. \\n Slips the pad into that FOLDER: \\\"Mackelway.\\\" \\n\",\n \" (takes her hand) \\n I didn't know him well but... I think \\n Harold was a much more complex man than \\n people realized. \\n \\n Jan is so raw that anything about Speck touches her now. \\n\",\n \" He gestures toward a ravine, where a TOW TRUCK is currently \\n lowering a winch toward an abandoned vehicle. \\n \\n It is Harold Speck's Buick, nose-down in the ravine, teetering\",\n \"Mackelway pauses, thinks he must've heard wrong. But he turns \\n toward the face, as ANOTHER FLASHBULB illuminates it, searing \\n the image into the darkness. Starkey. Dead. His eyelids ripped \\n away. \\n\",\n \" (Charlton nods) \\n Looks like a robbery/homicide. Body's \\n over that way. \\n \\n 10. \\n \\n\",\n \" (4:30 A.M.) \\n \\n HAROLD SPECK sits: mid 40's, pleasant face. A family man. \\n Reads \\\"Rod and Reel\\\" magazine. Has a SALESMAN'S CASE by his\",\n \" He FIRES... Then looks to see who he's just shot. \\n \\n A body. He turns it over. \\n \\n ...and is staring at himself, lying dead on the ground in the\",\n \" She watches him vanish around a corner. \\n \\n CUT TO: \\n \\n 89 EXT. HAROLD SPECK'S HOUSE - 6:00 A.M. 89 \\n\",\n \" Ya miss fucking her, Harold? \\n \\n SPECK \\n Listen, I don't know who you are but you \\n can't-- \\n \\n O'Ryan silences him... by holding up a piece of paper. On it\",\n \" Mackelway stares, at once satisfied and sickened. COP #1 can \\n be heard, approaching across the attic floor. His gun is \\n drawn... \\n \\n ...until he too sees what's in there. \\n\",\n \"The check-list continues: my mouth is sore, but that GAG has \\n been removed. \\n \\n And MY ARMS ARE UNBOUND. Legs too. Maybe I am dead. \\n \\n Mackelway tries to move his hand. It takes some effort.\",\n \" facing in the other direction, twisted unnaturally. \\n \\n Mackelway kneels beside the open window, pulls out some \\n gloves, puts them on. He will not lean on the car, or even \\n breathe on it, his caution around evidence obvious.\",\n \" fishing reel, tackle-box, a kid's bicycle helmet. \\n \\n Mackelway eyes it all, but his instincts tell him there's \\n nothing significant here. So he returns to Speck's body. \\n\",\n \" Wounds on Speck's throat indicate that he \\n was strangled from behind... I think our \\n guy waited for him in the backseat, \\n sprung this on him once the car was \\n moving. \\n\",\n \" It's like looking at a ghost - a spectre that's been haunting \\n him, dead now... Mackelway pulls out his Minox, starts \\n photographing, moving in on those LIDLESS EYES... \\n\"\n ],\n [\n \" Mackelway studies it, his face working. Another of those \\n WHIMPERS from Loretta seems to hang, suspended. Mackelway \\n shakes it off, certain that he's imagining it. \\n\",\n \" MACKELWAY (CONT'D) \\n You guys ever heard of evidentiary \\n procedure? \\n \\n No one replies. Charlton approaches. Mackelway tightens, \\n expecting a reprimand for overstepping his bounds. \\n\",\n \" Mackelway has a busted wrist. Hardly a fair fight. \\n \\n But Mackelway is battling: kicking, clawing, getting in as \\n many shots as he can. His shirt rips away from his body,\",\n \"Mackelway is still bracing for torture, or at least combat. So \\n he's a step behind. \\n \\n O'RYAN (CONT'D) \\n We really do have to go. \\n\",\n \" case was thrown out of court. It is this: \\n \\n The F.B.I. Agent on the case had made a mistake in \\n \\\"evidentiary procedure.\\\" Hence, Mackelway's picture. \\n\",\n \" MACKELWAY \\n Put the fucking thing down, O'Ryan. \\n \\n O'Ryan keeps pursuing. Another swing. Mackelway keeps backing \\n up. The swing misses. \\n \\n O'RYAN\",\n \" Mackelway drops his gun, kicks it toward the cop, who doesn't \\n quite know what to make of that. \\n \\n Also confusing him is the odd smile playing its way across \\n Mackelway's face. But we understand it now: \\n\",\n \" MACKWELWAY (CONT'D) \\n Sorry, Sir. There wasn't time. \\n \\n Charlton eyes the car. Then Mackelway. \\n \\n CHARLTON \\n Did the right thing, Agent Mackelway.\",\n \" Those words just hang there, haunting Mackelway. Charlton \\n tears off the sheet with those two words and stuffs them into \\n Mackelway's hand. \\n \\n CHARLTON (CONT'D)\",\n \" Mackelway turns, but Vic's already past us. \\n \\n Something about him attracts Mackelway's attention. The walk, \\n the attitude. Something. \\n \\n So Mackelway is watching - without really knowing why - as Vic\",\n \"Then Mackelway is distracted, for just a second. No. Less than \\n a second... by a glimpse of that SHATTERED MIRROR - his own \\n twisted image. \\n \\n He looks away from it, refusing to be distracted, determined\",\n \" MACKELWAY \\n (that stung) \\n Give me the fucking gun! \\n \\n O'Ryan turns, studies him. \\n \\n ...and hands him the gun. Just like that. \\n\",\n \" Mackelway has some history with her, so he tries not to react. \\n It takes some effort. \\n \\n CHARLTON (CONT'D) \\n Seems your former office has decided we \\n might need some help on this one. So they\",\n \"Mackelway tightens. His head just began to throb... \\n \\n MACKELWAY \\n Okay. You made your point. \\n \\n 119. \\n \\n \\n O'RYAN\",\n \"Mackelway pauses, thinks he must've heard wrong. But he turns \\n toward the face, as ANOTHER FLASHBULB illuminates it, searing \\n the image into the darkness. Starkey. Dead. His eyelids ripped \\n away. \\n\",\n \" MACKELWAY (CONT'D) \\n (re: burn) \\n Fuck! \\n \\n Cuffs are unlocked now. O'Ryan starts up the Yukon. \\n\",\n \" It was... poor judgment, Sir. \\n \\n CHARLTON \\n You wanna work alone, start your own \\n agency. \\n \\n Mackelway can do nothing but nod. Then, bailing him out,\",\n \" MACKELWAY \\n (struggling for composure:) \\n Starkey did this? \\n CHARLTON \\n No. Starkey's the one on the ground. \\n\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \" MACKELWAY \\n (knows already) \\n But the Trooper wasn't hurt... \\n \\n CHARLTON \\n What makes you so sure? \\n \\n MACKELWAY \\n Professional courtesy. \\n\"\n ],\n [\n \" Mackelway studies it, his face working. Another of those \\n WHIMPERS from Loretta seems to hang, suspended. Mackelway \\n shakes it off, certain that he's imagining it. \\n\",\n \" MACKELWAY (CONT'D) \\n You guys ever heard of evidentiary \\n procedure? \\n \\n No one replies. Charlton approaches. Mackelway tightens, \\n expecting a reprimand for overstepping his bounds. \\n\",\n \" Mackelway and the others look inside... \\n \\n There, they find restaurant supplies: napkin dispensers, salt- \\n shakers, ketchup dispensers, a short-order wheel... And a\",\n \" Those words just hang there, haunting Mackelway. Charlton \\n tears off the sheet with those two words and stuffs them into \\n Mackelway's hand. \\n \\n CHARLTON (CONT'D)\",\n \" Charlton eyes the report, then hands it to Mackelway. The \\n hierarchy is being made clear. Very. \\n \\n Mackelway turns: this ravine runs right up against a SIGN that\",\n \" Mackelway looks around: lots of dusty junk around here - old \\n clothes, mementoes. \\n \\n ...and one more trunk. A steamer-trunk. Huge. And locked.\",\n \" MACKELWAY (CONT'D) \\n locate him, without ever leaving this \\n building, what would you say? \\n \\n CHARLTON \\n I'd say you'd watched too many \\\"X-Files.\\\" \\n\",\n \" off. It's gruesome, but Mackelway notes it calmly. Charlton \\n leans in, gets a look. \\n \\n CHARLTON \\n Christ... \\n\",\n \" rolling back in his head, foaming at the mouth. \\n \\n Mackelway tries to shake it off, tries to keep his focus on \\n Katie. He buries his head into her neck, as: \\n\",\n \" KATIE (CONT'D) \\n (a beat) \\n Just had a feeling you'd like it. \\n \\n MACKELWAY \\n How? \\n \\n KATIE\",\n \" He flips through a few pages - odd images: a TRIBESMAN with \\n eyes rolling back in his head, strange rites, etc. \\n \\n Mackelway sets the book down. Then, amidst the other materials\",\n \"Mackelway tightens. His head just began to throb... \\n \\n MACKELWAY \\n Okay. You made your point. \\n \\n 119. \\n \\n \\n O'RYAN\",\n \" MACKELWAY \\n Put the fucking thing down, O'Ryan. \\n \\n O'Ryan keeps pursuing. Another swing. Mackelway keeps backing \\n up. The swing misses. \\n \\n O'RYAN\",\n \"Mackelway stares, stunned. Can't fucking believe it. \\n \\n MACKELWAY \\n (breathless) \\n My God... \\n \\n 37. \\n \\n\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \" Mackelway has a busted wrist. Hardly a fair fight. \\n \\n But Mackelway is battling: kicking, clawing, getting in as \\n many shots as he can. His shirt rips away from his body,\",\n \" MACKELWAY \\n How? \\n \\n O'RYAN \\n Same way I found Starkey, and Speck, and \\n Fulcher... and you. \\n \\n That rang a bell. \\n\",\n \" 57. \\n \\n \\n MACKELWAY (CONT'D) \\n Anyway, thank you. And thanks for the \\n coffee. Next time I'll call first, I \\n promise. \\n \\n JAN\",\n \" Mackelway drops his gun, kicks it toward the cop, who doesn't \\n quite know what to make of that. \\n \\n Also confusing him is the odd smile playing its way across \\n Mackelway's face. But we understand it now: \\n\",\n \" Her sadness is obvious. Mackelway nods. \\n \\n KATIE (CONT'D) \\n Anyway, I know you're gonna be in on the \\n autopsies - of the girls they found over\"\n ],\n [\n \" Mackelway STARES out the window; seems like he just HEARD that \\n scream. Of course, that'd be impossible. He looks to that map. \\n His PHONE RINGS. He eyes it, unsurprised... \\n\",\n \" Those words just hang there, haunting Mackelway. Charlton \\n tears off the sheet with those two words and stuffs them into \\n Mackelway's hand. \\n \\n CHARLTON (CONT'D)\",\n \"Then she eyes Mackelway. Charlton notes the tension. \\n \\n 18. \\n \\n \\n CHARLTON \\n Okay. So our guy likes to draw pictures \\n of body parts and then spring 'em on\",\n \" He could be sending these to any agent in \\n any office in the country... But he's \\n sending them to you. Why? \\n \\n Mackelway's been asking himself that same question lately. \\n \\n MACKELWAY\",\n \" Mackelway studies it, his face working. Another of those \\n WHIMPERS from Loretta seems to hang, suspended. Mackelway \\n shakes it off, certain that he's imagining it. \\n\",\n \" MACKELWAY \\n And what if I told you that the way I'd \\n catch him involved sitting in a dark \\n room, with nothing in front of me but a \\n pad of paper... until I'd tapped into\",\n \"This is a Mackelway we've never met before. His eyes are wild, \\n hateful - even as the last gasps of breath rasp their way out \\n of O'Ryan's throat. \\n\",\n \" off. It's gruesome, but Mackelway notes it calmly. Charlton \\n leans in, gets a look. \\n \\n CHARLTON \\n Christ... \\n\",\n \" Okay. We've got a serial killer of serial \\n killers. \\n \\n Fran scribbles something on a piece of paper: \\\"What a genius!\\\" \\n Slides it over. Mackelway conceals the note, as: \\n\",\n \" kind. No hidden desire to be caught. A \\n perfect vessel of evil.\\\" \\n \\n All Mackelway can see is his own reflection - the fear in his \\n eyes - bouncing off a mirror that's only inches away. \\n\",\n \" Mackelway stands, rigid. He raises the gun. Maybe I'll just \\n shoot this fucker in the back. \\n \\n Then those IMAGES come at us again, out of nowhere: \\n \\n 107. \\n \\n\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" Beneath this newspaper article are OTHER ARTICLES, all \\n concerning Starkey: his crimes, his capture, all of it. \\n \\n Mackelway's memory just got stoked again: \\n\",\n \" MACKELWAY (CONT'D) \\n That was him. \\n \\n FRAN \\n He called you at home? \\n \\n MACKELWAY \\n Yes. \\n \\n BEEP. Call-Waiting again.\",\n \"Mackelway pauses, thinks he must've heard wrong. But he turns \\n toward the face, as ANOTHER FLASHBULB illuminates it, searing \\n the image into the darkness. Starkey. Dead. His eyelids ripped \\n away. \\n\",\n \" CHARLTON \\n Oh. 'Fore I forget. This came in for you: \\n \\n He tosses a 9-by-12 ENVELOPE at Mackelway, who opens it. Six \\n sheets of paper slide out. \\n\",\n \" MACKELWAY \\n So... he keeps the bodies in a freezer, \\n then buries them...? \\n \\n That was a question. He can't do any better. \\n \\n FRAN\",\n \" abductions are the work of one guy? Do \\n you know how fucking insane that is?! \\n (over Mackelway) \\n Not let's try something that actually \\n makes sense: He sends in these faxes,\",\n \" Mackelway drops his gun, kicks it toward the cop, who doesn't \\n quite know what to make of that. \\n \\n Also confusing him is the odd smile playing its way across \\n Mackelway's face. But we understand it now: \\n\",\n \" Mackelway waits... as Katie hands over a manila envelope. \\n Mackelway opens it. \\n \\n Inside, a photo of a heartbreakingly-sweet 22 year-old girl\"\n ],\n [\n \" O'Ryan rears back and swings that tire-iron right at \\n Mackelway's head. \\n \\n Fran has no choice. She fires. \\n \\n O'Ryan is hit right between the shoulder blades. The tire-iron\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \" Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \\n over him, looming large as a Grizzly... is O'Ryan. A long \\n HUNTING KNIFE extends from his hand. \\n\",\n \"O'Ryan's eyes roll back. Mackelway now puts both hands around \\n this fucker's throat. He's going to kill him - right here. \\n He's going to squeeze the life from him. \\n\",\n \" Two men, neither of them flinching... until O'Ryan nods - as \\n if to say \\\"Good-bye.\\\" \\n \\n ...more of that vision interrupts now: a gun, rising... \\n\",\n \" hits Mackelway in the shoulder. O'Ryan crumbles to the ground, \\n landing face up. \\n \\n ...a body slumping to the ground. O'Ryan... Mackelway stands \\n over him... \\n\",\n \" O'Ryan's face, just inches away. \\n \\n We're TIGHT on Mackelway's hand. It trembles with rage. \\n \\n But O'Ryan, looking right down the barrel, seems unafraid. In\",\n \"O'Ryan wheels around, aiming the gun right at Zero's face. \\n That shuts the guy up in a hurry. \\n \\n 118. \\n \\n \\n From that service road now, we hear a line of SIRENS,\",\n \"Mackelway pulls the car over, under an I-30 overpass... and \\n out comes his gun, pointed right at O'Ryan's forehead. \\n \\n MACKELWAY (CONT'D)\",\n \" He eases Mackelway's hand down, thus lowering the gun. Then \\n O'Ryan turns, grabs Mackelway's car keys, and heads for the \\n front door. \\n\",\n \" kill me. \\n \\n O'Ryan, without ceremony, puts a bullet through Zero's left \\n palm. That got Mackelway's attention. \\n \\n Zero howls with pain, his palm gushing. The TIRE-IRON falls to\",\n \" O'Ryan falls on him, knocking Mackelway hard into the sharp \\n CORNER of that furnace, then down to the ground. Mackelway's \\n gun skids across the floor. \\n\",\n \" that furnace.) Wait. Did we just see the glint of a KNIFE? \\n \\n O'Ryan is leaning over us, in utter control. \\n \\n Then O'Ryan's head turns, abruptly - at the sound of\",\n \" 106. \\n \\n \\n O'Ryan gasps for air. His face has been bloodied. Mackelway \\n rises, disgusted, removing a great weight from O'Ryan's chest.\",\n \" O'RYAN (CONT'D) \\n (weak) \\n Thank you. \\n \\n Then he dies, eyes open. Mackelway looks to Fran... \\n \\n DISSOLVE TO: \\n\",\n \"Mackelway is silent. Stunned. The blood from Zero's caved-in \\n skull finds its way to O'Ryan's knees. \\n \\n But O'Ryan remains peaceful. Calm. Ready. \\n \\n MACKELWAY\",\n \"Zero freezes. Mackelway too. They turn to find: \\n \\n O'Ryan... who stands here, Mackelway's gun in hand. \\n \\n O'RYAN (CONT'D) \\n Up. \\n\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\"\n ],\n [\n \" There, one man sits. Alone. Quiet. O'Ryan. \\n \\n Odd expression on his face - it's as if he can't hear this \\n rousing music, or feel the power of this place. People in the\",\n \" O'Ryan, at his desk, seems to be getting all of this. And it \\n is agitating him. There's perspiration on his forehead. \\n \\n 76. \\n \\n\",\n \" Two men, neither of them flinching... until O'Ryan nods - as \\n if to say \\\"Good-bye.\\\" \\n \\n ...more of that vision interrupts now: a gun, rising... \\n\",\n \" O'RYAN (CONT'D) \\n If you did it right, you got all of it: \\n The way it sounded. The way it smelled... \\n Those people were looking up at you, \\n begging you for mercy. It was like being\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \"O'Ryan rises, crossing toward us. Even unbound, Mackelway is \\n expecting another onslaught... But all O'Ryan does is drop a \\n piece of paper onto Mackelway's lap. \\n\",\n \" face with O'Ryan. \\n \\n And O'Ryan isn't running. In fact, he almost seems amused. \\n \\n O'RYAN \\n Well, well... Must be quite a moment for\",\n \" O'Ryan reaches into his back pocket, produces an I.D. Hands it \\n over. \\n \\n Trooper eyes it. According to this i.d., we are now staring at\",\n \" rigs, then turns a corner and: \\n \\n ...runs smack into Benjamin O'Ryan. \\n \\n The shock is so total it takes each of them a moment to\",\n \" 106. \\n \\n \\n O'Ryan gasps for air. His face has been bloodied. Mackelway \\n rises, disgusted, removing a great weight from O'Ryan's chest.\",\n \" O'RYAN \\n Every time, we're in this field: same \\n wind, same rain. And you... \\n \\n He puts a finger to his head, pretending it's a gun. Then he\",\n \"O'Ryan jams the gag back into his mouth, angrily. \\n \\n O'RYAN \\n (re: the mirror) \\n My, my. Must be extremely satisfying to \\n watch yourself say something so heroic.\",\n \" Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \\n over him, looming large as a Grizzly... is O'Ryan. A long \\n HUNTING KNIFE extends from his hand. \\n\",\n \" O'RYAN (CONT'D) \\n Really says it all, wouldn't you agree? \\n \\n SPECK \\n You're a... You're sick. \\n \\n O'RYAN\",\n \" O'Ryan pauses. There is no way in hell he's going to let \\n himself get deterred by a State Trooper. But he gets out. \\n\",\n \" O'RYAN (CONT'D) \\n (quoting himself, as Daitz:) \\n \\\"Imagine a killer with no patterns, no \\n tell-tale fetishes, no rituals of any\",\n \"around it - covering up the source of that searing pain. Looks \\n as though a nurse had tended to it. \\n \\n But this sure as hell isn't a hospital... \\n \\n Then, O'Ryan turns, facing us. Mackelway recoils without\",\n \" that he is going to wind up in that wheat field, somehow, with \\n O'Ryan. \\n \\n And O'Ryan will be begging him for mercy. \\\"Please...\\\" \\n\",\n \" Enough of this shit. Where's the boy? \\n \\n O'Ryan can't help it. He's pleased. \\n \\n O'RYAN \\n Good. This is good. Sort of thing you'd\",\n \" O'RYAN (CONT'D) \\n How about now? \\n \\n Just like that, that red-hot knife is an inch from Mackelway's \\n face. The heat alone makes his head jerk back. Wisps of smoke\"\n ],\n [\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" Suspect Zero \\n \\n \\n Written by \\n \\n Zak Penn \\n \\n \\n \\n Revisions - Billy Ray \\n \\n Director's Shooting Script \\n \\n\",\n \" MACKELWAY \\n So we'd be paying attention when he found \\n Suspect Zero. \\n \\n CHARLTON \\n Ya know what? I'm getting extremely tired \\n of hearing that word. In fact, that's\",\n \" mean they don't exist. Hence Suspect \\n Zero. \\n \\n Mackelway eyes those books on evil, then those ancient \\n weapons... Casually, almost imperceptibly, he reaches for his \\n sidearm, as O'Ryan continues: \\n\",\n \" Okay. We've got a serial killer of serial \\n killers. \\n \\n Fran scribbles something on a piece of paper: \\\"What a genius!\\\" \\n Slides it over. Mackelway conceals the note, as: \\n\",\n \" former agent of this Bureau. And he is \\n pursuing something that he calls \\\"Suspect \\n Zero.\\\" Anybody got anything intelligent \\n to say? \\n \\n Nobody's volunteering. There's just silence. \\n\",\n \" It's Virgil Ray Starkey. \\n \\n Mackelway pales. \\n \\n We stay on him for a moment as it registers. The man he \\n caught, and then lost, has killed again. No. God, no. \\n\",\n \"ZIPLOC BAGS. Inside the bags are BODY PARTS. \\n \\n It's realized so accurately that it looks more like a \\n photograph. No wonder it horrified Speck so deeply. \\n \\n THE BOOTH - RESUMING \\n\",\n \" O'RYAN (CONT'D) \\n And the name we give that killer... is \\n Zero. \\n (again:) \\n Are you afraid? \\n \\n Slowly, he lowers the knife into the flame of that candle on\",\n \" overflowing. Mackelway sits across from O'Ryan... \\n \\n O'RYAN \\n (as \\\"Daitz:\\\") \\n ...The name of this theory was \\\"Suspect \\n Zero.\\\"\",\n \" Mackelway gets a look at the DRIVER now - a wiry, sinewy man \\n of 35... Let's call him ZERO. \\n \\n Their eyes lock - until Zero throws his rig into gear again\",\n \" O'RYAN (CONT'D) \\n Tell me, what makes a killer catchable? \\n \\n MACKELWAY \\n Patterns, repetition of behavior. \\n \\n O'RYAN\",\n \" We see the VICTIMS photographed face up, face down, waist and \\n above, waist and below. Charlton gives the photos a cursory \\n glance, nothing more. \\n \\n But we notice something, on one of the bodies: the male from\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \" O'RYAN (THRU PHONE) \\n I've found him, you know. \\n \\n MACKELWAY \\n Who? \\n \\n O'RYAN \\n Zero. \\n\",\n \" O'RYAN (CONT'D) \\n (quoting himself, as Daitz:) \\n \\\"Imagine a killer with no patterns, no \\n tell-tale fetishes, no rituals of any\",\n \" revealing a hideous wound. \\n \\n It's a ZERO, WITH A SLASH THROUGH IT. \\n \\n Now everything clicks: O'Ryan was branding him. Initiating him \\n with that red-hot knife. \\n\",\n \" kill me. \\n \\n O'Ryan, without ceremony, puts a bullet through Zero's left \\n palm. That got Mackelway's attention. \\n \\n Zero howls with pain, his palm gushing. The TIRE-IRON falls to\",\n \" them. The feeling is so unsettling that for a moment he \\n forgets about Zero, and the rig, and the kid... \\n \\n Everything has just crystallized in a horrible way. He knows\",\n \"That's the million-dollar question, and it hangs there. \\n \\n Mackelway's about to answer... when he stops himself. Just \\n noticing something. That MORGUE PHOTO from Logan, Utah: \\n\"\n ],\n [\n \" Mackelway heads into the carnival. \\n \\n 173 EXT. CARNIVAL - CONTINUING 173 \\n \\n He begins running now, past the table where ladies are selling\",\n \" Mackelway has a busted wrist. Hardly a fair fight. \\n \\n But Mackelway is battling: kicking, clawing, getting in as \\n many shots as he can. His shirt rips away from his body,\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" Mackelway studies it, his face working. Another of those \\n WHIMPERS from Loretta seems to hang, suspended. Mackelway \\n shakes it off, certain that he's imagining it. \\n\",\n \" tray or two. Then he stops. There's the ferris wheel. Was that \\n Vic on the other side of it? \\n \\n Mackelway takes off. \\n\",\n \"rise from its edge. \\n \\n And Mackelway is forced to watch his own reaction to it. \\n \\n He struggles against these ropes, to no use. A guttural sound \\n comes out of him. \\n\",\n \" Mackelway braces himself, as O'Ryan guns his car up the left \\n side of the rig, shredded tire and all. Then: \\n \\n He pulls right in front of the rig. At about 60 m.p.h. And he\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \" Then that TIRE IRON lashes out, from the right. \\n \\n It catches Mackelway with horrific force, shattering his wrist \\n and sending that gun flying into the wheat. \\n\",\n \" O'Ryan falls on him, knocking Mackelway hard into the sharp \\n CORNER of that furnace, then down to the ground. Mackelway's \\n gun skids across the floor. \\n\",\n \" Mackelway drops his gun, kicks it toward the cop, who doesn't \\n quite know what to make of that. \\n \\n Also confusing him is the odd smile playing its way across \\n Mackelway's face. But we understand it now: \\n\",\n \"Mackelway pauses, thinks he must've heard wrong. But he turns \\n toward the face, as ANOTHER FLASHBULB illuminates it, searing \\n the image into the darkness. Starkey. Dead. His eyelids ripped \\n away. \\n\",\n \"Then Mackelway is distracted, for just a second. No. Less than \\n a second... by a glimpse of that SHATTERED MIRROR - his own \\n twisted image. \\n \\n He looks away from it, refusing to be distracted, determined\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\",\n \" MACKELWAY (CONT'D) \\n (re: burn) \\n Fuck! \\n \\n Cuffs are unlocked now. O'Ryan starts up the Yukon. \\n\",\n \" Mackelway sits in his car. Through his windshield we see Jan \\n as she backs out of the driveway. \\n \\n She pulls past us, giving Mackelway as friendly a wave as a \\n grieving widow can give. He waves back.\",\n \"comes down like a sledgehammer. \\n \\n One blow. Then another. The sounds coming out of Mackelway are \\n savage, barely human. He's out of control. \\n\",\n \" hits Mackelway in the shoulder. O'Ryan crumbles to the ground, \\n landing face up. \\n \\n ...a body slumping to the ground. O'Ryan... Mackelway stands \\n over him... \\n\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \" Mackelway, inching along, heart pounding. He hears a noise to \\n his left. Whips around, gun poised. \\n \\n But it's nothing. He sighs. The wheat almost sounds like it's \\n laughing at him.\"\n ],\n [\n \"O'Ryan wheels around, aiming the gun right at Zero's face. \\n That shuts the guy up in a hurry. \\n \\n 118. \\n \\n \\n From that service road now, we hear a line of SIRENS,\",\n \" O'Ryan rears back and swings that tire-iron right at \\n Mackelway's head. \\n \\n Fran has no choice. She fires. \\n \\n O'Ryan is hit right between the shoulder blades. The tire-iron\",\n \" O'RYAN \\n Are you going to shoot him? \\n \\n MACKELWAY \\n Give me the gun, O'Ryan. \\n \\n ZERO \\n Hey, I just surrendered. \\n\",\n \"Zero freezes. Mackelway too. They turn to find: \\n \\n O'Ryan... who stands here, Mackelway's gun in hand. \\n \\n O'RYAN (CONT'D) \\n Up. \\n\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \" kill me. \\n \\n O'Ryan, without ceremony, puts a bullet through Zero's left \\n palm. That got Mackelway's attention. \\n \\n Zero howls with pain, his palm gushing. The TIRE-IRON falls to\",\n \"Mackelway pulls the car over, under an I-30 overpass... and \\n out comes his gun, pointed right at O'Ryan's forehead. \\n \\n MACKELWAY (CONT'D)\",\n \" Two men, neither of them flinching... until O'Ryan nods - as \\n if to say \\\"Good-bye.\\\" \\n \\n ...more of that vision interrupts now: a gun, rising... \\n\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \"Silence. Mackelway turns. So does O'Ryan. \\n \\n There's Fran, emerging from the tall wheat, gun trained right \\n on O'Ryan. His shock is total. \\n \\n FRAN (CONT'D)\",\n \" O'Ryan guns the Yukon, attempting to cut in front of the rig. \\n Zero swings wide, sending the Yukon into a curb this time. \\n That shreds their front tire. \\n\",\n \" O'RYAN \\n Or what? \\n \\n MACKELWAY \\n Just drop it. \\n \\n O'RYAN \\n Would you shoot me? \\n\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \\n over him, looming large as a Grizzly... is O'Ryan. A long \\n HUNTING KNIFE extends from his hand. \\n\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\",\n \" O'Ryan falls on him, knocking Mackelway hard into the sharp \\n CORNER of that furnace, then down to the ground. Mackelway's \\n gun skids across the floor. \\n\",\n \" O'Ryan's face, just inches away. \\n \\n We're TIGHT on Mackelway's hand. It trembles with rage. \\n \\n But O'Ryan, looking right down the barrel, seems unafraid. In\",\n \" He eases Mackelway's hand down, thus lowering the gun. Then \\n O'Ryan turns, grabs Mackelway's car keys, and heads for the \\n front door. \\n\",\n \" O'RYAN \\n (at Mackelway) \\n You have to understand: none of this was \\n arbitrary. We were chosen, you and I. \\n WHAP! O'Ryan just swung that tire-iron into Zero's rib cage.\",\n \" O'RYAN (CONT'D) \\n And the name we give that killer... is \\n Zero. \\n (again:) \\n Are you afraid? \\n \\n Slowly, he lowers the knife into the flame of that candle on\"\n ],\n [\n \" (4:30 A.M.) \\n \\n HAROLD SPECK sits: mid 40's, pleasant face. A family man. \\n Reads \\\"Rod and Reel\\\" magazine. Has a SALESMAN'S CASE by his\",\n \" (takes her hand) \\n I didn't know him well but... I think \\n Harold was a much more complex man than \\n people realized. \\n \\n Jan is so raw that anything about Speck touches her now. \\n\",\n \" CUT TO: \\n \\n 22 INT. ARCHER COUNTY MORGUE - DAY 22 \\n \\n Harold Speck lies on a table. A BESPECTACLED CORONER examines\",\n \" Ya miss fucking her, Harold? \\n \\n SPECK \\n Listen, I don't know who you are but you \\n can't-- \\n \\n O'Ryan silences him... by holding up a piece of paper. On it\",\n \" reminding himself to remember his new rank. Dylan hands a \\n preliminary report to Charlton. \\n \\n DYLAN \\n Fella's name is Harold Speck. Traveling \\n salesman, from Abilene. \\n\",\n \" He gestures toward a ravine, where a TOW TRUCK is currently \\n lowering a winch toward an abandoned vehicle. \\n \\n It is Harold Speck's Buick, nose-down in the ravine, teetering\",\n \" She watches him vanish around a corner. \\n \\n CUT TO: \\n \\n 89 EXT. HAROLD SPECK'S HOUSE - 6:00 A.M. 89 \\n\",\n \" Speck's. Speck reacts, startled. \\n \\n SPECK \\n Jesus... \\n \\n The MAN's name is O'RYAN. We only see PIECES of him: his eyes,\",\n \" Speck hurries out to his Buick, checking over his shoulder \\n repeatedly. Gets to the car, fumbles with his keys. They fall \\n to the asphalt. He grabs them, opens the door. \\n \\n CUT TO:\",\n \" Speck finds the off-ramp. His breaths are shallow now. \\n \\n SPECK \\n Please, Mister - what do you want from \\n me? \\n\",\n \" He leans in, lifts Speck's head a few inches away from the \\n steering wheel. Gently. \\n \\n ...which is when we learn that Speck's EYELIDS have been torn\",\n \" Look, I... \\n \\n O'RYAN \\n Do you get lonely? \\n \\n Speck's so thrown now he can't answer. \\n \\n O'RYAN (CONT'D)\",\n \" looks up, smiles thinly, \\\"No.\\\" Dolly heads off. Speck returns \\n to his article, underlining a particular passage. \\n \\n ...until a MAN seats himself, suddenly, in the seat opposite\",\n \"That spun things a bit. Speck pauses. \\n \\n SPECK \\n What? \\n \\n O'RYAN \\n She must get lonely, with you gone all \\n the time. Does she? \\n \\n SPECK\",\n \" customer. I'd like you to ask him to \\n leave, please. \\n \\n MEL \\n What kind of problem? \\n \\n SPECK \\n He's-- \\n\",\n \" fishing reel, tackle-box, a kid's bicycle helmet. \\n \\n Mackelway eyes it all, but his instincts tell him there's \\n nothing significant here. So he returns to Speck's body. \\n\",\n \"4 INT. SPECK'S CAR - DRIVING - MOMENTS LATER 4 \\n \\n Speck guns the Buick. Interstate 35 flies by. The farther he\",\n \"a rendering of a young, naked WOMAN. \\n \\n And, just like that, Speck finds himself STARING. Glued. \\n \\n O'RYAN (CONT'D) \\n Did it myself. It's sort of a hobby.\",\n \" O'RYAN (CONT'D) \\n What do you sell? \\n \\n SPECK \\n I'm... in restaurant supplies. I didn't \\n get your name? \\n \\n O'RYAN\",\n \" O'RYAN (CONT'D) \\n Really says it all, wouldn't you agree? \\n \\n SPECK \\n You're a... You're sick. \\n \\n O'RYAN\"\n ],\n [\n \" Then, ANOTHER SOUND bleeds in. The BANGING of the Diner's back \\n door, which leads on to that Play Area. \\n \\n And we hear a horrified yell: \\n\",\n \" Loretta walks to her VW Bug. Starkey exits the bar. She \\n doesn't notice. We TILT UP: the lights are off in O'Ryan's \\n motel room... \\n\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" gets away from that Diner, the happier he'll be. \\n \\n ...until a strange SOUND gets his attention: it's WIND, as if \\n whistling through a ghost town. Hollow, varied - building then\",\n \" CUT TO: \\n \\n 5. \\n \\n \\n 3 EXT. ALL-AMERICAN DINER - PARKING LOT - MOMENTS LATER 3 \\n\",\n \" him. Victim #2, BARNEY FULCHER, lies on another, his ample \\n frame yet to be examined. \\n \\n The lights are out, but that Coroner wears a FLUORESCENT HALO,\",\n \" (Charlton nods) \\n Looks like a robbery/homicide. Body's \\n over that way. \\n \\n 10. \\n \\n\",\n \" somehow. And they've left him rattled. \\n \\n It's time to get out of this room. Quickly. \\n \\n CUT TO: \\n\",\n \" But then she hears FOOTSTEPS, trailing away. So she rises, \\n peeking over the edge of the window. WE STAY ON HER FACE, as \\n she sees what's become of her attacker. \\n\",\n \" and begins to rumble down the street. \\n \\n DELIA (CONT'D) \\n (confused) \\n Daryl? Honey? \\n \\n No answer. That truck is rumbling away. Mackelway turns,\",\n \" Then, one last gasp from Starkey... followed by an awful \\n silence... and the assault is over. \\n \\n Loretta's too afraid to look up - certain that the maniac with \\n the knife will be coming after her next. \\n\",\n \" We see the VICTIMS photographed face up, face down, waist and \\n above, waist and below. Charlton gives the photos a cursory \\n glance, nothing more. \\n \\n But we notice something, on one of the bodies: the male from\",\n \" Mackelway stares. So does Fran. Before them lies a body, \\n stripped to the waist: a chunky middle-aged MAN. Dead. \\n \\n Mackelway sighs. Things just got tougher... \\n\",\n \" CUT TO: \\n \\n 21 EXT. DINER - PARKING LOT - MOMENTS LATER 21 \\n \\n Fran and Mackelway emerge, heading for the Bonneville. \\n\",\n \"84 INT. LONGHORN DINER WICHITA FALLS - MOMENTS LATER 84 \\n \\n Hardly a sound in here. Mackelway stands at the register,\",\n \" Mackelway sits in his car. Through his windshield we see Jan \\n as she backs out of the driveway. \\n \\n She pulls past us, giving Mackelway as friendly a wave as a \\n grieving widow can give. He waves back.\",\n \"182 INT. THAT UNIDENTIFIED MOTEL ROOM - LATER NIGHT 182 \\n \\n Time has passed. We don't know how much. Or maybe we're dead,\",\n \" Ranger gets over the last of the carcasses, pulling himself up \\n to the now-open compartment. \\n \\n First thing we see is a REFRIGERATION ROD, the one that was \\n responsible for those freezer burns. \\n\",\n \" He has hit \\\"End\\\" before she can reply. Heads to his Yukon. \\n \\n Fran eyes the phone: that was odd... \\n \\n CUT TO: \\n\",\n \" Mackelway and the others look inside... \\n \\n There, they find restaurant supplies: napkin dispensers, salt- \\n shakers, ketchup dispensers, a short-order wheel... And a\"\n ],\n [\n \" Mackelway has a busted wrist. Hardly a fair fight. \\n \\n But Mackelway is battling: kicking, clawing, getting in as \\n many shots as he can. His shirt rips away from his body,\",\n \" MACKELWAY \\n Put the fucking thing down, O'Ryan. \\n \\n O'Ryan keeps pursuing. Another swing. Mackelway keeps backing \\n up. The swing misses. \\n \\n O'RYAN\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \"Mackelway pauses, thinks he must've heard wrong. But he turns \\n toward the face, as ANOTHER FLASHBULB illuminates it, searing \\n the image into the darkness. Starkey. Dead. His eyelids ripped \\n away. \\n\",\n \"35 INT. COURTHOUSE - HALLWAY - RESUMING FLASHBACK 35 \\n \\n Mackelway emerges from that courthouse anteroom, whipped. \\n\",\n \" hits Mackelway in the shoulder. O'Ryan crumbles to the ground, \\n landing face up. \\n \\n ...a body slumping to the ground. O'Ryan... Mackelway stands \\n over him... \\n\",\n \" Mackelway turns, but Vic's already past us. \\n \\n Something about him attracts Mackelway's attention. The walk, \\n the attitude. Something. \\n \\n So Mackelway is watching - without really knowing why - as Vic\",\n \"comes down like a sledgehammer. \\n \\n One blow. Then another. The sounds coming out of Mackelway are \\n savage, barely human. He's out of control. \\n\",\n \" Mackelway is expressionless. But something about these LIDLESS \\n EYES draws him closer. He leans in, then BAM! We are rocketed \\n into a series of dark, disjointed images: \\n\",\n \"36 INT. COURTHOUSE BATHROOM - CONTINUING FLASHBACK 36 \\n \\n The door bursts open and Mackelway storms in. No need to look\",\n \" Mackelway's watching. O'Ryan, who blacked out for a second now \\n opens his eyes, getting the picture in a hurry. \\n \\n Zero leaps to the ground, rolls, and rises. Only thing in his\",\n \"Basic: Sorry I was so hard on you but it had to be done... Can \\n we shake on it? \\n \\n Instead, Mackelway simply EXPLODES: \\n \\n It is a blur, faster than a blur, but Mackelway rises with an\",\n \"Then Mackelway is distracted, for just a second. No. Less than \\n a second... by a glimpse of that SHATTERED MIRROR - his own \\n twisted image. \\n \\n He looks away from it, refusing to be distracted, determined\",\n \" O'Ryan falls on him, knocking Mackelway hard into the sharp \\n CORNER of that furnace, then down to the ground. Mackelway's \\n gun skids across the floor. \\n\",\n \"Mackelway is silent. Stunned. The blood from Zero's caved-in \\n skull finds its way to O'Ryan's knees. \\n \\n But O'Ryan remains peaceful. Calm. Ready. \\n \\n MACKELWAY\",\n \" Mackelway drops his gun, kicks it toward the cop, who doesn't \\n quite know what to make of that. \\n \\n Also confusing him is the odd smile playing its way across \\n Mackelway's face. But we understand it now: \\n\",\n \" MACKELWAY \\n (that stung) \\n Give me the fucking gun! \\n \\n O'Ryan turns, studies him. \\n \\n ...and hands him the gun. Just like that. \\n\",\n \" Beside him is a GRIM COP, his chaperone. Starkey passes by \\n Mackelway, almost snickering. Then he's gone. Mackelway shuts \\n his eyes tight. His head is pounding. END FLASHBACK. \\n\",\n \"This is a Mackelway we've never met before. His eyes are wild, \\n hateful - even as the last gasps of breath rasp their way out \\n of O'Ryan's throat. \\n\",\n \" MACKELWAY \\n (fuck yes) \\n No, Sir. \\n \\n CHARLTON \\n Good. \\n \\n An abandoned SPORTS PAGE tells us about that World Series, so\"\n ],\n [\n \" Okay. We've got a serial killer of serial \\n killers. \\n \\n Fran scribbles something on a piece of paper: \\\"What a genius!\\\" \\n Slides it over. Mackelway conceals the note, as: \\n\",\n \" It's Virgil Ray Starkey. \\n \\n Mackelway pales. \\n \\n We stay on him for a moment as it registers. The man he \\n caught, and then lost, has killed again. No. God, no. \\n\",\n \" O'RYAN (CONT'D) \\n Tell me, what makes a killer catchable? \\n \\n MACKELWAY \\n Patterns, repetition of behavior. \\n \\n O'RYAN\",\n \" O'RYAN (CONT'D) \\n (quoting himself, as Daitz:) \\n \\\"Imagine a killer with no patterns, no \\n tell-tale fetishes, no rituals of any\",\n \" O'RYAN (CONT'D) \\n And the name we give that killer... is \\n Zero. \\n (again:) \\n Are you afraid? \\n \\n Slowly, he lowers the knife into the flame of that candle on\",\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" O'RYAN (CONT'D) \\n your pad of paper, always alone, and \\n you'd try to lock in. Son of Sam. John \\n Wayne Gacy. Ted Bundy. He might be\",\n \" Now imagine a killer with no patterns, no \\n tell-tale fetishes, no rituals, no hidden \\n desire to be caught. A perfect vessel of \\n evil, killing without ever leaving a \\n single meaningful clue in his wake...\",\n \" Beneath this newspaper article are OTHER ARTICLES, all \\n concerning Starkey: his crimes, his capture, all of it. \\n \\n Mackelway's memory just got stoked again: \\n\",\n \"ZIPLOC BAGS. Inside the bags are BODY PARTS. \\n \\n It's realized so accurately that it looks more like a \\n photograph. No wonder it horrified Speck so deeply. \\n \\n THE BOOTH - RESUMING \\n\",\n \" MACKELWAY (CONT'D) \\n Army stole it from the Soviets. The \\n Bureau stole it from the Army - used it \\n to track serial killers. \\n (a beat)\",\n \"54 INT. FBI OFFICE - CONFERENCE ROOM - CONTINUING 54 \\n \\n A room has been dedicated solely to those three murders. On an \\n erasure board are the words: The \\\"O'Ryan\\\" Room.\",\n \"a-slash-through-it. But Mackelway hasn't seen the guy's face \\n yet. \\n \\n MACKELWAY \\n Sir? \\n (Charlton turns) \\n We got an i.d. yet? \\n\",\n \" Well guess what? They didn't. And this \\n prick's gonna walk, ten murders or not. \\n \\n That registered. \\n \\n 34 INT. HOPE HOUSE - BASEMENT - RESUMING 34 \\n\",\n \"Then she eyes Mackelway. Charlton notes the tension. \\n \\n 18. \\n \\n \\n CHARLTON \\n Okay. So our guy likes to draw pictures \\n of body parts and then spring 'em on\",\n \" She sighs, aloud: \\\"I know that already, Asshole.\\\" Coroner \\n keeps his head down, speaking into that microphone. \\n \\n MACKELWAY (CONT'D) \\n It's a metaphor - to make certain the\",\n \"to kill this guy. \\n \\n ...then those eyes drift back to the mirror again. \\n \\n ...and he sees his reflection: a hardened, crazed stranger. An \\n animal. \\n \\n His hands, without warning, release their grip. \\n\",\n \" him. Victim #2, BARNEY FULCHER, lies on another, his ample \\n frame yet to be examined. \\n \\n The lights are out, but that Coroner wears a FLUORESCENT HALO,\",\n \"(Neither city is represented with black pins on that map.) \\n \\n She slides over a packet of PHOTOS: two FEMALE VICTIMS, \\n photographed in separate morgues - face up, face down, waist\",\n \" mean they don't exist. Hence Suspect \\n Zero. \\n \\n Mackelway eyes those books on evil, then those ancient \\n weapons... Casually, almost imperceptibly, he reaches for his \\n sidearm, as O'Ryan continues: \\n\"\n ],\n [\n \" The inside of that steamer-trunk is filled with BODY PARTS: \\n bagged, stacked, and sealed in Ziplocs... \\n \\n Powdered LIME is sprinkled on them. \\n\",\n \" The freezer is open. A team of FORENSICS GUYS study it. \\n \\n Inside this freezer, frozen into a block of ice... are six \\n female HANDS. No arms, no heads. Just six slender hands, each\",\n \" In goes the knife again, prompting another agonized cry from \\n Starkey. Loretta's crying too: from fear, shock... She keeps \\n her face buried, shutting her eyes tight. The sounds of \\n savagery fill the night. \\n\",\n \"Then she eyes Mackelway. Charlton notes the tension. \\n \\n 18. \\n \\n \\n CHARLTON \\n Okay. So our guy likes to draw pictures \\n of body parts and then spring 'em on\",\n \" driving his car, or having a beer or \\n brushing his teeth... or cutting \\n someone's eyes out. \\n \\n That was said flatly, matter-of-factly. It's chilling. \\n\",\n \" We see the VICTIMS photographed face up, face down, waist and \\n above, waist and below. Charlton gives the photos a cursory \\n glance, nothing more. \\n \\n But we notice something, on one of the bodies: the male from\",\n \"to kill this guy. \\n \\n ...then those eyes drift back to the mirror again. \\n \\n ...and he sees his reflection: a hardened, crazed stranger. An \\n animal. \\n \\n His hands, without warning, release their grip. \\n\",\n \" victim sees... or to make certain that we \\n see something. \\n (she's silent) \\n Or maybe it's just a fuck-you. \\n \\n Coroner continues his monotone narration... then crosses to\",\n \" But then she hears FOOTSTEPS, trailing away. So she rises, \\n peeking over the edge of the window. WE STAY ON HER FACE, as \\n she sees what's become of her attacker. \\n\",\n \"ZIPLOC BAGS. Inside the bags are BODY PARTS. \\n \\n It's realized so accurately that it looks more like a \\n photograph. No wonder it horrified Speck so deeply. \\n \\n THE BOOTH - RESUMING \\n\",\n \" Then, one last gasp from Starkey... followed by an awful \\n silence... and the assault is over. \\n \\n Loretta's too afraid to look up - certain that the maniac with \\n the knife will be coming after her next. \\n\",\n \" He leans in, lifts Speck's head a few inches away from the \\n steering wheel. Gently. \\n \\n ...which is when we learn that Speck's EYELIDS have been torn\",\n \"O'Ryan moves the blade again, this time an eighth of an inch \\n above Mackelway's right arm. The heat from it is so incendiary \\n that Mackelway's shirt begins to smoke. \\n\",\n \" particularly focused on Fulcher's face. His EYELIDS, we now \\n see, have also been torn off. Hmmmm... \\n \\n FRAN \\n Why eyelids? \\n \\n MACKELWAY\",\n \" that furnace.) Wait. Did we just see the glint of a KNIFE? \\n \\n O'Ryan is leaning over us, in utter control. \\n \\n Then O'Ryan's head turns, abruptly - at the sound of\",\n \" or I'll cut the fucking lids off!! \\n \\n Mackelway opens his eyes, forced to watch himself break. Deep \\n sobs shudder through him, as... \\n \\n O'Ryan digs that red-hot blade into Mackelway's arm:\",\n \"Mackelway pauses, thinks he must've heard wrong. But he turns \\n toward the face, as ANOTHER FLASHBULB illuminates it, searing \\n the image into the darkness. Starkey. Dead. His eyelids ripped \\n away. \\n\",\n \" off. It's gruesome, but Mackelway notes it calmly. Charlton \\n leans in, gets a look. \\n \\n CHARLTON \\n Christ... \\n\",\n \" It's a hunting knife, right here on my \\n hip. \\n \\n Trooper notes the shape of that large, sheathed KNIFE - the \\n one O'Ryan butchered Starkey with - visible beneath O'Ryan's\",\n \" The rendering of a steamer-trunk, lined with plastic, \\n containing body parts in plastic bags... Mackelway seems to be \\n fixated on it now. \\n \\n CUT TO: \\n\"\n ],\n [\n \" Experimental program. O'Ryan was the \\n first agent they recruited. \\n \\n CHARLTON \\n Good for him. \\n \\n MACKELWAY \\n Voodoo, right? Pure Bullshit.\",\n \" O'Ryan, at his desk, seems to be getting all of this. And it \\n is agitating him. There's perspiration on his forehead. \\n \\n 76. \\n \\n\",\n \" Two men, neither of them flinching... until O'Ryan nods - as \\n if to say \\\"Good-bye.\\\" \\n \\n ...more of that vision interrupts now: a gun, rising... \\n\",\n \" O'RYAN (CONT'D) \\n They broke down. Then they opted out. \\n (Mackelway's a blank) \\n Killed themselves... After a while, those \\n conversations about the Yankees became\",\n \" He really was FBI. \\n \\n FRAN \\n Huh? \\n \\n MACKELWAY \\n O'Ryan. He left his file on my doorstep. \\n Fran, he was FBI. \\n\",\n \" O'RYAN (CONT'D) \\n If you did it right, you got all of it: \\n The way it sounded. The way it smelled... \\n Those people were looking up at you, \\n begging you for mercy. It was like being\",\n \" There, one man sits. Alone. Quiet. O'Ryan. \\n \\n Odd expression on his face - it's as if he can't hear this \\n rousing music, or feel the power of this place. People in the\",\n \" O'RYAN \\n Or what? \\n \\n MACKELWAY \\n Just drop it. \\n \\n O'RYAN \\n Would you shoot me? \\n\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \"O'Ryan laughs. He liked that. \\n \\n O'RYAN \\n Fair enough. We'll stick to business: \\n How'd ya like my old room? \\n \\n MACKELWAY \\n Huh?\",\n \"That wasn't just the echo of a question he's heard before; it \\n was a red flag. A big one. Mackelway tightens. \\n \\n MACKELWAY \\n I'm sorry? \\n \\n O'RYAN\",\n \" O'RYAN (CONT'D) \\n How about now? \\n \\n Just like that, that red-hot knife is an inch from Mackelway's \\n face. The heat alone makes his head jerk back. Wisps of smoke\",\n \" Tall wheat in a wet wind. He has been here before. He has seen \\n it before. \\n \\n And so has O'Ryan... \\n \\n Mackelway just stares, slack-jawed, as that wheat whips past\",\n \" O'Ryan reaches into his back pocket, produces an I.D. Hands it \\n over. \\n \\n Trooper eyes it. According to this i.d., we are now staring at\",\n \" O'RYAN \\n (at Mackelway) \\n You have to understand: none of this was \\n arbitrary. We were chosen, you and I. \\n WHAP! O'Ryan just swung that tire-iron into Zero's rib cage.\",\n \" Professor Daitz? \\n \\n O'RYAN (O.S.) \\n Yes? \\n \\n Mackelway opens the door. Looks inside. \\n \\n Here sits O'Ryan, looking as much like a tweedy professor as\",\n \" O'RYAN \\n ...But you saw what was underneath, of \\n course. \\n \\n MACKELWAY \\n No. Tell me about it. \\n \\n O'RYAN\",\n \" Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \\n over him, looming large as a Grizzly... is O'Ryan. A long \\n HUNTING KNIFE extends from his hand. \\n\",\n \" She sniffs back a tear, thanks him with a smile. O'Ryan \\n extends his hand to her. She takes it. He moves off. \\n \\n Beside her is a FRAMED PORTRAIT of Speck. We blow past it, and\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\"\n ],\n [\n \" Two men, neither of them flinching... until O'Ryan nods - as \\n if to say \\\"Good-bye.\\\" \\n \\n ...more of that vision interrupts now: a gun, rising... \\n\",\n \" WITH HER... able only to hear what follows: \\n \\n The sound is animal, awful - like a pig being gutted - a \\n horrible SQUEAL, covering the GRUNTS coming from O'Ryan. \\n\",\n \" O'Ryan, at his desk, seems to be getting all of this. And it \\n is agitating him. There's perspiration on his forehead. \\n \\n 76. \\n \\n\",\n \" There, one man sits. Alone. Quiet. O'Ryan. \\n \\n Odd expression on his face - it's as if he can't hear this \\n rousing music, or feel the power of this place. People in the\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \"O'Ryan rises, crossing toward us. Even unbound, Mackelway is \\n expecting another onslaught... But all O'Ryan does is drop a \\n piece of paper onto Mackelway's lap. \\n\",\n \" Starkey lies, face up. Shocked. Squirming. Bleeding. Standing \\n over him, looming large as a Grizzly... is O'Ryan. A long \\n HUNTING KNIFE extends from his hand. \\n\",\n \" O'Ryan's face: a knowing grin fans across it... \\n \\n CUT TO: \\n \\n ...the face of VIRGIL RAY STARKEY, on a bulletin board. \\n\",\n \" Tall wheat in a wet wind. He has been here before. He has seen \\n it before. \\n \\n And so has O'Ryan... \\n \\n Mackelway just stares, slack-jawed, as that wheat whips past\",\n \"And we still haven't seen all of O'Ryan's face. \\n \\n But we can see Speck, and his reaction. Utter horror. In fact \\n he recoils so violently that his coffee spills. \\n\",\n \" O'Ryan shrugs. He appreciates it. The windshield wipers beat \\n back rain... \\n \\n CUT TO: \\n\",\n \" O'Ryan reaches into his back pocket, produces an I.D. Hands it \\n over. \\n \\n Trooper eyes it. According to this i.d., we are now staring at\",\n \" 106. \\n \\n \\n O'Ryan gasps for air. His face has been bloodied. Mackelway \\n rises, disgusted, removing a great weight from O'Ryan's chest.\",\n \" No, they were... I don't really know. \\n \\n Composite Artist keeps trying, but his attempt doesn't look \\n anything like the face of O'Ryan. \\n \\n Charlton, meanwhile, stands over the body, mind racing. \\n\",\n \" O'RYAN (CONT'D) \\n If you did it right, you got all of it: \\n The way it sounded. The way it smelled... \\n Those people were looking up at you, \\n begging you for mercy. It was like being\",\n \" face with O'Ryan. \\n \\n And O'Ryan isn't running. In fact, he almost seems amused. \\n \\n O'RYAN \\n Well, well... Must be quite a moment for\",\n \"around it - covering up the source of that searing pain. Looks \\n as though a nurse had tended to it. \\n \\n But this sure as hell isn't a hospital... \\n \\n Then, O'Ryan turns, facing us. Mackelway recoils without\",\n \"O'Ryan jams the gag back into his mouth, angrily. \\n \\n O'RYAN \\n (re: the mirror) \\n My, my. Must be extremely satisfying to \\n watch yourself say something so heroic.\",\n \"He turns, to point out O'Ryan. \\n \\n ...but the booth, suddenly, is empty. The guy has simply \\n disappeared, taking those drawings with him. \\n \\n Speck tightens. Mel eyes him, annoyed. \\n\",\n \" She sniffs back a tear, thanks him with a smile. O'Ryan \\n extends his hand to her. She takes it. He moves off. \\n \\n Beside her is a FRAMED PORTRAIT of Speck. We blow past it, and\"\n ],\n [\n \" O'Ryan, at his desk, seems to be getting all of this. And it \\n is agitating him. There's perspiration on his forehead. \\n \\n 76. \\n \\n\",\n \" Two men, neither of them flinching... until O'Ryan nods - as \\n if to say \\\"Good-bye.\\\" \\n \\n ...more of that vision interrupts now: a gun, rising... \\n\",\n \" He moves to another window. \\n \\n 192 INT. MACKELWAY'S YUKON - RESUMING 192 \\n \\n O'Ryan, keeping his eyes on that house, now lights the\",\n \" O'RYAN \\n (again) \\n But I've seen it! \\n \\n MACKELWAY \\n Open your eyes, O'Ryan! Here I am, \\n standing here. I'm not shooting you.\",\n \" O'Ryan's face, just inches away. \\n \\n We're TIGHT on Mackelway's hand. It trembles with rage. \\n \\n But O'Ryan, looking right down the barrel, seems unafraid. In\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \"O'Ryan's eyes roll back. Mackelway now puts both hands around \\n this fucker's throat. He's going to kill him - right here. \\n He's going to squeeze the life from him. \\n\",\n \" We start on the EYES OF O'RYAN. Cross-Dissolve to a pad of \\n paper, on a DESK. Scrawled on the pad is a WAVY LINE. He holds\",\n \" There, one man sits. Alone. Quiet. O'Ryan. \\n \\n Odd expression on his face - it's as if he can't hear this \\n rousing music, or feel the power of this place. People in the\",\n \"around it - covering up the source of that searing pain. Looks \\n as though a nurse had tended to it. \\n \\n But this sure as hell isn't a hospital... \\n \\n Then, O'Ryan turns, facing us. Mackelway recoils without\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" O'RYAN (CONT'D) \\n (weak) \\n Thank you. \\n \\n Then he dies, eyes open. Mackelway looks to Fran... \\n \\n DISSOLVE TO: \\n\",\n \" Now, real-life again, Mackelway stands over O'Ryan, just as \\n O'Ryan had always envisioned it. That makes him smile, even as \\n he's dying. \\n \\n 125. \\n\",\n \" Mackelway stares at the wound, his eyes lifeless. He splashes \\n some water on his face, his mind still reeling. \\n \\n Then O'Ryan appears in the doorway. He too looks like hell -\",\n \" You can't see everything. \\n O'RYAN \\n Yes I can! And you can too! That's why I \\n chose you! \\n \\n FRAN (O.S.) \\n Mack? \\n\",\n \" He's helpless, powerless. And that mirror is forcing him to \\n watch it all with perfect clarity. \\n \\n 100. \\n \\n \\n A few feet away, O'Ryan sits in a chair, calmly peeling the\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\",\n \" that furnace.) Wait. Did we just see the glint of a KNIFE? \\n \\n O'Ryan is leaning over us, in utter control. \\n \\n Then O'Ryan's head turns, abruptly - at the sound of\",\n \" O'Ryan shrugs. He appreciates it. The windshield wipers beat \\n back rain... \\n \\n CUT TO: \\n\",\n \"O'Ryan eyes the flames as they dance over the blade. \\n \\n O'RYAN (CONT'D) \\n I know what you're thinking: \\\"There is \\n pain coming. Am I going to take it like a\"\n ],\n [\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" Zero's rig turns hard onto a SERVICE ROAD, running parallel to \\n the Interstate. Mackelway is locked in on that truck. \\n \\n MACKELWAY (CONT'D) \\n (into cel-phone again)\",\n \" Mackelway gets a look at the DRIVER now - a wiry, sinewy man \\n of 35... Let's call him ZERO. \\n \\n Their eyes lock - until Zero throws his rig into gear again\",\n \" MACKELWAY \\n So we'd be paying attention when he found \\n Suspect Zero. \\n \\n CHARLTON \\n Ya know what? I'm getting extremely tired \\n of hearing that word. In fact, that's\",\n \" mean they don't exist. Hence Suspect \\n Zero. \\n \\n Mackelway eyes those books on evil, then those ancient \\n weapons... Casually, almost imperceptibly, he reaches for his \\n sidearm, as O'Ryan continues: \\n\",\n \" Suspect Zero \\n \\n \\n Written by \\n \\n Zak Penn \\n \\n \\n \\n Revisions - Billy Ray \\n \\n Director's Shooting Script \\n \\n\",\n \" former agent of this Bureau. And he is \\n pursuing something that he calls \\\"Suspect \\n Zero.\\\" Anybody got anything intelligent \\n to say? \\n \\n Nobody's volunteering. There's just silence. \\n\",\n \" The torque pulls Zero's rig onto its side, sliding hard. Metal \\n hits concrete, sending up a shower of SPARKS. \\n \\n The Yukon winds up in a ditch alongside the service road,\",\n \" The rig's cab lies driver's-side down. But the passenger-side \\n door pops open. And Zero pokes through it, his eyes \\n immediately scanning that TALL WHEAT. Rain pours. \\n\",\n \" jams on the brakes. \\n \\n Zero swerves, out of instinct. It throws the rig into a \\n vicious JACK-KNIFE. The van whips around in front of the cab,\",\n \" O'Ryan guns the Yukon, attempting to cut in front of the rig. \\n Zero swings wide, sending the Yukon into a curb this time. \\n That shreds their front tire. \\n\",\n \" Then Zero jams on the brakes. Mackelway's eyes go wide. \\n \\n MACKELWAY (CONT'D) \\n (at O'Ryan) \\n Brakes! \\n\",\n \" Mackelway sits behind the wheel of his Chevy Yukon, parked \\n between two big-rigs in the lot of the \\\"All-American Diner.\\\" \\n Sky looks black tonight. It rumbles... \\n\",\n \"A Missouri Highway Patrol car pulls up. Mackelway steps out of \\n it. We follow him as he takes in the scene. \\n \\n A FLASHBULB illuminates Starkey's CHEST; is got a zero-with-\",\n \"O'Ryan wheels around, aiming the gun right at Zero's face. \\n That shuts the guy up in a hurry. \\n \\n 118. \\n \\n \\n From that service road now, we hear a line of SIRENS,\",\n \" upside down. Mackelway, alive and awake, strains to look out \\n the busted windshield. \\n \\n What he sees is hard to discern - but it looks like Zero's rig \\n is lying flat on its side. \\n\",\n \" Happen to see what he was driving? \\n \\n DOLLY \\n That one's easy. It's still in the lot. \\n (they perk up) \\n The Bonneville out there with the awful \\n paint job.\",\n \" crosses the parking lot, heading for his rig. It's a beast. \\n Vic climbs in, unaware that he's being watched. \\n \\n Mackelway looks away, chiding himself for allowing the guy to\",\n \" Vic passes the Interstate on-ramp. The three cars turn on to \\n it... putting Mackelway right on Vic's tail. \\n \\n He grabs his cel, dials. This truck has license plates from \\n ten states. \\n\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\"\n ],\n [\n \" MACKELWAY \\n So we'd be paying attention when he found \\n Suspect Zero. \\n \\n CHARLTON \\n Ya know what? I'm getting extremely tired \\n of hearing that word. In fact, that's\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \" Then Zero jams on the brakes. Mackelway's eyes go wide. \\n \\n MACKELWAY (CONT'D) \\n (at O'Ryan) \\n Brakes! \\n\",\n \"Zero freezes. Mackelway too. They turn to find: \\n \\n O'Ryan... who stands here, Mackelway's gun in hand. \\n \\n O'RYAN (CONT'D) \\n Up. \\n\",\n \"Mackelway is silent. Stunned. The blood from Zero's caved-in \\n skull finds its way to O'Ryan's knees. \\n \\n But O'Ryan remains peaceful. Calm. Ready. \\n \\n MACKELWAY\",\n \" Mackelway finds himself facing another endless corridor: One \\n door after another, for what seems like a mile. But no O'Ryan. \\n Then Mackelway spots an EXIT SIGN. A stairwell... \\n\",\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" O'RYAN (THRU PHONE) \\n I've found him, you know. \\n \\n MACKELWAY \\n Who? \\n \\n O'RYAN \\n Zero. \\n\",\n \"Mackelway pulls the car over, under an I-30 overpass... and \\n out comes his gun, pointed right at O'Ryan's forehead. \\n \\n MACKELWAY (CONT'D)\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" Mackelway gets a look at the DRIVER now - a wiry, sinewy man \\n of 35... Let's call him ZERO. \\n \\n Their eyes lock - until Zero throws his rig into gear again\",\n \" mean they don't exist. Hence Suspect \\n Zero. \\n \\n Mackelway eyes those books on evil, then those ancient \\n weapons... Casually, almost imperceptibly, he reaches for his \\n sidearm, as O'Ryan continues: \\n\",\n \"Mackelway's relief is total. He pushes Zero away, rising. Zero \\n pulls himself off the ground, chagrinned. \\n \\n ZERO \\n (re: Mackelway) \\n Glad you're here, Man. Guy was about to\",\n \" Mackelway's watching. O'Ryan, who blacked out for a second now \\n opens his eyes, getting the picture in a hurry. \\n \\n Zero leaps to the ground, rolls, and rises. Only thing in his\",\n \" overflowing. Mackelway sits across from O'Ryan... \\n \\n O'RYAN \\n (as \\\"Daitz:\\\") \\n ...The name of this theory was \\\"Suspect \\n Zero.\\\"\",\n \" Hands up. \\n \\n O'Ryan raises his hands. Mackelway reaches for his cuffs. \\n \\n CUT TO: \\n\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \" kill me. \\n \\n O'Ryan, without ceremony, puts a bullet through Zero's left \\n palm. That got Mackelway's attention. \\n \\n Zero howls with pain, his palm gushing. The TIRE-IRON falls to\",\n \" Mackelway laughs. He appreciates a good jab. \\n \\n MACKELWAY \\n I'm at the truck-stop we traced. Off the \\n I-30. \\n \\n FRAN\"\n ],\n [\n \" He reaches Vic's truck, looks in the passenger window. There's \\n the five year-old kid, tears streaming down his face. (We \\n still can't tell if it's Charlie.) \\n\",\n \" Trooper. 'Bout an hour later a five-year \\n old boy was abducted, roughly a mile up \\n the Interstate. \\n \\n It's 3 a.m. What's this guy doing here? \\n\",\n \" beside the open VW door. A battered PICK-UP speeds away, \\n kicking up gravel. \\n \\n CUT TO: \\n \\n ...Loretta's eyes, wide with terror and dread. \\n\",\n \" It's Charlie, five years-old, whose abduction we just \\n witnessed. He sleeps fitfully. \\n \\n A MAN'S HAND can be seen, edging into frame - the DRIVER. He\",\n \" Mackelway locks in on the kid. Holy shit... \\n \\n Vic's rig pulls out. The kid pounds on his window. Looks like \\n he's saying \\\"Lemme out of here! I want my Mommy!\\\" He might be\",\n \" MACKELWAY \\n (over his shoulder, running) \\n Get the van open! He's got a kid in the \\n van! \\n \\n STATE RANGER hurries out of his squad car. Mackelway sprints\",\n \" away from that milk carton, revealing a face. A child. \\\"Have \\n You Seen Me?\\\" It's heartbreaking. \\n TILT UP... to take in the vast flatness of Texas' I-35:\",\n \" Mackelway laughs. He appreciates a good jab. \\n \\n MACKELWAY \\n I'm at the truck-stop we traced. Off the \\n I-30. \\n \\n FRAN\",\n \" We've stepped out of that SUBJECTIVE POV now. Kathleen grabs \\n her infant, distraught, as another massive 18-WHEEL TRUCK \\n blows by us in the distance... \\n\",\n \" distract him. That WAITRESS comes by with more coffee. \\n Mackelway smiles, looking absently out the window again. \\n \\n And sees a LITTLE BOY of 5, in the cab of Vic's rig... \\n\",\n \" Vic gets out of the rig. From here we can see that that 5-year- \\n old BOY is still stick in his car seat, and he is still \\n screaming and flailing. \\n\",\n \" and begins to rumble down the street. \\n \\n DELIA (CONT'D) \\n (confused) \\n Daryl? Honey? \\n \\n No answer. That truck is rumbling away. Mackelway turns,\",\n \"He pulls out a fax from the stack: a Korean boy named \\\"Steven \\n Kim. Age 16. Last Seen: Greenville, Tx. Date of Disappearance: \\n 8-7-98.\\\" \\n\",\n \" But this little boy is SCREAMING, struggling to get out of his \\n car-seat, until Vic grabs the kid by the shoulders, roughly... \\n all of this visible through the windshield. \\n\",\n \" He gestures toward a ravine, where a TOW TRUCK is currently \\n lowering a winch toward an abandoned vehicle. \\n \\n It is Harold Speck's Buick, nose-down in the ravine, teetering\",\n \" little Charlie - we can't tell from here. \\n \\n But we can see that Vic is yelling at him: \\\"Shut up!\\\" \\n \\n And we can see that Vic's truck is refrigerated. He's hauling \\n dairy products.\",\n \" The noise of the Interstate doesn't make things any easier. A \\n huge TRUCK rumbles by. 18 wheels. \\n \\n Mackelway eyes it, absently. Then a bolt hits him: \\n\",\n \" ...just as the Ranger brings Charlie out of the rig. The kid \\n is shaking, traumatized. He begins to cry... \\n \\n Fran gets the idea. She hurries over. \\n\",\n \" ...until we hear the rumble of an 18-WHEEL TRUCK. \\n \\n It turns a corner onto this street. Mackelway turns now... \\n \\n We've seen this truck before. A monstrous, rolling beast. And\",\n \" of what's going on inside that truck. \\n \\n That cel-phone continues to ring... We keep pulling back, \\n under this sparsely-trafficked overpass, rain falling. \\n\"\n ],\n [\n \" MACKELWAY \\n So we'd be paying attention when he found \\n Suspect Zero. \\n \\n CHARLTON \\n Ya know what? I'm getting extremely tired \\n of hearing that word. In fact, that's\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \" Suspect Zero \\n \\n \\n Written by \\n \\n Zak Penn \\n \\n \\n \\n Revisions - Billy Ray \\n \\n Director's Shooting Script \\n \\n\",\n \" kill me. \\n \\n O'Ryan, without ceremony, puts a bullet through Zero's left \\n palm. That got Mackelway's attention. \\n \\n Zero howls with pain, his palm gushing. The TIRE-IRON falls to\",\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" former agent of this Bureau. And he is \\n pursuing something that he calls \\\"Suspect \\n Zero.\\\" Anybody got anything intelligent \\n to say? \\n \\n Nobody's volunteering. There's just silence. \\n\",\n \" mean they don't exist. Hence Suspect \\n Zero. \\n \\n Mackelway eyes those books on evil, then those ancient \\n weapons... Casually, almost imperceptibly, he reaches for his \\n sidearm, as O'Ryan continues: \\n\",\n \"Zero freezes. Mackelway too. They turn to find: \\n \\n O'Ryan... who stands here, Mackelway's gun in hand. \\n \\n O'RYAN (CONT'D) \\n Up. \\n\",\n \"O'Ryan wheels around, aiming the gun right at Zero's face. \\n That shuts the guy up in a hurry. \\n \\n 118. \\n \\n \\n From that service road now, we hear a line of SIRENS,\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\",\n \"Mackelway is silent. Stunned. The blood from Zero's caved-in \\n skull finds its way to O'Ryan's knees. \\n \\n But O'Ryan remains peaceful. Calm. Ready. \\n \\n MACKELWAY\",\n \" Bullshit! If I'd made my fucking point \\n you would've shot him yourself by now! \\n \\n Another swing of that tire-iron, across the back of Zero's \\n neck. He crumbles, face down. \\n\",\n \" Then Zero jams on the brakes. Mackelway's eyes go wide. \\n \\n MACKELWAY (CONT'D) \\n (at O'Ryan) \\n Brakes! \\n\",\n \" them. The feeling is so unsettling that for a moment he \\n forgets about Zero, and the rig, and the kid... \\n \\n Everything has just crystallized in a horrible way. He knows\",\n \" Mackelway gets a look at the DRIVER now - a wiry, sinewy man \\n of 35... Let's call him ZERO. \\n \\n Their eyes lock - until Zero throws his rig into gear again\",\n \" O'RYAN (CONT'D) \\n And the name we give that killer... is \\n Zero. \\n (again:) \\n Are you afraid? \\n \\n Slowly, he lowers the knife into the flame of that candle on\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" But then she hears FOOTSTEPS, trailing away. So she rises, \\n peeking over the edge of the window. WE STAY ON HER FACE, as \\n she sees what's become of her attacker. \\n\",\n \"THUMP! Another violent swing of that tire-iron, busting up the \\n other side of Zero's torso. Now both sides of his rib-cage \\n have shattered. Breathing is almost impossible. \\n\",\n \" overflowing. Mackelway sits across from O'Ryan... \\n \\n O'RYAN \\n (as \\\"Daitz:\\\") \\n ...The name of this theory was \\\"Suspect \\n Zero.\\\"\"\n ],\n [\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" Mackelway gets a look at the DRIVER now - a wiry, sinewy man \\n of 35... Let's call him ZERO. \\n \\n Their eyes lock - until Zero throws his rig into gear again\",\n \" Zero's rig turns hard onto a SERVICE ROAD, running parallel to \\n the Interstate. Mackelway is locked in on that truck. \\n \\n MACKELWAY (CONT'D) \\n (into cel-phone again)\",\n \" mean they don't exist. Hence Suspect \\n Zero. \\n \\n Mackelway eyes those books on evil, then those ancient \\n weapons... Casually, almost imperceptibly, he reaches for his \\n sidearm, as O'Ryan continues: \\n\",\n \" former agent of this Bureau. And he is \\n pursuing something that he calls \\\"Suspect \\n Zero.\\\" Anybody got anything intelligent \\n to say? \\n \\n Nobody's volunteering. There's just silence. \\n\",\n \" The rig's cab lies driver's-side down. But the passenger-side \\n door pops open. And Zero pokes through it, his eyes \\n immediately scanning that TALL WHEAT. Rain pours. \\n\",\n \" MACKELWAY \\n So we'd be paying attention when he found \\n Suspect Zero. \\n \\n CHARLTON \\n Ya know what? I'm getting extremely tired \\n of hearing that word. In fact, that's\",\n \" Suspect Zero \\n \\n \\n Written by \\n \\n Zak Penn \\n \\n \\n \\n Revisions - Billy Ray \\n \\n Director's Shooting Script \\n \\n\",\n \" Then Zero jams on the brakes. Mackelway's eyes go wide. \\n \\n MACKELWAY (CONT'D) \\n (at O'Ryan) \\n Brakes! \\n\",\n \" The torque pulls Zero's rig onto its side, sliding hard. Metal \\n hits concrete, sending up a shower of SPARKS. \\n \\n The Yukon winds up in a ditch alongside the service road,\",\n \"O'Ryan wheels around, aiming the gun right at Zero's face. \\n That shuts the guy up in a hurry. \\n \\n 118. \\n \\n \\n From that service road now, we hear a line of SIRENS,\",\n \" jams on the brakes. \\n \\n Zero swerves, out of instinct. It throws the rig into a \\n vicious JACK-KNIFE. The van whips around in front of the cab,\",\n \" upside down. Mackelway, alive and awake, strains to look out \\n the busted windshield. \\n \\n What he sees is hard to discern - but it looks like Zero's rig \\n is lying flat on its side. \\n\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\",\n \" them. The feeling is so unsettling that for a moment he \\n forgets about Zero, and the rig, and the kid... \\n \\n Everything has just crystallized in a horrible way. He knows\",\n \"A Missouri Highway Patrol car pulls up. Mackelway steps out of \\n it. We follow him as he takes in the scene. \\n \\n A FLASHBULB illuminates Starkey's CHEST; is got a zero-with-\",\n \" arrived. Sherrifs, Feds. Zero's rig remains on its side. \\n \\n Mackelway sits nearby on a CURB, his shattered wrist is in a \\n SLING. Up above, the CLOUDS have parted. Morning sun streaks\",\n \" He doesn't have gloves on him, so he uses his jacket pocket to \\n protect against prints. He opens the trunk. \\n \\n First thing he sees is that SYMBOL again: a circle-with-a-\",\n \" kill me. \\n \\n O'Ryan, without ceremony, puts a bullet through Zero's left \\n palm. That got Mackelway's attention. \\n \\n Zero howls with pain, his palm gushing. The TIRE-IRON falls to\",\n \" overflowing. Mackelway sits across from O'Ryan... \\n \\n O'RYAN \\n (as \\\"Daitz:\\\") \\n ...The name of this theory was \\\"Suspect \\n Zero.\\\"\"\n ],\n [\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" MACKELWAY \\n So we'd be paying attention when he found \\n Suspect Zero. \\n \\n CHARLTON \\n Ya know what? I'm getting extremely tired \\n of hearing that word. In fact, that's\",\n \" Suspect Zero \\n \\n \\n Written by \\n \\n Zak Penn \\n \\n \\n \\n Revisions - Billy Ray \\n \\n Director's Shooting Script \\n \\n\",\n \" mean they don't exist. Hence Suspect \\n Zero. \\n \\n Mackelway eyes those books on evil, then those ancient \\n weapons... Casually, almost imperceptibly, he reaches for his \\n sidearm, as O'Ryan continues: \\n\",\n \" former agent of this Bureau. And he is \\n pursuing something that he calls \\\"Suspect \\n Zero.\\\" Anybody got anything intelligent \\n to say? \\n \\n Nobody's volunteering. There's just silence. \\n\",\n \" Mackelway gets a look at the DRIVER now - a wiry, sinewy man \\n of 35... Let's call him ZERO. \\n \\n Their eyes lock - until Zero throws his rig into gear again\",\n \" We see the VICTIMS photographed face up, face down, waist and \\n above, waist and below. Charlton gives the photos a cursory \\n glance, nothing more. \\n \\n But we notice something, on one of the bodies: the male from\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \"ZIPLOC BAGS. Inside the bags are BODY PARTS. \\n \\n It's realized so accurately that it looks more like a \\n photograph. No wonder it horrified Speck so deeply. \\n \\n THE BOOTH - RESUMING \\n\",\n \" Zero's rig turns hard onto a SERVICE ROAD, running parallel to \\n the Interstate. Mackelway is locked in on that truck. \\n \\n MACKELWAY (CONT'D) \\n (into cel-phone again)\",\n \" kill me. \\n \\n O'Ryan, without ceremony, puts a bullet through Zero's left \\n palm. That got Mackelway's attention. \\n \\n Zero howls with pain, his palm gushing. The TIRE-IRON falls to\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\",\n \" Okay. We've got a serial killer of serial \\n killers. \\n \\n Fran scribbles something on a piece of paper: \\\"What a genius!\\\" \\n Slides it over. Mackelway conceals the note, as: \\n\",\n \" MACKELWAY \\n So... he keeps the bodies in a freezer, \\n then buries them...? \\n \\n That was a question. He can't do any better. \\n \\n FRAN\",\n \" them. The feeling is so unsettling that for a moment he \\n forgets about Zero, and the rig, and the kid... \\n \\n Everything has just crystallized in a horrible way. He knows\",\n \" O'RYAN (CONT'D) \\n (quoting himself, as Daitz:) \\n \\\"Imagine a killer with no patterns, no \\n tell-tale fetishes, no rituals of any\",\n \" The inside of that steamer-trunk is filled with BODY PARTS: \\n bagged, stacked, and sealed in Ziplocs... \\n \\n Powdered LIME is sprinkled on them. \\n\",\n \" He enters. The fax has spun out a single sheet. No top-sheet. \\n That's odd... \\n \\n But here's another face, another victim, with the customary \\n HAVE YOU SEEN ME? across the top. \\n\",\n \" O'RYAN (CONT'D) \\n Tell me, what makes a killer catchable? \\n \\n MACKELWAY \\n Patterns, repetition of behavior. \\n \\n O'RYAN\",\n \" him. Victim #2, BARNEY FULCHER, lies on another, his ample \\n frame yet to be examined. \\n \\n The lights are out, but that Coroner wears a FLUORESCENT HALO,\"\n ],\n [\n \" MACKELWAY \\n So... he keeps the bodies in a freezer, \\n then buries them...? \\n \\n That was a question. He can't do any better. \\n \\n FRAN\",\n \" The rendering of a steamer-trunk, lined with plastic, \\n containing body parts in plastic bags... Mackelway seems to be \\n fixated on it now. \\n \\n CUT TO: \\n\",\n \" Mackelway stares. So does Fran. Before them lies a body, \\n stripped to the waist: a chunky middle-aged MAN. Dead. \\n \\n Mackelway sighs. Things just got tougher... \\n\",\n \"Mackelway pauses, thinks he must've heard wrong. But he turns \\n toward the face, as ANOTHER FLASHBULB illuminates it, searing \\n the image into the darkness. Starkey. Dead. His eyelids ripped \\n away. \\n\",\n \" off. It's gruesome, but Mackelway notes it calmly. Charlton \\n leans in, gets a look. \\n \\n CHARLTON \\n Christ... \\n\",\n \" kind. No hidden desire to be caught. A \\n perfect vessel of evil.\\\" \\n \\n All Mackelway can see is his own reflection - the fear in his \\n eyes - bouncing off a mirror that's only inches away. \\n\",\n \" Mackelway awakens. The room feels like it's swimming. His arms \\n and legs are bound. His mouth has been GAGGED. \\n \\n And he is staring into his own REFLECTION. \\n\",\n \" Mackelway stares, at once satisfied and sickened. COP #1 can \\n be heard, approaching across the attic floor. His gun is \\n drawn... \\n \\n ...until he too sees what's in there. \\n\",\n \"Then she eyes Mackelway. Charlton notes the tension. \\n \\n 18. \\n \\n \\n CHARLTON \\n Okay. So our guy likes to draw pictures \\n of body parts and then spring 'em on\",\n \" Fran is at a phone, in the Morgue. The Logan Utah BODY lies on \\n the table. \\n \\n FRAN \\n It's not a burn. It's a freezer-burn. \\n MACKELWAY\",\n \" But before we can get a good look at it, Mackelway spots \\n something else, at the bottom of this box, a shocker: \\n \\n A photograph of himself. \\n \\n It takes him a second to realize what he's looking at. But\",\n \" Mackelway studies it, his face working. Another of those \\n WHIMPERS from Loretta seems to hang, suspended. Mackelway \\n shakes it off, certain that he's imagining it. \\n\",\n \" MACKELWAY (CONT'D) \\n (into cel) \\n Mackelway. \\n \\n 164 INTERCUT WITH/INT. MORGUE - SAME 164 \\n\",\n \"dead. \\n \\n Mackelway's eyes go wide. Whole thing has been a blur. \\n \\n O'Ryan releases the tire-iron... and drops to his knees like a \\n man awaiting execution, his back to Mackelway. \\n\",\n \" Her sadness is obvious. Mackelway nods. \\n \\n KATIE (CONT'D) \\n Anyway, I know you're gonna be in on the \\n autopsies - of the girls they found over\",\n \" Mackelway is expressionless. But something about these LIDLESS \\n EYES draws him closer. He leans in, then BAM! We are rocketed \\n into a series of dark, disjointed images: \\n\",\n \"Mackelway doesn't know what to do. Then, making matters worse: \\n \\n FRAN (O.S.) \\n (aloud) \\n Mack? \\n \\n She's about a hundred yards away... but she'll be here soon\",\n \" MACKELWAY \\n Trunk's ajar. \\n \\n She turns. Sure enough, the Bonneville's trunk is ajar. \\n Mackelway approaches, cautiously. \\n\",\n \" It's like looking at a ghost - a spectre that's been haunting \\n him, dead now... Mackelway pulls out his Minox, starts \\n photographing, moving in on those LIDLESS EYES... \\n\",\n \" Mackelway locks in on the kid. Holy shit... \\n \\n Vic's rig pulls out. The kid pounds on his window. Looks like \\n he's saying \\\"Lemme out of here! I want my Mommy!\\\" He might be\"\n ],\n [\n \" Okay. We've got a serial killer of serial \\n killers. \\n \\n Fran scribbles something on a piece of paper: \\\"What a genius!\\\" \\n Slides it over. Mackelway conceals the note, as: \\n\",\n \" victim sees... or to make certain that we \\n see something. \\n (she's silent) \\n Or maybe it's just a fuck-you. \\n \\n Coroner continues his monotone narration... then crosses to\",\n \" O'RYAN (CONT'D) \\n Tell me, what makes a killer catchable? \\n \\n MACKELWAY \\n Patterns, repetition of behavior. \\n \\n O'RYAN\",\n \" Now imagine a killer with no patterns, no \\n tell-tale fetishes, no rituals, no hidden \\n desire to be caught. A perfect vessel of \\n evil, killing without ever leaving a \\n single meaningful clue in his wake...\",\n \" We see the VICTIMS photographed face up, face down, waist and \\n above, waist and below. Charlton gives the photos a cursory \\n glance, nothing more. \\n \\n But we notice something, on one of the bodies: the male from\",\n \" O'RYAN (CONT'D) \\n (quoting himself, as Daitz:) \\n \\\"Imagine a killer with no patterns, no \\n tell-tale fetishes, no rituals of any\",\n \" kind. No hidden desire to be caught. A \\n perfect vessel of evil.\\\" \\n \\n All Mackelway can see is his own reflection - the fear in his \\n eyes - bouncing off a mirror that's only inches away. \\n\",\n \" off. It's gruesome, but Mackelway notes it calmly. Charlton \\n leans in, gets a look. \\n \\n CHARLTON \\n Christ... \\n\",\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" driving his car, or having a beer or \\n brushing his teeth... or cutting \\n someone's eyes out. \\n \\n That was said flatly, matter-of-factly. It's chilling. \\n\",\n \" But then she hears FOOTSTEPS, trailing away. So she rises, \\n peeking over the edge of the window. WE STAY ON HER FACE, as \\n she sees what's become of her attacker. \\n\",\n \"to kill this guy. \\n \\n ...then those eyes drift back to the mirror again. \\n \\n ...and he sees his reflection: a hardened, crazed stranger. An \\n animal. \\n \\n His hands, without warning, release their grip. \\n\",\n \"ZIPLOC BAGS. Inside the bags are BODY PARTS. \\n \\n It's realized so accurately that it looks more like a \\n photograph. No wonder it horrified Speck so deeply. \\n \\n THE BOOTH - RESUMING \\n\",\n \"about evil, the devil, the minds of sociopaths, the history of \\n serial-killers, ritual killers, tribal rites... \\n \\n MACKELWAY \\n Is that something you believe in, \\n Professor? Evil? \\n\",\n \" Mackelway stares, at once satisfied and sickened. COP #1 can \\n be heard, approaching across the attic floor. His gun is \\n drawn... \\n \\n ...until he too sees what's in there. \\n\",\n \" Well guess what? They didn't. And this \\n prick's gonna walk, ten murders or not. \\n \\n That registered. \\n \\n 34 INT. HOPE HOUSE - BASEMENT - RESUMING 34 \\n\",\n \" is visible to us, but we can tell that his concentration is \\n total. \\n \\n His pen continues its furious work, a spasm of activity, as \\n the SOUNDS of that vision bleed in: the gun-shot, the rain,\",\n \" It's like looking at a ghost - a spectre that's been haunting \\n him, dead now... Mackelway pulls out his Minox, starts \\n photographing, moving in on those LIDLESS EYES... \\n\",\n \"Then she eyes Mackelway. Charlton notes the tension. \\n \\n 18. \\n \\n \\n CHARLTON \\n Okay. So our guy likes to draw pictures \\n of body parts and then spring 'em on\",\n \" Her sadness is obvious. Mackelway nods. \\n \\n KATIE (CONT'D) \\n Anyway, I know you're gonna be in on the \\n autopsies - of the girls they found over\"\n ],\n [\n \" (takes her hand) \\n I didn't know him well but... I think \\n Harold was a much more complex man than \\n people realized. \\n \\n Jan is so raw that anything about Speck touches her now. \\n\",\n \" CUT TO: \\n \\n 22 INT. ARCHER COUNTY MORGUE - DAY 22 \\n \\n Harold Speck lies on a table. A BESPECTACLED CORONER examines\",\n \" Ya miss fucking her, Harold? \\n \\n SPECK \\n Listen, I don't know who you are but you \\n can't-- \\n \\n O'Ryan silences him... by holding up a piece of paper. On it\",\n \" MEL \\n Like I said, I never really saw him. \\n Harold came up, complainin' about the guy \\n - but time I turned, he was gone. \\n \\n FRAN MACK\",\n \" him. Victim #2, BARNEY FULCHER, lies on another, his ample \\n frame yet to be examined. \\n \\n The lights are out, but that Coroner wears a FLUORESCENT HALO,\",\n \" or I'll cut the fucking lids off!! \\n \\n Mackelway opens his eyes, forced to watch himself break. Deep \\n sobs shudder through him, as... \\n \\n O'Ryan digs that red-hot blade into Mackelway's arm:\",\n \" particularly focused on Fulcher's face. His EYELIDS, we now \\n see, have also been torn off. Hmmmm... \\n \\n FRAN \\n Why eyelids? \\n \\n MACKELWAY\",\n \" We see the VICTIMS photographed face up, face down, waist and \\n above, waist and below. Charlton gives the photos a cursory \\n glance, nothing more. \\n \\n But we notice something, on one of the bodies: the male from\",\n \" revealing a hideous wound. \\n \\n It's a ZERO, WITH A SLASH THROUGH IT. \\n \\n Now everything clicks: O'Ryan was branding him. Initiating him \\n with that red-hot knife. \\n\",\n \" He gestures toward a ravine, where a TOW TRUCK is currently \\n lowering a winch toward an abandoned vehicle. \\n \\n It is Harold Speck's Buick, nose-down in the ravine, teetering\",\n \" off. It's gruesome, but Mackelway notes it calmly. Charlton \\n leans in, gets a look. \\n \\n CHARLTON \\n Christ... \\n\",\n \"O'Ryan moves the blade again, this time an eighth of an inch \\n above Mackelway's right arm. The heat from it is so incendiary \\n that Mackelway's shirt begins to smoke. \\n\",\n \" reminding himself to remember his new rank. Dylan hands a \\n preliminary report to Charlton. \\n \\n DYLAN \\n Fella's name is Harold Speck. Traveling \\n salesman, from Abilene. \\n\",\n \" No more pulse. He has lost the \\\"connection\\\" that had somehow \\n transported him. He notes his watch. Jots down the exact time. \\n Slips the pad into that FOLDER: \\\"Mackelway.\\\" \\n\",\n \"Mackelway pauses, thinks he must've heard wrong. But he turns \\n toward the face, as ANOTHER FLASHBULB illuminates it, searing \\n the image into the darkness. Starkey. Dead. His eyelids ripped \\n away. \\n\",\n \" Then that TIRE IRON lashes out, from the right. \\n \\n It catches Mackelway with horrific force, shattering his wrist \\n and sending that gun flying into the wheat. \\n\",\n \" He's fine, Sir. \\n \\n 84. \\n \\n \\n CHARLTON \\n Talk to him. \\n \\n With that, he's gone. Fran watches as he heads for the Front\",\n \" She watches him vanish around a corner. \\n \\n CUT TO: \\n \\n 89 EXT. HAROLD SPECK'S HOUSE - 6:00 A.M. 89 \\n\",\n \" kill me. \\n \\n O'Ryan, without ceremony, puts a bullet through Zero's left \\n palm. That got Mackelway's attention. \\n \\n Zero howls with pain, his palm gushing. The TIRE-IRON falls to\",\n \" driving his car, or having a beer or \\n brushing his teeth... or cutting \\n someone's eyes out. \\n \\n That was said flatly, matter-of-factly. It's chilling. \\n\"\n ],\n [\n \" case was thrown out of court. It is this: \\n \\n The F.B.I. Agent on the case had made a mistake in \\n \\\"evidentiary procedure.\\\" Hence, Mackelway's picture. \\n\",\n \" MACKELWAY (CONT'D) \\n You guys ever heard of evidentiary \\n procedure? \\n \\n No one replies. Charlton approaches. Mackelway tightens, \\n expecting a reprimand for overstepping his bounds. \\n\",\n \" Mackelway studies it, his face working. Another of those \\n WHIMPERS from Loretta seems to hang, suspended. Mackelway \\n shakes it off, certain that he's imagining it. \\n\",\n \" It was... poor judgment, Sir. \\n \\n CHARLTON \\n You wanna work alone, start your own \\n agency. \\n \\n Mackelway can do nothing but nod. Then, bailing him out,\",\n \" MACKWELWAY (CONT'D) \\n Sorry, Sir. There wasn't time. \\n \\n Charlton eyes the car. Then Mackelway. \\n \\n CHARLTON \\n Did the right thing, Agent Mackelway.\",\n \" Mackelway drops his gun, kicks it toward the cop, who doesn't \\n quite know what to make of that. \\n \\n Also confusing him is the odd smile playing its way across \\n Mackelway's face. But we understand it now: \\n\",\n \" MACKELWAY \\n (that stung) \\n Give me the fucking gun! \\n \\n O'Ryan turns, studies him. \\n \\n ...and hands him the gun. Just like that. \\n\",\n \" Those words just hang there, haunting Mackelway. Charlton \\n tears off the sheet with those two words and stuffs them into \\n Mackelway's hand. \\n \\n CHARLTON (CONT'D)\",\n \" Mackelway has a busted wrist. Hardly a fair fight. \\n \\n But Mackelway is battling: kicking, clawing, getting in as \\n many shots as he can. His shirt rips away from his body,\",\n \" MACKELWAY \\n Put the fucking thing down, O'Ryan. \\n \\n O'Ryan keeps pursuing. Another swing. Mackelway keeps backing \\n up. The swing misses. \\n \\n O'RYAN\",\n \" Three months have passed since the arrest in Matamoros. Now \\n Mackelway sits in this courthouse ANTEROOM, adjacent to a \\n courtroom. Four sour PROSECUTORS surround him. \\n \\n PROSECUTOR #1\",\n \"Mackelway tightens. His head just began to throb... \\n \\n MACKELWAY \\n Okay. You made your point. \\n \\n 119. \\n \\n \\n O'RYAN\",\n \" MACKELWAY \\n (fuck yes) \\n No, Sir. \\n \\n CHARLTON \\n Good. \\n \\n An abandoned SPORTS PAGE tells us about that World Series, so\",\n \"Basic: Sorry I was so hard on you but it had to be done... Can \\n we shake on it? \\n \\n Instead, Mackelway simply EXPLODES: \\n \\n It is a blur, faster than a blur, but Mackelway rises with an\",\n \" MACKELWAY (CONT'D) \\n That was him. \\n \\n FRAN \\n He called you at home? \\n \\n MACKELWAY \\n Yes. \\n \\n BEEP. Call-Waiting again.\",\n \" Hands up. \\n \\n O'Ryan raises his hands. Mackelway reaches for his cuffs. \\n \\n CUT TO: \\n\",\n \"Mackelway stares, stunned. Can't fucking believe it. \\n \\n MACKELWAY \\n (breathless) \\n My God... \\n \\n 37. \\n \\n\",\n \"Mackelway doesn't know what to do. Then, making matters worse: \\n \\n FRAN (O.S.) \\n (aloud) \\n Mack? \\n \\n She's about a hundred yards away... but she'll be here soon\",\n \" Then O'Ryan stuns him... by laying Mackelway's GUN atop the \\n drawing, without a word. \\n \\n Mackelway eyes the gun, then grabs it and points it right at\",\n \" MACKELWAY (CONT'D) \\n (re: burn) \\n Fuck! \\n \\n Cuffs are unlocked now. O'Ryan starts up the Yukon. \\n\"\n ],\n [\n \" MACKELWAY \\n So we'd be paying attention when he found \\n Suspect Zero. \\n \\n CHARLTON \\n Ya know what? I'm getting extremely tired \\n of hearing that word. In fact, that's\",\n \" former agent of this Bureau. And he is \\n pursuing something that he calls \\\"Suspect \\n Zero.\\\" Anybody got anything intelligent \\n to say? \\n \\n Nobody's volunteering. There's just silence. \\n\",\n \" (Mackelway nods) \\n The idea of Suspect Zero posits that if a \\n serial killer were diabolical enough, he \\n could traverse the country without ever \\n being caught, killing randomly. \\n\",\n \" mean they don't exist. Hence Suspect \\n Zero. \\n \\n Mackelway eyes those books on evil, then those ancient \\n weapons... Casually, almost imperceptibly, he reaches for his \\n sidearm, as O'Ryan continues: \\n\",\n \" Suspect Zero \\n \\n \\n Written by \\n \\n Zak Penn \\n \\n \\n \\n Revisions - Billy Ray \\n \\n Director's Shooting Script \\n \\n\",\n \" overflowing. Mackelway sits across from O'Ryan... \\n \\n O'RYAN \\n (as \\\"Daitz:\\\") \\n ...The name of this theory was \\\"Suspect \\n Zero.\\\"\",\n \" Mackelway gets a look at the DRIVER now - a wiry, sinewy man \\n of 35... Let's call him ZERO. \\n \\n Their eyes lock - until Zero throws his rig into gear again\",\n \" O'RYAN (THRU PHONE) \\n I've found him, you know. \\n \\n MACKELWAY \\n Who? \\n \\n O'RYAN \\n Zero. \\n\",\n \" them. The feeling is so unsettling that for a moment he \\n forgets about Zero, and the rig, and the kid... \\n \\n Everything has just crystallized in a horrible way. He knows\",\n \" We see the VICTIMS photographed face up, face down, waist and \\n above, waist and below. Charlton gives the photos a cursory \\n glance, nothing more. \\n \\n But we notice something, on one of the bodies: the male from\",\n \" revealing a hideous wound. \\n \\n It's a ZERO, WITH A SLASH THROUGH IT. \\n \\n Now everything clicks: O'Ryan was branding him. Initiating him \\n with that red-hot knife. \\n\",\n \" What makes you think so? \\n \\n MACKELWAY \\n That's where Zero is. \\n (Fran's a blank) \\n Lloyd Simms - October 26, '99. Karen\",\n \" FRAN \\n Wait. When did we establish that Zero was \\n real? \\n \\n MACKELWAY \\n O'Ryan thinks so. \\n \\n FRAN \\n Do you? \\n\",\n \" O'RYAN (CONT'D) \\n And the name we give that killer... is \\n Zero. \\n (again:) \\n Are you afraid? \\n \\n Slowly, he lowers the knife into the flame of that candle on\",\n \" gonna be policy from now on. No Zero. \\n MACKELWAY \\n Sir, profile the guy. He's straight outta \\n Quantico. All he's doing is working a \\n case, like we would. He's not kidnapping\",\n \"Mackelway eyes it. O'Ryan doesn't say a word, just crosses \\n back to Zero, and grabs that TIRE-IRON off the ground. \\n \\n O'Ryan's now standing right behind Zero, as: \\n\",\n \"That threw Mackelway badly. O'Ryan seizes the moment - \\n wheeling around... \\n \\n He takes one last swing at Zero, like a lumberjack. The tire- \\n iron impacts Zero's skull with a dull THUD, cracking it. He is\",\n \" Then Zero jams on the brakes. Mackelway's eyes go wide. \\n \\n MACKELWAY (CONT'D) \\n (at O'Ryan) \\n Brakes! \\n\",\n \"Zero freezes. Mackelway too. They turn to find: \\n \\n O'Ryan... who stands here, Mackelway's gun in hand. \\n \\n O'RYAN (CONT'D) \\n Up. \\n\",\n \"O'Ryan wheels around, aiming the gun right at Zero's face. \\n That shuts the guy up in a hurry. \\n \\n 118. \\n \\n \\n From that service road now, we hear a line of SIRENS,\"\n ],\n [\n \" MACKELWAY (CONT'D) \\n You guys ever heard of evidentiary \\n procedure? \\n \\n No one replies. Charlton approaches. Mackelway tightens, \\n expecting a reprimand for overstepping his bounds. \\n\",\n \" MACKELWAY (CONT'D) \\n That was him. \\n \\n FRAN \\n He called you at home? \\n \\n MACKELWAY \\n Yes. \\n \\n BEEP. Call-Waiting again.\",\n \" Mackelway studies it, his face working. Another of those \\n WHIMPERS from Loretta seems to hang, suspended. Mackelway \\n shakes it off, certain that he's imagining it. \\n\",\n \" Mackelway has some history with her, so he tries not to react. \\n It takes some effort. \\n \\n CHARLTON (CONT'D) \\n Seems your former office has decided we \\n might need some help on this one. So they\",\n \" Those words just hang there, haunting Mackelway. Charlton \\n tears off the sheet with those two words and stuffs them into \\n Mackelway's hand. \\n \\n CHARLTON (CONT'D)\",\n \" He can barely believe it himself, but we get a look at what \\n was in that file now; PAGES are splayed across Mackelway's \\n coffee table: \\n\",\n \" The door bursts open. The greasy bag and the soda fall to the \\n floor. Mackelway hurries to a phone, clutching that file. He \\n dials hurriedly. \\n\",\n \" CHARLTON \\n Oh. 'Fore I forget. This came in for you: \\n \\n He tosses a 9-by-12 ENVELOPE at Mackelway, who opens it. Six \\n sheets of paper slide out. \\n\",\n \" Beneath this newspaper article are OTHER ARTICLES, all \\n concerning Starkey: his crimes, his capture, all of it. \\n \\n Mackelway's memory just got stoked again: \\n\",\n \" MACKELWAY \\n (that stung) \\n Give me the fucking gun! \\n \\n O'Ryan turns, studies him. \\n \\n ...and hands him the gun. Just like that. \\n\",\n \" Mackelway STARES out the window; seems like he just HEARD that \\n scream. Of course, that'd be impossible. He looks to that map. \\n His PHONE RINGS. He eyes it, unsurprised... \\n\",\n \"Mackelway continues, as: \\n \\n FRAN (O.S.) \\n Got nothing on the last fax. \\n \\n Mackelway turns. In comes Fran. \\n \\n FRAN (CONT'D)\",\n \" Mackelway drops his gun, kicks it toward the cop, who doesn't \\n quite know what to make of that. \\n \\n Also confusing him is the odd smile playing its way across \\n Mackelway's face. But we understand it now: \\n\",\n \"Mackelway doesn't know what to do. Then, making matters worse: \\n \\n FRAN (O.S.) \\n (aloud) \\n Mack? \\n \\n She's about a hundred yards away... but she'll be here soon\",\n \" MACKELWAY \\n And what if I told you that the way I'd \\n catch him involved sitting in a dark \\n room, with nothing in front of me but a \\n pad of paper... until I'd tapped into\",\n \"That was unsettling. Very. Mackelway looks around feeling \\n violated, feeling \\\"watched.\\\" He draws the blinds. Double bolts \\n the front door. Runs his hand under the window frame for any \\n kind of wire tapping. \\n\",\n \" MACKWELWAY (CONT'D) \\n Sorry, Sir. There wasn't time. \\n \\n Charlton eyes the car. Then Mackelway. \\n \\n CHARLTON \\n Did the right thing, Agent Mackelway.\",\n \"But Mackelway won't allow himself to over-react. Not now, with \\n O'Ryan on the phone. \\n \\n MACKELWAY \\n (calmly) \\n You tell me. \\n\",\n \"Mackelway is still bracing for torture, or at least combat. So \\n he's a step behind. \\n \\n O'RYAN (CONT'D) \\n We really do have to go. \\n\",\n \" MACKELWAY (CONT'D) \\n locate him, without ever leaving this \\n building, what would you say? \\n \\n CHARLTON \\n I'd say you'd watched too many \\\"X-Files.\\\" \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["What is odd about the way Harold is found dead?","Why was Mackleway suspended?","What do Mackleway and Kulok discover in their research?","Where does the information Mackleway recieve from the killer send him?","Who does O'Ryan end up killing outside the bar?","What is unique about O'Ryan?","Who is the actual Suspect Zero serial killer?","What happens to Mackleway at the carnival?","Who shoots O'Ryan at Suspect zro's ranch?","What is Harold Speck's profession?","Who is found dead after they left the diner?","Who did Mackelway beat in the flashback sequence?","What is the nickname given to the \"super serial killer\"?","What body part does the killer always cut?","What government experiment was O' Ryan part of?","Who shares O' Ryan's special ability?","Whose eyes does O' Ryan begin to see through?","What vehicle does Suspect Zero use to travel around the United States?","Where do O' Brian and Mackelway finally find Suspect Zero?","Where was the child in the truck trailer kidnapped from?","Who kills Suspect Zero?","What does Suspect Zero travel in?","Where does Suspect Zero take his victims?","How does Mackelway realize the victims are transported in a refrigerator?","Who can see the actions of serial killers?","What did Harold have cut off him?","Why did Mackelway receive a six month suspension?","Who is initially suspected of being Suspect Zero?","What was Mackelway receiving with information?"],"string":"[\n \"What is odd about the way Harold is found dead?\",\n \"Why was Mackleway suspended?\",\n \"What do Mackleway and Kulok discover in their research?\",\n \"Where does the information Mackleway recieve from the killer send him?\",\n \"Who does O'Ryan end up killing outside the bar?\",\n \"What is unique about O'Ryan?\",\n \"Who is the actual Suspect Zero serial killer?\",\n \"What happens to Mackleway at the carnival?\",\n \"Who shoots O'Ryan at Suspect zro's ranch?\",\n \"What is Harold Speck's profession?\",\n \"Who is found dead after they left the diner?\",\n \"Who did Mackelway beat in the flashback sequence?\",\n \"What is the nickname given to the \\\"super serial killer\\\"?\",\n \"What body part does the killer always cut?\",\n \"What government experiment was O' Ryan part of?\",\n \"Who shares O' Ryan's special ability?\",\n \"Whose eyes does O' Ryan begin to see through?\",\n \"What vehicle does Suspect Zero use to travel around the United States?\",\n \"Where do O' Brian and Mackelway finally find Suspect Zero?\",\n \"Where was the child in the truck trailer kidnapped from?\",\n \"Who kills Suspect Zero?\",\n \"What does Suspect Zero travel in?\",\n \"Where does Suspect Zero take his victims?\",\n \"How does Mackelway realize the victims are transported in a refrigerator?\",\n \"Who can see the actions of serial killers?\",\n \"What did Harold have cut off him?\",\n \"Why did Mackelway receive a six month suspension?\",\n \"Who is initially suspected of being Suspect Zero?\",\n \"What was Mackelway receiving with information?\"\n]"},"answers":{"kind":"list like","value":[["He has his eyelids removed and is holding a symbol which is a zero with a line through it.","His eyelids are cut off and he is found clutching a circular symbol."],["For beating a suspected serial killer, Raymond Starkley.","He beat a suspected serial killer"],["The possibility that they may be investigating a super serial killer, responsible for deaths in all the states.","the symbol is not a circle, it's a zero"],["To Benjamin O'Ryan, who believes he is a former FBI agent.","To Benjamin O'Ryan"],["Starkey, the serial killer Mackleway had put behind bars but was later released.","Starkey."],["That he can see through the eyes of serial killers and uses that to hunt said killers.","He can see the actions of serial killers"],["A man who travels around the United States in a refrigerated truck kidnapping children.","a man who travels around the U.S. with a refrigerated truck"],["He chases a suspect, only to find it is the wrong person and is then captured by O'Ryan.","A suspect he chases turns out to my his father"],["Kulok, to protect him from hitting her partner.","Kulok"],["Travelling salesman","A traveling salesman"],["Harold Speck","Harold Speck"],["Raymond Starkey","a suspected serial killer"],["Suspect Zero","Suspect Zero"],["Eyelids","eyelids"],["Project Icarus","Project Icarus"],["Mackelway","Mackelway"],["Mackelway","Mackelway's"],["Refrigerated truck","A refrigerated truck."],["His ranch","A carnival"],["A swing.","from a swing"],["Mackelway.","Mackeyway does."],["A refrigerated truck.","He travels in a refrigerated truck."],["To a ranch.","His Ranch"],["The victims have freezer burns.","they had signs of freezer burns on their bodies"],["O'Ryan.","Benjamin O'Ryan"],["His eyelids.","his eyelids"],["He beat a serial killer.","He beat a suspected serial killer"],["O'Ryan.","Benjamin O'Ryan"],["Faxes.","a series of faxes"]],"string":"[\n [\n \"He has his eyelids removed and is holding a symbol which is a zero with a line through it.\",\n \"His eyelids are cut off and he is found clutching a circular symbol.\"\n ],\n [\n \"For beating a suspected serial killer, Raymond Starkley.\",\n \"He beat a suspected serial killer\"\n ],\n [\n \"The possibility that they may be investigating a super serial killer, responsible for deaths in all the states.\",\n \"the symbol is not a circle, it's a zero\"\n ],\n [\n \"To Benjamin O'Ryan, who believes he is a former FBI agent.\",\n \"To Benjamin O'Ryan\"\n ],\n [\n \"Starkey, the serial killer Mackleway had put behind bars but was later released.\",\n \"Starkey.\"\n ],\n [\n \"That he can see through the eyes of serial killers and uses that to hunt said killers.\",\n \"He can see the actions of serial killers\"\n ],\n [\n \"A man who travels around the United States in a refrigerated truck kidnapping children.\",\n \"a man who travels around the U.S. with a refrigerated truck\"\n ],\n [\n \"He chases a suspect, only to find it is the wrong person and is then captured by O'Ryan.\",\n \"A suspect he chases turns out to my his father\"\n ],\n [\n \"Kulok, to protect him from hitting her partner.\",\n \"Kulok\"\n ],\n [\n \"Travelling salesman\",\n \"A traveling salesman\"\n ],\n [\n \"Harold Speck\",\n \"Harold Speck\"\n ],\n [\n \"Raymond Starkey\",\n \"a suspected serial killer\"\n ],\n [\n \"Suspect Zero\",\n \"Suspect Zero\"\n ],\n [\n \"Eyelids\",\n \"eyelids\"\n ],\n [\n \"Project Icarus\",\n \"Project Icarus\"\n ],\n [\n \"Mackelway\",\n \"Mackelway\"\n ],\n [\n \"Mackelway\",\n \"Mackelway's\"\n ],\n [\n \"Refrigerated truck\",\n \"A refrigerated truck.\"\n ],\n [\n \"His ranch\",\n \"A carnival\"\n ],\n [\n \"A swing.\",\n \"from a swing\"\n ],\n [\n \"Mackelway.\",\n \"Mackeyway does.\"\n ],\n [\n \"A refrigerated truck.\",\n \"He travels in a refrigerated truck.\"\n ],\n [\n \"To a ranch.\",\n \"His Ranch\"\n ],\n [\n \"The victims have freezer burns.\",\n \"they had signs of freezer burns on their bodies\"\n ],\n [\n \"O'Ryan.\",\n \"Benjamin O'Ryan\"\n ],\n [\n \"His eyelids.\",\n \"his eyelids\"\n ],\n [\n \"He beat a serial killer.\",\n \"He beat a suspected serial killer\"\n ],\n [\n \"O'Ryan.\",\n \"Benjamin O'Ryan\"\n ],\n [\n \"Faxes.\",\n \"a series of faxes\"\n ]\n]"},"document_id":{"kind":"string","value":"fbe7238d6c4072a8e2a639965cba4daf63a880a1"},"split":{"kind":"string","value":"train"}}},{"rowIdx":68,"cells":{"text":{"kind":"list like","value":[["Camera moves slowly up the anonymous wall of a drab hotel, \n following the line of dim red lights marking the fire exits. \n \n \t\t\tRATSO'S VOICE \n \tName's Joe Buck. Cowboy. Just in","\tYou must be Joe Buck. Come in. \n \n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \n prodigal son as he leads him into the room -- as anonymous as \n Joe's own room. \n","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","still in their wrappers, into a shiny new suitcase of black \n and white horsehide. \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n INT. SUNSHINE CAFETERIA - DAY \n","RALPH, an aging black man, faces a mountain of dirty dishes. \n \n \t\t\tRALPH \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","STILL PHOTOGRAPH \n \n Joe soaking in the tub, eyes closed. \n \n EXT. TIMES SQUARE DANCE HALL - DAY \n \n Joe's radio promises job opportunities for young men eighteen","INT. SUNSHINE CAFETERIA - DAY \n \n Joe's song continues over a sweating WAITRESS, glancing up. \n \n \t\t\tWAITRESS \n \tWhere's that Joe Buck? \n","\t\t\tMANAGER \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n \n Joe hums as he piles a complete wardrobe of cowboy clothes,","of Joe. Joe squirms, restless, trying to lull himself to \n sleep with the music of a revivalist gospel group on the \n radio. \n \n \t\t\tSALLY BUCK'S VOICE ","loud speaker announces a bus \"departing for Texas\" but Joe \n does not move. A policeman taps Joe's boots with his night \n stick. Joe rises and starts away with mixed anger and \n apprehension. \n","Singing as he buttons his new cowboy shirt, Joe interrupts \n himself to answer Ralph... \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n ... continuing his song as he pulls up and zips his tight","Joe awakens, stiff-necked, momentarily confused. He \n straightens in his seat as he sees the old Cowhand lifting a \n sweat-stained saddle down from the overhead rack, starting \n toward the front of the bus. Joe calls after him. \n","black and white as Joe walks into the crowd. \n \n EXT. SALLY BUCK'S BEAUTY SALON - DAY \n \n The FOR RENT sign flapping in the wind. \n \n INT. BAR - DAY \n","behind the counter. It's Joe. \n \n \t\t\tJOE \n \tShee-it. \n \n STILL PHOTOGRAPH \n \n Joe sits in the hotel lobby, staring out at the street,","Joe appears in full figure as the bus passes. He stands \n looking at the suitcases in a luggage shop window. \n \n \t\t\tDESPERATE VOICE \n \tWell, Bill, what I got thinking, I","\t\t\tJOE \n \tTough tiddy, ladies, you had your \n \tchance. \n \n From a high angle -- Joe starts his long walk toward the bus \n depot along the street of a small Western town struggling to","a moment on the lamp post, then starts painfully inching his \n way along the deserted street. \n \n INT. SHIRLEY'S BEDROOM - NIGHT \n \n Joe lies on his back, staring fixedly at a fragile mobile","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","Joe is alone again. The Salesman has disappeared. The bus is \n dark, most-passengers trying to sleep. Only one reading light \n still burns, over the head of the old-Lady in the seat ahead"],["\t\t\tJOE \n \tNow I'm here. I'm in New York City. \n \tGetting picked for things. Don't \n \tyou see what I'm driving at? \n \n \t\t\tRATSO ","STILL PHOTOGRAPH \n \n Joe soaking in the tub, eyes closed. \n \n EXT. TIMES SQUARE DANCE HALL - DAY \n \n Joe's radio promises job opportunities for young men eighteen","\the's God's gift to women. One \n \ttwenty-buck trick and he's already \n \tthe biggest stud in New York City. \n \tIt's laughable. \n \n Joe sets his Stetson on his head.","Camera moves slowly up the anonymous wall of a drab hotel, \n following the line of dim red lights marking the fire exits. \n \n \t\t\tRATSO'S VOICE \n \tName's Joe Buck. Cowboy. Just in","\tYou must be Joe Buck. Come in. \n \n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \n prodigal son as he leads him into the room -- as anonymous as \n Joe's own room. \n","still in their wrappers, into a shiny new suitcase of black \n and white horsehide. \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n INT. SUNSHINE CAFETERIA - DAY \n","EXT. FORTY-SECOND STREET - NIGHT \n \n Joe's radio is at his ear \"... never too late to look great, \n Ben's Bargain Basement's open 'till five a.m., miles and","Singing as he buttons his new cowboy shirt, Joe interrupts \n himself to answer Ralph... \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n ... continuing his song as he pulls up and zips his tight","INT. SUNSHINE CAFETERIA - DAY \n \n Joe's song continues over a sweating WAITRESS, glancing up. \n \n \t\t\tWAITRESS \n \tWhere's that Joe Buck? \n","from a pretty model's head, Joe's quarter runs out and the \n screen goes blank. At the same moment, the love song is cut \n off by a singing station break \"W-I-N-S NEW YORK\" Joe rises,","\tin New York, dammit. Besides, you \n \tlook very elegant... \n \n EXT. STREET CORNER - NIGHT \n \n Joe hardly notices O'Daniel on a far cornet, his whining \n scarcely audible.","\tNew York. \n \n Joe pays. She smiles, gives him change. Joe smiles, starts on \n toward the bus, hardly aware that he has accomplished \n something rare and remarkable for Joe -- a simple human \n contact without fear or threat, a pleasant everyday \n happening.","RALPH, an aging black man, faces a mountain of dirty dishes. \n \n \t\t\tRALPH \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n","up to a close-up of Joe at the window. \n \n EXT. FIFTH AVENUE - DAY \n \n From on high -- as though Joe were watching himself -- the \n Stetson moves through a crowd of Fifth Avenue shoppers... \n","\t\t\tJOE \n \tWhat for? \n \n \t\t\tRATSO \n \tSo you could sleep! I mean Christ! \n \n Joe inspects the boots, seats himself on a battered Army cot ","Joe's radio continues the super-break commercial while a fry \n cook flips flapjacks in the window. \n But Joe's eyes are on a sign DISHWASHER WANTED. Joe looks up \n and his eyes meet those of the young man scraping garbage","revealing a young man very similar to, but clearly not Joe. \n \n EXT. TIMES SQUARE - NIGHT \n \n Colorful lights still flash seductive promise. The vertical, \n lights on the MONY tower reach bottom and freeze momentarily. \n","work, carrying lunch pails, dressed exactly as Joe is now \n dressed... \n \n ... then Joe lowers the blind and seats himself. Ratso nods \n slightly, his voice practically inaudible. \n \n \t\t\tRATSO ","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n"],["Sally Buck fondly wipes lipstick from Joe's lips. \n \n \t\t\tSALLY BUCK \n \tKeep your meat hooks off my \n \toperators, sugar, hear? \n \n INT. BUS - DAY \n","\tYou must be Joe Buck. Come in. \n \n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \n prodigal son as he leads him into the room -- as anonymous as \n Joe's own room. \n","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","Camera moves slowly up the anonymous wall of a drab hotel, \n following the line of dim red lights marking the fire exits. \n \n \t\t\tRATSO'S VOICE \n \tName's Joe Buck. Cowboy. Just in","RALPH, an aging black man, faces a mountain of dirty dishes. \n \n \t\t\tRALPH \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n","STILL PHOTOGRAPH \n \n Joe soaking in the tub, eyes closed. \n \n EXT. TIMES SQUARE DANCE HALL - DAY \n \n Joe's radio promises job opportunities for young men eighteen","Joe's pen wavers, starts to write and stops. \n \n EXT. SALLY BUCK'S BEAUTY PARLOR - DAY \n \n As we saw it last, deserted, a FOR RENT sign in the window.","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","\t\t\tMANAGER \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n \n Joe hums as he piles a complete wardrobe of cowboy clothes,","Joe appears in full figure as the bus passes. He stands \n looking at the suitcases in a luggage shop window. \n \n \t\t\tDESPERATE VOICE \n \tWell, Bill, what I got thinking, I","still in their wrappers, into a shiny new suitcase of black \n and white horsehide. \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n INT. SUNSHINE CAFETERIA - DAY \n","INT. SUNSHINE CAFETERIA - DAY \n \n Joe's song continues over a sweating WAITRESS, glancing up. \n \n \t\t\tWAITRESS \n \tWhere's that Joe Buck? \n","Singing as he buttons his new cowboy shirt, Joe interrupts \n himself to answer Ralph... \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n ... continuing his song as he pulls up and zips his tight","INT. BUS - DAY \n \n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \n frayed collar has taken the aisle seat next to Joe. As he \n lectures Joe on salesmanship, he figures his expenses in a","Joe stands alone, watching the midnight cowboys ply their \n trade. Camera pulls back as Joe turns away and enters a store \n front blood bank, offering ten dollars to blood donors. \n \n INSERT \n","black and white as Joe walks into the crowd. \n \n EXT. SALLY BUCK'S BEAUTY SALON - DAY \n \n The FOR RENT sign flapping in the wind. \n \n INT. BAR - DAY \n","INT. REMEMBERED BEAUTY SALON - ANOTHER TIME \n \n A gawky, adolescent Joe sits sprawled on the couch, leafing \n through a magazine while Sally Buck bleaches the roots of a \n young woman's hair. \n","Little Joe stares unblinking at the TV screen as Sally Buck \n kisses him on the forehead, dressed for the street. \n \n \t\t\tSALLY BUCK \n \tExpect me when you see me. Looks","of Joe. Joe squirms, restless, trying to lull himself to \n sleep with the music of a revivalist gospel group on the \n radio. \n \n \t\t\tSALLY BUCK'S VOICE ","\t\t\tSALLY BUCK \n \tYou look real nice, Joe baby... \n \n INT. HOTEL ROOM - DAY \n \n Joe sings as he pulls on his new cowboy boots, arranging his"],["The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","Florida. Ratso glances toward the growl of a siren O.S. \n \n EXT. BARBIZON FOR WOMEN - NIGHT \n \n A police prowl car slows in front of the hotel. Ratso swings","INT. TENEMENT STAIRS - DAY \n \n Joe carries Ratso down the stairs, wrapped in a blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","he glances at Ratso, frowning, reaches out an arm and puts it \n around Ratso, settling back, staring straight ahead. \n \n \t\t\t\t THE END \n \n \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","Ratso stops opposite the Plaza hotel, pointing across at an \n aristocratic blonde stepping out of a Rolls Royce. \n \n \t\t\tRATSO (CONT'D) \n \tTomorrow when some piece like","EXT. SIDEWALK CAFE - COCKTAIL HOUR \n \n At,the corner of Central Park South, Ratso points toward a \n young man with diamond cuff-links, sitting with a blue-haired","EXT. FLORIDA BEACH FRONT - FANTASY \n \n ... Ratso, like a model in a travel poster, in gaudy sport \n shirt, talking on the phone against a background of hotels... \n","of the shop to search for the nonexistent homburg. Ratso \n quickly drags Joe away from the mirror and out of the shop. \n \n INT. SUBWAY ARCADE - NIGHT \n","bellowing at the snow. \n \n \t\t\tJOE \n \tWhoopee ti yi yo...! \n \n EXT. LOFT BUILDING - NIGHT \n \n Ratso makes his way slowly from the building to the curb,","whistling between his teeth sharply, hailing a cab. The cab \n slows to a stop. Then the driver sees Ratso, shifts into gear \n and drives on. Ratso bites his thumb after the cab, rests for","Ratso's eyes squint in a dazed half-sleep. Joe leans across \n to pull down the shade. He hesitates a moment, watching... \n \n ... past his reflection, a group of young men on their way to","Joe stands in a long line, glancing impatiently at the clock \n while Ratso waits on a bench, wrapped in his blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","across the street with incredible speed to meet Joe as he's \n tossed onto the sidewalk. Ratso picks up the Stetson and \n brushes it off, then helps Joe to his feet. \n \n EXT. SIXTH AVENUE - NIGHT \n","and hails a cab. Ratso darts forward, limping exaggeratedly, \n holding the door, lifting the memo as he brushes off the \n Escort's topcoat. The young man waves him away with out a","glances significantly at the elevator operator. Ratso follows \n Joe to door as the operator grinds to a stop. \n \n INT. WEST SIDE HOTEL CORRIDOR - DUSK \n","\tthrilled. \n \n EXT. TENEMENT NEIGHBORHOOD - DAY \n \n Ratso sits an a stoop while Joe hails a cab. \n \n INT. TOWNY'S BATHROOM - NIGHT \n","Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \n furnished with a table and chair, a rumple of blankets on a \n burnt-out mattress. \n \n \t\t\tRATSO ","\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe"],["\the's God's gift to women. One \n \ttwenty-buck trick and he's already \n \tthe biggest stud in New York City. \n \tIt's laughable. \n \n Joe sets his Stetson on his head.","\t\t\tMANAGER \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n \n Joe hums as he piles a complete wardrobe of cowboy clothes,","still in their wrappers, into a shiny new suitcase of black \n and white horsehide. \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n INT. SUNSHINE CAFETERIA - DAY \n","Singing as he buttons his new cowboy shirt, Joe interrupts \n himself to answer Ralph... \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n ... continuing his song as he pulls up and zips his tight","EXT. FORTY-SECOND STREET - NIGHT \n \n Joe's radio is at his ear \"... never too late to look great, \n Ben's Bargain Basement's open 'till five a.m., miles and","miles of Western styles, worth more at any store, money talks \n and nobody walks.\" For the first time, Joe is aware of the \n other midnight cowboys lurking in doorways, the cruising \n queens, the middle-age men in sport shirts. Joe moves on self","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","Joe appears in full figure as the bus passes. He stands \n looking at the suitcases in a luggage shop window. \n \n \t\t\tDESPERATE VOICE \n \tWell, Bill, what I got thinking, I","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","\t\t\tJOE \n \tNow I'm here. I'm in New York City. \n \tGetting picked for things. Don't \n \tyou see what I'm driving at? \n \n \t\t\tRATSO ","Ratso opens the paper bag, trying to control his shivering, \n pulling out the socks and a suit of long underwear. He sees \n Joe watching him for a reaction. The best Ratso can do is a \n slight shake of his head. \n","Wearing only his boots, Joe sits like an Indian chief, \n wrapped in a blanket -- angle widening to show Ratso, \n spotting Joe's jacket, slacks and shirt with cleaning fluid -- \n his eyes on a very pregnant Italian lady. As she starts to","\t\t\tSALLY BUCK \n \tYou look real nice, Joe baby... \n \n INT. HOTEL ROOM - DAY \n \n Joe sings as he pulls on his new cowboy boots, arranging his","up to a close-up of Joe at the window. \n \n EXT. FIFTH AVENUE - DAY \n \n From on high -- as though Joe were watching himself -- the \n Stetson moves through a crowd of Fifth Avenue shoppers... \n","\tUp the line. Not far. \n \n \t\t\tJOE \n \tI'm bound for New York City. \n \n The Old Cowhand reappraises Joe's wardrobe even more \n curiously. \n","\tcoins. I'm crying. \n \n The owner brings Joe's clean and blocked Stetson from the \n rear of the shop. Joe sets it on his head and examines \n himself in a mirror as the owner hands Ratso, the bill. \n","INT. MEN'S STORE - DAY \n \n ... Joe slaps a bill on the counter, admiring a fine new \n cowboy shirt in the mirror, wriggling new white socks into \n his boots. Suddenly remembering, he goes to the sock rack and","of the shop to search for the nonexistent homburg. Ratso \n quickly drags Joe away from the mirror and out of the shop. \n \n INT. SUBWAY ARCADE - NIGHT \n","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a"],["\tThanks, Joe. \n \n \t\t\tJOE \n \tShee-it, you know, I got this thing \n \tall figured out, Ratso. I mean \n \tRico. When we get to Miami, what","\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","Joe peels a ten from his wallet and offers it to Ratso. \n \n \t\t\tRATSO \n \tJoe, please. You know what I'd ask \n \tanyone else? Oh hell, tell you what","Joe's hand falls on Ratso's shoulder. \n \n \t\t\tJOE \n \tOh, I ain't gonna hit you, I'm \n \tgonna strangle you to death... \n","\ton 'em? I wouldn't touch 'em. \n \n Joe should leave -- Ratso obviously has nothing tangible to \n offer -- but Joe hesitates, lighting a cigarette as Ratso \n pulls on his loafers. \n","his horn. Joe runs recklessly forward as Ratso slams the taxi \n fender with his fist, pretending to be hit, falling into \n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","Ratso steps out with Joe, gesturing to the corridor... \n \n \t\t\tRATSO \n \tHold it a second... \n \n ... but the operator slams the door and starts on up. Ratso","\tten, Joe; just to like cover \n \texpenses... \n \n INT. PUBLIC PHONE BOOTH - DUSK \n \n Ratso is on the phone. Joe holds the door open, listening. \n","The coconut bounces on the floor. Ratso picks it up, holds \n it, while Joe tries to crack it, swinging his boot like a \n hammer. \n \n \t\t\tRATSO \n \tMiami Beach is the only place for a","... Ratso huddled in the overstuffed chair -- wearing the \n stolen sheepskin coat -- wrapped in blankets, his teeth \n chattering, in spite of the sweat on his forehead. Joe stops \n abruptly, his mood shattered by Ratso's alarming condition.","Ratso's mouth. Ratso laughs till he chokes -- for one \n instant, self-consciously, mimicking Joe -- then removes the \n hat and reaches for his threadbare black raincoat. \n \n \t\t\tJOE (CONT'D)","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","of the shop to search for the nonexistent homburg. Ratso \n quickly drags Joe away from the mirror and out of the shop. \n \n INT. SUBWAY ARCADE - NIGHT \n","\t\t\tRATSO \n \tI been sick. Hold this, will ya? \n \n Joe takes his time rising to hold the coconut while Ratso \n tries to poke a hole with a bent ice-pick. \n","Ratso hurls it in a corner. Joe shoves the ten at Ratso. \n \n \t\t\tJOE \n \tGo get your medicine. Before you \n \tdie on my goddam, hands... \n","She takes a dollar from her purse and hands it to Ratso, \n takes Joe's arm and starts down the stairs. Ratso lingers, \n starting quickly through the coats, frisking them for loose \n change. \n","Joe hands Ratso his own comb. Ratso swipes at his tangled \n hair angrily until two teeth break in the comb. He hands the \n comb back, tugs at his hair with his fingers, pats it in \n place, then looks back into Joe's eyes.","back in panic as another man takes a chair next to Joe. Ratso \n is about to retuse when a cop takes the third chair, swinging \n his handcuffs around to the front, tapping his shoe with his \n night stick. Ratso quickly drops a rag over the broken"],["counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","reach the wallet in the drawer. He takes all the money -- \n probably twice what he needs -- desperate to get out of the \n room. \n \n INT. GREYHOUND BUS TERMINAL - DAY \n","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","Joe appears in full figure as the bus passes. He stands \n looking at the suitcases in a luggage shop window. \n \n \t\t\tDESPERATE VOICE \n \tWell, Bill, what I got thinking, I","\t\t\tJOE \n \tTough tiddy, ladies, you had your \n \tchance. \n \n From a high angle -- Joe starts his long walk toward the bus \n depot along the street of a small Western town struggling to","\t\t\tJOE \n \tNice talking to you, old timer. \n \n Joe stuffs a stick of gum in his mouth, turns to wave at the \n Old Cowhand through the window as the bus pulls away. \n","She takes a dollar from her purse and hands it to Ratso, \n takes Joe's arm and starts down the stairs. Ratso lingers, \n starting quickly through the coats, frisking them for loose \n change. \n","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","Joe awakens, stiff-necked, momentarily confused. He \n straightens in his seat as he sees the old Cowhand lifting a \n sweat-stained saddle down from the overhead rack, starting \n toward the front of the bus. Joe calls after him. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","INT. BUS - DAY \n \n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \n frayed collar has taken the aisle seat next to Joe. As he \n lectures Joe on salesmanship, he figures his expenses in a","loud speaker announces a bus \"departing for Texas\" but Joe \n does not move. A policeman taps Joe's boots with his night \n stick. Joe rises and starts away with mixed anger and \n apprehension. \n","Ignored by the driver, Joe rises and walks back to his empty \n double seat, glancing around to see what impression he's made \n on his immediate fellow travelers -- an OLD LADY in front of","\tI want you to have it. For helping \n \tme be good. \n \n INT. GREYHOUND BUS TERMINAL - DAY \n \n It's Joe's turn. The clerk looks at him expectantly. \n","\tlooking at you. It's a fact. How \n \tmuch you need for that taxi? Ten? \n \tTwenty? There you go. \n \n Joe tucks a twenty-dollar bill into her bosom, tilts his","The bus roars into the tunnel. \n \n INT. GREYHOUND BUS - DAY \n \n Joe and Ratso sit near the rear of the bus. Ratso's teeth \n chatter, wrapped in the blanket. \n","\tout. \n \n INT. BUS - NIGHT \n \n Joe shakes his head, grinning, offering the old Cowhand a \n cigarette. \n \n \t\t\tJOE \n \tSmoke? \n","Joe is alone again. The Salesman has disappeared. The bus is \n dark, most-passengers trying to sleep. Only one reading light \n still burns, over the head of the old-Lady in the seat ahead","He glances at Joe, then pulls off the road and stands up. \n \n \t\t\tDRIVER (CONT'D) \n \tOkay, folks, everything's fine. \n \tNothing to worry about. \n","STILL PHOTOGRAPH \n \n Joe soaking in the tub, eyes closed. \n \n EXT. TIMES SQUARE DANCE HALL - DAY \n \n Joe's radio promises job opportunities for young men eighteen"],["he glances at Ratso, frowning, reaches out an arm and puts it \n around Ratso, settling back, staring straight ahead. \n \n \t\t\t\t THE END \n \n \n","INT. TENEMENT STAIRS - DAY \n \n Joe carries Ratso down the stairs, wrapped in a blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","\t\t\tJOE \n \tClose them? \n \n \t\t\tDRIVER \n \tJust reach over and close them. \n \tThat's all. \n \n Joe closes Ratso's eyes. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","INT. X FLAT - NIGHT \n \n Joe and Ratso frozen, wrapped in blankets as... \n \n ... the canned heat dies with a faint puff... \n \n ... water dripping in the tub-sink freezes into an icicle... \n","... the candle burns down and out, leaving the screen dark. \n \n EXT. CONDEMNED TENEMENTS - DAY \n \n Joe and Ratso warm themselves on the smoke and steam rising \n from a subway grating -- watching two officials in fur","across the street with incredible speed to meet Joe as he's \n tossed onto the sidewalk. Ratso picks up the Stetson and \n brushes it off, then helps Joe to his feet. \n \n EXT. SIXTH AVENUE - NIGHT \n","The bus roars into the tunnel. \n \n INT. GREYHOUND BUS - DAY \n \n Joe and Ratso sit near the rear of the bus. Ratso's teeth \n chatter, wrapped in the blanket. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","Ratso hurls it in a corner. Joe shoves the ten at Ratso. \n \n \t\t\tJOE \n \tGo get your medicine. Before you \n \tdie on my goddam, hands... \n","Joe's hand falls on Ratso's shoulder. \n \n \t\t\tJOE \n \tOh, I ain't gonna hit you, I'm \n \tgonna strangle you to death... \n","his horn. Joe runs recklessly forward as Ratso slams the taxi \n fender with his fist, pretending to be hit, falling into \n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","Florida. Ratso glances toward the growl of a siren O.S. \n \n EXT. BARBIZON FOR WOMEN - NIGHT \n \n A police prowl car slows in front of the hotel. Ratso swings","Joe carries Ratso up the steps onto the bus. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n \n Towny's shrill little whisper says... \n \n \t\t\tTOWNY ","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","Joe hands Ratso his own comb. Ratso swipes at his tangled \n hair angrily until two teeth break in the comb. He hands the \n comb back, tugs at his hair with his fingers, pats it in \n place, then looks back into Joe's eyes.","\tthrilled. \n \n EXT. TENEMENT NEIGHBORHOOD - DAY \n \n Ratso sits an a stoop while Joe hails a cab. \n \n INT. TOWNY'S BATHROOM - NIGHT \n","bellowing at the snow. \n \n \t\t\tJOE \n \tWhoopee ti yi yo...! \n \n EXT. LOFT BUILDING - NIGHT \n \n Ratso makes his way slowly from the building to the curb,","\t\t\tRATSO \n \tJust keep your hat on and cry a \n \tlittle. They tip you when it's \n \tover. \n \n Joe and Ratso join the mourners as the funeral moves to the"],["STILL PHOTOGRAPH \n \n Joe soaking in the tub, eyes closed. \n \n EXT. TIMES SQUARE DANCE HALL - DAY \n \n Joe's radio promises job opportunities for young men eighteen","\t\t\tJOE \n \tNow I'm here. I'm in New York City. \n \tGetting picked for things. Don't \n \tyou see what I'm driving at? \n \n \t\t\tRATSO ","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","\tNew York. \n \n Joe pays. She smiles, gives him change. Joe smiles, starts on \n toward the bus, hardly aware that he has accomplished \n something rare and remarkable for Joe -- a simple human \n contact without fear or threat, a pleasant everyday \n happening.","\the's God's gift to women. One \n \ttwenty-buck trick and he's already \n \tthe biggest stud in New York City. \n \tIt's laughable. \n \n Joe sets his Stetson on his head.","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","work, carrying lunch pails, dressed exactly as Joe is now \n dressed... \n \n ... then Joe lowers the blind and seats himself. Ratso nods \n slightly, his voice practically inaudible. \n \n \t\t\tRATSO ","The door marked EMPLOYEES ONLY swings open and Joe appears, \n measuring his effect on the customers and his fellow \n employees as he crosses the sterile white dining room, \n observing the drab details of the life he has left behind -","up to a close-up of Joe at the window. \n \n EXT. FIFTH AVENUE - DAY \n \n From on high -- as though Joe were watching himself -- the \n Stetson moves through a crowd of Fifth Avenue shoppers... \n","behind the counter. It's Joe. \n \n \t\t\tJOE \n \tShee-it. \n \n STILL PHOTOGRAPH \n \n Joe sits in the hotel lobby, staring out at the street,","\t\t\tJOE \n \tWhat for? \n \n \t\t\tRATSO \n \tSo you could sleep! I mean Christ! \n \n Joe inspects the boots, seats himself on a battered Army cot ","EXT. FORTY-SECOND STREET - NIGHT \n \n Joe's radio is at his ear \"... never too late to look great, \n Ben's Bargain Basement's open 'till five a.m., miles and","The room has little to recommend it except its size and large \n French window, through which -- ignored by Joe -- the Mutual \n tower flashes MONY. Towny waves Joe toward the couch, quickly \n slipping several physical culture magazines from the coffee \n table onto a shelf beneath.","revealing a young man very similar to, but clearly not Joe. \n \n EXT. TIMES SQUARE - NIGHT \n \n Colorful lights still flash seductive promise. The vertical, \n lights on the MONY tower reach bottom and freeze momentarily. \n","RATSO studies Joe across the corner of the bar -- a sickly, \n child-size old man of twenty-one -- hopefully nursing an \n empty beer glass, contemplating the money on the bar in front \n of Joe. \n \n \t\t\tRATSO ","Joe cracks his gum, tilts his hat, starts across the street. \n \n \t\t\tRATSO (CONT'D) \n \tGet the money! Remember Cass \n \tTrehune? Cash! These rich bitches","Joe's radio continues the super-break commercial while a fry \n cook flips flapjacks in the window. \n But Joe's eyes are on a sign DISHWASHER WANTED. Joe looks up \n and his eyes meet those of the young man scraping garbage","miles of Western styles, worth more at any store, money talks \n and nobody walks.\" For the first time, Joe is aware of the \n other midnight cowboys lurking in doorways, the cruising \n queens, the middle-age men in sport shirts. Joe moves on self","\t\t\tJOE'S VOICE \n \tMake that twenty-three bucks. \n \n INT. X FLAT - DAY \n \n Joe slams his heel down. The coconut shoots out from under","Ratso's eyes squint in a dazed half-sleep. Joe leans across \n to pull down the shade. He hesitates a moment, watching... \n \n ... past his reflection, a group of young men on their way to"],["STILL PHOTOGRAPH \n \n Joe soaking in the tub, eyes closed. \n \n EXT. TIMES SQUARE DANCE HALL - DAY \n \n Joe's radio promises job opportunities for young men eighteen","from a pretty model's head, Joe's quarter runs out and the \n screen goes blank. At the same moment, the love song is cut \n off by a singing station break \"W-I-N-S NEW YORK\" Joe rises,","The door marked EMPLOYEES ONLY swings open and Joe appears, \n measuring his effect on the customers and his fellow \n employees as he crosses the sterile white dining room, \n observing the drab details of the life he has left behind -","\t\t\tJOE \n \tNow I'm here. I'm in New York City. \n \tGetting picked for things. Don't \n \tyou see what I'm driving at? \n \n \t\t\tRATSO ","Joe rises abruptly, rips up the postcard and tosses it out \n the window. \n \n \t\t\tJOE \n \tGoddam if I came to this town to \n \twrite postcards. \n","work, carrying lunch pails, dressed exactly as Joe is now \n dressed... \n \n ... then Joe lowers the blind and seats himself. Ratso nods \n slightly, his voice practically inaudible. \n \n \t\t\tRATSO ","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","Joe's radio continues the super-break commercial while a fry \n cook flips flapjacks in the window. \n But Joe's eyes are on a sign DISHWASHER WANTED. Joe looks up \n and his eyes meet those of the young man scraping garbage","\t\t\tJOE \n \tWhat for? \n \n \t\t\tRATSO \n \tSo you could sleep! I mean Christ! \n \n Joe inspects the boots, seats himself on a battered Army cot ","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","behind the counter. It's Joe. \n \n \t\t\tJOE \n \tShee-it. \n \n STILL PHOTOGRAPH \n \n Joe sits in the hotel lobby, staring out at the street,","up to a close-up of Joe at the window. \n \n EXT. FIFTH AVENUE - DAY \n \n From on high -- as though Joe were watching himself -- the \n Stetson moves through a crowd of Fifth Avenue shoppers... \n","... Joe is about to hang the dead receiver on its hook when \n on sudden impulse -- he shoves the small end of the receiver \n into the toothless mouth of the man on the floor. \n \n EXT. LINCOLN TUNNEL - DAY \n","\tUp yours, lady. \n \n ... but Joe leaves the lady on, savoring the expensive sound \n of her voice reading the stock quotations. Joe seats himself \n at the desk, pleased to find a postcard photograph of the","loud speaker announces a bus \"departing for Texas\" but Joe \n does not move. A policeman taps Joe's boots with his night \n stick. Joe rises and starts away with mixed anger and \n apprehension. \n","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","revealing a young man very similar to, but clearly not Joe. \n \n EXT. TIMES SQUARE - NIGHT \n \n Colorful lights still flash seductive promise. The vertical, \n lights on the MONY tower reach bottom and freeze momentarily. \n","EXT. TEXAS TOWN MAIN STREET - DAY \n \n Joe leaves the hotel, carrying his suitcase. \n \n INT. CAFETERIA SCULLERY - DAY \n \n The pink Manager points at his watch angrily. \n","\the's God's gift to women. One \n \ttwenty-buck trick and he's already \n \tthe biggest stud in New York City. \n \tIt's laughable. \n \n Joe sets his Stetson on his head.","The room has little to recommend it except its size and large \n French window, through which -- ignored by Joe -- the Mutual \n tower flashes MONY. Towny waves Joe toward the couch, quickly \n slipping several physical culture magazines from the coffee \n table onto a shelf beneath."],["\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe","Joe hands Ratso his own comb. Ratso swipes at his tangled \n hair angrily until two teeth break in the comb. He hands the \n comb back, tugs at his hair with his fingers, pats it in \n place, then looks back into Joe's eyes.","Ratso opens the paper bag, trying to control his shivering, \n pulling out the socks and a suit of long underwear. He sees \n Joe watching him for a reaction. The best Ratso can do is a \n slight shake of his head. \n","As if by conditioned reflex, Ratso chokes on the cigarette in \n his mouth, coughing painfully. He crushes it out, opens the \n window to spit, shivering, then slam it and turns back to \n remove the towel from Joe's neck.","Joe peels a ten from his wallet and offers it to Ratso. \n \n \t\t\tRATSO \n \tJoe, please. You know what I'd ask \n \tanyone else? Oh hell, tell you what","Joe's hand falls on Ratso's shoulder. \n \n \t\t\tJOE \n \tOh, I ain't gonna hit you, I'm \n \tgonna strangle you to death... \n","Ratso is trembling so violently that the sou, starts to slop \n over. Joe takes it and sets it on the table. \n \n \t\t\tJOE \n \tOkay. Here it is. You gonna go see","Joe pulls out his shirttail, grabs Ratso by the neck and rubs \n his head dry. \n \n \t\t\tJOE (CONT'D) \n \tYou got a comb? \n \n \t\t\tRATSO ","is frowning at Ratso, who shivers despite the bright sun. \n \n \t\t\tJOE \n \tIf you have to shiver, why don't \n \tyou pull the blanket up more? \n \n \t\t\tRATSO ","Ratso hurls it in a corner. Joe shoves the ten at Ratso. \n \n \t\t\tJOE \n \tGo get your medicine. Before you \n \tdie on my goddam, hands... \n","\ton 'em? I wouldn't touch 'em. \n \n Joe should leave -- Ratso obviously has nothing tangible to \n offer -- but Joe hesitates, lighting a cigarette as Ratso \n pulls on his loafers. \n","thing they'd ever heard. Then Ratso's face pales as he starts \n to choke and cough. Joe pats him on the back. \n \n \t\t\tJOE (CONT'D) \n \tHey, what size pants you wear? \n","Ratso removes his loafers and shakes them, glancing at the \n counter man. His socks don't even conceal his toes. \n Disgusted, Joe shoves Ratso's small pile back at him. \n","Joe glances at Ratso, but there is no response. \n Surreptitiously, Joe takes out a cigarette, turns his face \n away from Ratso and lights it, hiding it cupped in his hand \n as he smokes. \n","She takes a dollar from her purse and hands it to Ratso, \n takes Joe's arm and starts down the stairs. Ratso lingers, \n starting quickly through the coats, frisking them for loose \n change. \n","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","... Ratso huddled in the overstuffed chair -- wearing the \n stolen sheepskin coat -- wrapped in blankets, his teeth \n chattering, in spite of the sweat on his forehead. Joe stops \n abruptly, his mood shattered by Ratso's alarming condition.","Joe frowns in his sleep, awakens, lifts his Stetson to see \n Ratso wide awake, in misery, wiping tears from his eyes. \n \n \t\t\tJOE \n \tHey -- whatsa matter? \n","across the street with incredible speed to meet Joe as he's \n tossed onto the sidewalk. Ratso picks up the Stetson and \n brushes it off, then helps Joe to his feet. \n \n EXT. SIXTH AVENUE - NIGHT \n","Ratso's mouth. Ratso laughs till he chokes -- for one \n instant, self-consciously, mimicking Joe -- then removes the \n hat and reaches for his threadbare black raincoat. \n \n \t\t\tJOE (CONT'D)"],["Joe laughs, driving an obscene uppercut into the air. \n O'Daniel laughs with him. \n \n \t\t\tO'DANIEL (CONT'D) \n \tYou're a wonderful boy. You'n me","... Jackie shrieking \"He loves her he loves her\"... \n ... hands closing on Joe's buttocks... \n ... hand closing on Joe's naked left foot... \n ... hand on naked right foot... ","like a bad little boy. Joe backhands him angrily. Trying to \n duck the blow, Towny stumbles and slips to the floor, but \n grabs the table in his arms, watching Joe out of the corner","... dentist leaning over Joe's mouth... \n ... hands pulling Joe's legs apart... \n \n Zoom close-up -- Anastasia screaming soundlessly... \n ... thermometer under Little Joe's tongue... ","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","RATSO studies Joe across the corner of the bar -- a sickly, \n child-size old man of twenty-one -- hopefully nursing an \n empty beer glass, contemplating the money on the bar in front \n of Joe. \n \n \t\t\tRATSO ","\tThank you, Joe. \n \n ... provoking Joe to glance back. Towny is reaching for the \n telephone, his eyes on Joe with wild brightness, holding his \n hand on the receiver. Joe knocks the phone from his hand,","But he clutches the table wildly. His mother's picture falls \n unnoticed. Joe stands in panic, sickened, unable to fulfill \n the role Towny has assigned him. \n \n \t\t\tTOWNY (CONT'D)","... the receding flash of its turret light revealing Joe in \n close conversation with a frightened young FAT BOY, whose \n eyes plead for reassurance as Joe scowls. \n \n INT. ROOM 1014 - DAY \n","Shirley leans on one elbow, looking at Joe sympathetically, \n fighting an almost irrepressible desire to laugh. Still \n avoiding Shirley's eyes, Joe finds a cigarette on the side \n table, searches for matches. \n","Joe tries to laugh but it sticks in his throat as Cass speaks \n -- an impassioned whisper -- still holding Joe's chin. \n \n \t\t\tCASS \n \tYou bastard! You son of a bitch!","\t\t\tJOE (CONT'D) \n \tThey picked me. The only one in the \n \twhole goddam place. You see how \n \tthey looked me over, up and down \n \tbefore they give me that? \n","a moment on the lamp post, then starts painfully inching his \n way along the deserted street. \n \n INT. SHIRLEY'S BEDROOM - NIGHT \n \n Joe lies on his back, staring fixedly at a fragile mobile","of his eyes, whimpering. Joe grabs his hair, turning his face \n up. \n \n \t\t\tJOE \n \tLet go. Let go of the table. \n","work, carrying lunch pails, dressed exactly as Joe is now \n dressed... \n \n ... then Joe lowers the blind and seats himself. Ratso nods \n slightly, his voice practically inaudible. \n \n \t\t\tRATSO ","Joe slaps him, but Towny clings more fiercely to the table as \n Joe tries to jerk it free. Joe strikes him with his fist. \n \n \t\t\tTOWNY \n \tI deserved that, I know I did. \n","of Joe. Joe squirms, restless, trying to lull himself to \n sleep with the music of a revivalist gospel group on the \n radio. \n \n \t\t\tSALLY BUCK'S VOICE ","Joe faces MISS BEECHAM, a reserved and rather plain young \n lady in evening dress, She tries to speak softly. \n \n \t\t\tMISS BEECHAM \n \tI'm afraid there's been a terrible","Ignored by the driver, Joe rises and walks back to his empty \n double seat, glancing around to see what impression he's made \n on his immediate fellow travelers -- an OLD LADY in front of","over to release her seat, then pulls her blanket around her \n and turns away from him. Joe switches off her reading light. \n \n \t\t\tOLD LADY \n \tI want it on. \n"],["\t\t\tRATSO \n \tYou and my old man. Same kinda \n \tmind. Putting me down till the day \n \the died... \n \t\t(mimics) \n \t... why can't you be like your","Ratso opens the paper bag, trying to control his shivering, \n pulling out the socks and a suit of long underwear. He sees \n Joe watching him for a reaction. The best Ratso can do is a \n slight shake of his head. \n","\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","Joe hands Ratso his own comb. Ratso swipes at his tangled \n hair angrily until two teeth break in the comb. He hands the \n comb back, tugs at his hair with his fingers, pats it in \n place, then looks back into Joe's eyes.","... Ratso huddled in the overstuffed chair -- wearing the \n stolen sheepskin coat -- wrapped in blankets, his teeth \n chattering, in spite of the sweat on his forehead. Joe stops \n abruptly, his mood shattered by Ratso's alarming condition.","work, carrying lunch pails, dressed exactly as Joe is now \n dressed... \n \n ... then Joe lowers the blind and seats himself. Ratso nods \n slightly, his voice practically inaudible. \n \n \t\t\tRATSO ","whistling between his teeth sharply, hailing a cab. The cab \n slows to a stop. Then the driver sees Ratso, shifts into gear \n and drives on. Ratso bites his thumb after the cab, rests for","Joe glances at Ratso, but there is no response. \n Surreptitiously, Joe takes out a cigarette, turns his face \n away from Ratso and lights it, hiding it cupped in his hand \n as he smokes. \n","his hat to two nuns, guiltily hurrying to overtake Ratso at \n ibis father's grave, indistinguishable from the other graves \n except for the name on the headstone. Ratso places the floral","Ratso points to the boots on the floor by the mattress. \n \n \t\t\tJOB \n \tHow'd they get off me? \n \n \t\t\tRATSO \n \tI took 'em off. \n","\t\t\tRATSO \n \tI been sick. Hold this, will ya? \n \n Joe takes his time rising to hold the coconut while Ratso \n tries to poke a hole with a bent ice-pick. \n","thing they'd ever heard. Then Ratso's face pales as he starts \n to choke and cough. Joe pats him on the back. \n \n \t\t\tJOE (CONT'D) \n \tHey, what size pants you wear? \n","his horn. Joe runs recklessly forward as Ratso slams the taxi \n fender with his fist, pretending to be hit, falling into \n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,","Ratso leans over the tub-sink, dry-heaving while he coughs, \n wearing a sheepskin coat much too large for him. He controls \n the cough with effort -- hearing the door open and close O.S.","Ratso removes his loafers and shakes them, glancing at the \n counter man. His socks don't even conceal his toes. \n Disgusted, Joe shoves Ratso's small pile back at him. \n","Ratso's mouth. Ratso laughs till he chokes -- for one \n instant, self-consciously, mimicking Joe -- then removes the \n hat and reaches for his threadbare black raincoat. \n \n \t\t\tJOE (CONT'D)","Ratso automatically checks the coin return boxes of the phone \n booths they pass. Walking the park side of the street, \n looking across at the limousines and taxis waiting outside \n luxury hotels and apartment buildings. \n \n \t\t\tJOE","\tAnd keep your meat hooks off my \n \tradio. \n \n EXT. VEGETABLE MARKET - DAY \n \n Ratso wears a threadbare raincoat of faded black, several","\t\t\tRATSO'S VOICE \n \tI gotta sit down. I feel crummy. \n \n Ratso stretched out on a Victorian love seat -- the flower \n girl walking unsteadily, passing out dead daffodils, placing"],["The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","Florida. Ratso glances toward the growl of a siren O.S. \n \n EXT. BARBIZON FOR WOMEN - NIGHT \n \n A police prowl car slows in front of the hotel. Ratso swings","INT. TENEMENT STAIRS - DAY \n \n Joe carries Ratso down the stairs, wrapped in a blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","he glances at Ratso, frowning, reaches out an arm and puts it \n around Ratso, settling back, staring straight ahead. \n \n \t\t\t\t THE END \n \n \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","Ratso stops opposite the Plaza hotel, pointing across at an \n aristocratic blonde stepping out of a Rolls Royce. \n \n \t\t\tRATSO (CONT'D) \n \tTomorrow when some piece like","EXT. SIDEWALK CAFE - COCKTAIL HOUR \n \n At,the corner of Central Park South, Ratso points toward a \n young man with diamond cuff-links, sitting with a blue-haired","EXT. FLORIDA BEACH FRONT - FANTASY \n \n ... Ratso, like a model in a travel poster, in gaudy sport \n shirt, talking on the phone against a background of hotels... \n","of the shop to search for the nonexistent homburg. Ratso \n quickly drags Joe away from the mirror and out of the shop. \n \n INT. SUBWAY ARCADE - NIGHT \n","bellowing at the snow. \n \n \t\t\tJOE \n \tWhoopee ti yi yo...! \n \n EXT. LOFT BUILDING - NIGHT \n \n Ratso makes his way slowly from the building to the curb,","whistling between his teeth sharply, hailing a cab. The cab \n slows to a stop. Then the driver sees Ratso, shifts into gear \n and drives on. Ratso bites his thumb after the cab, rests for","Ratso's eyes squint in a dazed half-sleep. Joe leans across \n to pull down the shade. He hesitates a moment, watching... \n \n ... past his reflection, a group of young men on their way to","Joe stands in a long line, glancing impatiently at the clock \n while Ratso waits on a bench, wrapped in his blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","across the street with incredible speed to meet Joe as he's \n tossed onto the sidewalk. Ratso picks up the Stetson and \n brushes it off, then helps Joe to his feet. \n \n EXT. SIXTH AVENUE - NIGHT \n","and hails a cab. Ratso darts forward, limping exaggeratedly, \n holding the door, lifting the memo as he brushes off the \n Escort's topcoat. The young man waves him away with out a","glances significantly at the elevator operator. Ratso follows \n Joe to door as the operator grinds to a stop. \n \n INT. WEST SIDE HOTEL CORRIDOR - DUSK \n","\tthrilled. \n \n EXT. TENEMENT NEIGHBORHOOD - DAY \n \n Ratso sits an a stoop while Joe hails a cab. \n \n INT. TOWNY'S BATHROOM - NIGHT \n","Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \n furnished with a table and chair, a rumple of blankets on a \n burnt-out mattress. \n \n \t\t\tRATSO ","\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe"],["they are disappearing around the corner. Joe hands the card \n to Ratso. \n \n \t\t\tJOE \n \tYou wanna read something, read \n \tthis. I been invited somewhere. \n","\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe","Ratso heads for the refreshment table. Joe starts after him \n but pauses, intrigued by an alcove under the balcony where a \n light show is in progress -- surreal images of naked bodies \n projected against abstract currents of color and strobe \n light... \n","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \n furnished with a table and chair, a rumple of blankets on a \n burnt-out mattress. \n \n \t\t\tRATSO ","\tten, Joe; just to like cover \n \texpenses... \n \n INT. PUBLIC PHONE BOOTH - DUSK \n \n Ratso is on the phone. Joe holds the door open, listening. \n","Snow swirls in the aureole of a street light as Joe and Ratso \n run, heads lowered, turning into... \n \n INT. LOFT BUILDING - NIGHT \n \n ... a drab entrance hall, dimly lit -- signs identifying","Joe and Ratso peer down through a basement bay window, into \n the office of THE PERFECT GENTLEMAN ESCORT SERVICE -- \n endorsed by leading travel agencies and credit clubs offering \n discreet companionship and personal guided tours in any","across the street with incredible speed to meet Joe as he's \n tossed onto the sidewalk. Ratso picks up the Stetson and \n brushes it off, then helps Joe to his feet. \n \n EXT. SIXTH AVENUE - NIGHT \n","Joe stands in a long line, glancing impatiently at the clock \n while Ratso waits on a bench, wrapped in his blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","A bank of lights blinds Joe and Ratso as they enter -- \n electronic rock blasts their ears -- a bearded cameraman on a \n step-ladder photographs them as they stand confused -- facing \n a monstrous collage of tabloid photos blown up, showing the","INT. TENEMENT STAIRS - DAY \n \n Joe carries Ratso down the stairs, wrapped in a blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","various commercial tenants -- a pink-on-black placard reading \n MACALBERTSON, TWO FLIGHTS UP. Joe has started up before he \n notices Ratso, leaning on the bannister at the foot of the","They simply stare at each other for a moment, then Joe turns \n away to see soup heating on the Sterno stove. Joe tosses one \n of his paper bags onto Ratso's lap... \n \n \t\t\tJOE ","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","Ratso's eyes squint in a dazed half-sleep. Joe leans across \n to pull down the shade. He hesitates a moment, watching... \n \n ... past his reflection, a group of young men on their way to","\t\t\tJOE \n \tYou couldn't lift fly specks from a \n \tsugar bowl. Can you hold this? \n \n Joe hands Ratso the soup. Ratso seems steadied by the warmth","\tThat's what I said, Ratso. \n \n \t\t\tJOE \n \t\t (suddenly) \n \tHey now, you heard him. \n \n On the TV screen -- the Date Girl announces: \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","... Ratso laughing as police beat Joe... \n \n INT. X FLAT - NIGHT \n \n Joe awakens in a cold sweat, fighting the blankets, wild-eyed \n as he sees Ratso at the table, examining Joe's radio by"],["... her feet suddenly flying up into view... \n \n ... her hand tugging rhythmically at the blanket... \n \n ... her other hand wildly exploring Joe's back... \n \n ... her ankles locking spasmodically... \n","... Jackie shrieking \"He loves her he loves her\"... \n ... hands closing on Joe's buttocks... \n ... hand closing on Joe's naked left foot... \n ... hand on naked right foot... ","Joe leans over the bed, whispering in her ear: \n \n \t\t\tJOE (CONT'D) \n \tHey. You are a gorgeous-looking \n \tpiece, Cass. Guy gets horny, just","a moment on the lamp post, then starts painfully inching his \n way along the deserted street. \n \n INT. SHIRLEY'S BEDROOM - NIGHT \n \n Joe lies on his back, staring fixedly at a fragile mobile","it quickly as Joe sits up, looking at her. \n \n \t\t\tJOE (CONT'D) \n \tYou think I'm lying! \n \n \t\t\tSHIRLEY \n \t\t(controls herself)","... her eyes and mouth wide, gaping... \n \n ... the blanket suddenly ripping free, flying into the air as \n her arm flings itself around Joe... \n \n ... the bedclothes spilling down around them, muffling her \n ascending shrieks.","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","... Joe is about to hang the dead receiver on its hook when \n on sudden impulse -- he shoves the small end of the receiver \n into the toothless mouth of the man on the floor. \n \n EXT. LINCOLN TUNNEL - DAY \n","\tThank you, Joe. \n \n ... provoking Joe to glance back. Towny is reaching for the \n telephone, his eyes on Joe with wild brightness, holding his \n hand on the receiver. Joe knocks the phone from his hand,","wail of pleasure -- Joe's problem is solved. Joe's love theme \n swells triumphant. At the same time, Shirley half-rises, \n trying to force Joe's head down, her own on top. The issue is","\tWell, you're out of your mind. I am \n \ta gorgeous chick, thirty-one, \n \tthat's right, you said it! \n \n Sobbing suddenly, she throws herself on the bed. Joe stands","\t\t\tJOE \n \tDon't rush me. How I do it, see, I \n \tget myself primed, like I was \n \tturning on the charm for some \n \tpretty little blonde lady, then","Joe stands naked in the middle of traffic. A siren shrills. \n Anastasia, catatonic in a hospital smock, moves toward Joe \n like a sleepwalker, passing through him. \n \n INT. LAUNDROMAT - DAY \n","Shirley leans on one elbow, looking at Joe sympathetically, \n fighting an almost irrepressible desire to laugh. Still \n avoiding Shirley's eyes, Joe finds a cigarette on the side \n table, searches for matches. \n","As if by conditioned reflex, Ratso chokes on the cigarette in \n his mouth, coughing painfully. He crushes it out, opens the \n window to spit, shivering, then slam it and turns back to \n remove the towel from Joe's neck.","Joe tries to laugh but it sticks in his throat as Cass speaks \n -- an impassioned whisper -- still holding Joe's chin. \n \n \t\t\tCASS \n \tYou bastard! You son of a bitch!","Joe grins as he hears remembered sounds and voices incomplete \n flashes, more significant in tone than content a girl \n giggling sexily -- \"Keep your meat hooks off my beauty \n operators, sugar\" -- tinkling noises of a busy beauty parlor ","\tI'm just out of breath, honey, \n \trunning to catch the phone. \n \n As her fingers reach for Joe's zipper, cut to... \n \n ... Joe's hand unzipping her dress. \n","\tBut seems to me that's more the \n \tfish smell than the bouncing... \n \n Joe realizes that her eyes are closed. Mildly depressed, he \n stretches himself across both seats and turns on his radio,","... Joe laughing as he falls lopsidedly... \n \n ... Shirley laughing triumphantly... \n \n ... his hand closing on her wrist... \n \n ... her talon-nails clawing the air... \n \n ... her toes walking up his calf..."],["The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","reach the wallet in the drawer. He takes all the money -- \n probably twice what he needs -- desperate to get out of the \n room. \n \n INT. GREYHOUND BUS TERMINAL - DAY \n","\tMiami... \n \t\t(looks at watch) \n \t... in forty minutes. \n \n INT. GREYHOUND BUS - DAY \n \n Joe sits stiffly, very frightened, as the bus starts on. Then","Joe appears in full figure as the bus passes. He stands \n looking at the suitcases in a luggage shop window. \n \n \t\t\tDESPERATE VOICE \n \tWell, Bill, what I got thinking, I","INT. BUS - DAY \n \n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \n frayed collar has taken the aisle seat next to Joe. As he \n lectures Joe on salesmanship, he figures his expenses in a","\t\t\tJOE \n \tTough tiddy, ladies, you had your \n \tchance. \n \n From a high angle -- Joe starts his long walk toward the bus \n depot along the street of a small Western town struggling to","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","loud speaker announces a bus \"departing for Texas\" but Joe \n does not move. A policeman taps Joe's boots with his night \n stick. Joe rises and starts away with mixed anger and \n apprehension. \n","Joe is alone again. The Salesman has disappeared. The bus is \n dark, most-passengers trying to sleep. Only one reading light \n still burns, over the head of the old-Lady in the seat ahead","\t\t\tJOE \n \tNice talking to you, old timer. \n \n Joe stuffs a stick of gum in his mouth, turns to wave at the \n Old Cowhand through the window as the bus pulls away. \n","\t\t\tJOE \n \tWhen I put you on that bus down to \n \tFlorida tonight, that'll be the \n \thappiest day of my life! \n \n INT. PHONE BOOTH - DAY \n","EXT. SMALL TOWN STREET - DAY \n \n The bus is parked in the distance. Joe comes from a clothing \n store, bare-headed, wearing plain slacks and sport-shirt. He","EXT. HIGHWAY - DAWN \n \n The bus passes a Florida hotel sign too swiftly to read it. \n \n INT. GREYHOUND BUS - DAWN \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","Joe awakens, stiff-necked, momentarily confused. He \n straightens in his seat as he sees the old Cowhand lifting a \n sweat-stained saddle down from the overhead rack, starting \n toward the front of the bus. Joe calls after him. \n","\tWell, he is, he's sicker'n shee-it. \n \tAnd I've gotta get him South quick \n \tas I can... \n \n INT. GREYHOUND BUS TERMINAL - DAY \n","She takes a dollar from her purse and hands it to Ratso, \n takes Joe's arm and starts down the stairs. Ratso lingers, \n starting quickly through the coats, frisking them for loose \n change. \n","The bus roars into the tunnel. \n \n INT. GREYHOUND BUS - DAY \n \n Joe and Ratso sit near the rear of the bus. Ratso's teeth \n chatter, wrapped in the blanket. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n"],["\tMiami... \n \t\t(looks at watch) \n \t... in forty minutes. \n \n INT. GREYHOUND BUS - DAY \n \n Joe sits stiffly, very frightened, as the bus starts on. Then","\t\t\tDRIVER (CONT'D) \n \tI guess we'll just drive on, right? \n \tNothing else to do. \n \n \t\t\tJOE \n \tNo, sir. Not till Miami. I'll see","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","to a lighted sign -- TEMPERATURE IN MIAMI BEACH, FLORIDA 89 \n DEGREES -- their pace slowing to a dead stop... \n \n INT. X FLAT - NIGHT \n","\tThanks, Joe. \n \n \t\t\tJOE \n \tShee-it, you know, I got this thing \n \tall figured out, Ratso. I mean \n \tRico. When we get to Miami, what","EXT. HIGHWAY - DAWN \n \n The bus passes a Florida hotel sign too swiftly to read it. \n \n INT. GREYHOUND BUS - DAWN \n","Palm trees are streaking past the window. The sun is glaring \n hot. A group of kids in bare feet and straw hats wave to the \n bus as it passes. \n \n INT. GREYHOUND BUS - DAY \n","Florida. Ratso glances toward the growl of a siren O.S. \n \n EXT. BARBIZON FOR WOMEN - NIGHT \n \n A police prowl car slows in front of the hotel. Ratso swings","The coconut bounces on the floor. Ratso picks it up, holds \n it, while Joe tries to crack it, swinging his boot like a \n hammer. \n \n \t\t\tRATSO \n \tMiami Beach is the only place for a","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","The bus roars into the tunnel. \n \n INT. GREYHOUND BUS - DAY \n \n Joe and Ratso sit near the rear of the bus. Ratso's teeth \n chatter, wrapped in the blanket. \n","From a high angle -- the two figures move slowly along the \n deserted avenue, their rhythmic musical duet growing more and \n more faint in the distance, a broken grasshopper and a six \n foot tarnished cowboy -- passing a tuxedo rental store, next","A bank of lights blinds Joe and Ratso as they enter -- \n electronic rock blasts their ears -- a bearded cameraman on a \n step-ladder photographs them as they stand confused -- facing \n a monstrous collage of tabloid photos blown up, showing the","The rhythmic duet of boots and loafers follows Joe and Ratso \n - checking coin boxes and telephone booths -- till they reach \n a shoeshine stand, locked for the night. They loiter till a \n young couple has disappeared, then Joe kicks loose 'the","They both smile. It isn't funny enough to laugh at. Joe \n arranges the blanket, takes out a package of cigarettes, \n glances at Ratso and puts it away. \n \n EXT. TRAVELING SHOT WITH BUS - DAY \n","Joe stands naked in the middle of traffic. A siren shrills. \n Anastasia, catatonic in a hospital smock, moves toward Joe \n like a sleepwalker, passing through him. \n \n INT. LAUNDROMAT - DAY \n","reach the wallet in the drawer. He takes all the money -- \n probably twice what he needs -- desperate to get out of the \n room. \n \n INT. GREYHOUND BUS TERMINAL - DAY \n","... the receding flash of its turret light revealing Joe in \n close conversation with a frightened young FAT BOY, whose \n eyes plead for reassurance as Joe scowls. \n \n INT. ROOM 1014 - DAY \n","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","Florida shirt. In the middle of the operation, Ratso dozes \n off. Joe shakes his head, scowling, annoyed, but continues, \n lifting Ratso enough to slide the pants around his waist. \n Ratso awakens as Joe zips the fly. \n"],["\tMiami... \n \t\t(looks at watch) \n \t... in forty minutes. \n \n INT. GREYHOUND BUS - DAY \n \n Joe sits stiffly, very frightened, as the bus starts on. Then","carries the boots, Stetson and cowboy suit in one hand, a \n bundle under his arm. He dumps his cowboy regalia in the \n trash bin of a sandwich stand and calls to the WAITRESS. \n \n \t\t\tJOE","Florida shirt. In the middle of the operation, Ratso dozes \n off. Joe shakes his head, scowling, annoyed, but continues, \n lifting Ratso enough to slide the pants around his waist. \n Ratso awakens as Joe zips the fly. \n","Ratso opens the paper bag, trying to control his shivering, \n pulling out the socks and a suit of long underwear. He sees \n Joe watching him for a reaction. The best Ratso can do is a \n slight shake of his head. \n","EXT. SMALL TOWN STREET - DAY \n \n The bus is parked in the distance. Joe comes from a clothing \n store, bare-headed, wearing plain slacks and sport-shirt. He","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","Wearing only his boots, Joe sits like an Indian chief, \n wrapped in a blanket -- angle widening to show Ratso, \n spotting Joe's jacket, slacks and shirt with cleaning fluid -- \n his eyes on a very pregnant Italian lady. As she starts to","\t\t\tDRIVER (CONT'D) \n \tI guess we'll just drive on, right? \n \tNothing else to do. \n \n \t\t\tJOE \n \tNo, sir. Not till Miami. I'll see","Joe appears in full figure as the bus passes. He stands \n looking at the suitcases in a luggage shop window. \n \n \t\t\tDESPERATE VOICE \n \tWell, Bill, what I got thinking, I","while he tries to smash it with the heel of his boot. \n \n \t\t\tJOE (CONT'D) \n \tThat's why you gonna stop crapping \n \tabout Florida and get your skinny","\tThanks, Joe. \n \n \t\t\tJOE \n \tShee-it, you know, I got this thing \n \tall figured out, Ratso. I mean \n \tRico. When we get to Miami, what","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","work, carrying lunch pails, dressed exactly as Joe is now \n dressed... \n \n ... then Joe lowers the blind and seats himself. Ratso nods \n slightly, his voice practically inaudible. \n \n \t\t\tRATSO ","herself against Joe as she wriggles out of her dress, passing \n the phone from one hand to the other. \n \n \t\t\tCASS (CONT'D) \n \tOkay, old goosie? Now lookie, when","... Joe is about to hang the dead receiver on its hook when \n on sudden impulse -- he shoves the small end of the receiver \n into the toothless mouth of the man on the floor. \n \n EXT. LINCOLN TUNNEL - DAY \n","... Ratso huddled in the overstuffed chair -- wearing the \n stolen sheepskin coat -- wrapped in blankets, his teeth \n chattering, in spite of the sweat on his forehead. Joe stops \n abruptly, his mood shattered by Ratso's alarming condition.","Joe stands naked in the middle of traffic. A siren shrills. \n Anastasia, catatonic in a hospital smock, moves toward Joe \n like a sleepwalker, passing through him. \n \n INT. LAUNDROMAT - DAY \n"],["\tYou must be Joe Buck. Come in. \n \n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \n prodigal son as he leads him into the room -- as anonymous as \n Joe's own room. \n","Camera moves slowly up the anonymous wall of a drab hotel, \n following the line of dim red lights marking the fire exits. \n \n \t\t\tRATSO'S VOICE \n \tName's Joe Buck. Cowboy. Just in","Singing as he buttons his new cowboy shirt, Joe interrupts \n himself to answer Ralph... \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n ... continuing his song as he pulls up and zips his tight","INT. SUNSHINE CAFETERIA - DAY \n \n Joe's song continues over a sweating WAITRESS, glancing up. \n \n \t\t\tWAITRESS \n \tWhere's that Joe Buck? \n","of Joe. Joe squirms, restless, trying to lull himself to \n sleep with the music of a revivalist gospel group on the \n radio. \n \n \t\t\tSALLY BUCK'S VOICE ","RALPH, an aging black man, faces a mountain of dirty dishes. \n \n \t\t\tRALPH \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n","\t\t\tMANAGER \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n \n Joe hums as he piles a complete wardrobe of cowboy clothes,","Sally Buck fondly wipes lipstick from Joe's lips. \n \n \t\t\tSALLY BUCK \n \tKeep your meat hooks off my \n \toperators, sugar, hear? \n \n INT. BUS - DAY \n","INT. REMEMBERED BEAUTY SALON - ANOTHER TIME \n \n A gawky, adolescent Joe sits sprawled on the couch, leafing \n through a magazine while Sally Buck bleaches the roots of a \n young woman's hair. \n","still in their wrappers, into a shiny new suitcase of black \n and white horsehide. \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n INT. SUNSHINE CAFETERIA - DAY \n","Little Joe stares unblinking at the TV screen as Sally Buck \n kisses him on the forehead, dressed for the street. \n \n \t\t\tSALLY BUCK \n \tExpect me when you see me. Looks","\the's God's gift to women. One \n \ttwenty-buck trick and he's already \n \tthe biggest stud in New York City. \n \tIt's laughable. \n \n Joe sets his Stetson on his head.","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","Little Joe is cuddled in Sally Buck's arms, under the covers, \n watching Woodsy, sitting cross-legged on the bed, naked \n except for his Stetson and guitar, singing drunkenly. \n \n \t\t\tWOODSY","\tReady for hard work, son? \n \n \t\t\tJOE \n \tReady for anything. \n \n \t\t\tO'DANIEL \n \tI got a hunch, Joe Buck, it's gonna","STILL PHOTOGRAPH \n \n Joe soaking in the tub, eyes closed. \n \n EXT. TIMES SQUARE DANCE HALL - DAY \n \n Joe's radio promises job opportunities for young men eighteen","\t\t\tSALLY BUCK \n \tYou look real nice, Joe baby... \n \n INT. HOTEL ROOM - DAY \n \n Joe sings as he pulls on his new cowboy boots, arranging his","\t\t\tJOE \n \tNow I'm here. I'm in New York City. \n \tGetting picked for things. Don't \n \tyou see what I'm driving at? \n \n \t\t\tRATSO ","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","black and white as Joe walks into the crowd. \n \n EXT. SALLY BUCK'S BEAUTY SALON - DAY \n \n The FOR RENT sign flapping in the wind. \n \n INT. BAR - DAY \n"],["\the's God's gift to women. One \n \ttwenty-buck trick and he's already \n \tthe biggest stud in New York City. \n \tIt's laughable. \n \n Joe sets his Stetson on his head.","STILL PHOTOGRAPH \n \n Joe soaking in the tub, eyes closed. \n \n EXT. TIMES SQUARE DANCE HALL - DAY \n \n Joe's radio promises job opportunities for young men eighteen","\t\t\tJOE \n \tNow I'm here. I'm in New York City. \n \tGetting picked for things. Don't \n \tyou see what I'm driving at? \n \n \t\t\tRATSO ","\tYou must be Joe Buck. Come in. \n \n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \n prodigal son as he leads him into the room -- as anonymous as \n Joe's own room. \n","Camera moves slowly up the anonymous wall of a drab hotel, \n following the line of dim red lights marking the fire exits. \n \n \t\t\tRATSO'S VOICE \n \tName's Joe Buck. Cowboy. Just in","Singing as he buttons his new cowboy shirt, Joe interrupts \n himself to answer Ralph... \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n ... continuing his song as he pulls up and zips his tight","still in their wrappers, into a shiny new suitcase of black \n and white horsehide. \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n INT. SUNSHINE CAFETERIA - DAY \n","up to a close-up of Joe at the window. \n \n EXT. FIFTH AVENUE - DAY \n \n From on high -- as though Joe were watching himself -- the \n Stetson moves through a crowd of Fifth Avenue shoppers... \n","\tNew York. \n \n Joe pays. She smiles, gives him change. Joe smiles, starts on \n toward the bus, hardly aware that he has accomplished \n something rare and remarkable for Joe -- a simple human \n contact without fear or threat, a pleasant everyday \n happening.","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","\tin New York, dammit. Besides, you \n \tlook very elegant... \n \n EXT. STREET CORNER - NIGHT \n \n Joe hardly notices O'Daniel on a far cornet, his whining \n scarcely audible.","EXT. FORTY-SECOND STREET - NIGHT \n \n Joe's radio is at his ear \"... never too late to look great, \n Ben's Bargain Basement's open 'till five a.m., miles and","work, carrying lunch pails, dressed exactly as Joe is now \n dressed... \n \n ... then Joe lowers the blind and seats himself. Ratso nods \n slightly, his voice practically inaudible. \n \n \t\t\tRATSO ","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","from a pretty model's head, Joe's quarter runs out and the \n screen goes blank. At the same moment, the love song is cut \n off by a singing station break \"W-I-N-S NEW YORK\" Joe rises,","INT. REMEMBERED BEAUTY SALON - ANOTHER TIME \n \n A gawky, adolescent Joe sits sprawled on the couch, leafing \n through a magazine while Sally Buck bleaches the roots of a \n young woman's hair. \n","INT. SUNSHINE CAFETERIA - DAY \n \n Joe's song continues over a sweating WAITRESS, glancing up. \n \n \t\t\tWAITRESS \n \tWhere's that Joe Buck? \n","of Joe. Joe squirms, restless, trying to lull himself to \n sleep with the music of a revivalist gospel group on the \n radio. \n \n \t\t\tSALLY BUCK'S VOICE ","\t\t\tJOE \n \tWhat for? \n \n \t\t\tRATSO \n \tSo you could sleep! I mean Christ! \n \n Joe inspects the boots, seats himself on a battered Army cot "],["Joe hands Ratso his own comb. Ratso swipes at his tangled \n hair angrily until two teeth break in the comb. He hands the \n comb back, tugs at his hair with his fingers, pats it in \n place, then looks back into Joe's eyes.","Joe glances at Ratso, but there is no response. \n Surreptitiously, Joe takes out a cigarette, turns his face \n away from Ratso and lights it, hiding it cupped in his hand \n as he smokes. \n","Ratso removes his loafers and shakes them, glancing at the \n counter man. His socks don't even conceal his toes. \n Disgusted, Joe shoves Ratso's small pile back at him. \n","The cigarette in Ratso's mouth burns into his lip. He jerks \n spasmodically, choking on smoke as he rips skin away with the \n butt and drops it in his coffee cup. \n \n \t\t\tJOE (CONT'D)","... Ratso huddled in the overstuffed chair -- wearing the \n stolen sheepskin coat -- wrapped in blankets, his teeth \n chattering, in spite of the sweat on his forehead. Joe stops \n abruptly, his mood shattered by Ratso's alarming condition.","Ratso's mouth. Ratso laughs till he chokes -- for one \n instant, self-consciously, mimicking Joe -- then removes the \n hat and reaches for his threadbare black raincoat. \n \n \t\t\tJOE (CONT'D)","EXT. SIDEWALK CAFE - COCKTAIL HOUR \n \n At,the corner of Central Park South, Ratso points toward a \n young man with diamond cuff-links, sitting with a blue-haired","and hails a cab. Ratso darts forward, limping exaggeratedly, \n holding the door, lifting the memo as he brushes off the \n Escort's topcoat. The young man waves him away with out a","\tAnd keep your meat hooks off my \n \tradio. \n \n EXT. VEGETABLE MARKET - DAY \n \n Ratso wears a threadbare raincoat of faded black, several","Ratso stops opposite the Plaza hotel, pointing across at an \n aristocratic blonde stepping out of a Rolls Royce. \n \n \t\t\tRATSO (CONT'D) \n \tTomorrow when some piece like","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","\tman? You think I'm crippled? You \n \tshoulda caught him the end of a \n \tday. \n \n Ratso demonstrates a chimpanzee walk. Joe laughs. Ratso turns","\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe","thing they'd ever heard. Then Ratso's face pales as he starts \n to choke and cough. Joe pats him on the back. \n \n \t\t\tJOE (CONT'D) \n \tHey, what size pants you wear? \n","Ratso leans over the tub-sink, dry-heaving while he coughs, \n wearing a sheepskin coat much too large for him. He controls \n the cough with effort -- hearing the door open and close O.S.","whistling between his teeth sharply, hailing a cab. The cab \n slows to a stop. Then the driver sees Ratso, shifts into gear \n and drives on. Ratso bites his thumb after the cab, rests for","Joe has difficulty keening up with Ratso, who swings himself \n along with surprising agility, his half skipping little gate \n favoring one game leg. \n \n \t\t\tRATSO \n \tLook, with these chicks that want","Wearing only his boots, Joe sits like an Indian chief, \n wrapped in a blanket -- angle widening to show Ratso, \n spotting Joe's jacket, slacks and shirt with cleaning fluid -- \n his eyes on a very pregnant Italian lady. As she starts to","... Ratso simply himself, dressed as he is, sitting on the \n beach, at peace in the sun... \n \n ... the same identical picture with Joe sitting beside Ratso. \n \n INT. BARBIZON FOR WOMEN - NIGHT \n","\t\t\tRATSO \n \t\t(barely audible) \n \tI'm wet. \n \n \t\t\tJOE \n \tYou're what? \n \n \t\t\tRATSO "],["Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \n furnished with a table and chair, a rumple of blankets on a \n burnt-out mattress. \n \n \t\t\tRATSO ","INT. TENEMENT STAIRS - DAY \n \n Joe carries Ratso down the stairs, wrapped in a blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","Florida. Ratso glances toward the growl of a siren O.S. \n \n EXT. BARBIZON FOR WOMEN - NIGHT \n \n A police prowl car slows in front of the hotel. Ratso swings","Joe stands in a long line, glancing impatiently at the clock \n while Ratso waits on a bench, wrapped in his blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","glances significantly at the elevator operator. Ratso follows \n Joe to door as the operator grinds to a stop. \n \n INT. WEST SIDE HOTEL CORRIDOR - DUSK \n","Ratso automatically checks the coin return boxes of the phone \n booths they pass. Walking the park side of the street, \n looking across at the limousines and taxis waiting outside \n luxury hotels and apartment buildings. \n \n \t\t\tJOE","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","Ratso stops opposite the Plaza hotel, pointing across at an \n aristocratic blonde stepping out of a Rolls Royce. \n \n \t\t\tRATSO (CONT'D) \n \tTomorrow when some piece like","Snow swirls in the aureole of a street light as Joe and Ratso \n run, heads lowered, turning into... \n \n INT. LOFT BUILDING - NIGHT \n \n ... a drab entrance hall, dimly lit -- signs identifying","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","... Ratso huddled in the overstuffed chair -- wearing the \n stolen sheepskin coat -- wrapped in blankets, his teeth \n chattering, in spite of the sweat on his forehead. Joe stops \n abruptly, his mood shattered by Ratso's alarming condition.","EXT. SIDEWALK CAFE - COCKTAIL HOUR \n \n At,the corner of Central Park South, Ratso points toward a \n young man with diamond cuff-links, sitting with a blue-haired","Ratso leans over the tub-sink, dry-heaving while he coughs, \n wearing a sheepskin coat much too large for him. He controls \n the cough with effort -- hearing the door open and close O.S.","\tAnd keep your meat hooks off my \n \tradio. \n \n EXT. VEGETABLE MARKET - DAY \n \n Ratso wears a threadbare raincoat of faded black, several","\t\t\tRATSO \n \tJoe -- do me one favor -- this is \n \tmy place, am I wrong? You know, in \n \tmy own place my name ain't Ratso. I \n \tmean it so happens my name is","Joe glances at Ratso, but there is no response. \n Surreptitiously, Joe takes out a cigarette, turns his face \n away from Ratso and lights it, hiding it cupped in his hand \n as he smokes. \n","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","Ratso leans on the DOWN as the cage grinds slowly down into \n view and stops. \n \n \t\t\tRATSO \n \tSherry-Netherlands Hotel. Now get \n \tyour ass in there. He's waiting!","across the street with incredible speed to meet Joe as he's \n tossed onto the sidewalk. Ratso picks up the Stetson and \n brushes it off, then helps Joe to his feet. \n \n EXT. SIXTH AVENUE - NIGHT \n","\t\t\tRATSO'S VOICE \n \tI gotta sit down. I feel crummy. \n \n Ratso stretched out on a Victorian love seat -- the flower \n girl walking unsteadily, passing out dead daffodils, placing"],["\tYou must be Joe Buck. Come in. \n \n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \n prodigal son as he leads him into the room -- as anonymous as \n Joe's own room. \n","of Joe. Joe squirms, restless, trying to lull himself to \n sleep with the music of a revivalist gospel group on the \n radio. \n \n \t\t\tSALLY BUCK'S VOICE ","Singing as he buttons his new cowboy shirt, Joe interrupts \n himself to answer Ralph... \n \n \t\t\tJOE \n \tYeah, where's that Joe Buck? \n \n ... continuing his song as he pulls up and zips his tight","Joe laughs, driving an obscene uppercut into the air. \n O'Daniel laughs with him. \n \n \t\t\tO'DANIEL (CONT'D) \n \tYou're a wonderful boy. You'n me","Little Joe stares unblinking at the TV screen as Sally Buck \n kisses him on the forehead, dressed for the street. \n \n \t\t\tSALLY BUCK \n \tExpect me when you see me. Looks","Little Joe is cuddled in Sally Buck's arms, under the covers, \n watching Woodsy, sitting cross-legged on the bed, naked \n except for his Stetson and guitar, singing drunkenly. \n \n \t\t\tWOODSY","Camera moves slowly up the anonymous wall of a drab hotel, \n following the line of dim red lights marking the fire exits. \n \n \t\t\tRATSO'S VOICE \n \tName's Joe Buck. Cowboy. Just in","RALPH, an aging black man, faces a mountain of dirty dishes. \n \n \t\t\tRALPH \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n","INT. REMEMBERED BEAUTY SALON - ANOTHER TIME \n \n A gawky, adolescent Joe sits sprawled on the couch, leafing \n through a magazine while Sally Buck bleaches the roots of a \n young woman's hair. \n","\tReady for hard work, son? \n \n \t\t\tJOE \n \tReady for anything. \n \n \t\t\tO'DANIEL \n \tI got a hunch, Joe Buck, it's gonna","Sally Buck fondly wipes lipstick from Joe's lips. \n \n \t\t\tSALLY BUCK \n \tKeep your meat hooks off my \n \toperators, sugar, hear? \n \n INT. BUS - DAY \n","\t\t\tJOE (CONT'D) \n \tEver happen to come across a cowman \n \tname of Woodsy Niles? Friend of my \n \tgrammaw Sally Buck... \n","INT. SUNSHINE CAFETERIA - DAY \n \n Joe's song continues over a sweating WAITRESS, glancing up. \n \n \t\t\tWAITRESS \n \tWhere's that Joe Buck? \n","\t\t\tMANAGER \n \tWhere's that Joe Buck? \n \n INT. HOTEL ROOM - DAY \n \n Joe hums as he piles a complete wardrobe of cowboy clothes,","Joe awakens, stiff-necked, momentarily confused. He \n straightens in his seat as he sees the old Cowhand lifting a \n sweat-stained saddle down from the overhead rack, starting \n toward the front of the bus. Joe calls after him. \n","\t\t\tSALLY BUCK \n \tYou look real nice, Joe baby... \n \n INT. HOTEL ROOM - DAY \n \n Joe sings as he pulls on his new cowboy boots, arranging his","INT. REMEMBERED PARLOR - ANOTHER TIME \n \n Little Joe stares sullenly at an antique TV box while Sally \n Buck puts her hat on at the fireplace mirror. There is a \n framed picture of Woodsy Niles on the mantle.","\t\t\tJOE \n \tTough tiddy, ladies, you had your \n \tchance. \n \n From a high angle -- Joe starts his long walk toward the bus \n depot along the street of a small Western town struggling to","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","\t\t\tJOE (CONT'D) \n \tThey picked me. The only one in the \n \twhole goddam place. You see how \n \tthey looked me over, up and down \n \tbefore they give me that? \n"],["... Ratso huddled in the overstuffed chair -- wearing the \n stolen sheepskin coat -- wrapped in blankets, his teeth \n chattering, in spite of the sweat on his forehead. Joe stops \n abruptly, his mood shattered by Ratso's alarming condition.","\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","Wearing only his boots, Joe sits like an Indian chief, \n wrapped in a blanket -- angle widening to show Ratso, \n spotting Joe's jacket, slacks and shirt with cleaning fluid -- \n his eyes on a very pregnant Italian lady. As she starts to","his horn. Joe runs recklessly forward as Ratso slams the taxi \n fender with his fist, pretending to be hit, falling into \n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,","The cigarette in Ratso's mouth burns into his lip. He jerks \n spasmodically, choking on smoke as he rips skin away with the \n butt and drops it in his coffee cup. \n \n \t\t\tJOE (CONT'D)","INT. TENEMENT STAIRS - DAY \n \n Joe carries Ratso down the stairs, wrapped in a blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","and hails a cab. Ratso darts forward, limping exaggeratedly, \n holding the door, lifting the memo as he brushes off the \n Escort's topcoat. The young man waves him away with out a","his hat to two nuns, guiltily hurrying to overtake Ratso at \n ibis father's grave, indistinguishable from the other graves \n except for the name on the headstone. Ratso places the floral","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","\t\t\tRATSO \n \tJoe -- do me one favor -- this is \n \tmy place, am I wrong? You know, in \n \tmy own place my name ain't Ratso. I \n \tmean it so happens my name is","Ratso's mouth. Ratso laughs till he chokes -- for one \n instant, self-consciously, mimicking Joe -- then removes the \n hat and reaches for his threadbare black raincoat. \n \n \t\t\tJOE (CONT'D)","Ratso opens the paper bag, trying to control his shivering, \n pulling out the socks and a suit of long underwear. He sees \n Joe watching him for a reaction. The best Ratso can do is a \n slight shake of his head. \n","he glances at Ratso, frowning, reaches out an arm and puts it \n around Ratso, settling back, staring straight ahead. \n \n \t\t\t\t THE END \n \n \n","Ratso stops opposite the Plaza hotel, pointing across at an \n aristocratic blonde stepping out of a Rolls Royce. \n \n \t\t\tRATSO (CONT'D) \n \tTomorrow when some piece like","back in panic as another man takes a chair next to Joe. Ratso \n is about to retuse when a cop takes the third chair, swinging \n his handcuffs around to the front, tapping his shoe with his \n night stick. Ratso quickly drops a rag over the broken","\t\t\tRATSO \n \tYou and my old man. Same kinda \n \tmind. Putting me down till the day \n \the died... \n \t\t(mimics) \n \t... why can't you be like your","thing they'd ever heard. Then Ratso's face pales as he starts \n to choke and cough. Joe pats him on the back. \n \n \t\t\tJOE (CONT'D) \n \tHey, what size pants you wear? \n","\tAnd keep your meat hooks off my \n \tradio. \n \n EXT. VEGETABLE MARKET - DAY \n \n Ratso wears a threadbare raincoat of faded black, several"],["Florida. Ratso glances toward the growl of a siren O.S. \n \n EXT. BARBIZON FOR WOMEN - NIGHT \n \n A police prowl car slows in front of the hotel. Ratso swings","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","he glances at Ratso, frowning, reaches out an arm and puts it \n around Ratso, settling back, staring straight ahead. \n \n \t\t\t\t THE END \n \n \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","\t\t\tJOE \n \tWell now, Ratso, I'm gonna tell you \n \tsomething for your own good, only \n \tfirst gimme a cigarette. \n \n Ratso offers a cigarette from his crushed package, Joe","Ratso stops opposite the Plaza hotel, pointing across at an \n aristocratic blonde stepping out of a Rolls Royce. \n \n \t\t\tRATSO (CONT'D) \n \tTomorrow when some piece like","INT. TENEMENT STAIRS - DAY \n \n Joe carries Ratso down the stairs, wrapped in a blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","\t\t\tRATSO \n \tJoe -- do me one favor -- this is \n \tmy place, am I wrong? You know, in \n \tmy own place my name ain't Ratso. I \n \tmean it so happens my name is","Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \n furnished with a table and chair, a rumple of blankets on a \n burnt-out mattress. \n \n \t\t\tRATSO ","EXT. SIDEWALK CAFE - COCKTAIL HOUR \n \n At,the corner of Central Park South, Ratso points toward a \n young man with diamond cuff-links, sitting with a blue-haired","\t\t\tRATSO \n \tI been sick. Hold this, will ya? \n \n Joe takes his time rising to hold the coconut while Ratso \n tries to poke a hole with a bent ice-pick. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","and hails a cab. Ratso darts forward, limping exaggeratedly, \n holding the door, lifting the memo as he brushes off the \n Escort's topcoat. The young man waves him away with out a","whistling between his teeth sharply, hailing a cab. The cab \n slows to a stop. Then the driver sees Ratso, shifts into gear \n and drives on. Ratso bites his thumb after the cab, rests for","\t\t\tRATSO'S VOICE \n \tI gotta sit down. I feel crummy. \n \n Ratso stretched out on a Victorian love seat -- the flower \n girl walking unsteadily, passing out dead daffodils, placing","Joe stands in a long line, glancing impatiently at the clock \n while Ratso waits on a bench, wrapped in his blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","... Ratso simply himself, dressed as he is, sitting on the \n beach, at peace in the sun... \n \n ... the same identical picture with Joe sitting beside Ratso. \n \n INT. BARBIZON FOR WOMEN - NIGHT \n","\tthrilled. \n \n EXT. TENEMENT NEIGHBORHOOD - DAY \n \n Ratso sits an a stoop while Joe hails a cab. \n \n INT. TOWNY'S BATHROOM - NIGHT \n","is frowning at Ratso, who shivers despite the bright sun. \n \n \t\t\tJOE \n \tIf you have to shiver, why don't \n \tyou pull the blanket up more? \n \n \t\t\tRATSO ","thing they'd ever heard. Then Ratso's face pales as he starts \n to choke and cough. Joe pats him on the back. \n \n \t\t\tJOE (CONT'D) \n \tHey, what size pants you wear? \n"],["The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","reach the wallet in the drawer. He takes all the money -- \n probably twice what he needs -- desperate to get out of the \n room. \n \n INT. GREYHOUND BUS TERMINAL - DAY \n","\tMiami... \n \t\t(looks at watch) \n \t... in forty minutes. \n \n INT. GREYHOUND BUS - DAY \n \n Joe sits stiffly, very frightened, as the bus starts on. Then","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","Joe appears in full figure as the bus passes. He stands \n looking at the suitcases in a luggage shop window. \n \n \t\t\tDESPERATE VOICE \n \tWell, Bill, what I got thinking, I","INT. BUS - DAY \n \n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \n frayed collar has taken the aisle seat next to Joe. As he \n lectures Joe on salesmanship, he figures his expenses in a","She takes a dollar from her purse and hands it to Ratso, \n takes Joe's arm and starts down the stairs. Ratso lingers, \n starting quickly through the coats, frisking them for loose \n change. \n","\t\t\tJOE \n \tWhen I put you on that bus down to \n \tFlorida tonight, that'll be the \n \thappiest day of my life! \n \n INT. PHONE BOOTH - DAY \n","\t\t\tJOE \n \tTough tiddy, ladies, you had your \n \tchance. \n \n From a high angle -- Joe starts his long walk toward the bus \n depot along the street of a small Western town struggling to","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","EXT. SMALL TOWN STREET - DAY \n \n The bus is parked in the distance. Joe comes from a clothing \n store, bare-headed, wearing plain slacks and sport-shirt. He","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","EXT. HIGHWAY - DAWN \n \n The bus passes a Florida hotel sign too swiftly to read it. \n \n INT. GREYHOUND BUS - DAWN \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","\t\t\tJOE \n \tNice talking to you, old timer. \n \n Joe stuffs a stick of gum in his mouth, turns to wave at the \n Old Cowhand through the window as the bus pulls away. \n","Joe sets his radio on the dresser, his suitcase on the bed, \n then turns to examine his new home -- as anonymous as his \n Texas hotel room -- but boasting a coin-operated television \n set. Fascinated, Joe inserts a quarter. \n","loud speaker announces a bus \"departing for Texas\" but Joe \n does not move. A policeman taps Joe's boots with his night \n stick. Joe rises and starts away with mixed anger and \n apprehension. \n","Florida shirt. In the middle of the operation, Ratso dozes \n off. Joe shakes his head, scowling, annoyed, but continues, \n lifting Ratso enough to slide the pants around his waist. \n Ratso awakens as Joe zips the fly. \n","\t\t\tJOE'S VOICE \n \tMake that twenty-three bucks. \n \n INT. X FLAT - DAY \n \n Joe slams his heel down. The coconut shoots out from under","Joe awakens, stiff-necked, momentarily confused. He \n straightens in his seat as he sees the old Cowhand lifting a \n sweat-stained saddle down from the overhead rack, starting \n toward the front of the bus. Joe calls after him. \n"],["he glances at Ratso, frowning, reaches out an arm and puts it \n around Ratso, settling back, staring straight ahead. \n \n \t\t\t\t THE END \n \n \n","INT. TENEMENT STAIRS - DAY \n \n Joe carries Ratso down the stairs, wrapped in a blanket. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n","\t\t\tJOE \n \tClose them? \n \n \t\t\tDRIVER \n \tJust reach over and close them. \n \tThat's all. \n \n Joe closes Ratso's eyes. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","INT. X FLAT - NIGHT \n \n Joe and Ratso frozen, wrapped in blankets as... \n \n ... the canned heat dies with a faint puff... \n \n ... water dripping in the tub-sink freezes into an icicle... \n","... the candle burns down and out, leaving the screen dark. \n \n EXT. CONDEMNED TENEMENTS - DAY \n \n Joe and Ratso warm themselves on the smoke and steam rising \n from a subway grating -- watching two officials in fur","across the street with incredible speed to meet Joe as he's \n tossed onto the sidewalk. Ratso picks up the Stetson and \n brushes it off, then helps Joe to his feet. \n \n EXT. SIXTH AVENUE - NIGHT \n","The bus roars into the tunnel. \n \n INT. GREYHOUND BUS - DAY \n \n Joe and Ratso sit near the rear of the bus. Ratso's teeth \n chatter, wrapped in the blanket. \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","Ratso hurls it in a corner. Joe shoves the ten at Ratso. \n \n \t\t\tJOE \n \tGo get your medicine. Before you \n \tdie on my goddam, hands... \n","Joe's hand falls on Ratso's shoulder. \n \n \t\t\tJOE \n \tOh, I ain't gonna hit you, I'm \n \tgonna strangle you to death... \n","his horn. Joe runs recklessly forward as Ratso slams the taxi \n fender with his fist, pretending to be hit, falling into \n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,","The lobby watches Joe blow a gum bubble at the elevator. \n \n EXT. EXCLUSIVE DRESS SHOP - NIGHT \n \n Staring at a window display of Florida sportswear, Ratso's \n imagination soars, seeing... \n","Florida. Ratso glances toward the growl of a siren O.S. \n \n EXT. BARBIZON FOR WOMEN - NIGHT \n \n A police prowl car slows in front of the hotel. Ratso swings","Joe carries Ratso up the steps onto the bus. \n \n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \n \n Towny's shrill little whisper says... \n \n \t\t\tTOWNY ","counter, finally producing: sixty-four cents, a few sticks of \n gum, an almost empty cigarette package, a book of matches and \n two pawn tickets. He raises his eyes, somehow ashamed. Joe \n kicks the toe of Ratso's loafer. \n","Joe hands Ratso his own comb. Ratso swipes at his tangled \n hair angrily until two teeth break in the comb. He hands the \n comb back, tugs at his hair with his fingers, pats it in \n place, then looks back into Joe's eyes.","\tthrilled. \n \n EXT. TENEMENT NEIGHBORHOOD - DAY \n \n Ratso sits an a stoop while Joe hails a cab. \n \n INT. TOWNY'S BATHROOM - NIGHT \n","bellowing at the snow. \n \n \t\t\tJOE \n \tWhoopee ti yi yo...! \n \n EXT. LOFT BUILDING - NIGHT \n \n Ratso makes his way slowly from the building to the curb,","\t\t\tRATSO \n \tJust keep your hat on and cry a \n \tlittle. They tip you when it's \n \tover. \n \n Joe and Ratso join the mourners as the funeral moves to the"],["Joe appears in full figure as the bus passes. He stands \n looking at the suitcases in a luggage shop window. \n \n \t\t\tDESPERATE VOICE \n \tWell, Bill, what I got thinking, I","The metal grating rings as the bus soars onto it. \n \n INT. GREYHOUND BUS - NIGHT \n \n Two aging young ladies in brand-new resort wear are casually \n examining Joe, along with the other men on the bus, but Joe","INT. BUS - DAY \n \n Joe sits at the front, opposite the driver, cracking his gum \n as he watches the huge billboards streaking by, promising him \n power, happiness and beautiful women if he chooses the right","INT. BUS - DAY \n \n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \n frayed collar has taken the aisle seat next to Joe. As he \n lectures Joe on salesmanship, he figures his expenses in a","EXT. SMALL TOWN STREET - DAY \n \n The bus is parked in the distance. Joe comes from a clothing \n store, bare-headed, wearing plain slacks and sport-shirt. He","INT. BUS - DAY \n \n Joe is now sitting in the wide rear seat, between two young \n MARINES and a group of VETERANS wearing campaign caps and \n convention buttons, passing a bottle, singing \"From the Balls","He glances at Joe, then pulls off the road and stands up. \n \n \t\t\tDRIVER (CONT'D) \n \tOkay, folks, everything's fine. \n \tNothing to worry about. \n","Joe awakens, stiff-necked, momentarily confused. He \n straightens in his seat as he sees the old Cowhand lifting a \n sweat-stained saddle down from the overhead rack, starting \n toward the front of the bus. Joe calls after him. \n","\t\t\tJOE (CONT'D) \n \tYeah, guess that's what I'm gonna \n \tdo. \n \n They ride for a moment in semi-darkness, Joe smoking, looking","INT. BUS - DAY \n \n Joe is leaning across the two Marines, staring out of the \n window as the Veterans switch to \"Anchors aweigh, my boys, \n anchors aweigh...\" \n","Joe is alone again. The Salesman has disappeared. The bus is \n dark, most-passengers trying to sleep. Only one reading light \n still burns, over the head of the old-Lady in the seat ahead","\tYou just -- just -- what happened, \n \tyou just had a little rest stop \n \twasn't on the schedule. \n \n Ratso begins to laugh with Joe as if it were the funniest","\t\t\tJOE \n \tTough tiddy, ladies, you had your \n \tchance. \n \n From a high angle -- Joe starts his long walk toward the bus \n depot along the street of a small Western town struggling to","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have reversed places, putting Ratso by the \n window. Joe watches a middle-aged couple try on their new \n straw hats, unaware that Joe is watching them. \n","\t\t\tJOE \n \tNice talking to you, old timer. \n \n Joe stuffs a stick of gum in his mouth, turns to wave at the \n Old Cowhand through the window as the bus pulls away. \n","They both smile. It isn't funny enough to laugh at. Joe \n arranges the blanket, takes out a package of cigarettes, \n glances at Ratso and puts it away. \n \n EXT. TRAVELING SHOT WITH BUS - DAY \n","INT. GREYHOUND BUS - DAY \n \n Joe and Ratso have moved to the seat farthest back, wider \n than the others. Joe blocks the view of the other passengers \n as he helps Ratso into a new pair of corduroy pants and a","\tout. \n \n INT. BUS - NIGHT \n \n Joe shakes his head, grinning, offering the old Cowhand a \n cigarette. \n \n \t\t\tJOE \n \tSmoke? \n","at the other people on the bus, brighter without the shades \n down. Joe turns, checking the blanket around Ratso, noticing \n that Ratso is sitting in a peculiarly stiff, awkward \n position. Joe leans over to straighten Ratso's head, blocking","reach the wallet in the drawer. He takes all the money -- \n probably twice what he needs -- desperate to get out of the \n room. \n \n INT. GREYHOUND BUS TERMINAL - DAY \n"]],"string":"[\n [\n \"Camera moves slowly up the anonymous wall of a drab hotel, \\n following the line of dim red lights marking the fire exits. \\n \\n \\t\\t\\tRATSO'S VOICE \\n \\tName's Joe Buck. Cowboy. Just in\",\n \"\\tYou must be Joe Buck. Come in. \\n \\n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \\n prodigal son as he leads him into the room -- as anonymous as \\n Joe's own room. \\n\",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"still in their wrappers, into a shiny new suitcase of black \\n and white horsehide. \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n INT. SUNSHINE CAFETERIA - DAY \\n\",\n \"RALPH, an aging black man, faces a mountain of dirty dishes. \\n \\n \\t\\t\\tRALPH \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n\",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"STILL PHOTOGRAPH \\n \\n Joe soaking in the tub, eyes closed. \\n \\n EXT. TIMES SQUARE DANCE HALL - DAY \\n \\n Joe's radio promises job opportunities for young men eighteen\",\n \"INT. SUNSHINE CAFETERIA - DAY \\n \\n Joe's song continues over a sweating WAITRESS, glancing up. \\n \\n \\t\\t\\tWAITRESS \\n \\tWhere's that Joe Buck? \\n\",\n \"\\t\\t\\tMANAGER \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe hums as he piles a complete wardrobe of cowboy clothes,\",\n \"of Joe. Joe squirms, restless, trying to lull himself to \\n sleep with the music of a revivalist gospel group on the \\n radio. \\n \\n \\t\\t\\tSALLY BUCK'S VOICE \",\n \"loud speaker announces a bus \\\"departing for Texas\\\" but Joe \\n does not move. A policeman taps Joe's boots with his night \\n stick. Joe rises and starts away with mixed anger and \\n apprehension. \\n\",\n \"Singing as he buttons his new cowboy shirt, Joe interrupts \\n himself to answer Ralph... \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n ... continuing his song as he pulls up and zips his tight\",\n \"Joe awakens, stiff-necked, momentarily confused. He \\n straightens in his seat as he sees the old Cowhand lifting a \\n sweat-stained saddle down from the overhead rack, starting \\n toward the front of the bus. Joe calls after him. \\n\",\n \"black and white as Joe walks into the crowd. \\n \\n EXT. SALLY BUCK'S BEAUTY SALON - DAY \\n \\n The FOR RENT sign flapping in the wind. \\n \\n INT. BAR - DAY \\n\",\n \"behind the counter. It's Joe. \\n \\n \\t\\t\\tJOE \\n \\tShee-it. \\n \\n STILL PHOTOGRAPH \\n \\n Joe sits in the hotel lobby, staring out at the street,\",\n \"Joe appears in full figure as the bus passes. He stands \\n looking at the suitcases in a luggage shop window. \\n \\n \\t\\t\\tDESPERATE VOICE \\n \\tWell, Bill, what I got thinking, I\",\n \"\\t\\t\\tJOE \\n \\tTough tiddy, ladies, you had your \\n \\tchance. \\n \\n From a high angle -- Joe starts his long walk toward the bus \\n depot along the street of a small Western town struggling to\",\n \"a moment on the lamp post, then starts painfully inching his \\n way along the deserted street. \\n \\n INT. SHIRLEY'S BEDROOM - NIGHT \\n \\n Joe lies on his back, staring fixedly at a fragile mobile\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"Joe is alone again. The Salesman has disappeared. The bus is \\n dark, most-passengers trying to sleep. Only one reading light \\n still burns, over the head of the old-Lady in the seat ahead\"\n ],\n [\n \"\\t\\t\\tJOE \\n \\tNow I'm here. I'm in New York City. \\n \\tGetting picked for things. Don't \\n \\tyou see what I'm driving at? \\n \\n \\t\\t\\tRATSO \",\n \"STILL PHOTOGRAPH \\n \\n Joe soaking in the tub, eyes closed. \\n \\n EXT. TIMES SQUARE DANCE HALL - DAY \\n \\n Joe's radio promises job opportunities for young men eighteen\",\n \"\\the's God's gift to women. One \\n \\ttwenty-buck trick and he's already \\n \\tthe biggest stud in New York City. \\n \\tIt's laughable. \\n \\n Joe sets his Stetson on his head.\",\n \"Camera moves slowly up the anonymous wall of a drab hotel, \\n following the line of dim red lights marking the fire exits. \\n \\n \\t\\t\\tRATSO'S VOICE \\n \\tName's Joe Buck. Cowboy. Just in\",\n \"\\tYou must be Joe Buck. Come in. \\n \\n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \\n prodigal son as he leads him into the room -- as anonymous as \\n Joe's own room. \\n\",\n \"still in their wrappers, into a shiny new suitcase of black \\n and white horsehide. \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n INT. SUNSHINE CAFETERIA - DAY \\n\",\n \"EXT. FORTY-SECOND STREET - NIGHT \\n \\n Joe's radio is at his ear \\\"... never too late to look great, \\n Ben's Bargain Basement's open 'till five a.m., miles and\",\n \"Singing as he buttons his new cowboy shirt, Joe interrupts \\n himself to answer Ralph... \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n ... continuing his song as he pulls up and zips his tight\",\n \"INT. SUNSHINE CAFETERIA - DAY \\n \\n Joe's song continues over a sweating WAITRESS, glancing up. \\n \\n \\t\\t\\tWAITRESS \\n \\tWhere's that Joe Buck? \\n\",\n \"from a pretty model's head, Joe's quarter runs out and the \\n screen goes blank. At the same moment, the love song is cut \\n off by a singing station break \\\"W-I-N-S NEW YORK\\\" Joe rises,\",\n \"\\tin New York, dammit. Besides, you \\n \\tlook very elegant... \\n \\n EXT. STREET CORNER - NIGHT \\n \\n Joe hardly notices O'Daniel on a far cornet, his whining \\n scarcely audible.\",\n \"\\tNew York. \\n \\n Joe pays. She smiles, gives him change. Joe smiles, starts on \\n toward the bus, hardly aware that he has accomplished \\n something rare and remarkable for Joe -- a simple human \\n contact without fear or threat, a pleasant everyday \\n happening.\",\n \"RALPH, an aging black man, faces a mountain of dirty dishes. \\n \\n \\t\\t\\tRALPH \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n\",\n \"up to a close-up of Joe at the window. \\n \\n EXT. FIFTH AVENUE - DAY \\n \\n From on high -- as though Joe were watching himself -- the \\n Stetson moves through a crowd of Fifth Avenue shoppers... \\n\",\n \"\\t\\t\\tJOE \\n \\tWhat for? \\n \\n \\t\\t\\tRATSO \\n \\tSo you could sleep! I mean Christ! \\n \\n Joe inspects the boots, seats himself on a battered Army cot \",\n \"Joe's radio continues the super-break commercial while a fry \\n cook flips flapjacks in the window. \\n But Joe's eyes are on a sign DISHWASHER WANTED. Joe looks up \\n and his eyes meet those of the young man scraping garbage\",\n \"revealing a young man very similar to, but clearly not Joe. \\n \\n EXT. TIMES SQUARE - NIGHT \\n \\n Colorful lights still flash seductive promise. The vertical, \\n lights on the MONY tower reach bottom and freeze momentarily. \\n\",\n \"work, carrying lunch pails, dressed exactly as Joe is now \\n dressed... \\n \\n ... then Joe lowers the blind and seats himself. Ratso nods \\n slightly, his voice practically inaudible. \\n \\n \\t\\t\\tRATSO \",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\"\n ],\n [\n \"Sally Buck fondly wipes lipstick from Joe's lips. \\n \\n \\t\\t\\tSALLY BUCK \\n \\tKeep your meat hooks off my \\n \\toperators, sugar, hear? \\n \\n INT. BUS - DAY \\n\",\n \"\\tYou must be Joe Buck. Come in. \\n \\n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \\n prodigal son as he leads him into the room -- as anonymous as \\n Joe's own room. \\n\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"Camera moves slowly up the anonymous wall of a drab hotel, \\n following the line of dim red lights marking the fire exits. \\n \\n \\t\\t\\tRATSO'S VOICE \\n \\tName's Joe Buck. Cowboy. Just in\",\n \"RALPH, an aging black man, faces a mountain of dirty dishes. \\n \\n \\t\\t\\tRALPH \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n\",\n \"STILL PHOTOGRAPH \\n \\n Joe soaking in the tub, eyes closed. \\n \\n EXT. TIMES SQUARE DANCE HALL - DAY \\n \\n Joe's radio promises job opportunities for young men eighteen\",\n \"Joe's pen wavers, starts to write and stops. \\n \\n EXT. SALLY BUCK'S BEAUTY PARLOR - DAY \\n \\n As we saw it last, deserted, a FOR RENT sign in the window.\",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"\\t\\t\\tMANAGER \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe hums as he piles a complete wardrobe of cowboy clothes,\",\n \"Joe appears in full figure as the bus passes. He stands \\n looking at the suitcases in a luggage shop window. \\n \\n \\t\\t\\tDESPERATE VOICE \\n \\tWell, Bill, what I got thinking, I\",\n \"still in their wrappers, into a shiny new suitcase of black \\n and white horsehide. \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n INT. SUNSHINE CAFETERIA - DAY \\n\",\n \"INT. SUNSHINE CAFETERIA - DAY \\n \\n Joe's song continues over a sweating WAITRESS, glancing up. \\n \\n \\t\\t\\tWAITRESS \\n \\tWhere's that Joe Buck? \\n\",\n \"Singing as he buttons his new cowboy shirt, Joe interrupts \\n himself to answer Ralph... \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n ... continuing his song as he pulls up and zips his tight\",\n \"INT. BUS - DAY \\n \\n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \\n frayed collar has taken the aisle seat next to Joe. As he \\n lectures Joe on salesmanship, he figures his expenses in a\",\n \"Joe stands alone, watching the midnight cowboys ply their \\n trade. Camera pulls back as Joe turns away and enters a store \\n front blood bank, offering ten dollars to blood donors. \\n \\n INSERT \\n\",\n \"black and white as Joe walks into the crowd. \\n \\n EXT. SALLY BUCK'S BEAUTY SALON - DAY \\n \\n The FOR RENT sign flapping in the wind. \\n \\n INT. BAR - DAY \\n\",\n \"INT. REMEMBERED BEAUTY SALON - ANOTHER TIME \\n \\n A gawky, adolescent Joe sits sprawled on the couch, leafing \\n through a magazine while Sally Buck bleaches the roots of a \\n young woman's hair. \\n\",\n \"Little Joe stares unblinking at the TV screen as Sally Buck \\n kisses him on the forehead, dressed for the street. \\n \\n \\t\\t\\tSALLY BUCK \\n \\tExpect me when you see me. Looks\",\n \"of Joe. Joe squirms, restless, trying to lull himself to \\n sleep with the music of a revivalist gospel group on the \\n radio. \\n \\n \\t\\t\\tSALLY BUCK'S VOICE \",\n \"\\t\\t\\tSALLY BUCK \\n \\tYou look real nice, Joe baby... \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe sings as he pulls on his new cowboy boots, arranging his\"\n ],\n [\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"Florida. Ratso glances toward the growl of a siren O.S. \\n \\n EXT. BARBIZON FOR WOMEN - NIGHT \\n \\n A police prowl car slows in front of the hotel. Ratso swings\",\n \"INT. TENEMENT STAIRS - DAY \\n \\n Joe carries Ratso down the stairs, wrapped in a blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"he glances at Ratso, frowning, reaches out an arm and puts it \\n around Ratso, settling back, staring straight ahead. \\n \\n \\t\\t\\t\\t THE END \\n \\n \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"Ratso stops opposite the Plaza hotel, pointing across at an \\n aristocratic blonde stepping out of a Rolls Royce. \\n \\n \\t\\t\\tRATSO (CONT'D) \\n \\tTomorrow when some piece like\",\n \"EXT. SIDEWALK CAFE - COCKTAIL HOUR \\n \\n At,the corner of Central Park South, Ratso points toward a \\n young man with diamond cuff-links, sitting with a blue-haired\",\n \"EXT. FLORIDA BEACH FRONT - FANTASY \\n \\n ... Ratso, like a model in a travel poster, in gaudy sport \\n shirt, talking on the phone against a background of hotels... \\n\",\n \"of the shop to search for the nonexistent homburg. Ratso \\n quickly drags Joe away from the mirror and out of the shop. \\n \\n INT. SUBWAY ARCADE - NIGHT \\n\",\n \"bellowing at the snow. \\n \\n \\t\\t\\tJOE \\n \\tWhoopee ti yi yo...! \\n \\n EXT. LOFT BUILDING - NIGHT \\n \\n Ratso makes his way slowly from the building to the curb,\",\n \"whistling between his teeth sharply, hailing a cab. The cab \\n slows to a stop. Then the driver sees Ratso, shifts into gear \\n and drives on. Ratso bites his thumb after the cab, rests for\",\n \"Ratso's eyes squint in a dazed half-sleep. Joe leans across \\n to pull down the shade. He hesitates a moment, watching... \\n \\n ... past his reflection, a group of young men on their way to\",\n \"Joe stands in a long line, glancing impatiently at the clock \\n while Ratso waits on a bench, wrapped in his blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"across the street with incredible speed to meet Joe as he's \\n tossed onto the sidewalk. Ratso picks up the Stetson and \\n brushes it off, then helps Joe to his feet. \\n \\n EXT. SIXTH AVENUE - NIGHT \\n\",\n \"and hails a cab. Ratso darts forward, limping exaggeratedly, \\n holding the door, lifting the memo as he brushes off the \\n Escort's topcoat. The young man waves him away with out a\",\n \"glances significantly at the elevator operator. Ratso follows \\n Joe to door as the operator grinds to a stop. \\n \\n INT. WEST SIDE HOTEL CORRIDOR - DUSK \\n\",\n \"\\tthrilled. \\n \\n EXT. TENEMENT NEIGHBORHOOD - DAY \\n \\n Ratso sits an a stoop while Joe hails a cab. \\n \\n INT. TOWNY'S BATHROOM - NIGHT \\n\",\n \"Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \\n furnished with a table and chair, a rumple of blankets on a \\n burnt-out mattress. \\n \\n \\t\\t\\tRATSO \",\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\"\n ],\n [\n \"\\the's God's gift to women. One \\n \\ttwenty-buck trick and he's already \\n \\tthe biggest stud in New York City. \\n \\tIt's laughable. \\n \\n Joe sets his Stetson on his head.\",\n \"\\t\\t\\tMANAGER \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe hums as he piles a complete wardrobe of cowboy clothes,\",\n \"still in their wrappers, into a shiny new suitcase of black \\n and white horsehide. \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n INT. SUNSHINE CAFETERIA - DAY \\n\",\n \"Singing as he buttons his new cowboy shirt, Joe interrupts \\n himself to answer Ralph... \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n ... continuing his song as he pulls up and zips his tight\",\n \"EXT. FORTY-SECOND STREET - NIGHT \\n \\n Joe's radio is at his ear \\\"... never too late to look great, \\n Ben's Bargain Basement's open 'till five a.m., miles and\",\n \"miles of Western styles, worth more at any store, money talks \\n and nobody walks.\\\" For the first time, Joe is aware of the \\n other midnight cowboys lurking in doorways, the cruising \\n queens, the middle-age men in sport shirts. Joe moves on self\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"Joe appears in full figure as the bus passes. He stands \\n looking at the suitcases in a luggage shop window. \\n \\n \\t\\t\\tDESPERATE VOICE \\n \\tWell, Bill, what I got thinking, I\",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"\\t\\t\\tJOE \\n \\tNow I'm here. I'm in New York City. \\n \\tGetting picked for things. Don't \\n \\tyou see what I'm driving at? \\n \\n \\t\\t\\tRATSO \",\n \"Ratso opens the paper bag, trying to control his shivering, \\n pulling out the socks and a suit of long underwear. He sees \\n Joe watching him for a reaction. The best Ratso can do is a \\n slight shake of his head. \\n\",\n \"Wearing only his boots, Joe sits like an Indian chief, \\n wrapped in a blanket -- angle widening to show Ratso, \\n spotting Joe's jacket, slacks and shirt with cleaning fluid -- \\n his eyes on a very pregnant Italian lady. As she starts to\",\n \"\\t\\t\\tSALLY BUCK \\n \\tYou look real nice, Joe baby... \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe sings as he pulls on his new cowboy boots, arranging his\",\n \"up to a close-up of Joe at the window. \\n \\n EXT. FIFTH AVENUE - DAY \\n \\n From on high -- as though Joe were watching himself -- the \\n Stetson moves through a crowd of Fifth Avenue shoppers... \\n\",\n \"\\tUp the line. Not far. \\n \\n \\t\\t\\tJOE \\n \\tI'm bound for New York City. \\n \\n The Old Cowhand reappraises Joe's wardrobe even more \\n curiously. \\n\",\n \"\\tcoins. I'm crying. \\n \\n The owner brings Joe's clean and blocked Stetson from the \\n rear of the shop. Joe sets it on his head and examines \\n himself in a mirror as the owner hands Ratso, the bill. \\n\",\n \"INT. MEN'S STORE - DAY \\n \\n ... Joe slaps a bill on the counter, admiring a fine new \\n cowboy shirt in the mirror, wriggling new white socks into \\n his boots. Suddenly remembering, he goes to the sock rack and\",\n \"of the shop to search for the nonexistent homburg. Ratso \\n quickly drags Joe away from the mirror and out of the shop. \\n \\n INT. SUBWAY ARCADE - NIGHT \\n\",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\"\n ],\n [\n \"\\tThanks, Joe. \\n \\n \\t\\t\\tJOE \\n \\tShee-it, you know, I got this thing \\n \\tall figured out, Ratso. I mean \\n \\tRico. When we get to Miami, what\",\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"Joe peels a ten from his wallet and offers it to Ratso. \\n \\n \\t\\t\\tRATSO \\n \\tJoe, please. You know what I'd ask \\n \\tanyone else? Oh hell, tell you what\",\n \"Joe's hand falls on Ratso's shoulder. \\n \\n \\t\\t\\tJOE \\n \\tOh, I ain't gonna hit you, I'm \\n \\tgonna strangle you to death... \\n\",\n \"\\ton 'em? I wouldn't touch 'em. \\n \\n Joe should leave -- Ratso obviously has nothing tangible to \\n offer -- but Joe hesitates, lighting a cigarette as Ratso \\n pulls on his loafers. \\n\",\n \"his horn. Joe runs recklessly forward as Ratso slams the taxi \\n fender with his fist, pretending to be hit, falling into \\n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"Ratso steps out with Joe, gesturing to the corridor... \\n \\n \\t\\t\\tRATSO \\n \\tHold it a second... \\n \\n ... but the operator slams the door and starts on up. Ratso\",\n \"\\tten, Joe; just to like cover \\n \\texpenses... \\n \\n INT. PUBLIC PHONE BOOTH - DUSK \\n \\n Ratso is on the phone. Joe holds the door open, listening. \\n\",\n \"The coconut bounces on the floor. Ratso picks it up, holds \\n it, while Joe tries to crack it, swinging his boot like a \\n hammer. \\n \\n \\t\\t\\tRATSO \\n \\tMiami Beach is the only place for a\",\n \"... Ratso huddled in the overstuffed chair -- wearing the \\n stolen sheepskin coat -- wrapped in blankets, his teeth \\n chattering, in spite of the sweat on his forehead. Joe stops \\n abruptly, his mood shattered by Ratso's alarming condition.\",\n \"Ratso's mouth. Ratso laughs till he chokes -- for one \\n instant, self-consciously, mimicking Joe -- then removes the \\n hat and reaches for his threadbare black raincoat. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"of the shop to search for the nonexistent homburg. Ratso \\n quickly drags Joe away from the mirror and out of the shop. \\n \\n INT. SUBWAY ARCADE - NIGHT \\n\",\n \"\\t\\t\\tRATSO \\n \\tI been sick. Hold this, will ya? \\n \\n Joe takes his time rising to hold the coconut while Ratso \\n tries to poke a hole with a bent ice-pick. \\n\",\n \"Ratso hurls it in a corner. Joe shoves the ten at Ratso. \\n \\n \\t\\t\\tJOE \\n \\tGo get your medicine. Before you \\n \\tdie on my goddam, hands... \\n\",\n \"She takes a dollar from her purse and hands it to Ratso, \\n takes Joe's arm and starts down the stairs. Ratso lingers, \\n starting quickly through the coats, frisking them for loose \\n change. \\n\",\n \"Joe hands Ratso his own comb. Ratso swipes at his tangled \\n hair angrily until two teeth break in the comb. He hands the \\n comb back, tugs at his hair with his fingers, pats it in \\n place, then looks back into Joe's eyes.\",\n \"back in panic as another man takes a chair next to Joe. Ratso \\n is about to retuse when a cop takes the third chair, swinging \\n his handcuffs around to the front, tapping his shoe with his \\n night stick. Ratso quickly drops a rag over the broken\"\n ],\n [\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"reach the wallet in the drawer. He takes all the money -- \\n probably twice what he needs -- desperate to get out of the \\n room. \\n \\n INT. GREYHOUND BUS TERMINAL - DAY \\n\",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"Joe appears in full figure as the bus passes. He stands \\n looking at the suitcases in a luggage shop window. \\n \\n \\t\\t\\tDESPERATE VOICE \\n \\tWell, Bill, what I got thinking, I\",\n \"\\t\\t\\tJOE \\n \\tTough tiddy, ladies, you had your \\n \\tchance. \\n \\n From a high angle -- Joe starts his long walk toward the bus \\n depot along the street of a small Western town struggling to\",\n \"\\t\\t\\tJOE \\n \\tNice talking to you, old timer. \\n \\n Joe stuffs a stick of gum in his mouth, turns to wave at the \\n Old Cowhand through the window as the bus pulls away. \\n\",\n \"She takes a dollar from her purse and hands it to Ratso, \\n takes Joe's arm and starts down the stairs. Ratso lingers, \\n starting quickly through the coats, frisking them for loose \\n change. \\n\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"Joe awakens, stiff-necked, momentarily confused. He \\n straightens in his seat as he sees the old Cowhand lifting a \\n sweat-stained saddle down from the overhead rack, starting \\n toward the front of the bus. Joe calls after him. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"INT. BUS - DAY \\n \\n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \\n frayed collar has taken the aisle seat next to Joe. As he \\n lectures Joe on salesmanship, he figures his expenses in a\",\n \"loud speaker announces a bus \\\"departing for Texas\\\" but Joe \\n does not move. A policeman taps Joe's boots with his night \\n stick. Joe rises and starts away with mixed anger and \\n apprehension. \\n\",\n \"Ignored by the driver, Joe rises and walks back to his empty \\n double seat, glancing around to see what impression he's made \\n on his immediate fellow travelers -- an OLD LADY in front of\",\n \"\\tI want you to have it. For helping \\n \\tme be good. \\n \\n INT. GREYHOUND BUS TERMINAL - DAY \\n \\n It's Joe's turn. The clerk looks at him expectantly. \\n\",\n \"\\tlooking at you. It's a fact. How \\n \\tmuch you need for that taxi? Ten? \\n \\tTwenty? There you go. \\n \\n Joe tucks a twenty-dollar bill into her bosom, tilts his\",\n \"The bus roars into the tunnel. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso sit near the rear of the bus. Ratso's teeth \\n chatter, wrapped in the blanket. \\n\",\n \"\\tout. \\n \\n INT. BUS - NIGHT \\n \\n Joe shakes his head, grinning, offering the old Cowhand a \\n cigarette. \\n \\n \\t\\t\\tJOE \\n \\tSmoke? \\n\",\n \"Joe is alone again. The Salesman has disappeared. The bus is \\n dark, most-passengers trying to sleep. Only one reading light \\n still burns, over the head of the old-Lady in the seat ahead\",\n \"He glances at Joe, then pulls off the road and stands up. \\n \\n \\t\\t\\tDRIVER (CONT'D) \\n \\tOkay, folks, everything's fine. \\n \\tNothing to worry about. \\n\",\n \"STILL PHOTOGRAPH \\n \\n Joe soaking in the tub, eyes closed. \\n \\n EXT. TIMES SQUARE DANCE HALL - DAY \\n \\n Joe's radio promises job opportunities for young men eighteen\"\n ],\n [\n \"he glances at Ratso, frowning, reaches out an arm and puts it \\n around Ratso, settling back, staring straight ahead. \\n \\n \\t\\t\\t\\t THE END \\n \\n \\n\",\n \"INT. TENEMENT STAIRS - DAY \\n \\n Joe carries Ratso down the stairs, wrapped in a blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"\\t\\t\\tJOE \\n \\tClose them? \\n \\n \\t\\t\\tDRIVER \\n \\tJust reach over and close them. \\n \\tThat's all. \\n \\n Joe closes Ratso's eyes. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"INT. X FLAT - NIGHT \\n \\n Joe and Ratso frozen, wrapped in blankets as... \\n \\n ... the canned heat dies with a faint puff... \\n \\n ... water dripping in the tub-sink freezes into an icicle... \\n\",\n \"... the candle burns down and out, leaving the screen dark. \\n \\n EXT. CONDEMNED TENEMENTS - DAY \\n \\n Joe and Ratso warm themselves on the smoke and steam rising \\n from a subway grating -- watching two officials in fur\",\n \"across the street with incredible speed to meet Joe as he's \\n tossed onto the sidewalk. Ratso picks up the Stetson and \\n brushes it off, then helps Joe to his feet. \\n \\n EXT. SIXTH AVENUE - NIGHT \\n\",\n \"The bus roars into the tunnel. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso sit near the rear of the bus. Ratso's teeth \\n chatter, wrapped in the blanket. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"Ratso hurls it in a corner. Joe shoves the ten at Ratso. \\n \\n \\t\\t\\tJOE \\n \\tGo get your medicine. Before you \\n \\tdie on my goddam, hands... \\n\",\n \"Joe's hand falls on Ratso's shoulder. \\n \\n \\t\\t\\tJOE \\n \\tOh, I ain't gonna hit you, I'm \\n \\tgonna strangle you to death... \\n\",\n \"his horn. Joe runs recklessly forward as Ratso slams the taxi \\n fender with his fist, pretending to be hit, falling into \\n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"Florida. Ratso glances toward the growl of a siren O.S. \\n \\n EXT. BARBIZON FOR WOMEN - NIGHT \\n \\n A police prowl car slows in front of the hotel. Ratso swings\",\n \"Joe carries Ratso up the steps onto the bus. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n \\n Towny's shrill little whisper says... \\n \\n \\t\\t\\tTOWNY \",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"Joe hands Ratso his own comb. Ratso swipes at his tangled \\n hair angrily until two teeth break in the comb. He hands the \\n comb back, tugs at his hair with his fingers, pats it in \\n place, then looks back into Joe's eyes.\",\n \"\\tthrilled. \\n \\n EXT. TENEMENT NEIGHBORHOOD - DAY \\n \\n Ratso sits an a stoop while Joe hails a cab. \\n \\n INT. TOWNY'S BATHROOM - NIGHT \\n\",\n \"bellowing at the snow. \\n \\n \\t\\t\\tJOE \\n \\tWhoopee ti yi yo...! \\n \\n EXT. LOFT BUILDING - NIGHT \\n \\n Ratso makes his way slowly from the building to the curb,\",\n \"\\t\\t\\tRATSO \\n \\tJust keep your hat on and cry a \\n \\tlittle. They tip you when it's \\n \\tover. \\n \\n Joe and Ratso join the mourners as the funeral moves to the\"\n ],\n [\n \"STILL PHOTOGRAPH \\n \\n Joe soaking in the tub, eyes closed. \\n \\n EXT. TIMES SQUARE DANCE HALL - DAY \\n \\n Joe's radio promises job opportunities for young men eighteen\",\n \"\\t\\t\\tJOE \\n \\tNow I'm here. I'm in New York City. \\n \\tGetting picked for things. Don't \\n \\tyou see what I'm driving at? \\n \\n \\t\\t\\tRATSO \",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"\\tNew York. \\n \\n Joe pays. She smiles, gives him change. Joe smiles, starts on \\n toward the bus, hardly aware that he has accomplished \\n something rare and remarkable for Joe -- a simple human \\n contact without fear or threat, a pleasant everyday \\n happening.\",\n \"\\the's God's gift to women. One \\n \\ttwenty-buck trick and he's already \\n \\tthe biggest stud in New York City. \\n \\tIt's laughable. \\n \\n Joe sets his Stetson on his head.\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"work, carrying lunch pails, dressed exactly as Joe is now \\n dressed... \\n \\n ... then Joe lowers the blind and seats himself. Ratso nods \\n slightly, his voice practically inaudible. \\n \\n \\t\\t\\tRATSO \",\n \"The door marked EMPLOYEES ONLY swings open and Joe appears, \\n measuring his effect on the customers and his fellow \\n employees as he crosses the sterile white dining room, \\n observing the drab details of the life he has left behind -\",\n \"up to a close-up of Joe at the window. \\n \\n EXT. FIFTH AVENUE - DAY \\n \\n From on high -- as though Joe were watching himself -- the \\n Stetson moves through a crowd of Fifth Avenue shoppers... \\n\",\n \"behind the counter. It's Joe. \\n \\n \\t\\t\\tJOE \\n \\tShee-it. \\n \\n STILL PHOTOGRAPH \\n \\n Joe sits in the hotel lobby, staring out at the street,\",\n \"\\t\\t\\tJOE \\n \\tWhat for? \\n \\n \\t\\t\\tRATSO \\n \\tSo you could sleep! I mean Christ! \\n \\n Joe inspects the boots, seats himself on a battered Army cot \",\n \"EXT. FORTY-SECOND STREET - NIGHT \\n \\n Joe's radio is at his ear \\\"... never too late to look great, \\n Ben's Bargain Basement's open 'till five a.m., miles and\",\n \"The room has little to recommend it except its size and large \\n French window, through which -- ignored by Joe -- the Mutual \\n tower flashes MONY. Towny waves Joe toward the couch, quickly \\n slipping several physical culture magazines from the coffee \\n table onto a shelf beneath.\",\n \"revealing a young man very similar to, but clearly not Joe. \\n \\n EXT. TIMES SQUARE - NIGHT \\n \\n Colorful lights still flash seductive promise. The vertical, \\n lights on the MONY tower reach bottom and freeze momentarily. \\n\",\n \"RATSO studies Joe across the corner of the bar -- a sickly, \\n child-size old man of twenty-one -- hopefully nursing an \\n empty beer glass, contemplating the money on the bar in front \\n of Joe. \\n \\n \\t\\t\\tRATSO \",\n \"Joe cracks his gum, tilts his hat, starts across the street. \\n \\n \\t\\t\\tRATSO (CONT'D) \\n \\tGet the money! Remember Cass \\n \\tTrehune? Cash! These rich bitches\",\n \"Joe's radio continues the super-break commercial while a fry \\n cook flips flapjacks in the window. \\n But Joe's eyes are on a sign DISHWASHER WANTED. Joe looks up \\n and his eyes meet those of the young man scraping garbage\",\n \"miles of Western styles, worth more at any store, money talks \\n and nobody walks.\\\" For the first time, Joe is aware of the \\n other midnight cowboys lurking in doorways, the cruising \\n queens, the middle-age men in sport shirts. Joe moves on self\",\n \"\\t\\t\\tJOE'S VOICE \\n \\tMake that twenty-three bucks. \\n \\n INT. X FLAT - DAY \\n \\n Joe slams his heel down. The coconut shoots out from under\",\n \"Ratso's eyes squint in a dazed half-sleep. Joe leans across \\n to pull down the shade. He hesitates a moment, watching... \\n \\n ... past his reflection, a group of young men on their way to\"\n ],\n [\n \"STILL PHOTOGRAPH \\n \\n Joe soaking in the tub, eyes closed. \\n \\n EXT. TIMES SQUARE DANCE HALL - DAY \\n \\n Joe's radio promises job opportunities for young men eighteen\",\n \"from a pretty model's head, Joe's quarter runs out and the \\n screen goes blank. At the same moment, the love song is cut \\n off by a singing station break \\\"W-I-N-S NEW YORK\\\" Joe rises,\",\n \"The door marked EMPLOYEES ONLY swings open and Joe appears, \\n measuring his effect on the customers and his fellow \\n employees as he crosses the sterile white dining room, \\n observing the drab details of the life he has left behind -\",\n \"\\t\\t\\tJOE \\n \\tNow I'm here. I'm in New York City. \\n \\tGetting picked for things. Don't \\n \\tyou see what I'm driving at? \\n \\n \\t\\t\\tRATSO \",\n \"Joe rises abruptly, rips up the postcard and tosses it out \\n the window. \\n \\n \\t\\t\\tJOE \\n \\tGoddam if I came to this town to \\n \\twrite postcards. \\n\",\n \"work, carrying lunch pails, dressed exactly as Joe is now \\n dressed... \\n \\n ... then Joe lowers the blind and seats himself. Ratso nods \\n slightly, his voice practically inaudible. \\n \\n \\t\\t\\tRATSO \",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"Joe's radio continues the super-break commercial while a fry \\n cook flips flapjacks in the window. \\n But Joe's eyes are on a sign DISHWASHER WANTED. Joe looks up \\n and his eyes meet those of the young man scraping garbage\",\n \"\\t\\t\\tJOE \\n \\tWhat for? \\n \\n \\t\\t\\tRATSO \\n \\tSo you could sleep! I mean Christ! \\n \\n Joe inspects the boots, seats himself on a battered Army cot \",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"behind the counter. It's Joe. \\n \\n \\t\\t\\tJOE \\n \\tShee-it. \\n \\n STILL PHOTOGRAPH \\n \\n Joe sits in the hotel lobby, staring out at the street,\",\n \"up to a close-up of Joe at the window. \\n \\n EXT. FIFTH AVENUE - DAY \\n \\n From on high -- as though Joe were watching himself -- the \\n Stetson moves through a crowd of Fifth Avenue shoppers... \\n\",\n \"... Joe is about to hang the dead receiver on its hook when \\n on sudden impulse -- he shoves the small end of the receiver \\n into the toothless mouth of the man on the floor. \\n \\n EXT. LINCOLN TUNNEL - DAY \\n\",\n \"\\tUp yours, lady. \\n \\n ... but Joe leaves the lady on, savoring the expensive sound \\n of her voice reading the stock quotations. Joe seats himself \\n at the desk, pleased to find a postcard photograph of the\",\n \"loud speaker announces a bus \\\"departing for Texas\\\" but Joe \\n does not move. A policeman taps Joe's boots with his night \\n stick. Joe rises and starts away with mixed anger and \\n apprehension. \\n\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"revealing a young man very similar to, but clearly not Joe. \\n \\n EXT. TIMES SQUARE - NIGHT \\n \\n Colorful lights still flash seductive promise. The vertical, \\n lights on the MONY tower reach bottom and freeze momentarily. \\n\",\n \"EXT. TEXAS TOWN MAIN STREET - DAY \\n \\n Joe leaves the hotel, carrying his suitcase. \\n \\n INT. CAFETERIA SCULLERY - DAY \\n \\n The pink Manager points at his watch angrily. \\n\",\n \"\\the's God's gift to women. One \\n \\ttwenty-buck trick and he's already \\n \\tthe biggest stud in New York City. \\n \\tIt's laughable. \\n \\n Joe sets his Stetson on his head.\",\n \"The room has little to recommend it except its size and large \\n French window, through which -- ignored by Joe -- the Mutual \\n tower flashes MONY. Towny waves Joe toward the couch, quickly \\n slipping several physical culture magazines from the coffee \\n table onto a shelf beneath.\"\n ],\n [\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\",\n \"Joe hands Ratso his own comb. Ratso swipes at his tangled \\n hair angrily until two teeth break in the comb. He hands the \\n comb back, tugs at his hair with his fingers, pats it in \\n place, then looks back into Joe's eyes.\",\n \"Ratso opens the paper bag, trying to control his shivering, \\n pulling out the socks and a suit of long underwear. He sees \\n Joe watching him for a reaction. The best Ratso can do is a \\n slight shake of his head. \\n\",\n \"As if by conditioned reflex, Ratso chokes on the cigarette in \\n his mouth, coughing painfully. He crushes it out, opens the \\n window to spit, shivering, then slam it and turns back to \\n remove the towel from Joe's neck.\",\n \"Joe peels a ten from his wallet and offers it to Ratso. \\n \\n \\t\\t\\tRATSO \\n \\tJoe, please. You know what I'd ask \\n \\tanyone else? Oh hell, tell you what\",\n \"Joe's hand falls on Ratso's shoulder. \\n \\n \\t\\t\\tJOE \\n \\tOh, I ain't gonna hit you, I'm \\n \\tgonna strangle you to death... \\n\",\n \"Ratso is trembling so violently that the sou, starts to slop \\n over. Joe takes it and sets it on the table. \\n \\n \\t\\t\\tJOE \\n \\tOkay. Here it is. You gonna go see\",\n \"Joe pulls out his shirttail, grabs Ratso by the neck and rubs \\n his head dry. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tYou got a comb? \\n \\n \\t\\t\\tRATSO \",\n \"is frowning at Ratso, who shivers despite the bright sun. \\n \\n \\t\\t\\tJOE \\n \\tIf you have to shiver, why don't \\n \\tyou pull the blanket up more? \\n \\n \\t\\t\\tRATSO \",\n \"Ratso hurls it in a corner. Joe shoves the ten at Ratso. \\n \\n \\t\\t\\tJOE \\n \\tGo get your medicine. Before you \\n \\tdie on my goddam, hands... \\n\",\n \"\\ton 'em? I wouldn't touch 'em. \\n \\n Joe should leave -- Ratso obviously has nothing tangible to \\n offer -- but Joe hesitates, lighting a cigarette as Ratso \\n pulls on his loafers. \\n\",\n \"thing they'd ever heard. Then Ratso's face pales as he starts \\n to choke and cough. Joe pats him on the back. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tHey, what size pants you wear? \\n\",\n \"Ratso removes his loafers and shakes them, glancing at the \\n counter man. His socks don't even conceal his toes. \\n Disgusted, Joe shoves Ratso's small pile back at him. \\n\",\n \"Joe glances at Ratso, but there is no response. \\n Surreptitiously, Joe takes out a cigarette, turns his face \\n away from Ratso and lights it, hiding it cupped in his hand \\n as he smokes. \\n\",\n \"She takes a dollar from her purse and hands it to Ratso, \\n takes Joe's arm and starts down the stairs. Ratso lingers, \\n starting quickly through the coats, frisking them for loose \\n change. \\n\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"... Ratso huddled in the overstuffed chair -- wearing the \\n stolen sheepskin coat -- wrapped in blankets, his teeth \\n chattering, in spite of the sweat on his forehead. Joe stops \\n abruptly, his mood shattered by Ratso's alarming condition.\",\n \"Joe frowns in his sleep, awakens, lifts his Stetson to see \\n Ratso wide awake, in misery, wiping tears from his eyes. \\n \\n \\t\\t\\tJOE \\n \\tHey -- whatsa matter? \\n\",\n \"across the street with incredible speed to meet Joe as he's \\n tossed onto the sidewalk. Ratso picks up the Stetson and \\n brushes it off, then helps Joe to his feet. \\n \\n EXT. SIXTH AVENUE - NIGHT \\n\",\n \"Ratso's mouth. Ratso laughs till he chokes -- for one \\n instant, self-consciously, mimicking Joe -- then removes the \\n hat and reaches for his threadbare black raincoat. \\n \\n \\t\\t\\tJOE (CONT'D)\"\n ],\n [\n \"Joe laughs, driving an obscene uppercut into the air. \\n O'Daniel laughs with him. \\n \\n \\t\\t\\tO'DANIEL (CONT'D) \\n \\tYou're a wonderful boy. You'n me\",\n \"... Jackie shrieking \\\"He loves her he loves her\\\"... \\n ... hands closing on Joe's buttocks... \\n ... hand closing on Joe's naked left foot... \\n ... hand on naked right foot... \",\n \"like a bad little boy. Joe backhands him angrily. Trying to \\n duck the blow, Towny stumbles and slips to the floor, but \\n grabs the table in his arms, watching Joe out of the corner\",\n \"... dentist leaning over Joe's mouth... \\n ... hands pulling Joe's legs apart... \\n \\n Zoom close-up -- Anastasia screaming soundlessly... \\n ... thermometer under Little Joe's tongue... \",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"RATSO studies Joe across the corner of the bar -- a sickly, \\n child-size old man of twenty-one -- hopefully nursing an \\n empty beer glass, contemplating the money on the bar in front \\n of Joe. \\n \\n \\t\\t\\tRATSO \",\n \"\\tThank you, Joe. \\n \\n ... provoking Joe to glance back. Towny is reaching for the \\n telephone, his eyes on Joe with wild brightness, holding his \\n hand on the receiver. Joe knocks the phone from his hand,\",\n \"But he clutches the table wildly. His mother's picture falls \\n unnoticed. Joe stands in panic, sickened, unable to fulfill \\n the role Towny has assigned him. \\n \\n \\t\\t\\tTOWNY (CONT'D)\",\n \"... the receding flash of its turret light revealing Joe in \\n close conversation with a frightened young FAT BOY, whose \\n eyes plead for reassurance as Joe scowls. \\n \\n INT. ROOM 1014 - DAY \\n\",\n \"Shirley leans on one elbow, looking at Joe sympathetically, \\n fighting an almost irrepressible desire to laugh. Still \\n avoiding Shirley's eyes, Joe finds a cigarette on the side \\n table, searches for matches. \\n\",\n \"Joe tries to laugh but it sticks in his throat as Cass speaks \\n -- an impassioned whisper -- still holding Joe's chin. \\n \\n \\t\\t\\tCASS \\n \\tYou bastard! You son of a bitch!\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tThey picked me. The only one in the \\n \\twhole goddam place. You see how \\n \\tthey looked me over, up and down \\n \\tbefore they give me that? \\n\",\n \"a moment on the lamp post, then starts painfully inching his \\n way along the deserted street. \\n \\n INT. SHIRLEY'S BEDROOM - NIGHT \\n \\n Joe lies on his back, staring fixedly at a fragile mobile\",\n \"of his eyes, whimpering. Joe grabs his hair, turning his face \\n up. \\n \\n \\t\\t\\tJOE \\n \\tLet go. Let go of the table. \\n\",\n \"work, carrying lunch pails, dressed exactly as Joe is now \\n dressed... \\n \\n ... then Joe lowers the blind and seats himself. Ratso nods \\n slightly, his voice practically inaudible. \\n \\n \\t\\t\\tRATSO \",\n \"Joe slaps him, but Towny clings more fiercely to the table as \\n Joe tries to jerk it free. Joe strikes him with his fist. \\n \\n \\t\\t\\tTOWNY \\n \\tI deserved that, I know I did. \\n\",\n \"of Joe. Joe squirms, restless, trying to lull himself to \\n sleep with the music of a revivalist gospel group on the \\n radio. \\n \\n \\t\\t\\tSALLY BUCK'S VOICE \",\n \"Joe faces MISS BEECHAM, a reserved and rather plain young \\n lady in evening dress, She tries to speak softly. \\n \\n \\t\\t\\tMISS BEECHAM \\n \\tI'm afraid there's been a terrible\",\n \"Ignored by the driver, Joe rises and walks back to his empty \\n double seat, glancing around to see what impression he's made \\n on his immediate fellow travelers -- an OLD LADY in front of\",\n \"over to release her seat, then pulls her blanket around her \\n and turns away from him. Joe switches off her reading light. \\n \\n \\t\\t\\tOLD LADY \\n \\tI want it on. \\n\"\n ],\n [\n \"\\t\\t\\tRATSO \\n \\tYou and my old man. Same kinda \\n \\tmind. Putting me down till the day \\n \\the died... \\n \\t\\t(mimics) \\n \\t... why can't you be like your\",\n \"Ratso opens the paper bag, trying to control his shivering, \\n pulling out the socks and a suit of long underwear. He sees \\n Joe watching him for a reaction. The best Ratso can do is a \\n slight shake of his head. \\n\",\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"Joe hands Ratso his own comb. Ratso swipes at his tangled \\n hair angrily until two teeth break in the comb. He hands the \\n comb back, tugs at his hair with his fingers, pats it in \\n place, then looks back into Joe's eyes.\",\n \"... Ratso huddled in the overstuffed chair -- wearing the \\n stolen sheepskin coat -- wrapped in blankets, his teeth \\n chattering, in spite of the sweat on his forehead. Joe stops \\n abruptly, his mood shattered by Ratso's alarming condition.\",\n \"work, carrying lunch pails, dressed exactly as Joe is now \\n dressed... \\n \\n ... then Joe lowers the blind and seats himself. Ratso nods \\n slightly, his voice practically inaudible. \\n \\n \\t\\t\\tRATSO \",\n \"whistling between his teeth sharply, hailing a cab. The cab \\n slows to a stop. Then the driver sees Ratso, shifts into gear \\n and drives on. Ratso bites his thumb after the cab, rests for\",\n \"Joe glances at Ratso, but there is no response. \\n Surreptitiously, Joe takes out a cigarette, turns his face \\n away from Ratso and lights it, hiding it cupped in his hand \\n as he smokes. \\n\",\n \"his hat to two nuns, guiltily hurrying to overtake Ratso at \\n ibis father's grave, indistinguishable from the other graves \\n except for the name on the headstone. Ratso places the floral\",\n \"Ratso points to the boots on the floor by the mattress. \\n \\n \\t\\t\\tJOB \\n \\tHow'd they get off me? \\n \\n \\t\\t\\tRATSO \\n \\tI took 'em off. \\n\",\n \"\\t\\t\\tRATSO \\n \\tI been sick. Hold this, will ya? \\n \\n Joe takes his time rising to hold the coconut while Ratso \\n tries to poke a hole with a bent ice-pick. \\n\",\n \"thing they'd ever heard. Then Ratso's face pales as he starts \\n to choke and cough. Joe pats him on the back. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tHey, what size pants you wear? \\n\",\n \"his horn. Joe runs recklessly forward as Ratso slams the taxi \\n fender with his fist, pretending to be hit, falling into \\n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,\",\n \"Ratso leans over the tub-sink, dry-heaving while he coughs, \\n wearing a sheepskin coat much too large for him. He controls \\n the cough with effort -- hearing the door open and close O.S.\",\n \"Ratso removes his loafers and shakes them, glancing at the \\n counter man. His socks don't even conceal his toes. \\n Disgusted, Joe shoves Ratso's small pile back at him. \\n\",\n \"Ratso's mouth. Ratso laughs till he chokes -- for one \\n instant, self-consciously, mimicking Joe -- then removes the \\n hat and reaches for his threadbare black raincoat. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"Ratso automatically checks the coin return boxes of the phone \\n booths they pass. Walking the park side of the street, \\n looking across at the limousines and taxis waiting outside \\n luxury hotels and apartment buildings. \\n \\n \\t\\t\\tJOE\",\n \"\\tAnd keep your meat hooks off my \\n \\tradio. \\n \\n EXT. VEGETABLE MARKET - DAY \\n \\n Ratso wears a threadbare raincoat of faded black, several\",\n \"\\t\\t\\tRATSO'S VOICE \\n \\tI gotta sit down. I feel crummy. \\n \\n Ratso stretched out on a Victorian love seat -- the flower \\n girl walking unsteadily, passing out dead daffodils, placing\"\n ],\n [\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"Florida. Ratso glances toward the growl of a siren O.S. \\n \\n EXT. BARBIZON FOR WOMEN - NIGHT \\n \\n A police prowl car slows in front of the hotel. Ratso swings\",\n \"INT. TENEMENT STAIRS - DAY \\n \\n Joe carries Ratso down the stairs, wrapped in a blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"he glances at Ratso, frowning, reaches out an arm and puts it \\n around Ratso, settling back, staring straight ahead. \\n \\n \\t\\t\\t\\t THE END \\n \\n \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"Ratso stops opposite the Plaza hotel, pointing across at an \\n aristocratic blonde stepping out of a Rolls Royce. \\n \\n \\t\\t\\tRATSO (CONT'D) \\n \\tTomorrow when some piece like\",\n \"EXT. SIDEWALK CAFE - COCKTAIL HOUR \\n \\n At,the corner of Central Park South, Ratso points toward a \\n young man with diamond cuff-links, sitting with a blue-haired\",\n \"EXT. FLORIDA BEACH FRONT - FANTASY \\n \\n ... Ratso, like a model in a travel poster, in gaudy sport \\n shirt, talking on the phone against a background of hotels... \\n\",\n \"of the shop to search for the nonexistent homburg. Ratso \\n quickly drags Joe away from the mirror and out of the shop. \\n \\n INT. SUBWAY ARCADE - NIGHT \\n\",\n \"bellowing at the snow. \\n \\n \\t\\t\\tJOE \\n \\tWhoopee ti yi yo...! \\n \\n EXT. LOFT BUILDING - NIGHT \\n \\n Ratso makes his way slowly from the building to the curb,\",\n \"whistling between his teeth sharply, hailing a cab. The cab \\n slows to a stop. Then the driver sees Ratso, shifts into gear \\n and drives on. Ratso bites his thumb after the cab, rests for\",\n \"Ratso's eyes squint in a dazed half-sleep. Joe leans across \\n to pull down the shade. He hesitates a moment, watching... \\n \\n ... past his reflection, a group of young men on their way to\",\n \"Joe stands in a long line, glancing impatiently at the clock \\n while Ratso waits on a bench, wrapped in his blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"across the street with incredible speed to meet Joe as he's \\n tossed onto the sidewalk. Ratso picks up the Stetson and \\n brushes it off, then helps Joe to his feet. \\n \\n EXT. SIXTH AVENUE - NIGHT \\n\",\n \"and hails a cab. Ratso darts forward, limping exaggeratedly, \\n holding the door, lifting the memo as he brushes off the \\n Escort's topcoat. The young man waves him away with out a\",\n \"glances significantly at the elevator operator. Ratso follows \\n Joe to door as the operator grinds to a stop. \\n \\n INT. WEST SIDE HOTEL CORRIDOR - DUSK \\n\",\n \"\\tthrilled. \\n \\n EXT. TENEMENT NEIGHBORHOOD - DAY \\n \\n Ratso sits an a stoop while Joe hails a cab. \\n \\n INT. TOWNY'S BATHROOM - NIGHT \\n\",\n \"Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \\n furnished with a table and chair, a rumple of blankets on a \\n burnt-out mattress. \\n \\n \\t\\t\\tRATSO \",\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\"\n ],\n [\n \"they are disappearing around the corner. Joe hands the card \\n to Ratso. \\n \\n \\t\\t\\tJOE \\n \\tYou wanna read something, read \\n \\tthis. I been invited somewhere. \\n\",\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\",\n \"Ratso heads for the refreshment table. Joe starts after him \\n but pauses, intrigued by an alcove under the balcony where a \\n light show is in progress -- surreal images of naked bodies \\n projected against abstract currents of color and strobe \\n light... \\n\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \\n furnished with a table and chair, a rumple of blankets on a \\n burnt-out mattress. \\n \\n \\t\\t\\tRATSO \",\n \"\\tten, Joe; just to like cover \\n \\texpenses... \\n \\n INT. PUBLIC PHONE BOOTH - DUSK \\n \\n Ratso is on the phone. Joe holds the door open, listening. \\n\",\n \"Snow swirls in the aureole of a street light as Joe and Ratso \\n run, heads lowered, turning into... \\n \\n INT. LOFT BUILDING - NIGHT \\n \\n ... a drab entrance hall, dimly lit -- signs identifying\",\n \"Joe and Ratso peer down through a basement bay window, into \\n the office of THE PERFECT GENTLEMAN ESCORT SERVICE -- \\n endorsed by leading travel agencies and credit clubs offering \\n discreet companionship and personal guided tours in any\",\n \"across the street with incredible speed to meet Joe as he's \\n tossed onto the sidewalk. Ratso picks up the Stetson and \\n brushes it off, then helps Joe to his feet. \\n \\n EXT. SIXTH AVENUE - NIGHT \\n\",\n \"Joe stands in a long line, glancing impatiently at the clock \\n while Ratso waits on a bench, wrapped in his blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"A bank of lights blinds Joe and Ratso as they enter -- \\n electronic rock blasts their ears -- a bearded cameraman on a \\n step-ladder photographs them as they stand confused -- facing \\n a monstrous collage of tabloid photos blown up, showing the\",\n \"INT. TENEMENT STAIRS - DAY \\n \\n Joe carries Ratso down the stairs, wrapped in a blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"various commercial tenants -- a pink-on-black placard reading \\n MACALBERTSON, TWO FLIGHTS UP. Joe has started up before he \\n notices Ratso, leaning on the bannister at the foot of the\",\n \"They simply stare at each other for a moment, then Joe turns \\n away to see soup heating on the Sterno stove. Joe tosses one \\n of his paper bags onto Ratso's lap... \\n \\n \\t\\t\\tJOE \",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"Ratso's eyes squint in a dazed half-sleep. Joe leans across \\n to pull down the shade. He hesitates a moment, watching... \\n \\n ... past his reflection, a group of young men on their way to\",\n \"\\t\\t\\tJOE \\n \\tYou couldn't lift fly specks from a \\n \\tsugar bowl. Can you hold this? \\n \\n Joe hands Ratso the soup. Ratso seems steadied by the warmth\",\n \"\\tThat's what I said, Ratso. \\n \\n \\t\\t\\tJOE \\n \\t\\t (suddenly) \\n \\tHey now, you heard him. \\n \\n On the TV screen -- the Date Girl announces: \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"... Ratso laughing as police beat Joe... \\n \\n INT. X FLAT - NIGHT \\n \\n Joe awakens in a cold sweat, fighting the blankets, wild-eyed \\n as he sees Ratso at the table, examining Joe's radio by\"\n ],\n [\n \"... her feet suddenly flying up into view... \\n \\n ... her hand tugging rhythmically at the blanket... \\n \\n ... her other hand wildly exploring Joe's back... \\n \\n ... her ankles locking spasmodically... \\n\",\n \"... Jackie shrieking \\\"He loves her he loves her\\\"... \\n ... hands closing on Joe's buttocks... \\n ... hand closing on Joe's naked left foot... \\n ... hand on naked right foot... \",\n \"Joe leans over the bed, whispering in her ear: \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tHey. You are a gorgeous-looking \\n \\tpiece, Cass. Guy gets horny, just\",\n \"a moment on the lamp post, then starts painfully inching his \\n way along the deserted street. \\n \\n INT. SHIRLEY'S BEDROOM - NIGHT \\n \\n Joe lies on his back, staring fixedly at a fragile mobile\",\n \"it quickly as Joe sits up, looking at her. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tYou think I'm lying! \\n \\n \\t\\t\\tSHIRLEY \\n \\t\\t(controls herself)\",\n \"... her eyes and mouth wide, gaping... \\n \\n ... the blanket suddenly ripping free, flying into the air as \\n her arm flings itself around Joe... \\n \\n ... the bedclothes spilling down around them, muffling her \\n ascending shrieks.\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"... Joe is about to hang the dead receiver on its hook when \\n on sudden impulse -- he shoves the small end of the receiver \\n into the toothless mouth of the man on the floor. \\n \\n EXT. LINCOLN TUNNEL - DAY \\n\",\n \"\\tThank you, Joe. \\n \\n ... provoking Joe to glance back. Towny is reaching for the \\n telephone, his eyes on Joe with wild brightness, holding his \\n hand on the receiver. Joe knocks the phone from his hand,\",\n \"wail of pleasure -- Joe's problem is solved. Joe's love theme \\n swells triumphant. At the same time, Shirley half-rises, \\n trying to force Joe's head down, her own on top. The issue is\",\n \"\\tWell, you're out of your mind. I am \\n \\ta gorgeous chick, thirty-one, \\n \\tthat's right, you said it! \\n \\n Sobbing suddenly, she throws herself on the bed. Joe stands\",\n \"\\t\\t\\tJOE \\n \\tDon't rush me. How I do it, see, I \\n \\tget myself primed, like I was \\n \\tturning on the charm for some \\n \\tpretty little blonde lady, then\",\n \"Joe stands naked in the middle of traffic. A siren shrills. \\n Anastasia, catatonic in a hospital smock, moves toward Joe \\n like a sleepwalker, passing through him. \\n \\n INT. LAUNDROMAT - DAY \\n\",\n \"Shirley leans on one elbow, looking at Joe sympathetically, \\n fighting an almost irrepressible desire to laugh. Still \\n avoiding Shirley's eyes, Joe finds a cigarette on the side \\n table, searches for matches. \\n\",\n \"As if by conditioned reflex, Ratso chokes on the cigarette in \\n his mouth, coughing painfully. He crushes it out, opens the \\n window to spit, shivering, then slam it and turns back to \\n remove the towel from Joe's neck.\",\n \"Joe tries to laugh but it sticks in his throat as Cass speaks \\n -- an impassioned whisper -- still holding Joe's chin. \\n \\n \\t\\t\\tCASS \\n \\tYou bastard! You son of a bitch!\",\n \"Joe grins as he hears remembered sounds and voices incomplete \\n flashes, more significant in tone than content a girl \\n giggling sexily -- \\\"Keep your meat hooks off my beauty \\n operators, sugar\\\" -- tinkling noises of a busy beauty parlor \",\n \"\\tI'm just out of breath, honey, \\n \\trunning to catch the phone. \\n \\n As her fingers reach for Joe's zipper, cut to... \\n \\n ... Joe's hand unzipping her dress. \\n\",\n \"\\tBut seems to me that's more the \\n \\tfish smell than the bouncing... \\n \\n Joe realizes that her eyes are closed. Mildly depressed, he \\n stretches himself across both seats and turns on his radio,\",\n \"... Joe laughing as he falls lopsidedly... \\n \\n ... Shirley laughing triumphantly... \\n \\n ... his hand closing on her wrist... \\n \\n ... her talon-nails clawing the air... \\n \\n ... her toes walking up his calf...\"\n ],\n [\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"reach the wallet in the drawer. He takes all the money -- \\n probably twice what he needs -- desperate to get out of the \\n room. \\n \\n INT. GREYHOUND BUS TERMINAL - DAY \\n\",\n \"\\tMiami... \\n \\t\\t(looks at watch) \\n \\t... in forty minutes. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe sits stiffly, very frightened, as the bus starts on. Then\",\n \"Joe appears in full figure as the bus passes. He stands \\n looking at the suitcases in a luggage shop window. \\n \\n \\t\\t\\tDESPERATE VOICE \\n \\tWell, Bill, what I got thinking, I\",\n \"INT. BUS - DAY \\n \\n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \\n frayed collar has taken the aisle seat next to Joe. As he \\n lectures Joe on salesmanship, he figures his expenses in a\",\n \"\\t\\t\\tJOE \\n \\tTough tiddy, ladies, you had your \\n \\tchance. \\n \\n From a high angle -- Joe starts his long walk toward the bus \\n depot along the street of a small Western town struggling to\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"loud speaker announces a bus \\\"departing for Texas\\\" but Joe \\n does not move. A policeman taps Joe's boots with his night \\n stick. Joe rises and starts away with mixed anger and \\n apprehension. \\n\",\n \"Joe is alone again. The Salesman has disappeared. The bus is \\n dark, most-passengers trying to sleep. Only one reading light \\n still burns, over the head of the old-Lady in the seat ahead\",\n \"\\t\\t\\tJOE \\n \\tNice talking to you, old timer. \\n \\n Joe stuffs a stick of gum in his mouth, turns to wave at the \\n Old Cowhand through the window as the bus pulls away. \\n\",\n \"\\t\\t\\tJOE \\n \\tWhen I put you on that bus down to \\n \\tFlorida tonight, that'll be the \\n \\thappiest day of my life! \\n \\n INT. PHONE BOOTH - DAY \\n\",\n \"EXT. SMALL TOWN STREET - DAY \\n \\n The bus is parked in the distance. Joe comes from a clothing \\n store, bare-headed, wearing plain slacks and sport-shirt. He\",\n \"EXT. HIGHWAY - DAWN \\n \\n The bus passes a Florida hotel sign too swiftly to read it. \\n \\n INT. GREYHOUND BUS - DAWN \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"Joe awakens, stiff-necked, momentarily confused. He \\n straightens in his seat as he sees the old Cowhand lifting a \\n sweat-stained saddle down from the overhead rack, starting \\n toward the front of the bus. Joe calls after him. \\n\",\n \"\\tWell, he is, he's sicker'n shee-it. \\n \\tAnd I've gotta get him South quick \\n \\tas I can... \\n \\n INT. GREYHOUND BUS TERMINAL - DAY \\n\",\n \"She takes a dollar from her purse and hands it to Ratso, \\n takes Joe's arm and starts down the stairs. Ratso lingers, \\n starting quickly through the coats, frisking them for loose \\n change. \\n\",\n \"The bus roars into the tunnel. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso sit near the rear of the bus. Ratso's teeth \\n chatter, wrapped in the blanket. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\"\n ],\n [\n \"\\tMiami... \\n \\t\\t(looks at watch) \\n \\t... in forty minutes. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe sits stiffly, very frightened, as the bus starts on. Then\",\n \"\\t\\t\\tDRIVER (CONT'D) \\n \\tI guess we'll just drive on, right? \\n \\tNothing else to do. \\n \\n \\t\\t\\tJOE \\n \\tNo, sir. Not till Miami. I'll see\",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"to a lighted sign -- TEMPERATURE IN MIAMI BEACH, FLORIDA 89 \\n DEGREES -- their pace slowing to a dead stop... \\n \\n INT. X FLAT - NIGHT \\n\",\n \"\\tThanks, Joe. \\n \\n \\t\\t\\tJOE \\n \\tShee-it, you know, I got this thing \\n \\tall figured out, Ratso. I mean \\n \\tRico. When we get to Miami, what\",\n \"EXT. HIGHWAY - DAWN \\n \\n The bus passes a Florida hotel sign too swiftly to read it. \\n \\n INT. GREYHOUND BUS - DAWN \\n\",\n \"Palm trees are streaking past the window. The sun is glaring \\n hot. A group of kids in bare feet and straw hats wave to the \\n bus as it passes. \\n \\n INT. GREYHOUND BUS - DAY \\n\",\n \"Florida. Ratso glances toward the growl of a siren O.S. \\n \\n EXT. BARBIZON FOR WOMEN - NIGHT \\n \\n A police prowl car slows in front of the hotel. Ratso swings\",\n \"The coconut bounces on the floor. Ratso picks it up, holds \\n it, while Joe tries to crack it, swinging his boot like a \\n hammer. \\n \\n \\t\\t\\tRATSO \\n \\tMiami Beach is the only place for a\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"The bus roars into the tunnel. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso sit near the rear of the bus. Ratso's teeth \\n chatter, wrapped in the blanket. \\n\",\n \"From a high angle -- the two figures move slowly along the \\n deserted avenue, their rhythmic musical duet growing more and \\n more faint in the distance, a broken grasshopper and a six \\n foot tarnished cowboy -- passing a tuxedo rental store, next\",\n \"A bank of lights blinds Joe and Ratso as they enter -- \\n electronic rock blasts their ears -- a bearded cameraman on a \\n step-ladder photographs them as they stand confused -- facing \\n a monstrous collage of tabloid photos blown up, showing the\",\n \"The rhythmic duet of boots and loafers follows Joe and Ratso \\n - checking coin boxes and telephone booths -- till they reach \\n a shoeshine stand, locked for the night. They loiter till a \\n young couple has disappeared, then Joe kicks loose 'the\",\n \"They both smile. It isn't funny enough to laugh at. Joe \\n arranges the blanket, takes out a package of cigarettes, \\n glances at Ratso and puts it away. \\n \\n EXT. TRAVELING SHOT WITH BUS - DAY \\n\",\n \"Joe stands naked in the middle of traffic. A siren shrills. \\n Anastasia, catatonic in a hospital smock, moves toward Joe \\n like a sleepwalker, passing through him. \\n \\n INT. LAUNDROMAT - DAY \\n\",\n \"reach the wallet in the drawer. He takes all the money -- \\n probably twice what he needs -- desperate to get out of the \\n room. \\n \\n INT. GREYHOUND BUS TERMINAL - DAY \\n\",\n \"... the receding flash of its turret light revealing Joe in \\n close conversation with a frightened young FAT BOY, whose \\n eyes plead for reassurance as Joe scowls. \\n \\n INT. ROOM 1014 - DAY \\n\",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"Florida shirt. In the middle of the operation, Ratso dozes \\n off. Joe shakes his head, scowling, annoyed, but continues, \\n lifting Ratso enough to slide the pants around his waist. \\n Ratso awakens as Joe zips the fly. \\n\"\n ],\n [\n \"\\tMiami... \\n \\t\\t(looks at watch) \\n \\t... in forty minutes. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe sits stiffly, very frightened, as the bus starts on. Then\",\n \"carries the boots, Stetson and cowboy suit in one hand, a \\n bundle under his arm. He dumps his cowboy regalia in the \\n trash bin of a sandwich stand and calls to the WAITRESS. \\n \\n \\t\\t\\tJOE\",\n \"Florida shirt. In the middle of the operation, Ratso dozes \\n off. Joe shakes his head, scowling, annoyed, but continues, \\n lifting Ratso enough to slide the pants around his waist. \\n Ratso awakens as Joe zips the fly. \\n\",\n \"Ratso opens the paper bag, trying to control his shivering, \\n pulling out the socks and a suit of long underwear. He sees \\n Joe watching him for a reaction. The best Ratso can do is a \\n slight shake of his head. \\n\",\n \"EXT. SMALL TOWN STREET - DAY \\n \\n The bus is parked in the distance. Joe comes from a clothing \\n store, bare-headed, wearing plain slacks and sport-shirt. He\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"Wearing only his boots, Joe sits like an Indian chief, \\n wrapped in a blanket -- angle widening to show Ratso, \\n spotting Joe's jacket, slacks and shirt with cleaning fluid -- \\n his eyes on a very pregnant Italian lady. As she starts to\",\n \"\\t\\t\\tDRIVER (CONT'D) \\n \\tI guess we'll just drive on, right? \\n \\tNothing else to do. \\n \\n \\t\\t\\tJOE \\n \\tNo, sir. Not till Miami. I'll see\",\n \"Joe appears in full figure as the bus passes. He stands \\n looking at the suitcases in a luggage shop window. \\n \\n \\t\\t\\tDESPERATE VOICE \\n \\tWell, Bill, what I got thinking, I\",\n \"while he tries to smash it with the heel of his boot. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tThat's why you gonna stop crapping \\n \\tabout Florida and get your skinny\",\n \"\\tThanks, Joe. \\n \\n \\t\\t\\tJOE \\n \\tShee-it, you know, I got this thing \\n \\tall figured out, Ratso. I mean \\n \\tRico. When we get to Miami, what\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"work, carrying lunch pails, dressed exactly as Joe is now \\n dressed... \\n \\n ... then Joe lowers the blind and seats himself. Ratso nods \\n slightly, his voice practically inaudible. \\n \\n \\t\\t\\tRATSO \",\n \"herself against Joe as she wriggles out of her dress, passing \\n the phone from one hand to the other. \\n \\n \\t\\t\\tCASS (CONT'D) \\n \\tOkay, old goosie? Now lookie, when\",\n \"... Joe is about to hang the dead receiver on its hook when \\n on sudden impulse -- he shoves the small end of the receiver \\n into the toothless mouth of the man on the floor. \\n \\n EXT. LINCOLN TUNNEL - DAY \\n\",\n \"... Ratso huddled in the overstuffed chair -- wearing the \\n stolen sheepskin coat -- wrapped in blankets, his teeth \\n chattering, in spite of the sweat on his forehead. Joe stops \\n abruptly, his mood shattered by Ratso's alarming condition.\",\n \"Joe stands naked in the middle of traffic. A siren shrills. \\n Anastasia, catatonic in a hospital smock, moves toward Joe \\n like a sleepwalker, passing through him. \\n \\n INT. LAUNDROMAT - DAY \\n\"\n ],\n [\n \"\\tYou must be Joe Buck. Come in. \\n \\n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \\n prodigal son as he leads him into the room -- as anonymous as \\n Joe's own room. \\n\",\n \"Camera moves slowly up the anonymous wall of a drab hotel, \\n following the line of dim red lights marking the fire exits. \\n \\n \\t\\t\\tRATSO'S VOICE \\n \\tName's Joe Buck. Cowboy. Just in\",\n \"Singing as he buttons his new cowboy shirt, Joe interrupts \\n himself to answer Ralph... \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n ... continuing his song as he pulls up and zips his tight\",\n \"INT. SUNSHINE CAFETERIA - DAY \\n \\n Joe's song continues over a sweating WAITRESS, glancing up. \\n \\n \\t\\t\\tWAITRESS \\n \\tWhere's that Joe Buck? \\n\",\n \"of Joe. Joe squirms, restless, trying to lull himself to \\n sleep with the music of a revivalist gospel group on the \\n radio. \\n \\n \\t\\t\\tSALLY BUCK'S VOICE \",\n \"RALPH, an aging black man, faces a mountain of dirty dishes. \\n \\n \\t\\t\\tRALPH \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n\",\n \"\\t\\t\\tMANAGER \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe hums as he piles a complete wardrobe of cowboy clothes,\",\n \"Sally Buck fondly wipes lipstick from Joe's lips. \\n \\n \\t\\t\\tSALLY BUCK \\n \\tKeep your meat hooks off my \\n \\toperators, sugar, hear? \\n \\n INT. BUS - DAY \\n\",\n \"INT. REMEMBERED BEAUTY SALON - ANOTHER TIME \\n \\n A gawky, adolescent Joe sits sprawled on the couch, leafing \\n through a magazine while Sally Buck bleaches the roots of a \\n young woman's hair. \\n\",\n \"still in their wrappers, into a shiny new suitcase of black \\n and white horsehide. \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n INT. SUNSHINE CAFETERIA - DAY \\n\",\n \"Little Joe stares unblinking at the TV screen as Sally Buck \\n kisses him on the forehead, dressed for the street. \\n \\n \\t\\t\\tSALLY BUCK \\n \\tExpect me when you see me. Looks\",\n \"\\the's God's gift to women. One \\n \\ttwenty-buck trick and he's already \\n \\tthe biggest stud in New York City. \\n \\tIt's laughable. \\n \\n Joe sets his Stetson on his head.\",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"Little Joe is cuddled in Sally Buck's arms, under the covers, \\n watching Woodsy, sitting cross-legged on the bed, naked \\n except for his Stetson and guitar, singing drunkenly. \\n \\n \\t\\t\\tWOODSY\",\n \"\\tReady for hard work, son? \\n \\n \\t\\t\\tJOE \\n \\tReady for anything. \\n \\n \\t\\t\\tO'DANIEL \\n \\tI got a hunch, Joe Buck, it's gonna\",\n \"STILL PHOTOGRAPH \\n \\n Joe soaking in the tub, eyes closed. \\n \\n EXT. TIMES SQUARE DANCE HALL - DAY \\n \\n Joe's radio promises job opportunities for young men eighteen\",\n \"\\t\\t\\tSALLY BUCK \\n \\tYou look real nice, Joe baby... \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe sings as he pulls on his new cowboy boots, arranging his\",\n \"\\t\\t\\tJOE \\n \\tNow I'm here. I'm in New York City. \\n \\tGetting picked for things. Don't \\n \\tyou see what I'm driving at? \\n \\n \\t\\t\\tRATSO \",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"black and white as Joe walks into the crowd. \\n \\n EXT. SALLY BUCK'S BEAUTY SALON - DAY \\n \\n The FOR RENT sign flapping in the wind. \\n \\n INT. BAR - DAY \\n\"\n ],\n [\n \"\\the's God's gift to women. One \\n \\ttwenty-buck trick and he's already \\n \\tthe biggest stud in New York City. \\n \\tIt's laughable. \\n \\n Joe sets his Stetson on his head.\",\n \"STILL PHOTOGRAPH \\n \\n Joe soaking in the tub, eyes closed. \\n \\n EXT. TIMES SQUARE DANCE HALL - DAY \\n \\n Joe's radio promises job opportunities for young men eighteen\",\n \"\\t\\t\\tJOE \\n \\tNow I'm here. I'm in New York City. \\n \\tGetting picked for things. Don't \\n \\tyou see what I'm driving at? \\n \\n \\t\\t\\tRATSO \",\n \"\\tYou must be Joe Buck. Come in. \\n \\n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \\n prodigal son as he leads him into the room -- as anonymous as \\n Joe's own room. \\n\",\n \"Camera moves slowly up the anonymous wall of a drab hotel, \\n following the line of dim red lights marking the fire exits. \\n \\n \\t\\t\\tRATSO'S VOICE \\n \\tName's Joe Buck. Cowboy. Just in\",\n \"Singing as he buttons his new cowboy shirt, Joe interrupts \\n himself to answer Ralph... \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n ... continuing his song as he pulls up and zips his tight\",\n \"still in their wrappers, into a shiny new suitcase of black \\n and white horsehide. \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n INT. SUNSHINE CAFETERIA - DAY \\n\",\n \"up to a close-up of Joe at the window. \\n \\n EXT. FIFTH AVENUE - DAY \\n \\n From on high -- as though Joe were watching himself -- the \\n Stetson moves through a crowd of Fifth Avenue shoppers... \\n\",\n \"\\tNew York. \\n \\n Joe pays. She smiles, gives him change. Joe smiles, starts on \\n toward the bus, hardly aware that he has accomplished \\n something rare and remarkable for Joe -- a simple human \\n contact without fear or threat, a pleasant everyday \\n happening.\",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"\\tin New York, dammit. Besides, you \\n \\tlook very elegant... \\n \\n EXT. STREET CORNER - NIGHT \\n \\n Joe hardly notices O'Daniel on a far cornet, his whining \\n scarcely audible.\",\n \"EXT. FORTY-SECOND STREET - NIGHT \\n \\n Joe's radio is at his ear \\\"... never too late to look great, \\n Ben's Bargain Basement's open 'till five a.m., miles and\",\n \"work, carrying lunch pails, dressed exactly as Joe is now \\n dressed... \\n \\n ... then Joe lowers the blind and seats himself. Ratso nods \\n slightly, his voice practically inaudible. \\n \\n \\t\\t\\tRATSO \",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"from a pretty model's head, Joe's quarter runs out and the \\n screen goes blank. At the same moment, the love song is cut \\n off by a singing station break \\\"W-I-N-S NEW YORK\\\" Joe rises,\",\n \"INT. REMEMBERED BEAUTY SALON - ANOTHER TIME \\n \\n A gawky, adolescent Joe sits sprawled on the couch, leafing \\n through a magazine while Sally Buck bleaches the roots of a \\n young woman's hair. \\n\",\n \"INT. SUNSHINE CAFETERIA - DAY \\n \\n Joe's song continues over a sweating WAITRESS, glancing up. \\n \\n \\t\\t\\tWAITRESS \\n \\tWhere's that Joe Buck? \\n\",\n \"of Joe. Joe squirms, restless, trying to lull himself to \\n sleep with the music of a revivalist gospel group on the \\n radio. \\n \\n \\t\\t\\tSALLY BUCK'S VOICE \",\n \"\\t\\t\\tJOE \\n \\tWhat for? \\n \\n \\t\\t\\tRATSO \\n \\tSo you could sleep! I mean Christ! \\n \\n Joe inspects the boots, seats himself on a battered Army cot \"\n ],\n [\n \"Joe hands Ratso his own comb. Ratso swipes at his tangled \\n hair angrily until two teeth break in the comb. He hands the \\n comb back, tugs at his hair with his fingers, pats it in \\n place, then looks back into Joe's eyes.\",\n \"Joe glances at Ratso, but there is no response. \\n Surreptitiously, Joe takes out a cigarette, turns his face \\n away from Ratso and lights it, hiding it cupped in his hand \\n as he smokes. \\n\",\n \"Ratso removes his loafers and shakes them, glancing at the \\n counter man. His socks don't even conceal his toes. \\n Disgusted, Joe shoves Ratso's small pile back at him. \\n\",\n \"The cigarette in Ratso's mouth burns into his lip. He jerks \\n spasmodically, choking on smoke as he rips skin away with the \\n butt and drops it in his coffee cup. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"... Ratso huddled in the overstuffed chair -- wearing the \\n stolen sheepskin coat -- wrapped in blankets, his teeth \\n chattering, in spite of the sweat on his forehead. Joe stops \\n abruptly, his mood shattered by Ratso's alarming condition.\",\n \"Ratso's mouth. Ratso laughs till he chokes -- for one \\n instant, self-consciously, mimicking Joe -- then removes the \\n hat and reaches for his threadbare black raincoat. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"EXT. SIDEWALK CAFE - COCKTAIL HOUR \\n \\n At,the corner of Central Park South, Ratso points toward a \\n young man with diamond cuff-links, sitting with a blue-haired\",\n \"and hails a cab. Ratso darts forward, limping exaggeratedly, \\n holding the door, lifting the memo as he brushes off the \\n Escort's topcoat. The young man waves him away with out a\",\n \"\\tAnd keep your meat hooks off my \\n \\tradio. \\n \\n EXT. VEGETABLE MARKET - DAY \\n \\n Ratso wears a threadbare raincoat of faded black, several\",\n \"Ratso stops opposite the Plaza hotel, pointing across at an \\n aristocratic blonde stepping out of a Rolls Royce. \\n \\n \\t\\t\\tRATSO (CONT'D) \\n \\tTomorrow when some piece like\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"\\tman? You think I'm crippled? You \\n \\tshoulda caught him the end of a \\n \\tday. \\n \\n Ratso demonstrates a chimpanzee walk. Joe laughs. Ratso turns\",\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\",\n \"thing they'd ever heard. Then Ratso's face pales as he starts \\n to choke and cough. Joe pats him on the back. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tHey, what size pants you wear? \\n\",\n \"Ratso leans over the tub-sink, dry-heaving while he coughs, \\n wearing a sheepskin coat much too large for him. He controls \\n the cough with effort -- hearing the door open and close O.S.\",\n \"whistling between his teeth sharply, hailing a cab. The cab \\n slows to a stop. Then the driver sees Ratso, shifts into gear \\n and drives on. Ratso bites his thumb after the cab, rests for\",\n \"Joe has difficulty keening up with Ratso, who swings himself \\n along with surprising agility, his half skipping little gate \\n favoring one game leg. \\n \\n \\t\\t\\tRATSO \\n \\tLook, with these chicks that want\",\n \"Wearing only his boots, Joe sits like an Indian chief, \\n wrapped in a blanket -- angle widening to show Ratso, \\n spotting Joe's jacket, slacks and shirt with cleaning fluid -- \\n his eyes on a very pregnant Italian lady. As she starts to\",\n \"... Ratso simply himself, dressed as he is, sitting on the \\n beach, at peace in the sun... \\n \\n ... the same identical picture with Joe sitting beside Ratso. \\n \\n INT. BARBIZON FOR WOMEN - NIGHT \\n\",\n \"\\t\\t\\tRATSO \\n \\t\\t(barely audible) \\n \\tI'm wet. \\n \\n \\t\\t\\tJOE \\n \\tYou're what? \\n \\n \\t\\t\\tRATSO \"\n ],\n [\n \"Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \\n furnished with a table and chair, a rumple of blankets on a \\n burnt-out mattress. \\n \\n \\t\\t\\tRATSO \",\n \"INT. TENEMENT STAIRS - DAY \\n \\n Joe carries Ratso down the stairs, wrapped in a blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"Florida. Ratso glances toward the growl of a siren O.S. \\n \\n EXT. BARBIZON FOR WOMEN - NIGHT \\n \\n A police prowl car slows in front of the hotel. Ratso swings\",\n \"Joe stands in a long line, glancing impatiently at the clock \\n while Ratso waits on a bench, wrapped in his blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"glances significantly at the elevator operator. Ratso follows \\n Joe to door as the operator grinds to a stop. \\n \\n INT. WEST SIDE HOTEL CORRIDOR - DUSK \\n\",\n \"Ratso automatically checks the coin return boxes of the phone \\n booths they pass. Walking the park side of the street, \\n looking across at the limousines and taxis waiting outside \\n luxury hotels and apartment buildings. \\n \\n \\t\\t\\tJOE\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"Ratso stops opposite the Plaza hotel, pointing across at an \\n aristocratic blonde stepping out of a Rolls Royce. \\n \\n \\t\\t\\tRATSO (CONT'D) \\n \\tTomorrow when some piece like\",\n \"Snow swirls in the aureole of a street light as Joe and Ratso \\n run, heads lowered, turning into... \\n \\n INT. LOFT BUILDING - NIGHT \\n \\n ... a drab entrance hall, dimly lit -- signs identifying\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"... Ratso huddled in the overstuffed chair -- wearing the \\n stolen sheepskin coat -- wrapped in blankets, his teeth \\n chattering, in spite of the sweat on his forehead. Joe stops \\n abruptly, his mood shattered by Ratso's alarming condition.\",\n \"EXT. SIDEWALK CAFE - COCKTAIL HOUR \\n \\n At,the corner of Central Park South, Ratso points toward a \\n young man with diamond cuff-links, sitting with a blue-haired\",\n \"Ratso leans over the tub-sink, dry-heaving while he coughs, \\n wearing a sheepskin coat much too large for him. He controls \\n the cough with effort -- hearing the door open and close O.S.\",\n \"\\tAnd keep your meat hooks off my \\n \\tradio. \\n \\n EXT. VEGETABLE MARKET - DAY \\n \\n Ratso wears a threadbare raincoat of faded black, several\",\n \"\\t\\t\\tRATSO \\n \\tJoe -- do me one favor -- this is \\n \\tmy place, am I wrong? You know, in \\n \\tmy own place my name ain't Ratso. I \\n \\tmean it so happens my name is\",\n \"Joe glances at Ratso, but there is no response. \\n Surreptitiously, Joe takes out a cigarette, turns his face \\n away from Ratso and lights it, hiding it cupped in his hand \\n as he smokes. \\n\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"Ratso leans on the DOWN as the cage grinds slowly down into \\n view and stops. \\n \\n \\t\\t\\tRATSO \\n \\tSherry-Netherlands Hotel. Now get \\n \\tyour ass in there. He's waiting!\",\n \"across the street with incredible speed to meet Joe as he's \\n tossed onto the sidewalk. Ratso picks up the Stetson and \\n brushes it off, then helps Joe to his feet. \\n \\n EXT. SIXTH AVENUE - NIGHT \\n\",\n \"\\t\\t\\tRATSO'S VOICE \\n \\tI gotta sit down. I feel crummy. \\n \\n Ratso stretched out on a Victorian love seat -- the flower \\n girl walking unsteadily, passing out dead daffodils, placing\"\n ],\n [\n \"\\tYou must be Joe Buck. Come in. \\n \\n O'Daniel, fat in a worn-out bathrobe, examines Joe like a \\n prodigal son as he leads him into the room -- as anonymous as \\n Joe's own room. \\n\",\n \"of Joe. Joe squirms, restless, trying to lull himself to \\n sleep with the music of a revivalist gospel group on the \\n radio. \\n \\n \\t\\t\\tSALLY BUCK'S VOICE \",\n \"Singing as he buttons his new cowboy shirt, Joe interrupts \\n himself to answer Ralph... \\n \\n \\t\\t\\tJOE \\n \\tYeah, where's that Joe Buck? \\n \\n ... continuing his song as he pulls up and zips his tight\",\n \"Joe laughs, driving an obscene uppercut into the air. \\n O'Daniel laughs with him. \\n \\n \\t\\t\\tO'DANIEL (CONT'D) \\n \\tYou're a wonderful boy. You'n me\",\n \"Little Joe stares unblinking at the TV screen as Sally Buck \\n kisses him on the forehead, dressed for the street. \\n \\n \\t\\t\\tSALLY BUCK \\n \\tExpect me when you see me. Looks\",\n \"Little Joe is cuddled in Sally Buck's arms, under the covers, \\n watching Woodsy, sitting cross-legged on the bed, naked \\n except for his Stetson and guitar, singing drunkenly. \\n \\n \\t\\t\\tWOODSY\",\n \"Camera moves slowly up the anonymous wall of a drab hotel, \\n following the line of dim red lights marking the fire exits. \\n \\n \\t\\t\\tRATSO'S VOICE \\n \\tName's Joe Buck. Cowboy. Just in\",\n \"RALPH, an aging black man, faces a mountain of dirty dishes. \\n \\n \\t\\t\\tRALPH \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n\",\n \"INT. REMEMBERED BEAUTY SALON - ANOTHER TIME \\n \\n A gawky, adolescent Joe sits sprawled on the couch, leafing \\n through a magazine while Sally Buck bleaches the roots of a \\n young woman's hair. \\n\",\n \"\\tReady for hard work, son? \\n \\n \\t\\t\\tJOE \\n \\tReady for anything. \\n \\n \\t\\t\\tO'DANIEL \\n \\tI got a hunch, Joe Buck, it's gonna\",\n \"Sally Buck fondly wipes lipstick from Joe's lips. \\n \\n \\t\\t\\tSALLY BUCK \\n \\tKeep your meat hooks off my \\n \\toperators, sugar, hear? \\n \\n INT. BUS - DAY \\n\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tEver happen to come across a cowman \\n \\tname of Woodsy Niles? Friend of my \\n \\tgrammaw Sally Buck... \\n\",\n \"INT. SUNSHINE CAFETERIA - DAY \\n \\n Joe's song continues over a sweating WAITRESS, glancing up. \\n \\n \\t\\t\\tWAITRESS \\n \\tWhere's that Joe Buck? \\n\",\n \"\\t\\t\\tMANAGER \\n \\tWhere's that Joe Buck? \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe hums as he piles a complete wardrobe of cowboy clothes,\",\n \"Joe awakens, stiff-necked, momentarily confused. He \\n straightens in his seat as he sees the old Cowhand lifting a \\n sweat-stained saddle down from the overhead rack, starting \\n toward the front of the bus. Joe calls after him. \\n\",\n \"\\t\\t\\tSALLY BUCK \\n \\tYou look real nice, Joe baby... \\n \\n INT. HOTEL ROOM - DAY \\n \\n Joe sings as he pulls on his new cowboy boots, arranging his\",\n \"INT. REMEMBERED PARLOR - ANOTHER TIME \\n \\n Little Joe stares sullenly at an antique TV box while Sally \\n Buck puts her hat on at the fireplace mirror. There is a \\n framed picture of Woodsy Niles on the mantle.\",\n \"\\t\\t\\tJOE \\n \\tTough tiddy, ladies, you had your \\n \\tchance. \\n \\n From a high angle -- Joe starts his long walk toward the bus \\n depot along the street of a small Western town struggling to\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tThey picked me. The only one in the \\n \\twhole goddam place. You see how \\n \\tthey looked me over, up and down \\n \\tbefore they give me that? \\n\"\n ],\n [\n \"... Ratso huddled in the overstuffed chair -- wearing the \\n stolen sheepskin coat -- wrapped in blankets, his teeth \\n chattering, in spite of the sweat on his forehead. Joe stops \\n abruptly, his mood shattered by Ratso's alarming condition.\",\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"Wearing only his boots, Joe sits like an Indian chief, \\n wrapped in a blanket -- angle widening to show Ratso, \\n spotting Joe's jacket, slacks and shirt with cleaning fluid -- \\n his eyes on a very pregnant Italian lady. As she starts to\",\n \"his horn. Joe runs recklessly forward as Ratso slams the taxi \\n fender with his fist, pretending to be hit, falling into \\n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,\",\n \"The cigarette in Ratso's mouth burns into his lip. He jerks \\n spasmodically, choking on smoke as he rips skin away with the \\n butt and drops it in his coffee cup. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"INT. TENEMENT STAIRS - DAY \\n \\n Joe carries Ratso down the stairs, wrapped in a blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"and hails a cab. Ratso darts forward, limping exaggeratedly, \\n holding the door, lifting the memo as he brushes off the \\n Escort's topcoat. The young man waves him away with out a\",\n \"his hat to two nuns, guiltily hurrying to overtake Ratso at \\n ibis father's grave, indistinguishable from the other graves \\n except for the name on the headstone. Ratso places the floral\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"\\t\\t\\tRATSO \\n \\tJoe -- do me one favor -- this is \\n \\tmy place, am I wrong? You know, in \\n \\tmy own place my name ain't Ratso. I \\n \\tmean it so happens my name is\",\n \"Ratso's mouth. Ratso laughs till he chokes -- for one \\n instant, self-consciously, mimicking Joe -- then removes the \\n hat and reaches for his threadbare black raincoat. \\n \\n \\t\\t\\tJOE (CONT'D)\",\n \"Ratso opens the paper bag, trying to control his shivering, \\n pulling out the socks and a suit of long underwear. He sees \\n Joe watching him for a reaction. The best Ratso can do is a \\n slight shake of his head. \\n\",\n \"he glances at Ratso, frowning, reaches out an arm and puts it \\n around Ratso, settling back, staring straight ahead. \\n \\n \\t\\t\\t\\t THE END \\n \\n \\n\",\n \"Ratso stops opposite the Plaza hotel, pointing across at an \\n aristocratic blonde stepping out of a Rolls Royce. \\n \\n \\t\\t\\tRATSO (CONT'D) \\n \\tTomorrow when some piece like\",\n \"back in panic as another man takes a chair next to Joe. Ratso \\n is about to retuse when a cop takes the third chair, swinging \\n his handcuffs around to the front, tapping his shoe with his \\n night stick. Ratso quickly drops a rag over the broken\",\n \"\\t\\t\\tRATSO \\n \\tYou and my old man. Same kinda \\n \\tmind. Putting me down till the day \\n \\the died... \\n \\t\\t(mimics) \\n \\t... why can't you be like your\",\n \"thing they'd ever heard. Then Ratso's face pales as he starts \\n to choke and cough. Joe pats him on the back. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tHey, what size pants you wear? \\n\",\n \"\\tAnd keep your meat hooks off my \\n \\tradio. \\n \\n EXT. VEGETABLE MARKET - DAY \\n \\n Ratso wears a threadbare raincoat of faded black, several\"\n ],\n [\n \"Florida. Ratso glances toward the growl of a siren O.S. \\n \\n EXT. BARBIZON FOR WOMEN - NIGHT \\n \\n A police prowl car slows in front of the hotel. Ratso swings\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"he glances at Ratso, frowning, reaches out an arm and puts it \\n around Ratso, settling back, staring straight ahead. \\n \\n \\t\\t\\t\\t THE END \\n \\n \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"\\t\\t\\tJOE \\n \\tWell now, Ratso, I'm gonna tell you \\n \\tsomething for your own good, only \\n \\tfirst gimme a cigarette. \\n \\n Ratso offers a cigarette from his crushed package, Joe\",\n \"Ratso stops opposite the Plaza hotel, pointing across at an \\n aristocratic blonde stepping out of a Rolls Royce. \\n \\n \\t\\t\\tRATSO (CONT'D) \\n \\tTomorrow when some piece like\",\n \"INT. TENEMENT STAIRS - DAY \\n \\n Joe carries Ratso down the stairs, wrapped in a blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"\\t\\t\\tRATSO \\n \\tJoe -- do me one favor -- this is \\n \\tmy place, am I wrong? You know, in \\n \\tmy own place my name ain't Ratso. I \\n \\tmean it so happens my name is\",\n \"Ratso leads Joe into an abandoned tub-in-kitchen flat, barely \\n furnished with a table and chair, a rumple of blankets on a \\n burnt-out mattress. \\n \\n \\t\\t\\tRATSO \",\n \"EXT. SIDEWALK CAFE - COCKTAIL HOUR \\n \\n At,the corner of Central Park South, Ratso points toward a \\n young man with diamond cuff-links, sitting with a blue-haired\",\n \"\\t\\t\\tRATSO \\n \\tI been sick. Hold this, will ya? \\n \\n Joe takes his time rising to hold the coconut while Ratso \\n tries to poke a hole with a bent ice-pick. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"and hails a cab. Ratso darts forward, limping exaggeratedly, \\n holding the door, lifting the memo as he brushes off the \\n Escort's topcoat. The young man waves him away with out a\",\n \"whistling between his teeth sharply, hailing a cab. The cab \\n slows to a stop. Then the driver sees Ratso, shifts into gear \\n and drives on. Ratso bites his thumb after the cab, rests for\",\n \"\\t\\t\\tRATSO'S VOICE \\n \\tI gotta sit down. I feel crummy. \\n \\n Ratso stretched out on a Victorian love seat -- the flower \\n girl walking unsteadily, passing out dead daffodils, placing\",\n \"Joe stands in a long line, glancing impatiently at the clock \\n while Ratso waits on a bench, wrapped in his blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"... Ratso simply himself, dressed as he is, sitting on the \\n beach, at peace in the sun... \\n \\n ... the same identical picture with Joe sitting beside Ratso. \\n \\n INT. BARBIZON FOR WOMEN - NIGHT \\n\",\n \"\\tthrilled. \\n \\n EXT. TENEMENT NEIGHBORHOOD - DAY \\n \\n Ratso sits an a stoop while Joe hails a cab. \\n \\n INT. TOWNY'S BATHROOM - NIGHT \\n\",\n \"is frowning at Ratso, who shivers despite the bright sun. \\n \\n \\t\\t\\tJOE \\n \\tIf you have to shiver, why don't \\n \\tyou pull the blanket up more? \\n \\n \\t\\t\\tRATSO \",\n \"thing they'd ever heard. Then Ratso's face pales as he starts \\n to choke and cough. Joe pats him on the back. \\n \\n \\t\\t\\tJOE (CONT'D) \\n \\tHey, what size pants you wear? \\n\"\n ],\n [\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"reach the wallet in the drawer. He takes all the money -- \\n probably twice what he needs -- desperate to get out of the \\n room. \\n \\n INT. GREYHOUND BUS TERMINAL - DAY \\n\",\n \"\\tMiami... \\n \\t\\t(looks at watch) \\n \\t... in forty minutes. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe sits stiffly, very frightened, as the bus starts on. Then\",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"Joe appears in full figure as the bus passes. He stands \\n looking at the suitcases in a luggage shop window. \\n \\n \\t\\t\\tDESPERATE VOICE \\n \\tWell, Bill, what I got thinking, I\",\n \"INT. BUS - DAY \\n \\n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \\n frayed collar has taken the aisle seat next to Joe. As he \\n lectures Joe on salesmanship, he figures his expenses in a\",\n \"She takes a dollar from her purse and hands it to Ratso, \\n takes Joe's arm and starts down the stairs. Ratso lingers, \\n starting quickly through the coats, frisking them for loose \\n change. \\n\",\n \"\\t\\t\\tJOE \\n \\tWhen I put you on that bus down to \\n \\tFlorida tonight, that'll be the \\n \\thappiest day of my life! \\n \\n INT. PHONE BOOTH - DAY \\n\",\n \"\\t\\t\\tJOE \\n \\tTough tiddy, ladies, you had your \\n \\tchance. \\n \\n From a high angle -- Joe starts his long walk toward the bus \\n depot along the street of a small Western town struggling to\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"EXT. SMALL TOWN STREET - DAY \\n \\n The bus is parked in the distance. Joe comes from a clothing \\n store, bare-headed, wearing plain slacks and sport-shirt. He\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"EXT. HIGHWAY - DAWN \\n \\n The bus passes a Florida hotel sign too swiftly to read it. \\n \\n INT. GREYHOUND BUS - DAWN \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"\\t\\t\\tJOE \\n \\tNice talking to you, old timer. \\n \\n Joe stuffs a stick of gum in his mouth, turns to wave at the \\n Old Cowhand through the window as the bus pulls away. \\n\",\n \"Joe sets his radio on the dresser, his suitcase on the bed, \\n then turns to examine his new home -- as anonymous as his \\n Texas hotel room -- but boasting a coin-operated television \\n set. Fascinated, Joe inserts a quarter. \\n\",\n \"loud speaker announces a bus \\\"departing for Texas\\\" but Joe \\n does not move. A policeman taps Joe's boots with his night \\n stick. Joe rises and starts away with mixed anger and \\n apprehension. \\n\",\n \"Florida shirt. In the middle of the operation, Ratso dozes \\n off. Joe shakes his head, scowling, annoyed, but continues, \\n lifting Ratso enough to slide the pants around his waist. \\n Ratso awakens as Joe zips the fly. \\n\",\n \"\\t\\t\\tJOE'S VOICE \\n \\tMake that twenty-three bucks. \\n \\n INT. X FLAT - DAY \\n \\n Joe slams his heel down. The coconut shoots out from under\",\n \"Joe awakens, stiff-necked, momentarily confused. He \\n straightens in his seat as he sees the old Cowhand lifting a \\n sweat-stained saddle down from the overhead rack, starting \\n toward the front of the bus. Joe calls after him. \\n\"\n ],\n [\n \"he glances at Ratso, frowning, reaches out an arm and puts it \\n around Ratso, settling back, staring straight ahead. \\n \\n \\t\\t\\t\\t THE END \\n \\n \\n\",\n \"INT. TENEMENT STAIRS - DAY \\n \\n Joe carries Ratso down the stairs, wrapped in a blanket. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n\",\n \"\\t\\t\\tJOE \\n \\tClose them? \\n \\n \\t\\t\\tDRIVER \\n \\tJust reach over and close them. \\n \\tThat's all. \\n \\n Joe closes Ratso's eyes. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"INT. X FLAT - NIGHT \\n \\n Joe and Ratso frozen, wrapped in blankets as... \\n \\n ... the canned heat dies with a faint puff... \\n \\n ... water dripping in the tub-sink freezes into an icicle... \\n\",\n \"... the candle burns down and out, leaving the screen dark. \\n \\n EXT. CONDEMNED TENEMENTS - DAY \\n \\n Joe and Ratso warm themselves on the smoke and steam rising \\n from a subway grating -- watching two officials in fur\",\n \"across the street with incredible speed to meet Joe as he's \\n tossed onto the sidewalk. Ratso picks up the Stetson and \\n brushes it off, then helps Joe to his feet. \\n \\n EXT. SIXTH AVENUE - NIGHT \\n\",\n \"The bus roars into the tunnel. \\n \\n INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso sit near the rear of the bus. Ratso's teeth \\n chatter, wrapped in the blanket. \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"Ratso hurls it in a corner. Joe shoves the ten at Ratso. \\n \\n \\t\\t\\tJOE \\n \\tGo get your medicine. Before you \\n \\tdie on my goddam, hands... \\n\",\n \"Joe's hand falls on Ratso's shoulder. \\n \\n \\t\\t\\tJOE \\n \\tOh, I ain't gonna hit you, I'm \\n \\tgonna strangle you to death... \\n\",\n \"his horn. Joe runs recklessly forward as Ratso slams the taxi \\n fender with his fist, pretending to be hit, falling into \\n Joe's arms. The taxi stops, halting traffic. Ratso, recovers,\",\n \"The lobby watches Joe blow a gum bubble at the elevator. \\n \\n EXT. EXCLUSIVE DRESS SHOP - NIGHT \\n \\n Staring at a window display of Florida sportswear, Ratso's \\n imagination soars, seeing... \\n\",\n \"Florida. Ratso glances toward the growl of a siren O.S. \\n \\n EXT. BARBIZON FOR WOMEN - NIGHT \\n \\n A police prowl car slows in front of the hotel. Ratso swings\",\n \"Joe carries Ratso up the steps onto the bus. \\n \\n INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT \\n \\n Towny's shrill little whisper says... \\n \\n \\t\\t\\tTOWNY \",\n \"counter, finally producing: sixty-four cents, a few sticks of \\n gum, an almost empty cigarette package, a book of matches and \\n two pawn tickets. He raises his eyes, somehow ashamed. Joe \\n kicks the toe of Ratso's loafer. \\n\",\n \"Joe hands Ratso his own comb. Ratso swipes at his tangled \\n hair angrily until two teeth break in the comb. He hands the \\n comb back, tugs at his hair with his fingers, pats it in \\n place, then looks back into Joe's eyes.\",\n \"\\tthrilled. \\n \\n EXT. TENEMENT NEIGHBORHOOD - DAY \\n \\n Ratso sits an a stoop while Joe hails a cab. \\n \\n INT. TOWNY'S BATHROOM - NIGHT \\n\",\n \"bellowing at the snow. \\n \\n \\t\\t\\tJOE \\n \\tWhoopee ti yi yo...! \\n \\n EXT. LOFT BUILDING - NIGHT \\n \\n Ratso makes his way slowly from the building to the curb,\",\n \"\\t\\t\\tRATSO \\n \\tJust keep your hat on and cry a \\n \\tlittle. They tip you when it's \\n \\tover. \\n \\n Joe and Ratso join the mourners as the funeral moves to the\"\n ],\n [\n \"Joe appears in full figure as the bus passes. He stands \\n looking at the suitcases in a luggage shop window. \\n \\n \\t\\t\\tDESPERATE VOICE \\n \\tWell, Bill, what I got thinking, I\",\n \"The metal grating rings as the bus soars onto it. \\n \\n INT. GREYHOUND BUS - NIGHT \\n \\n Two aging young ladies in brand-new resort wear are casually \\n examining Joe, along with the other men on the bus, but Joe\",\n \"INT. BUS - DAY \\n \\n Joe sits at the front, opposite the driver, cracking his gum \\n as he watches the huge billboards streaking by, promising him \\n power, happiness and beautiful women if he chooses the right\",\n \"INT. BUS - DAY \\n \\n A seedy TRAVELING SALESMAN with badly-fitted dentures and a \\n frayed collar has taken the aisle seat next to Joe. As he \\n lectures Joe on salesmanship, he figures his expenses in a\",\n \"EXT. SMALL TOWN STREET - DAY \\n \\n The bus is parked in the distance. Joe comes from a clothing \\n store, bare-headed, wearing plain slacks and sport-shirt. He\",\n \"INT. BUS - DAY \\n \\n Joe is now sitting in the wide rear seat, between two young \\n MARINES and a group of VETERANS wearing campaign caps and \\n convention buttons, passing a bottle, singing \\\"From the Balls\",\n \"He glances at Joe, then pulls off the road and stands up. \\n \\n \\t\\t\\tDRIVER (CONT'D) \\n \\tOkay, folks, everything's fine. \\n \\tNothing to worry about. \\n\",\n \"Joe awakens, stiff-necked, momentarily confused. He \\n straightens in his seat as he sees the old Cowhand lifting a \\n sweat-stained saddle down from the overhead rack, starting \\n toward the front of the bus. Joe calls after him. \\n\",\n \"\\t\\t\\tJOE (CONT'D) \\n \\tYeah, guess that's what I'm gonna \\n \\tdo. \\n \\n They ride for a moment in semi-darkness, Joe smoking, looking\",\n \"INT. BUS - DAY \\n \\n Joe is leaning across the two Marines, staring out of the \\n window as the Veterans switch to \\\"Anchors aweigh, my boys, \\n anchors aweigh...\\\" \\n\",\n \"Joe is alone again. The Salesman has disappeared. The bus is \\n dark, most-passengers trying to sleep. Only one reading light \\n still burns, over the head of the old-Lady in the seat ahead\",\n \"\\tYou just -- just -- what happened, \\n \\tyou just had a little rest stop \\n \\twasn't on the schedule. \\n \\n Ratso begins to laugh with Joe as if it were the funniest\",\n \"\\t\\t\\tJOE \\n \\tTough tiddy, ladies, you had your \\n \\tchance. \\n \\n From a high angle -- Joe starts his long walk toward the bus \\n depot along the street of a small Western town struggling to\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have reversed places, putting Ratso by the \\n window. Joe watches a middle-aged couple try on their new \\n straw hats, unaware that Joe is watching them. \\n\",\n \"\\t\\t\\tJOE \\n \\tNice talking to you, old timer. \\n \\n Joe stuffs a stick of gum in his mouth, turns to wave at the \\n Old Cowhand through the window as the bus pulls away. \\n\",\n \"They both smile. It isn't funny enough to laugh at. Joe \\n arranges the blanket, takes out a package of cigarettes, \\n glances at Ratso and puts it away. \\n \\n EXT. TRAVELING SHOT WITH BUS - DAY \\n\",\n \"INT. GREYHOUND BUS - DAY \\n \\n Joe and Ratso have moved to the seat farthest back, wider \\n than the others. Joe blocks the view of the other passengers \\n as he helps Ratso into a new pair of corduroy pants and a\",\n \"\\tout. \\n \\n INT. BUS - NIGHT \\n \\n Joe shakes his head, grinning, offering the old Cowhand a \\n cigarette. \\n \\n \\t\\t\\tJOE \\n \\tSmoke? \\n\",\n \"at the other people on the bus, brighter without the shades \\n down. Joe turns, checking the blanket around Ratso, noticing \\n that Ratso is sitting in a peculiarly stiff, awkward \\n position. Joe leans over to straighten Ratso's head, blocking\",\n \"reach the wallet in the drawer. He takes all the money -- \\n probably twice what he needs -- desperate to get out of the \\n room. \\n \\n INT. GREYHOUND BUS TERMINAL - DAY \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["Where does Joe Buck travel to at the beginning of the story?","What profession is Joe Buck hoping to do in New York City?","Who does Joe Buck decide to become \"business partners\" with?","Where does Ratso dream of moving to?","What outfit does Joe Buck purchase for his trip to New York City?","How does Joe try to get Ratso to Miami?","How does Joe end up getting money for bus tickets?","Where does Ratso die?","On Joe's first job in New York City, how much does he get paid?","What job does Joe quit before heading off to New York?","What does Ratso offer Joe after he finds him and angrily shakes him?","Who raises and abuses Joe as a child?","What form of work did Ratso learn from his father?","Where does Ratso dream of moving to?","What does the flyer invite Joe and Ratso to?","What makes Joe suddenly able to perform sexually?","What does Joe use to buy the bus ticket to Florida?","What happens before they arrive in Miami?","What outfit does Joe discard on the way to Miami?","Where is Joe Buck from?","What profession does Joe Buck plan to practice in New York City?","What is physically distinctive about Ratso Rizzo?","Where does Ratso live?","Who raised Joe Buck?","What was Ratso's father's profession?","Where does Ratso want to live?","Where does Joe get the money to buy bus tickets to Florida?","Where does Ratso die?","What does Joe buy at the bus rest stop?"],"string":"[\n \"Where does Joe Buck travel to at the beginning of the story?\",\n \"What profession is Joe Buck hoping to do in New York City?\",\n \"Who does Joe Buck decide to become \\\"business partners\\\" with?\",\n \"Where does Ratso dream of moving to?\",\n \"What outfit does Joe Buck purchase for his trip to New York City?\",\n \"How does Joe try to get Ratso to Miami?\",\n \"How does Joe end up getting money for bus tickets?\",\n \"Where does Ratso die?\",\n \"On Joe's first job in New York City, how much does he get paid?\",\n \"What job does Joe quit before heading off to New York?\",\n \"What does Ratso offer Joe after he finds him and angrily shakes him?\",\n \"Who raises and abuses Joe as a child?\",\n \"What form of work did Ratso learn from his father?\",\n \"Where does Ratso dream of moving to?\",\n \"What does the flyer invite Joe and Ratso to?\",\n \"What makes Joe suddenly able to perform sexually?\",\n \"What does Joe use to buy the bus ticket to Florida?\",\n \"What happens before they arrive in Miami?\",\n \"What outfit does Joe discard on the way to Miami?\",\n \"Where is Joe Buck from?\",\n \"What profession does Joe Buck plan to practice in New York City?\",\n \"What is physically distinctive about Ratso Rizzo?\",\n \"Where does Ratso live?\",\n \"Who raised Joe Buck?\",\n \"What was Ratso's father's profession?\",\n \"Where does Ratso want to live?\",\n \"Where does Joe get the money to buy bus tickets to Florida?\",\n \"Where does Ratso die?\",\n \"What does Joe buy at the bus rest stop?\"\n]"},"answers":{"kind":"list like","value":[["New York City","New York City."],["Male prostitute","Male prostitution."],["Ratso","Ratso"],["Miami","Florida"],["Cowboy outfit","A cowboy outfit."],["By bus","He buys a bus ticket."],["He robs a man who tries to pay him with a religious medallion instead of cash.","He robs a guy that he picks up in an arcade"],["On the bus","On a bus to Miami."],["Nothing, he pays his customer $20","$20."],["Dishwasher","Dishwasher."],["to share his apartment","To share the apartment he is squatting in with Joe."],["his grandmother","Joe's grandmother."],["shoe shining","Shoe-shiner."],["Miami","Florida"],["a party","A party."],["being teased that he might be gay","The socialite's suggestion at Joe's sexuality."],["stolen money","stolen money "],["Ratso dies","Ratso dies."],["the cowboy outfit","His cowboy outfit."],["Texas.","Texas"],["A male prostitute for women.","A male prostitute."],["He walks with a limp.","His limp."],["He is squatting in a condemned building.","New York City."],["His grandmother.","His grandmother."],["A shoe shiner.","A shoeshiner."],["Miami.","Miami."],["He robs a customer.","From a man he robbed in an arcade."],["On the bus.","Near Miami."],["New clothes for Ratso and himself.","New clothing for himself and Ratso."]],"string":"[\n [\n \"New York City\",\n \"New York City.\"\n ],\n [\n \"Male prostitute\",\n \"Male prostitution.\"\n ],\n [\n \"Ratso\",\n \"Ratso\"\n ],\n [\n \"Miami\",\n \"Florida\"\n ],\n [\n \"Cowboy outfit\",\n \"A cowboy outfit.\"\n ],\n [\n \"By bus\",\n \"He buys a bus ticket.\"\n ],\n [\n \"He robs a man who tries to pay him with a religious medallion instead of cash.\",\n \"He robs a guy that he picks up in an arcade\"\n ],\n [\n \"On the bus\",\n \"On a bus to Miami.\"\n ],\n [\n \"Nothing, he pays his customer $20\",\n \"$20.\"\n ],\n [\n \"Dishwasher\",\n \"Dishwasher.\"\n ],\n [\n \"to share his apartment\",\n \"To share the apartment he is squatting in with Joe.\"\n ],\n [\n \"his grandmother\",\n \"Joe's grandmother.\"\n ],\n [\n \"shoe shining\",\n \"Shoe-shiner.\"\n ],\n [\n \"Miami\",\n \"Florida\"\n ],\n [\n \"a party\",\n \"A party.\"\n ],\n [\n \"being teased that he might be gay\",\n \"The socialite's suggestion at Joe's sexuality.\"\n ],\n [\n \"stolen money\",\n \"stolen money \"\n ],\n [\n \"Ratso dies\",\n \"Ratso dies.\"\n ],\n [\n \"the cowboy outfit\",\n \"His cowboy outfit.\"\n ],\n [\n \"Texas.\",\n \"Texas\"\n ],\n [\n \"A male prostitute for women.\",\n \"A male prostitute.\"\n ],\n [\n \"He walks with a limp.\",\n \"His limp.\"\n ],\n [\n \"He is squatting in a condemned building.\",\n \"New York City.\"\n ],\n [\n \"His grandmother.\",\n \"His grandmother.\"\n ],\n [\n \"A shoe shiner.\",\n \"A shoeshiner.\"\n ],\n [\n \"Miami.\",\n \"Miami.\"\n ],\n [\n \"He robs a customer.\",\n \"From a man he robbed in an arcade.\"\n ],\n [\n \"On the bus.\",\n \"Near Miami.\"\n ],\n [\n \"New clothes for Ratso and himself.\",\n \"New clothing for himself and Ratso.\"\n ]\n]"},"document_id":{"kind":"string","value":"19dd268e42d372d73072c40bc3b8d1c46e07a3a2"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":69,"cells":{"text":{"kind":"list like","value":[["that being given and received, with much more joy and gratitude, on the \n part of the receiver, than the worth of the gift or the selfish motive of \n the giver deserved, I ventured to ask Mrs. Graham for one more look at","delighted to have you amongst us.â \n \n Poor Mrs. Graham looked dismayed, and attempted to make excuses, but \n Rose, either compassionating her lonely life, or anxious to cultivate her","âBy no means, Mrs. Graham; pray let him stay. I am as much amused as he \n is,â pleaded I. But still, with hand and eye, she silently called him to \n her side. \n","all she could out of her. She is called Mrs. Graham, and she is in \n mourningânot widowâs weeds, but slightish mourningâand she is quite","âMrs. Markham, I beg you will not say such things, in his presence, at \n least. I trust my son will never be ashamed to love his mother!â said \n Mrs. Graham, with a serious energy that startled the company. \n","Mrs. Graham, and he had prepared the rooms as well as he could upon so \n short a notice; but he would do himself the pleasure of calling upon her \n to-morrow, to receive her further commands.â \n","all very fine in its way; but I cannot say that it moved me very deeply. \n There was plenty of skill and execution, but precious little feeling. \n \n But we had not done with Mrs. Graham yet. \n","You must suppose about three weeks passed over. Mrs. Graham and I were \n now established friendsâor brother and sister, as we rather chose to \n consider ourselves. She called me Gilbert, by my express desire, and I","ââMrs. Graham,â said I,â he continued, shaking his head as he spoke, \n ââthese are terrible reports!â âWhat, sir?â says she, affecting to be","âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was \n miserable, and pitied her, I felt glad to have it in my power to torment \n her. \n","that I intended to do so. Now, if this mood continue, I shall have less \n difficulty in emancipating my affections from her soft yet unrelenting \n sway; and, though Mrs. Graham might be equally objectionable, I may be","âCan it be that Mrs. Graham that distresses you so?â \n \n âNo, no, I tell youâitâs nothing.â \n","âLawrence,â said I, calmly looking him in the face, âare you in love with \n Mrs. Graham?â \n \n Instead of his being deeply offended at this, as I more than half","Mrs. Graham seated herself at a distance from me. Eliza was my nearest \n neighbour. She exerted herself to be agreeable, in her gentle, \n unobtrusive way, and was, no doubt, as fascinating and charming as ever,","up to the temples, gave us one furtive glance in passing, and walked on, \n looking grave, but seemingly offering no reply to her remarks. \n \n It was true, then, that he had some designs upon Mrs. Graham; and, were","and me; for, to confess the truth, I was too happy in the company of Mrs. \n Graham to regret the absence of Eliza Millward. \n \n The former, it is true, was most provokingly unsociable at","shook hands with the little gentleman, coolly bowed to the lady, and \n moved towards the door. But, having bid adieu to Rose, Mrs. Graham \n presented her hand to me, saying, with a soft voice, and by no means a","Mrs. Graham among the number. She could not now absent herself under the \n plea of dark evenings or inclement weather, and, greatly to my relief, \n she came. Without her I should have found the whole affair an","âYou were wishing to see âMarmion,â Mrs. Graham; and here it is, if you \n will be so kind as to take it.â \n","affection, and the injury he will do himself by trusting his happiness to \n her. She does not love him: she thinks only of herself. She cannot \n appreciate the good that is in him: she will neither see it, nor value"],["ââMrs. Graham,â said I,â he continued, shaking his head as he spoke, \n ââthese are terrible reports!â âWhat, sir?â says she, affecting to be","horrible suspicions, and be so easily led to entertain them.â \n \n âI do not make a jest of them, Mrs. Graham,â returned I, dropping at once","You must suppose about three weeks passed over. Mrs. Graham and I were \n now established friendsâor brother and sister, as we rather chose to \n consider ourselves. She called me Gilbert, by my express desire, and I","all she could out of her. She is called Mrs. Graham, and she is in \n mourningânot widowâs weeds, but slightish mourningâand she is quite","âCan it be that Mrs. Graham that distresses you so?â \n \n âNo, no, I tell youâitâs nothing.â \n","âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was \n miserable, and pitied her, I felt glad to have it in my power to torment \n her. \n","all very fine in its way; but I cannot say that it moved me very deeply. \n There was plenty of skill and execution, but precious little feeling. \n \n But we had not done with Mrs. Graham yet. \n","up to the temples, gave us one furtive glance in passing, and walked on, \n looking grave, but seemingly offering no reply to her remarks. \n \n It was true, then, that he had some designs upon Mrs. Graham; and, were","determined to support her in the very face of reason; and meantime I grow \n insupportably morose and misanthropical from the idea that every one I \n met was harbouring unworthy thoughts of the supposed Mrs. Graham, and","are all blessings and mercies, if we only knew how to make use of them.â \n \n âBut Mrs. Graham doesnât think so. You shall just hear now what she told","agitated my still unquiet soul; for there was Mrs. Graham, slowly moving \n down the walk with Arthur by her side, and no one else. Why were they \n alone? Had the poison of detracting tongues already spread through all;","seized the rumour, to make it the basis of their own infernal structure.â \n \n âWell, but, Gilbert, there must be something in her manner to countenance \n such reports.â \n","day,âbut if all the parish dinned it in my ears, I shouldnât believe a \n word of itâI know Mrs. Graham too well!â \n","Mrs. Graham among the number. She could not now absent herself under the \n plea of dark evenings or inclement weather, and, greatly to my relief, \n she came. Without her I should have found the whole affair an","delighted to have you amongst us.â \n \n Poor Mrs. Graham looked dismayed, and attempted to make excuses, but \n Rose, either compassionating her lonely life, or anxious to cultivate her","I replied by a wrathful and contemptuous stare. \n \n âAre you angry because Mrs. Graham would not let you go home with her?â \n he asked, with a faint smile that nearly exasperated me beyond control. \n","confoundedly with yourâ. Well, I suppose itâs my fault. The fact is, I \n didnât know that you were Mrs. Grahamâs brother, and I saw and heard some","âLawrence,â said I, calmly looking him in the face, âare you in love with \n Mrs. Graham?â \n \n Instead of his being deeply offended at this, as I more than half","âMrs. Markham, I beg you will not say such things, in his presence, at \n least. I trust my son will never be ashamed to love his mother!â said \n Mrs. Graham, with a serious energy that startled the company. \n","sort of way, such as our long acquaintance might warrant me in assuming, \n and which, I thought, could neither give offence nor serve to encourage \n false hopes. \n \n It was never my custom to talk about Mrs. Graham either to her or any one"],["are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \n end of it.â \n","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","You must suppose about three weeks passed over. Mrs. Graham and I were \n now established friendsâor brother and sister, as we rather chose to \n consider ourselves. She called me Gilbert, by my express desire, and I","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","âAh! and you never will know, Gilbert, till youâre married. Then, when \n youâve got some trifling, self-conceited girl like Eliza Millward,","whisper, with his eyes still fixed upon me, âWho is it?â \n \n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \n removing to a less conspicuous position. \n","Iâve been to call on the Wilsons; and itâs a thousand pities you didnât \n go with me, Gilbert, for Eliza Millward was there!â \n","He looked up in childish bewilderment; but before I could speak again the \n lady herself was at my side. \n \n âGilbert, I must speak with you!â said she, in a tone of suppressed \n vehemence. \n","hints and things just to astonish the others. But I think, if I was you, \n Miss Helen, Iâd look very well before I leaped. I do believe a young \n lady canât be too careful who she marries.â","Wilsons, and such was my present appreciation of Eliza Millwardâs \n disposition, that, if once she got a clue to the story, I should fear she \n would soon find means to enlighten Mr. Huntingdon upon the place of his","called her Helen, for I had seen that name written in her books. I \n seldom attempted to see her above twice a week; and still I made our \n meetings appear the result of accident as often as I couldâfor I found it","âIt is something of the kind,â she answered. âSome day I may tell you, \n but at present you had better leave me; and never, Gilbert, put me to the","was about this time, Helen, that my good angel brought me into \n conjunction with you; and then I had eyes and ears for nobody else. But, \n meantime, Lowborough became acquainted with our charming friend, Miss","âYou are too severe upon the poor lady,â laughed he. âBut never mind, \n Helen, I donât care for her now; and I never loved any of them half as","Gilbert; you will call her a perfect beauty, though you could hardly \n pretend to discover a resemblance between her and Eliza Millward.â \n \n âWell, I can imagine many faces more beautiful than Elizaâs, though not","But donât be afraid, Gilbert,â she added, smiling sadly at my manifest \n discomposure; âthere is little chance of my forgetting you. But I did \n not mean that Frederick should be the means of transmitting messages","me). âBesides, heâs a pretty tidy fortune, Peggy, you knowânot such a \n catch as Wilmot; but then Helen wonât hear of that match: for, somehow,","deserted it, with the exception of threeâMary Millward, Richard Wilson, \n and Arthur Graham. The younger gentleman lay fast asleep with his head \n pillowed on the ladyâs lap; the other was seated beside her with a pocket","âThat was the crisis, Helen!â said he, delightedly. âI had an infernal \n pain hereâit is quite gone now. I never was so easy since the fallâquite","âNow,â resumed he, after a momentary pause, âlet us talk about something \n else. And come nearer to me, Helen, and take my arm; and then Iâll let"],["likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","âWhen will she return to Grassdale?â was my next question. \n \n âI donât know.â \n \n âConfound it!â I muttered. \n","âTo Grassdale first,â said he, with a half-smile he would willingly have \n suppressed if he could. \n \n âTo Grassdale! Is she there, then?â \n","Grassdale seemed to stifle me, and I could only live by thinking of \n Wildfell Hall. \n \n At last, one morning, she entered my chamber with such intelligence that \n my resolution was taken before she had ceased to speak. While she","âThen you really wish to get rid of me?â \n \n âPositively, I do; and I will take you down myself to Grassdale, and then","(the evening one would be already gone), and fly to GrassdaleâI must be \n there before the marriage. And why? Because a thought struck me that \n perhaps I might prevent itâthat if I did not, she and I might both lament","of a life so alien to all my previous habits. At last, he suddenly \n discovered that the London air did not agree with me, and I was \n languishing for my country home, and must immediately return to \n Grassdale. \n","Nevertheless, it was with no small degree of impatience that I looked \n forward to Mr. Lawrenceâs return from Grassdale: impatience that \n increased in proportion as his absence was prolonged. He stayed away","answered my question,ââShe is at Grassdale Manor, in âshire.â \n \n âWhere?â cried I, with a convulsive start. \n","âAt Grassdale Manor.â \n \n âHow was it?â I gasped. âWho betrayed her?â \n \n âShe went of her own accord.â \n","to see one-tenth of the beauties and interesting objects of Rome. He \n wanted to get me home, he said, to have me all to himself, and to see me \n safely installed as the mistress of Grassdale Manor, just as","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","âHelen, is that you?â said he. âWhy did you run away from us?â \n \n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the","Grassdale occasionally, when the management of affairs, or the interest \n of her tenants and dependents, required her presence. \n \n âNear what town is Staningley situated?â I asked. The requisite","CHAPTER LII \n \n \n The tardy gig had overtaken me at last. I entered it, and bade the man \n who brought it drive to Grassdale ManorâI was too busy with my own","âThere now, Helen!â I said, as the approaching steps of Rachel were heard \n in answer to the summons. There was nothing for it but to turn round and \n desire the maid to light the fire. \n","herself to keep. I had said an unjust and cruel thing; but I must needs \n follow it up with something worse. \n \n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to","back, Helenâgo back directly! Youâll get your death of cold!â \n \n âI wonât, till Iâve told you what I came for. They are blaming you,","âIs it nothing to you, Helen? Will you swear it? Will you?â \n \n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether","âWent where?â \n \n âTo Grassdale, sirâwasnât you aware, sir? Heâs very close, is master,â"],["âI heard some detestable falsehoods; but none but fools would credit them \n for a moment, Helen, so donât let them trouble you.â \n","âI donât know,â replied she. âSome idle slander somebody has been \n inventing, I suppose. I never heard it till Eliza told me the other","delighted to do the old fellows a bad turn, though I donât think I have \n any great reason to dread them as rivals. Have I, Helen?â \n \n âYou know I detest them both.â \n","Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \n he continued more boldly, âthat you have nothing to fear from me? that I","âYesâand it is my belief that Eliza Millward and she, if not the very \n originators of the slanderous reports that have been propagated, were \n designedly the encouragers and chief disseminators of them. She was not","seized the rumour, to make it the basis of their own infernal structure.â \n \n âWell, but, Gilbert, there must be something in her manner to countenance \n such reports.â \n","âAll a prejudice, Helen, a mere womanâs antipathy.â \n \n âNo; I have solid grounds for my dislike. And is that all?â \n","I can,â continued he, reflectively, âor she will be hearing some such \n story. Many would be glad to tell her such news, just to see how she \n would take it; and then she might expose herself to fresh scandal.â \n","âCome, come, Helen, donât begin with that nonsense now; I canât bear it.â \n \n âCanât bear what?âto be reminded of the promises you have broken?â","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","companions, abusing Mr. Grimsby and others, insinuating bitter things \n against Mr. Huntingdon, and most ingeniously throwing the blame of her \n husbandâs misconduct on to other menâs shoulders. The latter was full of","âHelen, you witch, do you know that youâve entailed upon me the curses of \n all my friends? I wrote to them the other day, to tell them of my happy","âHelen, I want you a moment,â said the distinct, low voice of my aunt, \n close beside us. And I left him, muttering maledictions against his evil \n angel. \n","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","âAnd so, Helen,â said she, coming up to me with a smile of no amiable \n import, âyou are to be Mrs. Huntingdon, I suppose?â \n","whisper, with his eyes still fixed upon me, âWho is it?â \n \n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \n removing to a less conspicuous position. \n","Helenâs rank and mine; of all that she had passed through since our \n parting; of her long, unbroken silence; and, above all, of her cool, \n cautious aunt, whose counsels she would doubtless be careful not to","âHelen,â said she, âyou often see Esther, donât you?â \n \n âNot very often.â \n","âYou have not been tried yet, Helenâwe can but hope,â said she in her \n cold, cautious way. \n \n âI was vexed at her incredulity; but I am not sure her doubts were","âNo,â returned she, hesitatinglyââbut Iâve heard so much about her \n lately, both at the Wilsonsâ and the vicarage;âand besides, mamma says,"],["You must suppose about three weeks passed over. Mrs. Graham and I were \n now established friendsâor brother and sister, as we rather chose to \n consider ourselves. She called me Gilbert, by my express desire, and I","âIt is something of the kind,â she answered. âSome day I may tell you, \n but at present you had better leave me; and never, Gilbert, put me to the","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","She turned from me to hide the emotion she could not quite control; but I \n took her hand and fervently kissed it. \n \n âGilbert, do leave me!â she cried, in a tone of such thrilling anguish","only to the few loving friends and grateful dependents she left behind. \n \n To return, however, to my own affairs: I was married in summer, on a \n glorious August morning. It took the whole eight months, and all Helenâs","dreaded; but the coffin must be closed as soon as possible. If you will \n attend the funeral, come quickly, for I need help. \n \n HELEN HUNTINGDON. \n \n \n \n \n CHAPTER L \n","âNoâin another year,â replied she, gently disengaging herself from my \n embrace, but still fondly clasping my hand. \n \n âAnother year! Oh, Helen, I could not wait so long!â","I received this morning, I should sayââ \n \n It was her writing! By an irresistible impulse I held out my hand, and","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","âShe told me herself. She told me all. She knew I might be trusted. \n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \n the last of her!â \n","keep them till the gentlemen came, or till Milicent arrived with her \n mother. Little Helen, however, was soon tired of playing, and insisted \n upon going to sleep; and while I sat on the sofa with her on my knee, and","are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \n end of it.â \n","âNow,â resumed he, after a momentary pause, âlet us talk about something \n else. And come nearer to me, Helen, and take my arm; and then Iâll let","âIs it nothing to you, Helen? Will you swear it? Will you?â \n \n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether","But donât be afraid, Gilbert,â she added, smiling sadly at my manifest \n discomposure; âthere is little chance of my forgetting you. But I did \n not mean that Frederick should be the means of transmitting messages","confidence, I hope, since you are her other half.â \n \n He followed me into the library. I sought out and put into his hands two \n of Milicentâs letters: one dated from London, and written during one of","âThere now, Helen!â I said, as the approaching steps of Rachel were heard \n in answer to the summons. There was nothing for it but to turn round and \n desire the maid to light the fire. \n","Poor, poor Helen! dreadful indeed her trials must have been! And I could \n do nothing to lessen themânay, it almost seemed as if I had brought them \n upon her myself by my own secret desires; and whether I looked at her","âThe candle will keep,â returned he. \n \n I made a desperate effort to free my hand from his grasp. \n \n âWhy are you in such a hurry to leave me, Helen?â he said, with a smile","She concludes with âGood-by, dear Helen. I am waiting anxiously for your \n adviceâbut mind you let it be all on the right side.â \n"],["Frederick was exceedingly indignant against Mr. Huntingdon, and very much \n grieved for me; but still he looked upon my project as wild and \n impracticable. He deemed my fears for Arthur disproportioned to the","âDo you know me?â asked Mr. Huntingdon, intently perusing his features. \n \n âYes.â \n \n âWho am I?â \n \n âPapa.â","The next object of assault was Arthur, who sat opposite, and had, no \n doubt, richly enjoyed the whole scene. \n \n âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you","all very fine, Mr. Huntingdon, to amuse yourself with rousing my \n jealousy; but take care you donât rouse my hate instead. And when you \n have once extinguished my love, you will find it no easy matter to kindle","annoy you with any more of my friendly impertinences.â \n \n âWell, I have nothing more to say to you.â \n \n âHave you mentioned this affair to Huntingdon?â asked she, as I was","CHAPTER XXXIX \n \n \n My greatest source of uneasiness, in this time of trial, was my son, whom \n his father and his fatherâs friends delighted to encourage in all the","âand beg your wifeâs pardon, and be a good boy for the future.â \n \n ââMy wife! what wife? I have no wife,â replied Huntingdon, looking","darling Huntingdon deserves all the love you give to him?â \n \n I knew not what to answer to this. I was burning with anger; but I \n suppressed all outward manifestations of it, and only bit my lip and","and by the fact of his so seldom mentioning my husband, and generally \n evincing a kind of covert bitterness when he does refer to him; as well \n as by the circumstance of his never coming to see me when Mr. Huntingdon","thinks proper. He has no love for you, Mrs. Huntingdonâno reverence for \n your sex, no belief in virtue, no admiration for its image. He will give \n such a version of this story as will leave no doubt at all about your","It is hard that my little darling should love him more than me; and that, \n when the well-being and culture of my son is all I have to live for, I \n should see my influence destroyed by one whose selfish affection is more","the rest, if on his fatherâs return I find reason to apprehend that my \n good lessons will be all destroyedâif Mr. Huntingdon commence again the \n game of teaching the child to hate and despise his mother, and emulate","âWell, to tell you the truth, Iâve thought of it often and often before; \n but heâs such devilish good company, is Huntingdon, after all. You canât","Huntingdonâyou may have forgotten the circumstance, but I never can. I \n admired you then most deeply, but I dared not love you. In the following \n autumn I saw so much of your perfections that I could not fail to love","observed Huntingdon. âTheyâll make a match of it, as sure as can be. \n That Lowboroughâs fairly besotted. But heâll find himself in a fix when","âShe did,â persisted he in the same grave, collected manner as before; \n âand not without reason,â he continued, gently disengaging himself from \n my grasp. âMr. Huntingdon is ill.â","âNever mind my plain speaking,â said I; âit is from the best of motives. \n But tell me, should you wish your sons to be like Mr. Huntingdonâor even \n like yourself?â \n","Mr. Huntingdon, if not better; and yet you love him, and seem to be happy \n and contented; and perhaps I may manage as well. You must tell me, if","âYou wrong me cruelly,â answered he. âI have shared but little of Mr. \n Huntingdonâs society for the last few weeks; and as for his tastes and","fatherâs death, I have only seen him once, when he came for a few days \n while Mr. Huntingdon was away. He shall stay many days this time, and \n there shall be more candour and cordiality between us than ever there was"],["Some time before Mr. Huntingdonâs death Lady Lowborough eloped with \n another gallant to the Continent, where, having lived a while in reckless \n gaiety and dissipation, they quarrelled and parted. She went dashing on","Her husband, however, upon this second misdemeanour, immediately sought \n and obtained a divorce, and, not long after, married again. It was well \n he did, for Lord Lowborough, morose and moody as he seemed, was not the","On the day of Lady Lowboroughâs arrival, I followed her into her chamber, \n and plainly told her that, if I found reason to believe that she still \n continued her criminal connection with Mr. Huntingdon, I should think it","Lowborough. He was at the other end of the room, talking with Messrs. \n Hargrave and Grimsby; but I saw him dart towards his lady and his host a \n quick, impatient glance, expressive of intense disquietude, at which","âYes,â replied I. âDonât you envy me?â \n \n âOh, dear, no!â she exclaimed. âI shall probably be Lady Lowborough some","Then, planting a chair by Lady Lowboroughâs side, he stationed himself in \n it, and began to talk to her with a mixture of absurdity and impudence \n that seemed rather to amuse than to offend her; though she affected to","âNo, thank you,â I replied; and, turning from him, I looked round. Lady \n Lowborough was beside her husband, bending over him as he sat, with her \n hand on his shoulder, softly talking and smiling in his face; and Arthur","I seek a reconciliation with him, when I feel that I abhor him, and that \n he despises me? and while he continues still to correspond with Lady \n Lowborough, as I know he does? No, never, never, never! he may drink","âThere! read that, and take a lesson by it!â \n \n It was in the free, dashing hand of Lady Lowborough. I glanced at the \n first page; it seemed full of extravagant protestations of affection;","long before. No, Lady Lowborough, I do not found my charge upon \n suspicion.â \n \n âOn what do you found it, then?â said she, throwing herself into an","and my husband more intensely than ever, and not for my sake, but for \n his. \n \n They departed early in the morning, before any one else was down, except \n myself, and just as I was leaving my room Lord Lowborough was descending","âYou donât object to it?â he said. \n \n âNot at all, if Lord Lowborough likes his company.â \n \n âYou have no love left for him, then?â \n","Lady Lowborough. They had betaken themselves to their work; I, less to \n divert my mind than to deprecate conversation, had provided myself with a \n book. Milicent saw that I wished to be quiet, and accordingly let me","Lord Lowborough had entered a minute or two before, unobserved by anyone \n but me, and had been standing before the door, grimly surveying the \n company. He now stepped up to Annabella, who sat with her back towards","CHAPTER XXXV \n \n \n Nineteenth.âIn proportion as Lady Lowborough finds she has nothing to \n fear from me, and as the time of departure draws nigh, the more audacious","best to amuse you.â \n \n She and Lord Lowborough occupied the apartments next to mine. I know not \n how she passed the night, but I lay awake the greater part of it \n listening to his heavy step pacing monotonously up and down his","âWell, if I was you, I wouldnât have that Lady Lowborough in the house \n another minuteânot another minute I wouldnât! \n \n I was thunderstruck; but before I could recover from the shock","table, and well-conducted towards Lady Lowborough. The first day he held \n himself aloof from her, as far as he could without any flagrant breach of \n hospitality: since that he has been friendly and civil, but nothing","cause of my error, I think you blame me too severely. I told Lady \n Lowborough two weeks ago, the very hour she came, that I should certainly \n think it my duty to inform you if she continued to deceive you: she gave","âYes, yes!â cried she eagerly, starting up from her reclining posture. \n âI want to know if you will tell Lord Lowborough?â \n \n âSuppose I do?â \n"],["to find another place of refugeâor how to seek it.â \n \n âHelen,â said I, turning impatiently towards her, âI cannot discuss the","you in the other room.â And she turned to me. \n \n âThen you must plead for me, Helen,â said he, and at length withdrew. \n","likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","unheeded here, at leastâalike unable to deter me from my duty. But where \n should I find an asylum, and how obtain subsistence for us both? Oh, I","âIs it nothing to you, Helen? Will you swear it? Will you?â \n \n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether","winter garden,â said Helen, as I advanced to take leave of her, with as \n much philosophy and self-command as I could summon to my aid. \n \n I gladly availed myself of such a respite, and followed her into a large","thankful for such an asylum, while it is left me.â \n \n The closing sentence was uttered in an under-tone, as if spoken rather to \n herself than to me. She then bid me good-evening and withdrew. \n","Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \n he continued more boldly, âthat you have nothing to fear from me? that I","âHelen, is that you?â said he. âWhy did you run away from us?â \n \n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the","whisper, with his eyes still fixed upon me, âWho is it?â \n \n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \n removing to a less conspicuous position. \n","âWell, Iâll see about it.â \n \n âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let \n me protect you!â \n","ââStay with me, Helen,â he says; âlet me hold you so: it seems as if harm \n could not reach me while you are here. But death will comeâit is coming","the needful himself, or should have when his old governor chose to quit \n the stage. So you see, Helen, I have managed pretty well, both for your \n friend and mine.â \n","âThere now, Helen!â I said, as the approaching steps of Rachel were heard \n in answer to the summons. There was nothing for it but to turn round and \n desire the maid to light the fire. \n","âSo think I,â was my answer; and so that point was settled. \n \n By that morningâs post I despatched a few hasty lines to Frederick, \n beseeching him to prepare my asylum for my immediate reception: for I","pointed to the children, for I could not trust myself to speak: she took \n them away, and I followed. \n \n âWill you, Helen?â continued the speaker. \n","keep them till the gentlemen came, or till Milicent arrived with her \n mother. Little Helen, however, was soon tired of playing, and insisted \n upon going to sleep; and while I sat on the sofa with her on my knee, and","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","âForgive me, Helen!â pleaded I. âI will never utter another word on the \n subject. But may we not still meet as friends?â \n"],["handâbut stop, Iâm telling too much,â muttered the narrator, startled at \n the look I turned upon him. âBut no matter,â he recklessly added, and","And indeed I know not whether, at the time, it was not for him rather \n than myself that I blushed; for, since he and I are one, I so identify \n myself with him, that I feel his degradation, his failings, and","is part of myself, and you cannot abuse him without offending me.â \n \n âPardon me, then, for I would sooner die than offend you. But let us say \n no more of him for the present, if you please.â","alone. Annabella, doubtless, saw it too: but that was no reason why she \n should restrain her tongue, or curb her cheerful spirits: she accordingly \n chatted away, addressing herself almost exclusively to me, and with the","âIn confidence, I suppose? And you tell it in confidence to us? But I \n can tell you that it is but a lame story after all, and scarcely one-half \n of it true.â \n","if I keep it close, it cannot tell again; so it is, perhaps, the best \n friend I could have for the purpose. \n \n First, let me speak of his arrivalâhow I sat at my window, and watched","I told him. \n \n âIs it interesting?â \n \n âYes, very.â \n \n I went on reading, or pretending to read, at leastâI cannot say there was","âShe told me herself. She told me all. She knew I might be trusted. \n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \n the last of her!â \n","may be all this, but I donât know him. I know only the exterior, and \n what, I trust, is the worst part of him.â \n","But it is time to bring my narrative to a close. Any one but you would \n say I had made it too long already. But for your satisfaction I will add \n a few words more; because I know you will have a fellow-feeling for the","her. At length, however, by some heroic effort, we tore ourselves apart, \n and I rushed from the house. \n \n I have a confused remembrance of seeing little Arthur running up the","just like hers. I could swear at this moment that she was by my side.â \n \n âShe is,â said I. \n \n âThat seems comfortable,â continued he, without noticing my words; âand","thought, until the tears gushed out again, and I wept like any child. \n Presently, however, the door was gently opened and someone entered the \n room. I trusted it was only a servant, and did not stir. The door was","âHe is not, I tell you.â \n \n âFor anything you know, he may be: you canât tell till you have seen him. \n At all events, he must have met with some terrible accident, and you","life, so determined his resolution to resist it. \n \n My heart bled for him as I lay listening to that ceaseless tread. \n Hitherto I had thought too much of myself, too little of him: now I","part against me.â \n \n ââWhoâI?â \n \n ââYesâall of you doâand you more than any of them, you know. But if I","âIf it be anything worth hearing,â replied I, struggling to be composed, \n for I trembled in every limb. \n \n He quietly pushed a chair towards me. I merely leant my hand upon it, \n and bid him go on. \n","I rose to make the attempt, but then he perceived me. He started and \n stood still a moment; then wiped his streaming forehead, and, advancing \n towards me, with a kind of unnatural composure, said in a deep, almost","Something in my voice or in the spirit of this answer seemed to alter his \n mood. Turning towards me, and attentively surveying my face by the dim \n light, he said, in a milder tone than he had yet employed,ââYou, too,","âOh! pooh, pooh! never tell me that taleâI know better,â cried he; and he \n persisted in his incredulity. Nevertheless, it is quite true. I am in"],["all she could out of her. She is called Mrs. Graham, and she is in \n mourningânot widowâs weeds, but slightish mourningâand she is quite","Mrs. Graham among the number. She could not now absent herself under the \n plea of dark evenings or inclement weather, and, greatly to my relief, \n she came. Without her I should have found the whole affair an","all very fine in its way; but I cannot say that it moved me very deeply. \n There was plenty of skill and execution, but precious little feeling. \n \n But we had not done with Mrs. Graham yet. \n","some absolute resolution against a second marriage formed prior to the \n time of our acquaintance, whether from excess of affection for her late \n husband, or because she had had enough of him and the matrimonial state \n together. At first, indeed, she had seemed to take a pleasure in","that I intended to do so. Now, if this mood continue, I shall have less \n difficulty in emancipating my affections from her soft yet unrelenting \n sway; and, though Mrs. Graham might be equally objectionable, I may be","had not met for some time. \n \n âWas that Mrs. Graham you were speaking to just now?â said he, after the \n first few words of greeting had passed between us. \n \n âYes.â \n","âGo on!âthereâs no going on in the matter. Mrs. Graham and I are two \n friendsâand will be; and no man breathing shall hinder it,âor has a right","Graham. Alas, for human constancy! \n \n âHowever,â thought I, âI ought not to marry Eliza, since my mother so \n strongly objects to it, and I ought not to delude the girl with the idea","sort of way, such as our long acquaintance might warrant me in assuming, \n and which, I thought, could neither give offence nor serve to encourage \n false hopes. \n \n It was never my custom to talk about Mrs. Graham either to her or any one","You must suppose about three weeks passed over. Mrs. Graham and I were \n now established friendsâor brother and sister, as we rather chose to \n consider ourselves. She called me Gilbert, by my express desire, and I","likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","âCan it be that Mrs. Graham that distresses you so?â \n \n âNo, no, I tell youâitâs nothing.â \n","âAnd so, Helen,â said she, coming up to me with a smile of no amiable \n import, âyou are to be Mrs. Huntingdon, I suppose?â \n","supposed Mrs. Graham, most certainly, had not voluntarily gone back to \n her husband, or dreamt of a reconciliation. Most likely she was gone \n away, and the tale-bearing servant, not knowing what was become of her,","for a moment! Did I not know Mrs. Graham? Had I not seen her, conversed \n with her time after time? Was I not certain that she, in intellect, in \n purity and elevation of soul, was immeasurably superior to any of her","âLawrence,â said I, calmly looking him in the face, âare you in love with \n Mrs. Graham?â \n \n Instead of his being deeply offended at this, as I more than half","delighted to have you amongst us.â \n \n Poor Mrs. Graham looked dismayed, and attempted to make excuses, but \n Rose, either compassionating her lonely life, or anxious to cultivate her","âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was \n miserable, and pitied her, I felt glad to have it in my power to torment \n her. \n","up to the temples, gave us one furtive glance in passing, and walked on, \n looking grave, but seemingly offering no reply to her remarks. \n \n It was true, then, that he had some designs upon Mrs. Graham; and, were","and me; for, to confess the truth, I was too happy in the company of Mrs. \n Graham to regret the absence of Eliza Millward. \n \n The former, it is true, was most provokingly unsociable at"],["old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","âHelen,â said she, âyou often see Esther, donât you?â \n \n âNot very often.â \n","the needful himself, or should have when his old governor chose to quit \n the stage. So you see, Helen, I have managed pretty well, both for your \n friend and mine.â \n","herself off, somewhere, to live on her bit of a jointure; and the young \n âunâat least the new âun (sheâs none so very young)âis coming down to \n live at the Grove.â","addition to her late fatherâs property, which she has already in \n possession. \n \n I now insisted upon retracing our steps to the house; but we walked \n slowly, and went on talking as we proceeded. I need not repeat all we","âThere now, Helen!â I said, as the approaching steps of Rachel were heard \n in answer to the summons. There was nothing for it but to turn round and \n desire the maid to light the fire. \n","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","called her Helen, for I had seen that name written in her books. I \n seldom attempted to see her above twice a week; and still I made our \n meetings appear the result of accident as often as I couldâfor I found it","wonderfully it was grown and improved, and to ask after the welfare of \n its father Sancho. Mrs. Maxwell then withdrew to take off her things. \n Helen immediately pushed the book from her, and after silently surveying","Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \n he continued more boldly, âthat you have nothing to fear from me? that I","winter garden,â said Helen, as I advanced to take leave of her, with as \n much philosophy and self-command as I could summon to my aid. \n \n I gladly availed myself of such a respite, and followed her into a large","herself to keep. I had said an unjust and cruel thing; but I must needs \n follow it up with something worse. \n \n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to","only to the few loving friends and grateful dependents she left behind. \n \n To return, however, to my own affairs: I was married in summer, on a \n glorious August morning. It took the whole eight months, and all Helenâs","keep them till the gentlemen came, or till Milicent arrived with her \n mother. Little Helen, however, was soon tired of playing, and insisted \n upon going to sleep; and while I sat on the sofa with her on my knee, and","dreaded; but the coffin must be closed as soon as possible. If you will \n attend the funeral, come quickly, for I need help. \n \n HELEN HUNTINGDON. \n \n \n \n \n CHAPTER L \n","Poor, poor Helen! dreadful indeed her trials must have been! And I could \n do nothing to lessen themânay, it almost seemed as if I had brought them \n upon her myself by my own secret desires; and whether I looked at her","âThat was the crisis, Helen!â said he, delightedly. âI had an infernal \n pain hereâit is quite gone now. I never was so easy since the fallâquite","you in the other room.â And she turned to me. \n \n âThen you must plead for me, Helen,â said he, and at length withdrew. \n","âNow,â resumed he, after a momentary pause, âlet us talk about something \n else. And come nearer to me, Helen, and take my arm; and then Iâll let"],["âHelen, is that you?â said he. âWhy did you run away from us?â \n \n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the","inquired at the porterâs lodge if Mrs. Huntingdon were at home. No, she \n was with her aunt in âshire, but was expected to return before Christmas. \n She usually spent most of her time at Staningley, only coming to","Some time before Mr. Huntingdonâs death Lady Lowborough eloped with \n another gallant to the Continent, where, having lived a while in reckless \n gaiety and dissipation, they quarrelled and parted. She went dashing on","âAnd so, Helen,â said she, coming up to me with a smile of no amiable \n import, âyou are to be Mrs. Huntingdon, I suppose?â \n","âShe did,â persisted he in the same grave, collected manner as before; \n âand not without reason,â he continued, gently disengaging himself from \n my grasp. âMr. Huntingdon is ill.â","told me they were now on the Continent, and their present address was \n unknown to her. I never saw her speak much to Mr. Huntingdon; but he \n would frequently look into the school-room to see how little Arthur got","property, and the regulation of his affairs. The rascal had never told \n me how that property was disposed, or whether Mr. Huntingdon had died \n intestate or not; and I would sooner die than ask him, lest he should","whisper, with his eyes still fixed upon me, âWho is it?â \n \n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \n removing to a less conspicuous position. \n","length, however, he withdrew, and went to the lady of the house, \n apparently for the purpose of asking an introduction to me, for, shortly \n after, they both came up, and she introduced him as Mr. Huntingdon, the","likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","March 20th.âHaving now got rid of Mr. Huntingdon for a season, my spirits \n begin to revive. He left me early in February; and the moment he was","âAh, Huntingdon!â said she reproachfully, pausing where I had stood with \n him the night beforeââit was here you kissed that woman!â she looked back","herself off, somewhere, to live on her bit of a jointure; and the young \n âunâat least the new âun (sheâs none so very young)âis coming down to \n live at the Grove.â","January 10th, 1827.âWhile writing the above, yesterday evening, I sat in \n the drawing-room. Mr. Huntingdon was present, but, as I thought, asleep","it was well they did, for I was not fit company for them, nor they for \n me, under the present circumstances. \n \n Mrs. Huntingdon did not leave Wildfell Hall till above two months after","prospects, the fallacy of those hopes, and the vanity of that affection, \n that I reflected on those things as I remounted my horse and slowly \n journeyed homewards. Mrs. Huntingdon was free now; it was no longer a","Huntingdonâyou may have forgotten the circumstance, but I never can. I \n admired you then most deeply, but I dared not love you. In the following \n autumn I saw so much of your perfections that I could not fail to love","âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation, \n âcertainly not; but if you had sent me a message through your brother, or","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,"," HELEN HUNTINGDON. \n \n âWhat do you think of it?â said Lawrence, as I silently refolded the \n letter. \n"],["Gilbert; you will call her a perfect beauty, though you could hardly \n pretend to discover a resemblance between her and Eliza Millward.â \n \n âWell, I can imagine many faces more beautiful than Elizaâs, though not","are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \n end of it.â \n","Iâve been to call on the Wilsons; and itâs a thousand pities you didnât \n go with me, Gilbert, for Eliza Millward was there!â \n","delighted to do the old fellows a bad turn, though I donât think I have \n any great reason to dread them as rivals. Have I, Helen?â \n \n âYou know I detest them both.â \n","But donât be afraid, Gilbert,â she added, smiling sadly at my manifest \n discomposure; âthere is little chance of my forgetting you. But I did \n not mean that Frederick should be the means of transmitting messages","He then doubled his former stake, and challenged any one present to play \n against him. Grimsby instantly presented himself. Lowborough glared \n fiercely at him, for Grimsby was almost as celebrated for his luck as he","between usâonly that each might know, through him, of the otherâs \n welfare;âand more than this ought not to be: for you are young, Gilbert, \n and you ought to marryâand will some time, though you may think it","for singing a pretty, inoffensive love-song, on purpose to amuse him.â \n \n âOh, Gilbert! how could you?â exclaimed my mother. \n","âGilbert, donât!â she cried, in a tone that would have pierced a heart of \n adamant. âFor Godâs sake, donât you attempt these arguments! No fiend","He is particularly grieved at me, because, forsooth he had fallen in love \n with you from his sisterâs reports, and meant to have married you \n himself, as soon as he had sown his wild oats.â \n","believe anything that was said against her, unless I heard it from her \n own lips.âI should as soon believe such things of you, Rose.â \n \n âOh, Gilbert!â \n","nowâthere, Gilbertâlet me goâhereâs Arthur; donât astonish his infantile \n brain with your madness.â \n \n * * * * * \n","âVery likely she might be so to you. She has possibly taken a prejudice \n against you, for I think she regards you in the light of a rival.â \n","You must suppose about three weeks passed over. Mrs. Graham and I were \n now established friendsâor brother and sister, as we rather chose to \n consider ourselves. She called me Gilbert, by my express desire, and I"," GILBERT MARKHAM. \n \n \n \n \n CHAPTER II \n \n \n I perceive, with joy, my most valued friend, that the cloud of your","Milicentâs brother, for one: he is but a little lower than the angels, if \n half she says of him is true. She is continually talking to me about \n him, and lauding his many virtues to the skies.â \n","âThey may, they may!â cried she, with a momentary burst of glad \n enthusiasm. âI thought of that too, Gilbert, but I feared to mention it, \n because I feared you would not understand my views upon the subject. I","an altered being, with a frame perfect and glorious, but not like \n this!âand a heart, perhaps, entirely estranged from me.â \n \n âNo, Gilbert, there is perfect love in heaven!â \n","seized the rumour, to make it the basis of their own infernal structure.â \n \n âWell, but, Gilbert, there must be something in her manner to countenance \n such reports.â \n","cloud my brow for long enough. \n \n \n \n \n CHAPTER XIII \n \n \n âMy dear Gilbert, I wish you would try to be a little more amiable,â said"],["Mr. Lawrence came too. He did not arrive till some time after the rest \n were assembled. I was curious to see how he would comport himself to \n Mrs. Graham. A slight bow was all that passed between them on his","âLawrence,â said I, calmly looking him in the face, âare you in love with \n Mrs. Graham?â \n \n Instead of his being deeply offended at this, as I more than half","thoughtâyes, and the voice confirmed itâit was Mr. Lawrence! \n \n âYou should not let it worry you so much, Helen,â said he; âI will be","you allude to is Mr. Lawrence; but I think I can assure you that your \n suspicions, in that respect, are utterly misplaced; and if he has any \n particular connection with the lady at all (which no one has a right to","some rather pointed attentions, and upon whose heart, name, and fortune, \n it was whispered, she had serious designs. This was Mr. Lawrence, the \n young squire, whose family had formerly occupied Wildfell Hall, but had","herâbut I daresay you can tell us something about her, for she is your \n tenant, you know,âand she said she knew you a little.â \n \n All eyes were turned to Mr. Lawrence. I thought he looked unnecessarily","Graham already equipped for departure, and taking leave of the rest, who \n were now returned to the house. I offered, nay, begged to accompany her \n home. Mr. Lawrence was standing by at the time conversing with some one","âand in the fact that Mr. Lawrence has been seen to go that way once or \n twice of an eveningâand the village gossips say he goes to pay his \n addresses to the strange lady, and the scandal-mongers have greedily","âIt is only Mr. Lawrence and Miss Wilson,â said I, âcoming to enjoy a \n quiet stroll. They will not disturb us.â \n \n I could not quite decipher the expression of her face; but I was","into Mrs. Lawrence of Woodford Hall. I believe, too, that he soon \n learned to contemplate with secret amazement his former predilection, and \n to congratulate himself on the lucky escape he had made; but he never","Lawrenceâs household.â \n \n âIt was not from the man himself that I heard it, but he told it in \n confidence to our maid Sarah, and Sarah told it to me.â \n","forestalled me.â \n \n âI?â \n \n âYes: do you know what Mr. Lawrence is gone for?â She looked up \n anxiously for my reply. \n","Master Graham, Mary and Eliza Millward, Jane and Richard Wilson, and \n Rose, Fergus, and Gilbert Markham. \n \n Mr. Lawrence had been invited to join us, but, for some reason best known","âYou will go to her, Lawrence?â said I, as I put the letter into his \n hand. \n \n âYes, immediately.â \n"," HELEN HUNTINGDON. \n \n âWhat do you think of it?â said Lawrence, as I silently refolded the \n letter. \n","all she could out of her. She is called Mrs. Graham, and she is in \n mourningânot widowâs weeds, but slightish mourningâand she is quite","Mrs. Graham, and he had prepared the rooms as well as he could upon so \n short a notice; but he would do himself the pleasure of calling upon her \n to-morrow, to receive her further commands.â \n","Nevertheless, it was with no small degree of impatience that I looked \n forward to Mr. Lawrenceâs return from Grassdale: impatience that \n increased in proportion as his absence was prolonged. He stayed away","likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","âYes, Lawrence; is that you?â I mustered the presence of mind to reply. \n \n He smiled and coloured, as if half-proud and half-ashamed of his"],["not too glaringly, coquetting with Mr. Huntingdon, who is quite willing \n to be her partner in the game; but I donât care for it, because, with \n him, I know there is nothing but personal vanity, and a mischievous","The next object of assault was Arthur, who sat opposite, and had, no \n doubt, richly enjoyed the whole scene. \n \n âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you","Annabellaâand even to dislike herâand now that Mr. Huntingdon is become \n my Arthur, and I may enjoy his society without restraint. What shall I \n do without him, I repeat? \n \n \n \n","told me they were now on the Continent, and their present address was \n unknown to her. I never saw her speak much to Mr. Huntingdon; but he \n would frequently look into the school-room to see how little Arthur got","âOh, I forgot, you are a saint, too. I crave your pardon, dearestâbut \n donât call me Mr. Huntingdon; my name is Arthur.â \n","that account, Iâll forgive you; but nobody else should so disparage \n Arthur Huntingdon to me with impunity.â \n \n Miss Wilmot expressed her feelings on the subject almost as openly. \n","along a few paces apart, and looking every way but theirs, while my aunt \n and Milicent went before, linked arm in arm and gravely discoursing \n together. At length Mr. Huntingdon turned to me, and addressing me in a","âAh, Huntingdon!â said she reproachfully, pausing where I had stood with \n him the night beforeââit was here you kissed that woman!â she looked back","annoy you with any more of my friendly impertinences.â \n \n âWell, I have nothing more to say to you.â \n \n âHave you mentioned this affair to Huntingdon?â asked she, as I was","replied,ââIt is nothing to you, Mr. Huntingdon.â \n \n âAre you sure it is nothing to me?â he returned; âcan you swear that you","âShe did,â persisted he in the same grave, collected manner as before; \n âand not without reason,â he continued, gently disengaging himself from \n my grasp. âMr. Huntingdon is ill.â","Huntingdonâyou may have forgotten the circumstance, but I never can. I \n admired you then most deeply, but I dared not love you. In the following \n autumn I saw so much of your perfections that I could not fail to love","âMrs. Huntingdon,â said he as I passed, âwill you allow me one word?â \n \n âWhat is it then? be quick, if you please.â \n","âNow, Nell,â said he, âthis young Huntingdon has been asking for you: \n what must I say about it? Your aunt would answer ânoââbut what say you?â \n","length, however, he withdrew, and went to the lady of the house, \n apparently for the purpose of asking an introduction to me, for, shortly \n after, they both came up, and she introduced him as Mr. Huntingdon, the","observed Huntingdon. âTheyâll make a match of it, as sure as can be. \n That Lowboroughâs fairly besotted. But heâll find himself in a fix when","âHe will not allow it.â \n \n âI shall not ask him.â \n \n âAh, then, it is a secret flight you meditate! but with whom, Mrs. \n Huntingdon?â","his acquaintance? I beg your pardon, Mrs. Huntingdon. Well, they were \n talking of these things, and some of them remarked that, as she was \n separated from her husband, he might see her again when he pleased.â \n","âWho was it, I ask?â said she, with frigid gravity. \n \n âIt was Mr. Huntingdon, the son of uncleâs old friend.â \n","Some time before Mr. Huntingdonâs death Lady Lowborough eloped with \n another gallant to the Continent, where, having lived a while in reckless \n gaiety and dissipation, they quarrelled and parted. She went dashing on"],["likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","âWhen will she return to Grassdale?â was my next question. \n \n âI donât know.â \n \n âConfound it!â I muttered. \n","âTo Grassdale first,â said he, with a half-smile he would willingly have \n suppressed if he could. \n \n âTo Grassdale! Is she there, then?â \n","Grassdale seemed to stifle me, and I could only live by thinking of \n Wildfell Hall. \n \n At last, one morning, she entered my chamber with such intelligence that \n my resolution was taken before she had ceased to speak. While she","âThen you really wish to get rid of me?â \n \n âPositively, I do; and I will take you down myself to Grassdale, and then","(the evening one would be already gone), and fly to GrassdaleâI must be \n there before the marriage. And why? Because a thought struck me that \n perhaps I might prevent itâthat if I did not, she and I might both lament","of a life so alien to all my previous habits. At last, he suddenly \n discovered that the London air did not agree with me, and I was \n languishing for my country home, and must immediately return to \n Grassdale. \n","Nevertheless, it was with no small degree of impatience that I looked \n forward to Mr. Lawrenceâs return from Grassdale: impatience that \n increased in proportion as his absence was prolonged. He stayed away","answered my question,ââShe is at Grassdale Manor, in âshire.â \n \n âWhere?â cried I, with a convulsive start. \n","âAt Grassdale Manor.â \n \n âHow was it?â I gasped. âWho betrayed her?â \n \n âShe went of her own accord.â \n","to see one-tenth of the beauties and interesting objects of Rome. He \n wanted to get me home, he said, to have me all to himself, and to see me \n safely installed as the mistress of Grassdale Manor, just as","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","âHelen, is that you?â said he. âWhy did you run away from us?â \n \n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the","Grassdale occasionally, when the management of affairs, or the interest \n of her tenants and dependents, required her presence. \n \n âNear what town is Staningley situated?â I asked. The requisite","CHAPTER LII \n \n \n The tardy gig had overtaken me at last. I entered it, and bade the man \n who brought it drive to Grassdale ManorâI was too busy with my own","âThere now, Helen!â I said, as the approaching steps of Rachel were heard \n in answer to the summons. There was nothing for it but to turn round and \n desire the maid to light the fire. \n","herself to keep. I had said an unjust and cruel thing; but I must needs \n follow it up with something worse. \n \n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to","back, Helenâgo back directly! Youâll get your death of cold!â \n \n âI wonât, till Iâve told you what I came for. They are blaming you,","âIs it nothing to you, Helen? Will you swear it? Will you?â \n \n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether","âWent where?â \n \n âTo Grassdale, sirâwasnât you aware, sir? Heâs very close, is master,â"],["are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \n end of it.â \n","âWhat of her?â I demanded in terror, lest some evil should have befallen \n her. \n \n âOh, Mr. Markham, how you blush!â cried she, with a tormenting laugh.","âI never told you, Markham, that I intended to marry Miss Wilson,â said \n he, proudly. \n \n âNo, but whether you do or not, she intends to marry you.â \n","some rather pointed attentions, and upon whose heart, name, and fortune, \n it was whispered, she had serious designs. This was Mr. Lawrence, the \n young squire, whose family had formerly occupied Wildfell Hall, but had","âAnd so, Mr. Markham, you are going to rob me of my niece, I understand. \n Well! I hope God will prosper your union, and make my dear girl happy at \n last. Could she have been contented to remain single, I own I should","against her, but no good or amiable woman would be capable of evincing \n that bitter, cold-blooded, designing malice towards a fancied rival that \n I have observed in her.â \n \n âMarkham!â \n"," GILBERT MARKHAM. \n \n \n \n \n CHAPTER II \n \n \n I perceive, with joy, my most valued friend, that the cloud of your","it, for I had no doubt that such was her determination.â \n \n âTo forget me?â \n \n âYes, Markham! Why not?â \n","Now, Halford, before I close this letter, Iâll tell you who Eliza \n Millward was: she was the vicarâs younger daughter, and a very engaging \n little creature, for whom I felt no small degree of partiality;âand she","Gilbert; you will call her a perfect beauty, though you could hardly \n pretend to discover a resemblance between her and Eliza Millward.â \n \n âWell, I can imagine many faces more beautiful than Elizaâs, though not","You must suppose about three weeks passed over. Mrs. Graham and I were \n now established friendsâor brother and sister, as we rather chose to \n consider ourselves. She called me Gilbert, by my express desire, and I","him at home, and spend her life in petting him up, and slaving to indulge \n his follies and caprices.â \n \n âI perfectly agree with you, Mrs. Markham; but nothing can be further","on that subject already, and I assure you her ideas of love and matrimony \n are as romantic as any one could desire.â \n \n âBut romantic notions will not do: I want her to have true notions.â \n","âNot I, indeed!â was the phlegmatic reply; and my appearance prevented \n further discussion. \n \n âYouâre so unfortunate, Mr. Markham!â observed the younger sister, with","âAre you there still, Mr. Markham?â said she at length, looking round \n upon meâfor I was seated a little behind on a mossy projection of the","Wilmotâthrough the intervention of his good angel, no doubt he would tell \n you, though he did not dare to fix his hopes on one so courted and \n admired, till after they were brought into closer contact here at","She turned from me to hide the emotion she could not quite control; but I \n took her hand and fervently kissed it. \n \n âGilbert, do leave me!â she cried, in a tone of such thrilling anguish","âNo, not he. That was the first attraction, certainly; but now he has \n quite lost sight of it: it never enters his calculations, except merely \n as an essential without which, for the ladyâs own sake, he could not","ââWell, love is not the wordâbut somebody that I can like. Iâll search \n all England through, at all events!â he cried, with a sudden burst of","retreated a step or two back. \n \n âNow, Mr. Markham,â said she, with a kind of desperate calmness, âI must \n tell you plainly that I cannot do with this. I like your company,"],["You must suppose about three weeks passed over. Mrs. Graham and I were \n now established friendsâor brother and sister, as we rather chose to \n consider ourselves. She called me Gilbert, by my express desire, and I","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","âIt is something of the kind,â she answered. âSome day I may tell you, \n but at present you had better leave me; and never, Gilbert, put me to the","only to the few loving friends and grateful dependents she left behind. \n \n To return, however, to my own affairs: I was married in summer, on a \n glorious August morning. It took the whole eight months, and all Helenâs","dreaded; but the coffin must be closed as soon as possible. If you will \n attend the funeral, come quickly, for I need help. \n \n HELEN HUNTINGDON. \n \n \n \n \n CHAPTER L \n","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","But donât be afraid, Gilbert,â she added, smiling sadly at my manifest \n discomposure; âthere is little chance of my forgetting you. But I did \n not mean that Frederick should be the means of transmitting messages","keep them till the gentlemen came, or till Milicent arrived with her \n mother. Little Helen, however, was soon tired of playing, and insisted \n upon going to sleep; and while I sat on the sofa with her on my knee, and","âThere now, Helen!â I said, as the approaching steps of Rachel were heard \n in answer to the summons. There was nothing for it but to turn round and \n desire the maid to light the fire. \n","âShe told me herself. She told me all. She knew I might be trusted. \n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \n the last of her!â \n","are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \n end of it.â \n","will amuse myself with my neglected diary, if I can give that name to \n such an irregular composition. It is exactly four months since I opened \n it last. \n \n I am married now, and settled down as Mrs. Huntingdon of Grassdale Manor.","âNoâin another year,â replied she, gently disengaging herself from my \n embrace, but still fondly clasping my hand. \n \n âAnother year! Oh, Helen, I could not wait so long!â","She turned from me to hide the emotion she could not quite control; but I \n took her hand and fervently kissed it. \n \n âGilbert, do leave me!â she cried, in a tone of such thrilling anguish","called her Helen, for I had seen that name written in her books. I \n seldom attempted to see her above twice a week; and still I made our \n meetings appear the result of accident as often as I couldâfor I found it","âNow,â resumed he, after a momentary pause, âlet us talk about something \n else. And come nearer to me, Helen, and take my arm; and then Iâll let","Then followed eight or ten minutes of silence, during the greater part of \n which, I believe, he was staring at me. At last his patience was tired \n out. \n \n âWhat is that book, Helen?â he exclaimed. \n","She fixed her eyes upon me with a look that pierced me to the heart; and \n yet it made me smile. \n \n âI donât ask the reason of this change, Gilbert,â said she, with bitter","With due deference I offered her my more commodious seat. She declined \n it, and thus opened the conference: âDo you remember, Helen, our \n conversation the night but one before we left Staningley?â \n","âI have; but it would be wrong to talk of it now.â \n \n âIt was wrong to talk of it then, Gilbert; it would not nowâunless to do \n so would be to violate the truth.â"],["âShe did,â persisted he in the same grave, collected manner as before; \n âand not without reason,â he continued, gently disengaging himself from \n my grasp. âMr. Huntingdon is ill.â","Huntingdon. I have good reason to remember his presence there, for this \n was the last time I saw him. \n \n He did not sit near me at dinner; for it was his fate to hand in a","As for Mr. Hattersley, he had never wholly forgotten his resolution to \n âcome out from among them,â and behave like a man and a Christian, and \n the last illness and death of his once jolly friend Huntingdon so deeply","and source. The scenes of Huntingdonâs wickedness are less interesting \n but less improbable than the country-house scenes of âJane Eyreâ; the \n story of his death has many true and touching passages; the last","DEAR FREDERICK,âI know you will be anxious to hear from me, and I will \n tell you all I can. Mr. Huntingdon is very ill, but not dying, or in any","degradation and misery I should have been spared! But what have I done \n to deserve so magnificent a creature?â \n \n âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,","narrative was, to me, more painful than the latter, not that I was at all \n insensible to Mrs. Huntingdonâs wrongs or unmoved by her sufferings, but, \n I must confess, I felt a kind of selfish gratification in watching her","ââDeath is so terrible,â he cried, âI cannot bear it! You donât know, \n Helenâyou canât imagine what it is, because you havenât it before you!","property, and the regulation of his affairs. The rascal had never told \n me how that property was disposed, or whether Mr. Huntingdon had died \n intestate or not; and I would sooner die than ask him, lest he should","his impatience of bodily pain. All his friends had not forsaken him; for \n Mr. Hattersley, hearing of his danger, had come to see him from his \n distant home in the north. His wife had accompanied him, as much for the","dreaded; but the coffin must be closed as soon as possible. If you will \n attend the funeral, come quickly, for I need help. \n \n HELEN HUNTINGDON. \n \n \n \n \n CHAPTER L \n","suffering and death as did Emily. Emily was âtornâ from life âconscious, \n panting, reluctant,â to use Charlotteâs own words; Anneâs âsufferings","condemned to sit between himself and Mr. Boarham. But afterwards, when \n we were all again assembled in the drawing-room, I was indemnified for so \n much suffering by a few delightful minutes of conversation with Mr. \n Huntingdon. \n","friend Mr. Wilmot was one, and my auntâs friend, Mr. Boarham, another. \n This struck me as terrible news at the moment; but all regret and \n apprehension vanished like a dream when I heard that Mr. Huntingdon was","Mrs. Huntingdon is alone,â he would insist upon leaving the table \n himself, to join me, and his host, however unwillingly, was obliged to \n follow. \n","Mr. Huntingdon then went up-stairs. I did not attempt to follow him, but \n remained seated in the arm-chair, speechless, tearless, and almost \n motionless, till he returned about half-an-hour after, and walking up to","ââHuntingdon, this wonât do! Iâm resolved to have done with it.â \n \n ââWhat, are you going to shoot yourself?â said I. \n","âWell, to tell you the truth, Iâve thought of it often and often before; \n but heâs such devilish good company, is Huntingdon, after all. You canât","again, and held it till he was no moreâand then I fainted. It was not \n grief; it was exhaustion, that, till then, I had been enabled \n successfully to combat. Oh, Frederick! none can imagine the miseries,","suffering, or of allowing him to witness his fatherâs impatience, or hear \n the dreadful language he was wont to use in his paroxysms of pain or \n irritation. \n \n The latter (continued she) most deeply regrets the step that has"],["immediately letting it go. \n \n âWhy should I stay any longer?â \n \n âWait till Arthur comes, at least.â \n \n Only too glad to obey, I stood and leant against the opposite side of the","âWell, Iâll see about it.â \n \n âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let \n me protect you!â \n","Helen!â \n \n âI do pray for you, every hour and every minute, Arthur; but you must \n pray for yourself.â \n \n His lips moved, but emitted no sound;âthen his looks became unsettled;","Arthur, whom he had driven over to see me. Our poor invalid evidently \n felt it a heartless proposition, and would have felt it still more \n heartless in me to accede to it. I therefore said I would only go and","her. At length, however, by some heroic effort, we tore ourselves apart, \n and I rushed from the house. \n \n I have a confused remembrance of seeing little Arthur running up the","âBut you donât, Helenâsay you love me, and Iâll go.â \n \n âI wish you would go!â I replied. \n","âBut if I find it necessary to leave you, Arthur, I shall not ârun awayâ: \n you know I have your own promise that I may go whenever I please, and \n take my son with me.â \n","destroyed their power, though somewhat to the detriment of your own \n fingers. \n \n Of late, however, I have seen nothing in her conduct towards Arthur to \n anger or alarm me. During the first few days I thought she seemed very","âNo, Arthur, if I could really serve you by them. I would give my life \n to save you, if I might.â \n \n âWould you, indeed? No!â \n","presence, nor her heart afflicted by the sight of my fidelity. \n \n âAdieu then, dear Helen, forever! Forever adieu!â \n","âHear me now, then, Arthur,â said I, gently pressing his hand. \n \n âItâs too late now,â said he despondingly. And after that another","âThe candle will keep,â returned he. \n \n I made a desperate effort to free my hand from his grasp. \n \n âWhy are you in such a hurry to leave me, Helen?â he said, with a smile","âIs it nothing to you, Helen? Will you swear it? Will you?â \n \n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether","as the guests were retiring to their rooms, Arthur approached me, smiling \n with the utmost assurance. \n \n âAre you very angry, Helen?â murmured he. \n","you in the other room.â And she turned to me. \n \n âThen you must plead for me, Helen,â said he, and at length withdrew. \n","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","âIâm crying for you, Arthur,â I replied, speedily drying my tears; and \n starting up, I threw myself on my knees before him, and clasping his","âAt lunch,â said I, departing with little Helen in one arm and leading \n Arthur by the hand. \n \n He turned away, muttering some sentence of impatient censure or","better recreation of grouse-shooting and deer-stalking, and had promised \n to go. \n \n âThen you will leave me again, Arthur?â said I. \n","âIs it you, Alice, come again?â he murmured. âWhat did you leave me \n for?â \n \n âIt is I, Arthurâit is Helen, your wife,â I replied. \n"],["likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","âWhen will she return to Grassdale?â was my next question. \n \n âI donât know.â \n \n âConfound it!â I muttered. \n","âTo Grassdale first,â said he, with a half-smile he would willingly have \n suppressed if he could. \n \n âTo Grassdale! Is she there, then?â \n","Grassdale seemed to stifle me, and I could only live by thinking of \n Wildfell Hall. \n \n At last, one morning, she entered my chamber with such intelligence that \n my resolution was taken before she had ceased to speak. While she","âThen you really wish to get rid of me?â \n \n âPositively, I do; and I will take you down myself to Grassdale, and then","(the evening one would be already gone), and fly to GrassdaleâI must be \n there before the marriage. And why? Because a thought struck me that \n perhaps I might prevent itâthat if I did not, she and I might both lament","of a life so alien to all my previous habits. At last, he suddenly \n discovered that the London air did not agree with me, and I was \n languishing for my country home, and must immediately return to \n Grassdale. \n","Nevertheless, it was with no small degree of impatience that I looked \n forward to Mr. Lawrenceâs return from Grassdale: impatience that \n increased in proportion as his absence was prolonged. He stayed away","answered my question,ââShe is at Grassdale Manor, in âshire.â \n \n âWhere?â cried I, with a convulsive start. \n","âAt Grassdale Manor.â \n \n âHow was it?â I gasped. âWho betrayed her?â \n \n âShe went of her own accord.â \n","to see one-tenth of the beauties and interesting objects of Rome. He \n wanted to get me home, he said, to have me all to himself, and to see me \n safely installed as the mistress of Grassdale Manor, just as","old lady, and will wish to know the last of her history. I did come \n again in spring, and, agreeably to Helenâs injunctions, did my best to \n cultivate her acquaintance. She received me very kindly, having been,","âHelen, is that you?â said he. âWhy did you run away from us?â \n \n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the","Grassdale occasionally, when the management of affairs, or the interest \n of her tenants and dependents, required her presence. \n \n âNear what town is Staningley situated?â I asked. The requisite","CHAPTER LII \n \n \n The tardy gig had overtaken me at last. I entered it, and bade the man \n who brought it drive to Grassdale ManorâI was too busy with my own","âThere now, Helen!â I said, as the approaching steps of Rachel were heard \n in answer to the summons. There was nothing for it but to turn round and \n desire the maid to light the fire. \n","herself to keep. I had said an unjust and cruel thing; but I must needs \n follow it up with something worse. \n \n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to","back, Helenâgo back directly! Youâll get your death of cold!â \n \n âI wonât, till Iâve told you what I came for. They are blaming you,","âIs it nothing to you, Helen? Will you swear it? Will you?â \n \n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether","âWent where?â \n \n âTo Grassdale, sirâwasnât you aware, sir? Heâs very close, is master,â"],["Mr. Lawrence came too. He did not arrive till some time after the rest \n were assembled. I was curious to see how he would comport himself to \n Mrs. Graham. A slight bow was all that passed between them on his","you allude to is Mr. Lawrence; but I think I can assure you that your \n suspicions, in that respect, are utterly misplaced; and if he has any \n particular connection with the lady at all (which no one has a right to","into Mrs. Lawrence of Woodford Hall. I believe, too, that he soon \n learned to contemplate with secret amazement his former predilection, and \n to congratulate himself on the lucky escape he had made; but he never","âLawrence,â said I, calmly looking him in the face, âare you in love with \n Mrs. Graham?â \n \n Instead of his being deeply offended at this, as I more than half","married on Thursday, and Mr. Lawrence was gone to the wedding. She did \n tell me the name of the gentleman, but Iâve forgotten that. Perhaps you \n can assist me to remember it. Is there not some one that lives nearâor","some rather pointed attentions, and upon whose heart, name, and fortune, \n it was whispered, she had serious designs. This was Mr. Lawrence, the \n young squire, whose family had formerly occupied Wildfell Hall, but had","Mr. Markham; my friend Markham, Mrs. Lawrence, late Miss Hargrave.â \n \n I bowed to the bride, and vehemently wrung the bridegroomâs hand. \n","heart at least. I looked at the bridegroomâit was Frederick Lawrence! I \n wiped away the cold drops that were trickling down my forehead, and \n stepped back as he approached; but, his eyes fell upon me, and he knew","âYou will go to her, Lawrence?â said I, as I put the letter into his \n hand. \n \n âYes, immediately.â \n","was evident she loved meâprobably she was tired of Mr. Lawrence, and \n wished to exchange him for me; and if I had loved and reverenced her less \n to begin with, the preference might have gratified and amused me; but now","inoffensive to all, and polite to the vicar and the ladies, especially \n his hostess and her daughter, and Miss Wilsonâmisguided man; he had not \n the taste to prefer Eliza Millward. Mr. Lawrence and I were on tolerably","CHAPTER XLVIII \n \n \n Five or six days after this Mr. Lawrence paid us the honour of a call; \n and when he and I were alone togetherâwhich I contrived as soon as","âand in the fact that Mr. Lawrence has been seen to go that way once or \n twice of an eveningâand the village gossips say he goes to pay his \n addresses to the strange lady, and the scandal-mongers have greedily","herâbut I daresay you can tell us something about her, for she is your \n tenant, you know,âand she said she knew you a little.â \n \n All eyes were turned to Mr. Lawrence. I thought he looked unnecessarily","ladies to outshine, and all the gentlemen to charm,âand Mr. Lawrence, \n especially, to capture and subdue. Her little arts to effect his \n subjugation were too subtle and impalpable to attract my observation; but","âShe told me herself. She told me all. She knew I might be trusted. \n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \n the last of her!â \n","thoughtâyes, and the voice confirmed itâit was Mr. Lawrence! \n \n âYou should not let it worry you so much, Helen,â said he; âI will be","may use as he pleases, without being bothered with the fear of spoiling \n it;âwhereas Mr. Lawrence was like a new garment, all very neat and trim \n to look at, but so tight in the elbows, that you would fear to split the","such message through Mr. Lawrence was now completely out of the question. \n \n But what should I do? I would wait, and see if she would notice me, \n which of course she would not, unless by some kind message intrusted to","CHAPTER XLIX \n \n \n Though Mr. Lawrenceâs health was now quite re-established, my visits to \n Woodford were as unremitting as ever; though often less protracted than"],["âCome here, Arthur,â said the latter, extending his hand towards him. \n The child went, and timidly touched that burning hand, but almost started \n in alarm, when his father suddenly clutched his arm and drew him nearer \n to his side.","advantage, and my sonâs future welfare should not be sacrificed to any \n mistaken tenderness for this manâs feelings. Little Arthur had not \n forgotten his father, but thirteen months of absence, during which he had","Here was Arthur left to me at last; and rousing from my despondent \n apathy, I exerted all my powers to eradicate the weeds that had been \n fostered in his infant mind, and sow again the good seed they had","Arthur is not what is commonly called a bad man: he has many good \n qualities; but he is a man without self-restraint or lofty aspirations, a \n lover of pleasure, given up to animal enjoyments: he is not a bad","that thought at once. But Arthur is selfish; I am constrained to \n acknowledge that; and, indeed, the admission gives me less pain than \n might be expected, for, since I love him so much, I can easily forgive","once. I donât say much to Arthur about it, for, if I did, it would do \n more harm than good; but I let him know that I intensely dislike such \n exhibitions; and each time he has promised they should never again be","darting a vindictive glance at me. \n \n Arthur, thus released, crept back to me and put his hand in mine. His \n father swore I had made the child hate him, and abused and cursed me","âHear me now, then, Arthur,â said I, gently pressing his hand. \n \n âItâs too late now,â said he despondingly. And after that another","âArthur,â said his mother, âtell him to come in. Go on, Richard.â \n \n There was a touch of sadness as well as coldness in her voice, but I knew","âNo, Arthur, if I could really serve you by them. I would give my life \n to save you, if I might.â \n \n âWould you, indeed? No!â \n","you hear such words spoken, Arthur, remember never to repeat them: it is \n wicked to say such things of others, not to have them said against you.â \n","The time that I met him alone was on a bright, but not oppressively hot \n day, in the beginning of July: I had taken little Arthur into the wood \n that skirts the park, and there seated him on the moss-cushioned roots of","âNothing more than you do, Arthur: your actions are all right so far; but \n I would have your thoughts changed; I would have you to fortify yourself \n against temptation, and not to call evil good, and good evil; I should","her. At length, however, by some heroic effort, we tore ourselves apart, \n and I rushed from the house. \n \n I have a confused remembrance of seeing little Arthur running up the","upon little Arthur, and could not under any circumstances, strictly \n speaking, be his motherâs. But how was she situated? Overcoming with a \n sudden effort my repugnance to mention her name to my garrulous","The next object of assault was Arthur, who sat opposite, and had, no \n doubt, richly enjoyed the whole scene. \n \n âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you","âWhat do you want, Arthur?â I said at length. \n \n âNothing,â replied he. âGo!â \n \n I went, but hearing him mutter something as I was closing the door, I","thereby preparing the soil for those vices he has so successfully \n cultivated in his own perverted nature. \n \n Happily, there were none of Arthurâs âfriendsâ invited to Grassdale last","destroyed their power, though somewhat to the detriment of your own \n fingers. \n \n Of late, however, I have seen nothing in her conduct towards Arthur to \n anger or alarm me. During the first few days I thought she seemed very","so fearful of this at first, that I humbled myself to intimate to him, in \n private, my apprehensions of Arthurâs proneness to these excesses, and to \n express a hope that he would not encourage it. He was pleased with this"],["âYesâand it is my belief that Eliza Millward and she, if not the very \n originators of the slanderous reports that have been propagated, were \n designedly the encouragers and chief disseminators of them. She was not","âI donât know,â replied she. âSome idle slander somebody has been \n inventing, I suppose. I never heard it till Eliza told me the other","delighted to do the old fellows a bad turn, though I donât think I have \n any great reason to dread them as rivals. Have I, Helen?â \n \n âYou know I detest them both.â \n","âNo, Miss Eliza, thatâs false.â \n \n âDo you charge me with a falsehood, sir?â \n \n âYou are misinformed.â \n","seized the rumour, to make it the basis of their own infernal structure.â \n \n âWell, but, Gilbert, there must be something in her manner to countenance \n such reports.â \n","more agreeable. But I was out of temper with Eliza at that moment for \n her insinuations against Mrs. Graham, which were false, I was certain, \n whether she knew it or not. \n","here that at all resembles that child, except his mother, and when you \n hear ill-natured reports, Miss Eliza, I will thank you, that is, I think \n you will do well, to refrain from repeating them. I presume the person","âAll a prejudice, Helen, a mere womanâs antipathy.â \n \n âNo; I have solid grounds for my dislike. And is that all?â \n","another proof of her depravityââ \n \n âConfound Jane Wilson!â \n \n âAnd Eliza Millward is quite grieved about you.â \n","Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \n he continued more boldly, âthat you have nothing to fear from me? that I","talk. But Eliza took advantage of the first convenient pause to ask if I \n had lately seen Mrs. Graham, in a tone of merely casual inquiry, but with","desire to excite my jealousy, and, perhaps, to torment his friend; and \n she, no doubt, is actuated by much the same motives; only, there is more \n of malice and less of playfulness in her manoeuvres. It is obviously,","Mrs. Graham seated herself at a distance from me. Eliza was my nearest \n neighbour. She exerted herself to be agreeable, in her gentle, \n unobtrusive way, and was, no doubt, as fascinating and charming as ever,","âI heard some detestable falsehoods; but none but fools would credit them \n for a moment, Helen, so donât let them trouble you.â \n","companions, abusing Mr. Grimsby and others, insinuating bitter things \n against Mr. Huntingdon, and most ingeniously throwing the blame of her \n husbandâs misconduct on to other menâs shoulders. The latter was full of","that savoured more of malice than of mirth,ââWhy, Helen! what have you \n been doing so long? I came to tell you my good fortune,â she continued,","âVery likely she might be so to you. She has possibly taken a prejudice \n against you, for I think she regards you in the light of a rival.â \n","âAh, now! you know!â she slily smiled and shook her head. \n \n âI know nothing about them. What in the world do you mean, Eliza?â \n","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","âAnd whom?â demanded Miss Wilson, with an air of cold, but keen severity. \n \n Eliza was startled; the timidly spoken suggestion had been intended for \n my ear alone. \n"],["âShe did,â persisted he in the same grave, collected manner as before; \n âand not without reason,â he continued, gently disengaging himself from \n my grasp. âMr. Huntingdon is ill.â","Huntingdonâyou may have forgotten the circumstance, but I never can. I \n admired you then most deeply, but I dared not love you. In the following \n autumn I saw so much of your perfections that I could not fail to love","âAnd so, Helen,â said she, coming up to me with a smile of no amiable \n import, âyou are to be Mrs. Huntingdon, I suppose?â \n","determination to see himself a married man before the year is out. \n âOnly,â said he to me, âI must have somebody that will let me have my own \n way in everythingânot like your wife, Huntingdon: she is a charming","observed Huntingdon. âTheyâll make a match of it, as sure as can be. \n That Lowboroughâs fairly besotted. But heâll find himself in a fix when","hints and things just to astonish the others. But I think, if I was you, \n Miss Helen, Iâd look very well before I leaped. I do believe a young \n lady canât be too careful who she marries.â","âHelen, is that you?â said he. âWhy did you run away from us?â \n \n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the","thinks proper. He has no love for you, Mrs. Huntingdonâno reverence for \n your sex, no belief in virtue, no admiration for its image. He will give \n such a version of this story as will leave no doubt at all about your","replied,ââIt is nothing to you, Mr. Huntingdon.â \n \n âAre you sure it is nothing to me?â he returned; âcan you swear that you","âDo you know what sort of man Mr. Huntingdon is?â said I. \n \n âI think I have an idea.â \n \n âHave you so clear an idea that you can hear, without surprise or","âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation, \n âcertainly not; but if you had sent me a message through your brother, or","âWas Mr. Huntingdon proposing to you, Helen?â inquired my too watchful \n relative. \n \n âNo.â \n","Mr. Huntingdon, if not better; and yet you love him, and seem to be happy \n and contented; and perhaps I may manage as well. You must tell me, if","annoy you with any more of my friendly impertinences.â \n \n âWell, I have nothing more to say to you.â \n \n âHave you mentioned this affair to Huntingdon?â asked she, as I was","âAnd Mr. Huntingdon,â said I, âI suppose you know I am not an heiress?â \n \n He protested he had never given it a thought, and begged I would not","âI donât understand you, Mrs. Huntingdon.â \n \n âYou do understand me, sir; and I charge you, upon your honour as a","herself to keep. I had said an unjust and cruel thing; but I must needs \n follow it up with something worse. \n \n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to","not too glaringly, coquetting with Mr. Huntingdon, who is quite willing \n to be her partner in the game; but I donât care for it, because, with \n him, I know there is nothing but personal vanity, and a mischievous","âWell, to tell you the truth, Iâve thought of it often and often before; \n but heâs such devilish good company, is Huntingdon, after all. You canât","âOf course, Mr. Hargrave; is he not my husband?â \n \n âOh, Huntingdon; you know not what you slight!â he passionately murmured. \n"],["observed Huntingdon. âTheyâll make a match of it, as sure as can be. \n That Lowboroughâs fairly besotted. But heâll find himself in a fix when","âAh, Huntingdon!â said she reproachfully, pausing where I had stood with \n him the night beforeââit was here you kissed that woman!â she looked back","annoy you with any more of my friendly impertinences.â \n \n âWell, I have nothing more to say to you.â \n \n âHave you mentioned this affair to Huntingdon?â asked she, as I was","The next object of assault was Arthur, who sat opposite, and had, no \n doubt, richly enjoyed the whole scene. \n \n âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you","Huntingdonâyou may have forgotten the circumstance, but I never can. I \n admired you then most deeply, but I dared not love you. In the following \n autumn I saw so much of your perfections that I could not fail to love","all very fine, Mr. Huntingdon, to amuse yourself with rousing my \n jealousy; but take care you donât rouse my hate instead. And when you \n have once extinguished my love, you will find it no easy matter to kindle","Mr. Huntingdon, if not better; and yet you love him, and seem to be happy \n and contented; and perhaps I may manage as well. You must tell me, if","âWell, to tell you the truth, Iâve thought of it often and often before; \n but heâs such devilish good company, is Huntingdon, after all. You canât","not too glaringly, coquetting with Mr. Huntingdon, who is quite willing \n to be her partner in the game; but I donât care for it, because, with \n him, I know there is nothing but personal vanity, and a mischievous","âNo, no, let her be; thereâs much to be said on both sides, and, now I \n think upon it, Huntingdon often regrets that you are not more like her,","Frederick was exceedingly indignant against Mr. Huntingdon, and very much \n grieved for me; but still he looked upon my project as wild and \n impracticable. He deemed my fears for Arthur disproportioned to the","âShe did,â persisted he in the same grave, collected manner as before; \n âand not without reason,â he continued, gently disengaging himself from \n my grasp. âMr. Huntingdon is ill.â","that account, Iâll forgive you; but nobody else should so disparage \n Arthur Huntingdon to me with impunity.â \n \n Miss Wilmot expressed her feelings on the subject almost as openly. \n","Mrs. Huntingdon is alone,â he would insist upon leaving the table \n himself, to join me, and his host, however unwillingly, was obliged to \n follow. \n","intends as a species of counter-attraction to win Mr. Huntingdonâs \n attention from me. I donât thank her for this; but I shall be glad of","companions, abusing Mr. Grimsby and others, insinuating bitter things \n against Mr. Huntingdon, and most ingeniously throwing the blame of her \n husbandâs misconduct on to other menâs shoulders. The latter was full of","replied,ââIt is nothing to you, Mr. Huntingdon.â \n \n âAre you sure it is nothing to me?â he returned; âcan you swear that you","determination to see himself a married man before the year is out. \n âOnly,â said he to me, âI must have somebody that will let me have my own \n way in everythingânot like your wife, Huntingdon: she is a charming","âNay, nay, I suspect nobody. Itâs all right, itâs all right. So come \n along, Huntingdon, you blackguard.â \n","âOf course, Mr. Hargrave; is he not my husband?â \n \n âOh, Huntingdon; you know not what you slight!â he passionately murmured. \n"],["On the day of Lady Lowboroughâs arrival, I followed her into her chamber, \n and plainly told her that, if I found reason to believe that she still \n continued her criminal connection with Mr. Huntingdon, I should think it","âNo, thank you,â I replied; and, turning from him, I looked round. Lady \n Lowborough was beside her husband, bending over him as he sat, with her \n hand on his shoulder, softly talking and smiling in his face; and Arthur","April 4th.âWe have had a downright quarrel. The particulars are as \n follows: Arthur had told me, at different intervals, the whole story of \n his intrigue with Lady Fâ, which I would not believe before. It was some","âYes,â replied I. âDonât you envy me?â \n \n âOh, dear, no!â she exclaimed. âI shall probably be Lady Lowborough some","âShe told me herself. She told me all. She knew I might be trusted. \n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \n the last of her!â \n","Some time before Mr. Huntingdonâs death Lady Lowborough eloped with \n another gallant to the Continent, where, having lived a while in reckless \n gaiety and dissipation, they quarrelled and parted. She went dashing on","Her husband, however, upon this second misdemeanour, immediately sought \n and obtained a divorce, and, not long after, married again. It was well \n he did, for Lord Lowborough, morose and moody as he seemed, was not the","was about this time, Helen, that my good angel brought me into \n conjunction with you; and then I had eyes and ears for nobody else. But, \n meantime, Lowborough became acquainted with our charming friend, Miss","cause of my error, I think you blame me too severely. I told Lady \n Lowborough two weeks ago, the very hour she came, that I should certainly \n think it my duty to inform you if she continued to deceive you: she gave","âYes, yes!â cried she eagerly, starting up from her reclining posture. \n âI want to know if you will tell Lord Lowborough?â \n \n âSuppose I do?â \n","I seek a reconciliation with him, when I feel that I abhor him, and that \n he despises me? and while he continues still to correspond with Lady \n Lowborough, as I know he does? No, never, never, never! he may drink","once. I flew to the shrubbery. Scarcely had I reached it, when a sound \n of voices arrested my breathless speed. \n \n âWe have lingered too long; he will be back,â said Lady Lowboroughâs","CHAPTER XXXV \n \n \n Nineteenth.âIn proportion as Lady Lowborough finds she has nothing to \n fear from me, and as the time of departure draws nigh, the more audacious","Lawrenceâs household.â \n \n âIt was not from the man himself that I heard it, but he told it in \n confidence to our maid Sarah, and Sarah told it to me.â \n","Then, planting a chair by Lady Lowboroughâs side, he stationed himself in \n it, and began to talk to her with a mixture of absurdity and impudence \n that seemed rather to amuse than to offend her; though she affected to","Lowborough. He was at the other end of the room, talking with Messrs. \n Hargrave and Grimsby; but I saw him dart towards his lady and his host a \n quick, impatient glance, expressive of intense disquietude, at which","long before. No, Lady Lowborough, I do not found my charge upon \n suspicion.â \n \n âOn what do you found it, then?â said she, throwing herself into an","âNo, Arthur, it is not that that displeases me: it is the whole system of \n your conduct towards your friend, and if you wish me to forget it, go \n now, and tell him what sort of a woman it is that he adores so madly, and","âThere! read that, and take a lesson by it!â \n \n It was in the free, dashing hand of Lady Lowborough. I glanced at the \n first page; it seemed full of extravagant protestations of affection;","whisper, with his eyes still fixed upon me, âWho is it?â \n \n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \n removing to a less conspicuous position. \n"],["to find another place of refugeâor how to seek it.â \n \n âHelen,â said I, turning impatiently towards her, âI cannot discuss the","likewise, for Helen is attached to the place and to meâas I am to her. \n There are painful associations connected with Grassdale, which she cannot \n easily overcome; and I shall not molest you with my company or","you in the other room.â And she turned to me. \n \n âThen you must plead for me, Helen,â said he, and at length withdrew. \n","âIs it nothing to you, Helen? Will you swear it? Will you?â \n \n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether","herself back in one corner, while I took possession of the other. \n \n But that word refuge disturbed me. Had their unkindness then really \n driven her to seek for peace in solitude? \n","winter garden,â said Helen, as I advanced to take leave of her, with as \n much philosophy and self-command as I could summon to my aid. \n \n I gladly availed myself of such a respite, and followed her into a large","Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \n he continued more boldly, âthat you have nothing to fear from me? that I","ââStay with me, Helen,â he says; âlet me hold you so: it seems as if harm \n could not reach me while you are here. But death will comeâit is coming","herself to keep. I had said an unjust and cruel thing; but I must needs \n follow it up with something worse. \n \n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to","âHelen, is that you?â said he. âWhy did you run away from us?â \n \n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the","whisper, with his eyes still fixed upon me, âWho is it?â \n \n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \n removing to a less conspicuous position. \n","âThere now, Helen!â I said, as the approaching steps of Rachel were heard \n in answer to the summons. There was nothing for it but to turn round and \n desire the maid to light the fire. \n","âNow,â resumed he, after a momentary pause, âlet us talk about something \n else. And come nearer to me, Helen, and take my arm; and then Iâll let","keep them till the gentlemen came, or till Milicent arrived with her \n mother. Little Helen, however, was soon tired of playing, and insisted \n upon going to sleep; and while I sat on the sofa with her on my knee, and","âWell, Iâll see about it.â \n \n âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let \n me protect you!â \n","âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \n driving at?â \n \n âYou know perfectly well. Let us waste no time in useless explanation,","sensible that Helen was standing within a few feet of me beside the fire. \n I dared not look at her, but I felt her eye was upon me, and from one \n hasty, furtive glance, I thought her cheek was slightly flushed, and that","wonderfully it was grown and improved, and to ask after the welfare of \n its father Sancho. Mrs. Maxwell then withdrew to take off her things. \n Helen immediately pushed the book from her, and after silently surveying","âHelen, I can! if faith would never fail.â \n \n âNow, then,â exclaimed she, âwhile this hope is strong within usââ \n","Before I could answer she had closed the casement and turned away. I saw \n her cast herself back in the old oak chair, and cover her face with her \n hands. Her feelings had been wrought to a pitch that rendered it \n necessary to seek relief in tears. \n"]],"string":"[\n [\n \"that being given and received, with much more joy and gratitude, on the \\n part of the receiver, than the worth of the gift or the selfish motive of \\n the giver deserved, I ventured to ask Mrs. Graham for one more look at\",\n \"delighted to have you amongst us.â \\n \\n Poor Mrs. Graham looked dismayed, and attempted to make excuses, but \\n Rose, either compassionating her lonely life, or anxious to cultivate her\",\n \"âBy no means, Mrs. Graham; pray let him stay. I am as much amused as he \\n is,â pleaded I. But still, with hand and eye, she silently called him to \\n her side. \\n\",\n \"all she could out of her. She is called Mrs. Graham, and she is in \\n mourningânot widowâs weeds, but slightish mourningâand she is quite\",\n \"âMrs. Markham, I beg you will not say such things, in his presence, at \\n least. I trust my son will never be ashamed to love his mother!â said \\n Mrs. Graham, with a serious energy that startled the company. \\n\",\n \"Mrs. Graham, and he had prepared the rooms as well as he could upon so \\n short a notice; but he would do himself the pleasure of calling upon her \\n to-morrow, to receive her further commands.â \\n\",\n \"all very fine in its way; but I cannot say that it moved me very deeply. \\n There was plenty of skill and execution, but precious little feeling. \\n \\n But we had not done with Mrs. Graham yet. \\n\",\n \"You must suppose about three weeks passed over. Mrs. Graham and I were \\n now established friendsâor brother and sister, as we rather chose to \\n consider ourselves. She called me Gilbert, by my express desire, and I\",\n \"ââMrs. Graham,â said I,â he continued, shaking his head as he spoke, \\n ââthese are terrible reports!â âWhat, sir?â says she, affecting to be\",\n \"âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was \\n miserable, and pitied her, I felt glad to have it in my power to torment \\n her. \\n\",\n \"that I intended to do so. Now, if this mood continue, I shall have less \\n difficulty in emancipating my affections from her soft yet unrelenting \\n sway; and, though Mrs. Graham might be equally objectionable, I may be\",\n \"âCan it be that Mrs. Graham that distresses you so?â \\n \\n âNo, no, I tell youâitâs nothing.â \\n\",\n \"âLawrence,â said I, calmly looking him in the face, âare you in love with \\n Mrs. Graham?â \\n \\n Instead of his being deeply offended at this, as I more than half\",\n \"Mrs. Graham seated herself at a distance from me. Eliza was my nearest \\n neighbour. She exerted herself to be agreeable, in her gentle, \\n unobtrusive way, and was, no doubt, as fascinating and charming as ever,\",\n \"up to the temples, gave us one furtive glance in passing, and walked on, \\n looking grave, but seemingly offering no reply to her remarks. \\n \\n It was true, then, that he had some designs upon Mrs. Graham; and, were\",\n \"and me; for, to confess the truth, I was too happy in the company of Mrs. \\n Graham to regret the absence of Eliza Millward. \\n \\n The former, it is true, was most provokingly unsociable at\",\n \"shook hands with the little gentleman, coolly bowed to the lady, and \\n moved towards the door. But, having bid adieu to Rose, Mrs. Graham \\n presented her hand to me, saying, with a soft voice, and by no means a\",\n \"Mrs. Graham among the number. She could not now absent herself under the \\n plea of dark evenings or inclement weather, and, greatly to my relief, \\n she came. Without her I should have found the whole affair an\",\n \"âYou were wishing to see âMarmion,â Mrs. Graham; and here it is, if you \\n will be so kind as to take it.â \\n\",\n \"affection, and the injury he will do himself by trusting his happiness to \\n her. She does not love him: she thinks only of herself. She cannot \\n appreciate the good that is in him: she will neither see it, nor value\"\n ],\n [\n \"ââMrs. Graham,â said I,â he continued, shaking his head as he spoke, \\n ââthese are terrible reports!â âWhat, sir?â says she, affecting to be\",\n \"horrible suspicions, and be so easily led to entertain them.â \\n \\n âI do not make a jest of them, Mrs. Graham,â returned I, dropping at once\",\n \"You must suppose about three weeks passed over. Mrs. Graham and I were \\n now established friendsâor brother and sister, as we rather chose to \\n consider ourselves. She called me Gilbert, by my express desire, and I\",\n \"all she could out of her. She is called Mrs. Graham, and she is in \\n mourningânot widowâs weeds, but slightish mourningâand she is quite\",\n \"âCan it be that Mrs. Graham that distresses you so?â \\n \\n âNo, no, I tell youâitâs nothing.â \\n\",\n \"âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was \\n miserable, and pitied her, I felt glad to have it in my power to torment \\n her. \\n\",\n \"all very fine in its way; but I cannot say that it moved me very deeply. \\n There was plenty of skill and execution, but precious little feeling. \\n \\n But we had not done with Mrs. Graham yet. \\n\",\n \"up to the temples, gave us one furtive glance in passing, and walked on, \\n looking grave, but seemingly offering no reply to her remarks. \\n \\n It was true, then, that he had some designs upon Mrs. Graham; and, were\",\n \"determined to support her in the very face of reason; and meantime I grow \\n insupportably morose and misanthropical from the idea that every one I \\n met was harbouring unworthy thoughts of the supposed Mrs. Graham, and\",\n \"are all blessings and mercies, if we only knew how to make use of them.â \\n \\n âBut Mrs. Graham doesnât think so. You shall just hear now what she told\",\n \"agitated my still unquiet soul; for there was Mrs. Graham, slowly moving \\n down the walk with Arthur by her side, and no one else. Why were they \\n alone? Had the poison of detracting tongues already spread through all;\",\n \"seized the rumour, to make it the basis of their own infernal structure.â \\n \\n âWell, but, Gilbert, there must be something in her manner to countenance \\n such reports.â \\n\",\n \"day,âbut if all the parish dinned it in my ears, I shouldnât believe a \\n word of itâI know Mrs. Graham too well!â \\n\",\n \"Mrs. Graham among the number. She could not now absent herself under the \\n plea of dark evenings or inclement weather, and, greatly to my relief, \\n she came. Without her I should have found the whole affair an\",\n \"delighted to have you amongst us.â \\n \\n Poor Mrs. Graham looked dismayed, and attempted to make excuses, but \\n Rose, either compassionating her lonely life, or anxious to cultivate her\",\n \"I replied by a wrathful and contemptuous stare. \\n \\n âAre you angry because Mrs. Graham would not let you go home with her?â \\n he asked, with a faint smile that nearly exasperated me beyond control. \\n\",\n \"confoundedly with yourâ. Well, I suppose itâs my fault. The fact is, I \\n didnât know that you were Mrs. Grahamâs brother, and I saw and heard some\",\n \"âLawrence,â said I, calmly looking him in the face, âare you in love with \\n Mrs. Graham?â \\n \\n Instead of his being deeply offended at this, as I more than half\",\n \"âMrs. Markham, I beg you will not say such things, in his presence, at \\n least. I trust my son will never be ashamed to love his mother!â said \\n Mrs. Graham, with a serious energy that startled the company. \\n\",\n \"sort of way, such as our long acquaintance might warrant me in assuming, \\n and which, I thought, could neither give offence nor serve to encourage \\n false hopes. \\n \\n It was never my custom to talk about Mrs. Graham either to her or any one\"\n ],\n [\n \"are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \\n end of it.â \\n\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"You must suppose about three weeks passed over. Mrs. Graham and I were \\n now established friendsâor brother and sister, as we rather chose to \\n consider ourselves. She called me Gilbert, by my express desire, and I\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"âAh! and you never will know, Gilbert, till youâre married. Then, when \\n youâve got some trifling, self-conceited girl like Eliza Millward,\",\n \"whisper, with his eyes still fixed upon me, âWho is it?â \\n \\n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \\n removing to a less conspicuous position. \\n\",\n \"Iâve been to call on the Wilsons; and itâs a thousand pities you didnât \\n go with me, Gilbert, for Eliza Millward was there!â \\n\",\n \"He looked up in childish bewilderment; but before I could speak again the \\n lady herself was at my side. \\n \\n âGilbert, I must speak with you!â said she, in a tone of suppressed \\n vehemence. \\n\",\n \"hints and things just to astonish the others. But I think, if I was you, \\n Miss Helen, Iâd look very well before I leaped. I do believe a young \\n lady canât be too careful who she marries.â\",\n \"Wilsons, and such was my present appreciation of Eliza Millwardâs \\n disposition, that, if once she got a clue to the story, I should fear she \\n would soon find means to enlighten Mr. Huntingdon upon the place of his\",\n \"called her Helen, for I had seen that name written in her books. I \\n seldom attempted to see her above twice a week; and still I made our \\n meetings appear the result of accident as often as I couldâfor I found it\",\n \"âIt is something of the kind,â she answered. âSome day I may tell you, \\n but at present you had better leave me; and never, Gilbert, put me to the\",\n \"was about this time, Helen, that my good angel brought me into \\n conjunction with you; and then I had eyes and ears for nobody else. But, \\n meantime, Lowborough became acquainted with our charming friend, Miss\",\n \"âYou are too severe upon the poor lady,â laughed he. âBut never mind, \\n Helen, I donât care for her now; and I never loved any of them half as\",\n \"Gilbert; you will call her a perfect beauty, though you could hardly \\n pretend to discover a resemblance between her and Eliza Millward.â \\n \\n âWell, I can imagine many faces more beautiful than Elizaâs, though not\",\n \"But donât be afraid, Gilbert,â she added, smiling sadly at my manifest \\n discomposure; âthere is little chance of my forgetting you. But I did \\n not mean that Frederick should be the means of transmitting messages\",\n \"me). âBesides, heâs a pretty tidy fortune, Peggy, you knowânot such a \\n catch as Wilmot; but then Helen wonât hear of that match: for, somehow,\",\n \"deserted it, with the exception of threeâMary Millward, Richard Wilson, \\n and Arthur Graham. The younger gentleman lay fast asleep with his head \\n pillowed on the ladyâs lap; the other was seated beside her with a pocket\",\n \"âThat was the crisis, Helen!â said he, delightedly. âI had an infernal \\n pain hereâit is quite gone now. I never was so easy since the fallâquite\",\n \"âNow,â resumed he, after a momentary pause, âlet us talk about something \\n else. And come nearer to me, Helen, and take my arm; and then Iâll let\"\n ],\n [\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"âWhen will she return to Grassdale?â was my next question. \\n \\n âI donât know.â \\n \\n âConfound it!â I muttered. \\n\",\n \"âTo Grassdale first,â said he, with a half-smile he would willingly have \\n suppressed if he could. \\n \\n âTo Grassdale! Is she there, then?â \\n\",\n \"Grassdale seemed to stifle me, and I could only live by thinking of \\n Wildfell Hall. \\n \\n At last, one morning, she entered my chamber with such intelligence that \\n my resolution was taken before she had ceased to speak. While she\",\n \"âThen you really wish to get rid of me?â \\n \\n âPositively, I do; and I will take you down myself to Grassdale, and then\",\n \"(the evening one would be already gone), and fly to GrassdaleâI must be \\n there before the marriage. And why? Because a thought struck me that \\n perhaps I might prevent itâthat if I did not, she and I might both lament\",\n \"of a life so alien to all my previous habits. At last, he suddenly \\n discovered that the London air did not agree with me, and I was \\n languishing for my country home, and must immediately return to \\n Grassdale. \\n\",\n \"Nevertheless, it was with no small degree of impatience that I looked \\n forward to Mr. Lawrenceâs return from Grassdale: impatience that \\n increased in proportion as his absence was prolonged. He stayed away\",\n \"answered my question,ââShe is at Grassdale Manor, in âshire.â \\n \\n âWhere?â cried I, with a convulsive start. \\n\",\n \"âAt Grassdale Manor.â \\n \\n âHow was it?â I gasped. âWho betrayed her?â \\n \\n âShe went of her own accord.â \\n\",\n \"to see one-tenth of the beauties and interesting objects of Rome. He \\n wanted to get me home, he said, to have me all to himself, and to see me \\n safely installed as the mistress of Grassdale Manor, just as\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"âHelen, is that you?â said he. âWhy did you run away from us?â \\n \\n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the\",\n \"Grassdale occasionally, when the management of affairs, or the interest \\n of her tenants and dependents, required her presence. \\n \\n âNear what town is Staningley situated?â I asked. The requisite\",\n \"CHAPTER LII \\n \\n \\n The tardy gig had overtaken me at last. I entered it, and bade the man \\n who brought it drive to Grassdale ManorâI was too busy with my own\",\n \"âThere now, Helen!â I said, as the approaching steps of Rachel were heard \\n in answer to the summons. There was nothing for it but to turn round and \\n desire the maid to light the fire. \\n\",\n \"herself to keep. I had said an unjust and cruel thing; but I must needs \\n follow it up with something worse. \\n \\n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\",\n \"back, Helenâgo back directly! Youâll get your death of cold!â \\n \\n âI wonât, till Iâve told you what I came for. They are blaming you,\",\n \"âIs it nothing to you, Helen? Will you swear it? Will you?â \\n \\n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether\",\n \"âWent where?â \\n \\n âTo Grassdale, sirâwasnât you aware, sir? Heâs very close, is master,â\"\n ],\n [\n \"âI heard some detestable falsehoods; but none but fools would credit them \\n for a moment, Helen, so donât let them trouble you.â \\n\",\n \"âI donât know,â replied she. âSome idle slander somebody has been \\n inventing, I suppose. I never heard it till Eliza told me the other\",\n \"delighted to do the old fellows a bad turn, though I donât think I have \\n any great reason to dread them as rivals. Have I, Helen?â \\n \\n âYou know I detest them both.â \\n\",\n \"Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \\n he continued more boldly, âthat you have nothing to fear from me? that I\",\n \"âYesâand it is my belief that Eliza Millward and she, if not the very \\n originators of the slanderous reports that have been propagated, were \\n designedly the encouragers and chief disseminators of them. She was not\",\n \"seized the rumour, to make it the basis of their own infernal structure.â \\n \\n âWell, but, Gilbert, there must be something in her manner to countenance \\n such reports.â \\n\",\n \"âAll a prejudice, Helen, a mere womanâs antipathy.â \\n \\n âNo; I have solid grounds for my dislike. And is that all?â \\n\",\n \"I can,â continued he, reflectively, âor she will be hearing some such \\n story. Many would be glad to tell her such news, just to see how she \\n would take it; and then she might expose herself to fresh scandal.â \\n\",\n \"âCome, come, Helen, donât begin with that nonsense now; I canât bear it.â \\n \\n âCanât bear what?âto be reminded of the promises you have broken?â\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"companions, abusing Mr. Grimsby and others, insinuating bitter things \\n against Mr. Huntingdon, and most ingeniously throwing the blame of her \\n husbandâs misconduct on to other menâs shoulders. The latter was full of\",\n \"âHelen, you witch, do you know that youâve entailed upon me the curses of \\n all my friends? I wrote to them the other day, to tell them of my happy\",\n \"âHelen, I want you a moment,â said the distinct, low voice of my aunt, \\n close beside us. And I left him, muttering maledictions against his evil \\n angel. \\n\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"âAnd so, Helen,â said she, coming up to me with a smile of no amiable \\n import, âyou are to be Mrs. Huntingdon, I suppose?â \\n\",\n \"whisper, with his eyes still fixed upon me, âWho is it?â \\n \\n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \\n removing to a less conspicuous position. \\n\",\n \"Helenâs rank and mine; of all that she had passed through since our \\n parting; of her long, unbroken silence; and, above all, of her cool, \\n cautious aunt, whose counsels she would doubtless be careful not to\",\n \"âHelen,â said she, âyou often see Esther, donât you?â \\n \\n âNot very often.â \\n\",\n \"âYou have not been tried yet, Helenâwe can but hope,â said she in her \\n cold, cautious way. \\n \\n âI was vexed at her incredulity; but I am not sure her doubts were\",\n \"âNo,â returned she, hesitatinglyââbut Iâve heard so much about her \\n lately, both at the Wilsonsâ and the vicarage;âand besides, mamma says,\"\n ],\n [\n \"You must suppose about three weeks passed over. Mrs. Graham and I were \\n now established friendsâor brother and sister, as we rather chose to \\n consider ourselves. She called me Gilbert, by my express desire, and I\",\n \"âIt is something of the kind,â she answered. âSome day I may tell you, \\n but at present you had better leave me; and never, Gilbert, put me to the\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"She turned from me to hide the emotion she could not quite control; but I \\n took her hand and fervently kissed it. \\n \\n âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\",\n \"only to the few loving friends and grateful dependents she left behind. \\n \\n To return, however, to my own affairs: I was married in summer, on a \\n glorious August morning. It took the whole eight months, and all Helenâs\",\n \"dreaded; but the coffin must be closed as soon as possible. If you will \\n attend the funeral, come quickly, for I need help. \\n \\n HELEN HUNTINGDON. \\n \\n \\n \\n \\n CHAPTER L \\n\",\n \"âNoâin another year,â replied she, gently disengaging herself from my \\n embrace, but still fondly clasping my hand. \\n \\n âAnother year! Oh, Helen, I could not wait so long!â\",\n \"I received this morning, I should sayââ \\n \\n It was her writing! By an irresistible impulse I held out my hand, and\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"âShe told me herself. She told me all. She knew I might be trusted. \\n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \\n the last of her!â \\n\",\n \"keep them till the gentlemen came, or till Milicent arrived with her \\n mother. Little Helen, however, was soon tired of playing, and insisted \\n upon going to sleep; and while I sat on the sofa with her on my knee, and\",\n \"are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \\n end of it.â \\n\",\n \"âNow,â resumed he, after a momentary pause, âlet us talk about something \\n else. And come nearer to me, Helen, and take my arm; and then Iâll let\",\n \"âIs it nothing to you, Helen? Will you swear it? Will you?â \\n \\n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether\",\n \"But donât be afraid, Gilbert,â she added, smiling sadly at my manifest \\n discomposure; âthere is little chance of my forgetting you. But I did \\n not mean that Frederick should be the means of transmitting messages\",\n \"confidence, I hope, since you are her other half.â \\n \\n He followed me into the library. I sought out and put into his hands two \\n of Milicentâs letters: one dated from London, and written during one of\",\n \"âThere now, Helen!â I said, as the approaching steps of Rachel were heard \\n in answer to the summons. There was nothing for it but to turn round and \\n desire the maid to light the fire. \\n\",\n \"Poor, poor Helen! dreadful indeed her trials must have been! And I could \\n do nothing to lessen themânay, it almost seemed as if I had brought them \\n upon her myself by my own secret desires; and whether I looked at her\",\n \"âThe candle will keep,â returned he. \\n \\n I made a desperate effort to free my hand from his grasp. \\n \\n âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\",\n \"She concludes with âGood-by, dear Helen. I am waiting anxiously for your \\n adviceâbut mind you let it be all on the right side.â \\n\"\n ],\n [\n \"Frederick was exceedingly indignant against Mr. Huntingdon, and very much \\n grieved for me; but still he looked upon my project as wild and \\n impracticable. He deemed my fears for Arthur disproportioned to the\",\n \"âDo you know me?â asked Mr. Huntingdon, intently perusing his features. \\n \\n âYes.â \\n \\n âWho am I?â \\n \\n âPapa.â\",\n \"The next object of assault was Arthur, who sat opposite, and had, no \\n doubt, richly enjoyed the whole scene. \\n \\n âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\",\n \"all very fine, Mr. Huntingdon, to amuse yourself with rousing my \\n jealousy; but take care you donât rouse my hate instead. And when you \\n have once extinguished my love, you will find it no easy matter to kindle\",\n \"annoy you with any more of my friendly impertinences.â \\n \\n âWell, I have nothing more to say to you.â \\n \\n âHave you mentioned this affair to Huntingdon?â asked she, as I was\",\n \"CHAPTER XXXIX \\n \\n \\n My greatest source of uneasiness, in this time of trial, was my son, whom \\n his father and his fatherâs friends delighted to encourage in all the\",\n \"âand beg your wifeâs pardon, and be a good boy for the future.â \\n \\n ââMy wife! what wife? I have no wife,â replied Huntingdon, looking\",\n \"darling Huntingdon deserves all the love you give to him?â \\n \\n I knew not what to answer to this. I was burning with anger; but I \\n suppressed all outward manifestations of it, and only bit my lip and\",\n \"and by the fact of his so seldom mentioning my husband, and generally \\n evincing a kind of covert bitterness when he does refer to him; as well \\n as by the circumstance of his never coming to see me when Mr. Huntingdon\",\n \"thinks proper. He has no love for you, Mrs. Huntingdonâno reverence for \\n your sex, no belief in virtue, no admiration for its image. He will give \\n such a version of this story as will leave no doubt at all about your\",\n \"It is hard that my little darling should love him more than me; and that, \\n when the well-being and culture of my son is all I have to live for, I \\n should see my influence destroyed by one whose selfish affection is more\",\n \"the rest, if on his fatherâs return I find reason to apprehend that my \\n good lessons will be all destroyedâif Mr. Huntingdon commence again the \\n game of teaching the child to hate and despise his mother, and emulate\",\n \"âWell, to tell you the truth, Iâve thought of it often and often before; \\n but heâs such devilish good company, is Huntingdon, after all. You canât\",\n \"Huntingdonâyou may have forgotten the circumstance, but I never can. I \\n admired you then most deeply, but I dared not love you. In the following \\n autumn I saw so much of your perfections that I could not fail to love\",\n \"observed Huntingdon. âTheyâll make a match of it, as sure as can be. \\n That Lowboroughâs fairly besotted. But heâll find himself in a fix when\",\n \"âShe did,â persisted he in the same grave, collected manner as before; \\n âand not without reason,â he continued, gently disengaging himself from \\n my grasp. âMr. Huntingdon is ill.â\",\n \"âNever mind my plain speaking,â said I; âit is from the best of motives. \\n But tell me, should you wish your sons to be like Mr. Huntingdonâor even \\n like yourself?â \\n\",\n \"Mr. Huntingdon, if not better; and yet you love him, and seem to be happy \\n and contented; and perhaps I may manage as well. You must tell me, if\",\n \"âYou wrong me cruelly,â answered he. âI have shared but little of Mr. \\n Huntingdonâs society for the last few weeks; and as for his tastes and\",\n \"fatherâs death, I have only seen him once, when he came for a few days \\n while Mr. Huntingdon was away. He shall stay many days this time, and \\n there shall be more candour and cordiality between us than ever there was\"\n ],\n [\n \"Some time before Mr. Huntingdonâs death Lady Lowborough eloped with \\n another gallant to the Continent, where, having lived a while in reckless \\n gaiety and dissipation, they quarrelled and parted. She went dashing on\",\n \"Her husband, however, upon this second misdemeanour, immediately sought \\n and obtained a divorce, and, not long after, married again. It was well \\n he did, for Lord Lowborough, morose and moody as he seemed, was not the\",\n \"On the day of Lady Lowboroughâs arrival, I followed her into her chamber, \\n and plainly told her that, if I found reason to believe that she still \\n continued her criminal connection with Mr. Huntingdon, I should think it\",\n \"Lowborough. He was at the other end of the room, talking with Messrs. \\n Hargrave and Grimsby; but I saw him dart towards his lady and his host a \\n quick, impatient glance, expressive of intense disquietude, at which\",\n \"âYes,â replied I. âDonât you envy me?â \\n \\n âOh, dear, no!â she exclaimed. âI shall probably be Lady Lowborough some\",\n \"Then, planting a chair by Lady Lowboroughâs side, he stationed himself in \\n it, and began to talk to her with a mixture of absurdity and impudence \\n that seemed rather to amuse than to offend her; though she affected to\",\n \"âNo, thank you,â I replied; and, turning from him, I looked round. Lady \\n Lowborough was beside her husband, bending over him as he sat, with her \\n hand on his shoulder, softly talking and smiling in his face; and Arthur\",\n \"I seek a reconciliation with him, when I feel that I abhor him, and that \\n he despises me? and while he continues still to correspond with Lady \\n Lowborough, as I know he does? No, never, never, never! he may drink\",\n \"âThere! read that, and take a lesson by it!â \\n \\n It was in the free, dashing hand of Lady Lowborough. I glanced at the \\n first page; it seemed full of extravagant protestations of affection;\",\n \"long before. No, Lady Lowborough, I do not found my charge upon \\n suspicion.â \\n \\n âOn what do you found it, then?â said she, throwing herself into an\",\n \"and my husband more intensely than ever, and not for my sake, but for \\n his. \\n \\n They departed early in the morning, before any one else was down, except \\n myself, and just as I was leaving my room Lord Lowborough was descending\",\n \"âYou donât object to it?â he said. \\n \\n âNot at all, if Lord Lowborough likes his company.â \\n \\n âYou have no love left for him, then?â \\n\",\n \"Lady Lowborough. They had betaken themselves to their work; I, less to \\n divert my mind than to deprecate conversation, had provided myself with a \\n book. Milicent saw that I wished to be quiet, and accordingly let me\",\n \"Lord Lowborough had entered a minute or two before, unobserved by anyone \\n but me, and had been standing before the door, grimly surveying the \\n company. He now stepped up to Annabella, who sat with her back towards\",\n \"CHAPTER XXXV \\n \\n \\n Nineteenth.âIn proportion as Lady Lowborough finds she has nothing to \\n fear from me, and as the time of departure draws nigh, the more audacious\",\n \"best to amuse you.â \\n \\n She and Lord Lowborough occupied the apartments next to mine. I know not \\n how she passed the night, but I lay awake the greater part of it \\n listening to his heavy step pacing monotonously up and down his\",\n \"âWell, if I was you, I wouldnât have that Lady Lowborough in the house \\n another minuteânot another minute I wouldnât! \\n \\n I was thunderstruck; but before I could recover from the shock\",\n \"table, and well-conducted towards Lady Lowborough. The first day he held \\n himself aloof from her, as far as he could without any flagrant breach of \\n hospitality: since that he has been friendly and civil, but nothing\",\n \"cause of my error, I think you blame me too severely. I told Lady \\n Lowborough two weeks ago, the very hour she came, that I should certainly \\n think it my duty to inform you if she continued to deceive you: she gave\",\n \"âYes, yes!â cried she eagerly, starting up from her reclining posture. \\n âI want to know if you will tell Lord Lowborough?â \\n \\n âSuppose I do?â \\n\"\n ],\n [\n \"to find another place of refugeâor how to seek it.â \\n \\n âHelen,â said I, turning impatiently towards her, âI cannot discuss the\",\n \"you in the other room.â And she turned to me. \\n \\n âThen you must plead for me, Helen,â said he, and at length withdrew. \\n\",\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"unheeded here, at leastâalike unable to deter me from my duty. But where \\n should I find an asylum, and how obtain subsistence for us both? Oh, I\",\n \"âIs it nothing to you, Helen? Will you swear it? Will you?â \\n \\n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether\",\n \"winter garden,â said Helen, as I advanced to take leave of her, with as \\n much philosophy and self-command as I could summon to my aid. \\n \\n I gladly availed myself of such a respite, and followed her into a large\",\n \"thankful for such an asylum, while it is left me.â \\n \\n The closing sentence was uttered in an under-tone, as if spoken rather to \\n herself than to me. She then bid me good-evening and withdrew. \\n\",\n \"Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \\n he continued more boldly, âthat you have nothing to fear from me? that I\",\n \"âHelen, is that you?â said he. âWhy did you run away from us?â \\n \\n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the\",\n \"whisper, with his eyes still fixed upon me, âWho is it?â \\n \\n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \\n removing to a less conspicuous position. \\n\",\n \"âWell, Iâll see about it.â \\n \\n âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let \\n me protect you!â \\n\",\n \"ââStay with me, Helen,â he says; âlet me hold you so: it seems as if harm \\n could not reach me while you are here. But death will comeâit is coming\",\n \"the needful himself, or should have when his old governor chose to quit \\n the stage. So you see, Helen, I have managed pretty well, both for your \\n friend and mine.â \\n\",\n \"âThere now, Helen!â I said, as the approaching steps of Rachel were heard \\n in answer to the summons. There was nothing for it but to turn round and \\n desire the maid to light the fire. \\n\",\n \"âSo think I,â was my answer; and so that point was settled. \\n \\n By that morningâs post I despatched a few hasty lines to Frederick, \\n beseeching him to prepare my asylum for my immediate reception: for I\",\n \"pointed to the children, for I could not trust myself to speak: she took \\n them away, and I followed. \\n \\n âWill you, Helen?â continued the speaker. \\n\",\n \"keep them till the gentlemen came, or till Milicent arrived with her \\n mother. Little Helen, however, was soon tired of playing, and insisted \\n upon going to sleep; and while I sat on the sofa with her on my knee, and\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"âForgive me, Helen!â pleaded I. âI will never utter another word on the \\n subject. But may we not still meet as friends?â \\n\"\n ],\n [\n \"handâbut stop, Iâm telling too much,â muttered the narrator, startled at \\n the look I turned upon him. âBut no matter,â he recklessly added, and\",\n \"And indeed I know not whether, at the time, it was not for him rather \\n than myself that I blushed; for, since he and I are one, I so identify \\n myself with him, that I feel his degradation, his failings, and\",\n \"is part of myself, and you cannot abuse him without offending me.â \\n \\n âPardon me, then, for I would sooner die than offend you. But let us say \\n no more of him for the present, if you please.â\",\n \"alone. Annabella, doubtless, saw it too: but that was no reason why she \\n should restrain her tongue, or curb her cheerful spirits: she accordingly \\n chatted away, addressing herself almost exclusively to me, and with the\",\n \"âIn confidence, I suppose? And you tell it in confidence to us? But I \\n can tell you that it is but a lame story after all, and scarcely one-half \\n of it true.â \\n\",\n \"if I keep it close, it cannot tell again; so it is, perhaps, the best \\n friend I could have for the purpose. \\n \\n First, let me speak of his arrivalâhow I sat at my window, and watched\",\n \"I told him. \\n \\n âIs it interesting?â \\n \\n âYes, very.â \\n \\n I went on reading, or pretending to read, at leastâI cannot say there was\",\n \"âShe told me herself. She told me all. She knew I might be trusted. \\n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \\n the last of her!â \\n\",\n \"may be all this, but I donât know him. I know only the exterior, and \\n what, I trust, is the worst part of him.â \\n\",\n \"But it is time to bring my narrative to a close. Any one but you would \\n say I had made it too long already. But for your satisfaction I will add \\n a few words more; because I know you will have a fellow-feeling for the\",\n \"her. At length, however, by some heroic effort, we tore ourselves apart, \\n and I rushed from the house. \\n \\n I have a confused remembrance of seeing little Arthur running up the\",\n \"just like hers. I could swear at this moment that she was by my side.â \\n \\n âShe is,â said I. \\n \\n âThat seems comfortable,â continued he, without noticing my words; âand\",\n \"thought, until the tears gushed out again, and I wept like any child. \\n Presently, however, the door was gently opened and someone entered the \\n room. I trusted it was only a servant, and did not stir. The door was\",\n \"âHe is not, I tell you.â \\n \\n âFor anything you know, he may be: you canât tell till you have seen him. \\n At all events, he must have met with some terrible accident, and you\",\n \"life, so determined his resolution to resist it. \\n \\n My heart bled for him as I lay listening to that ceaseless tread. \\n Hitherto I had thought too much of myself, too little of him: now I\",\n \"part against me.â \\n \\n ââWhoâI?â \\n \\n ââYesâall of you doâand you more than any of them, you know. But if I\",\n \"âIf it be anything worth hearing,â replied I, struggling to be composed, \\n for I trembled in every limb. \\n \\n He quietly pushed a chair towards me. I merely leant my hand upon it, \\n and bid him go on. \\n\",\n \"I rose to make the attempt, but then he perceived me. He started and \\n stood still a moment; then wiped his streaming forehead, and, advancing \\n towards me, with a kind of unnatural composure, said in a deep, almost\",\n \"Something in my voice or in the spirit of this answer seemed to alter his \\n mood. Turning towards me, and attentively surveying my face by the dim \\n light, he said, in a milder tone than he had yet employed,ââYou, too,\",\n \"âOh! pooh, pooh! never tell me that taleâI know better,â cried he; and he \\n persisted in his incredulity. Nevertheless, it is quite true. I am in\"\n ],\n [\n \"all she could out of her. She is called Mrs. Graham, and she is in \\n mourningânot widowâs weeds, but slightish mourningâand she is quite\",\n \"Mrs. Graham among the number. She could not now absent herself under the \\n plea of dark evenings or inclement weather, and, greatly to my relief, \\n she came. Without her I should have found the whole affair an\",\n \"all very fine in its way; but I cannot say that it moved me very deeply. \\n There was plenty of skill and execution, but precious little feeling. \\n \\n But we had not done with Mrs. Graham yet. \\n\",\n \"some absolute resolution against a second marriage formed prior to the \\n time of our acquaintance, whether from excess of affection for her late \\n husband, or because she had had enough of him and the matrimonial state \\n together. At first, indeed, she had seemed to take a pleasure in\",\n \"that I intended to do so. Now, if this mood continue, I shall have less \\n difficulty in emancipating my affections from her soft yet unrelenting \\n sway; and, though Mrs. Graham might be equally objectionable, I may be\",\n \"had not met for some time. \\n \\n âWas that Mrs. Graham you were speaking to just now?â said he, after the \\n first few words of greeting had passed between us. \\n \\n âYes.â \\n\",\n \"âGo on!âthereâs no going on in the matter. Mrs. Graham and I are two \\n friendsâand will be; and no man breathing shall hinder it,âor has a right\",\n \"Graham. Alas, for human constancy! \\n \\n âHowever,â thought I, âI ought not to marry Eliza, since my mother so \\n strongly objects to it, and I ought not to delude the girl with the idea\",\n \"sort of way, such as our long acquaintance might warrant me in assuming, \\n and which, I thought, could neither give offence nor serve to encourage \\n false hopes. \\n \\n It was never my custom to talk about Mrs. Graham either to her or any one\",\n \"You must suppose about three weeks passed over. Mrs. Graham and I were \\n now established friendsâor brother and sister, as we rather chose to \\n consider ourselves. She called me Gilbert, by my express desire, and I\",\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"âCan it be that Mrs. Graham that distresses you so?â \\n \\n âNo, no, I tell youâitâs nothing.â \\n\",\n \"âAnd so, Helen,â said she, coming up to me with a smile of no amiable \\n import, âyou are to be Mrs. Huntingdon, I suppose?â \\n\",\n \"supposed Mrs. Graham, most certainly, had not voluntarily gone back to \\n her husband, or dreamt of a reconciliation. Most likely she was gone \\n away, and the tale-bearing servant, not knowing what was become of her,\",\n \"for a moment! Did I not know Mrs. Graham? Had I not seen her, conversed \\n with her time after time? Was I not certain that she, in intellect, in \\n purity and elevation of soul, was immeasurably superior to any of her\",\n \"âLawrence,â said I, calmly looking him in the face, âare you in love with \\n Mrs. Graham?â \\n \\n Instead of his being deeply offended at this, as I more than half\",\n \"delighted to have you amongst us.â \\n \\n Poor Mrs. Graham looked dismayed, and attempted to make excuses, but \\n Rose, either compassionating her lonely life, or anxious to cultivate her\",\n \"âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was \\n miserable, and pitied her, I felt glad to have it in my power to torment \\n her. \\n\",\n \"up to the temples, gave us one furtive glance in passing, and walked on, \\n looking grave, but seemingly offering no reply to her remarks. \\n \\n It was true, then, that he had some designs upon Mrs. Graham; and, were\",\n \"and me; for, to confess the truth, I was too happy in the company of Mrs. \\n Graham to regret the absence of Eliza Millward. \\n \\n The former, it is true, was most provokingly unsociable at\"\n ],\n [\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"âHelen,â said she, âyou often see Esther, donât you?â \\n \\n âNot very often.â \\n\",\n \"the needful himself, or should have when his old governor chose to quit \\n the stage. So you see, Helen, I have managed pretty well, both for your \\n friend and mine.â \\n\",\n \"herself off, somewhere, to live on her bit of a jointure; and the young \\n âunâat least the new âun (sheâs none so very young)âis coming down to \\n live at the Grove.â\",\n \"addition to her late fatherâs property, which she has already in \\n possession. \\n \\n I now insisted upon retracing our steps to the house; but we walked \\n slowly, and went on talking as we proceeded. I need not repeat all we\",\n \"âThere now, Helen!â I said, as the approaching steps of Rachel were heard \\n in answer to the summons. There was nothing for it but to turn round and \\n desire the maid to light the fire. \\n\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"called her Helen, for I had seen that name written in her books. I \\n seldom attempted to see her above twice a week; and still I made our \\n meetings appear the result of accident as often as I couldâfor I found it\",\n \"wonderfully it was grown and improved, and to ask after the welfare of \\n its father Sancho. Mrs. Maxwell then withdrew to take off her things. \\n Helen immediately pushed the book from her, and after silently surveying\",\n \"Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \\n he continued more boldly, âthat you have nothing to fear from me? that I\",\n \"winter garden,â said Helen, as I advanced to take leave of her, with as \\n much philosophy and self-command as I could summon to my aid. \\n \\n I gladly availed myself of such a respite, and followed her into a large\",\n \"herself to keep. I had said an unjust and cruel thing; but I must needs \\n follow it up with something worse. \\n \\n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\",\n \"only to the few loving friends and grateful dependents she left behind. \\n \\n To return, however, to my own affairs: I was married in summer, on a \\n glorious August morning. It took the whole eight months, and all Helenâs\",\n \"keep them till the gentlemen came, or till Milicent arrived with her \\n mother. Little Helen, however, was soon tired of playing, and insisted \\n upon going to sleep; and while I sat on the sofa with her on my knee, and\",\n \"dreaded; but the coffin must be closed as soon as possible. If you will \\n attend the funeral, come quickly, for I need help. \\n \\n HELEN HUNTINGDON. \\n \\n \\n \\n \\n CHAPTER L \\n\",\n \"Poor, poor Helen! dreadful indeed her trials must have been! And I could \\n do nothing to lessen themânay, it almost seemed as if I had brought them \\n upon her myself by my own secret desires; and whether I looked at her\",\n \"âThat was the crisis, Helen!â said he, delightedly. âI had an infernal \\n pain hereâit is quite gone now. I never was so easy since the fallâquite\",\n \"you in the other room.â And she turned to me. \\n \\n âThen you must plead for me, Helen,â said he, and at length withdrew. \\n\",\n \"âNow,â resumed he, after a momentary pause, âlet us talk about something \\n else. And come nearer to me, Helen, and take my arm; and then Iâll let\"\n ],\n [\n \"âHelen, is that you?â said he. âWhy did you run away from us?â \\n \\n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the\",\n \"inquired at the porterâs lodge if Mrs. Huntingdon were at home. No, she \\n was with her aunt in âshire, but was expected to return before Christmas. \\n She usually spent most of her time at Staningley, only coming to\",\n \"Some time before Mr. Huntingdonâs death Lady Lowborough eloped with \\n another gallant to the Continent, where, having lived a while in reckless \\n gaiety and dissipation, they quarrelled and parted. She went dashing on\",\n \"âAnd so, Helen,â said she, coming up to me with a smile of no amiable \\n import, âyou are to be Mrs. Huntingdon, I suppose?â \\n\",\n \"âShe did,â persisted he in the same grave, collected manner as before; \\n âand not without reason,â he continued, gently disengaging himself from \\n my grasp. âMr. Huntingdon is ill.â\",\n \"told me they were now on the Continent, and their present address was \\n unknown to her. I never saw her speak much to Mr. Huntingdon; but he \\n would frequently look into the school-room to see how little Arthur got\",\n \"property, and the regulation of his affairs. The rascal had never told \\n me how that property was disposed, or whether Mr. Huntingdon had died \\n intestate or not; and I would sooner die than ask him, lest he should\",\n \"whisper, with his eyes still fixed upon me, âWho is it?â \\n \\n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \\n removing to a less conspicuous position. \\n\",\n \"length, however, he withdrew, and went to the lady of the house, \\n apparently for the purpose of asking an introduction to me, for, shortly \\n after, they both came up, and she introduced him as Mr. Huntingdon, the\",\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"March 20th.âHaving now got rid of Mr. Huntingdon for a season, my spirits \\n begin to revive. He left me early in February; and the moment he was\",\n \"âAh, Huntingdon!â said she reproachfully, pausing where I had stood with \\n him the night beforeââit was here you kissed that woman!â she looked back\",\n \"herself off, somewhere, to live on her bit of a jointure; and the young \\n âunâat least the new âun (sheâs none so very young)âis coming down to \\n live at the Grove.â\",\n \"January 10th, 1827.âWhile writing the above, yesterday evening, I sat in \\n the drawing-room. Mr. Huntingdon was present, but, as I thought, asleep\",\n \"it was well they did, for I was not fit company for them, nor they for \\n me, under the present circumstances. \\n \\n Mrs. Huntingdon did not leave Wildfell Hall till above two months after\",\n \"prospects, the fallacy of those hopes, and the vanity of that affection, \\n that I reflected on those things as I remounted my horse and slowly \\n journeyed homewards. Mrs. Huntingdon was free now; it was no longer a\",\n \"Huntingdonâyou may have forgotten the circumstance, but I never can. I \\n admired you then most deeply, but I dared not love you. In the following \\n autumn I saw so much of your perfections that I could not fail to love\",\n \"âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation, \\n âcertainly not; but if you had sent me a message through your brother, or\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \" HELEN HUNTINGDON. \\n \\n âWhat do you think of it?â said Lawrence, as I silently refolded the \\n letter. \\n\"\n ],\n [\n \"Gilbert; you will call her a perfect beauty, though you could hardly \\n pretend to discover a resemblance between her and Eliza Millward.â \\n \\n âWell, I can imagine many faces more beautiful than Elizaâs, though not\",\n \"are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \\n end of it.â \\n\",\n \"Iâve been to call on the Wilsons; and itâs a thousand pities you didnât \\n go with me, Gilbert, for Eliza Millward was there!â \\n\",\n \"delighted to do the old fellows a bad turn, though I donât think I have \\n any great reason to dread them as rivals. Have I, Helen?â \\n \\n âYou know I detest them both.â \\n\",\n \"But donât be afraid, Gilbert,â she added, smiling sadly at my manifest \\n discomposure; âthere is little chance of my forgetting you. But I did \\n not mean that Frederick should be the means of transmitting messages\",\n \"He then doubled his former stake, and challenged any one present to play \\n against him. Grimsby instantly presented himself. Lowborough glared \\n fiercely at him, for Grimsby was almost as celebrated for his luck as he\",\n \"between usâonly that each might know, through him, of the otherâs \\n welfare;âand more than this ought not to be: for you are young, Gilbert, \\n and you ought to marryâand will some time, though you may think it\",\n \"for singing a pretty, inoffensive love-song, on purpose to amuse him.â \\n \\n âOh, Gilbert! how could you?â exclaimed my mother. \\n\",\n \"âGilbert, donât!â she cried, in a tone that would have pierced a heart of \\n adamant. âFor Godâs sake, donât you attempt these arguments! No fiend\",\n \"He is particularly grieved at me, because, forsooth he had fallen in love \\n with you from his sisterâs reports, and meant to have married you \\n himself, as soon as he had sown his wild oats.â \\n\",\n \"believe anything that was said against her, unless I heard it from her \\n own lips.âI should as soon believe such things of you, Rose.â \\n \\n âOh, Gilbert!â \\n\",\n \"nowâthere, Gilbertâlet me goâhereâs Arthur; donât astonish his infantile \\n brain with your madness.â \\n \\n * * * * * \\n\",\n \"âVery likely she might be so to you. She has possibly taken a prejudice \\n against you, for I think she regards you in the light of a rival.â \\n\",\n \"You must suppose about three weeks passed over. Mrs. Graham and I were \\n now established friendsâor brother and sister, as we rather chose to \\n consider ourselves. She called me Gilbert, by my express desire, and I\",\n \" GILBERT MARKHAM. \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n I perceive, with joy, my most valued friend, that the cloud of your\",\n \"Milicentâs brother, for one: he is but a little lower than the angels, if \\n half she says of him is true. She is continually talking to me about \\n him, and lauding his many virtues to the skies.â \\n\",\n \"âThey may, they may!â cried she, with a momentary burst of glad \\n enthusiasm. âI thought of that too, Gilbert, but I feared to mention it, \\n because I feared you would not understand my views upon the subject. I\",\n \"an altered being, with a frame perfect and glorious, but not like \\n this!âand a heart, perhaps, entirely estranged from me.â \\n \\n âNo, Gilbert, there is perfect love in heaven!â \\n\",\n \"seized the rumour, to make it the basis of their own infernal structure.â \\n \\n âWell, but, Gilbert, there must be something in her manner to countenance \\n such reports.â \\n\",\n \"cloud my brow for long enough. \\n \\n \\n \\n \\n CHAPTER XIII \\n \\n \\n âMy dear Gilbert, I wish you would try to be a little more amiable,â said\"\n ],\n [\n \"Mr. Lawrence came too. He did not arrive till some time after the rest \\n were assembled. I was curious to see how he would comport himself to \\n Mrs. Graham. A slight bow was all that passed between them on his\",\n \"âLawrence,â said I, calmly looking him in the face, âare you in love with \\n Mrs. Graham?â \\n \\n Instead of his being deeply offended at this, as I more than half\",\n \"thoughtâyes, and the voice confirmed itâit was Mr. Lawrence! \\n \\n âYou should not let it worry you so much, Helen,â said he; âI will be\",\n \"you allude to is Mr. Lawrence; but I think I can assure you that your \\n suspicions, in that respect, are utterly misplaced; and if he has any \\n particular connection with the lady at all (which no one has a right to\",\n \"some rather pointed attentions, and upon whose heart, name, and fortune, \\n it was whispered, she had serious designs. This was Mr. Lawrence, the \\n young squire, whose family had formerly occupied Wildfell Hall, but had\",\n \"herâbut I daresay you can tell us something about her, for she is your \\n tenant, you know,âand she said she knew you a little.â \\n \\n All eyes were turned to Mr. Lawrence. I thought he looked unnecessarily\",\n \"Graham already equipped for departure, and taking leave of the rest, who \\n were now returned to the house. I offered, nay, begged to accompany her \\n home. Mr. Lawrence was standing by at the time conversing with some one\",\n \"âand in the fact that Mr. Lawrence has been seen to go that way once or \\n twice of an eveningâand the village gossips say he goes to pay his \\n addresses to the strange lady, and the scandal-mongers have greedily\",\n \"âIt is only Mr. Lawrence and Miss Wilson,â said I, âcoming to enjoy a \\n quiet stroll. They will not disturb us.â \\n \\n I could not quite decipher the expression of her face; but I was\",\n \"into Mrs. Lawrence of Woodford Hall. I believe, too, that he soon \\n learned to contemplate with secret amazement his former predilection, and \\n to congratulate himself on the lucky escape he had made; but he never\",\n \"Lawrenceâs household.â \\n \\n âIt was not from the man himself that I heard it, but he told it in \\n confidence to our maid Sarah, and Sarah told it to me.â \\n\",\n \"forestalled me.â \\n \\n âI?â \\n \\n âYes: do you know what Mr. Lawrence is gone for?â She looked up \\n anxiously for my reply. \\n\",\n \"Master Graham, Mary and Eliza Millward, Jane and Richard Wilson, and \\n Rose, Fergus, and Gilbert Markham. \\n \\n Mr. Lawrence had been invited to join us, but, for some reason best known\",\n \"âYou will go to her, Lawrence?â said I, as I put the letter into his \\n hand. \\n \\n âYes, immediately.â \\n\",\n \" HELEN HUNTINGDON. \\n \\n âWhat do you think of it?â said Lawrence, as I silently refolded the \\n letter. \\n\",\n \"all she could out of her. She is called Mrs. Graham, and she is in \\n mourningânot widowâs weeds, but slightish mourningâand she is quite\",\n \"Mrs. Graham, and he had prepared the rooms as well as he could upon so \\n short a notice; but he would do himself the pleasure of calling upon her \\n to-morrow, to receive her further commands.â \\n\",\n \"Nevertheless, it was with no small degree of impatience that I looked \\n forward to Mr. Lawrenceâs return from Grassdale: impatience that \\n increased in proportion as his absence was prolonged. He stayed away\",\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"âYes, Lawrence; is that you?â I mustered the presence of mind to reply. \\n \\n He smiled and coloured, as if half-proud and half-ashamed of his\"\n ],\n [\n \"not too glaringly, coquetting with Mr. Huntingdon, who is quite willing \\n to be her partner in the game; but I donât care for it, because, with \\n him, I know there is nothing but personal vanity, and a mischievous\",\n \"The next object of assault was Arthur, who sat opposite, and had, no \\n doubt, richly enjoyed the whole scene. \\n \\n âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\",\n \"Annabellaâand even to dislike herâand now that Mr. Huntingdon is become \\n my Arthur, and I may enjoy his society without restraint. What shall I \\n do without him, I repeat? \\n \\n \\n \\n\",\n \"told me they were now on the Continent, and their present address was \\n unknown to her. I never saw her speak much to Mr. Huntingdon; but he \\n would frequently look into the school-room to see how little Arthur got\",\n \"âOh, I forgot, you are a saint, too. I crave your pardon, dearestâbut \\n donât call me Mr. Huntingdon; my name is Arthur.â \\n\",\n \"that account, Iâll forgive you; but nobody else should so disparage \\n Arthur Huntingdon to me with impunity.â \\n \\n Miss Wilmot expressed her feelings on the subject almost as openly. \\n\",\n \"along a few paces apart, and looking every way but theirs, while my aunt \\n and Milicent went before, linked arm in arm and gravely discoursing \\n together. At length Mr. Huntingdon turned to me, and addressing me in a\",\n \"âAh, Huntingdon!â said she reproachfully, pausing where I had stood with \\n him the night beforeââit was here you kissed that woman!â she looked back\",\n \"annoy you with any more of my friendly impertinences.â \\n \\n âWell, I have nothing more to say to you.â \\n \\n âHave you mentioned this affair to Huntingdon?â asked she, as I was\",\n \"replied,ââIt is nothing to you, Mr. Huntingdon.â \\n \\n âAre you sure it is nothing to me?â he returned; âcan you swear that you\",\n \"âShe did,â persisted he in the same grave, collected manner as before; \\n âand not without reason,â he continued, gently disengaging himself from \\n my grasp. âMr. Huntingdon is ill.â\",\n \"Huntingdonâyou may have forgotten the circumstance, but I never can. I \\n admired you then most deeply, but I dared not love you. In the following \\n autumn I saw so much of your perfections that I could not fail to love\",\n \"âMrs. Huntingdon,â said he as I passed, âwill you allow me one word?â \\n \\n âWhat is it then? be quick, if you please.â \\n\",\n \"âNow, Nell,â said he, âthis young Huntingdon has been asking for you: \\n what must I say about it? Your aunt would answer ânoââbut what say you?â \\n\",\n \"length, however, he withdrew, and went to the lady of the house, \\n apparently for the purpose of asking an introduction to me, for, shortly \\n after, they both came up, and she introduced him as Mr. Huntingdon, the\",\n \"observed Huntingdon. âTheyâll make a match of it, as sure as can be. \\n That Lowboroughâs fairly besotted. But heâll find himself in a fix when\",\n \"âHe will not allow it.â \\n \\n âI shall not ask him.â \\n \\n âAh, then, it is a secret flight you meditate! but with whom, Mrs. \\n Huntingdon?â\",\n \"his acquaintance? I beg your pardon, Mrs. Huntingdon. Well, they were \\n talking of these things, and some of them remarked that, as she was \\n separated from her husband, he might see her again when he pleased.â \\n\",\n \"âWho was it, I ask?â said she, with frigid gravity. \\n \\n âIt was Mr. Huntingdon, the son of uncleâs old friend.â \\n\",\n \"Some time before Mr. Huntingdonâs death Lady Lowborough eloped with \\n another gallant to the Continent, where, having lived a while in reckless \\n gaiety and dissipation, they quarrelled and parted. She went dashing on\"\n ],\n [\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"âWhen will she return to Grassdale?â was my next question. \\n \\n âI donât know.â \\n \\n âConfound it!â I muttered. \\n\",\n \"âTo Grassdale first,â said he, with a half-smile he would willingly have \\n suppressed if he could. \\n \\n âTo Grassdale! Is she there, then?â \\n\",\n \"Grassdale seemed to stifle me, and I could only live by thinking of \\n Wildfell Hall. \\n \\n At last, one morning, she entered my chamber with such intelligence that \\n my resolution was taken before she had ceased to speak. While she\",\n \"âThen you really wish to get rid of me?â \\n \\n âPositively, I do; and I will take you down myself to Grassdale, and then\",\n \"(the evening one would be already gone), and fly to GrassdaleâI must be \\n there before the marriage. And why? Because a thought struck me that \\n perhaps I might prevent itâthat if I did not, she and I might both lament\",\n \"of a life so alien to all my previous habits. At last, he suddenly \\n discovered that the London air did not agree with me, and I was \\n languishing for my country home, and must immediately return to \\n Grassdale. \\n\",\n \"Nevertheless, it was with no small degree of impatience that I looked \\n forward to Mr. Lawrenceâs return from Grassdale: impatience that \\n increased in proportion as his absence was prolonged. He stayed away\",\n \"answered my question,ââShe is at Grassdale Manor, in âshire.â \\n \\n âWhere?â cried I, with a convulsive start. \\n\",\n \"âAt Grassdale Manor.â \\n \\n âHow was it?â I gasped. âWho betrayed her?â \\n \\n âShe went of her own accord.â \\n\",\n \"to see one-tenth of the beauties and interesting objects of Rome. He \\n wanted to get me home, he said, to have me all to himself, and to see me \\n safely installed as the mistress of Grassdale Manor, just as\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"âHelen, is that you?â said he. âWhy did you run away from us?â \\n \\n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the\",\n \"Grassdale occasionally, when the management of affairs, or the interest \\n of her tenants and dependents, required her presence. \\n \\n âNear what town is Staningley situated?â I asked. The requisite\",\n \"CHAPTER LII \\n \\n \\n The tardy gig had overtaken me at last. I entered it, and bade the man \\n who brought it drive to Grassdale ManorâI was too busy with my own\",\n \"âThere now, Helen!â I said, as the approaching steps of Rachel were heard \\n in answer to the summons. There was nothing for it but to turn round and \\n desire the maid to light the fire. \\n\",\n \"herself to keep. I had said an unjust and cruel thing; but I must needs \\n follow it up with something worse. \\n \\n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\",\n \"back, Helenâgo back directly! Youâll get your death of cold!â \\n \\n âI wonât, till Iâve told you what I came for. They are blaming you,\",\n \"âIs it nothing to you, Helen? Will you swear it? Will you?â \\n \\n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether\",\n \"âWent where?â \\n \\n âTo Grassdale, sirâwasnât you aware, sir? Heâs very close, is master,â\"\n ],\n [\n \"are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \\n end of it.â \\n\",\n \"âWhat of her?â I demanded in terror, lest some evil should have befallen \\n her. \\n \\n âOh, Mr. Markham, how you blush!â cried she, with a tormenting laugh.\",\n \"âI never told you, Markham, that I intended to marry Miss Wilson,â said \\n he, proudly. \\n \\n âNo, but whether you do or not, she intends to marry you.â \\n\",\n \"some rather pointed attentions, and upon whose heart, name, and fortune, \\n it was whispered, she had serious designs. This was Mr. Lawrence, the \\n young squire, whose family had formerly occupied Wildfell Hall, but had\",\n \"âAnd so, Mr. Markham, you are going to rob me of my niece, I understand. \\n Well! I hope God will prosper your union, and make my dear girl happy at \\n last. Could she have been contented to remain single, I own I should\",\n \"against her, but no good or amiable woman would be capable of evincing \\n that bitter, cold-blooded, designing malice towards a fancied rival that \\n I have observed in her.â \\n \\n âMarkham!â \\n\",\n \" GILBERT MARKHAM. \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n I perceive, with joy, my most valued friend, that the cloud of your\",\n \"it, for I had no doubt that such was her determination.â \\n \\n âTo forget me?â \\n \\n âYes, Markham! Why not?â \\n\",\n \"Now, Halford, before I close this letter, Iâll tell you who Eliza \\n Millward was: she was the vicarâs younger daughter, and a very engaging \\n little creature, for whom I felt no small degree of partiality;âand she\",\n \"Gilbert; you will call her a perfect beauty, though you could hardly \\n pretend to discover a resemblance between her and Eliza Millward.â \\n \\n âWell, I can imagine many faces more beautiful than Elizaâs, though not\",\n \"You must suppose about three weeks passed over. Mrs. Graham and I were \\n now established friendsâor brother and sister, as we rather chose to \\n consider ourselves. She called me Gilbert, by my express desire, and I\",\n \"him at home, and spend her life in petting him up, and slaving to indulge \\n his follies and caprices.â \\n \\n âI perfectly agree with you, Mrs. Markham; but nothing can be further\",\n \"on that subject already, and I assure you her ideas of love and matrimony \\n are as romantic as any one could desire.â \\n \\n âBut romantic notions will not do: I want her to have true notions.â \\n\",\n \"âNot I, indeed!â was the phlegmatic reply; and my appearance prevented \\n further discussion. \\n \\n âYouâre so unfortunate, Mr. Markham!â observed the younger sister, with\",\n \"âAre you there still, Mr. Markham?â said she at length, looking round \\n upon meâfor I was seated a little behind on a mossy projection of the\",\n \"Wilmotâthrough the intervention of his good angel, no doubt he would tell \\n you, though he did not dare to fix his hopes on one so courted and \\n admired, till after they were brought into closer contact here at\",\n \"She turned from me to hide the emotion she could not quite control; but I \\n took her hand and fervently kissed it. \\n \\n âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\",\n \"âNo, not he. That was the first attraction, certainly; but now he has \\n quite lost sight of it: it never enters his calculations, except merely \\n as an essential without which, for the ladyâs own sake, he could not\",\n \"ââWell, love is not the wordâbut somebody that I can like. Iâll search \\n all England through, at all events!â he cried, with a sudden burst of\",\n \"retreated a step or two back. \\n \\n âNow, Mr. Markham,â said she, with a kind of desperate calmness, âI must \\n tell you plainly that I cannot do with this. I like your company,\"\n ],\n [\n \"You must suppose about three weeks passed over. Mrs. Graham and I were \\n now established friendsâor brother and sister, as we rather chose to \\n consider ourselves. She called me Gilbert, by my express desire, and I\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"âIt is something of the kind,â she answered. âSome day I may tell you, \\n but at present you had better leave me; and never, Gilbert, put me to the\",\n \"only to the few loving friends and grateful dependents she left behind. \\n \\n To return, however, to my own affairs: I was married in summer, on a \\n glorious August morning. It took the whole eight months, and all Helenâs\",\n \"dreaded; but the coffin must be closed as soon as possible. If you will \\n attend the funeral, come quickly, for I need help. \\n \\n HELEN HUNTINGDON. \\n \\n \\n \\n \\n CHAPTER L \\n\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"But donât be afraid, Gilbert,â she added, smiling sadly at my manifest \\n discomposure; âthere is little chance of my forgetting you. But I did \\n not mean that Frederick should be the means of transmitting messages\",\n \"keep them till the gentlemen came, or till Milicent arrived with her \\n mother. Little Helen, however, was soon tired of playing, and insisted \\n upon going to sleep; and while I sat on the sofa with her on my knee, and\",\n \"âThere now, Helen!â I said, as the approaching steps of Rachel were heard \\n in answer to the summons. There was nothing for it but to turn round and \\n desire the maid to light the fire. \\n\",\n \"âShe told me herself. She told me all. She knew I might be trusted. \\n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \\n the last of her!â \\n\",\n \"are. And if you marry her, Gilbert, youâll break my heartâso thereâs an \\n end of it.â \\n\",\n \"will amuse myself with my neglected diary, if I can give that name to \\n such an irregular composition. It is exactly four months since I opened \\n it last. \\n \\n I am married now, and settled down as Mrs. Huntingdon of Grassdale Manor.\",\n \"âNoâin another year,â replied she, gently disengaging herself from my \\n embrace, but still fondly clasping my hand. \\n \\n âAnother year! Oh, Helen, I could not wait so long!â\",\n \"She turned from me to hide the emotion she could not quite control; but I \\n took her hand and fervently kissed it. \\n \\n âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\",\n \"called her Helen, for I had seen that name written in her books. I \\n seldom attempted to see her above twice a week; and still I made our \\n meetings appear the result of accident as often as I couldâfor I found it\",\n \"âNow,â resumed he, after a momentary pause, âlet us talk about something \\n else. And come nearer to me, Helen, and take my arm; and then Iâll let\",\n \"Then followed eight or ten minutes of silence, during the greater part of \\n which, I believe, he was staring at me. At last his patience was tired \\n out. \\n \\n âWhat is that book, Helen?â he exclaimed. \\n\",\n \"She fixed her eyes upon me with a look that pierced me to the heart; and \\n yet it made me smile. \\n \\n âI donât ask the reason of this change, Gilbert,â said she, with bitter\",\n \"With due deference I offered her my more commodious seat. She declined \\n it, and thus opened the conference: âDo you remember, Helen, our \\n conversation the night but one before we left Staningley?â \\n\",\n \"âI have; but it would be wrong to talk of it now.â \\n \\n âIt was wrong to talk of it then, Gilbert; it would not nowâunless to do \\n so would be to violate the truth.â\"\n ],\n [\n \"âShe did,â persisted he in the same grave, collected manner as before; \\n âand not without reason,â he continued, gently disengaging himself from \\n my grasp. âMr. Huntingdon is ill.â\",\n \"Huntingdon. I have good reason to remember his presence there, for this \\n was the last time I saw him. \\n \\n He did not sit near me at dinner; for it was his fate to hand in a\",\n \"As for Mr. Hattersley, he had never wholly forgotten his resolution to \\n âcome out from among them,â and behave like a man and a Christian, and \\n the last illness and death of his once jolly friend Huntingdon so deeply\",\n \"and source. The scenes of Huntingdonâs wickedness are less interesting \\n but less improbable than the country-house scenes of âJane Eyreâ; the \\n story of his death has many true and touching passages; the last\",\n \"DEAR FREDERICK,âI know you will be anxious to hear from me, and I will \\n tell you all I can. Mr. Huntingdon is very ill, but not dying, or in any\",\n \"degradation and misery I should have been spared! But what have I done \\n to deserve so magnificent a creature?â \\n \\n âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\",\n \"narrative was, to me, more painful than the latter, not that I was at all \\n insensible to Mrs. Huntingdonâs wrongs or unmoved by her sufferings, but, \\n I must confess, I felt a kind of selfish gratification in watching her\",\n \"ââDeath is so terrible,â he cried, âI cannot bear it! You donât know, \\n Helenâyou canât imagine what it is, because you havenât it before you!\",\n \"property, and the regulation of his affairs. The rascal had never told \\n me how that property was disposed, or whether Mr. Huntingdon had died \\n intestate or not; and I would sooner die than ask him, lest he should\",\n \"his impatience of bodily pain. All his friends had not forsaken him; for \\n Mr. Hattersley, hearing of his danger, had come to see him from his \\n distant home in the north. His wife had accompanied him, as much for the\",\n \"dreaded; but the coffin must be closed as soon as possible. If you will \\n attend the funeral, come quickly, for I need help. \\n \\n HELEN HUNTINGDON. \\n \\n \\n \\n \\n CHAPTER L \\n\",\n \"suffering and death as did Emily. Emily was âtornâ from life âconscious, \\n panting, reluctant,â to use Charlotteâs own words; Anneâs âsufferings\",\n \"condemned to sit between himself and Mr. Boarham. But afterwards, when \\n we were all again assembled in the drawing-room, I was indemnified for so \\n much suffering by a few delightful minutes of conversation with Mr. \\n Huntingdon. \\n\",\n \"friend Mr. Wilmot was one, and my auntâs friend, Mr. Boarham, another. \\n This struck me as terrible news at the moment; but all regret and \\n apprehension vanished like a dream when I heard that Mr. Huntingdon was\",\n \"Mrs. Huntingdon is alone,â he would insist upon leaving the table \\n himself, to join me, and his host, however unwillingly, was obliged to \\n follow. \\n\",\n \"Mr. Huntingdon then went up-stairs. I did not attempt to follow him, but \\n remained seated in the arm-chair, speechless, tearless, and almost \\n motionless, till he returned about half-an-hour after, and walking up to\",\n \"ââHuntingdon, this wonât do! Iâm resolved to have done with it.â \\n \\n ââWhat, are you going to shoot yourself?â said I. \\n\",\n \"âWell, to tell you the truth, Iâve thought of it often and often before; \\n but heâs such devilish good company, is Huntingdon, after all. You canât\",\n \"again, and held it till he was no moreâand then I fainted. It was not \\n grief; it was exhaustion, that, till then, I had been enabled \\n successfully to combat. Oh, Frederick! none can imagine the miseries,\",\n \"suffering, or of allowing him to witness his fatherâs impatience, or hear \\n the dreadful language he was wont to use in his paroxysms of pain or \\n irritation. \\n \\n The latter (continued she) most deeply regrets the step that has\"\n ],\n [\n \"immediately letting it go. \\n \\n âWhy should I stay any longer?â \\n \\n âWait till Arthur comes, at least.â \\n \\n Only too glad to obey, I stood and leant against the opposite side of the\",\n \"âWell, Iâll see about it.â \\n \\n âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let \\n me protect you!â \\n\",\n \"Helen!â \\n \\n âI do pray for you, every hour and every minute, Arthur; but you must \\n pray for yourself.â \\n \\n His lips moved, but emitted no sound;âthen his looks became unsettled;\",\n \"Arthur, whom he had driven over to see me. Our poor invalid evidently \\n felt it a heartless proposition, and would have felt it still more \\n heartless in me to accede to it. I therefore said I would only go and\",\n \"her. At length, however, by some heroic effort, we tore ourselves apart, \\n and I rushed from the house. \\n \\n I have a confused remembrance of seeing little Arthur running up the\",\n \"âBut you donât, Helenâsay you love me, and Iâll go.â \\n \\n âI wish you would go!â I replied. \\n\",\n \"âBut if I find it necessary to leave you, Arthur, I shall not ârun awayâ: \\n you know I have your own promise that I may go whenever I please, and \\n take my son with me.â \\n\",\n \"destroyed their power, though somewhat to the detriment of your own \\n fingers. \\n \\n Of late, however, I have seen nothing in her conduct towards Arthur to \\n anger or alarm me. During the first few days I thought she seemed very\",\n \"âNo, Arthur, if I could really serve you by them. I would give my life \\n to save you, if I might.â \\n \\n âWould you, indeed? No!â \\n\",\n \"presence, nor her heart afflicted by the sight of my fidelity. \\n \\n âAdieu then, dear Helen, forever! Forever adieu!â \\n\",\n \"âHear me now, then, Arthur,â said I, gently pressing his hand. \\n \\n âItâs too late now,â said he despondingly. And after that another\",\n \"âThe candle will keep,â returned he. \\n \\n I made a desperate effort to free my hand from his grasp. \\n \\n âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\",\n \"âIs it nothing to you, Helen? Will you swear it? Will you?â \\n \\n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether\",\n \"as the guests were retiring to their rooms, Arthur approached me, smiling \\n with the utmost assurance. \\n \\n âAre you very angry, Helen?â murmured he. \\n\",\n \"you in the other room.â And she turned to me. \\n \\n âThen you must plead for me, Helen,â said he, and at length withdrew. \\n\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"âIâm crying for you, Arthur,â I replied, speedily drying my tears; and \\n starting up, I threw myself on my knees before him, and clasping his\",\n \"âAt lunch,â said I, departing with little Helen in one arm and leading \\n Arthur by the hand. \\n \\n He turned away, muttering some sentence of impatient censure or\",\n \"better recreation of grouse-shooting and deer-stalking, and had promised \\n to go. \\n \\n âThen you will leave me again, Arthur?â said I. \\n\",\n \"âIs it you, Alice, come again?â he murmured. âWhat did you leave me \\n for?â \\n \\n âIt is I, Arthurâit is Helen, your wife,â I replied. \\n\"\n ],\n [\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"âWhen will she return to Grassdale?â was my next question. \\n \\n âI donât know.â \\n \\n âConfound it!â I muttered. \\n\",\n \"âTo Grassdale first,â said he, with a half-smile he would willingly have \\n suppressed if he could. \\n \\n âTo Grassdale! Is she there, then?â \\n\",\n \"Grassdale seemed to stifle me, and I could only live by thinking of \\n Wildfell Hall. \\n \\n At last, one morning, she entered my chamber with such intelligence that \\n my resolution was taken before she had ceased to speak. While she\",\n \"âThen you really wish to get rid of me?â \\n \\n âPositively, I do; and I will take you down myself to Grassdale, and then\",\n \"(the evening one would be already gone), and fly to GrassdaleâI must be \\n there before the marriage. And why? Because a thought struck me that \\n perhaps I might prevent itâthat if I did not, she and I might both lament\",\n \"of a life so alien to all my previous habits. At last, he suddenly \\n discovered that the London air did not agree with me, and I was \\n languishing for my country home, and must immediately return to \\n Grassdale. \\n\",\n \"Nevertheless, it was with no small degree of impatience that I looked \\n forward to Mr. Lawrenceâs return from Grassdale: impatience that \\n increased in proportion as his absence was prolonged. He stayed away\",\n \"answered my question,ââShe is at Grassdale Manor, in âshire.â \\n \\n âWhere?â cried I, with a convulsive start. \\n\",\n \"âAt Grassdale Manor.â \\n \\n âHow was it?â I gasped. âWho betrayed her?â \\n \\n âShe went of her own accord.â \\n\",\n \"to see one-tenth of the beauties and interesting objects of Rome. He \\n wanted to get me home, he said, to have me all to himself, and to see me \\n safely installed as the mistress of Grassdale Manor, just as\",\n \"old lady, and will wish to know the last of her history. I did come \\n again in spring, and, agreeably to Helenâs injunctions, did my best to \\n cultivate her acquaintance. She received me very kindly, having been,\",\n \"âHelen, is that you?â said he. âWhy did you run away from us?â \\n \\n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the\",\n \"Grassdale occasionally, when the management of affairs, or the interest \\n of her tenants and dependents, required her presence. \\n \\n âNear what town is Staningley situated?â I asked. The requisite\",\n \"CHAPTER LII \\n \\n \\n The tardy gig had overtaken me at last. I entered it, and bade the man \\n who brought it drive to Grassdale ManorâI was too busy with my own\",\n \"âThere now, Helen!â I said, as the approaching steps of Rachel were heard \\n in answer to the summons. There was nothing for it but to turn round and \\n desire the maid to light the fire. \\n\",\n \"herself to keep. I had said an unjust and cruel thing; but I must needs \\n follow it up with something worse. \\n \\n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\",\n \"back, Helenâgo back directly! Youâll get your death of cold!â \\n \\n âI wonât, till Iâve told you what I came for. They are blaming you,\",\n \"âIs it nothing to you, Helen? Will you swear it? Will you?â \\n \\n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether\",\n \"âWent where?â \\n \\n âTo Grassdale, sirâwasnât you aware, sir? Heâs very close, is master,â\"\n ],\n [\n \"Mr. Lawrence came too. He did not arrive till some time after the rest \\n were assembled. I was curious to see how he would comport himself to \\n Mrs. Graham. A slight bow was all that passed between them on his\",\n \"you allude to is Mr. Lawrence; but I think I can assure you that your \\n suspicions, in that respect, are utterly misplaced; and if he has any \\n particular connection with the lady at all (which no one has a right to\",\n \"into Mrs. Lawrence of Woodford Hall. I believe, too, that he soon \\n learned to contemplate with secret amazement his former predilection, and \\n to congratulate himself on the lucky escape he had made; but he never\",\n \"âLawrence,â said I, calmly looking him in the face, âare you in love with \\n Mrs. Graham?â \\n \\n Instead of his being deeply offended at this, as I more than half\",\n \"married on Thursday, and Mr. Lawrence was gone to the wedding. She did \\n tell me the name of the gentleman, but Iâve forgotten that. Perhaps you \\n can assist me to remember it. Is there not some one that lives nearâor\",\n \"some rather pointed attentions, and upon whose heart, name, and fortune, \\n it was whispered, she had serious designs. This was Mr. Lawrence, the \\n young squire, whose family had formerly occupied Wildfell Hall, but had\",\n \"Mr. Markham; my friend Markham, Mrs. Lawrence, late Miss Hargrave.â \\n \\n I bowed to the bride, and vehemently wrung the bridegroomâs hand. \\n\",\n \"heart at least. I looked at the bridegroomâit was Frederick Lawrence! I \\n wiped away the cold drops that were trickling down my forehead, and \\n stepped back as he approached; but, his eyes fell upon me, and he knew\",\n \"âYou will go to her, Lawrence?â said I, as I put the letter into his \\n hand. \\n \\n âYes, immediately.â \\n\",\n \"was evident she loved meâprobably she was tired of Mr. Lawrence, and \\n wished to exchange him for me; and if I had loved and reverenced her less \\n to begin with, the preference might have gratified and amused me; but now\",\n \"inoffensive to all, and polite to the vicar and the ladies, especially \\n his hostess and her daughter, and Miss Wilsonâmisguided man; he had not \\n the taste to prefer Eliza Millward. Mr. Lawrence and I were on tolerably\",\n \"CHAPTER XLVIII \\n \\n \\n Five or six days after this Mr. Lawrence paid us the honour of a call; \\n and when he and I were alone togetherâwhich I contrived as soon as\",\n \"âand in the fact that Mr. Lawrence has been seen to go that way once or \\n twice of an eveningâand the village gossips say he goes to pay his \\n addresses to the strange lady, and the scandal-mongers have greedily\",\n \"herâbut I daresay you can tell us something about her, for she is your \\n tenant, you know,âand she said she knew you a little.â \\n \\n All eyes were turned to Mr. Lawrence. I thought he looked unnecessarily\",\n \"ladies to outshine, and all the gentlemen to charm,âand Mr. Lawrence, \\n especially, to capture and subdue. Her little arts to effect his \\n subjugation were too subtle and impalpable to attract my observation; but\",\n \"âShe told me herself. She told me all. She knew I might be trusted. \\n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \\n the last of her!â \\n\",\n \"thoughtâyes, and the voice confirmed itâit was Mr. Lawrence! \\n \\n âYou should not let it worry you so much, Helen,â said he; âI will be\",\n \"may use as he pleases, without being bothered with the fear of spoiling \\n it;âwhereas Mr. Lawrence was like a new garment, all very neat and trim \\n to look at, but so tight in the elbows, that you would fear to split the\",\n \"such message through Mr. Lawrence was now completely out of the question. \\n \\n But what should I do? I would wait, and see if she would notice me, \\n which of course she would not, unless by some kind message intrusted to\",\n \"CHAPTER XLIX \\n \\n \\n Though Mr. Lawrenceâs health was now quite re-established, my visits to \\n Woodford were as unremitting as ever; though often less protracted than\"\n ],\n [\n \"âCome here, Arthur,â said the latter, extending his hand towards him. \\n The child went, and timidly touched that burning hand, but almost started \\n in alarm, when his father suddenly clutched his arm and drew him nearer \\n to his side.\",\n \"advantage, and my sonâs future welfare should not be sacrificed to any \\n mistaken tenderness for this manâs feelings. Little Arthur had not \\n forgotten his father, but thirteen months of absence, during which he had\",\n \"Here was Arthur left to me at last; and rousing from my despondent \\n apathy, I exerted all my powers to eradicate the weeds that had been \\n fostered in his infant mind, and sow again the good seed they had\",\n \"Arthur is not what is commonly called a bad man: he has many good \\n qualities; but he is a man without self-restraint or lofty aspirations, a \\n lover of pleasure, given up to animal enjoyments: he is not a bad\",\n \"that thought at once. But Arthur is selfish; I am constrained to \\n acknowledge that; and, indeed, the admission gives me less pain than \\n might be expected, for, since I love him so much, I can easily forgive\",\n \"once. I donât say much to Arthur about it, for, if I did, it would do \\n more harm than good; but I let him know that I intensely dislike such \\n exhibitions; and each time he has promised they should never again be\",\n \"darting a vindictive glance at me. \\n \\n Arthur, thus released, crept back to me and put his hand in mine. His \\n father swore I had made the child hate him, and abused and cursed me\",\n \"âHear me now, then, Arthur,â said I, gently pressing his hand. \\n \\n âItâs too late now,â said he despondingly. And after that another\",\n \"âArthur,â said his mother, âtell him to come in. Go on, Richard.â \\n \\n There was a touch of sadness as well as coldness in her voice, but I knew\",\n \"âNo, Arthur, if I could really serve you by them. I would give my life \\n to save you, if I might.â \\n \\n âWould you, indeed? No!â \\n\",\n \"you hear such words spoken, Arthur, remember never to repeat them: it is \\n wicked to say such things of others, not to have them said against you.â \\n\",\n \"The time that I met him alone was on a bright, but not oppressively hot \\n day, in the beginning of July: I had taken little Arthur into the wood \\n that skirts the park, and there seated him on the moss-cushioned roots of\",\n \"âNothing more than you do, Arthur: your actions are all right so far; but \\n I would have your thoughts changed; I would have you to fortify yourself \\n against temptation, and not to call evil good, and good evil; I should\",\n \"her. At length, however, by some heroic effort, we tore ourselves apart, \\n and I rushed from the house. \\n \\n I have a confused remembrance of seeing little Arthur running up the\",\n \"upon little Arthur, and could not under any circumstances, strictly \\n speaking, be his motherâs. But how was she situated? Overcoming with a \\n sudden effort my repugnance to mention her name to my garrulous\",\n \"The next object of assault was Arthur, who sat opposite, and had, no \\n doubt, richly enjoyed the whole scene. \\n \\n âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\",\n \"âWhat do you want, Arthur?â I said at length. \\n \\n âNothing,â replied he. âGo!â \\n \\n I went, but hearing him mutter something as I was closing the door, I\",\n \"thereby preparing the soil for those vices he has so successfully \\n cultivated in his own perverted nature. \\n \\n Happily, there were none of Arthurâs âfriendsâ invited to Grassdale last\",\n \"destroyed their power, though somewhat to the detriment of your own \\n fingers. \\n \\n Of late, however, I have seen nothing in her conduct towards Arthur to \\n anger or alarm me. During the first few days I thought she seemed very\",\n \"so fearful of this at first, that I humbled myself to intimate to him, in \\n private, my apprehensions of Arthurâs proneness to these excesses, and to \\n express a hope that he would not encourage it. He was pleased with this\"\n ],\n [\n \"âYesâand it is my belief that Eliza Millward and she, if not the very \\n originators of the slanderous reports that have been propagated, were \\n designedly the encouragers and chief disseminators of them. She was not\",\n \"âI donât know,â replied she. âSome idle slander somebody has been \\n inventing, I suppose. I never heard it till Eliza told me the other\",\n \"delighted to do the old fellows a bad turn, though I donât think I have \\n any great reason to dread them as rivals. Have I, Helen?â \\n \\n âYou know I detest them both.â \\n\",\n \"âNo, Miss Eliza, thatâs false.â \\n \\n âDo you charge me with a falsehood, sir?â \\n \\n âYou are misinformed.â \\n\",\n \"seized the rumour, to make it the basis of their own infernal structure.â \\n \\n âWell, but, Gilbert, there must be something in her manner to countenance \\n such reports.â \\n\",\n \"more agreeable. But I was out of temper with Eliza at that moment for \\n her insinuations against Mrs. Graham, which were false, I was certain, \\n whether she knew it or not. \\n\",\n \"here that at all resembles that child, except his mother, and when you \\n hear ill-natured reports, Miss Eliza, I will thank you, that is, I think \\n you will do well, to refrain from repeating them. I presume the person\",\n \"âAll a prejudice, Helen, a mere womanâs antipathy.â \\n \\n âNo; I have solid grounds for my dislike. And is that all?â \\n\",\n \"another proof of her depravityââ \\n \\n âConfound Jane Wilson!â \\n \\n âAnd Eliza Millward is quite grieved about you.â \\n\",\n \"Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \\n he continued more boldly, âthat you have nothing to fear from me? that I\",\n \"talk. But Eliza took advantage of the first convenient pause to ask if I \\n had lately seen Mrs. Graham, in a tone of merely casual inquiry, but with\",\n \"desire to excite my jealousy, and, perhaps, to torment his friend; and \\n she, no doubt, is actuated by much the same motives; only, there is more \\n of malice and less of playfulness in her manoeuvres. It is obviously,\",\n \"Mrs. Graham seated herself at a distance from me. Eliza was my nearest \\n neighbour. She exerted herself to be agreeable, in her gentle, \\n unobtrusive way, and was, no doubt, as fascinating and charming as ever,\",\n \"âI heard some detestable falsehoods; but none but fools would credit them \\n for a moment, Helen, so donât let them trouble you.â \\n\",\n \"companions, abusing Mr. Grimsby and others, insinuating bitter things \\n against Mr. Huntingdon, and most ingeniously throwing the blame of her \\n husbandâs misconduct on to other menâs shoulders. The latter was full of\",\n \"that savoured more of malice than of mirth,ââWhy, Helen! what have you \\n been doing so long? I came to tell you my good fortune,â she continued,\",\n \"âVery likely she might be so to you. She has possibly taken a prejudice \\n against you, for I think she regards you in the light of a rival.â \\n\",\n \"âAh, now! you know!â she slily smiled and shook her head. \\n \\n âI know nothing about them. What in the world do you mean, Eliza?â \\n\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"âAnd whom?â demanded Miss Wilson, with an air of cold, but keen severity. \\n \\n Eliza was startled; the timidly spoken suggestion had been intended for \\n my ear alone. \\n\"\n ],\n [\n \"âShe did,â persisted he in the same grave, collected manner as before; \\n âand not without reason,â he continued, gently disengaging himself from \\n my grasp. âMr. Huntingdon is ill.â\",\n \"Huntingdonâyou may have forgotten the circumstance, but I never can. I \\n admired you then most deeply, but I dared not love you. In the following \\n autumn I saw so much of your perfections that I could not fail to love\",\n \"âAnd so, Helen,â said she, coming up to me with a smile of no amiable \\n import, âyou are to be Mrs. Huntingdon, I suppose?â \\n\",\n \"determination to see himself a married man before the year is out. \\n âOnly,â said he to me, âI must have somebody that will let me have my own \\n way in everythingânot like your wife, Huntingdon: she is a charming\",\n \"observed Huntingdon. âTheyâll make a match of it, as sure as can be. \\n That Lowboroughâs fairly besotted. But heâll find himself in a fix when\",\n \"hints and things just to astonish the others. But I think, if I was you, \\n Miss Helen, Iâd look very well before I leaped. I do believe a young \\n lady canât be too careful who she marries.â\",\n \"âHelen, is that you?â said he. âWhy did you run away from us?â \\n \\n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the\",\n \"thinks proper. He has no love for you, Mrs. Huntingdonâno reverence for \\n your sex, no belief in virtue, no admiration for its image. He will give \\n such a version of this story as will leave no doubt at all about your\",\n \"replied,ââIt is nothing to you, Mr. Huntingdon.â \\n \\n âAre you sure it is nothing to me?â he returned; âcan you swear that you\",\n \"âDo you know what sort of man Mr. Huntingdon is?â said I. \\n \\n âI think I have an idea.â \\n \\n âHave you so clear an idea that you can hear, without surprise or\",\n \"âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation, \\n âcertainly not; but if you had sent me a message through your brother, or\",\n \"âWas Mr. Huntingdon proposing to you, Helen?â inquired my too watchful \\n relative. \\n \\n âNo.â \\n\",\n \"Mr. Huntingdon, if not better; and yet you love him, and seem to be happy \\n and contented; and perhaps I may manage as well. You must tell me, if\",\n \"annoy you with any more of my friendly impertinences.â \\n \\n âWell, I have nothing more to say to you.â \\n \\n âHave you mentioned this affair to Huntingdon?â asked she, as I was\",\n \"âAnd Mr. Huntingdon,â said I, âI suppose you know I am not an heiress?â \\n \\n He protested he had never given it a thought, and begged I would not\",\n \"âI donât understand you, Mrs. Huntingdon.â \\n \\n âYou do understand me, sir; and I charge you, upon your honour as a\",\n \"herself to keep. I had said an unjust and cruel thing; but I must needs \\n follow it up with something worse. \\n \\n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\",\n \"not too glaringly, coquetting with Mr. Huntingdon, who is quite willing \\n to be her partner in the game; but I donât care for it, because, with \\n him, I know there is nothing but personal vanity, and a mischievous\",\n \"âWell, to tell you the truth, Iâve thought of it often and often before; \\n but heâs such devilish good company, is Huntingdon, after all. You canât\",\n \"âOf course, Mr. Hargrave; is he not my husband?â \\n \\n âOh, Huntingdon; you know not what you slight!â he passionately murmured. \\n\"\n ],\n [\n \"observed Huntingdon. âTheyâll make a match of it, as sure as can be. \\n That Lowboroughâs fairly besotted. But heâll find himself in a fix when\",\n \"âAh, Huntingdon!â said she reproachfully, pausing where I had stood with \\n him the night beforeââit was here you kissed that woman!â she looked back\",\n \"annoy you with any more of my friendly impertinences.â \\n \\n âWell, I have nothing more to say to you.â \\n \\n âHave you mentioned this affair to Huntingdon?â asked she, as I was\",\n \"The next object of assault was Arthur, who sat opposite, and had, no \\n doubt, richly enjoyed the whole scene. \\n \\n âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\",\n \"Huntingdonâyou may have forgotten the circumstance, but I never can. I \\n admired you then most deeply, but I dared not love you. In the following \\n autumn I saw so much of your perfections that I could not fail to love\",\n \"all very fine, Mr. Huntingdon, to amuse yourself with rousing my \\n jealousy; but take care you donât rouse my hate instead. And when you \\n have once extinguished my love, you will find it no easy matter to kindle\",\n \"Mr. Huntingdon, if not better; and yet you love him, and seem to be happy \\n and contented; and perhaps I may manage as well. You must tell me, if\",\n \"âWell, to tell you the truth, Iâve thought of it often and often before; \\n but heâs such devilish good company, is Huntingdon, after all. You canât\",\n \"not too glaringly, coquetting with Mr. Huntingdon, who is quite willing \\n to be her partner in the game; but I donât care for it, because, with \\n him, I know there is nothing but personal vanity, and a mischievous\",\n \"âNo, no, let her be; thereâs much to be said on both sides, and, now I \\n think upon it, Huntingdon often regrets that you are not more like her,\",\n \"Frederick was exceedingly indignant against Mr. Huntingdon, and very much \\n grieved for me; but still he looked upon my project as wild and \\n impracticable. He deemed my fears for Arthur disproportioned to the\",\n \"âShe did,â persisted he in the same grave, collected manner as before; \\n âand not without reason,â he continued, gently disengaging himself from \\n my grasp. âMr. Huntingdon is ill.â\",\n \"that account, Iâll forgive you; but nobody else should so disparage \\n Arthur Huntingdon to me with impunity.â \\n \\n Miss Wilmot expressed her feelings on the subject almost as openly. \\n\",\n \"Mrs. Huntingdon is alone,â he would insist upon leaving the table \\n himself, to join me, and his host, however unwillingly, was obliged to \\n follow. \\n\",\n \"intends as a species of counter-attraction to win Mr. Huntingdonâs \\n attention from me. I donât thank her for this; but I shall be glad of\",\n \"companions, abusing Mr. Grimsby and others, insinuating bitter things \\n against Mr. Huntingdon, and most ingeniously throwing the blame of her \\n husbandâs misconduct on to other menâs shoulders. The latter was full of\",\n \"replied,ââIt is nothing to you, Mr. Huntingdon.â \\n \\n âAre you sure it is nothing to me?â he returned; âcan you swear that you\",\n \"determination to see himself a married man before the year is out. \\n âOnly,â said he to me, âI must have somebody that will let me have my own \\n way in everythingânot like your wife, Huntingdon: she is a charming\",\n \"âNay, nay, I suspect nobody. Itâs all right, itâs all right. So come \\n along, Huntingdon, you blackguard.â \\n\",\n \"âOf course, Mr. Hargrave; is he not my husband?â \\n \\n âOh, Huntingdon; you know not what you slight!â he passionately murmured. \\n\"\n ],\n [\n \"On the day of Lady Lowboroughâs arrival, I followed her into her chamber, \\n and plainly told her that, if I found reason to believe that she still \\n continued her criminal connection with Mr. Huntingdon, I should think it\",\n \"âNo, thank you,â I replied; and, turning from him, I looked round. Lady \\n Lowborough was beside her husband, bending over him as he sat, with her \\n hand on his shoulder, softly talking and smiling in his face; and Arthur\",\n \"April 4th.âWe have had a downright quarrel. The particulars are as \\n follows: Arthur had told me, at different intervals, the whole story of \\n his intrigue with Lady Fâ, which I would not believe before. It was some\",\n \"âYes,â replied I. âDonât you envy me?â \\n \\n âOh, dear, no!â she exclaimed. âI shall probably be Lady Lowborough some\",\n \"âShe told me herself. She told me all. She knew I might be trusted. \\n But you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen \\n the last of her!â \\n\",\n \"Some time before Mr. Huntingdonâs death Lady Lowborough eloped with \\n another gallant to the Continent, where, having lived a while in reckless \\n gaiety and dissipation, they quarrelled and parted. She went dashing on\",\n \"Her husband, however, upon this second misdemeanour, immediately sought \\n and obtained a divorce, and, not long after, married again. It was well \\n he did, for Lord Lowborough, morose and moody as he seemed, was not the\",\n \"was about this time, Helen, that my good angel brought me into \\n conjunction with you; and then I had eyes and ears for nobody else. But, \\n meantime, Lowborough became acquainted with our charming friend, Miss\",\n \"cause of my error, I think you blame me too severely. I told Lady \\n Lowborough two weeks ago, the very hour she came, that I should certainly \\n think it my duty to inform you if she continued to deceive you: she gave\",\n \"âYes, yes!â cried she eagerly, starting up from her reclining posture. \\n âI want to know if you will tell Lord Lowborough?â \\n \\n âSuppose I do?â \\n\",\n \"I seek a reconciliation with him, when I feel that I abhor him, and that \\n he despises me? and while he continues still to correspond with Lady \\n Lowborough, as I know he does? No, never, never, never! he may drink\",\n \"once. I flew to the shrubbery. Scarcely had I reached it, when a sound \\n of voices arrested my breathless speed. \\n \\n âWe have lingered too long; he will be back,â said Lady Lowboroughâs\",\n \"CHAPTER XXXV \\n \\n \\n Nineteenth.âIn proportion as Lady Lowborough finds she has nothing to \\n fear from me, and as the time of departure draws nigh, the more audacious\",\n \"Lawrenceâs household.â \\n \\n âIt was not from the man himself that I heard it, but he told it in \\n confidence to our maid Sarah, and Sarah told it to me.â \\n\",\n \"Then, planting a chair by Lady Lowboroughâs side, he stationed himself in \\n it, and began to talk to her with a mixture of absurdity and impudence \\n that seemed rather to amuse than to offend her; though she affected to\",\n \"Lowborough. He was at the other end of the room, talking with Messrs. \\n Hargrave and Grimsby; but I saw him dart towards his lady and his host a \\n quick, impatient glance, expressive of intense disquietude, at which\",\n \"long before. No, Lady Lowborough, I do not found my charge upon \\n suspicion.â \\n \\n âOn what do you found it, then?â said she, throwing herself into an\",\n \"âNo, Arthur, it is not that that displeases me: it is the whole system of \\n your conduct towards your friend, and if you wish me to forget it, go \\n now, and tell him what sort of a woman it is that he adores so madly, and\",\n \"âThere! read that, and take a lesson by it!â \\n \\n It was in the free, dashing hand of Lady Lowborough. I glanced at the \\n first page; it seemed full of extravagant protestations of affection;\",\n \"whisper, with his eyes still fixed upon me, âWho is it?â \\n \\n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \\n removing to a less conspicuous position. \\n\"\n ],\n [\n \"to find another place of refugeâor how to seek it.â \\n \\n âHelen,â said I, turning impatiently towards her, âI cannot discuss the\",\n \"likewise, for Helen is attached to the place and to meâas I am to her. \\n There are painful associations connected with Grassdale, which she cannot \\n easily overcome; and I shall not molest you with my company or\",\n \"you in the other room.â And she turned to me. \\n \\n âThen you must plead for me, Helen,â said he, and at length withdrew. \\n\",\n \"âIs it nothing to you, Helen? Will you swear it? Will you?â \\n \\n âNo I wonât, Mr. Huntingdon! and I will go,â cried I, not knowing whether\",\n \"herself back in one corner, while I took possession of the other. \\n \\n But that word refuge disturbed me. Had their unkindness then really \\n driven her to seek for peace in solitude? \\n\",\n \"winter garden,â said Helen, as I advanced to take leave of her, with as \\n much philosophy and self-command as I could summon to my aid. \\n \\n I gladly availed myself of such a respite, and followed her into a large\",\n \"Helenâa jest, a mere nothingânot worth a thought. Will you never learn,â \\n he continued more boldly, âthat you have nothing to fear from me? that I\",\n \"ââStay with me, Helen,â he says; âlet me hold you so: it seems as if harm \\n could not reach me while you are here. But death will comeâit is coming\",\n \"herself to keep. I had said an unjust and cruel thing; but I must needs \\n follow it up with something worse. \\n \\n âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\",\n \"âHelen, is that you?â said he. âWhy did you run away from us?â \\n \\n âGood-night, Mr. Huntingdon,â said I, coldly, not choosing to answer the\",\n \"whisper, with his eyes still fixed upon me, âWho is it?â \\n \\n âIt is Helen Huntingdon,â said I, quietly rising at the same time, and \\n removing to a less conspicuous position. \\n\",\n \"âThere now, Helen!â I said, as the approaching steps of Rachel were heard \\n in answer to the summons. There was nothing for it but to turn round and \\n desire the maid to light the fire. \\n\",\n \"âNow,â resumed he, after a momentary pause, âlet us talk about something \\n else. And come nearer to me, Helen, and take my arm; and then Iâll let\",\n \"keep them till the gentlemen came, or till Milicent arrived with her \\n mother. Little Helen, however, was soon tired of playing, and insisted \\n upon going to sleep; and while I sat on the sofa with her on my knee, and\",\n \"âWell, Iâll see about it.â \\n \\n âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let \\n me protect you!â \\n\",\n \"âWhat in the devilâs name is this, Helen?â cried he. âWhat can you be \\n driving at?â \\n \\n âYou know perfectly well. Let us waste no time in useless explanation,\",\n \"sensible that Helen was standing within a few feet of me beside the fire. \\n I dared not look at her, but I felt her eye was upon me, and from one \\n hasty, furtive glance, I thought her cheek was slightly flushed, and that\",\n \"wonderfully it was grown and improved, and to ask after the welfare of \\n its father Sancho. Mrs. Maxwell then withdrew to take off her things. \\n Helen immediately pushed the book from her, and after silently surveying\",\n \"âHelen, I can! if faith would never fail.â \\n \\n âNow, then,â exclaimed she, âwhile this hope is strong within usââ \\n\",\n \"Before I could answer she had closed the casement and turned away. I saw \\n her cast herself back in the old oak chair, and cover her face with her \\n hands. Her feelings had been wrought to a pitch that rendered it \\n necessary to seek relief in tears. \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["Who wants to receive the affection of Mrs. Graham?","What does Gilbert accuse Mrs. Graham of?","Where does Gilbert discover that Helen is rich?","Why does Helen return to Grassdale?","Who spreads rumors about Helen?","When did Helen decide to hand her diaries to Gilbert?","Why does Huntingdon become jealous of his son?","Who was having an affair with Lady Lowborough?","Where does Helen find asylum?","Who is the narrator in Part One?","Why was Mrs Helen Graham not free to marry?","What estate did Helen eventually buy?","In what estate did Helen live with Huntingdon?","Who does Gilbert believe is his chief rival?","Who is Mr Lawrence to Mrs Helen Graham?","Who does Arthur Huntingdon flirt with?","Why does Helen return to Grassdale?","Who was Gilbert Markham's first romantic interest?","When did Helen give Gilbert her diaries?","Why is Huntingdon's death painful?","What does Arthur do when he finds out about Helen's plans to leave?","Why does Helen return to Grassdale?","Who does Mr. Lawrence end up marrying?","How does Arthur corrupt his son?","Why does Eliza spread rumors about Helen?","What does Huntingdon use to manipulate Helen and convince her to marry him?","Who makes Huntingdon jealous?","Who tells Helen about Arthur's affair with Lady Lowborough?","Where does Helen find refuge?"],"string":"[\n \"Who wants to receive the affection of Mrs. Graham?\",\n \"What does Gilbert accuse Mrs. Graham of?\",\n \"Where does Gilbert discover that Helen is rich?\",\n \"Why does Helen return to Grassdale?\",\n \"Who spreads rumors about Helen?\",\n \"When did Helen decide to hand her diaries to Gilbert?\",\n \"Why does Huntingdon become jealous of his son?\",\n \"Who was having an affair with Lady Lowborough?\",\n \"Where does Helen find asylum?\",\n \"Who is the narrator in Part One?\",\n \"Why was Mrs Helen Graham not free to marry?\",\n \"What estate did Helen eventually buy?\",\n \"In what estate did Helen live with Huntingdon?\",\n \"Who does Gilbert believe is his chief rival?\",\n \"Who is Mr Lawrence to Mrs Helen Graham?\",\n \"Who does Arthur Huntingdon flirt with?\",\n \"Why does Helen return to Grassdale?\",\n \"Who was Gilbert Markham's first romantic interest?\",\n \"When did Helen give Gilbert her diaries?\",\n \"Why is Huntingdon's death painful?\",\n \"What does Arthur do when he finds out about Helen's plans to leave?\",\n \"Why does Helen return to Grassdale?\",\n \"Who does Mr. Lawrence end up marrying?\",\n \"How does Arthur corrupt his son?\",\n \"Why does Eliza spread rumors about Helen?\",\n \"What does Huntingdon use to manipulate Helen and convince her to marry him?\",\n \"Who makes Huntingdon jealous?\",\n \"Who tells Helen about Arthur's affair with Lady Lowborough?\",\n \"Where does Helen find refuge?\"\n]"},"answers":{"kind":"list like","value":[["Walter Hargrave.","Mr. Lawrence."],["He accuses her of loving Lawrence.","Loving Lawrence."],["In Grassdale.","Staningley."],["Her husband is really sick.","Her husband was ill."],["Eliza.","Eliza."],["After he accused her of loving Lawrence.","When Gilbert accuses her of loving Lawrence."],["He saw his son receive a lot of love and attention.","He takes up Helen's time "],["Arthur.","Arthur"],["At Wildfell Hall.","Wildfell Hall"],["Gilbert Markham.","Gilbert Markham."],["Because she was actually married to Arthur Huntingdon.","Her husband was ill."],["Staningley.","Staningley"],["Grassdale.","Wildfell Hall."],["Mr Lawrence.","Mr. Lawrence."],["Her brother.","her brother"],["Annabella (now Lady Lowborough).","Annabella."],["Because her husband is ill.","Her husband is ill."],["Eliza Millward.","Helen Graham"],["When Gilbert accused her of loving Mr Lawrence.","When he accuses here of loving Lawrence."],["He is afraid of what awaits him.","Because he is terrified."],["He burns her artists's tools.","Arthur burns her art tools."],["Her husband becomes ill.","Her husband is gravely ill."],["Esther Hargrave","Esther Hargrave"],["He encourages him to drink and smoke.","HE encourages his to drink and swear "],["Gilbert Markham becomes interested in Mrs. Graham.","She's jealous of Gilbert's attention to Helen"],["He flirts with Annabella.","flirting with Annabelle"],["His son.","His son, Arthur"],["Walter","Walter."],["Wildfell Hall","Staningley estate."]],"string":"[\n [\n \"Walter Hargrave.\",\n \"Mr. Lawrence.\"\n ],\n [\n \"He accuses her of loving Lawrence.\",\n \"Loving Lawrence.\"\n ],\n [\n \"In Grassdale.\",\n \"Staningley.\"\n ],\n [\n \"Her husband is really sick.\",\n \"Her husband was ill.\"\n ],\n [\n \"Eliza.\",\n \"Eliza.\"\n ],\n [\n \"After he accused her of loving Lawrence.\",\n \"When Gilbert accuses her of loving Lawrence.\"\n ],\n [\n \"He saw his son receive a lot of love and attention.\",\n \"He takes up Helen's time \"\n ],\n [\n \"Arthur.\",\n \"Arthur\"\n ],\n [\n \"At Wildfell Hall.\",\n \"Wildfell Hall\"\n ],\n [\n \"Gilbert Markham.\",\n \"Gilbert Markham.\"\n ],\n [\n \"Because she was actually married to Arthur Huntingdon.\",\n \"Her husband was ill.\"\n ],\n [\n \"Staningley.\",\n \"Staningley\"\n ],\n [\n \"Grassdale.\",\n \"Wildfell Hall.\"\n ],\n [\n \"Mr Lawrence.\",\n \"Mr. Lawrence.\"\n ],\n [\n \"Her brother.\",\n \"her brother\"\n ],\n [\n \"Annabella (now Lady Lowborough).\",\n \"Annabella.\"\n ],\n [\n \"Because her husband is ill.\",\n \"Her husband is ill.\"\n ],\n [\n \"Eliza Millward.\",\n \"Helen Graham\"\n ],\n [\n \"When Gilbert accused her of loving Mr Lawrence.\",\n \"When he accuses here of loving Lawrence.\"\n ],\n [\n \"He is afraid of what awaits him.\",\n \"Because he is terrified.\"\n ],\n [\n \"He burns her artists's tools.\",\n \"Arthur burns her art tools.\"\n ],\n [\n \"Her husband becomes ill.\",\n \"Her husband is gravely ill.\"\n ],\n [\n \"Esther Hargrave\",\n \"Esther Hargrave\"\n ],\n [\n \"He encourages him to drink and smoke.\",\n \"HE encourages his to drink and swear \"\n ],\n [\n \"Gilbert Markham becomes interested in Mrs. Graham.\",\n \"She's jealous of Gilbert's attention to Helen\"\n ],\n [\n \"He flirts with Annabella.\",\n \"flirting with Annabelle\"\n ],\n [\n \"His son.\",\n \"His son, Arthur\"\n ],\n [\n \"Walter\",\n \"Walter.\"\n ],\n [\n \"Wildfell Hall\",\n \"Staningley estate.\"\n ]\n]"},"document_id":{"kind":"string","value":"4e959a5d22e1968a1950ac836a1ba0cc3edffa41"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":70,"cells":{"text":{"kind":"list like","value":[["Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","than Virginia had been in hers. He had written three volumes on the \n origin of life, which he had spent seven years in looking for in \n infusions of hay and cheese; he had written five volumes on the entozoa","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","Virginia meanwhile ate _paté de foie gras_, of which she was \n passionately fond; and, growing a little less sullen, she at last \n admitted that they were lucky in having at least the necessaries of life","Virginia was preparing, with a rueful face, to resume her enjoyment of \n the higher pleasures, when a horrible smell, like that of an open drain, \n was suddenly blown in through the window. \n","in on him. He remembered that as one of his most revered masters, \n Professor Tyndall, had admitted, a great part of Humanity would always \n need a religion, and that Virginia now had none. He at once rushed back","had seen so much of the world lately, that he soon recovered himself, \n and recollecting that immorality was only ignorance, he began to show \n Virginia where her error lay---her one remaining error. 'I perceive,' he","Paul came back, to Virginia's extreme relief, without the missing link. \n But he was still radiant in spite of his failure; for he had discovered, \n he said, a place where the creature had apparently slept, and he had","provisions, books, and china ornaments were carried up to the cottage \n and bestowed in proper places. Virginia filled the glasses in the \n drawing-room with gorgeous leaves and flowers and declared by the \n evening, as she looked round her, that she could almost fancy herself in","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;","may be,\" says that great teacher, \"that the object of a man's religion \n is an ideal of sensual enjoyment, or----\"' \n \n 'Ah!' cried Virginia, 'that is my religion, Paul.' \n","'Now--,' exclaimed Virginia, with a beating heart. \n \n The Professor put his hand in his pocket, and drew slowly forth from it \n an object which Virginia knew well. It reminded her of the most innocent","Virginia saw that there was no help for it. She did her sums by herself \n the whole morning, which, as at school she had been very good at \n arithmetic, was not a hard task for her, and Paul magnified parasites in","The Professor talked like this to Virginia the whole morning; but in \n spite of all his arguments, she declined to be comforted. 'It is all \n very well,' she said, 'whilst you are in the way. But as soon as your","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","to men they will at once leave all and follow them.' \n \n 'They must be very nice pleasures,' said Virginia, 'if they would make \n me leave kissing you for the sake of them.' \n","enlightened. Progress will now go on smoothly.' \n \n At this moment Virginia came out, having rapidly recovered composure at \n the sound of a new man's voice. \n","thus studying human nature; and he began asking Virginia if her \n discoveries belonged to the domain of historical or biological science. \n Meanwhile Virginia had flung herself on her knees before him, and was \n exclaiming, in piteous accents-- \n","again, and as Virginia still continued her fascinating behaviour to him, \n he resolved to try and prove to her that, the test of morality being \n happiness, the most moral thing she could do would be to allow him to"],["'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","He married, at the age of forty, an excellent evangelical lady, ten \n years his senior, who wore a green gown, grey corkscrew curls, and who \n had a fortune of two hundred thousand pounds. Deeply pledged though she","CHAPTER XI. \n \n \n At dinner, however, things wore a more promising aspect. The curate had \n been so terrified by the Professor's threats, that he hardly dared to so \n much as look at Virginia; and to make up for it, he drank and drank","In another moment the male figure exclaimed, 'Thank God, it is she!' \n \n 'My husband!' gasped Virginia. \n \n 'My wife!' replied the bishop, for it was none other than he. 'Welcome","Virginia saw that there was no help for it. She did her sums by herself \n the whole morning, which, as at school she had been very good at \n arithmetic, was not a hard task for her, and Paul magnified parasites in","little reflection must inevitably convince him that he does not really \n care to kiss you, and that it would give him very little real pleasure \n to do so.' \n \n 'Stuff!' exclaimed Virginia, with a sudden vigour at which the Professor","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \n read all your letters; I looked at your early photographs; I saw all \n your beautiful prayers.' \n \n 'You broke open my box!' cried the Professor. 'You read my letters and","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","being, it will be my mission and my glory to compel you to live for me. \n And then, as modern philosophy can demonstrate, we shall both of us be \n significantly and unspeakably happy.' \n \n For a few moments Virginia merely stared at Paul. Suddenly she turned","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","'Now--,' exclaimed Virginia, with a beating heart. \n \n The Professor put his hand in his pocket, and drew slowly forth from it \n an object which Virginia knew well. It reminded her of the most innocent","CHAPTER XVI. \n \n \n No one now could possibly be more emancipated than Virginia. She \n tittered all day long and whenever the Professor asked her why, she \n always told him she was thinking of 'an intelligent First Cause,' a","Matters went on like this for several days. The curate was too much \n frightened to again approach Virginia. Virginia at last became convinced \n that he did not care about kissing her. Her vanity was wounded, and she","When he came back to the cottage he found Virginia just getting off the \n sofa, and preparing to go to bed. She was too sleepy even to say \n good-night to him, and with evident want of temper was tugging at the","buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \n 'if God, in His infinite mercy, had only spared my maid!' \n \n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her"],["his South Pacific diocese of the Chasuble Islands, to prepare a home for \n his bride, who was to follow him by the next steamer. \n \n Professor Paul Darnley, in his own walk of life, was even more famous","personages than Professor Paul Darnley and the superb Virginia St. \n John. \n \n \n \n \n CHAPTER II. \n \n \n Miss St. John had, for at least six years, been the most renowned woman","was to the most vapid figments of Christianity, Mrs. Darnley was yet \n proud beyond measure of her husband's worldwide fame, for she did but \n imperfectly understand the grounds of it. Indeed, the only thing that","voice to a whisper, 'are you quite sure, Paul, that it is perfectly \n moral?' \n \n 'Moral!' echoed the Professor, 'moral! Why, exact thought shows us that \n it is the very essence of all morality!' \n \n \n","'The nasty little beast!' said Virginia to the Professor, 'he is nearly \n always drunk. I am beginning quite to like you, Paul, by comparison \n with him. Let us turn him out, and not let him live in the cottage.' \n","marred her happiness was the single tenet of his that she had really \n mastered. This, unluckily, was that he disbelieved in hell. And so, as \n Mrs. Darnley conceived that that place was designed mainly to hold those","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","A radiant expression suffused the face of the Professor. 'See,' he said \n to Virginia, 'the curate's conversion is already half accomplished. In a \n few hours more he will be rational, he will be moral, he will be \n solemnly and significantly happy.'","to Chasuble Island. By the blessing of God it is on your own home you \n have been wrecked, and you have been living in the very house that I had \n intended to prepare for you. Providentially, too, Professor Darnley's","The Professor, like most serious thinkers, knew but little of that \n trifle commonly called 'the world.' He had never kissed any one except \n his wife; even that he did as seldom as possible; and the curate lying","The Professor at once began a long, low howling. Virginia joined him, \n until she was out of breath. \n \n 'Oh, Paul,' she said at last, 'is this more rational than the Lord's \n Prayer?' \n","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her","'I was but propounding a theory--an opinion,' gasped the curate. 'Surely \n thought is free. You will not persecute me for my opinions?' \n \n 'It is not for your opinions,' said the Professor, 'but for the","CHAPTER XIV. \n \n \n Matters now went on charmingly. All existence seemed to take a richer \n colouring, and there was something, Paul said, which, in Professor","angry with us for pretending that we do not believe on Him.' \n \n The Professor was as white as a sheet; but he struggled with his \n perturbation manfully. \n","'It is nothing,' cried Paul; 'it cannot possibly be anything. I protest, \n in the name of science, that it is an optical delusion.' \n \n Suddenly the female figure exclaimed, 'Thank God, it is he!' \n","The Professor caught hold of the curate's coat-tails, and forcibly \n pulled him back into his seat. \n \n 'If you dare attempt it,' he said, 'I will kick you soundly, and,","little!--we know about it. Is it not solemn, and sublime, and awful? \n Come let us howl again.' \n \n The Professor's devotional fervour grew every moment. At last he put his","only to make the silence audible. The Professor paused close beside \n Virginia, and took her hand. Virginia liked that, and thought that \n religion without theology was not perhaps so bad after all. Meanwhile \n Paul had fixed his eyes on the moon. Then, in a voice almost broken with","shocking, immoral man! you will feel miserable enough then.' \n \n The curate was a terrible coward, and very weak as well. 'You are a \n great hulking fellow,' he said, eyeing the Professor; 'and I am of a"],["than Virginia had been in hers. He had written three volumes on the \n origin of life, which he had spent seven years in looking for in \n infusions of hay and cheese; he had written five volumes on the entozoa","was to the most vapid figments of Christianity, Mrs. Darnley was yet \n proud beyond measure of her husband's worldwide fame, for she did but \n imperfectly understand the grounds of it. Indeed, the only thing that","marred her happiness was the single tenet of his that she had really \n mastered. This, unluckily, was that he disbelieved in hell. And so, as \n Mrs. Darnley conceived that that place was designed mainly to hold those","his South Pacific diocese of the Chasuble Islands, to prepare a home for \n his bride, who was to follow him by the next steamer. \n \n Professor Paul Darnley, in his own walk of life, was even more famous","of the pig, and two volumes of lectures, as a corollary to these, on the \n sublimity of human heroism and the whole duty of man. He was renowned \n all over Europe and America as a complete embodiment of enlightened","personages than Professor Paul Darnley and the superb Virginia St. \n John. \n \n \n \n \n CHAPTER II. \n \n \n Miss St. John had, for at least six years, been the most renowned woman","present to us under the guise of a manufacturer of atoms, turns out \n annually, for England and Wales alone, a quarter of a million of new \n souls. Taken in connection with the dictum of Mr. Carlyle, that this","Next morning the curate began studying a number of essays that the \n Professor lent him, all written by exact thinkers, who disbelieved in \n God, and thought Humanity adorable, and most important. Virginia lay on","came back to luncheon, having been unsuccessful in his search. Events \n had marched quickly in his absence. Virginia was at the beginning of her \n third volume; and the curate had skimmed over so many essays, that he","The more she read, the more eager she became; and the more private \n appeared the nature of the documents, the more insatiable did her \n thirst for truth grow. To her extreme surprise, she gathered that the \n Professor had begun life as a clergyman. There were several photographs","He married, at the age of forty, an excellent evangelical lady, ten \n years his senior, who wore a green gown, grey corkscrew curls, and who \n had a fortune of two hundred thousand pounds. Deeply pledged though she","inclinations, you can really care for nothing so much as doing a few \n sums. I will set you some very easy ones to begin with, and you shall do \n them by yourself, whilst I magnify in the next room the parasites of the \n missing link.' \n","collected in a card-paper box a large number of its parasites. \n \n 'I am glad,' said Virginia, 'that you have not found the missing link: \n though as to thinking that we really came from monkeys, of course that","for a third time in the sea, and that he was then snapped up by a shark. \n But he is as much alive as ever in his posthumous activities. He has \n made you wretched after him; and that is his future life. Become an","brooding, and he at last suggested to his medical man that a voyage \n round the world, unaccompanied by his wife, was the prescription most \n needed by his failing patience. Mrs. Darnley at length consented with a","'No,' said the Professor; 'for he is one third of Humanity. You do not \n properly appreciate the solidarity of mankind. His existence, however, I \n admit is a great difficulty.' \n","to Chasuble Island. By the blessing of God it is on your own home you \n have been wrecked, and you have been living in the very house that I had \n intended to prepare for you. Providentially, too, Professor Darnley's","will command all the luxuries of civilisation--the glorious fruits of \n centuries of onward labour.' \n \n The three spent a very busy morning in examining and unpacking the \n luggage. The Professor found his favourite collection of modern","the sofa, and sighed over one of Miss Broughton's novels; and it \n occurred to the Professor that the island was just the place where, if \n anywhere, the missing link might be found. \n","completely astounded by an occurrence so unnatural, and exclaimed in a \n voice of thunder, 'Morality, sir--remember morality! How dare you upset \n that which Professor Huxley tells us must be for ever strong enough to \n hold its own?' \n"],["the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","the surest marks of the enervating influence of this dream of a \n celestial glory.\"' The Professor accordingly re-delivered to Virginia \n the entire substance of his lectures in the ship. He fully impressed on","_THE NEW PAUL AND VIRGINIA._ \n \n \n \n \n CHAPTER I. \n \n \n The magnificent ocean-steamer the _Australasian_ was bound for England,","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","promised to pray till his return for his recovery of a faith in hell. \n \n The Professor, who had but exceeded his time by six months, was now on \n board the _Australasian_, homeward bound to his wife. Virginia was \n outward bound to her husband.","Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","on her homeward voyage from Melbourne, carrying Her Majesty's mails and \n ninety-eight first-class passengers. Never did vessel start under \n happier auspices. The skies were cloudless; the sea was smooth as glass.","it, till, examining the structure more closely, he found it composed \n mainly of a ship's timbers. This seemed to tell its own tale, and he at \n once concluded that he and Virginia were not the first castaways who had","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","with her a beautiful vesper hymn. Nor did the matter end here, for the \n strains sounded so lovely, and Virginia looked so devotional, that most \n of the passengers the night after joined in a repetition of this \n touching evening office. \n","provisions, books, and china ornaments were carried up to the cottage \n and bestowed in proper places. Virginia filled the glasses in the \n drawing-room with gorgeous leaves and flowers and declared by the \n evening, as she looked round her, that she could almost fancy herself in","enlightened. Progress will now go on smoothly.' \n \n At this moment Virginia came out, having rapidly recovered composure at \n the sound of a new man's voice. \n","The Professor remained away for three days. For the first two of them \n Virginia was inconsolable. She wandered about mournfully with her head \n dejected. She very often sighed; she very often uttered the name of","resolved that next day he would preach them a lay-sermon. \n \n At the appointed time the passengers gathered eagerly round him--all but \n Virginia, who retired to her cabin when she saw that the preacher wore","'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","Virginia saw that there was no help for it. She did her sums by herself \n the whole morning, which, as at school she had been very good at \n arithmetic, was not a hard task for her, and Paul magnified parasites in","Virginia licked her lips and said, 'Nonsense!' \n \n 'It is not nonsense,' said the Professor. 'It is the religion of \n Humanity.' \n \n All day they were busy, and the time passed pleasantly enough. Wines,","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","In another moment the male figure exclaimed, 'Thank God, it is she!' \n \n 'My husband!' gasped Virginia. \n \n 'My wife!' replied the bishop, for it was none other than he. 'Welcome","Evening fell on the ship with a soft warm witchery. The air grew purple, \n and the waves began to glitter in the moonlight. The passengers gathered \n in knots upon the deck, and the distinguished strangers were still the"],["on her homeward voyage from Melbourne, carrying Her Majesty's mails and \n ninety-eight first-class passengers. Never did vessel start under \n happier auspices. The skies were cloudless; the sea was smooth as glass.","Evening fell on the ship with a soft warm witchery. The air grew purple, \n and the waves began to glitter in the moonlight. The passengers gathered \n in knots upon the deck, and the distinguished strangers were still the","Nor was the advice premature. A storm arose, exceptional in its \n suddenness and its fury. It raged for two days without ceasing. The \n _Australasian_ sprang a leak; her steering gear was disabled; and it was","No sooner were the ship's damages in a fair way to be repaired than the \n Professor resumed his sermon. He climbed into the cutter, which was \n still full of the passengers' baggage, and sat down on the largest of","promised to pray till his return for his recovery of a faith in hell. \n \n The Professor, who had but exceeded his time by six months, was now on \n board the _Australasian_, homeward bound to his wife. Virginia was \n outward bound to her husband.","feared she would go ashore on an island that was seen dimly through the \n fog to the leeward. The boats were got in readiness. A quantity of \n provisions and of the passengers' baggage was already stowed in the","and on seeing five sailors sink within three yards of her, she fainted \n dead away. The Professor begged her not to take it so much to heart, as \n these were the very men who had got the cutter in readiness; 'and they","it, till, examining the structure more closely, he found it composed \n mainly of a ship's timbers. This seemed to tell its own tale, and he at \n once concluded that he and Virginia were not the first castaways who had","The Professor would have proceeded, but the weather had been rapidly \n growing rough, and he here became violently sea-sick. \n \n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \n below.' \n","There was not a sound of sickness to be heard anywhere; and when \n dinner-time came there was not a single absentee nor an appetite \n wanting. \n \n But the passengers soon discovered they were lucky in more than weather.","utmost misery. They soon recognised her as one of the passengers on the \n ship. She told them how she had been floated ashore on a spar, and how \n she had been sustained by a little roast pig, that kindly begged her to","the surest marks of the enervating influence of this dream of a \n celestial glory.\"' The Professor accordingly re-delivered to Virginia \n the entire substance of his lectures in the ship. He fully impressed on","The Professor, as was natural, held quite aloof, and pondered over a new \n species of bug, which he had found very plentiful in his berth. But it \n soon occurred to him that he often heard the name of God being uttered","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","_THE NEW PAUL AND VIRGINIA._ \n \n \n \n \n CHAPTER I. \n \n \n The magnificent ocean-steamer the _Australasian_ was bound for England,","brooding, and he at last suggested to his medical man that a voyage \n round the world, unaccompanied by his wife, was the prescription most \n needed by his failing patience. Mrs. Darnley at length consented with a","He would have said more, but he was here startled by a piteous noise of \n crying, and the three found themselves confronted by an old woman \n dripping with sea-water, and with an expression on her face of the","_Australasian_ went down. In an instant the air was rent with yells and \n cries; and all the Humanity that was on board the vessel was busy, as \n the Professor expressed it, uniting itself with the infinite azure of","CHAPTER III. \n \n \n The sensation created by the presence of these two celebrities was \n profound beyond description; and the passengers were never weary of \n watching the gleaming spectacles and the square-toed boots of the one,"],["on her homeward voyage from Melbourne, carrying Her Majesty's mails and \n ninety-eight first-class passengers. Never did vessel start under \n happier auspices. The skies were cloudless; the sea was smooth as glass.","Evening fell on the ship with a soft warm witchery. The air grew purple, \n and the waves began to glitter in the moonlight. The passengers gathered \n in knots upon the deck, and the distinguished strangers were still the","No sooner were the ship's damages in a fair way to be repaired than the \n Professor resumed his sermon. He climbed into the cutter, which was \n still full of the passengers' baggage, and sat down on the largest of","Nor was the advice premature. A storm arose, exceptional in its \n suddenness and its fury. It raged for two days without ceasing. The \n _Australasian_ sprang a leak; her steering gear was disabled; and it was","promised to pray till his return for his recovery of a faith in hell. \n \n The Professor, who had but exceeded his time by six months, was now on \n board the _Australasian_, homeward bound to his wife. Virginia was \n outward bound to her husband.","The Professor would have proceeded, but the weather had been rapidly \n growing rough, and he here became violently sea-sick. \n \n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \n below.' \n","and on seeing five sailors sink within three yards of her, she fainted \n dead away. The Professor begged her not to take it so much to heart, as \n these were the very men who had got the cutter in readiness; 'and they","the surest marks of the enervating influence of this dream of a \n celestial glory.\"' The Professor accordingly re-delivered to Virginia \n the entire substance of his lectures in the ship. He fully impressed on","feared she would go ashore on an island that was seen dimly through the \n fog to the leeward. The boats were got in readiness. A quantity of \n provisions and of the passengers' baggage was already stowed in the","The Professor, as was natural, held quite aloof, and pondered over a new \n species of bug, which he had found very plentiful in his berth. But it \n soon occurred to him that he often heard the name of God being uttered","utmost misery. They soon recognised her as one of the passengers on the \n ship. She told them how she had been floated ashore on a spar, and how \n she had been sustained by a little roast pig, that kindly begged her to","There was not a sound of sickness to be heard anywhere; and when \n dinner-time came there was not a single absentee nor an appetite \n wanting. \n \n But the passengers soon discovered they were lucky in more than weather.","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","it, till, examining the structure more closely, he found it composed \n mainly of a ship's timbers. This seemed to tell its own tale, and he at \n once concluded that he and Virginia were not the first castaways who had","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","_Australasian_ went down. In an instant the air was rent with yells and \n cries; and all the Humanity that was on board the vessel was busy, as \n the Professor expressed it, uniting itself with the infinite azure of","brooding, and he at last suggested to his medical man that a voyage \n round the world, unaccompanied by his wife, was the prescription most \n needed by his failing patience. Mrs. Darnley at length consented with a","CHAPTER III. \n \n \n The sensation created by the presence of these two celebrities was \n profound beyond description; and the passengers were never weary of \n watching the gleaming spectacles and the square-toed boots of the one,","He would have said more, but he was here startled by a piteous noise of \n crying, and the three found themselves confronted by an old woman \n dripping with sea-water, and with an expression on her face of the","was snapped up by a shark. Our friends, meanwhile, borne by a current, \n had been drifting rapidly towards the island. And the Professor, \n spreading to the breeze Virginia's beautiful lace parasol, soon brought"],["Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","enlightened. Progress will now go on smoothly.' \n \n At this moment Virginia came out, having rapidly recovered composure at \n the sound of a new man's voice. \n","'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","Virginia was preparing, with a rueful face, to resume her enjoyment of \n the higher pleasures, when a horrible smell, like that of an open drain, \n was suddenly blown in through the window. \n","provisions, books, and china ornaments were carried up to the cottage \n and bestowed in proper places. Virginia filled the glasses in the \n drawing-room with gorgeous leaves and flowers and declared by the \n evening, as she looked round her, that she could almost fancy herself in","had seen so much of the world lately, that he soon recovered himself, \n and recollecting that immorality was only ignorance, he began to show \n Virginia where her error lay---her one remaining error. 'I perceive,' he","to men they will at once leave all and follow them.' \n \n 'They must be very nice pleasures,' said Virginia, 'if they would make \n me leave kissing you for the sake of them.' \n","in on him. He remembered that as one of his most revered masters, \n Professor Tyndall, had admitted, a great part of Humanity would always \n need a religion, and that Virginia now had none. He at once rushed back","When he came back to the cottage he found Virginia just getting off the \n sofa, and preparing to go to bed. She was too sleepy even to say \n good-night to him, and with evident want of temper was tugging at the","The Professor talked like this to Virginia the whole morning; but in \n spite of all his arguments, she declined to be comforted. 'It is all \n very well,' she said, 'whilst you are in the way. But as soon as your","poor Professor was horrified at the sight of a human being in this \n degrading attitude of superstition. But as Virginia quitted it with \n alacrity as soon as ever he told his news to her, he hoped he might soon","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","Virginia saw that there was no help for it. She did her sums by herself \n the whole morning, which, as at school she had been very good at \n arithmetic, was not a hard task for her, and Paul magnified parasites in","being, it will be my mission and my glory to compel you to live for me. \n And then, as modern philosophy can demonstrate, we shall both of us be \n significantly and unspeakably happy.' \n \n For a few moments Virginia merely stared at Paul. Suddenly she turned","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;","The Professor remained away for three days. For the first two of them \n Virginia was inconsolable. She wandered about mournfully with her head \n dejected. She very often sighed; she very often uttered the name of","promised to pray till his return for his recovery of a faith in hell. \n \n The Professor, who had but exceeded his time by six months, was now on \n board the _Australasian_, homeward bound to his wife. Virginia was \n outward bound to her husband.","The shrill accents acted like a charm upon Paul. He sprang away from the \n creature that he had been just caressing. He gazed for a moment on \n Virginia's lovely form, her exquisite toilette, and her melting eyes."],["Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","than Virginia had been in hers. He had written three volumes on the \n origin of life, which he had spent seven years in looking for in \n infusions of hay and cheese; he had written five volumes on the entozoa","personages than Professor Paul Darnley and the superb Virginia St. \n John. \n \n \n \n \n CHAPTER II. \n \n \n Miss St. John had, for at least six years, been the most renowned woman","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;","had seen so much of the world lately, that he soon recovered himself, \n and recollecting that immorality was only ignorance, he began to show \n Virginia where her error lay---her one remaining error. 'I perceive,' he","Virginia meanwhile ate _paté de foie gras_, of which she was \n passionately fond; and, growing a little less sullen, she at last \n admitted that they were lucky in having at least the necessaries of life","Virginia was preparing, with a rueful face, to resume her enjoyment of \n the higher pleasures, when a horrible smell, like that of an open drain, \n was suddenly blown in through the window. \n","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","may be,\" says that great teacher, \"that the object of a man's religion \n is an ideal of sensual enjoyment, or----\"' \n \n 'Ah!' cried Virginia, 'that is my religion, Paul.' \n","again, and as Virginia still continued her fascinating behaviour to him, \n he resolved to try and prove to her that, the test of morality being \n happiness, the most moral thing she could do would be to allow him to","The Professor talked like this to Virginia the whole morning; but in \n spite of all his arguments, she declined to be comforted. 'It is all \n very well,' she said, 'whilst you are in the way. But as soon as your","Virginia saw that there was no help for it. She did her sums by herself \n the whole morning, which, as at school she had been very good at \n arithmetic, was not a hard task for her, and Paul magnified parasites in","'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \n be relieved from the higher pleasures. Alas!' she cried, as she flung \n herself down on the sofa, 'he is so nice-looking, and such an","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","in on him. He remembered that as one of his most revered masters, \n Professor Tyndall, had admitted, a great part of Humanity would always \n need a religion, and that Virginia now had none. He at once rushed back","thus studying human nature; and he began asking Virginia if her \n discoveries belonged to the domain of historical or biological science. \n Meanwhile Virginia had flung herself on her knees before him, and was \n exclaiming, in piteous accents-- \n","The shrill accents acted like a charm upon Paul. He sprang away from the \n creature that he had been just caressing. He gazed for a moment on \n Virginia's lovely form, her exquisite toilette, and her melting eyes.","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","to men they will at once leave all and follow them.' \n \n 'They must be very nice pleasures,' said Virginia, 'if they would make \n me leave kissing you for the sake of them.' \n"],["marred her happiness was the single tenet of his that she had really \n mastered. This, unluckily, was that he disbelieved in hell. And so, as \n Mrs. Darnley conceived that that place was designed mainly to hold those","brooding, and he at last suggested to his medical man that a voyage \n round the world, unaccompanied by his wife, was the prescription most \n needed by his failing patience. Mrs. Darnley at length consented with a","his South Pacific diocese of the Chasuble Islands, to prepare a home for \n his bride, who was to follow him by the next steamer. \n \n Professor Paul Darnley, in his own walk of life, was even more famous","'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \n be relieved from the higher pleasures. Alas!' she cried, as she flung \n herself down on the sofa, 'he is so nice-looking, and such an","'The nasty little beast!' said Virginia to the Professor, 'he is nearly \n always drunk. I am beginning quite to like you, Paul, by comparison \n with him. Let us turn him out, and not let him live in the cottage.' \n","back is turned, I know he will be at me again.' \n \n 'Will you never,' said Paul, by this time a little irritated, 'will you \n never listen to exact thought? The curate is now reflecting; and a","to Chasuble Island. By the blessing of God it is on your own home you \n have been wrecked, and you have been living in the very house that I had \n intended to prepare for you. Providentially, too, Professor Darnley's","buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \n 'if God, in His infinite mercy, had only spared my maid!' \n \n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'","enlightened thinker. But it is plain he has never loved, or else very \n certainly he would love again.' \n \n Paul returned in about a couple of hours, again unsuccessful in his \n search. \n","curate had foregone every attempt to kiss Virginia, and yet apparently \n he was happiness itself; and Paul took him aside, as soon as the meal \n was over, to congratulate him on the holy state to which exact thought","was to the most vapid figments of Christianity, Mrs. Darnley was yet \n proud beyond measure of her husband's worldwide fame, for she did but \n imperfectly understand the grounds of it. Indeed, the only thing that","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","One day at dinner-time, shortly afterwards, Paul came in radiant. \n \n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \n \n Virginia inquired anxiously what had happened, and Paul informed her","Matters went on like this for several days. The curate was too much \n frightened to again approach Virginia. Virginia at last became convinced \n that he did not care about kissing her. Her vanity was wounded, and she","When he came back to the cottage he found Virginia just getting off the \n sofa, and preparing to go to bed. She was too sleepy even to say \n good-night to him, and with evident want of temper was tugging at the","Paul came back, to Virginia's extreme relief, without the missing link. \n But he was still radiant in spite of his failure; for he had discovered, \n he said, a place where the creature had apparently slept, and he had","caught sight in the cutter of the largest of her own boxes, and she \n began to recover herself. Paul begged her to remain quiet whilst he went \n to reconnoitre. \n \n He had hardly proceeded twenty yards into the valley, when to his","whispered, with a soft smile-- \n \n 'Suppose we put that nasty microscope aside; it is only in the way. And \n then, oh, Paul; dear love, dove of a Paul! we can kiss each other to our \n heart's content.' \n","The shrill accents acted like a charm upon Paul. He sprang away from the \n creature that he had been just caressing. He gazed for a moment on \n Virginia's lovely form, her exquisite toilette, and her melting eyes.","that, as Paul said, he really did not so much care to kiss her after \n all. She, therefore, put on all her most enticing ways; she talked, \n flirted, and smiled her best, and made her most effective eyes, that the"],["Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","The Professor talked like this to Virginia the whole morning; but in \n spite of all his arguments, she declined to be comforted. 'It is all \n very well,' she said, 'whilst you are in the way. But as soon as your","enlightened. Progress will now go on smoothly.' \n \n At this moment Virginia came out, having rapidly recovered composure at \n the sound of a new man's voice. \n","had seen so much of the world lately, that he soon recovered himself, \n and recollecting that immorality was only ignorance, he began to show \n Virginia where her error lay---her one remaining error. 'I perceive,' he","When he came back to the cottage he found Virginia just getting off the \n sofa, and preparing to go to bed. She was too sleepy even to say \n good-night to him, and with evident want of temper was tugging at the","'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","Virginia was preparing, with a rueful face, to resume her enjoyment of \n the higher pleasures, when a horrible smell, like that of an open drain, \n was suddenly blown in through the window. \n","in on him. He remembered that as one of his most revered masters, \n Professor Tyndall, had admitted, a great part of Humanity would always \n need a religion, and that Virginia now had none. He at once rushed back","promised to pray till his return for his recovery of a faith in hell. \n \n The Professor, who had but exceeded his time by six months, was now on \n board the _Australasian_, homeward bound to his wife. Virginia was \n outward bound to her husband.","The Professor remained away for three days. For the first two of them \n Virginia was inconsolable. She wandered about mournfully with her head \n dejected. She very often sighed; she very often uttered the name of","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","poor Professor was horrified at the sight of a human being in this \n degrading attitude of superstition. But as Virginia quitted it with \n alacrity as soon as ever he told his news to her, he hoped he might soon","'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \n be relieved from the higher pleasures. Alas!' she cried, as she flung \n herself down on the sofa, 'he is so nice-looking, and such an","buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \n 'if God, in His infinite mercy, had only spared my maid!' \n \n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'","Matters went on like this for several days. The curate was too much \n frightened to again approach Virginia. Virginia at last became convinced \n that he did not care about kissing her. Her vanity was wounded, and she","'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \n read all your letters; I looked at your early photographs; I saw all \n your beautiful prayers.' \n \n 'You broke open my box!' cried the Professor. 'You read my letters and","provisions, books, and china ornaments were carried up to the cottage \n and bestowed in proper places. Virginia filled the glasses in the \n drawing-room with gorgeous leaves and flowers and declared by the \n evening, as she looked round her, that she could almost fancy herself in"],["He would have said more, but he was here startled by a piteous noise of \n crying, and the three found themselves confronted by an old woman \n dripping with sea-water, and with an expression on her face of the","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","will become unspeakably happy.' \n \n Meanwhile, however, the old woman had died. When the Professor \n discovered this he was somewhat shocked; but at length with a sudden \n change of countenance, 'We neither of us did it,' he exclaimed; 'her","she has made us happy by dying so very opportunely. Let us speak well of \n the dead. Her death has been a holy and a blessed one. She has conformed \n to the laws of matter. Thus is unhappiness destined to fade out of the","indeed you? Thank God!----I beg pardon for my unspeakable blasphemy--I \n mean, thank circumstances over which I have no control.' \n \n It was one of the three curates, whom Paul had supposed drowned, but who","hand to his mouth, and began hooting like an owl, till it seemed that \n all the island echoed to him. The louder Paul hooted and howled, the \n more near did he draw to Virginia. \n","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","now related how he had managed to swim ashore, despite the extreme \n length of his black clerical coat. 'These rags of superstition,' he \n said, 'did their best to drown me. But I survive in spite of them, to","back is turned, I know he will be at me again.' \n \n 'Will you never,' said Paul, by this time a little irritated, 'will you \n never listen to exact thought? The curate is now reflecting; and a","world. A fourth part of Humanity is now miserable.' \n \n The curate answered promptly that if no restoratives were given her, \n she would probably die in a few minutes. 'And to let her die,' he said,","The Professor at once began a long, low howling. Virginia joined him, \n until she was out of breath. \n \n 'Oh, Paul,' she said at last, 'is this more rational than the Lord's \n Prayer?' \n","'Yes,' said the curate, 'we are well rid of her. She was an immoral old \n woman, for happiness is the test of morality, and she was very unhappy.' \n \n 'On the contrary,' said the Professor, 'she was a moral old woman; for","will make the old woman happy, and therefore fit to live. Old woman,' he \n exclaimed, 'let me beg you to consider this. You are yourself by your \n own unhappiness expiating your son's sins. Do but think of that, and you","curate had foregone every attempt to kiss Virginia, and yet apparently \n he was happiness itself; and Paul took him aside, as soon as the meal \n was over, to congratulate him on the holy state to which exact thought","'You are a priest, Paul,' said Virginia; 'that is one of the things I \n have discovered. I am in a state of deadly sin; that is the other: and I \n must and will confess to you. Once a priest, always a priest. You cannot","'Well,' said Virginia, 'since we have a clergyman amongst us, we shall \n perhaps be able to get on.' \n \n \n \n \n CHAPTER VII. \n \n \n Things now took a better turn. The Professor ceased to feel shy; and","only to make the silence audible. The Professor paused close beside \n Virginia, and took her hand. Virginia liked that, and thought that \n religion without theology was not perhaps so bad after all. Meanwhile \n Paul had fixed his eyes on the moon. Then, in a voice almost broken with","buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \n 'if God, in His infinite mercy, had only spared my maid!' \n \n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'"],["that the curate, who had got more drunk than usual that afternoon, had \n fallen over a cliff, and been dashed to pieces. \n \n 'What event,' he asked, 'could be more charming more unspeakably holy?","now related how he had managed to swim ashore, despite the extreme \n length of his black clerical coat. 'These rags of superstition,' he \n said, 'did their best to drown me. But I survive in spite of them, to","'Well,' said Virginia, 'since we have a clergyman amongst us, we shall \n perhaps be able to get on.' \n \n \n \n \n CHAPTER VII. \n \n \n Things now took a better turn. The Professor ceased to feel shy; and","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","will become unspeakably happy.' \n \n Meanwhile, however, the old woman had died. When the Professor \n discovered this he was somewhat shocked; but at length with a sudden \n change of countenance, 'We neither of us did it,' he exclaimed; 'her","indeed you? Thank God!----I beg pardon for my unspeakable blasphemy--I \n mean, thank circumstances over which I have no control.' \n \n It was one of the three curates, whom Paul had supposed drowned, but who","was snapped up by a shark. Our friends, meanwhile, borne by a current, \n had been drifting rapidly towards the island. And the Professor, \n spreading to the breeze Virginia's beautiful lace parasol, soon brought","to him not to be afraid of death, as there was certainly no hell, and \n that his life, no matter how degraded and miserable, had been a glorious \n mystery, full of infinite significance. The next moment the struggler","to Chasuble Island. By the blessing of God it is on your own home you \n have been wrecked, and you have been living in the very house that I had \n intended to prepare for you. Providentially, too, Professor Darnley's","asked what was amiss with him. 'I am agonising,' he said, 'for the sake \n of holy, solemn, unspeakably dignified Humanity.' \n \n The curate, seeing the Professor thus dejected, by degrees took heart","world. A fourth part of Humanity is now miserable.' \n \n The curate answered promptly that if no restoratives were given her, \n she would probably die in a few minutes. 'And to let her die,' he said,","A radiant expression suffused the face of the Professor. 'See,' he said \n to Virginia, 'the curate's conversion is already half accomplished. In a \n few hours more he will be rational, he will be moral, he will be \n solemnly and significantly happy.'","little!--we know about it. Is it not solemn, and sublime, and awful? \n Come let us howl again.' \n \n The Professor's devotional fervour grew every moment. At last he put his","shocking, immoral man! you will feel miserable enough then.' \n \n The curate was a terrible coward, and very weak as well. 'You are a \n great hulking fellow,' he said, eyeing the Professor; 'and I am of a","he? Have you seen him? Are you sure that he is living?' \n \n 'I am sure of it,' said the Professor, 'because enlightened thought \n shows me that he cannot be anything else. It is true that I saw him sink","in on him. He remembered that as one of his most revered masters, \n Professor Tyndall, had admitted, a great part of Humanity would always \n need a religion, and that Virginia now had none. He at once rushed back","to do. He paced up and down the verandah, or about the rooms, and moaned \n and groaned as if he had a violent toothache. Virginia and the curate","She reminded him that he had preached there without a surplice, and that \n she had therefore not thought it right to listen to a word he said. \n \n 'Ah!' cried the Professor, with a sigh of intense relief, 'I see it all","the remaining and most enlightened third, will go and seek it. Glorious, \n solemn Humanity! I will go and look about for its arboreal ancestor.' \n \n Every step the Professor took he found the island more beautiful. But he","But the last glass of champagne had put the curate beyond the reach of \n exact thought. He tumbled under the table, and the Professor carried him \n off to bed. \n \n \n \n \n CHAPTER X. \n \n"],["the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","available by the Internet Archive) \n \n \n \n \n \n THE NEW PAUL AND VIRGINIA \n \n or \n \n POSITIVISM ON AN ISLAND \n \n BY \n \n W.H. MALLOCK","hand to his mouth, and began hooting like an owl, till it seemed that \n all the island echoed to him. The louder Paul hooted and howled, the \n more near did he draw to Virginia. \n","_THE NEW PAUL AND VIRGINIA._ \n \n \n \n \n CHAPTER I. \n \n \n The magnificent ocean-steamer the _Australasian_ was bound for England,","been forced to make the island for some time their dwelling-place. \n \n Overjoyed at this discovery, he hastened back to Virginia. She was by \n this time apparently quite recovered, and was kneeling on the cashmere","'See,' shrieked Virginia again, 'they are coming, they are coming. Do \n not you see them?' \n \n Paul looked, and there sure enough, were two figures, a male and a \n female, advancing slowly towards them, across the moonlit sand.","the cutter to the shore on a beach of the softest sand. \n \n \n \n \n CHAPTER V. \n \n \n The scene that met Paul's eyes was one of extreme loveliness. He found","Paul came back, to Virginia's extreme relief, without the missing link. \n But he was still radiant in spite of his failure; for he had discovered, \n he said, a place where the creature had apparently slept, and he had"," GUTENBERG EBOOK THE NEW PAUL AND VIRGINIA *** \n \n \n \n \n Produced by Christine Bell and Marc D'Hooghe at \n http://www.freeliterature.org (From images generously made","The shrill accents acted like a charm upon Paul. He sprang away from the \n creature that he had been just caressing. He gazed for a moment on \n Virginia's lovely form, her exquisite toilette, and her melting eyes.","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","tropical trees made a grateful shade, and where the ground was carpeted \n with the softest moss and turf. \n \n Paul's first care was for his fair companion. He spread a costly","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her","it, till, examining the structure more closely, he found it composed \n mainly of a ship's timbers. This seemed to tell its own tale, and he at \n once concluded that he and Virginia were not the first castaways who had","'What!' cried Paul, 'and how have you been able to forego the pleasures \n of the intellect?' \n \n 'I have deserted them,' cried Virginia, 'for the pleasures of the \n imagination, which I gathered from you were also very ennobling. And I","In another moment the male figure exclaimed, 'Thank God, it is she!' \n \n 'My husband!' gasped Virginia. \n \n 'My wife!' replied the bishop, for it was none other than he. 'Welcome","buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \n 'if God, in His infinite mercy, had only spared my maid!' \n \n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \n be relieved from the higher pleasures. Alas!' she cried, as she flung \n herself down on the sofa, 'he is so nice-looking, and such an","'Ah!' cried Paul, 'this is altruism indeed. I think already I can feel \n the sublimity beginning.' \n \n Virginia liked this rather better. But soon she committed the sin of"],["A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her","The Professor at once began a long, low howling. Virginia joined him, \n until she was out of breath. \n \n 'Oh, Paul,' she said at last, 'is this more rational than the Lord's \n Prayer?' \n","The Professor, like most serious thinkers, knew but little of that \n trifle commonly called 'the world.' He had never kissed any one except \n his wife; even that he did as seldom as possible; and the curate lying","CHAPTER XIV. \n \n \n Matters now went on charmingly. All existence seemed to take a richer \n colouring, and there was something, Paul said, which, in Professor","'The nasty little beast!' said Virginia to the Professor, 'he is nearly \n always drunk. I am beginning quite to like you, Paul, by comparison \n with him. Let us turn him out, and not let him live in the cottage.' \n","me so much happier, Paul,' she said. The Professor again assented, that \n he might make Virginia happy, and that she might be happy in knowing \n that he was happy in promoting her happiness. At last the Professor, shy","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","only to make the silence audible. The Professor paused close beside \n Virginia, and took her hand. Virginia liked that, and thought that \n religion without theology was not perhaps so bad after all. Meanwhile \n Paul had fixed his eyes on the moon. Then, in a voice almost broken with","voice to a whisper, 'are you quite sure, Paul, that it is perfectly \n moral?' \n \n 'Moral!' echoed the Professor, 'moral! Why, exact thought shows us that \n it is the very essence of all morality!' \n \n \n","One day at dinner-time, shortly afterwards, Paul came in radiant. \n \n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \n \n Virginia inquired anxiously what had happened, and Paul informed her","The Professor, as was natural, held quite aloof, and pondered over a new \n species of bug, which he had found very plentiful in his berth. But it \n soon occurred to him that he often heard the name of God being uttered","The Professor remained away for three days. For the first two of them \n Virginia was inconsolable. She wandered about mournfully with her head \n dejected. She very often sighed; she very often uttered the name of","A radiant expression suffused the face of the Professor. 'See,' he said \n to Virginia, 'the curate's conversion is already half accomplished. In a \n few hours more he will be rational, he will be moral, he will be \n solemnly and significantly happy.'","his South Pacific diocese of the Chasuble Islands, to prepare a home for \n his bride, who was to follow him by the next steamer. \n \n Professor Paul Darnley, in his own walk of life, was even more famous","Paul. At last she surprised herself by exclaiming aloud to the \n irresponsive solitude, 'Oh, Paul, until you were gone, I never knew how \n passionately I loved you.' No sooner were these words out of her mouth","The more she read, the more eager she became; and the more private \n appeared the nature of the documents, the more insatiable did her \n thirst for truth grow. To her extreme surprise, she gathered that the \n Professor had begun life as a clergyman. There were several photographs","The Professor having by some accident lost his razors, his moustaches \n had begun to grow profusely, and Virginia had watched them with a deep \n but half-conscious admiration. At last, in a happy moment, she","asked what was amiss with him. 'I am agonising,' he said, 'for the sake \n of holy, solemn, unspeakably dignified Humanity.' \n \n The curate, seeing the Professor thus dejected, by degrees took heart","'What!' cried Paul, 'and how have you been able to forego the pleasures \n of the intellect?' \n \n 'I have deserted them,' cried Virginia, 'for the pleasures of the \n imagination, which I gathered from you were also very ennobling. And I","enlightened thinker. But it is plain he has never loved, or else very \n certainly he would love again.' \n \n Paul returned in about a couple of hours, again unsuccessful in his \n search. \n"],["in on him. He remembered that as one of his most revered masters, \n Professor Tyndall, had admitted, a great part of Humanity would always \n need a religion, and that Virginia now had none. He at once rushed back","Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","may be,\" says that great teacher, \"that the object of a man's religion \n is an ideal of sensual enjoyment, or----\"' \n \n 'Ah!' cried Virginia, 'that is my religion, Paul.' \n","being, it will be my mission and my glory to compel you to live for me. \n And then, as modern philosophy can demonstrate, we shall both of us be \n significantly and unspeakably happy.' \n \n For a few moments Virginia merely stared at Paul. Suddenly she turned","'And I,' cried Virginia, with much greater tact, and rushing into the \n arms of her bishop, 'once more believe in heaven.' \n \n \n \n \n NOTES. \n \n","A radiant expression suffused the face of the Professor. 'See,' he said \n to Virginia, 'the curate's conversion is already half accomplished. In a \n few hours more he will be rational, he will be moral, he will be \n solemnly and significantly happy.'","of the future. I must now initiate you in its solemn and unspeakably \n significant worship.' \n \n 'Religion!' exclaimed Virginia, not knowing whether to laugh or cry.","Virginia licked her lips and said, 'Nonsense!' \n \n 'It is not nonsense,' said the Professor. 'It is the religion of \n Humanity.' \n \n All day they were busy, and the time passed pleasantly enough. Wines,","only to make the silence audible. The Professor paused close beside \n Virginia, and took her hand. Virginia liked that, and thought that \n religion without theology was not perhaps so bad after all. Meanwhile \n Paul had fixed his eyes on the moon. Then, in a voice almost broken with","had seen so much of the world lately, that he soon recovered himself, \n and recollecting that immorality was only ignorance, he began to show \n Virginia where her error lay---her one remaining error. 'I perceive,' he","CHAPTER XVI. \n \n \n No one now could possibly be more emancipated than Virginia. She \n tittered all day long and whenever the Professor asked her why, she \n always told him she was thinking of 'an intelligent First Cause,' a","silence, there rang a human shout from the rocks. \n \n 'Oh!' shrieked Virginia, falling on her knees, 'it is a miracle! it is a \n miracle! And I know--merciful heavens--I know the meaning of it. God is","One day at dinner-time, shortly afterwards, Paul came in radiant. \n \n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \n \n Virginia inquired anxiously what had happened, and Paul informed her","thus studying human nature; and he began asking Virginia if her \n discoveries belonged to the domain of historical or biological science. \n Meanwhile Virginia had flung herself on her knees before him, and was \n exclaiming, in piteous accents-- \n","'Ah!' cried Paul, 'this is altruism indeed. I think already I can feel \n the sublimity beginning.' \n \n Virginia liked this rather better. But soon she committed the sin of","poor Professor was horrified at the sight of a human being in this \n degrading attitude of superstition. But as Virginia quitted it with \n alacrity as soon as ever he told his news to her, he hoped he might soon","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","The Professor talked like this to Virginia the whole morning; but in \n spite of all his arguments, she declined to be comforted. 'It is all \n very well,' she said, 'whilst you are in the way. But as soon as your","'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \n read all your letters; I looked at your early photographs; I saw all \n your beautiful prayers.' \n \n 'You broke open my box!' cried the Professor. 'You read my letters and","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;"],["'The nasty little beast!' said Virginia to the Professor, 'he is nearly \n always drunk. I am beginning quite to like you, Paul, by comparison \n with him. Let us turn him out, and not let him live in the cottage.' \n","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","provisions, books, and china ornaments were carried up to the cottage \n and bestowed in proper places. Virginia filled the glasses in the \n drawing-room with gorgeous leaves and flowers and declared by the \n evening, as she looked round her, that she could almost fancy herself in","Paul came back, to Virginia's extreme relief, without the missing link. \n But he was still radiant in spite of his failure; for he had discovered, \n he said, a place where the creature had apparently slept, and he had","When he came back to the cottage he found Virginia just getting off the \n sofa, and preparing to go to bed. She was too sleepy even to say \n good-night to him, and with evident want of temper was tugging at the","the cutter to the shore on a beach of the softest sand. \n \n \n \n \n CHAPTER V. \n \n \n The scene that met Paul's eyes was one of extreme loveliness. He found","tropical trees made a grateful shade, and where the ground was carpeted \n with the softest moss and turf. \n \n Paul's first care was for his fair companion. He spread a costly","been forced to make the island for some time their dwelling-place. \n \n Overjoyed at this discovery, he hastened back to Virginia. She was by \n this time apparently quite recovered, and was kneeling on the cashmere","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","The shrill accents acted like a charm upon Paul. He sprang away from the \n creature that he had been just caressing. He gazed for a moment on \n Virginia's lovely form, her exquisite toilette, and her melting eyes.","Virginia saw that there was no help for it. She did her sums by herself \n the whole morning, which, as at school she had been very good at \n arithmetic, was not a hard task for her, and Paul magnified parasites in","caught sight in the cutter of the largest of her own boxes, and she \n began to recover herself. Paul begged her to remain quiet whilst he went \n to reconnoitre. \n \n He had hardly proceeded twenty yards into the valley, when to his","One day at dinner-time, shortly afterwards, Paul came in radiant. \n \n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \n \n Virginia inquired anxiously what had happened, and Paul informed her","hand to his mouth, and began hooting like an owl, till it seemed that \n all the island echoed to him. The louder Paul hooted and howled, the \n more near did he draw to Virginia. \n","buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \n 'if God, in His infinite mercy, had only spared my maid!' \n \n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'","_THE NEW PAUL AND VIRGINIA._ \n \n \n \n \n CHAPTER I. \n \n \n The magnificent ocean-steamer the _Australasian_ was bound for England,","it, till, examining the structure more closely, he found it composed \n mainly of a ship's timbers. This seemed to tell its own tale, and he at \n once concluded that he and Virginia were not the first castaways who had","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her"," GUTENBERG EBOOK THE NEW PAUL AND VIRGINIA *** \n \n \n \n \n Produced by Christine Bell and Marc D'Hooghe at \n http://www.freeliterature.org (From images generously made","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;"],["The shrill accents acted like a charm upon Paul. He sprang away from the \n creature that he had been just caressing. He gazed for a moment on \n Virginia's lovely form, her exquisite toilette, and her melting eyes.","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","being, it will be my mission and my glory to compel you to live for me. \n And then, as modern philosophy can demonstrate, we shall both of us be \n significantly and unspeakably happy.' \n \n For a few moments Virginia merely stared at Paul. Suddenly she turned","'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \n be relieved from the higher pleasures. Alas!' she cried, as she flung \n herself down on the sofa, 'he is so nice-looking, and such an","had conducted him. 'You see,' Paul said, 'what a natural growth the \n loftiest morality is. Virginia doesn't want to be kissed by you. I \n should be shocked at your doing so shocking a thing as kissing her. If","'Ah!' cried Paul, 'this is altruism indeed. I think already I can feel \n the sublimity beginning.' \n \n Virginia liked this rather better. But soon she committed the sin of","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","little reflection must inevitably convince him that he does not really \n care to kiss you, and that it would give him very little real pleasure \n to do so.' \n \n 'Stuff!' exclaimed Virginia, with a sudden vigour at which the Professor","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her","buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \n 'if God, in His infinite mercy, had only spared my maid!' \n \n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'","may be,\" says that great teacher, \"that the object of a man's religion \n is an ideal of sensual enjoyment, or----\"' \n \n 'Ah!' cried Virginia, 'that is my religion, Paul.' \n","'The nasty little beast!' said Virginia to the Professor, 'he is nearly \n always drunk. I am beginning quite to like you, Paul, by comparison \n with him. Let us turn him out, and not let him live in the cottage.' \n","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;","'Bother the stars!' said Virginia; 'I couldn't bear, Paul, that anything \n should come between you and me. I have been thinking of you and longing \n for you the whole time you have been away.' \n","'What!' cried Paul, 'and how have you been able to forego the pleasures \n of the intellect?' \n \n 'I have deserted them,' cried Virginia, 'for the pleasures of the \n imagination, which I gathered from you were also very ennobling. And I","'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","that, as Paul said, he really did not so much care to kiss her after \n all. She, therefore, put on all her most enticing ways; she talked, \n flirted, and smiled her best, and made her most effective eyes, that the","curate had foregone every attempt to kiss Virginia, and yet apparently \n he was happiness itself; and Paul took him aside, as soon as the meal \n was over, to congratulate him on the holy state to which exact thought","Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","exclaimed, 'Oh, Paul, do let me wax the ends for you,' Paul at first \n giggled, blushed, and protested, but, as Virginia assured him it would \n make her happy, he consented. 'Then,' she said, 'you will know that I am"],["The Professor remained away for three days. For the first two of them \n Virginia was inconsolable. She wandered about mournfully with her head \n dejected. She very often sighed; she very often uttered the name of","'Old woman,' said the Professor, very slowly and solemnly, 'be \n comforted. I announce to you that your son is alive.' \n \n 'Oh, bless you, sir, for that word!' cried the old woman. 'But where is","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her","will become unspeakably happy.' \n \n Meanwhile, however, the old woman had died. When the Professor \n discovered this he was somewhat shocked; but at length with a sudden \n change of countenance, 'We neither of us did it,' he exclaimed; 'her","The Professor, as was natural, held quite aloof, and pondered over a new \n species of bug, which he had found very plentiful in his berth. But it \n soon occurred to him that he often heard the name of God being uttered","he? Have you seen him? Are you sure that he is living?' \n \n 'I am sure of it,' said the Professor, 'because enlightened thought \n shows me that he cannot be anything else. It is true that I saw him sink","and which had before now excited her curiosity. Suddenly she became \n conscious of a new impulse. 'I will pursue truth!' she exclaimed. 'I \n will break that box open, and I will see what is inside it. Ah!' she","'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \n read all your letters; I looked at your early photographs; I saw all \n your beautiful prayers.' \n \n 'You broke open my box!' cried the Professor. 'You read my letters and","When all was ready, he rang a gong which he found suspended in the \n lobby; Virginia appeared shortly in a beautiful pink dressing-gown, \n embroidered with silver flowers; and just before sunset the two sat down","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","and besought him in piteous accents that he would not thus abandon her. \n \n 'I must,' said the Professor solemnly, 'for I am going in pursuit of \n Truth. To arrive at Truth is man's perfect and most rapturous happiness.","no control. I must this instant go out and hunt for it. Give me some \n provisions in a knapsack, for I will not come back till I have caught \n it.' \n \n This was a fearful blow to Virginia. She fell at Paul's feet weeping,","asked what was amiss with him. 'I am agonising,' he said, 'for the sake \n of holy, solemn, unspeakably dignified Humanity.' \n \n The curate, seeing the Professor thus dejected, by degrees took heart","The moon had by this time risen in dazzling splendour, and the Professor \n went out and lighted a cigar. All during dinner there had been a feeling \n of dull despair in his heart, which even the champagne did not","as I may. But, ah me, what a guilty thing I am!' \n \n As she uttered these words, her eyes fell on a tin box of the \n Professor's, marked 'Private,' which he always kept carefully locked,","The Professor talked like this to Virginia the whole morning; but in \n spite of all his arguments, she declined to be comforted. 'It is all \n very well,' she said, 'whilst you are in the way. But as soon as your","than she stood still, horror-stricken. 'Alas!' she cried, 'and have I \n really come to this? I am in a state of deadly sin, and there is no \n priest here to confess to! Alone, alone I must conquer my forbidden love","'It is nothing,' cried Paul; 'it cannot possibly be anything. I protest, \n in the name of science, that it is an optical delusion.' \n \n Suddenly the female figure exclaimed, 'Thank God, it is he!' \n","happy too, because we were.' \n \n 'Idiot!' said the Professor. 'Virginia is another man's wife. Nobody \n really likes kissing another man's wife; nor do wives ever like kissing"],["In another moment the male figure exclaimed, 'Thank God, it is she!' \n \n 'My husband!' gasped Virginia. \n \n 'My wife!' replied the bishop, for it was none other than he. 'Welcome","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","The Professor talked like this to Virginia the whole morning; but in \n spite of all his arguments, she declined to be comforted. 'It is all \n very well,' she said, 'whilst you are in the way. But as soon as your","'Tell me, my dear, do I look significant?' he added, as he turned to \n Virginia, and suddenly tried, to crown the general bliss by kissing her. \n \n Virginia started back, looking fire and fury at him. The Professor was","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \n be relieved from the higher pleasures. Alas!' she cried, as she flung \n herself down on the sofa, 'he is so nice-looking, and such an","enlightened. Progress will now go on smoothly.' \n \n At this moment Virginia came out, having rapidly recovered composure at \n the sound of a new man's voice. \n","'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \n read all your letters; I looked at your early photographs; I saw all \n your beautiful prayers.' \n \n 'You broke open my box!' cried the Professor. 'You read my letters and","When he came back to the cottage he found Virginia just getting off the \n sofa, and preparing to go to bed. She was too sleepy even to say \n good-night to him, and with evident want of temper was tugging at the","for us. Luckily, however, Virginia came to his assistance. \n \n 'I think I know, Paul,' she said, 'why I do not care as I should do for \n the intellectual pleasures. We have both been seeking them by ourselves;","'Now--,' exclaimed Virginia, with a beating heart. \n \n The Professor put his hand in his pocket, and drew slowly forth from it \n an object which Virginia knew well. It reminded her of the most innocent","Virginia was preparing, with a rueful face, to resume her enjoyment of \n the higher pleasures, when a horrible smell, like that of an open drain, \n was suddenly blown in through the window. \n","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","Matters went on like this for several days. The curate was too much \n frightened to again approach Virginia. Virginia at last became convinced \n that he did not care about kissing her. Her vanity was wounded, and she","happy too, because we were.' \n \n 'Idiot!' said the Professor. 'Virginia is another man's wife. Nobody \n really likes kissing another man's wife; nor do wives ever like kissing","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her","CHAPTER XI. \n \n \n At dinner, however, things wore a more promising aspect. The curate had \n been so terrified by the Professor's threats, that he hardly dared to so \n much as look at Virginia; and to make up for it, he drank and drank"],["One day at dinner-time, shortly afterwards, Paul came in radiant. \n \n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \n \n Virginia inquired anxiously what had happened, and Paul informed her","only to make the silence audible. The Professor paused close beside \n Virginia, and took her hand. Virginia liked that, and thought that \n religion without theology was not perhaps so bad after all. Meanwhile \n Paul had fixed his eyes on the moon. Then, in a voice almost broken with","'Yes,' answered Paul, solemnly; 'we are rescued. We are rescued from all \n the pains and imperfections of a world that has not learnt how to \n conform to the laws of matter, and is but imperfectly acquainted with","Paul. At last she surprised herself by exclaiming aloud to the \n irresponsive solitude, 'Oh, Paul, until you were gone, I never knew how \n passionately I loved you.' No sooner were these words out of her mouth","and so immoral. Science, through your instrumentality, has opened my \n eyes. I am now an exact thinker.' \n \n 'Do you believe, said Paul, 'in solemn, significant, and unspeakably \n happy Humanity? \n","'It is nothing,' cried Paul; 'it cannot possibly be anything. I protest, \n in the name of science, that it is an optical delusion.' \n \n Suddenly the female figure exclaimed, 'Thank God, it is he!' \n","being, it will be my mission and my glory to compel you to live for me. \n And then, as modern philosophy can demonstrate, we shall both of us be \n significantly and unspeakably happy.' \n \n For a few moments Virginia merely stared at Paul. Suddenly she turned","religion was at last too much for Paul. \n \n 'For the sake of cosmic emotion,' he exclaimed, 'O other half of \n Humanity, and for the sake of rational religion, both of which are","indeed you? Thank God!----I beg pardon for my unspeakable blasphemy--I \n mean, thank circumstances over which I have no control.' \n \n It was one of the three curates, whom Paul had supposed drowned, but who","'Nonsense!' replied Paul; 'that cannot be the religion of half Humanity, \n else high, holy, solemn, awful morality would never be able to stand on \n its own basis. See, the night has fallen, the glorious moon has arisen,","back is turned, I know he will be at me again.' \n \n 'Will you never,' said Paul, by this time a little irritated, 'will you \n never listen to exact thought? The curate is now reflecting; and a","'Ah!' cried Paul, 'this is altruism indeed. I think already I can feel \n the sublimity beginning.' \n \n Virginia liked this rather better. But soon she committed the sin of","to him not to be afraid of death, as there was certainly no hell, and \n that his life, no matter how degraded and miserable, had been a glorious \n mystery, full of infinite significance. The next moment the struggler","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","may be,\" says that great teacher, \"that the object of a man's religion \n is an ideal of sensual enjoyment, or----\"' \n \n 'Ah!' cried Virginia, 'that is my religion, Paul.' \n","had conducted him. 'You see,' Paul said, 'what a natural growth the \n loftiest morality is. Virginia doesn't want to be kissed by you. I \n should be shocked at your doing so shocking a thing as kissing her. If","conception which she said 'was really quite killing.' But when her first \n burst of intellectual excitement was over, she became more serious. 'All \n thought, Paul,' she said, 'is valuable mainly because it leads to","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","Tyndall's words, 'gave fulness and tone to it, but which he could \n neither analyse nor comprehend.' But at last a change came. One morning, \n whilst Virginia was arranging Paul's moustaches, she was frightened"],["that the curate, who had got more drunk than usual that afternoon, had \n fallen over a cliff, and been dashed to pieces. \n \n 'What event,' he asked, 'could be more charming more unspeakably holy?","But the last glass of champagne had put the curate beyond the reach of \n exact thought. He tumbled under the table, and the Professor carried him \n off to bed. \n \n \n \n \n CHAPTER X. \n \n","'They do,' cried the curate rapturously, 'indeed they do. I will drink \n another bottle for your sake. It is sublime!' he said, as he tossed off \n three glasses. 'It is significant!' he said as he finished three more.","'Well,' said Virginia, 'since we have a clergyman amongst us, we shall \n perhaps be able to get on.' \n \n \n \n \n CHAPTER VII. \n \n \n Things now took a better turn. The Professor ceased to feel shy; and","CHAPTER XI. \n \n \n At dinner, however, things wore a more promising aspect. The curate had \n been so terrified by the Professor's threats, that he hardly dared to so \n much as look at Virginia; and to make up for it, he drank and drank","The Professor caught hold of the curate's coat-tails, and forcibly \n pulled him back into his seat. \n \n 'If you dare attempt it,' he said, 'I will kick you soundly, and,","A radiant expression suffused the face of the Professor. 'See,' he said \n to Virginia, 'the curate's conversion is already half accomplished. In a \n few hours more he will be rational, he will be moral, he will be \n solemnly and significantly happy.'","asked what was amiss with him. 'I am agonising,' he said, 'for the sake \n of holy, solemn, unspeakably dignified Humanity.' \n \n The curate, seeing the Professor thus dejected, by degrees took heart","'The nasty little beast!' said Virginia to the Professor, 'he is nearly \n always drunk. I am beginning quite to like you, Paul, by comparison \n with him. Let us turn him out, and not let him live in the cottage.' \n","dead drunk was the first glimpse he had of what, _par excellence_, is \n described as 'life.' But though the scene just recounted was thus a \n terrible shock to him, in one way it gave him an unlooked-for comfort.","'Foolish man!' said the Professor; 'I was never drunk myself, it is \n true; but I know that to get drunk makes one's head ache horribly. To \n get drunk is, therefore, horribly immoral; and therefore I cannot permit \n it.'","indeed you? Thank God!----I beg pardon for my unspeakable blasphemy--I \n mean, thank circumstances over which I have no control.' \n \n It was one of the three curates, whom Paul had supposed drowned, but who","'You here--you, too!' exclaimed the curate. 'How solemn, how \n significant! This is truly Providential----I mean this has truly \n happened through conformity to the laws of matter.' \n","now related how he had managed to swim ashore, despite the extreme \n length of his black clerical coat. 'These rags of superstition,' he \n said, 'did their best to drown me. But I survive in spite of them, to","kiss her. No sooner had he begun to propound these views, than the \n Professor gave over his groaning, seized the curate by the collar, and \n dragged him out of the room with a roughness that nearly throttled him. \n","shocking, immoral man! you will feel miserable enough then.' \n \n The curate was a terrible coward, and very weak as well. 'You are a \n great hulking fellow,' he said, eyeing the Professor; 'and I am of a","CHAPTER XII. \n \n \n 'Well,' said the curate, 'if I may not kiss Virginia, I will drink \n brandy instead. That will make me happy enough; and then we shall all be \n radiant.' \n","She reminded him that he had preached there without a surplice, and that \n she had therefore not thought it right to listen to a word he said. \n \n 'Ah!' cried the Professor, with a sigh of intense relief, 'I see it all","became sullen; and this made the Professor sullen also. In fact, two \n thirds of Humanity were overcast with gloom. The only happy section of \n it was the curate, who alternately smoked and drank all day long. \n","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted"],["He would have said more, but he was here startled by a piteous noise of \n crying, and the three found themselves confronted by an old woman \n dripping with sea-water, and with an expression on her face of the","will become unspeakably happy.' \n \n Meanwhile, however, the old woman had died. When the Professor \n discovered this he was somewhat shocked; but at length with a sudden \n change of countenance, 'We neither of us did it,' he exclaimed; 'her","will make the old woman happy, and therefore fit to live. Old woman,' he \n exclaimed, 'let me beg you to consider this. You are yourself by your \n own unhappiness expiating your son's sins. Do but think of that, and you","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","'Old woman,' said the Professor, very slowly and solemnly, 'be \n comforted. I announce to you that your son is alive.' \n \n 'Oh, bless you, sir, for that word!' cried the old woman. 'But where is","she has made us happy by dying so very opportunely. Let us speak well of \n the dead. Her death has been a holy and a blessed one. She has conformed \n to the laws of matter. Thus is unhappiness destined to fade out of the","He married, at the age of forty, an excellent evangelical lady, ten \n years his senior, who wore a green gown, grey corkscrew curls, and who \n had a fortune of two hundred thousand pounds. Deeply pledged though she","expect that fainting old women will do anything to us in return.' \n \n 'Your reasoning cannot be sound,' said the Professor, 'for it would lead \n to the most horrible conclusions. I will solve the difficulty better. I","'Yes,' said the curate, 'we are well rid of her. She was an immoral old \n woman, for happiness is the test of morality, and she was very unhappy.' \n \n 'On the contrary,' said the Professor, 'she was a moral old woman; for","world. A fourth part of Humanity is now miserable.' \n \n The curate answered promptly that if no restoratives were given her, \n she would probably die in a few minutes. 'And to let her die,' he said,","eat it, having first lain in her bosom to restore her to warmth. She was \n now looking for her son. \n \n 'And if I cannot find him,' said the old woman, 'I shall never smile","exact thinker, and you will see that this is so. Old woman,' added the \n Professor solemnly, 'old woman, listen to me--_You and your son are in \n hell._' \n \n At this the old woman flew into a terrible rage. \n","Virginia was preparing, with a rueful face, to resume her enjoyment of \n the higher pleasures, when a horrible smell, like that of an open drain, \n was suddenly blown in through the window. \n","'In hell, sir!' she exclaimed; 'me in hell!--a poor lone woman like me! \n How dare you!' And she sank back in a chair and fainted. \n \n 'Alas!' said the Professor, 'thus is misery again introduced into the","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","and extremely unexacting in her demands for proof. In a few days she had \n not a remnant of superstition left. 'At last!' exclaimed the Professor; \n 'it has come at last. Unspeakable happiness will surely begin now.' \n \n \n","poor Professor was horrified at the sight of a human being in this \n degrading attitude of superstition. But as Virginia quitted it with \n alacrity as soon as ever he told his news to her, he hoped he might soon","The Professor remained away for three days. For the first two of them \n Virginia was inconsolable. She wandered about mournfully with her head \n dejected. She very often sighed; she very often uttered the name of","been connected with the heads of many distinguished families; and so \n general was the affection she inspired, and so winning the ways in which \n she contrived to retain it, that she found herself, at the age of \n thirty, mistress of nothing except a large fortune. She was now"],["utmost misery. They soon recognised her as one of the passengers on the \n ship. She told them how she had been floated ashore on a spar, and how \n she had been sustained by a little roast pig, that kindly begged her to","it, till, examining the structure more closely, he found it composed \n mainly of a ship's timbers. This seemed to tell its own tale, and he at \n once concluded that he and Virginia were not the first castaways who had","feared she would go ashore on an island that was seen dimly through the \n fog to the leeward. The boats were got in readiness. A quantity of \n provisions and of the passengers' baggage was already stowed in the","a variety of salt and potted meats, _paté de foie gras_, cakes, \n preserved fruits, and some bottles of fine champagne. This last helped \n much to raise their spirits. Virginia found it very dry, and exactly","was snapped up by a shark. Our friends, meanwhile, borne by a current, \n had been drifting rapidly towards the island. And the Professor, \n spreading to the breeze Virginia's beautiful lace parasol, soon brought","butter-tree, and some fresh French rolls from the bread-tree. He \n discovered a cow close at hand, that allowed him at once to milk it; and \n a little roast pig ran up to him out of the underwood, and fawning on","There was not a sound of sickness to be heard anywhere; and when \n dinner-time came there was not a single absentee nor an appetite \n wanting. \n \n But the passengers soon discovered they were lucky in more than weather.","Virginia meanwhile ate _paté de foie gras_, of which she was \n passionately fond; and, growing a little less sullen, she at last \n admitted that they were lucky in having at least the necessaries of life","something fit to be seen in. The Professor most obligingly at once did \n as she asked him; and whilst she was busy at her toilette, he got from \n the cutter what provisions he could, and proceeded to lay the table.","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","The Professor, as was natural, held quite aloof, and pondered over a new \n species of bug, which he had found very plentiful in his berth. But it \n soon occurred to him that he often heard the name of God being uttered","No sooner were the ship's damages in a fair way to be repaired than the \n Professor resumed his sermon. He climbed into the cutter, which was \n still full of the passengers' baggage, and sat down on the largest of","to a really excellent meal. The bread tree at the door of the cottage \n contributed some beautiful French rolls; close at hand also they \n discovered a butter-tree; and the Professor had produced from the cutter","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","proposed, when the curate had finished an enormous breakfast, that they \n should go down to the cutter, and bring up the things in it to the \n cottage. 'A few hours' steady progress,' he said, 'and the human race","murmured on the beach in soft, voluptuous cadences. The Professor's \n cigar was excellent. He now saw his situation in a truer light. Here was \n a bountiful island, where earth unbidden brought forth all her choicest","now related how he had managed to swim ashore, despite the extreme \n length of his black clerical coat. 'These rags of superstition,' he \n said, 'did their best to drown me. But I survive in spite of them, to","The Professor would have proceeded, but the weather had been rapidly \n growing rough, and he here became violently sea-sick. \n \n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \n below.' \n","Nor was the advice premature. A storm arose, exceptional in its \n suddenness and its fury. It raged for two days without ceasing. The \n _Australasian_ sprang a leak; her steering gear was disabled; and it was","_Australasian_ went down. In an instant the air was rent with yells and \n cries; and all the Humanity that was on board the vessel was busy, as \n the Professor expressed it, uniting itself with the infinite azure of"],["The Professor, as was natural, held quite aloof, and pondered over a new \n species of bug, which he had found very plentiful in his berth. But it \n soon occurred to him that he often heard the name of God being uttered","Evening fell on the ship with a soft warm witchery. The air grew purple, \n and the waves began to glitter in the moonlight. The passengers gathered \n in knots upon the deck, and the distinguished strangers were still the","utmost misery. They soon recognised her as one of the passengers on the \n ship. She told them how she had been floated ashore on a spar, and how \n she had been sustained by a little roast pig, that kindly begged her to","it, till, examining the structure more closely, he found it composed \n mainly of a ship's timbers. This seemed to tell its own tale, and he at \n once concluded that he and Virginia were not the first castaways who had","on her homeward voyage from Melbourne, carrying Her Majesty's mails and \n ninety-eight first-class passengers. Never did vessel start under \n happier auspices. The skies were cloudless; the sea was smooth as glass.","Nor was the advice premature. A storm arose, exceptional in its \n suddenness and its fury. It raged for two days without ceasing. The \n _Australasian_ sprang a leak; her steering gear was disabled; and it was","the surest marks of the enervating influence of this dream of a \n celestial glory.\"' The Professor accordingly re-delivered to Virginia \n the entire substance of his lectures in the ship. He fully impressed on","No sooner were the ship's damages in a fair way to be repaired than the \n Professor resumed his sermon. He climbed into the cutter, which was \n still full of the passengers' baggage, and sat down on the largest of","feared she would go ashore on an island that was seen dimly through the \n fog to the leeward. The boats were got in readiness. A quantity of \n provisions and of the passengers' baggage was already stowed in the","promised to pray till his return for his recovery of a faith in hell. \n \n The Professor, who had but exceeded his time by six months, was now on \n board the _Australasian_, homeward bound to his wife. Virginia was \n outward bound to her husband.","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","The Professor would have proceeded, but the weather had been rapidly \n growing rough, and he here became violently sea-sick. \n \n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \n below.' \n","_Australasian_ went down. In an instant the air was rent with yells and \n cries; and all the Humanity that was on board the vessel was busy, as \n the Professor expressed it, uniting itself with the infinite azure of","and on seeing five sailors sink within three yards of her, she fainted \n dead away. The Professor begged her not to take it so much to heart, as \n these were the very men who had got the cutter in readiness; 'and they","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","He would have said more, but he was here startled by a piteous noise of \n crying, and the three found themselves confronted by an old woman \n dripping with sea-water, and with an expression on her face of the","CHAPTER III. \n \n \n The sensation created by the presence of these two celebrities was \n profound beyond description; and the passengers were never weary of \n watching the gleaming spectacles and the square-toed boots of the one,","was snapped up by a shark. Our friends, meanwhile, borne by a current, \n had been drifting rapidly towards the island. And the Professor, \n spreading to the breeze Virginia's beautiful lace parasol, soon brought","The Professor remained away for three days. For the first two of them \n Virginia was inconsolable. She wandered about mournfully with her head \n dejected. She very often sighed; she very often uttered the name of","There was not a sound of sickness to be heard anywhere; and when \n dinner-time came there was not a single absentee nor an appetite \n wanting. \n \n But the passengers soon discovered they were lucky in more than weather."],["and on seeing five sailors sink within three yards of her, she fainted \n dead away. The Professor begged her not to take it so much to heart, as \n these were the very men who had got the cutter in readiness; 'and they","Nor was the advice premature. A storm arose, exceptional in its \n suddenness and its fury. It raged for two days without ceasing. The \n _Australasian_ sprang a leak; her steering gear was disabled; and it was","The Professor would have proceeded, but the weather had been rapidly \n growing rough, and he here became violently sea-sick. \n \n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \n below.' \n","it, till, examining the structure more closely, he found it composed \n mainly of a ship's timbers. This seemed to tell its own tale, and he at \n once concluded that he and Virginia were not the first castaways who had","utmost misery. They soon recognised her as one of the passengers on the \n ship. She told them how she had been floated ashore on a spar, and how \n she had been sustained by a little roast pig, that kindly begged her to","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","are, therefore,' he said, 'still really alive in the fact of our happy \n escape.' Virginia, however, being quite insensible, the Professor turned \n to the last human being still to be seen above the waters, and shouted","_Australasian_ went down. In an instant the air was rent with yells and \n cries; and all the Humanity that was on board the vessel was busy, as \n the Professor expressed it, uniting itself with the infinite azure of","on her homeward voyage from Melbourne, carrying Her Majesty's mails and \n ninety-eight first-class passengers. Never did vessel start under \n happier auspices. The skies were cloudless; the sea was smooth as glass.","he? Have you seen him? Are you sure that he is living?' \n \n 'I am sure of it,' said the Professor, 'because enlightened thought \n shows me that he cannot be anything else. It is true that I saw him sink","No sooner were the ship's damages in a fair way to be repaired than the \n Professor resumed his sermon. He climbed into the cutter, which was \n still full of the passengers' baggage, and sat down on the largest of","He would have said more, but he was here startled by a piteous noise of \n crying, and the three found themselves confronted by an old woman \n dripping with sea-water, and with an expression on her face of the","feared she would go ashore on an island that was seen dimly through the \n fog to the leeward. The boats were got in readiness. A quantity of \n provisions and of the passengers' baggage was already stowed in the","Evening fell on the ship with a soft warm witchery. The air grew purple, \n and the waves began to glitter in the moonlight. The passengers gathered \n in knots upon the deck, and the distinguished strangers were still the","'It is rather sad,' sighed Virginia, as she dived into a box of French \n chocolate-creams, 'to think that all the poor people are drowned that \n these things belonged to.' \n","The Professor, as was natural, held quite aloof, and pondered over a new \n species of bug, which he had found very plentiful in his berth. But it \n soon occurred to him that he often heard the name of God being uttered","was snapped up by a shark. Our friends, meanwhile, borne by a current, \n had been drifting rapidly towards the island. And the Professor, \n spreading to the breeze Virginia's beautiful lace parasol, soon brought","the surest marks of the enervating influence of this dream of a \n celestial glory.\"' The Professor accordingly re-delivered to Virginia \n the entire substance of his lectures in the ship. He fully impressed on","the responsibility of each one of us, and the infinite consequences of \n every human act, was filling the hearts of all; when by a faithful \n conformity to the laws of matter, the boiler blew up, and the","now related how he had managed to swim ashore, despite the extreme \n length of his black clerical coat. 'These rags of superstition,' he \n said, 'did their best to drown me. But I survive in spite of them, to"],["that, as Paul said, he really did not so much care to kiss her after \n all. She, therefore, put on all her most enticing ways; she talked, \n flirted, and smiled her best, and made her most effective eyes, that the","of him in his surplice; and a number of devout prayers, apparently \n composed by himself for his own personal use. This discovery was the \n result of her labours. \n \n 'Certainly,' she said, 'it is one of extreme significance. If Paul was a","One day at dinner-time, shortly afterwards, Paul came in radiant. \n \n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \n \n Virginia inquired anxiously what had happened, and Paul informed her","enlightened thinker. But it is plain he has never loved, or else very \n certainly he would love again.' \n \n Paul returned in about a couple of hours, again unsuccessful in his \n search. \n","back is turned, I know he will be at me again.' \n \n 'Will you never,' said Paul, by this time a little irritated, 'will you \n never listen to exact thought? The curate is now reflecting; and a","the next room, and prepared slides for his microscope. \n \n When they met again, Paul began skipping and dancing, as if he had gone \n quite out of his senses, and every now and then between the skips he","The shrill accents acted like a charm upon Paul. He sprang away from the \n creature that he had been just caressing. He gazed for a moment on \n Virginia's lovely form, her exquisite toilette, and her melting eyes.","religion was at last too much for Paul. \n \n 'For the sake of cosmic emotion,' he exclaimed, 'O other half of \n Humanity, and for the sake of rational religion, both of which are","Paul. At last she surprised herself by exclaiming aloud to the \n irresponsive solitude, 'Oh, Paul, until you were gone, I never knew how \n passionately I loved you.' No sooner were these words out of her mouth","tropical trees made a grateful shade, and where the ground was carpeted \n with the softest moss and turf. \n \n Paul's first care was for his fair companion. He spread a costly","curate had foregone every attempt to kiss Virginia, and yet apparently \n he was happiness itself; and Paul took him aside, as soon as the meal \n was over, to congratulate him on the holy state to which exact thought","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","hand to his mouth, and began hooting like an owl, till it seemed that \n all the island echoed to him. The louder Paul hooted and howled, the \n more near did he draw to Virginia. \n","'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \n be relieved from the higher pleasures. Alas!' she cried, as she flung \n herself down on the sofa, 'he is so nice-looking, and such an","shall both be in a solemn, a significant, and unspeakable state of \n rapture. See, here is an exquisite leg of mutton. I,' said Paul, who \n liked the fat best, 'I will give up all the fat to you.' \n","'One truth about you, Paul,' said Virginia, very gravely, 'and one \n truth about me. I burn--oh, I burn to tell them to you!' \n \n The Professor was enraptured to hear that one half of Humanity had been","caught sight in the cutter of the largest of her own boxes, and she \n began to recover herself. Paul begged her to remain quiet whilst he went \n to reconnoitre. \n \n He had hardly proceeded twenty yards into the valley, when to his","exclaimed, 'Oh, Paul, do let me wax the ends for you,' Paul at first \n giggled, blushed, and protested, but, as Virginia assured him it would \n make her happy, he consented. 'Then,' she said, 'you will know that I am","Paul came back, to Virginia's extreme relief, without the missing link. \n But he was still radiant in spite of his failure; for he had discovered, \n he said, a place where the creature had apparently slept, and he had","A week thus passed, full, as the Professor said, of infinite solemnity. \n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \n is very touching. I like it very much. But,' she added, sinking her"],["Virginia, in a very solemn voice, after a long pause, 'do you know that \n whilst you have been away I have been pursuing truth? I rather liked it; \n and I found it very, very significant.' \n","Virginia's boxes. This so alarmed Virginia that she incontinently \n followed the Professor into the cutter, to keep an eye on her property; \n but she did not forget to stop her ears with her fingers, that she","the past. Paul and Virginia, however, floated quietly away in the \n cutter, together with the baggage and provisions. \n \n Virginia was made almost senseless by the suddenness of the catastrophe;","Virginia was preparing, with a rueful face, to resume her enjoyment of \n the higher pleasures, when a horrible smell, like that of an open drain, \n was suddenly blown in through the window. \n","enlightened. Progress will now go on smoothly.' \n \n At this moment Virginia came out, having rapidly recovered composure at \n the sound of a new man's voice. \n","had seen so much of the world lately, that he soon recovered himself, \n and recollecting that immorality was only ignorance, he began to show \n Virginia where her error lay---her one remaining error. 'I perceive,' he","When he came back to the cottage he found Virginia just getting off the \n sofa, and preparing to go to bed. She was too sleepy even to say \n good-night to him, and with evident want of temper was tugging at the","provisions, books, and china ornaments were carried up to the cottage \n and bestowed in proper places. Virginia filled the glasses in the \n drawing-room with gorgeous leaves and flowers and declared by the \n evening, as she looked round her, that she could almost fancy herself in","Matters went on like this for several days. The curate was too much \n frightened to again approach Virginia. Virginia at last became convinced \n that he did not care about kissing her. Her vanity was wounded, and she","poor Professor was horrified at the sight of a human being in this \n degrading attitude of superstition. But as Virginia quitted it with \n alacrity as soon as ever he told his news to her, he hoped he might soon","in on him. He remembered that as one of his most revered masters, \n Professor Tyndall, had admitted, a great part of Humanity would always \n need a religion, and that Virginia now had none. He at once rushed back","promised to pray till his return for his recovery of a faith in hell. \n \n The Professor, who had but exceeded his time by six months, was now on \n board the _Australasian_, homeward bound to his wife. Virginia was \n outward bound to her husband.","The Professor remained away for three days. For the first two of them \n Virginia was inconsolable. She wandered about mournfully with her head \n dejected. She very often sighed; she very often uttered the name of","Virginia shrieked with disgust and terror, and clung to Paul's knees for \n protection. He, however, in some strange way, seemed unmoved and \n preoccupied. All at once, to her intense surprise, she saw his face","The shrill accents acted like a charm upon Paul. He sprang away from the \n creature that he had been just caressing. He gazed for a moment on \n Virginia's lovely form, her exquisite toilette, and her melting eyes.","'Well, said Virginia, 'it is nice of you to say that; but still----Ah \n me! Ah me!' \n \n And her bosom heaved slowly with a soft, long sigh. \n \n \n \n \n CHAPTER XVII. \n \n","The Professor talked like this to Virginia the whole morning; but in \n spite of all his arguments, she declined to be comforted. 'It is all \n very well,' she said, 'whilst you are in the way. But as soon as your","Virginia meanwhile ate _paté de foie gras_, of which she was \n passionately fond; and, growing a little less sullen, she at last \n admitted that they were lucky in having at least the necessaries of life","Virginia saw that there was no help for it. She did her sums by herself \n the whole morning, which, as at school she had been very good at \n arithmetic, was not a hard task for her, and Paul magnified parasites in","than Virginia had been in hers. He had written three volumes on the \n origin of life, which he had spent seven years in looking for in \n infusions of hay and cheese; he had written five volumes on the entozoa"]],"string":"[\n [\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"than Virginia had been in hers. He had written three volumes on the \\n origin of life, which he had spent seven years in looking for in \\n infusions of hay and cheese; he had written five volumes on the entozoa\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"Virginia meanwhile ate _paté de foie gras_, of which she was \\n passionately fond; and, growing a little less sullen, she at last \\n admitted that they were lucky in having at least the necessaries of life\",\n \"Virginia was preparing, with a rueful face, to resume her enjoyment of \\n the higher pleasures, when a horrible smell, like that of an open drain, \\n was suddenly blown in through the window. \\n\",\n \"in on him. He remembered that as one of his most revered masters, \\n Professor Tyndall, had admitted, a great part of Humanity would always \\n need a religion, and that Virginia now had none. He at once rushed back\",\n \"had seen so much of the world lately, that he soon recovered himself, \\n and recollecting that immorality was only ignorance, he began to show \\n Virginia where her error lay---her one remaining error. 'I perceive,' he\",\n \"Paul came back, to Virginia's extreme relief, without the missing link. \\n But he was still radiant in spite of his failure; for he had discovered, \\n he said, a place where the creature had apparently slept, and he had\",\n \"provisions, books, and china ornaments were carried up to the cottage \\n and bestowed in proper places. Virginia filled the glasses in the \\n drawing-room with gorgeous leaves and flowers and declared by the \\n evening, as she looked round her, that she could almost fancy herself in\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\",\n \"may be,\\\" says that great teacher, \\\"that the object of a man's religion \\n is an ideal of sensual enjoyment, or----\\\"' \\n \\n 'Ah!' cried Virginia, 'that is my religion, Paul.' \\n\",\n \"'Now--,' exclaimed Virginia, with a beating heart. \\n \\n The Professor put his hand in his pocket, and drew slowly forth from it \\n an object which Virginia knew well. It reminded her of the most innocent\",\n \"Virginia saw that there was no help for it. She did her sums by herself \\n the whole morning, which, as at school she had been very good at \\n arithmetic, was not a hard task for her, and Paul magnified parasites in\",\n \"The Professor talked like this to Virginia the whole morning; but in \\n spite of all his arguments, she declined to be comforted. 'It is all \\n very well,' she said, 'whilst you are in the way. But as soon as your\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"to men they will at once leave all and follow them.' \\n \\n 'They must be very nice pleasures,' said Virginia, 'if they would make \\n me leave kissing you for the sake of them.' \\n\",\n \"enlightened. Progress will now go on smoothly.' \\n \\n At this moment Virginia came out, having rapidly recovered composure at \\n the sound of a new man's voice. \\n\",\n \"thus studying human nature; and he began asking Virginia if her \\n discoveries belonged to the domain of historical or biological science. \\n Meanwhile Virginia had flung herself on her knees before him, and was \\n exclaiming, in piteous accents-- \\n\",\n \"again, and as Virginia still continued her fascinating behaviour to him, \\n he resolved to try and prove to her that, the test of morality being \\n happiness, the most moral thing she could do would be to allow him to\"\n ],\n [\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"He married, at the age of forty, an excellent evangelical lady, ten \\n years his senior, who wore a green gown, grey corkscrew curls, and who \\n had a fortune of two hundred thousand pounds. Deeply pledged though she\",\n \"CHAPTER XI. \\n \\n \\n At dinner, however, things wore a more promising aspect. The curate had \\n been so terrified by the Professor's threats, that he hardly dared to so \\n much as look at Virginia; and to make up for it, he drank and drank\",\n \"In another moment the male figure exclaimed, 'Thank God, it is she!' \\n \\n 'My husband!' gasped Virginia. \\n \\n 'My wife!' replied the bishop, for it was none other than he. 'Welcome\",\n \"Virginia saw that there was no help for it. She did her sums by herself \\n the whole morning, which, as at school she had been very good at \\n arithmetic, was not a hard task for her, and Paul magnified parasites in\",\n \"little reflection must inevitably convince him that he does not really \\n care to kiss you, and that it would give him very little real pleasure \\n to do so.' \\n \\n 'Stuff!' exclaimed Virginia, with a sudden vigour at which the Professor\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \\n read all your letters; I looked at your early photographs; I saw all \\n your beautiful prayers.' \\n \\n 'You broke open my box!' cried the Professor. 'You read my letters and\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"being, it will be my mission and my glory to compel you to live for me. \\n And then, as modern philosophy can demonstrate, we shall both of us be \\n significantly and unspeakably happy.' \\n \\n For a few moments Virginia merely stared at Paul. Suddenly she turned\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"'Now--,' exclaimed Virginia, with a beating heart. \\n \\n The Professor put his hand in his pocket, and drew slowly forth from it \\n an object which Virginia knew well. It reminded her of the most innocent\",\n \"CHAPTER XVI. \\n \\n \\n No one now could possibly be more emancipated than Virginia. She \\n tittered all day long and whenever the Professor asked her why, she \\n always told him she was thinking of 'an intelligent First Cause,' a\",\n \"Matters went on like this for several days. The curate was too much \\n frightened to again approach Virginia. Virginia at last became convinced \\n that he did not care about kissing her. Her vanity was wounded, and she\",\n \"When he came back to the cottage he found Virginia just getting off the \\n sofa, and preparing to go to bed. She was too sleepy even to say \\n good-night to him, and with evident want of temper was tugging at the\",\n \"buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \\n 'if God, in His infinite mercy, had only spared my maid!' \\n \\n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\"\n ],\n [\n \"his South Pacific diocese of the Chasuble Islands, to prepare a home for \\n his bride, who was to follow him by the next steamer. \\n \\n Professor Paul Darnley, in his own walk of life, was even more famous\",\n \"personages than Professor Paul Darnley and the superb Virginia St. \\n John. \\n \\n \\n \\n \\n CHAPTER II. \\n \\n \\n Miss St. John had, for at least six years, been the most renowned woman\",\n \"was to the most vapid figments of Christianity, Mrs. Darnley was yet \\n proud beyond measure of her husband's worldwide fame, for she did but \\n imperfectly understand the grounds of it. Indeed, the only thing that\",\n \"voice to a whisper, 'are you quite sure, Paul, that it is perfectly \\n moral?' \\n \\n 'Moral!' echoed the Professor, 'moral! Why, exact thought shows us that \\n it is the very essence of all morality!' \\n \\n \\n\",\n \"'The nasty little beast!' said Virginia to the Professor, 'he is nearly \\n always drunk. I am beginning quite to like you, Paul, by comparison \\n with him. Let us turn him out, and not let him live in the cottage.' \\n\",\n \"marred her happiness was the single tenet of his that she had really \\n mastered. This, unluckily, was that he disbelieved in hell. And so, as \\n Mrs. Darnley conceived that that place was designed mainly to hold those\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"A radiant expression suffused the face of the Professor. 'See,' he said \\n to Virginia, 'the curate's conversion is already half accomplished. In a \\n few hours more he will be rational, he will be moral, he will be \\n solemnly and significantly happy.'\",\n \"to Chasuble Island. By the blessing of God it is on your own home you \\n have been wrecked, and you have been living in the very house that I had \\n intended to prepare for you. Providentially, too, Professor Darnley's\",\n \"The Professor, like most serious thinkers, knew but little of that \\n trifle commonly called 'the world.' He had never kissed any one except \\n his wife; even that he did as seldom as possible; and the curate lying\",\n \"The Professor at once began a long, low howling. Virginia joined him, \\n until she was out of breath. \\n \\n 'Oh, Paul,' she said at last, 'is this more rational than the Lord's \\n Prayer?' \\n\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \"'I was but propounding a theory--an opinion,' gasped the curate. 'Surely \\n thought is free. You will not persecute me for my opinions?' \\n \\n 'It is not for your opinions,' said the Professor, 'but for the\",\n \"CHAPTER XIV. \\n \\n \\n Matters now went on charmingly. All existence seemed to take a richer \\n colouring, and there was something, Paul said, which, in Professor\",\n \"angry with us for pretending that we do not believe on Him.' \\n \\n The Professor was as white as a sheet; but he struggled with his \\n perturbation manfully. \\n\",\n \"'It is nothing,' cried Paul; 'it cannot possibly be anything. I protest, \\n in the name of science, that it is an optical delusion.' \\n \\n Suddenly the female figure exclaimed, 'Thank God, it is he!' \\n\",\n \"The Professor caught hold of the curate's coat-tails, and forcibly \\n pulled him back into his seat. \\n \\n 'If you dare attempt it,' he said, 'I will kick you soundly, and,\",\n \"little!--we know about it. Is it not solemn, and sublime, and awful? \\n Come let us howl again.' \\n \\n The Professor's devotional fervour grew every moment. At last he put his\",\n \"only to make the silence audible. The Professor paused close beside \\n Virginia, and took her hand. Virginia liked that, and thought that \\n religion without theology was not perhaps so bad after all. Meanwhile \\n Paul had fixed his eyes on the moon. Then, in a voice almost broken with\",\n \"shocking, immoral man! you will feel miserable enough then.' \\n \\n The curate was a terrible coward, and very weak as well. 'You are a \\n great hulking fellow,' he said, eyeing the Professor; 'and I am of a\"\n ],\n [\n \"than Virginia had been in hers. He had written three volumes on the \\n origin of life, which he had spent seven years in looking for in \\n infusions of hay and cheese; he had written five volumes on the entozoa\",\n \"was to the most vapid figments of Christianity, Mrs. Darnley was yet \\n proud beyond measure of her husband's worldwide fame, for she did but \\n imperfectly understand the grounds of it. Indeed, the only thing that\",\n \"marred her happiness was the single tenet of his that she had really \\n mastered. This, unluckily, was that he disbelieved in hell. And so, as \\n Mrs. Darnley conceived that that place was designed mainly to hold those\",\n \"his South Pacific diocese of the Chasuble Islands, to prepare a home for \\n his bride, who was to follow him by the next steamer. \\n \\n Professor Paul Darnley, in his own walk of life, was even more famous\",\n \"of the pig, and two volumes of lectures, as a corollary to these, on the \\n sublimity of human heroism and the whole duty of man. He was renowned \\n all over Europe and America as a complete embodiment of enlightened\",\n \"personages than Professor Paul Darnley and the superb Virginia St. \\n John. \\n \\n \\n \\n \\n CHAPTER II. \\n \\n \\n Miss St. John had, for at least six years, been the most renowned woman\",\n \"present to us under the guise of a manufacturer of atoms, turns out \\n annually, for England and Wales alone, a quarter of a million of new \\n souls. Taken in connection with the dictum of Mr. Carlyle, that this\",\n \"Next morning the curate began studying a number of essays that the \\n Professor lent him, all written by exact thinkers, who disbelieved in \\n God, and thought Humanity adorable, and most important. Virginia lay on\",\n \"came back to luncheon, having been unsuccessful in his search. Events \\n had marched quickly in his absence. Virginia was at the beginning of her \\n third volume; and the curate had skimmed over so many essays, that he\",\n \"The more she read, the more eager she became; and the more private \\n appeared the nature of the documents, the more insatiable did her \\n thirst for truth grow. To her extreme surprise, she gathered that the \\n Professor had begun life as a clergyman. There were several photographs\",\n \"He married, at the age of forty, an excellent evangelical lady, ten \\n years his senior, who wore a green gown, grey corkscrew curls, and who \\n had a fortune of two hundred thousand pounds. Deeply pledged though she\",\n \"inclinations, you can really care for nothing so much as doing a few \\n sums. I will set you some very easy ones to begin with, and you shall do \\n them by yourself, whilst I magnify in the next room the parasites of the \\n missing link.' \\n\",\n \"collected in a card-paper box a large number of its parasites. \\n \\n 'I am glad,' said Virginia, 'that you have not found the missing link: \\n though as to thinking that we really came from monkeys, of course that\",\n \"for a third time in the sea, and that he was then snapped up by a shark. \\n But he is as much alive as ever in his posthumous activities. He has \\n made you wretched after him; and that is his future life. Become an\",\n \"brooding, and he at last suggested to his medical man that a voyage \\n round the world, unaccompanied by his wife, was the prescription most \\n needed by his failing patience. Mrs. Darnley at length consented with a\",\n \"'No,' said the Professor; 'for he is one third of Humanity. You do not \\n properly appreciate the solidarity of mankind. His existence, however, I \\n admit is a great difficulty.' \\n\",\n \"to Chasuble Island. By the blessing of God it is on your own home you \\n have been wrecked, and you have been living in the very house that I had \\n intended to prepare for you. Providentially, too, Professor Darnley's\",\n \"will command all the luxuries of civilisation--the glorious fruits of \\n centuries of onward labour.' \\n \\n The three spent a very busy morning in examining and unpacking the \\n luggage. The Professor found his favourite collection of modern\",\n \"the sofa, and sighed over one of Miss Broughton's novels; and it \\n occurred to the Professor that the island was just the place where, if \\n anywhere, the missing link might be found. \\n\",\n \"completely astounded by an occurrence so unnatural, and exclaimed in a \\n voice of thunder, 'Morality, sir--remember morality! How dare you upset \\n that which Professor Huxley tells us must be for ever strong enough to \\n hold its own?' \\n\"\n ],\n [\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"the surest marks of the enervating influence of this dream of a \\n celestial glory.\\\"' The Professor accordingly re-delivered to Virginia \\n the entire substance of his lectures in the ship. He fully impressed on\",\n \"_THE NEW PAUL AND VIRGINIA._ \\n \\n \\n \\n \\n CHAPTER I. \\n \\n \\n The magnificent ocean-steamer the _Australasian_ was bound for England,\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"promised to pray till his return for his recovery of a faith in hell. \\n \\n The Professor, who had but exceeded his time by six months, was now on \\n board the _Australasian_, homeward bound to his wife. Virginia was \\n outward bound to her husband.\",\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"on her homeward voyage from Melbourne, carrying Her Majesty's mails and \\n ninety-eight first-class passengers. Never did vessel start under \\n happier auspices. The skies were cloudless; the sea was smooth as glass.\",\n \"it, till, examining the structure more closely, he found it composed \\n mainly of a ship's timbers. This seemed to tell its own tale, and he at \\n once concluded that he and Virginia were not the first castaways who had\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"with her a beautiful vesper hymn. Nor did the matter end here, for the \\n strains sounded so lovely, and Virginia looked so devotional, that most \\n of the passengers the night after joined in a repetition of this \\n touching evening office. \\n\",\n \"provisions, books, and china ornaments were carried up to the cottage \\n and bestowed in proper places. Virginia filled the glasses in the \\n drawing-room with gorgeous leaves and flowers and declared by the \\n evening, as she looked round her, that she could almost fancy herself in\",\n \"enlightened. Progress will now go on smoothly.' \\n \\n At this moment Virginia came out, having rapidly recovered composure at \\n the sound of a new man's voice. \\n\",\n \"The Professor remained away for three days. For the first two of them \\n Virginia was inconsolable. She wandered about mournfully with her head \\n dejected. She very often sighed; she very often uttered the name of\",\n \"resolved that next day he would preach them a lay-sermon. \\n \\n At the appointed time the passengers gathered eagerly round him--all but \\n Virginia, who retired to her cabin when she saw that the preacher wore\",\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"Virginia saw that there was no help for it. She did her sums by herself \\n the whole morning, which, as at school she had been very good at \\n arithmetic, was not a hard task for her, and Paul magnified parasites in\",\n \"Virginia licked her lips and said, 'Nonsense!' \\n \\n 'It is not nonsense,' said the Professor. 'It is the religion of \\n Humanity.' \\n \\n All day they were busy, and the time passed pleasantly enough. Wines,\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"In another moment the male figure exclaimed, 'Thank God, it is she!' \\n \\n 'My husband!' gasped Virginia. \\n \\n 'My wife!' replied the bishop, for it was none other than he. 'Welcome\",\n \"Evening fell on the ship with a soft warm witchery. The air grew purple, \\n and the waves began to glitter in the moonlight. The passengers gathered \\n in knots upon the deck, and the distinguished strangers were still the\"\n ],\n [\n \"on her homeward voyage from Melbourne, carrying Her Majesty's mails and \\n ninety-eight first-class passengers. Never did vessel start under \\n happier auspices. The skies were cloudless; the sea was smooth as glass.\",\n \"Evening fell on the ship with a soft warm witchery. The air grew purple, \\n and the waves began to glitter in the moonlight. The passengers gathered \\n in knots upon the deck, and the distinguished strangers were still the\",\n \"Nor was the advice premature. A storm arose, exceptional in its \\n suddenness and its fury. It raged for two days without ceasing. The \\n _Australasian_ sprang a leak; her steering gear was disabled; and it was\",\n \"No sooner were the ship's damages in a fair way to be repaired than the \\n Professor resumed his sermon. He climbed into the cutter, which was \\n still full of the passengers' baggage, and sat down on the largest of\",\n \"promised to pray till his return for his recovery of a faith in hell. \\n \\n The Professor, who had but exceeded his time by six months, was now on \\n board the _Australasian_, homeward bound to his wife. Virginia was \\n outward bound to her husband.\",\n \"feared she would go ashore on an island that was seen dimly through the \\n fog to the leeward. The boats were got in readiness. A quantity of \\n provisions and of the passengers' baggage was already stowed in the\",\n \"and on seeing five sailors sink within three yards of her, she fainted \\n dead away. The Professor begged her not to take it so much to heart, as \\n these were the very men who had got the cutter in readiness; 'and they\",\n \"it, till, examining the structure more closely, he found it composed \\n mainly of a ship's timbers. This seemed to tell its own tale, and he at \\n once concluded that he and Virginia were not the first castaways who had\",\n \"The Professor would have proceeded, but the weather had been rapidly \\n growing rough, and he here became violently sea-sick. \\n \\n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \\n below.' \\n\",\n \"There was not a sound of sickness to be heard anywhere; and when \\n dinner-time came there was not a single absentee nor an appetite \\n wanting. \\n \\n But the passengers soon discovered they were lucky in more than weather.\",\n \"utmost misery. They soon recognised her as one of the passengers on the \\n ship. She told them how she had been floated ashore on a spar, and how \\n she had been sustained by a little roast pig, that kindly begged her to\",\n \"the surest marks of the enervating influence of this dream of a \\n celestial glory.\\\"' The Professor accordingly re-delivered to Virginia \\n the entire substance of his lectures in the ship. He fully impressed on\",\n \"The Professor, as was natural, held quite aloof, and pondered over a new \\n species of bug, which he had found very plentiful in his berth. But it \\n soon occurred to him that he often heard the name of God being uttered\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"_THE NEW PAUL AND VIRGINIA._ \\n \\n \\n \\n \\n CHAPTER I. \\n \\n \\n The magnificent ocean-steamer the _Australasian_ was bound for England,\",\n \"brooding, and he at last suggested to his medical man that a voyage \\n round the world, unaccompanied by his wife, was the prescription most \\n needed by his failing patience. Mrs. Darnley at length consented with a\",\n \"He would have said more, but he was here startled by a piteous noise of \\n crying, and the three found themselves confronted by an old woman \\n dripping with sea-water, and with an expression on her face of the\",\n \"_Australasian_ went down. In an instant the air was rent with yells and \\n cries; and all the Humanity that was on board the vessel was busy, as \\n the Professor expressed it, uniting itself with the infinite azure of\",\n \"CHAPTER III. \\n \\n \\n The sensation created by the presence of these two celebrities was \\n profound beyond description; and the passengers were never weary of \\n watching the gleaming spectacles and the square-toed boots of the one,\"\n ],\n [\n \"on her homeward voyage from Melbourne, carrying Her Majesty's mails and \\n ninety-eight first-class passengers. Never did vessel start under \\n happier auspices. The skies were cloudless; the sea was smooth as glass.\",\n \"Evening fell on the ship with a soft warm witchery. The air grew purple, \\n and the waves began to glitter in the moonlight. The passengers gathered \\n in knots upon the deck, and the distinguished strangers were still the\",\n \"No sooner were the ship's damages in a fair way to be repaired than the \\n Professor resumed his sermon. He climbed into the cutter, which was \\n still full of the passengers' baggage, and sat down on the largest of\",\n \"Nor was the advice premature. A storm arose, exceptional in its \\n suddenness and its fury. It raged for two days without ceasing. The \\n _Australasian_ sprang a leak; her steering gear was disabled; and it was\",\n \"promised to pray till his return for his recovery of a faith in hell. \\n \\n The Professor, who had but exceeded his time by six months, was now on \\n board the _Australasian_, homeward bound to his wife. Virginia was \\n outward bound to her husband.\",\n \"The Professor would have proceeded, but the weather had been rapidly \\n growing rough, and he here became violently sea-sick. \\n \\n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \\n below.' \\n\",\n \"and on seeing five sailors sink within three yards of her, she fainted \\n dead away. The Professor begged her not to take it so much to heart, as \\n these were the very men who had got the cutter in readiness; 'and they\",\n \"the surest marks of the enervating influence of this dream of a \\n celestial glory.\\\"' The Professor accordingly re-delivered to Virginia \\n the entire substance of his lectures in the ship. He fully impressed on\",\n \"feared she would go ashore on an island that was seen dimly through the \\n fog to the leeward. The boats were got in readiness. A quantity of \\n provisions and of the passengers' baggage was already stowed in the\",\n \"The Professor, as was natural, held quite aloof, and pondered over a new \\n species of bug, which he had found very plentiful in his berth. But it \\n soon occurred to him that he often heard the name of God being uttered\",\n \"utmost misery. They soon recognised her as one of the passengers on the \\n ship. She told them how she had been floated ashore on a spar, and how \\n she had been sustained by a little roast pig, that kindly begged her to\",\n \"There was not a sound of sickness to be heard anywhere; and when \\n dinner-time came there was not a single absentee nor an appetite \\n wanting. \\n \\n But the passengers soon discovered they were lucky in more than weather.\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"it, till, examining the structure more closely, he found it composed \\n mainly of a ship's timbers. This seemed to tell its own tale, and he at \\n once concluded that he and Virginia were not the first castaways who had\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"_Australasian_ went down. In an instant the air was rent with yells and \\n cries; and all the Humanity that was on board the vessel was busy, as \\n the Professor expressed it, uniting itself with the infinite azure of\",\n \"brooding, and he at last suggested to his medical man that a voyage \\n round the world, unaccompanied by his wife, was the prescription most \\n needed by his failing patience. Mrs. Darnley at length consented with a\",\n \"CHAPTER III. \\n \\n \\n The sensation created by the presence of these two celebrities was \\n profound beyond description; and the passengers were never weary of \\n watching the gleaming spectacles and the square-toed boots of the one,\",\n \"He would have said more, but he was here startled by a piteous noise of \\n crying, and the three found themselves confronted by an old woman \\n dripping with sea-water, and with an expression on her face of the\",\n \"was snapped up by a shark. Our friends, meanwhile, borne by a current, \\n had been drifting rapidly towards the island. And the Professor, \\n spreading to the breeze Virginia's beautiful lace parasol, soon brought\"\n ],\n [\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"enlightened. Progress will now go on smoothly.' \\n \\n At this moment Virginia came out, having rapidly recovered composure at \\n the sound of a new man's voice. \\n\",\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"Virginia was preparing, with a rueful face, to resume her enjoyment of \\n the higher pleasures, when a horrible smell, like that of an open drain, \\n was suddenly blown in through the window. \\n\",\n \"provisions, books, and china ornaments were carried up to the cottage \\n and bestowed in proper places. Virginia filled the glasses in the \\n drawing-room with gorgeous leaves and flowers and declared by the \\n evening, as she looked round her, that she could almost fancy herself in\",\n \"had seen so much of the world lately, that he soon recovered himself, \\n and recollecting that immorality was only ignorance, he began to show \\n Virginia where her error lay---her one remaining error. 'I perceive,' he\",\n \"to men they will at once leave all and follow them.' \\n \\n 'They must be very nice pleasures,' said Virginia, 'if they would make \\n me leave kissing you for the sake of them.' \\n\",\n \"in on him. He remembered that as one of his most revered masters, \\n Professor Tyndall, had admitted, a great part of Humanity would always \\n need a religion, and that Virginia now had none. He at once rushed back\",\n \"When he came back to the cottage he found Virginia just getting off the \\n sofa, and preparing to go to bed. She was too sleepy even to say \\n good-night to him, and with evident want of temper was tugging at the\",\n \"The Professor talked like this to Virginia the whole morning; but in \\n spite of all his arguments, she declined to be comforted. 'It is all \\n very well,' she said, 'whilst you are in the way. But as soon as your\",\n \"poor Professor was horrified at the sight of a human being in this \\n degrading attitude of superstition. But as Virginia quitted it with \\n alacrity as soon as ever he told his news to her, he hoped he might soon\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"Virginia saw that there was no help for it. She did her sums by herself \\n the whole morning, which, as at school she had been very good at \\n arithmetic, was not a hard task for her, and Paul magnified parasites in\",\n \"being, it will be my mission and my glory to compel you to live for me. \\n And then, as modern philosophy can demonstrate, we shall both of us be \\n significantly and unspeakably happy.' \\n \\n For a few moments Virginia merely stared at Paul. Suddenly she turned\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\",\n \"The Professor remained away for three days. For the first two of them \\n Virginia was inconsolable. She wandered about mournfully with her head \\n dejected. She very often sighed; she very often uttered the name of\",\n \"promised to pray till his return for his recovery of a faith in hell. \\n \\n The Professor, who had but exceeded his time by six months, was now on \\n board the _Australasian_, homeward bound to his wife. Virginia was \\n outward bound to her husband.\",\n \"The shrill accents acted like a charm upon Paul. He sprang away from the \\n creature that he had been just caressing. He gazed for a moment on \\n Virginia's lovely form, her exquisite toilette, and her melting eyes.\"\n ],\n [\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"than Virginia had been in hers. He had written three volumes on the \\n origin of life, which he had spent seven years in looking for in \\n infusions of hay and cheese; he had written five volumes on the entozoa\",\n \"personages than Professor Paul Darnley and the superb Virginia St. \\n John. \\n \\n \\n \\n \\n CHAPTER II. \\n \\n \\n Miss St. John had, for at least six years, been the most renowned woman\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\",\n \"had seen so much of the world lately, that he soon recovered himself, \\n and recollecting that immorality was only ignorance, he began to show \\n Virginia where her error lay---her one remaining error. 'I perceive,' he\",\n \"Virginia meanwhile ate _paté de foie gras_, of which she was \\n passionately fond; and, growing a little less sullen, she at last \\n admitted that they were lucky in having at least the necessaries of life\",\n \"Virginia was preparing, with a rueful face, to resume her enjoyment of \\n the higher pleasures, when a horrible smell, like that of an open drain, \\n was suddenly blown in through the window. \\n\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"may be,\\\" says that great teacher, \\\"that the object of a man's religion \\n is an ideal of sensual enjoyment, or----\\\"' \\n \\n 'Ah!' cried Virginia, 'that is my religion, Paul.' \\n\",\n \"again, and as Virginia still continued her fascinating behaviour to him, \\n he resolved to try and prove to her that, the test of morality being \\n happiness, the most moral thing she could do would be to allow him to\",\n \"The Professor talked like this to Virginia the whole morning; but in \\n spite of all his arguments, she declined to be comforted. 'It is all \\n very well,' she said, 'whilst you are in the way. But as soon as your\",\n \"Virginia saw that there was no help for it. She did her sums by herself \\n the whole morning, which, as at school she had been very good at \\n arithmetic, was not a hard task for her, and Paul magnified parasites in\",\n \"'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \\n be relieved from the higher pleasures. Alas!' she cried, as she flung \\n herself down on the sofa, 'he is so nice-looking, and such an\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"in on him. He remembered that as one of his most revered masters, \\n Professor Tyndall, had admitted, a great part of Humanity would always \\n need a religion, and that Virginia now had none. He at once rushed back\",\n \"thus studying human nature; and he began asking Virginia if her \\n discoveries belonged to the domain of historical or biological science. \\n Meanwhile Virginia had flung herself on her knees before him, and was \\n exclaiming, in piteous accents-- \\n\",\n \"The shrill accents acted like a charm upon Paul. He sprang away from the \\n creature that he had been just caressing. He gazed for a moment on \\n Virginia's lovely form, her exquisite toilette, and her melting eyes.\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"to men they will at once leave all and follow them.' \\n \\n 'They must be very nice pleasures,' said Virginia, 'if they would make \\n me leave kissing you for the sake of them.' \\n\"\n ],\n [\n \"marred her happiness was the single tenet of his that she had really \\n mastered. This, unluckily, was that he disbelieved in hell. And so, as \\n Mrs. Darnley conceived that that place was designed mainly to hold those\",\n \"brooding, and he at last suggested to his medical man that a voyage \\n round the world, unaccompanied by his wife, was the prescription most \\n needed by his failing patience. Mrs. Darnley at length consented with a\",\n \"his South Pacific diocese of the Chasuble Islands, to prepare a home for \\n his bride, who was to follow him by the next steamer. \\n \\n Professor Paul Darnley, in his own walk of life, was even more famous\",\n \"'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \\n be relieved from the higher pleasures. Alas!' she cried, as she flung \\n herself down on the sofa, 'he is so nice-looking, and such an\",\n \"'The nasty little beast!' said Virginia to the Professor, 'he is nearly \\n always drunk. I am beginning quite to like you, Paul, by comparison \\n with him. Let us turn him out, and not let him live in the cottage.' \\n\",\n \"back is turned, I know he will be at me again.' \\n \\n 'Will you never,' said Paul, by this time a little irritated, 'will you \\n never listen to exact thought? The curate is now reflecting; and a\",\n \"to Chasuble Island. By the blessing of God it is on your own home you \\n have been wrecked, and you have been living in the very house that I had \\n intended to prepare for you. Providentially, too, Professor Darnley's\",\n \"buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \\n 'if God, in His infinite mercy, had only spared my maid!' \\n \\n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'\",\n \"enlightened thinker. But it is plain he has never loved, or else very \\n certainly he would love again.' \\n \\n Paul returned in about a couple of hours, again unsuccessful in his \\n search. \\n\",\n \"curate had foregone every attempt to kiss Virginia, and yet apparently \\n he was happiness itself; and Paul took him aside, as soon as the meal \\n was over, to congratulate him on the holy state to which exact thought\",\n \"was to the most vapid figments of Christianity, Mrs. Darnley was yet \\n proud beyond measure of her husband's worldwide fame, for she did but \\n imperfectly understand the grounds of it. Indeed, the only thing that\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"One day at dinner-time, shortly afterwards, Paul came in radiant. \\n \\n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \\n \\n Virginia inquired anxiously what had happened, and Paul informed her\",\n \"Matters went on like this for several days. The curate was too much \\n frightened to again approach Virginia. Virginia at last became convinced \\n that he did not care about kissing her. Her vanity was wounded, and she\",\n \"When he came back to the cottage he found Virginia just getting off the \\n sofa, and preparing to go to bed. She was too sleepy even to say \\n good-night to him, and with evident want of temper was tugging at the\",\n \"Paul came back, to Virginia's extreme relief, without the missing link. \\n But he was still radiant in spite of his failure; for he had discovered, \\n he said, a place where the creature had apparently slept, and he had\",\n \"caught sight in the cutter of the largest of her own boxes, and she \\n began to recover herself. Paul begged her to remain quiet whilst he went \\n to reconnoitre. \\n \\n He had hardly proceeded twenty yards into the valley, when to his\",\n \"whispered, with a soft smile-- \\n \\n 'Suppose we put that nasty microscope aside; it is only in the way. And \\n then, oh, Paul; dear love, dove of a Paul! we can kiss each other to our \\n heart's content.' \\n\",\n \"The shrill accents acted like a charm upon Paul. He sprang away from the \\n creature that he had been just caressing. He gazed for a moment on \\n Virginia's lovely form, her exquisite toilette, and her melting eyes.\",\n \"that, as Paul said, he really did not so much care to kiss her after \\n all. She, therefore, put on all her most enticing ways; she talked, \\n flirted, and smiled her best, and made her most effective eyes, that the\"\n ],\n [\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"The Professor talked like this to Virginia the whole morning; but in \\n spite of all his arguments, she declined to be comforted. 'It is all \\n very well,' she said, 'whilst you are in the way. But as soon as your\",\n \"enlightened. Progress will now go on smoothly.' \\n \\n At this moment Virginia came out, having rapidly recovered composure at \\n the sound of a new man's voice. \\n\",\n \"had seen so much of the world lately, that he soon recovered himself, \\n and recollecting that immorality was only ignorance, he began to show \\n Virginia where her error lay---her one remaining error. 'I perceive,' he\",\n \"When he came back to the cottage he found Virginia just getting off the \\n sofa, and preparing to go to bed. She was too sleepy even to say \\n good-night to him, and with evident want of temper was tugging at the\",\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"Virginia was preparing, with a rueful face, to resume her enjoyment of \\n the higher pleasures, when a horrible smell, like that of an open drain, \\n was suddenly blown in through the window. \\n\",\n \"in on him. He remembered that as one of his most revered masters, \\n Professor Tyndall, had admitted, a great part of Humanity would always \\n need a religion, and that Virginia now had none. He at once rushed back\",\n \"promised to pray till his return for his recovery of a faith in hell. \\n \\n The Professor, who had but exceeded his time by six months, was now on \\n board the _Australasian_, homeward bound to his wife. Virginia was \\n outward bound to her husband.\",\n \"The Professor remained away for three days. For the first two of them \\n Virginia was inconsolable. She wandered about mournfully with her head \\n dejected. She very often sighed; she very often uttered the name of\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"poor Professor was horrified at the sight of a human being in this \\n degrading attitude of superstition. But as Virginia quitted it with \\n alacrity as soon as ever he told his news to her, he hoped he might soon\",\n \"'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \\n be relieved from the higher pleasures. Alas!' she cried, as she flung \\n herself down on the sofa, 'he is so nice-looking, and such an\",\n \"buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \\n 'if God, in His infinite mercy, had only spared my maid!' \\n \\n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'\",\n \"Matters went on like this for several days. The curate was too much \\n frightened to again approach Virginia. Virginia at last became convinced \\n that he did not care about kissing her. Her vanity was wounded, and she\",\n \"'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \\n read all your letters; I looked at your early photographs; I saw all \\n your beautiful prayers.' \\n \\n 'You broke open my box!' cried the Professor. 'You read my letters and\",\n \"provisions, books, and china ornaments were carried up to the cottage \\n and bestowed in proper places. Virginia filled the glasses in the \\n drawing-room with gorgeous leaves and flowers and declared by the \\n evening, as she looked round her, that she could almost fancy herself in\"\n ],\n [\n \"He would have said more, but he was here startled by a piteous noise of \\n crying, and the three found themselves confronted by an old woman \\n dripping with sea-water, and with an expression on her face of the\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"will become unspeakably happy.' \\n \\n Meanwhile, however, the old woman had died. When the Professor \\n discovered this he was somewhat shocked; but at length with a sudden \\n change of countenance, 'We neither of us did it,' he exclaimed; 'her\",\n \"she has made us happy by dying so very opportunely. Let us speak well of \\n the dead. Her death has been a holy and a blessed one. She has conformed \\n to the laws of matter. Thus is unhappiness destined to fade out of the\",\n \"indeed you? Thank God!----I beg pardon for my unspeakable blasphemy--I \\n mean, thank circumstances over which I have no control.' \\n \\n It was one of the three curates, whom Paul had supposed drowned, but who\",\n \"hand to his mouth, and began hooting like an owl, till it seemed that \\n all the island echoed to him. The louder Paul hooted and howled, the \\n more near did he draw to Virginia. \\n\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"now related how he had managed to swim ashore, despite the extreme \\n length of his black clerical coat. 'These rags of superstition,' he \\n said, 'did their best to drown me. But I survive in spite of them, to\",\n \"back is turned, I know he will be at me again.' \\n \\n 'Will you never,' said Paul, by this time a little irritated, 'will you \\n never listen to exact thought? The curate is now reflecting; and a\",\n \"world. A fourth part of Humanity is now miserable.' \\n \\n The curate answered promptly that if no restoratives were given her, \\n she would probably die in a few minutes. 'And to let her die,' he said,\",\n \"The Professor at once began a long, low howling. Virginia joined him, \\n until she was out of breath. \\n \\n 'Oh, Paul,' she said at last, 'is this more rational than the Lord's \\n Prayer?' \\n\",\n \"'Yes,' said the curate, 'we are well rid of her. She was an immoral old \\n woman, for happiness is the test of morality, and she was very unhappy.' \\n \\n 'On the contrary,' said the Professor, 'she was a moral old woman; for\",\n \"will make the old woman happy, and therefore fit to live. Old woman,' he \\n exclaimed, 'let me beg you to consider this. You are yourself by your \\n own unhappiness expiating your son's sins. Do but think of that, and you\",\n \"curate had foregone every attempt to kiss Virginia, and yet apparently \\n he was happiness itself; and Paul took him aside, as soon as the meal \\n was over, to congratulate him on the holy state to which exact thought\",\n \"'You are a priest, Paul,' said Virginia; 'that is one of the things I \\n have discovered. I am in a state of deadly sin; that is the other: and I \\n must and will confess to you. Once a priest, always a priest. You cannot\",\n \"'Well,' said Virginia, 'since we have a clergyman amongst us, we shall \\n perhaps be able to get on.' \\n \\n \\n \\n \\n CHAPTER VII. \\n \\n \\n Things now took a better turn. The Professor ceased to feel shy; and\",\n \"only to make the silence audible. The Professor paused close beside \\n Virginia, and took her hand. Virginia liked that, and thought that \\n religion without theology was not perhaps so bad after all. Meanwhile \\n Paul had fixed his eyes on the moon. Then, in a voice almost broken with\",\n \"buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \\n 'if God, in His infinite mercy, had only spared my maid!' \\n \\n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'\"\n ],\n [\n \"that the curate, who had got more drunk than usual that afternoon, had \\n fallen over a cliff, and been dashed to pieces. \\n \\n 'What event,' he asked, 'could be more charming more unspeakably holy?\",\n \"now related how he had managed to swim ashore, despite the extreme \\n length of his black clerical coat. 'These rags of superstition,' he \\n said, 'did their best to drown me. But I survive in spite of them, to\",\n \"'Well,' said Virginia, 'since we have a clergyman amongst us, we shall \\n perhaps be able to get on.' \\n \\n \\n \\n \\n CHAPTER VII. \\n \\n \\n Things now took a better turn. The Professor ceased to feel shy; and\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"will become unspeakably happy.' \\n \\n Meanwhile, however, the old woman had died. When the Professor \\n discovered this he was somewhat shocked; but at length with a sudden \\n change of countenance, 'We neither of us did it,' he exclaimed; 'her\",\n \"indeed you? Thank God!----I beg pardon for my unspeakable blasphemy--I \\n mean, thank circumstances over which I have no control.' \\n \\n It was one of the three curates, whom Paul had supposed drowned, but who\",\n \"was snapped up by a shark. Our friends, meanwhile, borne by a current, \\n had been drifting rapidly towards the island. And the Professor, \\n spreading to the breeze Virginia's beautiful lace parasol, soon brought\",\n \"to him not to be afraid of death, as there was certainly no hell, and \\n that his life, no matter how degraded and miserable, had been a glorious \\n mystery, full of infinite significance. The next moment the struggler\",\n \"to Chasuble Island. By the blessing of God it is on your own home you \\n have been wrecked, and you have been living in the very house that I had \\n intended to prepare for you. Providentially, too, Professor Darnley's\",\n \"asked what was amiss with him. 'I am agonising,' he said, 'for the sake \\n of holy, solemn, unspeakably dignified Humanity.' \\n \\n The curate, seeing the Professor thus dejected, by degrees took heart\",\n \"world. A fourth part of Humanity is now miserable.' \\n \\n The curate answered promptly that if no restoratives were given her, \\n she would probably die in a few minutes. 'And to let her die,' he said,\",\n \"A radiant expression suffused the face of the Professor. 'See,' he said \\n to Virginia, 'the curate's conversion is already half accomplished. In a \\n few hours more he will be rational, he will be moral, he will be \\n solemnly and significantly happy.'\",\n \"little!--we know about it. Is it not solemn, and sublime, and awful? \\n Come let us howl again.' \\n \\n The Professor's devotional fervour grew every moment. At last he put his\",\n \"shocking, immoral man! you will feel miserable enough then.' \\n \\n The curate was a terrible coward, and very weak as well. 'You are a \\n great hulking fellow,' he said, eyeing the Professor; 'and I am of a\",\n \"he? Have you seen him? Are you sure that he is living?' \\n \\n 'I am sure of it,' said the Professor, 'because enlightened thought \\n shows me that he cannot be anything else. It is true that I saw him sink\",\n \"in on him. He remembered that as one of his most revered masters, \\n Professor Tyndall, had admitted, a great part of Humanity would always \\n need a religion, and that Virginia now had none. He at once rushed back\",\n \"to do. He paced up and down the verandah, or about the rooms, and moaned \\n and groaned as if he had a violent toothache. Virginia and the curate\",\n \"She reminded him that he had preached there without a surplice, and that \\n she had therefore not thought it right to listen to a word he said. \\n \\n 'Ah!' cried the Professor, with a sigh of intense relief, 'I see it all\",\n \"the remaining and most enlightened third, will go and seek it. Glorious, \\n solemn Humanity! I will go and look about for its arboreal ancestor.' \\n \\n Every step the Professor took he found the island more beautiful. But he\",\n \"But the last glass of champagne had put the curate beyond the reach of \\n exact thought. He tumbled under the table, and the Professor carried him \\n off to bed. \\n \\n \\n \\n \\n CHAPTER X. \\n \\n\"\n ],\n [\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"available by the Internet Archive) \\n \\n \\n \\n \\n \\n THE NEW PAUL AND VIRGINIA \\n \\n or \\n \\n POSITIVISM ON AN ISLAND \\n \\n BY \\n \\n W.H. MALLOCK\",\n \"hand to his mouth, and began hooting like an owl, till it seemed that \\n all the island echoed to him. The louder Paul hooted and howled, the \\n more near did he draw to Virginia. \\n\",\n \"_THE NEW PAUL AND VIRGINIA._ \\n \\n \\n \\n \\n CHAPTER I. \\n \\n \\n The magnificent ocean-steamer the _Australasian_ was bound for England,\",\n \"been forced to make the island for some time their dwelling-place. \\n \\n Overjoyed at this discovery, he hastened back to Virginia. She was by \\n this time apparently quite recovered, and was kneeling on the cashmere\",\n \"'See,' shrieked Virginia again, 'they are coming, they are coming. Do \\n not you see them?' \\n \\n Paul looked, and there sure enough, were two figures, a male and a \\n female, advancing slowly towards them, across the moonlit sand.\",\n \"the cutter to the shore on a beach of the softest sand. \\n \\n \\n \\n \\n CHAPTER V. \\n \\n \\n The scene that met Paul's eyes was one of extreme loveliness. He found\",\n \"Paul came back, to Virginia's extreme relief, without the missing link. \\n But he was still radiant in spite of his failure; for he had discovered, \\n he said, a place where the creature had apparently slept, and he had\",\n \" GUTENBERG EBOOK THE NEW PAUL AND VIRGINIA *** \\n \\n \\n \\n \\n Produced by Christine Bell and Marc D'Hooghe at \\n http://www.freeliterature.org (From images generously made\",\n \"The shrill accents acted like a charm upon Paul. He sprang away from the \\n creature that he had been just caressing. He gazed for a moment on \\n Virginia's lovely form, her exquisite toilette, and her melting eyes.\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"tropical trees made a grateful shade, and where the ground was carpeted \\n with the softest moss and turf. \\n \\n Paul's first care was for his fair companion. He spread a costly\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \"it, till, examining the structure more closely, he found it composed \\n mainly of a ship's timbers. This seemed to tell its own tale, and he at \\n once concluded that he and Virginia were not the first castaways who had\",\n \"'What!' cried Paul, 'and how have you been able to forego the pleasures \\n of the intellect?' \\n \\n 'I have deserted them,' cried Virginia, 'for the pleasures of the \\n imagination, which I gathered from you were also very ennobling. And I\",\n \"In another moment the male figure exclaimed, 'Thank God, it is she!' \\n \\n 'My husband!' gasped Virginia. \\n \\n 'My wife!' replied the bishop, for it was none other than he. 'Welcome\",\n \"buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \\n 'if God, in His infinite mercy, had only spared my maid!' \\n \\n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \\n be relieved from the higher pleasures. Alas!' she cried, as she flung \\n herself down on the sofa, 'he is so nice-looking, and such an\",\n \"'Ah!' cried Paul, 'this is altruism indeed. I think already I can feel \\n the sublimity beginning.' \\n \\n Virginia liked this rather better. But soon she committed the sin of\"\n ],\n [\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \"The Professor at once began a long, low howling. Virginia joined him, \\n until she was out of breath. \\n \\n 'Oh, Paul,' she said at last, 'is this more rational than the Lord's \\n Prayer?' \\n\",\n \"The Professor, like most serious thinkers, knew but little of that \\n trifle commonly called 'the world.' He had never kissed any one except \\n his wife; even that he did as seldom as possible; and the curate lying\",\n \"CHAPTER XIV. \\n \\n \\n Matters now went on charmingly. All existence seemed to take a richer \\n colouring, and there was something, Paul said, which, in Professor\",\n \"'The nasty little beast!' said Virginia to the Professor, 'he is nearly \\n always drunk. I am beginning quite to like you, Paul, by comparison \\n with him. Let us turn him out, and not let him live in the cottage.' \\n\",\n \"me so much happier, Paul,' she said. The Professor again assented, that \\n he might make Virginia happy, and that she might be happy in knowing \\n that he was happy in promoting her happiness. At last the Professor, shy\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"only to make the silence audible. The Professor paused close beside \\n Virginia, and took her hand. Virginia liked that, and thought that \\n religion without theology was not perhaps so bad after all. Meanwhile \\n Paul had fixed his eyes on the moon. Then, in a voice almost broken with\",\n \"voice to a whisper, 'are you quite sure, Paul, that it is perfectly \\n moral?' \\n \\n 'Moral!' echoed the Professor, 'moral! Why, exact thought shows us that \\n it is the very essence of all morality!' \\n \\n \\n\",\n \"One day at dinner-time, shortly afterwards, Paul came in radiant. \\n \\n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \\n \\n Virginia inquired anxiously what had happened, and Paul informed her\",\n \"The Professor, as was natural, held quite aloof, and pondered over a new \\n species of bug, which he had found very plentiful in his berth. But it \\n soon occurred to him that he often heard the name of God being uttered\",\n \"The Professor remained away for three days. For the first two of them \\n Virginia was inconsolable. She wandered about mournfully with her head \\n dejected. She very often sighed; she very often uttered the name of\",\n \"A radiant expression suffused the face of the Professor. 'See,' he said \\n to Virginia, 'the curate's conversion is already half accomplished. In a \\n few hours more he will be rational, he will be moral, he will be \\n solemnly and significantly happy.'\",\n \"his South Pacific diocese of the Chasuble Islands, to prepare a home for \\n his bride, who was to follow him by the next steamer. \\n \\n Professor Paul Darnley, in his own walk of life, was even more famous\",\n \"Paul. At last she surprised herself by exclaiming aloud to the \\n irresponsive solitude, 'Oh, Paul, until you were gone, I never knew how \\n passionately I loved you.' No sooner were these words out of her mouth\",\n \"The more she read, the more eager she became; and the more private \\n appeared the nature of the documents, the more insatiable did her \\n thirst for truth grow. To her extreme surprise, she gathered that the \\n Professor had begun life as a clergyman. There were several photographs\",\n \"The Professor having by some accident lost his razors, his moustaches \\n had begun to grow profusely, and Virginia had watched them with a deep \\n but half-conscious admiration. At last, in a happy moment, she\",\n \"asked what was amiss with him. 'I am agonising,' he said, 'for the sake \\n of holy, solemn, unspeakably dignified Humanity.' \\n \\n The curate, seeing the Professor thus dejected, by degrees took heart\",\n \"'What!' cried Paul, 'and how have you been able to forego the pleasures \\n of the intellect?' \\n \\n 'I have deserted them,' cried Virginia, 'for the pleasures of the \\n imagination, which I gathered from you were also very ennobling. And I\",\n \"enlightened thinker. But it is plain he has never loved, or else very \\n certainly he would love again.' \\n \\n Paul returned in about a couple of hours, again unsuccessful in his \\n search. \\n\"\n ],\n [\n \"in on him. He remembered that as one of his most revered masters, \\n Professor Tyndall, had admitted, a great part of Humanity would always \\n need a religion, and that Virginia now had none. He at once rushed back\",\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"may be,\\\" says that great teacher, \\\"that the object of a man's religion \\n is an ideal of sensual enjoyment, or----\\\"' \\n \\n 'Ah!' cried Virginia, 'that is my religion, Paul.' \\n\",\n \"being, it will be my mission and my glory to compel you to live for me. \\n And then, as modern philosophy can demonstrate, we shall both of us be \\n significantly and unspeakably happy.' \\n \\n For a few moments Virginia merely stared at Paul. Suddenly she turned\",\n \"'And I,' cried Virginia, with much greater tact, and rushing into the \\n arms of her bishop, 'once more believe in heaven.' \\n \\n \\n \\n \\n NOTES. \\n \\n\",\n \"A radiant expression suffused the face of the Professor. 'See,' he said \\n to Virginia, 'the curate's conversion is already half accomplished. In a \\n few hours more he will be rational, he will be moral, he will be \\n solemnly and significantly happy.'\",\n \"of the future. I must now initiate you in its solemn and unspeakably \\n significant worship.' \\n \\n 'Religion!' exclaimed Virginia, not knowing whether to laugh or cry.\",\n \"Virginia licked her lips and said, 'Nonsense!' \\n \\n 'It is not nonsense,' said the Professor. 'It is the religion of \\n Humanity.' \\n \\n All day they were busy, and the time passed pleasantly enough. Wines,\",\n \"only to make the silence audible. The Professor paused close beside \\n Virginia, and took her hand. Virginia liked that, and thought that \\n religion without theology was not perhaps so bad after all. Meanwhile \\n Paul had fixed his eyes on the moon. Then, in a voice almost broken with\",\n \"had seen so much of the world lately, that he soon recovered himself, \\n and recollecting that immorality was only ignorance, he began to show \\n Virginia where her error lay---her one remaining error. 'I perceive,' he\",\n \"CHAPTER XVI. \\n \\n \\n No one now could possibly be more emancipated than Virginia. She \\n tittered all day long and whenever the Professor asked her why, she \\n always told him she was thinking of 'an intelligent First Cause,' a\",\n \"silence, there rang a human shout from the rocks. \\n \\n 'Oh!' shrieked Virginia, falling on her knees, 'it is a miracle! it is a \\n miracle! And I know--merciful heavens--I know the meaning of it. God is\",\n \"One day at dinner-time, shortly afterwards, Paul came in radiant. \\n \\n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \\n \\n Virginia inquired anxiously what had happened, and Paul informed her\",\n \"thus studying human nature; and he began asking Virginia if her \\n discoveries belonged to the domain of historical or biological science. \\n Meanwhile Virginia had flung herself on her knees before him, and was \\n exclaiming, in piteous accents-- \\n\",\n \"'Ah!' cried Paul, 'this is altruism indeed. I think already I can feel \\n the sublimity beginning.' \\n \\n Virginia liked this rather better. But soon she committed the sin of\",\n \"poor Professor was horrified at the sight of a human being in this \\n degrading attitude of superstition. But as Virginia quitted it with \\n alacrity as soon as ever he told his news to her, he hoped he might soon\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"The Professor talked like this to Virginia the whole morning; but in \\n spite of all his arguments, she declined to be comforted. 'It is all \\n very well,' she said, 'whilst you are in the way. But as soon as your\",\n \"'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \\n read all your letters; I looked at your early photographs; I saw all \\n your beautiful prayers.' \\n \\n 'You broke open my box!' cried the Professor. 'You read my letters and\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\"\n ],\n [\n \"'The nasty little beast!' said Virginia to the Professor, 'he is nearly \\n always drunk. I am beginning quite to like you, Paul, by comparison \\n with him. Let us turn him out, and not let him live in the cottage.' \\n\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"provisions, books, and china ornaments were carried up to the cottage \\n and bestowed in proper places. Virginia filled the glasses in the \\n drawing-room with gorgeous leaves and flowers and declared by the \\n evening, as she looked round her, that she could almost fancy herself in\",\n \"Paul came back, to Virginia's extreme relief, without the missing link. \\n But he was still radiant in spite of his failure; for he had discovered, \\n he said, a place where the creature had apparently slept, and he had\",\n \"When he came back to the cottage he found Virginia just getting off the \\n sofa, and preparing to go to bed. She was too sleepy even to say \\n good-night to him, and with evident want of temper was tugging at the\",\n \"the cutter to the shore on a beach of the softest sand. \\n \\n \\n \\n \\n CHAPTER V. \\n \\n \\n The scene that met Paul's eyes was one of extreme loveliness. He found\",\n \"tropical trees made a grateful shade, and where the ground was carpeted \\n with the softest moss and turf. \\n \\n Paul's first care was for his fair companion. He spread a costly\",\n \"been forced to make the island for some time their dwelling-place. \\n \\n Overjoyed at this discovery, he hastened back to Virginia. She was by \\n this time apparently quite recovered, and was kneeling on the cashmere\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"The shrill accents acted like a charm upon Paul. He sprang away from the \\n creature that he had been just caressing. He gazed for a moment on \\n Virginia's lovely form, her exquisite toilette, and her melting eyes.\",\n \"Virginia saw that there was no help for it. She did her sums by herself \\n the whole morning, which, as at school she had been very good at \\n arithmetic, was not a hard task for her, and Paul magnified parasites in\",\n \"caught sight in the cutter of the largest of her own boxes, and she \\n began to recover herself. Paul begged her to remain quiet whilst he went \\n to reconnoitre. \\n \\n He had hardly proceeded twenty yards into the valley, when to his\",\n \"One day at dinner-time, shortly afterwards, Paul came in radiant. \\n \\n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \\n \\n Virginia inquired anxiously what had happened, and Paul informed her\",\n \"hand to his mouth, and began hooting like an owl, till it seemed that \\n all the island echoed to him. The louder Paul hooted and howled, the \\n more near did he draw to Virginia. \\n\",\n \"buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \\n 'if God, in His infinite mercy, had only spared my maid!' \\n \\n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'\",\n \"_THE NEW PAUL AND VIRGINIA._ \\n \\n \\n \\n \\n CHAPTER I. \\n \\n \\n The magnificent ocean-steamer the _Australasian_ was bound for England,\",\n \"it, till, examining the structure more closely, he found it composed \\n mainly of a ship's timbers. This seemed to tell its own tale, and he at \\n once concluded that he and Virginia were not the first castaways who had\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \" GUTENBERG EBOOK THE NEW PAUL AND VIRGINIA *** \\n \\n \\n \\n \\n Produced by Christine Bell and Marc D'Hooghe at \\n http://www.freeliterature.org (From images generously made\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\"\n ],\n [\n \"The shrill accents acted like a charm upon Paul. He sprang away from the \\n creature that he had been just caressing. He gazed for a moment on \\n Virginia's lovely form, her exquisite toilette, and her melting eyes.\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"being, it will be my mission and my glory to compel you to live for me. \\n And then, as modern philosophy can demonstrate, we shall both of us be \\n significantly and unspeakably happy.' \\n \\n For a few moments Virginia merely stared at Paul. Suddenly she turned\",\n \"'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \\n be relieved from the higher pleasures. Alas!' she cried, as she flung \\n herself down on the sofa, 'he is so nice-looking, and such an\",\n \"had conducted him. 'You see,' Paul said, 'what a natural growth the \\n loftiest morality is. Virginia doesn't want to be kissed by you. I \\n should be shocked at your doing so shocking a thing as kissing her. If\",\n \"'Ah!' cried Paul, 'this is altruism indeed. I think already I can feel \\n the sublimity beginning.' \\n \\n Virginia liked this rather better. But soon she committed the sin of\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"little reflection must inevitably convince him that he does not really \\n care to kiss you, and that it would give him very little real pleasure \\n to do so.' \\n \\n 'Stuff!' exclaimed Virginia, with a sudden vigour at which the Professor\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \"buttons of her dressing-gown. 'Ah!' she murmured as she left the room, \\n 'if God, in His infinite mercy, had only spared my maid!' \\n \\n Virginia's evident discontent gave profound pain to Paul. 'How solemn,'\",\n \"may be,\\\" says that great teacher, \\\"that the object of a man's religion \\n is an ideal of sensual enjoyment, or----\\\"' \\n \\n 'Ah!' cried Virginia, 'that is my religion, Paul.' \\n\",\n \"'The nasty little beast!' said Virginia to the Professor, 'he is nearly \\n always drunk. I am beginning quite to like you, Paul, by comparison \\n with him. Let us turn him out, and not let him live in the cottage.' \\n\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\",\n \"'Bother the stars!' said Virginia; 'I couldn't bear, Paul, that anything \\n should come between you and me. I have been thinking of you and longing \\n for you the whole time you have been away.' \\n\",\n \"'What!' cried Paul, 'and how have you been able to forego the pleasures \\n of the intellect?' \\n \\n 'I have deserted them,' cried Virginia, 'for the pleasures of the \\n imagination, which I gathered from you were also very ennobling. And I\",\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"that, as Paul said, he really did not so much care to kiss her after \\n all. She, therefore, put on all her most enticing ways; she talked, \\n flirted, and smiled her best, and made her most effective eyes, that the\",\n \"curate had foregone every attempt to kiss Virginia, and yet apparently \\n he was happiness itself; and Paul took him aside, as soon as the meal \\n was over, to congratulate him on the holy state to which exact thought\",\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"exclaimed, 'Oh, Paul, do let me wax the ends for you,' Paul at first \\n giggled, blushed, and protested, but, as Virginia assured him it would \\n make her happy, he consented. 'Then,' she said, 'you will know that I am\"\n ],\n [\n \"The Professor remained away for three days. For the first two of them \\n Virginia was inconsolable. She wandered about mournfully with her head \\n dejected. She very often sighed; she very often uttered the name of\",\n \"'Old woman,' said the Professor, very slowly and solemnly, 'be \\n comforted. I announce to you that your son is alive.' \\n \\n 'Oh, bless you, sir, for that word!' cried the old woman. 'But where is\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \"will become unspeakably happy.' \\n \\n Meanwhile, however, the old woman had died. When the Professor \\n discovered this he was somewhat shocked; but at length with a sudden \\n change of countenance, 'We neither of us did it,' he exclaimed; 'her\",\n \"The Professor, as was natural, held quite aloof, and pondered over a new \\n species of bug, which he had found very plentiful in his berth. But it \\n soon occurred to him that he often heard the name of God being uttered\",\n \"he? Have you seen him? Are you sure that he is living?' \\n \\n 'I am sure of it,' said the Professor, 'because enlightened thought \\n shows me that he cannot be anything else. It is true that I saw him sink\",\n \"and which had before now excited her curiosity. Suddenly she became \\n conscious of a new impulse. 'I will pursue truth!' she exclaimed. 'I \\n will break that box open, and I will see what is inside it. Ah!' she\",\n \"'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \\n read all your letters; I looked at your early photographs; I saw all \\n your beautiful prayers.' \\n \\n 'You broke open my box!' cried the Professor. 'You read my letters and\",\n \"When all was ready, he rang a gong which he found suspended in the \\n lobby; Virginia appeared shortly in a beautiful pink dressing-gown, \\n embroidered with silver flowers; and just before sunset the two sat down\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"and besought him in piteous accents that he would not thus abandon her. \\n \\n 'I must,' said the Professor solemnly, 'for I am going in pursuit of \\n Truth. To arrive at Truth is man's perfect and most rapturous happiness.\",\n \"no control. I must this instant go out and hunt for it. Give me some \\n provisions in a knapsack, for I will not come back till I have caught \\n it.' \\n \\n This was a fearful blow to Virginia. She fell at Paul's feet weeping,\",\n \"asked what was amiss with him. 'I am agonising,' he said, 'for the sake \\n of holy, solemn, unspeakably dignified Humanity.' \\n \\n The curate, seeing the Professor thus dejected, by degrees took heart\",\n \"The moon had by this time risen in dazzling splendour, and the Professor \\n went out and lighted a cigar. All during dinner there had been a feeling \\n of dull despair in his heart, which even the champagne did not\",\n \"as I may. But, ah me, what a guilty thing I am!' \\n \\n As she uttered these words, her eyes fell on a tin box of the \\n Professor's, marked 'Private,' which he always kept carefully locked,\",\n \"The Professor talked like this to Virginia the whole morning; but in \\n spite of all his arguments, she declined to be comforted. 'It is all \\n very well,' she said, 'whilst you are in the way. But as soon as your\",\n \"than she stood still, horror-stricken. 'Alas!' she cried, 'and have I \\n really come to this? I am in a state of deadly sin, and there is no \\n priest here to confess to! Alone, alone I must conquer my forbidden love\",\n \"'It is nothing,' cried Paul; 'it cannot possibly be anything. I protest, \\n in the name of science, that it is an optical delusion.' \\n \\n Suddenly the female figure exclaimed, 'Thank God, it is he!' \\n\",\n \"happy too, because we were.' \\n \\n 'Idiot!' said the Professor. 'Virginia is another man's wife. Nobody \\n really likes kissing another man's wife; nor do wives ever like kissing\"\n ],\n [\n \"In another moment the male figure exclaimed, 'Thank God, it is she!' \\n \\n 'My husband!' gasped Virginia. \\n \\n 'My wife!' replied the bishop, for it was none other than he. 'Welcome\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"The Professor talked like this to Virginia the whole morning; but in \\n spite of all his arguments, she declined to be comforted. 'It is all \\n very well,' she said, 'whilst you are in the way. But as soon as your\",\n \"'Tell me, my dear, do I look significant?' he added, as he turned to \\n Virginia, and suddenly tried, to crown the general bliss by kissing her. \\n \\n Virginia started back, looking fire and fury at him. The Professor was\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \\n be relieved from the higher pleasures. Alas!' she cried, as she flung \\n herself down on the sofa, 'he is so nice-looking, and such an\",\n \"enlightened. Progress will now go on smoothly.' \\n \\n At this moment Virginia came out, having rapidly recovered composure at \\n the sound of a new man's voice. \\n\",\n \"'In my zeal for truth,' said Virginia, 'I broke open your tin box; I \\n read all your letters; I looked at your early photographs; I saw all \\n your beautiful prayers.' \\n \\n 'You broke open my box!' cried the Professor. 'You read my letters and\",\n \"When he came back to the cottage he found Virginia just getting off the \\n sofa, and preparing to go to bed. She was too sleepy even to say \\n good-night to him, and with evident want of temper was tugging at the\",\n \"for us. Luckily, however, Virginia came to his assistance. \\n \\n 'I think I know, Paul,' she said, 'why I do not care as I should do for \\n the intellectual pleasures. We have both been seeking them by ourselves;\",\n \"'Now--,' exclaimed Virginia, with a beating heart. \\n \\n The Professor put his hand in his pocket, and drew slowly forth from it \\n an object which Virginia knew well. It reminded her of the most innocent\",\n \"Virginia was preparing, with a rueful face, to resume her enjoyment of \\n the higher pleasures, when a horrible smell, like that of an open drain, \\n was suddenly blown in through the window. \\n\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"Matters went on like this for several days. The curate was too much \\n frightened to again approach Virginia. Virginia at last became convinced \\n that he did not care about kissing her. Her vanity was wounded, and she\",\n \"happy too, because we were.' \\n \\n 'Idiot!' said the Professor. 'Virginia is another man's wife. Nobody \\n really likes kissing another man's wife; nor do wives ever like kissing\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \"CHAPTER XI. \\n \\n \\n At dinner, however, things wore a more promising aspect. The curate had \\n been so terrified by the Professor's threats, that he hardly dared to so \\n much as look at Virginia; and to make up for it, he drank and drank\"\n ],\n [\n \"One day at dinner-time, shortly afterwards, Paul came in radiant. \\n \\n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \\n \\n Virginia inquired anxiously what had happened, and Paul informed her\",\n \"only to make the silence audible. The Professor paused close beside \\n Virginia, and took her hand. Virginia liked that, and thought that \\n religion without theology was not perhaps so bad after all. Meanwhile \\n Paul had fixed his eyes on the moon. Then, in a voice almost broken with\",\n \"'Yes,' answered Paul, solemnly; 'we are rescued. We are rescued from all \\n the pains and imperfections of a world that has not learnt how to \\n conform to the laws of matter, and is but imperfectly acquainted with\",\n \"Paul. At last she surprised herself by exclaiming aloud to the \\n irresponsive solitude, 'Oh, Paul, until you were gone, I never knew how \\n passionately I loved you.' No sooner were these words out of her mouth\",\n \"and so immoral. Science, through your instrumentality, has opened my \\n eyes. I am now an exact thinker.' \\n \\n 'Do you believe, said Paul, 'in solemn, significant, and unspeakably \\n happy Humanity? \\n\",\n \"'It is nothing,' cried Paul; 'it cannot possibly be anything. I protest, \\n in the name of science, that it is an optical delusion.' \\n \\n Suddenly the female figure exclaimed, 'Thank God, it is he!' \\n\",\n \"being, it will be my mission and my glory to compel you to live for me. \\n And then, as modern philosophy can demonstrate, we shall both of us be \\n significantly and unspeakably happy.' \\n \\n For a few moments Virginia merely stared at Paul. Suddenly she turned\",\n \"religion was at last too much for Paul. \\n \\n 'For the sake of cosmic emotion,' he exclaimed, 'O other half of \\n Humanity, and for the sake of rational religion, both of which are\",\n \"indeed you? Thank God!----I beg pardon for my unspeakable blasphemy--I \\n mean, thank circumstances over which I have no control.' \\n \\n It was one of the three curates, whom Paul had supposed drowned, but who\",\n \"'Nonsense!' replied Paul; 'that cannot be the religion of half Humanity, \\n else high, holy, solemn, awful morality would never be able to stand on \\n its own basis. See, the night has fallen, the glorious moon has arisen,\",\n \"back is turned, I know he will be at me again.' \\n \\n 'Will you never,' said Paul, by this time a little irritated, 'will you \\n never listen to exact thought? The curate is now reflecting; and a\",\n \"'Ah!' cried Paul, 'this is altruism indeed. I think already I can feel \\n the sublimity beginning.' \\n \\n Virginia liked this rather better. But soon she committed the sin of\",\n \"to him not to be afraid of death, as there was certainly no hell, and \\n that his life, no matter how degraded and miserable, had been a glorious \\n mystery, full of infinite significance. The next moment the struggler\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"may be,\\\" says that great teacher, \\\"that the object of a man's religion \\n is an ideal of sensual enjoyment, or----\\\"' \\n \\n 'Ah!' cried Virginia, 'that is my religion, Paul.' \\n\",\n \"had conducted him. 'You see,' Paul said, 'what a natural growth the \\n loftiest morality is. Virginia doesn't want to be kissed by you. I \\n should be shocked at your doing so shocking a thing as kissing her. If\",\n \"conception which she said 'was really quite killing.' But when her first \\n burst of intellectual excitement was over, she became more serious. 'All \\n thought, Paul,' she said, 'is valuable mainly because it leads to\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"Tyndall's words, 'gave fulness and tone to it, but which he could \\n neither analyse nor comprehend.' But at last a change came. One morning, \\n whilst Virginia was arranging Paul's moustaches, she was frightened\"\n ],\n [\n \"that the curate, who had got more drunk than usual that afternoon, had \\n fallen over a cliff, and been dashed to pieces. \\n \\n 'What event,' he asked, 'could be more charming more unspeakably holy?\",\n \"But the last glass of champagne had put the curate beyond the reach of \\n exact thought. He tumbled under the table, and the Professor carried him \\n off to bed. \\n \\n \\n \\n \\n CHAPTER X. \\n \\n\",\n \"'They do,' cried the curate rapturously, 'indeed they do. I will drink \\n another bottle for your sake. It is sublime!' he said, as he tossed off \\n three glasses. 'It is significant!' he said as he finished three more.\",\n \"'Well,' said Virginia, 'since we have a clergyman amongst us, we shall \\n perhaps be able to get on.' \\n \\n \\n \\n \\n CHAPTER VII. \\n \\n \\n Things now took a better turn. The Professor ceased to feel shy; and\",\n \"CHAPTER XI. \\n \\n \\n At dinner, however, things wore a more promising aspect. The curate had \\n been so terrified by the Professor's threats, that he hardly dared to so \\n much as look at Virginia; and to make up for it, he drank and drank\",\n \"The Professor caught hold of the curate's coat-tails, and forcibly \\n pulled him back into his seat. \\n \\n 'If you dare attempt it,' he said, 'I will kick you soundly, and,\",\n \"A radiant expression suffused the face of the Professor. 'See,' he said \\n to Virginia, 'the curate's conversion is already half accomplished. In a \\n few hours more he will be rational, he will be moral, he will be \\n solemnly and significantly happy.'\",\n \"asked what was amiss with him. 'I am agonising,' he said, 'for the sake \\n of holy, solemn, unspeakably dignified Humanity.' \\n \\n The curate, seeing the Professor thus dejected, by degrees took heart\",\n \"'The nasty little beast!' said Virginia to the Professor, 'he is nearly \\n always drunk. I am beginning quite to like you, Paul, by comparison \\n with him. Let us turn him out, and not let him live in the cottage.' \\n\",\n \"dead drunk was the first glimpse he had of what, _par excellence_, is \\n described as 'life.' But though the scene just recounted was thus a \\n terrible shock to him, in one way it gave him an unlooked-for comfort.\",\n \"'Foolish man!' said the Professor; 'I was never drunk myself, it is \\n true; but I know that to get drunk makes one's head ache horribly. To \\n get drunk is, therefore, horribly immoral; and therefore I cannot permit \\n it.'\",\n \"indeed you? Thank God!----I beg pardon for my unspeakable blasphemy--I \\n mean, thank circumstances over which I have no control.' \\n \\n It was one of the three curates, whom Paul had supposed drowned, but who\",\n \"'You here--you, too!' exclaimed the curate. 'How solemn, how \\n significant! This is truly Providential----I mean this has truly \\n happened through conformity to the laws of matter.' \\n\",\n \"now related how he had managed to swim ashore, despite the extreme \\n length of his black clerical coat. 'These rags of superstition,' he \\n said, 'did their best to drown me. But I survive in spite of them, to\",\n \"kiss her. No sooner had he begun to propound these views, than the \\n Professor gave over his groaning, seized the curate by the collar, and \\n dragged him out of the room with a roughness that nearly throttled him. \\n\",\n \"shocking, immoral man! you will feel miserable enough then.' \\n \\n The curate was a terrible coward, and very weak as well. 'You are a \\n great hulking fellow,' he said, eyeing the Professor; 'and I am of a\",\n \"CHAPTER XII. \\n \\n \\n 'Well,' said the curate, 'if I may not kiss Virginia, I will drink \\n brandy instead. That will make me happy enough; and then we shall all be \\n radiant.' \\n\",\n \"She reminded him that he had preached there without a surplice, and that \\n she had therefore not thought it right to listen to a word he said. \\n \\n 'Ah!' cried the Professor, with a sigh of intense relief, 'I see it all\",\n \"became sullen; and this made the Professor sullen also. In fact, two \\n thirds of Humanity were overcast with gloom. The only happy section of \\n it was the curate, who alternately smoked and drank all day long. \\n\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\"\n ],\n [\n \"He would have said more, but he was here startled by a piteous noise of \\n crying, and the three found themselves confronted by an old woman \\n dripping with sea-water, and with an expression on her face of the\",\n \"will become unspeakably happy.' \\n \\n Meanwhile, however, the old woman had died. When the Professor \\n discovered this he was somewhat shocked; but at length with a sudden \\n change of countenance, 'We neither of us did it,' he exclaimed; 'her\",\n \"will make the old woman happy, and therefore fit to live. Old woman,' he \\n exclaimed, 'let me beg you to consider this. You are yourself by your \\n own unhappiness expiating your son's sins. Do but think of that, and you\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"'Old woman,' said the Professor, very slowly and solemnly, 'be \\n comforted. I announce to you that your son is alive.' \\n \\n 'Oh, bless you, sir, for that word!' cried the old woman. 'But where is\",\n \"she has made us happy by dying so very opportunely. Let us speak well of \\n the dead. Her death has been a holy and a blessed one. She has conformed \\n to the laws of matter. Thus is unhappiness destined to fade out of the\",\n \"He married, at the age of forty, an excellent evangelical lady, ten \\n years his senior, who wore a green gown, grey corkscrew curls, and who \\n had a fortune of two hundred thousand pounds. Deeply pledged though she\",\n \"expect that fainting old women will do anything to us in return.' \\n \\n 'Your reasoning cannot be sound,' said the Professor, 'for it would lead \\n to the most horrible conclusions. I will solve the difficulty better. I\",\n \"'Yes,' said the curate, 'we are well rid of her. She was an immoral old \\n woman, for happiness is the test of morality, and she was very unhappy.' \\n \\n 'On the contrary,' said the Professor, 'she was a moral old woman; for\",\n \"world. A fourth part of Humanity is now miserable.' \\n \\n The curate answered promptly that if no restoratives were given her, \\n she would probably die in a few minutes. 'And to let her die,' he said,\",\n \"eat it, having first lain in her bosom to restore her to warmth. She was \\n now looking for her son. \\n \\n 'And if I cannot find him,' said the old woman, 'I shall never smile\",\n \"exact thinker, and you will see that this is so. Old woman,' added the \\n Professor solemnly, 'old woman, listen to me--_You and your son are in \\n hell._' \\n \\n At this the old woman flew into a terrible rage. \\n\",\n \"Virginia was preparing, with a rueful face, to resume her enjoyment of \\n the higher pleasures, when a horrible smell, like that of an open drain, \\n was suddenly blown in through the window. \\n\",\n \"'In hell, sir!' she exclaimed; 'me in hell!--a poor lone woman like me! \\n How dare you!' And she sank back in a chair and fainted. \\n \\n 'Alas!' said the Professor, 'thus is misery again introduced into the\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"and extremely unexacting in her demands for proof. In a few days she had \\n not a remnant of superstition left. 'At last!' exclaimed the Professor; \\n 'it has come at last. Unspeakable happiness will surely begin now.' \\n \\n \\n\",\n \"poor Professor was horrified at the sight of a human being in this \\n degrading attitude of superstition. But as Virginia quitted it with \\n alacrity as soon as ever he told his news to her, he hoped he might soon\",\n \"The Professor remained away for three days. For the first two of them \\n Virginia was inconsolable. She wandered about mournfully with her head \\n dejected. She very often sighed; she very often uttered the name of\",\n \"been connected with the heads of many distinguished families; and so \\n general was the affection she inspired, and so winning the ways in which \\n she contrived to retain it, that she found herself, at the age of \\n thirty, mistress of nothing except a large fortune. She was now\"\n ],\n [\n \"utmost misery. They soon recognised her as one of the passengers on the \\n ship. She told them how she had been floated ashore on a spar, and how \\n she had been sustained by a little roast pig, that kindly begged her to\",\n \"it, till, examining the structure more closely, he found it composed \\n mainly of a ship's timbers. This seemed to tell its own tale, and he at \\n once concluded that he and Virginia were not the first castaways who had\",\n \"feared she would go ashore on an island that was seen dimly through the \\n fog to the leeward. The boats were got in readiness. A quantity of \\n provisions and of the passengers' baggage was already stowed in the\",\n \"a variety of salt and potted meats, _paté de foie gras_, cakes, \\n preserved fruits, and some bottles of fine champagne. This last helped \\n much to raise their spirits. Virginia found it very dry, and exactly\",\n \"was snapped up by a shark. Our friends, meanwhile, borne by a current, \\n had been drifting rapidly towards the island. And the Professor, \\n spreading to the breeze Virginia's beautiful lace parasol, soon brought\",\n \"butter-tree, and some fresh French rolls from the bread-tree. He \\n discovered a cow close at hand, that allowed him at once to milk it; and \\n a little roast pig ran up to him out of the underwood, and fawning on\",\n \"There was not a sound of sickness to be heard anywhere; and when \\n dinner-time came there was not a single absentee nor an appetite \\n wanting. \\n \\n But the passengers soon discovered they were lucky in more than weather.\",\n \"Virginia meanwhile ate _paté de foie gras_, of which she was \\n passionately fond; and, growing a little less sullen, she at last \\n admitted that they were lucky in having at least the necessaries of life\",\n \"something fit to be seen in. The Professor most obligingly at once did \\n as she asked him; and whilst she was busy at her toilette, he got from \\n the cutter what provisions he could, and proceeded to lay the table.\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"The Professor, as was natural, held quite aloof, and pondered over a new \\n species of bug, which he had found very plentiful in his berth. But it \\n soon occurred to him that he often heard the name of God being uttered\",\n \"No sooner were the ship's damages in a fair way to be repaired than the \\n Professor resumed his sermon. He climbed into the cutter, which was \\n still full of the passengers' baggage, and sat down on the largest of\",\n \"to a really excellent meal. The bread tree at the door of the cottage \\n contributed some beautiful French rolls; close at hand also they \\n discovered a butter-tree; and the Professor had produced from the cutter\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"proposed, when the curate had finished an enormous breakfast, that they \\n should go down to the cutter, and bring up the things in it to the \\n cottage. 'A few hours' steady progress,' he said, 'and the human race\",\n \"murmured on the beach in soft, voluptuous cadences. The Professor's \\n cigar was excellent. He now saw his situation in a truer light. Here was \\n a bountiful island, where earth unbidden brought forth all her choicest\",\n \"now related how he had managed to swim ashore, despite the extreme \\n length of his black clerical coat. 'These rags of superstition,' he \\n said, 'did their best to drown me. But I survive in spite of them, to\",\n \"The Professor would have proceeded, but the weather had been rapidly \\n growing rough, and he here became violently sea-sick. \\n \\n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \\n below.' \\n\",\n \"Nor was the advice premature. A storm arose, exceptional in its \\n suddenness and its fury. It raged for two days without ceasing. The \\n _Australasian_ sprang a leak; her steering gear was disabled; and it was\",\n \"_Australasian_ went down. In an instant the air was rent with yells and \\n cries; and all the Humanity that was on board the vessel was busy, as \\n the Professor expressed it, uniting itself with the infinite azure of\"\n ],\n [\n \"The Professor, as was natural, held quite aloof, and pondered over a new \\n species of bug, which he had found very plentiful in his berth. But it \\n soon occurred to him that he often heard the name of God being uttered\",\n \"Evening fell on the ship with a soft warm witchery. The air grew purple, \\n and the waves began to glitter in the moonlight. The passengers gathered \\n in knots upon the deck, and the distinguished strangers were still the\",\n \"utmost misery. They soon recognised her as one of the passengers on the \\n ship. She told them how she had been floated ashore on a spar, and how \\n she had been sustained by a little roast pig, that kindly begged her to\",\n \"it, till, examining the structure more closely, he found it composed \\n mainly of a ship's timbers. This seemed to tell its own tale, and he at \\n once concluded that he and Virginia were not the first castaways who had\",\n \"on her homeward voyage from Melbourne, carrying Her Majesty's mails and \\n ninety-eight first-class passengers. Never did vessel start under \\n happier auspices. The skies were cloudless; the sea was smooth as glass.\",\n \"Nor was the advice premature. A storm arose, exceptional in its \\n suddenness and its fury. It raged for two days without ceasing. The \\n _Australasian_ sprang a leak; her steering gear was disabled; and it was\",\n \"the surest marks of the enervating influence of this dream of a \\n celestial glory.\\\"' The Professor accordingly re-delivered to Virginia \\n the entire substance of his lectures in the ship. He fully impressed on\",\n \"No sooner were the ship's damages in a fair way to be repaired than the \\n Professor resumed his sermon. He climbed into the cutter, which was \\n still full of the passengers' baggage, and sat down on the largest of\",\n \"feared she would go ashore on an island that was seen dimly through the \\n fog to the leeward. The boats were got in readiness. A quantity of \\n provisions and of the passengers' baggage was already stowed in the\",\n \"promised to pray till his return for his recovery of a faith in hell. \\n \\n The Professor, who had but exceeded his time by six months, was now on \\n board the _Australasian_, homeward bound to his wife. Virginia was \\n outward bound to her husband.\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"The Professor would have proceeded, but the weather had been rapidly \\n growing rough, and he here became violently sea-sick. \\n \\n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \\n below.' \\n\",\n \"_Australasian_ went down. In an instant the air was rent with yells and \\n cries; and all the Humanity that was on board the vessel was busy, as \\n the Professor expressed it, uniting itself with the infinite azure of\",\n \"and on seeing five sailors sink within three yards of her, she fainted \\n dead away. The Professor begged her not to take it so much to heart, as \\n these were the very men who had got the cutter in readiness; 'and they\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"He would have said more, but he was here startled by a piteous noise of \\n crying, and the three found themselves confronted by an old woman \\n dripping with sea-water, and with an expression on her face of the\",\n \"CHAPTER III. \\n \\n \\n The sensation created by the presence of these two celebrities was \\n profound beyond description; and the passengers were never weary of \\n watching the gleaming spectacles and the square-toed boots of the one,\",\n \"was snapped up by a shark. Our friends, meanwhile, borne by a current, \\n had been drifting rapidly towards the island. And the Professor, \\n spreading to the breeze Virginia's beautiful lace parasol, soon brought\",\n \"The Professor remained away for three days. For the first two of them \\n Virginia was inconsolable. She wandered about mournfully with her head \\n dejected. She very often sighed; she very often uttered the name of\",\n \"There was not a sound of sickness to be heard anywhere; and when \\n dinner-time came there was not a single absentee nor an appetite \\n wanting. \\n \\n But the passengers soon discovered they were lucky in more than weather.\"\n ],\n [\n \"and on seeing five sailors sink within three yards of her, she fainted \\n dead away. The Professor begged her not to take it so much to heart, as \\n these were the very men who had got the cutter in readiness; 'and they\",\n \"Nor was the advice premature. A storm arose, exceptional in its \\n suddenness and its fury. It raged for two days without ceasing. The \\n _Australasian_ sprang a leak; her steering gear was disabled; and it was\",\n \"The Professor would have proceeded, but the weather had been rapidly \\n growing rough, and he here became violently sea-sick. \\n \\n 'Let us,' he exclaimed hurriedly, 'conform to the laws of matter and go \\n below.' \\n\",\n \"it, till, examining the structure more closely, he found it composed \\n mainly of a ship's timbers. This seemed to tell its own tale, and he at \\n once concluded that he and Virginia were not the first castaways who had\",\n \"utmost misery. They soon recognised her as one of the passengers on the \\n ship. She told them how she had been floated ashore on a spar, and how \\n she had been sustained by a little roast pig, that kindly begged her to\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"are, therefore,' he said, 'still really alive in the fact of our happy \\n escape.' Virginia, however, being quite insensible, the Professor turned \\n to the last human being still to be seen above the waters, and shouted\",\n \"_Australasian_ went down. In an instant the air was rent with yells and \\n cries; and all the Humanity that was on board the vessel was busy, as \\n the Professor expressed it, uniting itself with the infinite azure of\",\n \"on her homeward voyage from Melbourne, carrying Her Majesty's mails and \\n ninety-eight first-class passengers. Never did vessel start under \\n happier auspices. The skies were cloudless; the sea was smooth as glass.\",\n \"he? Have you seen him? Are you sure that he is living?' \\n \\n 'I am sure of it,' said the Professor, 'because enlightened thought \\n shows me that he cannot be anything else. It is true that I saw him sink\",\n \"No sooner were the ship's damages in a fair way to be repaired than the \\n Professor resumed his sermon. He climbed into the cutter, which was \\n still full of the passengers' baggage, and sat down on the largest of\",\n \"He would have said more, but he was here startled by a piteous noise of \\n crying, and the three found themselves confronted by an old woman \\n dripping with sea-water, and with an expression on her face of the\",\n \"feared she would go ashore on an island that was seen dimly through the \\n fog to the leeward. The boats were got in readiness. A quantity of \\n provisions and of the passengers' baggage was already stowed in the\",\n \"Evening fell on the ship with a soft warm witchery. The air grew purple, \\n and the waves began to glitter in the moonlight. The passengers gathered \\n in knots upon the deck, and the distinguished strangers were still the\",\n \"'It is rather sad,' sighed Virginia, as she dived into a box of French \\n chocolate-creams, 'to think that all the poor people are drowned that \\n these things belonged to.' \\n\",\n \"The Professor, as was natural, held quite aloof, and pondered over a new \\n species of bug, which he had found very plentiful in his berth. But it \\n soon occurred to him that he often heard the name of God being uttered\",\n \"was snapped up by a shark. Our friends, meanwhile, borne by a current, \\n had been drifting rapidly towards the island. And the Professor, \\n spreading to the breeze Virginia's beautiful lace parasol, soon brought\",\n \"the surest marks of the enervating influence of this dream of a \\n celestial glory.\\\"' The Professor accordingly re-delivered to Virginia \\n the entire substance of his lectures in the ship. He fully impressed on\",\n \"the responsibility of each one of us, and the infinite consequences of \\n every human act, was filling the hearts of all; when by a faithful \\n conformity to the laws of matter, the boiler blew up, and the\",\n \"now related how he had managed to swim ashore, despite the extreme \\n length of his black clerical coat. 'These rags of superstition,' he \\n said, 'did their best to drown me. But I survive in spite of them, to\"\n ],\n [\n \"that, as Paul said, he really did not so much care to kiss her after \\n all. She, therefore, put on all her most enticing ways; she talked, \\n flirted, and smiled her best, and made her most effective eyes, that the\",\n \"of him in his surplice; and a number of devout prayers, apparently \\n composed by himself for his own personal use. This discovery was the \\n result of her labours. \\n \\n 'Certainly,' she said, 'it is one of extreme significance. If Paul was a\",\n \"One day at dinner-time, shortly afterwards, Paul came in radiant. \\n \\n 'Oh holy, oh happy event!' he exclaimed; 'all will go right at last.' \\n \\n Virginia inquired anxiously what had happened, and Paul informed her\",\n \"enlightened thinker. But it is plain he has never loved, or else very \\n certainly he would love again.' \\n \\n Paul returned in about a couple of hours, again unsuccessful in his \\n search. \\n\",\n \"back is turned, I know he will be at me again.' \\n \\n 'Will you never,' said Paul, by this time a little irritated, 'will you \\n never listen to exact thought? The curate is now reflecting; and a\",\n \"the next room, and prepared slides for his microscope. \\n \\n When they met again, Paul began skipping and dancing, as if he had gone \\n quite out of his senses, and every now and then between the skips he\",\n \"The shrill accents acted like a charm upon Paul. He sprang away from the \\n creature that he had been just caressing. He gazed for a moment on \\n Virginia's lovely form, her exquisite toilette, and her melting eyes.\",\n \"religion was at last too much for Paul. \\n \\n 'For the sake of cosmic emotion,' he exclaimed, 'O other half of \\n Humanity, and for the sake of rational religion, both of which are\",\n \"Paul. At last she surprised herself by exclaiming aloud to the \\n irresponsive solitude, 'Oh, Paul, until you were gone, I never knew how \\n passionately I loved you.' No sooner were these words out of her mouth\",\n \"tropical trees made a grateful shade, and where the ground was carpeted \\n with the softest moss and turf. \\n \\n Paul's first care was for his fair companion. He spread a costly\",\n \"curate had foregone every attempt to kiss Virginia, and yet apparently \\n he was happiness itself; and Paul took him aside, as soon as the meal \\n was over, to congratulate him on the holy state to which exact thought\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"hand to his mouth, and began hooting like an owl, till it seemed that \\n all the island echoed to him. The louder Paul hooted and howled, the \\n more near did he draw to Virginia. \\n\",\n \"'Well,' said Virginia, 'here is one comfort. Whilst Paul is away I shall \\n be relieved from the higher pleasures. Alas!' she cried, as she flung \\n herself down on the sofa, 'he is so nice-looking, and such an\",\n \"shall both be in a solemn, a significant, and unspeakable state of \\n rapture. See, here is an exquisite leg of mutton. I,' said Paul, who \\n liked the fat best, 'I will give up all the fat to you.' \\n\",\n \"'One truth about you, Paul,' said Virginia, very gravely, 'and one \\n truth about me. I burn--oh, I burn to tell them to you!' \\n \\n The Professor was enraptured to hear that one half of Humanity had been\",\n \"caught sight in the cutter of the largest of her own boxes, and she \\n began to recover herself. Paul begged her to remain quiet whilst he went \\n to reconnoitre. \\n \\n He had hardly proceeded twenty yards into the valley, when to his\",\n \"exclaimed, 'Oh, Paul, do let me wax the ends for you,' Paul at first \\n giggled, blushed, and protested, but, as Virginia assured him it would \\n make her happy, he consented. 'Then,' she said, 'you will know that I am\",\n \"Paul came back, to Virginia's extreme relief, without the missing link. \\n But he was still radiant in spite of his failure; for he had discovered, \\n he said, a place where the creature had apparently slept, and he had\",\n \"A week thus passed, full, as the Professor said, of infinite solemnity. \\n 'I admit, Paul,' sighed Virginia, 'that this altruism, as you call it, \\n is very touching. I like it very much. But,' she added, sinking her\"\n ],\n [\n \"Virginia, in a very solemn voice, after a long pause, 'do you know that \\n whilst you have been away I have been pursuing truth? I rather liked it; \\n and I found it very, very significant.' \\n\",\n \"Virginia's boxes. This so alarmed Virginia that she incontinently \\n followed the Professor into the cutter, to keep an eye on her property; \\n but she did not forget to stop her ears with her fingers, that she\",\n \"the past. Paul and Virginia, however, floated quietly away in the \\n cutter, together with the baggage and provisions. \\n \\n Virginia was made almost senseless by the suddenness of the catastrophe;\",\n \"Virginia was preparing, with a rueful face, to resume her enjoyment of \\n the higher pleasures, when a horrible smell, like that of an open drain, \\n was suddenly blown in through the window. \\n\",\n \"enlightened. Progress will now go on smoothly.' \\n \\n At this moment Virginia came out, having rapidly recovered composure at \\n the sound of a new man's voice. \\n\",\n \"had seen so much of the world lately, that he soon recovered himself, \\n and recollecting that immorality was only ignorance, he began to show \\n Virginia where her error lay---her one remaining error. 'I perceive,' he\",\n \"When he came back to the cottage he found Virginia just getting off the \\n sofa, and preparing to go to bed. She was too sleepy even to say \\n good-night to him, and with evident want of temper was tugging at the\",\n \"provisions, books, and china ornaments were carried up to the cottage \\n and bestowed in proper places. Virginia filled the glasses in the \\n drawing-room with gorgeous leaves and flowers and declared by the \\n evening, as she looked round her, that she could almost fancy herself in\",\n \"Matters went on like this for several days. The curate was too much \\n frightened to again approach Virginia. Virginia at last became convinced \\n that he did not care about kissing her. Her vanity was wounded, and she\",\n \"poor Professor was horrified at the sight of a human being in this \\n degrading attitude of superstition. But as Virginia quitted it with \\n alacrity as soon as ever he told his news to her, he hoped he might soon\",\n \"in on him. He remembered that as one of his most revered masters, \\n Professor Tyndall, had admitted, a great part of Humanity would always \\n need a religion, and that Virginia now had none. He at once rushed back\",\n \"promised to pray till his return for his recovery of a faith in hell. \\n \\n The Professor, who had but exceeded his time by six months, was now on \\n board the _Australasian_, homeward bound to his wife. Virginia was \\n outward bound to her husband.\",\n \"The Professor remained away for three days. For the first two of them \\n Virginia was inconsolable. She wandered about mournfully with her head \\n dejected. She very often sighed; she very often uttered the name of\",\n \"Virginia shrieked with disgust and terror, and clung to Paul's knees for \\n protection. He, however, in some strange way, seemed unmoved and \\n preoccupied. All at once, to her intense surprise, she saw his face\",\n \"The shrill accents acted like a charm upon Paul. He sprang away from the \\n creature that he had been just caressing. He gazed for a moment on \\n Virginia's lovely form, her exquisite toilette, and her melting eyes.\",\n \"'Well, said Virginia, 'it is nice of you to say that; but still----Ah \\n me! Ah me!' \\n \\n And her bosom heaved slowly with a soft, long sigh. \\n \\n \\n \\n \\n CHAPTER XVII. \\n \\n\",\n \"The Professor talked like this to Virginia the whole morning; but in \\n spite of all his arguments, she declined to be comforted. 'It is all \\n very well,' she said, 'whilst you are in the way. But as soon as your\",\n \"Virginia meanwhile ate _paté de foie gras_, of which she was \\n passionately fond; and, growing a little less sullen, she at last \\n admitted that they were lucky in having at least the necessaries of life\",\n \"Virginia saw that there was no help for it. She did her sums by herself \\n the whole morning, which, as at school she had been very good at \\n arithmetic, was not a hard task for her, and Paul magnified parasites in\",\n \"than Virginia had been in hers. He had written three volumes on the \\n origin of life, which he had spent seven years in looking for in \\n infusions of hay and cheese; he had written five volumes on the entozoa\"\n ]\n]"},"questions":{"kind":"list like","value":["What is Virginia famous for?","How old is Virginia when she marries?","Proffesor Paul Darnley is a prominent what?","How may volumes has Darnley written on the origins of life?","What is the name of the ship Virginia travels on?","Where does the ship sail from?","Where does the ship sail to?","Where is Virginia traveling to?","Why is Virginia famous?","Why has Paul Darnley been avoiding going home?","Who is Virginia travelling to see?","What do Paul and the clergyman do when the old woman on the island dies?","How does the clergyman on the island die?","What is the name of the island on which Paul and Virginia land?","What was Paul's profession before he became a professor?","How does Virginia's conversion affect her religious beliefs?","Who built the cottage that Paul and Virginia stay in?","How does Paul react to Virginia's attraction to him?","Who is the protagonist of the story?","Who is Virginia's husband?","What does Paul believe in by the end of the story?","What happens to the drunken clergyman?","What happens to the elderly woman?","What food is available after the shipwreck?","What is the name of the ship?","Why does the ship sink?","Who was Paul traveling to see?","Where was Virginia traveling to?"],"string":"[\n \"What is Virginia famous for?\",\n \"How old is Virginia when she marries?\",\n \"Proffesor Paul Darnley is a prominent what?\",\n \"How may volumes has Darnley written on the origins of life?\",\n \"What is the name of the ship Virginia travels on?\",\n \"Where does the ship sail from?\",\n \"Where does the ship sail to?\",\n \"Where is Virginia traveling to?\",\n \"Why is Virginia famous?\",\n \"Why has Paul Darnley been avoiding going home?\",\n \"Who is Virginia travelling to see?\",\n \"What do Paul and the clergyman do when the old woman on the island dies?\",\n \"How does the clergyman on the island die?\",\n \"What is the name of the island on which Paul and Virginia land?\",\n \"What was Paul's profession before he became a professor?\",\n \"How does Virginia's conversion affect her religious beliefs?\",\n \"Who built the cottage that Paul and Virginia stay in?\",\n \"How does Paul react to Virginia's attraction to him?\",\n \"Who is the protagonist of the story?\",\n \"Who is Virginia's husband?\",\n \"What does Paul believe in by the end of the story?\",\n \"What happens to the drunken clergyman?\",\n \"What happens to the elderly woman?\",\n \"What food is available after the shipwreck?\",\n \"What is the name of the ship?\",\n \"Why does the ship sink?\",\n \"Who was Paul traveling to see?\",\n \"Where was Virginia traveling to?\"\n]"},"answers":{"kind":"list like","value":[["being famous","being famous"],["30","30"],["Intellectual","Intellectual."],["3","Three"],["The Australasian","Australasian"],["Melbourne","Melbourne"],["London","London."],["Chausible Island","Chausible Island"],["Because she is beautiful.","She is famous for being famous."],["Because he does not want to visit his wife.","His wife wants to make him believe in Hell"],["Her husband","Her new husband."],["Argue over the meaning of her death.","They debate the meaning of her death from a Positivist viewpoint"],["He falls off a cliff.","falls off of a cliff"],["Chausible Island","Chausible "],["A clergyman","English Clergyman."],["She gives up on her religion.","She becomes more sexual."],["The Bishop","VIrginia's husband, the bishop"],["It makes him uncomfortable.","He was uncomfortable "],["Virginia","Paul"],["The Bishop","an English bishop"],["Hell","In hell"],["Falls off a cliff","He fell off the cliff."],["She dies","fhe dies"],["Tinned meat","Tinned meat and champagne."],["Australasian","Astralasian."],["Boiler explosion","The ship"],["His elderly wife","His wife "],["Chausible Island","Chausible Island to meet her husband."]],"string":"[\n [\n \"being famous\",\n \"being famous\"\n ],\n [\n \"30\",\n \"30\"\n ],\n [\n \"Intellectual\",\n \"Intellectual.\"\n ],\n [\n \"3\",\n \"Three\"\n ],\n [\n \"The Australasian\",\n \"Australasian\"\n ],\n [\n \"Melbourne\",\n \"Melbourne\"\n ],\n [\n \"London\",\n \"London.\"\n ],\n [\n \"Chausible Island\",\n \"Chausible Island\"\n ],\n [\n \"Because she is beautiful.\",\n \"She is famous for being famous.\"\n ],\n [\n \"Because he does not want to visit his wife.\",\n \"His wife wants to make him believe in Hell\"\n ],\n [\n \"Her husband\",\n \"Her new husband.\"\n ],\n [\n \"Argue over the meaning of her death.\",\n \"They debate the meaning of her death from a Positivist viewpoint\"\n ],\n [\n \"He falls off a cliff.\",\n \"falls off of a cliff\"\n ],\n [\n \"Chausible Island\",\n \"Chausible \"\n ],\n [\n \"A clergyman\",\n \"English Clergyman.\"\n ],\n [\n \"She gives up on her religion.\",\n \"She becomes more sexual.\"\n ],\n [\n \"The Bishop\",\n \"VIrginia's husband, the bishop\"\n ],\n [\n \"It makes him uncomfortable.\",\n \"He was uncomfortable \"\n ],\n [\n \"Virginia\",\n \"Paul\"\n ],\n [\n \"The Bishop\",\n \"an English bishop\"\n ],\n [\n \"Hell\",\n \"In hell\"\n ],\n [\n \"Falls off a cliff\",\n \"He fell off the cliff.\"\n ],\n [\n \"She dies\",\n \"fhe dies\"\n ],\n [\n \"Tinned meat\",\n \"Tinned meat and champagne.\"\n ],\n [\n \"Australasian\",\n \"Astralasian.\"\n ],\n [\n \"Boiler explosion\",\n \"The ship\"\n ],\n [\n \"His elderly wife\",\n \"His wife \"\n ],\n [\n \"Chausible Island\",\n \"Chausible Island to meet her husband.\"\n ]\n]"},"document_id":{"kind":"string","value":"6d3020e7252fb731314bad3522cd416af124a3f0"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":71,"cells":{"text":{"kind":"list like","value":[["of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose; \n it's a kind of coaching place, only kept by women. Mamma had heard it","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \n Conflans? But this establishment is not at all like that: and indeed it \n is not at all _bourgeois_; there is something distinguished, something","any family that could take me to board and give me the benefit of their \n conversation. She instantly threw up her hands, with several little \n shrill cries (in their French way, you know), and told me that her","number of travellers, who are weary of the beaten track, who have the \n sense of local colour--she explains it herself; she expresses it so \n well--in short, to open a sort of boarding-house. I don't see why I","even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and \n French conversation every evening in the salon, from eight to eleven,","September 16th. \n \n Since I last wrote to you I have left that hotel, and come to live in a \n French family. It's a kind of boarding-house combined with a kind of","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","possible modified by elements proceeding from a different combination of \n causes, with the spontaneous home-life of the country. \n \n I accordingly engaged a room in the house of a lady of pure French \n extraction and education, who supplements the shortcomings of an income","but the piano is better than that fearful old thing at the Sebago House. \n Sometimes I go downstairs and talk to the lady who keeps the books--a \n French lady, who is remarkably polite. She is very pretty, and always","great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \n the oldest and proudest families in France; but she has had reverses \n which have compelled her to open an establishment in which a limited","great deal of them. The price of board struck me as rather high; but I \n must remember that a quantity of conversation is thrown in. I have a \n very pretty little room--without any carpet, but with seven mirrors, two","is any great loss to be here. \n \n Our rooms are very prettily arranged, and the table is remarkably good. \n Mamma thinks the whole thing--the place and the people, the manners and","dearest friend kept a regular place of that kind. If she had known I was \n looking out for such a place she would have told me before; she had not \n spoken of it herself, because she didn't wish to injure the hotel by","and to seventeen). Three years ago she had the thrice-blessed idea of \n opening a sort of _pension_ for the entertainment and instruction of the \n blundering barbarians who come to Paris in the hope of picking up a few","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","They all of them ordered the south of France, but they didn't agree about \n the place; so that mamma herself decided for Hyeres, because it is the \n most economical. I believe it is very dull, but I hope it will do","maids alike, at all sorts of hours, in the _most sudden way_. Then when \n one rings, it is half an hour before they come. All this is very \n uncomfortable, and I daresay it will be worse at Hyeres. There, however,","the proprietors of the two other pairs. One of them is a little \n Anglaise, of about twenty--a little _figure de keepsake_; the most \n adorable miss that you ever, or at least that I ever beheld. She is"],["he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most","he is enormously tall and strong, and has very big fists), but morally \n and intellectually. She seems unable, however, to take in any argument, \n and she makes me realise what I have often heard--that if you are timid","things as William Platt is. He is splendidly educated, in the German \n style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been","simmer. I can give her time to arrive, for I am over-well occupied with \n her _concurrentes_. _Celles-ci_ don't keep me waiting, _par exemple_! \n \n These young ladies are Americans, and you know that it is the national","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","simultaneous; it is impossible to say, as in the conversation of this \n deplorable young man, which is one and which is the other; they are \n inextricably mingled. I prefer the talk of the French _homunculus_; it","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he \n took hold of my frock (that green one you thought so nice at Homburg) and","but, fortunately, he uses a great many French expressions. It's in a \n different style from the conversation of Mr. Verdier--not so \n complimentary, but more intellectual. He is intensely fond of pictures,","gentlemen), and had a great many most interesting talks. I have \n collected a great deal of information, for which I refer you to my \n journal. I assure you my journal is going to be a splendid thing. I do","also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with \n Madame de Maisonrouge all I can (she is the lady of the house, and the","Like most of the French, he converses with great fluency, and I feel as \n if I should really gain from him. He is remarkably handsome, and \n extremely polite--paying a great many compliments, which, I am afraid,","Madame de Maisonrouge has a great deal of tact--much more than poor \n father. She is what they call here a belle femme, which means that she \n is a tall, ugly woman, with style. She dresses very well, and has a"],["putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about.","gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most \n correct French letters; and, if you don't believe it, I will keep the","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written","My dear mother--I have kept you posted as far as Tuesday week last, and, \n although my letter will not have reached you yet, I will begin another \n before my news accumulates too much. I am glad you show my letters round","_real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell","You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just","gentlemen), and had a great many most interesting talks. I have \n collected a great deal of information, for which I refer you to my \n journal. I assure you my journal is going to be a splendid thing. I do","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most"," GUTENBERG EBOOK A BUNDLE OF LETTERS*** \n \n \n \n \n \n \n Transcribed from the 1887 Macmillan and Co. edition by David Price, email","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply \n interested over here that I don't seem to find time. It was a real","for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall","great deal of information about the position of woman in France, and much \n of it is very encouraging. But she has told me at the same time some \n things that I should not like to write to you (I am hesitating even about","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","regards it as a kind of focus of light for the whole human race. Poor \n little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe","in the family, for I like them all to know what I am doing, and I can't \n write to every one, though I try to answer all reasonable expectations. \n But there are a great many unreasonable ones, as I suppose you know--not","receive me, and I was very much pleased with what I saw of them. They \n seemed to have plenty of conversation, and there will be no trouble about \n that. \n \n I came here to stay about three days ago, and by this time I have seen a","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved"],["the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","with them, to study them. \n \n The fair New Yorker is, sometimes, very amusing; she asks me if every one \n in Boston talks like me--if every one is as \"intellectual\" as your poor","abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from","she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would","Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young","them in almost as recognisable a form in a young woman from the State of \n Maine, in the province of New England, with whom I have had a good deal \n of conversation. She differs somewhat from the young man I just","out why the young lady from New York doesn't like me! It is because I \n said one day at dinner that I admired to go to the Louvre. Well, when I \n first came, it seemed as if I _did_ admire everything! \n","the heart of New England. And yet they are very much alike too--more \n alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","she had ever heard anything against Bangor? I can't think it is that. \n Don't you remember when Clara Barnard went to visit New York, three years \n ago, how much attention she received? And you know Clara _is_ Bangor, to","regards it as a kind of focus of light for the whole human race. Poor \n little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe","books. I have never seen any one like that before--any one that wanted \n to make a difference; and at first I was right down interested, she \n seemed to me so like a proud young lady in a novel. I kept saying to","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to \n Clementine about your underskirt, etc. \n \n \n \n \n CHAPTER IV \n \n","the proprietors of the two other pairs. One of them is a little \n Anglaise, of about twenty--a little _figure de keepsake_; the most \n adorable miss that you ever, or at least that I ever beheld. She is"],["Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I","gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most \n correct French letters; and, if you don't believe it, I will keep the","_real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall","putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about.","for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty","was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all","You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just","_cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","My dear mother--I have kept you posted as far as Tuesday week last, and, \n although my letter will not have reached you yet, I will begin another \n before my news accumulates too much. I am glad you show my letters round","FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \n MAINE. \n \n September 5th, 1879. \n","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I","Like every Anglaise, she is rather pinched and prim in public; but it is \n very easy to see that when no one is looking _elle ne demande qu'a se \n laisser aller_! Whenever she wants it I am always there, and I have","in. There's a girl here, an American, that I don't like so much as the \n rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal"],["opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most","combination of incompleteness and effeteness. These three persons look \n with the greatest mistrust and aversion upon each other; and each has \n repeatedly taken me apart and assured me, secretly, that he or she only","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","for a good deal more in his misery. But don't let me talk of misery now; \n time enough when it comes; _ces demoiselles_ have gone to join the \n serried ranks of their amiable predecessors. Excuse me--I comprehend","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n","he is enormously tall and strong, and has very big fists), but morally \n and intellectually. She seems unable, however, to take in any argument, \n and she makes me realise what I have often heard--that if you are timid","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","what it signifies to her that poor Arthur should come into the property, \n which will be so delightful--except for papa dying. But Harold says she \n is mad. He chaffs her tremendously about her radicalism, and he is so","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","is more respectable than she seems. She has, however, the most \n extraordinary opinions--wishes to do away with the aristocracy, thinks it \n wrong that Arthur should have Kingscote when papa dies, etc. I don't see","woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to \n Clementine about your underskirt, etc. \n \n \n \n \n CHAPTER IV \n \n","Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","is the real, the genuine, the typical American. A type that has lost \n itself before it has been fixed--what can you look for from this? \n \n Add to this that there are two young Englanders in the house, who hate","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most","\"Well,\" said one of them, \"it all depends on what you are after. I'm \n French; that's what I'm after.\" \n \n \"Well,\" said the other, \"I'm after Art.\" \n"],["compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for \n her. I am angry with her brother too, for she is evidently very much","combination of incompleteness and effeteness. These three persons look \n with the greatest mistrust and aversion upon each other; and each has \n repeatedly taken me apart and assured me, secretly, that he or she only","the heart of New England. And yet they are very much alike too--more \n alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of","afraid of him, and this gives me some further insight into the subject. \n She thinks everything of her brother, and thinks it natural that she \n should be afraid of him, not only physically (for this _is_ natural, as","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I","_real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","confidence that I really feel some compunction in betraying. She has a \n tint as white as this sheet of paper, except just in the middle of each \n cheek, where it passes into the purest and most transparent, most liquid,","decorated all over with beads and bracelets and embroidered dandelions; \n but her principal decoration consists of the softest little gray eyes in \n the world, which rest upon you with a profundity of confidence--a","in. There's a girl here, an American, that I don't like so much as the \n rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but","and humiliated tone; a little dull, tame look, as if they were used to \n being snubbed and bullied, which made me want to give them a good \n shaking. There are a great many people--and a great many things,","of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to","making the brow so quiet; the strange, clinging, clutching, pictured \n raiment! As I say, it is a very gracious, tender type. She has her \n brother with her, who is a beautiful, fair-haired, gray-eyed young","for a good deal more in his misery. But don't let me talk of misery now; \n time enough when it comes; _ces demoiselles_ have gone to join the \n serried ranks of their amiable predecessors. Excuse me--I comprehend","death at passing all her time in the midst of stupid English people who \n mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall","he is enormously tall and strong, and has very big fists), but morally \n and intellectually. She seems unable, however, to take in any argument, \n and she makes me realise what I have often heard--that if you are timid","_Les Barents Pauvres_. She has a great charm; a little artificial, a \n little fatigued, with a little suggestion of hidden things in her life; \n but I have always been sensitive to the charm of fatigue, of duplicity. \n","Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n"],["he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","things as William Platt is. He is splendidly educated, in the German \n style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been","to them nine years ago. A German was something disagreeable, which they \n determined to keep out of their conception of things. I therefore think \n that we are wrong to govern ourselves upon the hypothesis of the \n _revanche_; the French nature is too shallow for that large and powerful","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most","rough draft to show you when I go back. \n \n The German gentleman is also more interesting, the more you know him; it \n seems sometimes as if I could fairly drink in his ideas. I have found","also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with \n Madame de Maisonrouge all I can (she is the lady of the house, and the","Fatherland. I fancied myself at Berlin, Unter den Linden, and I \n reflected that, having taken the serious step of visiting the \n head-quarters of the Gallic genius, I should try and project myself; as","by the war of 1870, they have at present no distinct apprehension of its \n existence. They are not very sure that there are any Germans; they have \n already forgotten the convincing proofs of the fact that were presented","consequence of my German nationality, had proved completely unfounded. No \n one seems to know or to care what my nationality is, and I am treated, on \n the contrary, with the civility which is the portion of every traveller","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most","seem to me at all satisfactory, and that is a point, you know, on which I \n feel very strongly. It seems to me that in England they play a very \n faded-out part, and those with whom I conversed had a kind of depressed","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","(He communicated this fact very proudly, as if it were greatly to the \n credit of his native country; little perceiving the truly sinister \n impression it made upon me.) \n \n What strikes one in it is that it is a phenomenon to the best of my","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from","logical contradiction; but this is the explanation to which I tend. The \n French are so exclusively occupied with the idea of themselves, that in \n spite of the very definite image the German personality presented to them","over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he \n took hold of my frock (that green one you thought so nice at Homburg) and","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she"],["opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most","regards it as a kind of focus of light for the whole human race. Poor \n little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe","CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I","just exactly as I do in Bangor, and I find I do perfectly right; and at \n any rate, I don't care if I don't. I didn't come to Europe to lead a","Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","because her father was some relation--I forget what--to a lord. She \n thinks everything of this; and that proves to me that the position of \n woman in her country cannot be satisfactory; because, if it were, it","is when Americans sometimes express surprise that I should be travelling \n round alone; so you see it doesn't come from Europeans. I always have my \n answer ready; \"For general culture, to acquire the languages, and to see","about that lovely England since I left it, and all the famous historic \n scenes I visited; but I have come to the conclusion that it is not a \n country in which I should care to reside. The position of woman does not","Europe for myself;\" and that generally seems to satisfy them. Dear \n mother, my money holds out very well, and it _is_ real interesting. \n \n \n \n \n CHAPTER II \n \n \n FROM THE SAME TO THE SAME. \n","of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to","have felt more free to talk to them than to the Americans--on account of \n the language. It seems as if in talking with them I was almost learning \n a new one. \n \n I never supposed, when I left Bangor, that I was coming to Europe to","She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are","there would have been some sense. But poor father has no tact, and this \n defect is especially marked since he has been in Europe. He will be \n absent, however, for three months, and mother and I shall breathe more","that we would rather be chopped into small pieces than cross that \n dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he","especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very","I am rather disappointed, I confess, in the society I find here; it is \n not so local, so characteristic, as I could have desired. Indeed, to \n tell the truth, it is not local at all; but, on the other hand, it is","providence that brought me to this house, where, in spite of all \n obstacles, I am able to do much good work. I wonder how I find the time \n for all I do; but when I think that I have only got a year in Europe, I","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou","alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes","out why the young lady from New York doesn't like me! It is because I \n said one day at dinner that I admired to go to the Louvre. Well, when I \n first came, it seemed as if I _did_ admire everything! \n"],["CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I","Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","Georgina that I hope this won't occur to her. If it does, I shall be, as \n Harold says, in a dreadful funk. \n \n This is not such a nice place for a girl as for a young man, and the","because her father was some relation--I forget what--to a lord. She \n thinks everything of this; and that proves to me that the position of \n woman in her country cannot be satisfactory; because, if it were, it","especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very","_cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","regards it as a kind of focus of light for the whole human race. Poor \n little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty","them in almost as recognisable a form in a young woman from the State of \n Maine, in the province of New England, with whom I have had a good deal \n of conversation. She differs somewhat from the young man I just","abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most","alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes","brilliant invention of the age, and a real stroke of genius on the part \n of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the","was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all","death at passing all her time in the midst of stupid English people who \n mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall","the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I"],["William Platt I don't care what he does. \n \n \n \n \n CHAPTER III \n \n \n FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \n","By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a \n great Gainsborough hat, with a mighty plume in front of it, which makes a","regards it as a kind of focus of light for the whole human race. Poor \n little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from","decorated all over with beads and bracelets and embroidered dandelions; \n but her principal decoration consists of the softest little gray eyes in \n the world, which rest upon you with a profundity of confidence--a","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","them in almost as recognisable a form in a young woman from the State of \n Maine, in the province of New England, with whom I have had a good deal \n of conversation. She differs somewhat from the young man I just","alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes","they say here; simpler, softer, rounder, richer than the young girls I \n spoke of just now. Not much talk--a great, sweet silence. Then the \n violet eye--the very eye itself seems to blush; the great shadowy hat,","some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able","the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would","something mediaeval and Gothic, in the details of her person and dress, \n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \n delightfully picturesque. She is much a woman--elle _est bien femme_, as","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","Americans whom I have before me with regard to each other. There is \n another young lady here, who is less abnormally developed than the one I \n have just described, but who yet bears the stamp of this peculiar","said that she had never heard me mentioned, and that her room was too \n small to receive visitors. I suppose she spoke the truth, but I am sure \n she has got some reason, all the same. She has got some idea, and I am","too--over here that I should like to perform that operation upon. I \n should like to shake the starch out of some of them, and the dust out of \n the others. I know fifty girls in Bangor that come much more up to my","Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young"],["he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with \n Madame de Maisonrouge all I can (she is the lady of the house, and the","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose; \n it's a kind of coaching place, only kept by women. Mamma had heard it","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","things as William Platt is. He is splendidly educated, in the German \n style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou","with Madame herself, and some friends of hers that often come in. Her \n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \n with her, and I make a point of talking with him as much as possible. I","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I","consequence of my German nationality, had proved completely unfounded. No \n one seems to know or to care what my nationality is, and I am treated, on \n the contrary, with the civility which is the portion of every traveller","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","Fatherland. I fancied myself at Berlin, Unter den Linden, and I \n reflected that, having taken the serious step of visiting the \n head-quarters of the Gallic genius, I should try and project myself; as","But father has no observation; he has nothing but theories. Mother and \n I, however, have, fortunately, a great deal of _practice_, and we \n succeeded in making him understand that we wouldn't budge from Paris, and"],["FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \n \n September 28th. \n \n My Dear Prosper--It is a long time since I have given you of my news, and","with Madame herself, and some friends of hers that often come in. Her \n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \n with her, and I make a point of talking with him as much as possible. I","but, fortunately, he uses a great many French expressions. It's in a \n different style from the conversation of Mr. Verdier--not so \n complimentary, but more intellectual. He is intensely fond of pictures,","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","circle of real friends. Everything has gone on beautifully up to the \n end, and every one has been as kind and attentive as if I were their own \n sister, especially Mr. Verdier, the French gentleman, from whom I have","dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose; \n it's a kind of coaching place, only kept by women. Mamma had heard it","of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","that my new friends--my French family--do not live in the old city--_au \n coeur du vieux Paris_, as they say here. They live only in the Boulevard \n Haussman, which is less picturesque; but in spite of this they have a","Like most of the French, he converses with great fluency, and I feel as \n if I should really gain from him. He is remarkably handsome, and \n extremely polite--paying a great many compliments, which, I am afraid,","FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \n \n September 25th. \n \n My dear Harvard--I have carried out my plan, of which I gave you a hint","they say here--of the greatest excesses as well as the greatest heroism. \n Oh, to be able to say that one has lived--_qu'on a vecu_, as they say \n here--that idea exercises an indefinable attraction for me. You will,","of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to","Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young","But father has no observation; he has nothing but theories. Mother and \n I, however, have, fortunately, a great deal of _practice_, and we \n succeeded in making him understand that we wouldn't budge from Paris, and","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou","and I, and go over and see it for ourselves. It is as well that we \n should go and find them _chez elles_, as that they should come out here \n after us. _Dis donc, mon gras Prosper_ . . . \n \n \n","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most","The little one (she has a mother somewhere, out of sight, shut up in a \n closet or a trunk) is a good deal prettier, and, perhaps, on that account \n _elle y met plus de facons_. She doesn't knock about Paris with me by"],["FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \n \n September 28th. \n \n My Dear Prosper--It is a long time since I have given you of my news, and","keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply \n interested over here that I don't seem to find time. It was a real","putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about.","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written","You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal","but, fortunately, he uses a great many French expressions. It's in a \n different style from the conversation of Mr. Verdier--not so \n complimentary, but more intellectual. He is intensely fond of pictures,","for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most \n correct French letters; and, if you don't believe it, I will keep the","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","My dear mother--I have kept you posted as far as Tuesday week last, and, \n although my letter will not have reached you yet, I will begin another \n before my news accumulates too much. I am glad you show my letters round","gentlemen), and had a great many most interesting talks. I have \n collected a great deal of information, for which I refer you to my \n journal. I assure you my journal is going to be a splendid thing. I do","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall","_real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell","FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \n \n September 25th. \n \n My dear Harvard--I have carried out my plan, of which I gave you a hint","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most","that we would rather be chopped into small pieces than cross that \n dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he","people, that family; after she left, my cousin corresponded with them in \n French. But I mean to find some other crowd, if it takes a lot of \n trouble!\" \n \n I listened to all this with great interest, and when he spoke about his","great deal of information about the position of woman in France, and much \n of it is very encouraging. But she has told me at the same time some \n things that I should not like to write to you (I am hesitating even about"],["_cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","want to be persuaded; and when I ask her if Lady So-and-so is of the same \n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \n with her eyes, and says, \"Of course she is!\" When I tell her that this","Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I","confidence that I really feel some compunction in betraying. She has a \n tint as white as this sheet of paper, except just in the middle of each \n cheek, where it passes into the purest and most transparent, most liquid,","especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","decorated all over with beads and bracelets and embroidered dandelions; \n but her principal decoration consists of the softest little gray eyes in \n the world, which rest upon you with a profundity of confidence--a","some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able","By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a \n great Gainsborough hat, with a mighty plume in front of it, which makes a","that I should. \n \n I feel as if it were right to ask her as often as I can if she doesn't \n consider every one equal; but she always says she doesn't, and she \n confesses that she doesn't think she is equal to \"Lady","afraid of him, and this gives me some further insight into the subject. \n She thinks everything of her brother, and thinks it natural that she \n should be afraid of him, not only physically (for this _is_ natural, as","he is enormously tall and strong, and has very big fists), but morally \n and intellectually. She seems unable, however, to take in any argument, \n and she makes me realise what I have often heard--that if you are timid","alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes","myself all day, \"haughty, haughty,\" and I wished she would keep on so. \n But she did keep on; she kept on too long; and then I began to feel hurt.","said that she had never heard me mentioned, and that her room was too \n small to receive visitors. I suppose she spoke the truth, but I am sure \n she has got some reason, all the same. She has got some idea, and I am","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for \n her. I am angry with her brother too, for she is evidently very much"],["Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written","things as William Platt is. He is splendidly educated, in the German \n style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been","said Madame, with her little French laugh (you can get William Platt to \n translate this, he used to tell me he knew so much French). \n \n You know I told you, in writing some time ago, that I had tried to get","CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I","William Platt I don't care what he does. \n \n \n \n \n CHAPTER III \n \n \n FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \n","the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in","notion of the stand a truly noble woman should take, than those young \n ladies in England. But they had a most lovely way of speaking (in \n England), and the men are _remarkably handsome_. (You can show this to \n William Platt, if you like.) \n","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very","By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a \n great Gainsborough hat, with a mighty plume in front of it, which makes a","was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","what it signifies to her that poor Arthur should come into the property, \n which will be so delightful--except for papa dying. But Harold says she \n is mad. He chaffs her tremendously about her radicalism, and he is so","beforehand; they don't make any effort. (I don't say this in the least \n for William Platt, _in particular_.) \n \n I am sure I don't know what they will think of me when I get back. It","brilliant invention of the age, and a real stroke of genius on the part \n of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I","_cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable"],["he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most","FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \n \n September 28th. \n \n My Dear Prosper--It is a long time since I have given you of my news, and","also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with \n Madame de Maisonrouge all I can (she is the lady of the house, and the","to me at dinner, and whom I must tell you more about another time. He is \n very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes","gentlemen), and had a great many most interesting talks. I have \n collected a great deal of information, for which I refer you to my \n journal. I assure you my journal is going to be a splendid thing. I do","Like most of the French, he converses with great fluency, and I feel as \n if I should really gain from him. He is remarkably handsome, and \n extremely polite--paying a great many compliments, which, I am afraid,","but, fortunately, he uses a great many French expressions. It's in a \n different style from the conversation of Mr. Verdier--not so \n complimentary, but more intellectual. He is intensely fond of pictures,","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","natured about it, I shall be content to wait for the caravan (that's what \n he calls mamma and the children). The person who keeps the \n establishment, or whatever they call it, is rather odd, and _exceedingly","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \n \n September 25th. \n \n My dear Harvard--I have carried out my plan, of which I gave you a hint","CHAPTER VIII \n \n \n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \n \n My dear brother in Science--I resume my hasty notes, of which I sent you","dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose; \n it's a kind of coaching place, only kept by women. Mamma had heard it","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","with Madame herself, and some friends of hers that often come in. Her \n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \n with her, and I make a point of talking with him as much as possible. I"],["alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","combination of incompleteness and effeteness. These three persons look \n with the greatest mistrust and aversion upon each other; and each has \n repeatedly taken me apart and assured me, secretly, that he or she only","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","subordinate, even if she does think so, but his equal, and, perhaps in \n some respects his superior, and that if my brother, in Bangor, were to \n treat me as he treates this poor young girl, who has not spirit enough to","and humiliated tone; a little dull, tame look, as if they were used to \n being snubbed and bullied, which made me want to give them a good \n shaking. There are a great many people--and a great many things,","that we would rather be chopped into small pieces than cross that \n dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from","regards it as a kind of focus of light for the whole human race. Poor \n little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe","people, that family; after she left, my cousin corresponded with them in \n French. But I mean to find some other crowd, if it takes a lot of \n trouble!\" \n \n I listened to all this with great interest, and when he spoke about his","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n \n The other Americans (beside the madman) are two girls, about my own age,","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to","that time I was travelling with the Johnsons, who are not aesthetic, and \n who used to make me feel rather ashamed of my artistic temperament. If I \n had gone to see the great apostle of beauty, I should have had to go","natured about it, I shall be content to wait for the caravan (that's what \n he calls mamma and the children). The person who keeps the \n establishment, or whatever they call it, is rather odd, and _exceedingly","the heart of New England. And yet they are very much alike too--more \n alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of","books. I have never seen any one like that before--any one that wanted \n to make a difference; and at first I was right down interested, she \n seemed to me so like a proud young lady in a novel. I kept saying to","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are"],["the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","couldn't help calling attention to it. Mr. Leverett thinks everything of \n it; he calls it the \"costume of the future.\" I should call it rather the \n costume of the past--you know the English have such an attachment to the","something mediaeval and Gothic, in the details of her person and dress, \n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \n delightfully picturesque. She is much a woman--elle _est bien femme_, as","some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his","advance--with a Bostonian. I don't know when I may meet one again; but \n if there are many others like Mr. Leverett there, I shall be certain not \n to want when I carry out my dream. He is just as full of culture as he","up. Mr. Leverett says it would do them good--not the pictures, but the \n Bangor folks. He thinks everything of the French, too, and says we don't \n make nearly enough of _them_. I couldn't help telling him the other day","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","want to be persuaded; and when I ask her if Lady So-and-so is of the same \n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \n with her eyes, and says, \"Of course she is!\" When I tell her that this","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","FROM MISS EVELYN VANE, IN PARIS, TO THE LADY AUGUSTA FLEMING, AT \n BRIGHTON. \n \n Paris, September 30th. \n","told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is","over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he \n took hold of my frock (that green one you thought so nice at Homburg) and","to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing","what it signifies to her that poor Arthur should come into the property, \n which will be so delightful--except for papa dying. But Harold says she \n is mad. He chaffs her tremendously about her radicalism, and he is so","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I","of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","to argue with me. You know he is like the schoolmaster in Goldsmith's \n \"Deserted Village\"--\"e'en though vanquished, he would argue still.\" He \n and mother went to look at some seventeen families (they had got the","said that she had never heard me mentioned, and that her room was too \n small to receive visitors. I suppose she spoke the truth, but I am sure \n she has got some reason, all the same. She has got some idea, and I am"],["of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose; \n it's a kind of coaching place, only kept by women. Mamma had heard it","Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \n Conflans? But this establishment is not at all like that: and indeed it \n is not at all _bourgeois_; there is something distinguished, something","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","any family that could take me to board and give me the benefit of their \n conversation. She instantly threw up her hands, with several little \n shrill cries (in their French way, you know), and told me that her","September 16th. \n \n Since I last wrote to you I have left that hotel, and come to live in a \n French family. It's a kind of boarding-house combined with a kind of","even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and \n French conversation every evening in the salon, from eight to eleven,","number of travellers, who are weary of the beaten track, who have the \n sense of local colour--she explains it herself; she expresses it so \n well--in short, to open a sort of boarding-house. I don't see why I","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \n the oldest and proudest families in France; but she has had reverses \n which have compelled her to open an establishment in which a limited","but the piano is better than that fearful old thing at the Sebago House. \n Sometimes I go downstairs and talk to the lady who keeps the books--a \n French lady, who is remarkably polite. She is very pretty, and always","possible modified by elements proceeding from a different combination of \n causes, with the spontaneous home-life of the country. \n \n I accordingly engaged a room in the house of a lady of pure French \n extraction and education, who supplements the shortcomings of an income","great deal of them. The price of board struck me as rather high; but I \n must remember that a quantity of conversation is thrown in. I have a \n very pretty little room--without any carpet, but with seven mirrors, two","is any great loss to be here. \n \n Our rooms are very prettily arranged, and the table is remarkably good. \n Mamma thinks the whole thing--the place and the people, the manners and","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","and to seventeen). Three years ago she had the thrice-blessed idea of \n opening a sort of _pension_ for the entertainment and instruction of the \n blundering barbarians who come to Paris in the hope of picking up a few","dearest friend kept a regular place of that kind. If she had known I was \n looking out for such a place she would have told me before; she had not \n spoken of it herself, because she didn't wish to injure the hotel by","They all of them ordered the south of France, but they didn't agree about \n the place; so that mamma herself decided for Hyeres, because it is the \n most economical. I believe it is very dull, but I hope it will do","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","to take up my abode in a French interior was largely dictated by the \n supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I"],["Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I","none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty","brilliant invention of the age, and a real stroke of genius on the part \n of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of","alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes","because her father was some relation--I forget what--to a lord. She \n thinks everything of this; and that proves to me that the position of \n woman in her country cannot be satisfactory; because, if it were, it","_cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","them in almost as recognisable a form in a young woman from the State of \n Maine, in the province of New England, with whom I have had a good deal \n of conversation. She differs somewhat from the young man I just","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I","regards it as a kind of focus of light for the whole human race. Poor \n little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe","abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from","especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very","that we would rather be chopped into small pieces than cross that \n dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in"],["opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most","CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I","Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","regards it as a kind of focus of light for the whole human race. Poor \n little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe","about that lovely England since I left it, and all the famous historic \n scenes I visited; but I have come to the conclusion that it is not a \n country in which I should care to reside. The position of woman does not","just exactly as I do in Bangor, and I find I do perfectly right; and at \n any rate, I don't care if I don't. I didn't come to Europe to lead a","of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to","Europe for myself;\" and that generally seems to satisfy them. Dear \n mother, my money holds out very well, and it _is_ real interesting. \n \n \n \n \n CHAPTER II \n \n \n FROM THE SAME TO THE SAME. \n","in. There's a girl here, an American, that I don't like so much as the \n rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but","she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would","_cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","to a young lady travelling in Europe by herself of which we heard so much \n before I left, and I don't expect I ever shall, for I certainly don't \n mean to look for them. I know what I want, and I always manage to get \n it. \n","out why the young lady from New York doesn't like me! It is because I \n said one day at dinner that I admired to go to the Louvre. Well, when I \n first came, it seemed as if I _did_ admire everything! \n","because her father was some relation--I forget what--to a lord. She \n thinks everything of this; and that proves to me that the position of \n woman in her country cannot be satisfactory; because, if it were, it","is when Americans sometimes express surprise that I should be travelling \n round alone; so you see it doesn't come from Europeans. I always have my \n answer ready; \"For general culture, to acquire the languages, and to see","I am rather disappointed, I confess, in the society I find here; it is \n not so local, so characteristic, as I could have desired. Indeed, to \n tell the truth, it is not local at all; but, on the other hand, it is","have felt more free to talk to them than to the Americans--on account of \n the language. It seems as if in talking with them I was almost learning \n a new one. \n \n I never supposed, when I left Bangor, that I was coming to Europe to","there would have been some sense. But poor father has no tact, and this \n defect is especially marked since he has been in Europe. He will be \n absent, however, for three months, and mother and I shall breathe more","that we would rather be chopped into small pieces than cross that \n dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he","alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes"],["Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n \n FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n","CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","any family that could take me to board and give me the benefit of their \n conversation. She instantly threw up her hands, with several little \n shrill cries (in their French way, you know), and told me that her","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and \n French conversation every evening in the salon, from eight to eleven,","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","Mamma, however, is only going to bring Mary and Gus and Fred and Adelaide \n abroad with her; the others will remain at Kingscote until February \n (about the 3d), when they will go to Eastbourne for a month with Miss","great deal of them. The price of board struck me as rather high; but I \n must remember that a quantity of conversation is thrown in. I have a \n very pretty little room--without any carpet, but with seven mirrors, two","them in almost as recognisable a form in a young woman from the State of \n Maine, in the province of New England, with whom I have had a good deal \n of conversation. She differs somewhat from the young man I just","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from","brilliant invention of the age, and a real stroke of genius on the part \n of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the","none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty","especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","the proprietors of the two other pairs. One of them is a little \n Anglaise, of about twenty--a little _figure de keepsake_; the most \n adorable miss that you ever, or at least that I ever beheld. She is","_cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","with Madame herself, and some friends of hers that often come in. Her \n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \n with her, and I make a point of talking with him as much as possible. I","because her father was some relation--I forget what--to a lord. She \n thinks everything of this; and that proves to me that the position of \n woman in her country cannot be satisfactory; because, if it were, it"],["some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able","FROM MISS EVELYN VANE, IN PARIS, TO THE LADY AUGUSTA FLEMING, AT \n BRIGHTON. \n \n Paris, September 30th. \n","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","something mediaeval and Gothic, in the details of her person and dress, \n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \n delightfully picturesque. She is much a woman--elle _est bien femme_, as","want to be persuaded; and when I ask her if Lady So-and-so is of the same \n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \n with her eyes, and says, \"Of course she is!\" When I tell her that this","_real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell","said that she had never heard me mentioned, and that her room was too \n small to receive visitors. I suppose she spoke the truth, but I am sure \n she has got some reason, all the same. She has got some idea, and I am","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his","putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about.","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written","gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most \n correct French letters; and, if you don't believe it, I will keep the","great deal of information about the position of woman in France, and much \n of it is very encouraging. But she has told me at the same time some \n things that I should not like to write to you (I am hesitating even about","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal","books. I have never seen any one like that before--any one that wanted \n to make a difference; and at first I was right down interested, she \n seemed to me so like a proud young lady in a novel. I kept saying to","said Madame, with her little French laugh (you can get William Platt to \n translate this, he used to tell me he knew so much French). \n \n You know I told you, in writing some time ago, that I had tried to get","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour","them in almost as recognisable a form in a young woman from the State of \n Maine, in the province of New England, with whom I have had a good deal \n of conversation. She differs somewhat from the young man I just","CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I"],["he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with \n Madame de Maisonrouge all I can (she is the lady of the house, and the","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","any family that could take me to board and give me the benefit of their \n conversation. She instantly threw up her hands, with several little \n shrill cries (in their French way, you know), and told me that her","consequence of my German nationality, had proved completely unfounded. No \n one seems to know or to care what my nationality is, and I am treated, on \n the contrary, with the civility which is the portion of every traveller","logical contradiction; but this is the explanation to which I tend. The \n French are so exclusively occupied with the idea of themselves, that in \n spite of the very definite image the German personality presented to them","Like most of the French, he converses with great fluency, and I feel as \n if I should really gain from him. He is remarkably handsome, and \n extremely polite--paying a great many compliments, which, I am afraid,","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","to them nine years ago. A German was something disagreeable, which they \n determined to keep out of their conception of things. I therefore think \n that we are wrong to govern ourselves upon the hypothesis of the \n _revanche_; the French nature is too shallow for that large and powerful","dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose; \n it's a kind of coaching place, only kept by women. Mamma had heard it","but, fortunately, he uses a great many French expressions. It's in a \n different style from the conversation of Mr. Verdier--not so \n complimentary, but more intellectual. He is intensely fond of pictures,","with Madame herself, and some friends of hers that often come in. Her \n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \n with her, and I make a point of talking with him as much as possible. I","even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and \n French conversation every evening in the salon, from eight to eleven,","that at any rate they make enough of themselves. But it is very \n interesting to hear him go on about the French, and it is so much gain to \n me, so long as that is what I came for. I talk to him as much as I dare","rough draft to show you when I go back. \n \n The German gentleman is also more interesting, the more you know him; it \n seems sometimes as if I could fairly drink in his ideas. I have found","by the war of 1870, they have at present no distinct apprehension of its \n existence. They are not very sure that there are any Germans; they have \n already forgotten the convincing proofs of the fact that were presented","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the"],["combination of incompleteness and effeteness. These three persons look \n with the greatest mistrust and aversion upon each other; and each has \n repeatedly taken me apart and assured me, secretly, that he or she only","any family that could take me to board and give me the benefit of their \n conversation. She instantly threw up her hands, with several little \n shrill cries (in their French way, you know), and told me that her","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","is the real, the genuine, the typical American. A type that has lost \n itself before it has been fixed--what can you look for from this? \n \n Add to this that there are two young Englanders in the house, who hate","to take up my abode in a French interior was largely dictated by the \n supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I","of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","number of travellers, who are weary of the beaten track, who have the \n sense of local colour--she explains it herself; she expresses it so \n well--in short, to open a sort of boarding-house. I don't see why I","very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n \n The other Americans (beside the madman) are two girls, about my own age,","even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and \n French conversation every evening in the salon, from eight to eleven,","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved","he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next","dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose; \n it's a kind of coaching place, only kept by women. Mamma had heard it","the heart of New England. And yet they are very much alike too--more \n alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of","customs--very amusing; but mamma is very easily amused. As for me, you \n know, all that I ask is to be let alone, and not to have people's society \n forced upon me. I have never wanted for society of my own choosing, and,","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","death at passing all her time in the midst of stupid English people who \n mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall","great deal of them. The price of board struck me as rather high; but I \n must remember that a quantity of conversation is thrown in. I have a \n very pretty little room--without any carpet, but with seven mirrors, two","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she"],["to take up my abode in a French interior was largely dictated by the \n supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I","any family that could take me to board and give me the benefit of their \n conversation. She instantly threw up her hands, with several little \n shrill cries (in their French way, you know), and told me that her","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next","dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose; \n it's a kind of coaching place, only kept by women. Mamma had heard it","things, never want to. We had just got settled at the hotel, in some \n charming rooms, and mother and I, as you may imagine, were greatly \n annoyed. Father is extremely fussy, as you know, and his first idea, as","very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n \n The other Americans (beside the madman) are two girls, about my own age,","is the real, the genuine, the typical American. A type that has lost \n itself before it has been fixed--what can you look for from this? \n \n Add to this that there are two young Englanders in the house, who hate","combination of incompleteness and effeteness. These three persons look \n with the greatest mistrust and aversion upon each other; and each has \n repeatedly taken me apart and assured me, secretly, that he or she only","compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people. \n He is remarkably handsome, but excessively affected and patronising,","even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and \n French conversation every evening in the salon, from eight to eleven,","number of travellers, who are weary of the beaten track, who have the \n sense of local colour--she explains it herself; she expresses it so \n well--in short, to open a sort of boarding-house. I don't see why I","insufficient to the ever-growing demands of the Parisian system of sense- \n gratification, by providing food and lodging for a limited number of \n distinguished strangers. I should have preferred to have my room alone","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard","that we would rather be chopped into small pieces than cross that \n dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he","of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to","who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress; \n but the other girl (I mean the nicer one, with the mother) tells me she","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from"],["FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \n \n September 28th. \n \n My Dear Prosper--It is a long time since I have given you of my news, and","FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \n \n September 25th. \n \n My dear Harvard--I have carried out my plan, of which I gave you a hint","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal","the house--a gentleman from Boston--who is just crowded with it. His \n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall","You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just","keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply \n interested over here that I don't seem to find time. It was a real","for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","great deal of information about the position of woman in France, and much \n of it is very encouraging. But she has told me at the same time some \n things that I should not like to write to you (I am hesitating even about","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written","gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most \n correct French letters; and, if you don't believe it, I will keep the","construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of","_real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell","My dear mother--I have kept you posted as far as Tuesday week last, and, \n although my letter will not have reached you yet, I will begin another \n before my news accumulates too much. I am glad you show my letters round","that we would rather be chopped into small pieces than cross that \n dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he","gentlemen), and had a great many most interesting talks. I have \n collected a great deal of information, for which I refer you to my \n journal. I assure you my journal is going to be a splendid thing. I do","said Madame, with her little French laugh (you can get William Platt to \n translate this, he used to tell me he knew so much French). \n \n You know I told you, in writing some time ago, that I had tried to get","was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all","September 16th. \n \n Since I last wrote to you I have left that hotel, and come to live in a \n French family. It's a kind of boarding-house combined with a kind of"],["he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next","immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or","to them nine years ago. A German was something disagreeable, which they \n determined to keep out of their conception of things. I therefore think \n that we are wrong to govern ourselves upon the hypothesis of the \n _revanche_; the French nature is too shallow for that large and powerful","things as William Platt is. He is splendidly educated, in the German \n style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been","by the war of 1870, they have at present no distinct apprehension of its \n existence. They are not very sure that there are any Germans; they have \n already forgotten the convincing proofs of the fact that were presented","rough draft to show you when I go back. \n \n The German gentleman is also more interesting, the more you know him; it \n seems sometimes as if I could fairly drink in his ideas. I have found","consequence of my German nationality, had proved completely unfounded. No \n one seems to know or to care what my nationality is, and I am treated, on \n the contrary, with the civility which is the portion of every traveller","also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with \n Madame de Maisonrouge all I can (she is the lady of the house, and the","Fatherland. I fancied myself at Berlin, Unter den Linden, and I \n reflected that, having taken the serious step of visiting the \n head-quarters of the Gallic genius, I should try and project myself; as","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most","to talk to me in English (for the sake of practice, too, I suppose), that \n I couldn't bear to let her know I didn't like it. The chambermaid was \n Irish, and all the waiters were German, so that I never heard a word of","pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and \n two Americans, besides mother and me. One of them is a young man from","fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou","(He communicated this fact very proudly, as if it were greatly to the \n credit of his native country; little perceiving the truly sinister \n impression it made upon me.) \n \n What strikes one in it is that it is a phenomenon to the best of my","gentlemen), and had a great many most interesting talks. I have \n collected a great deal of information, for which I refer you to my \n journal. I assure you my journal is going to be a splendid thing. I do","afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most","have felt more free to talk to them than to the Americans--on account of \n the language. It seems as if in talking with them I was almost learning \n a new one. \n \n I never supposed, when I left Bangor, that I was coming to Europe to","logical contradiction; but this is the explanation to which I tend. The \n French are so exclusively occupied with the idea of themselves, that in \n spite of the very definite image the German personality presented to them","at last that I am indeed in _foreign parts_. It is, however, a truly \n elegant city (very superior to New York), and I have spent a great deal \n of time in visiting the various monuments and palaces. I won't give you"]],"string":"[\n [\n \"of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose; \\n it's a kind of coaching place, only kept by women. Mamma had heard it\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \\n Conflans? But this establishment is not at all like that: and indeed it \\n is not at all _bourgeois_; there is something distinguished, something\",\n \"any family that could take me to board and give me the benefit of their \\n conversation. She instantly threw up her hands, with several little \\n shrill cries (in their French way, you know), and told me that her\",\n \"number of travellers, who are weary of the beaten track, who have the \\n sense of local colour--she explains it herself; she expresses it so \\n well--in short, to open a sort of boarding-house. I don't see why I\",\n \"even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and \\n French conversation every evening in the salon, from eight to eleven,\",\n \"September 16th. \\n \\n Since I last wrote to you I have left that hotel, and come to live in a \\n French family. It's a kind of boarding-house combined with a kind of\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"possible modified by elements proceeding from a different combination of \\n causes, with the spontaneous home-life of the country. \\n \\n I accordingly engaged a room in the house of a lady of pure French \\n extraction and education, who supplements the shortcomings of an income\",\n \"but the piano is better than that fearful old thing at the Sebago House. \\n Sometimes I go downstairs and talk to the lady who keeps the books--a \\n French lady, who is remarkably polite. She is very pretty, and always\",\n \"great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \\n the oldest and proudest families in France; but she has had reverses \\n which have compelled her to open an establishment in which a limited\",\n \"great deal of them. The price of board struck me as rather high; but I \\n must remember that a quantity of conversation is thrown in. I have a \\n very pretty little room--without any carpet, but with seven mirrors, two\",\n \"is any great loss to be here. \\n \\n Our rooms are very prettily arranged, and the table is remarkably good. \\n Mamma thinks the whole thing--the place and the people, the manners and\",\n \"dearest friend kept a regular place of that kind. If she had known I was \\n looking out for such a place she would have told me before; she had not \\n spoken of it herself, because she didn't wish to injure the hotel by\",\n \"and to seventeen). Three years ago she had the thrice-blessed idea of \\n opening a sort of _pension_ for the entertainment and instruction of the \\n blundering barbarians who come to Paris in the hope of picking up a few\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"They all of them ordered the south of France, but they didn't agree about \\n the place; so that mamma herself decided for Hyeres, because it is the \\n most economical. I believe it is very dull, but I hope it will do\",\n \"maids alike, at all sorts of hours, in the _most sudden way_. Then when \\n one rings, it is half an hour before they come. All this is very \\n uncomfortable, and I daresay it will be worse at Hyeres. There, however,\",\n \"the proprietors of the two other pairs. One of them is a little \\n Anglaise, of about twenty--a little _figure de keepsake_; the most \\n adorable miss that you ever, or at least that I ever beheld. She is\"\n ],\n [\n \"he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \"he is enormously tall and strong, and has very big fists), but morally \\n and intellectually. She seems unable, however, to take in any argument, \\n and she makes me realise what I have often heard--that if you are timid\",\n \"things as William Platt is. He is splendidly educated, in the German \\n style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been\",\n \"simmer. I can give her time to arrive, for I am over-well occupied with \\n her _concurrentes_. _Celles-ci_ don't keep me waiting, _par exemple_! \\n \\n These young ladies are Americans, and you know that it is the national\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"simultaneous; it is impossible to say, as in the conversation of this \\n deplorable young man, which is one and which is the other; they are \\n inextricably mingled. I prefer the talk of the French _homunculus_; it\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he \\n took hold of my frock (that green one you thought so nice at Homburg) and\",\n \"but, fortunately, he uses a great many French expressions. It's in a \\n different style from the conversation of Mr. Verdier--not so \\n complimentary, but more intellectual. He is intensely fond of pictures,\",\n \"gentlemen), and had a great many most interesting talks. I have \\n collected a great deal of information, for which I refer you to my \\n journal. I assure you my journal is going to be a splendid thing. I do\",\n \"also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with \\n Madame de Maisonrouge all I can (she is the lady of the house, and the\",\n \"Like most of the French, he converses with great fluency, and I feel as \\n if I should really gain from him. He is remarkably handsome, and \\n extremely polite--paying a great many compliments, which, I am afraid,\",\n \"Madame de Maisonrouge has a great deal of tact--much more than poor \\n father. She is what they call here a belle femme, which means that she \\n is a tall, ugly woman, with style. She dresses very well, and has a\"\n ],\n [\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about.\",\n \"gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most \\n correct French letters; and, if you don't believe it, I will keep the\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written\",\n \"My dear mother--I have kept you posted as far as Tuesday week last, and, \\n although my letter will not have reached you yet, I will begin another \\n before my news accumulates too much. I am glad you show my letters round\",\n \"_real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell\",\n \"You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just\",\n \"gentlemen), and had a great many most interesting talks. I have \\n collected a great deal of information, for which I refer you to my \\n journal. I assure you my journal is going to be a splendid thing. I do\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \" GUTENBERG EBOOK A BUNDLE OF LETTERS*** \\n \\n \\n \\n \\n \\n \\n Transcribed from the 1887 Macmillan and Co. edition by David Price, email\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply \\n interested over here that I don't seem to find time. It was a real\",\n \"for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall\",\n \"great deal of information about the position of woman in France, and much \\n of it is very encouraging. But she has told me at the same time some \\n things that I should not like to write to you (I am hesitating even about\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"regards it as a kind of focus of light for the whole human race. Poor \\n little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe\",\n \"in the family, for I like them all to know what I am doing, and I can't \\n write to every one, though I try to answer all reasonable expectations. \\n But there are a great many unreasonable ones, as I suppose you know--not\",\n \"receive me, and I was very much pleased with what I saw of them. They \\n seemed to have plenty of conversation, and there will be no trouble about \\n that. \\n \\n I came here to stay about three days ago, and by this time I have seen a\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\"\n ],\n [\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"with them, to study them. \\n \\n The fair New Yorker is, sometimes, very amusing; she asks me if every one \\n in Boston talks like me--if every one is as \\\"intellectual\\\" as your poor\",\n \"abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from\",\n \"she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would\",\n \"Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young\",\n \"them in almost as recognisable a form in a young woman from the State of \\n Maine, in the province of New England, with whom I have had a good deal \\n of conversation. She differs somewhat from the young man I just\",\n \"out why the young lady from New York doesn't like me! It is because I \\n said one day at dinner that I admired to go to the Louvre. Well, when I \\n first came, it seemed as if I _did_ admire everything! \\n\",\n \"the heart of New England. And yet they are very much alike too--more \\n alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"she had ever heard anything against Bangor? I can't think it is that. \\n Don't you remember when Clara Barnard went to visit New York, three years \\n ago, how much attention she received? And you know Clara _is_ Bangor, to\",\n \"regards it as a kind of focus of light for the whole human race. Poor \\n little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe\",\n \"books. I have never seen any one like that before--any one that wanted \\n to make a difference; and at first I was right down interested, she \\n seemed to me so like a proud young lady in a novel. I kept saying to\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to \\n Clementine about your underskirt, etc. \\n \\n \\n \\n \\n CHAPTER IV \\n \\n\",\n \"the proprietors of the two other pairs. One of them is a little \\n Anglaise, of about twenty--a little _figure de keepsake_; the most \\n adorable miss that you ever, or at least that I ever beheld. She is\"\n ],\n [\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\",\n \"gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most \\n correct French letters; and, if you don't believe it, I will keep the\",\n \"_real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall\",\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about.\",\n \"for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty\",\n \"was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all\",\n \"You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just\",\n \"_cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"My dear mother--I have kept you posted as far as Tuesday week last, and, \\n although my letter will not have reached you yet, I will begin another \\n before my news accumulates too much. I am glad you show my letters round\",\n \"FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \\n MAINE. \\n \\n September 5th, 1879. \\n\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\",\n \"Like every Anglaise, she is rather pinched and prim in public; but it is \\n very easy to see that when no one is looking _elle ne demande qu'a se \\n laisser aller_! Whenever she wants it I am always there, and I have\",\n \"in. There's a girl here, an American, that I don't like so much as the \\n rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal\"\n ],\n [\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most\",\n \"combination of incompleteness and effeteness. These three persons look \\n with the greatest mistrust and aversion upon each other; and each has \\n repeatedly taken me apart and assured me, secretly, that he or she only\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"for a good deal more in his misery. But don't let me talk of misery now; \\n time enough when it comes; _ces demoiselles_ have gone to join the \\n serried ranks of their amiable predecessors. Excuse me--I comprehend\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n\",\n \"he is enormously tall and strong, and has very big fists), but morally \\n and intellectually. She seems unable, however, to take in any argument, \\n and she makes me realise what I have often heard--that if you are timid\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"what it signifies to her that poor Arthur should come into the property, \\n which will be so delightful--except for papa dying. But Harold says she \\n is mad. He chaffs her tremendously about her radicalism, and he is so\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"is more respectable than she seems. She has, however, the most \\n extraordinary opinions--wishes to do away with the aristocracy, thinks it \\n wrong that Arthur should have Kingscote when papa dies, etc. I don't see\",\n \"woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to \\n Clementine about your underskirt, etc. \\n \\n \\n \\n \\n CHAPTER IV \\n \\n\",\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"is the real, the genuine, the typical American. A type that has lost \\n itself before it has been fixed--what can you look for from this? \\n \\n Add to this that there are two young Englanders in the house, who hate\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \"\\\"Well,\\\" said one of them, \\\"it all depends on what you are after. I'm \\n French; that's what I'm after.\\\" \\n \\n \\\"Well,\\\" said the other, \\\"I'm after Art.\\\" \\n\"\n ],\n [\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for \\n her. I am angry with her brother too, for she is evidently very much\",\n \"combination of incompleteness and effeteness. These three persons look \\n with the greatest mistrust and aversion upon each other; and each has \\n repeatedly taken me apart and assured me, secretly, that he or she only\",\n \"the heart of New England. And yet they are very much alike too--more \\n alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of\",\n \"afraid of him, and this gives me some further insight into the subject. \\n She thinks everything of her brother, and thinks it natural that she \\n should be afraid of him, not only physically (for this _is_ natural, as\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\",\n \"_real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"confidence that I really feel some compunction in betraying. She has a \\n tint as white as this sheet of paper, except just in the middle of each \\n cheek, where it passes into the purest and most transparent, most liquid,\",\n \"decorated all over with beads and bracelets and embroidered dandelions; \\n but her principal decoration consists of the softest little gray eyes in \\n the world, which rest upon you with a profundity of confidence--a\",\n \"in. There's a girl here, an American, that I don't like so much as the \\n rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but\",\n \"and humiliated tone; a little dull, tame look, as if they were used to \\n being snubbed and bullied, which made me want to give them a good \\n shaking. There are a great many people--and a great many things,\",\n \"of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to\",\n \"making the brow so quiet; the strange, clinging, clutching, pictured \\n raiment! As I say, it is a very gracious, tender type. She has her \\n brother with her, who is a beautiful, fair-haired, gray-eyed young\",\n \"for a good deal more in his misery. But don't let me talk of misery now; \\n time enough when it comes; _ces demoiselles_ have gone to join the \\n serried ranks of their amiable predecessors. Excuse me--I comprehend\",\n \"death at passing all her time in the midst of stupid English people who \\n mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall\",\n \"he is enormously tall and strong, and has very big fists), but morally \\n and intellectually. She seems unable, however, to take in any argument, \\n and she makes me realise what I have often heard--that if you are timid\",\n \"_Les Barents Pauvres_. She has a great charm; a little artificial, a \\n little fatigued, with a little suggestion of hidden things in her life; \\n but I have always been sensitive to the charm of fatigue, of duplicity. \\n\",\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\"\n ],\n [\n \"he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"things as William Platt is. He is splendidly educated, in the German \\n style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been\",\n \"to them nine years ago. A German was something disagreeable, which they \\n determined to keep out of their conception of things. I therefore think \\n that we are wrong to govern ourselves upon the hypothesis of the \\n _revanche_; the French nature is too shallow for that large and powerful\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most\",\n \"rough draft to show you when I go back. \\n \\n The German gentleman is also more interesting, the more you know him; it \\n seems sometimes as if I could fairly drink in his ideas. I have found\",\n \"also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with \\n Madame de Maisonrouge all I can (she is the lady of the house, and the\",\n \"Fatherland. I fancied myself at Berlin, Unter den Linden, and I \\n reflected that, having taken the serious step of visiting the \\n head-quarters of the Gallic genius, I should try and project myself; as\",\n \"by the war of 1870, they have at present no distinct apprehension of its \\n existence. They are not very sure that there are any Germans; they have \\n already forgotten the convincing proofs of the fact that were presented\",\n \"consequence of my German nationality, had proved completely unfounded. No \\n one seems to know or to care what my nationality is, and I am treated, on \\n the contrary, with the civility which is the portion of every traveller\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \"seem to me at all satisfactory, and that is a point, you know, on which I \\n feel very strongly. It seems to me that in England they play a very \\n faded-out part, and those with whom I conversed had a kind of depressed\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"(He communicated this fact very proudly, as if it were greatly to the \\n credit of his native country; little perceiving the truly sinister \\n impression it made upon me.) \\n \\n What strikes one in it is that it is a phenomenon to the best of my\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\",\n \"logical contradiction; but this is the explanation to which I tend. The \\n French are so exclusively occupied with the idea of themselves, that in \\n spite of the very definite image the German personality presented to them\",\n \"over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he \\n took hold of my frock (that green one you thought so nice at Homburg) and\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\"\n ],\n [\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most\",\n \"regards it as a kind of focus of light for the whole human race. Poor \\n little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe\",\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\",\n \"just exactly as I do in Bangor, and I find I do perfectly right; and at \\n any rate, I don't care if I don't. I didn't come to Europe to lead a\",\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"because her father was some relation--I forget what--to a lord. She \\n thinks everything of this; and that proves to me that the position of \\n woman in her country cannot be satisfactory; because, if it were, it\",\n \"is when Americans sometimes express surprise that I should be travelling \\n round alone; so you see it doesn't come from Europeans. I always have my \\n answer ready; \\\"For general culture, to acquire the languages, and to see\",\n \"about that lovely England since I left it, and all the famous historic \\n scenes I visited; but I have come to the conclusion that it is not a \\n country in which I should care to reside. The position of woman does not\",\n \"Europe for myself;\\\" and that generally seems to satisfy them. Dear \\n mother, my money holds out very well, and it _is_ real interesting. \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n FROM THE SAME TO THE SAME. \\n\",\n \"of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to\",\n \"have felt more free to talk to them than to the Americans--on account of \\n the language. It seems as if in talking with them I was almost learning \\n a new one. \\n \\n I never supposed, when I left Bangor, that I was coming to Europe to\",\n \"She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\",\n \"there would have been some sense. But poor father has no tact, and this \\n defect is especially marked since he has been in Europe. He will be \\n absent, however, for three months, and mother and I shall breathe more\",\n \"that we would rather be chopped into small pieces than cross that \\n dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he\",\n \"especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very\",\n \"I am rather disappointed, I confess, in the society I find here; it is \\n not so local, so characteristic, as I could have desired. Indeed, to \\n tell the truth, it is not local at all; but, on the other hand, it is\",\n \"providence that brought me to this house, where, in spite of all \\n obstacles, I am able to do much good work. I wonder how I find the time \\n for all I do; but when I think that I have only got a year in Europe, I\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou\",\n \"alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes\",\n \"out why the young lady from New York doesn't like me! It is because I \\n said one day at dinner that I admired to go to the Louvre. Well, when I \\n first came, it seemed as if I _did_ admire everything! \\n\"\n ],\n [\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\",\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"Georgina that I hope this won't occur to her. If it does, I shall be, as \\n Harold says, in a dreadful funk. \\n \\n This is not such a nice place for a girl as for a young man, and the\",\n \"because her father was some relation--I forget what--to a lord. She \\n thinks everything of this; and that proves to me that the position of \\n woman in her country cannot be satisfactory; because, if it were, it\",\n \"especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very\",\n \"_cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"regards it as a kind of focus of light for the whole human race. Poor \\n little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty\",\n \"them in almost as recognisable a form in a young woman from the State of \\n Maine, in the province of New England, with whom I have had a good deal \\n of conversation. She differs somewhat from the young man I just\",\n \"abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most\",\n \"alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes\",\n \"brilliant invention of the age, and a real stroke of genius on the part \\n of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the\",\n \"was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all\",\n \"death at passing all her time in the midst of stupid English people who \\n mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall\",\n \"the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\"\n ],\n [\n \"William Platt I don't care what he does. \\n \\n \\n \\n \\n CHAPTER III \\n \\n \\n FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \\n\",\n \"By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a \\n great Gainsborough hat, with a mighty plume in front of it, which makes a\",\n \"regards it as a kind of focus of light for the whole human race. Poor \\n little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from\",\n \"decorated all over with beads and bracelets and embroidered dandelions; \\n but her principal decoration consists of the softest little gray eyes in \\n the world, which rest upon you with a profundity of confidence--a\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"them in almost as recognisable a form in a young woman from the State of \\n Maine, in the province of New England, with whom I have had a good deal \\n of conversation. She differs somewhat from the young man I just\",\n \"alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes\",\n \"they say here; simpler, softer, rounder, richer than the young girls I \\n spoke of just now. Not much talk--a great, sweet silence. Then the \\n violet eye--the very eye itself seems to blush; the great shadowy hat,\",\n \"some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able\",\n \"the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would\",\n \"something mediaeval and Gothic, in the details of her person and dress, \\n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \\n delightfully picturesque. She is much a woman--elle _est bien femme_, as\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"Americans whom I have before me with regard to each other. There is \\n another young lady here, who is less abnormally developed than the one I \\n have just described, but who yet bears the stamp of this peculiar\",\n \"said that she had never heard me mentioned, and that her room was too \\n small to receive visitors. I suppose she spoke the truth, but I am sure \\n she has got some reason, all the same. She has got some idea, and I am\",\n \"too--over here that I should like to perform that operation upon. I \\n should like to shake the starch out of some of them, and the dust out of \\n the others. I know fifty girls in Bangor that come much more up to my\",\n \"Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young\"\n ],\n [\n \"he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with \\n Madame de Maisonrouge all I can (she is the lady of the house, and the\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose; \\n it's a kind of coaching place, only kept by women. Mamma had heard it\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"things as William Platt is. He is splendidly educated, in the German \\n style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou\",\n \"with Madame herself, and some friends of hers that often come in. Her \\n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \\n with her, and I make a point of talking with him as much as possible. I\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\",\n \"consequence of my German nationality, had proved completely unfounded. No \\n one seems to know or to care what my nationality is, and I am treated, on \\n the contrary, with the civility which is the portion of every traveller\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"Fatherland. I fancied myself at Berlin, Unter den Linden, and I \\n reflected that, having taken the serious step of visiting the \\n head-quarters of the Gallic genius, I should try and project myself; as\",\n \"But father has no observation; he has nothing but theories. Mother and \\n I, however, have, fortunately, a great deal of _practice_, and we \\n succeeded in making him understand that we wouldn't budge from Paris, and\"\n ],\n [\n \"FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \\n \\n September 28th. \\n \\n My Dear Prosper--It is a long time since I have given you of my news, and\",\n \"with Madame herself, and some friends of hers that often come in. Her \\n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \\n with her, and I make a point of talking with him as much as possible. I\",\n \"but, fortunately, he uses a great many French expressions. It's in a \\n different style from the conversation of Mr. Verdier--not so \\n complimentary, but more intellectual. He is intensely fond of pictures,\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"circle of real friends. Everything has gone on beautifully up to the \\n end, and every one has been as kind and attentive as if I were their own \\n sister, especially Mr. Verdier, the French gentleman, from whom I have\",\n \"dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose; \\n it's a kind of coaching place, only kept by women. Mamma had heard it\",\n \"of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"that my new friends--my French family--do not live in the old city--_au \\n coeur du vieux Paris_, as they say here. They live only in the Boulevard \\n Haussman, which is less picturesque; but in spite of this they have a\",\n \"Like most of the French, he converses with great fluency, and I feel as \\n if I should really gain from him. He is remarkably handsome, and \\n extremely polite--paying a great many compliments, which, I am afraid,\",\n \"FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \\n \\n September 25th. \\n \\n My dear Harvard--I have carried out my plan, of which I gave you a hint\",\n \"they say here--of the greatest excesses as well as the greatest heroism. \\n Oh, to be able to say that one has lived--_qu'on a vecu_, as they say \\n here--that idea exercises an indefinable attraction for me. You will,\",\n \"of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to\",\n \"Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young\",\n \"But father has no observation; he has nothing but theories. Mother and \\n I, however, have, fortunately, a great deal of _practice_, and we \\n succeeded in making him understand that we wouldn't budge from Paris, and\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou\",\n \"and I, and go over and see it for ourselves. It is as well that we \\n should go and find them _chez elles_, as that they should come out here \\n after us. _Dis donc, mon gras Prosper_ . . . \\n \\n \\n\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \"The little one (she has a mother somewhere, out of sight, shut up in a \\n closet or a trunk) is a good deal prettier, and, perhaps, on that account \\n _elle y met plus de facons_. She doesn't knock about Paris with me by\"\n ],\n [\n \"FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \\n \\n September 28th. \\n \\n My Dear Prosper--It is a long time since I have given you of my news, and\",\n \"keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply \\n interested over here that I don't seem to find time. It was a real\",\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about.\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written\",\n \"You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal\",\n \"but, fortunately, he uses a great many French expressions. It's in a \\n different style from the conversation of Mr. Verdier--not so \\n complimentary, but more intellectual. He is intensely fond of pictures,\",\n \"for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most \\n correct French letters; and, if you don't believe it, I will keep the\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"My dear mother--I have kept you posted as far as Tuesday week last, and, \\n although my letter will not have reached you yet, I will begin another \\n before my news accumulates too much. I am glad you show my letters round\",\n \"gentlemen), and had a great many most interesting talks. I have \\n collected a great deal of information, for which I refer you to my \\n journal. I assure you my journal is going to be a splendid thing. I do\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall\",\n \"_real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell\",\n \"FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \\n \\n September 25th. \\n \\n My dear Harvard--I have carried out my plan, of which I gave you a hint\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \"that we would rather be chopped into small pieces than cross that \\n dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he\",\n \"people, that family; after she left, my cousin corresponded with them in \\n French. But I mean to find some other crowd, if it takes a lot of \\n trouble!\\\" \\n \\n I listened to all this with great interest, and when he spoke about his\",\n \"great deal of information about the position of woman in France, and much \\n of it is very encouraging. But she has told me at the same time some \\n things that I should not like to write to you (I am hesitating even about\"\n ],\n [\n \"_cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"want to be persuaded; and when I ask her if Lady So-and-so is of the same \\n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \\n with her eyes, and says, \\\"Of course she is!\\\" When I tell her that this\",\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\",\n \"confidence that I really feel some compunction in betraying. She has a \\n tint as white as this sheet of paper, except just in the middle of each \\n cheek, where it passes into the purest and most transparent, most liquid,\",\n \"especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"decorated all over with beads and bracelets and embroidered dandelions; \\n but her principal decoration consists of the softest little gray eyes in \\n the world, which rest upon you with a profundity of confidence--a\",\n \"some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able\",\n \"By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a \\n great Gainsborough hat, with a mighty plume in front of it, which makes a\",\n \"that I should. \\n \\n I feel as if it were right to ask her as often as I can if she doesn't \\n consider every one equal; but she always says she doesn't, and she \\n confesses that she doesn't think she is equal to \\\"Lady\",\n \"afraid of him, and this gives me some further insight into the subject. \\n She thinks everything of her brother, and thinks it natural that she \\n should be afraid of him, not only physically (for this _is_ natural, as\",\n \"he is enormously tall and strong, and has very big fists), but morally \\n and intellectually. She seems unable, however, to take in any argument, \\n and she makes me realise what I have often heard--that if you are timid\",\n \"alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes\",\n \"myself all day, \\\"haughty, haughty,\\\" and I wished she would keep on so. \\n But she did keep on; she kept on too long; and then I began to feel hurt.\",\n \"said that she had never heard me mentioned, and that her room was too \\n small to receive visitors. I suppose she spoke the truth, but I am sure \\n she has got some reason, all the same. She has got some idea, and I am\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for \\n her. I am angry with her brother too, for she is evidently very much\"\n ],\n [\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written\",\n \"things as William Platt is. He is splendidly educated, in the German \\n style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been\",\n \"said Madame, with her little French laugh (you can get William Platt to \\n translate this, he used to tell me he knew so much French). \\n \\n You know I told you, in writing some time ago, that I had tried to get\",\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\",\n \"William Platt I don't care what he does. \\n \\n \\n \\n \\n CHAPTER III \\n \\n \\n FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \\n\",\n \"the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in\",\n \"notion of the stand a truly noble woman should take, than those young \\n ladies in England. But they had a most lovely way of speaking (in \\n England), and the men are _remarkably handsome_. (You can show this to \\n William Platt, if you like.) \\n\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very\",\n \"By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a \\n great Gainsborough hat, with a mighty plume in front of it, which makes a\",\n \"was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"what it signifies to her that poor Arthur should come into the property, \\n which will be so delightful--except for papa dying. But Harold says she \\n is mad. He chaffs her tremendously about her radicalism, and he is so\",\n \"beforehand; they don't make any effort. (I don't say this in the least \\n for William Platt, _in particular_.) \\n \\n I am sure I don't know what they will think of me when I get back. It\",\n \"brilliant invention of the age, and a real stroke of genius on the part \\n of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\",\n \"_cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\"\n ],\n [\n \"he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \"FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \\n \\n September 28th. \\n \\n My Dear Prosper--It is a long time since I have given you of my news, and\",\n \"also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with \\n Madame de Maisonrouge all I can (she is the lady of the house, and the\",\n \"to me at dinner, and whom I must tell you more about another time. He is \\n very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes\",\n \"gentlemen), and had a great many most interesting talks. I have \\n collected a great deal of information, for which I refer you to my \\n journal. I assure you my journal is going to be a splendid thing. I do\",\n \"Like most of the French, he converses with great fluency, and I feel as \\n if I should really gain from him. He is remarkably handsome, and \\n extremely polite--paying a great many compliments, which, I am afraid,\",\n \"but, fortunately, he uses a great many French expressions. It's in a \\n different style from the conversation of Mr. Verdier--not so \\n complimentary, but more intellectual. He is intensely fond of pictures,\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"natured about it, I shall be content to wait for the caravan (that's what \\n he calls mamma and the children). The person who keeps the \\n establishment, or whatever they call it, is rather odd, and _exceedingly\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \\n \\n September 25th. \\n \\n My dear Harvard--I have carried out my plan, of which I gave you a hint\",\n \"CHAPTER VIII \\n \\n \\n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \\n \\n My dear brother in Science--I resume my hasty notes, of which I sent you\",\n \"dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose; \\n it's a kind of coaching place, only kept by women. Mamma had heard it\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"with Madame herself, and some friends of hers that often come in. Her \\n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \\n with her, and I make a point of talking with him as much as possible. I\"\n ],\n [\n \"alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"combination of incompleteness and effeteness. These three persons look \\n with the greatest mistrust and aversion upon each other; and each has \\n repeatedly taken me apart and assured me, secretly, that he or she only\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"subordinate, even if she does think so, but his equal, and, perhaps in \\n some respects his superior, and that if my brother, in Bangor, were to \\n treat me as he treates this poor young girl, who has not spirit enough to\",\n \"and humiliated tone; a little dull, tame look, as if they were used to \\n being snubbed and bullied, which made me want to give them a good \\n shaking. There are a great many people--and a great many things,\",\n \"that we would rather be chopped into small pieces than cross that \\n dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\",\n \"regards it as a kind of focus of light for the whole human race. Poor \\n little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe\",\n \"people, that family; after she left, my cousin corresponded with them in \\n French. But I mean to find some other crowd, if it takes a lot of \\n trouble!\\\" \\n \\n I listened to all this with great interest, and when he spoke about his\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n \\n The other Americans (beside the madman) are two girls, about my own age,\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to\",\n \"that time I was travelling with the Johnsons, who are not aesthetic, and \\n who used to make me feel rather ashamed of my artistic temperament. If I \\n had gone to see the great apostle of beauty, I should have had to go\",\n \"natured about it, I shall be content to wait for the caravan (that's what \\n he calls mamma and the children). The person who keeps the \\n establishment, or whatever they call it, is rather odd, and _exceedingly\",\n \"the heart of New England. And yet they are very much alike too--more \\n alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of\",\n \"books. I have never seen any one like that before--any one that wanted \\n to make a difference; and at first I was right down interested, she \\n seemed to me so like a proud young lady in a novel. I kept saying to\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\"\n ],\n [\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"couldn't help calling attention to it. Mr. Leverett thinks everything of \\n it; he calls it the \\\"costume of the future.\\\" I should call it rather the \\n costume of the past--you know the English have such an attachment to the\",\n \"something mediaeval and Gothic, in the details of her person and dress, \\n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \\n delightfully picturesque. She is much a woman--elle _est bien femme_, as\",\n \"some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his\",\n \"advance--with a Bostonian. I don't know when I may meet one again; but \\n if there are many others like Mr. Leverett there, I shall be certain not \\n to want when I carry out my dream. He is just as full of culture as he\",\n \"up. Mr. Leverett says it would do them good--not the pictures, but the \\n Bangor folks. He thinks everything of the French, too, and says we don't \\n make nearly enough of _them_. I couldn't help telling him the other day\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"want to be persuaded; and when I ask her if Lady So-and-so is of the same \\n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \\n with her eyes, and says, \\\"Of course she is!\\\" When I tell her that this\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"FROM MISS EVELYN VANE, IN PARIS, TO THE LADY AUGUSTA FLEMING, AT \\n BRIGHTON. \\n \\n Paris, September 30th. \\n\",\n \"told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is\",\n \"over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he \\n took hold of my frock (that green one you thought so nice at Homburg) and\",\n \"to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing\",\n \"what it signifies to her that poor Arthur should come into the property, \\n which will be so delightful--except for papa dying. But Harold says she \\n is mad. He chaffs her tremendously about her radicalism, and he is so\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\",\n \"of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"to argue with me. You know he is like the schoolmaster in Goldsmith's \\n \\\"Deserted Village\\\"--\\\"e'en though vanquished, he would argue still.\\\" He \\n and mother went to look at some seventeen families (they had got the\",\n \"said that she had never heard me mentioned, and that her room was too \\n small to receive visitors. I suppose she spoke the truth, but I am sure \\n she has got some reason, all the same. She has got some idea, and I am\"\n ],\n [\n \"of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose; \\n it's a kind of coaching place, only kept by women. Mamma had heard it\",\n \"Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \\n Conflans? But this establishment is not at all like that: and indeed it \\n is not at all _bourgeois_; there is something distinguished, something\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"any family that could take me to board and give me the benefit of their \\n conversation. She instantly threw up her hands, with several little \\n shrill cries (in their French way, you know), and told me that her\",\n \"September 16th. \\n \\n Since I last wrote to you I have left that hotel, and come to live in a \\n French family. It's a kind of boarding-house combined with a kind of\",\n \"even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and \\n French conversation every evening in the salon, from eight to eleven,\",\n \"number of travellers, who are weary of the beaten track, who have the \\n sense of local colour--she explains it herself; she expresses it so \\n well--in short, to open a sort of boarding-house. I don't see why I\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \\n the oldest and proudest families in France; but she has had reverses \\n which have compelled her to open an establishment in which a limited\",\n \"but the piano is better than that fearful old thing at the Sebago House. \\n Sometimes I go downstairs and talk to the lady who keeps the books--a \\n French lady, who is remarkably polite. She is very pretty, and always\",\n \"possible modified by elements proceeding from a different combination of \\n causes, with the spontaneous home-life of the country. \\n \\n I accordingly engaged a room in the house of a lady of pure French \\n extraction and education, who supplements the shortcomings of an income\",\n \"great deal of them. The price of board struck me as rather high; but I \\n must remember that a quantity of conversation is thrown in. I have a \\n very pretty little room--without any carpet, but with seven mirrors, two\",\n \"is any great loss to be here. \\n \\n Our rooms are very prettily arranged, and the table is remarkably good. \\n Mamma thinks the whole thing--the place and the people, the manners and\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"and to seventeen). Three years ago she had the thrice-blessed idea of \\n opening a sort of _pension_ for the entertainment and instruction of the \\n blundering barbarians who come to Paris in the hope of picking up a few\",\n \"dearest friend kept a regular place of that kind. If she had known I was \\n looking out for such a place she would have told me before; she had not \\n spoken of it herself, because she didn't wish to injure the hotel by\",\n \"They all of them ordered the south of France, but they didn't agree about \\n the place; so that mamma herself decided for Hyeres, because it is the \\n most economical. I believe it is very dull, but I hope it will do\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"to take up my abode in a French interior was largely dictated by the \\n supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I\"\n ],\n [\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\",\n \"none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty\",\n \"brilliant invention of the age, and a real stroke of genius on the part \\n of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of\",\n \"alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes\",\n \"because her father was some relation--I forget what--to a lord. She \\n thinks everything of this; and that proves to me that the position of \\n woman in her country cannot be satisfactory; because, if it were, it\",\n \"_cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"them in almost as recognisable a form in a young woman from the State of \\n Maine, in the province of New England, with whom I have had a good deal \\n of conversation. She differs somewhat from the young man I just\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\",\n \"regards it as a kind of focus of light for the whole human race. Poor \\n little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe\",\n \"abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from\",\n \"especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very\",\n \"that we would rather be chopped into small pieces than cross that \\n dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in\"\n ],\n [\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most\",\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\",\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"regards it as a kind of focus of light for the whole human race. Poor \\n little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe\",\n \"about that lovely England since I left it, and all the famous historic \\n scenes I visited; but I have come to the conclusion that it is not a \\n country in which I should care to reside. The position of woman does not\",\n \"just exactly as I do in Bangor, and I find I do perfectly right; and at \\n any rate, I don't care if I don't. I didn't come to Europe to lead a\",\n \"of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to\",\n \"Europe for myself;\\\" and that generally seems to satisfy them. Dear \\n mother, my money holds out very well, and it _is_ real interesting. \\n \\n \\n \\n \\n CHAPTER II \\n \\n \\n FROM THE SAME TO THE SAME. \\n\",\n \"in. There's a girl here, an American, that I don't like so much as the \\n rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but\",\n \"she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would\",\n \"_cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"to a young lady travelling in Europe by herself of which we heard so much \\n before I left, and I don't expect I ever shall, for I certainly don't \\n mean to look for them. I know what I want, and I always manage to get \\n it. \\n\",\n \"out why the young lady from New York doesn't like me! It is because I \\n said one day at dinner that I admired to go to the Louvre. Well, when I \\n first came, it seemed as if I _did_ admire everything! \\n\",\n \"because her father was some relation--I forget what--to a lord. She \\n thinks everything of this; and that proves to me that the position of \\n woman in her country cannot be satisfactory; because, if it were, it\",\n \"is when Americans sometimes express surprise that I should be travelling \\n round alone; so you see it doesn't come from Europeans. I always have my \\n answer ready; \\\"For general culture, to acquire the languages, and to see\",\n \"I am rather disappointed, I confess, in the society I find here; it is \\n not so local, so characteristic, as I could have desired. Indeed, to \\n tell the truth, it is not local at all; but, on the other hand, it is\",\n \"have felt more free to talk to them than to the Americans--on account of \\n the language. It seems as if in talking with them I was almost learning \\n a new one. \\n \\n I never supposed, when I left Bangor, that I was coming to Europe to\",\n \"there would have been some sense. But poor father has no tact, and this \\n defect is especially marked since he has been in Europe. He will be \\n absent, however, for three months, and mother and I shall breathe more\",\n \"that we would rather be chopped into small pieces than cross that \\n dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he\",\n \"alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes\"\n ],\n [\n \"Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n \\n FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n\",\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"any family that could take me to board and give me the benefit of their \\n conversation. She instantly threw up her hands, with several little \\n shrill cries (in their French way, you know), and told me that her\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and \\n French conversation every evening in the salon, from eight to eleven,\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"Mamma, however, is only going to bring Mary and Gus and Fred and Adelaide \\n abroad with her; the others will remain at Kingscote until February \\n (about the 3d), when they will go to Eastbourne for a month with Miss\",\n \"great deal of them. The price of board struck me as rather high; but I \\n must remember that a quantity of conversation is thrown in. I have a \\n very pretty little room--without any carpet, but with seven mirrors, two\",\n \"them in almost as recognisable a form in a young woman from the State of \\n Maine, in the province of New England, with whom I have had a good deal \\n of conversation. She differs somewhat from the young man I just\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\",\n \"brilliant invention of the age, and a real stroke of genius on the part \\n of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the\",\n \"none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty\",\n \"especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"the proprietors of the two other pairs. One of them is a little \\n Anglaise, of about twenty--a little _figure de keepsake_; the most \\n adorable miss that you ever, or at least that I ever beheld. She is\",\n \"_cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"with Madame herself, and some friends of hers that often come in. Her \\n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \\n with her, and I make a point of talking with him as much as possible. I\",\n \"because her father was some relation--I forget what--to a lord. She \\n thinks everything of this; and that proves to me that the position of \\n woman in her country cannot be satisfactory; because, if it were, it\"\n ],\n [\n \"some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able\",\n \"FROM MISS EVELYN VANE, IN PARIS, TO THE LADY AUGUSTA FLEMING, AT \\n BRIGHTON. \\n \\n Paris, September 30th. \\n\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"something mediaeval and Gothic, in the details of her person and dress, \\n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \\n delightfully picturesque. She is much a woman--elle _est bien femme_, as\",\n \"want to be persuaded; and when I ask her if Lady So-and-so is of the same \\n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \\n with her eyes, and says, \\\"Of course she is!\\\" When I tell her that this\",\n \"_real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell\",\n \"said that she had never heard me mentioned, and that her room was too \\n small to receive visitors. I suppose she spoke the truth, but I am sure \\n she has got some reason, all the same. She has got some idea, and I am\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his\",\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about.\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written\",\n \"gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most \\n correct French letters; and, if you don't believe it, I will keep the\",\n \"great deal of information about the position of woman in France, and much \\n of it is very encouraging. But she has told me at the same time some \\n things that I should not like to write to you (I am hesitating even about\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal\",\n \"books. I have never seen any one like that before--any one that wanted \\n to make a difference; and at first I was right down interested, she \\n seemed to me so like a proud young lady in a novel. I kept saying to\",\n \"said Madame, with her little French laugh (you can get William Platt to \\n translate this, he used to tell me he knew so much French). \\n \\n You know I told you, in writing some time ago, that I had tried to get\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour\",\n \"them in almost as recognisable a form in a young woman from the State of \\n Maine, in the province of New England, with whom I have had a good deal \\n of conversation. She differs somewhat from the young man I just\",\n \"CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I\"\n ],\n [\n \"he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with \\n Madame de Maisonrouge all I can (she is the lady of the house, and the\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"any family that could take me to board and give me the benefit of their \\n conversation. She instantly threw up her hands, with several little \\n shrill cries (in their French way, you know), and told me that her\",\n \"consequence of my German nationality, had proved completely unfounded. No \\n one seems to know or to care what my nationality is, and I am treated, on \\n the contrary, with the civility which is the portion of every traveller\",\n \"logical contradiction; but this is the explanation to which I tend. The \\n French are so exclusively occupied with the idea of themselves, that in \\n spite of the very definite image the German personality presented to them\",\n \"Like most of the French, he converses with great fluency, and I feel as \\n if I should really gain from him. He is remarkably handsome, and \\n extremely polite--paying a great many compliments, which, I am afraid,\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"to them nine years ago. A German was something disagreeable, which they \\n determined to keep out of their conception of things. I therefore think \\n that we are wrong to govern ourselves upon the hypothesis of the \\n _revanche_; the French nature is too shallow for that large and powerful\",\n \"dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose; \\n it's a kind of coaching place, only kept by women. Mamma had heard it\",\n \"but, fortunately, he uses a great many French expressions. It's in a \\n different style from the conversation of Mr. Verdier--not so \\n complimentary, but more intellectual. He is intensely fond of pictures,\",\n \"with Madame herself, and some friends of hers that often come in. Her \\n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \\n with her, and I make a point of talking with him as much as possible. I\",\n \"even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and \\n French conversation every evening in the salon, from eight to eleven,\",\n \"that at any rate they make enough of themselves. But it is very \\n interesting to hear him go on about the French, and it is so much gain to \\n me, so long as that is what I came for. I talk to him as much as I dare\",\n \"rough draft to show you when I go back. \\n \\n The German gentleman is also more interesting, the more you know him; it \\n seems sometimes as if I could fairly drink in his ideas. I have found\",\n \"by the war of 1870, they have at present no distinct apprehension of its \\n existence. They are not very sure that there are any Germans; they have \\n already forgotten the convincing proofs of the fact that were presented\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\"\n ],\n [\n \"combination of incompleteness and effeteness. These three persons look \\n with the greatest mistrust and aversion upon each other; and each has \\n repeatedly taken me apart and assured me, secretly, that he or she only\",\n \"any family that could take me to board and give me the benefit of their \\n conversation. She instantly threw up her hands, with several little \\n shrill cries (in their French way, you know), and told me that her\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"is the real, the genuine, the typical American. A type that has lost \\n itself before it has been fixed--what can you look for from this? \\n \\n Add to this that there are two young Englanders in the house, who hate\",\n \"to take up my abode in a French interior was largely dictated by the \\n supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I\",\n \"of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"number of travellers, who are weary of the beaten track, who have the \\n sense of local colour--she explains it herself; she expresses it so \\n well--in short, to open a sort of boarding-house. I don't see why I\",\n \"very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n \\n The other Americans (beside the madman) are two girls, about my own age,\",\n \"even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and \\n French conversation every evening in the salon, from eight to eleven,\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved\",\n \"he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next\",\n \"dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose; \\n it's a kind of coaching place, only kept by women. Mamma had heard it\",\n \"the heart of New England. And yet they are very much alike too--more \\n alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of\",\n \"customs--very amusing; but mamma is very easily amused. As for me, you \\n know, all that I ask is to be let alone, and not to have people's society \\n forced upon me. I have never wanted for society of my own choosing, and,\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"death at passing all her time in the midst of stupid English people who \\n mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall\",\n \"great deal of them. The price of board struck me as rather high; but I \\n must remember that a quantity of conversation is thrown in. I have a \\n very pretty little room--without any carpet, but with seven mirrors, two\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\"\n ],\n [\n \"to take up my abode in a French interior was largely dictated by the \\n supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I\",\n \"any family that could take me to board and give me the benefit of their \\n conversation. She instantly threw up her hands, with several little \\n shrill cries (in their French way, you know), and told me that her\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next\",\n \"dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose; \\n it's a kind of coaching place, only kept by women. Mamma had heard it\",\n \"things, never want to. We had just got settled at the hotel, in some \\n charming rooms, and mother and I, as you may imagine, were greatly \\n annoyed. Father is extremely fussy, as you know, and his first idea, as\",\n \"very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n \\n The other Americans (beside the madman) are two girls, about my own age,\",\n \"is the real, the genuine, the typical American. A type that has lost \\n itself before it has been fixed--what can you look for from this? \\n \\n Add to this that there are two young Englanders in the house, who hate\",\n \"combination of incompleteness and effeteness. These three persons look \\n with the greatest mistrust and aversion upon each other; and each has \\n repeatedly taken me apart and assured me, secretly, that he or she only\",\n \"compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people. \\n He is remarkably handsome, but excessively affected and patronising,\",\n \"even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and \\n French conversation every evening in the salon, from eight to eleven,\",\n \"number of travellers, who are weary of the beaten track, who have the \\n sense of local colour--she explains it herself; she expresses it so \\n well--in short, to open a sort of boarding-house. I don't see why I\",\n \"insufficient to the ever-growing demands of the Parisian system of sense- \\n gratification, by providing food and lodging for a limited number of \\n distinguished strangers. I should have preferred to have my room alone\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard\",\n \"that we would rather be chopped into small pieces than cross that \\n dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he\",\n \"of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to\",\n \"who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress; \\n but the other girl (I mean the nicer one, with the mother) tells me she\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\"\n ],\n [\n \"FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \\n \\n September 28th. \\n \\n My Dear Prosper--It is a long time since I have given you of my news, and\",\n \"FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \\n \\n September 25th. \\n \\n My dear Harvard--I have carried out my plan, of which I gave you a hint\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal\",\n \"the house--a gentleman from Boston--who is just crowded with it. His \\n name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall\",\n \"You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just\",\n \"keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply \\n interested over here that I don't seem to find time. It was a real\",\n \"for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"great deal of information about the position of woman in France, and much \\n of it is very encouraging. But she has told me at the same time some \\n things that I should not like to write to you (I am hesitating even about\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written\",\n \"gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most \\n correct French letters; and, if you don't believe it, I will keep the\",\n \"construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of\",\n \"_real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell\",\n \"My dear mother--I have kept you posted as far as Tuesday week last, and, \\n although my letter will not have reached you yet, I will begin another \\n before my news accumulates too much. I am glad you show my letters round\",\n \"that we would rather be chopped into small pieces than cross that \\n dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he\",\n \"gentlemen), and had a great many most interesting talks. I have \\n collected a great deal of information, for which I refer you to my \\n journal. I assure you my journal is going to be a splendid thing. I do\",\n \"said Madame, with her little French laugh (you can get William Platt to \\n translate this, he used to tell me he knew so much French). \\n \\n You know I told you, in writing some time ago, that I had tried to get\",\n \"was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all\",\n \"September 16th. \\n \\n Since I last wrote to you I have left that hotel, and come to live in a \\n French family. It's a kind of boarding-house combined with a kind of\"\n ],\n [\n \"he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next\",\n \"immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or\",\n \"to them nine years ago. A German was something disagreeable, which they \\n determined to keep out of their conception of things. I therefore think \\n that we are wrong to govern ourselves upon the hypothesis of the \\n _revanche_; the French nature is too shallow for that large and powerful\",\n \"things as William Platt is. He is splendidly educated, in the German \\n style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been\",\n \"by the war of 1870, they have at present no distinct apprehension of its \\n existence. They are not very sure that there are any Germans; they have \\n already forgotten the convincing proofs of the fact that were presented\",\n \"rough draft to show you when I go back. \\n \\n The German gentleman is also more interesting, the more you know him; it \\n seems sometimes as if I could fairly drink in his ideas. I have found\",\n \"consequence of my German nationality, had proved completely unfounded. No \\n one seems to know or to care what my nationality is, and I am treated, on \\n the contrary, with the civility which is the portion of every traveller\",\n \"also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with \\n Madame de Maisonrouge all I can (she is the lady of the house, and the\",\n \"Fatherland. I fancied myself at Berlin, Unter den Linden, and I \\n reflected that, having taken the serious step of visiting the \\n head-quarters of the Gallic genius, I should try and project myself; as\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most\",\n \"to talk to me in English (for the sake of practice, too, I suppose), that \\n I couldn't bear to let her know I didn't like it. The chambermaid was \\n Irish, and all the waiters were German, so that I never heard a word of\",\n \"pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and \\n two Americans, besides mother and me. One of them is a young man from\",\n \"fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou\",\n \"(He communicated this fact very proudly, as if it were greatly to the \\n credit of his native country; little perceiving the truly sinister \\n impression it made upon me.) \\n \\n What strikes one in it is that it is a phenomenon to the best of my\",\n \"gentlemen), and had a great many most interesting talks. I have \\n collected a great deal of information, for which I refer you to my \\n journal. I assure you my journal is going to be a splendid thing. I do\",\n \"afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most\",\n \"have felt more free to talk to them than to the Americans--on account of \\n the language. It seems as if in talking with them I was almost learning \\n a new one. \\n \\n I never supposed, when I left Bangor, that I was coming to Europe to\",\n \"logical contradiction; but this is the explanation to which I tend. The \\n French are so exclusively occupied with the idea of themselves, that in \\n spite of the very definite image the German personality presented to them\",\n \"at last that I am indeed in _foreign parts_. It is, however, a truly \\n elegant city (very superior to New York), and I have spent a great deal \\n of time in visiting the various monuments and palaces. I won't give you\"\n ]\n]"},"questions":{"kind":"list like","value":["Where is the boarding-house located?","Which character does Herr Professor refer to as \"simian\"?","What do most of the letters focus on?","What is the name of the character who is from New York?","To whom does Miranda write her letters?","Who is the most cynical character?","What emotion do most of the characters feel for each other?","How does Herr Professor describe Germany?","What bothers Miranda about Europe?","Where is Miranda Hope from?","Where is Violet Ray from?","Where is Herr professor from?","Where is Leon Verdier from?","What does Leon focus on in writing his letters?","How does Violet feel about MIranda?","What is William Platt's relationship to Miranda Hope?","What name does Herr Professor call Leon?","Which traveler finds the other travelers \"sub-human\"?","What does Evelyn Vane claim Leverett is always talking about?","Where is the boarding house located?","Where is Miranda from, according to the story?","What doesn't Miranda like about Europe?","Which boarder is from the same country as Miranda?","Who does Vane write about in her letter?","How does the German boarder see Louis?","Which boarder realizes that none of the boarders like each other?","Why does the professor dislike the other boarders?","What does Leon write about in his letter?","How does the professor refer to Germany?"],"string":"[\n \"Where is the boarding-house located?\",\n \"Which character does Herr Professor refer to as \\\"simian\\\"?\",\n \"What do most of the letters focus on?\",\n \"What is the name of the character who is from New York?\",\n \"To whom does Miranda write her letters?\",\n \"Who is the most cynical character?\",\n \"What emotion do most of the characters feel for each other?\",\n \"How does Herr Professor describe Germany?\",\n \"What bothers Miranda about Europe?\",\n \"Where is Miranda Hope from?\",\n \"Where is Violet Ray from?\",\n \"Where is Herr professor from?\",\n \"Where is Leon Verdier from?\",\n \"What does Leon focus on in writing his letters?\",\n \"How does Violet feel about MIranda?\",\n \"What is William Platt's relationship to Miranda Hope?\",\n \"What name does Herr Professor call Leon?\",\n \"Which traveler finds the other travelers \\\"sub-human\\\"?\",\n \"What does Evelyn Vane claim Leverett is always talking about?\",\n \"Where is the boarding house located?\",\n \"Where is Miranda from, according to the story?\",\n \"What doesn't Miranda like about Europe?\",\n \"Which boarder is from the same country as Miranda?\",\n \"Who does Vane write about in her letter?\",\n \"How does the German boarder see Louis?\",\n \"Which boarder realizes that none of the boarders like each other?\",\n \"Why does the professor dislike the other boarders?\",\n \"What does Leon write about in his letter?\",\n \"How does the professor refer to Germany?\"\n]"},"answers":{"kind":"list like","value":[["Paris","Paris"],["The frenchman Leon Verdier.","Leon"],["The characters reactions to one another.","the characters opinions of each other"],["Violet Ray.","Violet Ray"],["Her mother.","her mother"],["Herr Professor.","German professsor"],["Disdain.","Disdain"],["The Fatherland.","As the Fatherland. "],["Their old world treatment of women.","the Old World treatment of its women"],["Bangor, Maine","Bangor, Maine"],["New York","New York"],["Germany","Germany"],["France","France"],["The beauty of the women","the charms of ces demoiselles and appearance of boarders"],["She finds her provincial and dislikes her","She finds Miranda horrible "],["Platt is a Miranda's suitor","a previous suitor"],["Simian","simian "],["Herr Professor","Herr Professor"],["The color of the sky","The color of the sky."],["Paris","Paris "],["Bangor, Maine","Bangor Maine "],["how women are treated","the Old World treatment of its women"],["Violet Ray","Violet Ray from New York"],["Louis Leverett","Louis"],["as decadent ","likeable and brave"],["the German professor","Herr Professor"],["because they are not from Germany","Because of their national traits and sub-human status/Because they are not German"],["how the female boarders look","The females in the boarding house. "],["as the Fatherland","favorable and above other nations"]],"string":"[\n [\n \"Paris\",\n \"Paris\"\n ],\n [\n \"The frenchman Leon Verdier.\",\n \"Leon\"\n ],\n [\n \"The characters reactions to one another.\",\n \"the characters opinions of each other\"\n ],\n [\n \"Violet Ray.\",\n \"Violet Ray\"\n ],\n [\n \"Her mother.\",\n \"her mother\"\n ],\n [\n \"Herr Professor.\",\n \"German professsor\"\n ],\n [\n \"Disdain.\",\n \"Disdain\"\n ],\n [\n \"The Fatherland.\",\n \"As the Fatherland. \"\n ],\n [\n \"Their old world treatment of women.\",\n \"the Old World treatment of its women\"\n ],\n [\n \"Bangor, Maine\",\n \"Bangor, Maine\"\n ],\n [\n \"New York\",\n \"New York\"\n ],\n [\n \"Germany\",\n \"Germany\"\n ],\n [\n \"France\",\n \"France\"\n ],\n [\n \"The beauty of the women\",\n \"the charms of ces demoiselles and appearance of boarders\"\n ],\n [\n \"She finds her provincial and dislikes her\",\n \"She finds Miranda horrible \"\n ],\n [\n \"Platt is a Miranda's suitor\",\n \"a previous suitor\"\n ],\n [\n \"Simian\",\n \"simian \"\n ],\n [\n \"Herr Professor\",\n \"Herr Professor\"\n ],\n [\n \"The color of the sky\",\n \"The color of the sky.\"\n ],\n [\n \"Paris\",\n \"Paris \"\n ],\n [\n \"Bangor, Maine\",\n \"Bangor Maine \"\n ],\n [\n \"how women are treated\",\n \"the Old World treatment of its women\"\n ],\n [\n \"Violet Ray\",\n \"Violet Ray from New York\"\n ],\n [\n \"Louis Leverett\",\n \"Louis\"\n ],\n [\n \"as decadent \",\n \"likeable and brave\"\n ],\n [\n \"the German professor\",\n \"Herr Professor\"\n ],\n [\n \"because they are not from Germany\",\n \"Because of their national traits and sub-human status/Because they are not German\"\n ],\n [\n \"how the female boarders look\",\n \"The females in the boarding house. \"\n ],\n [\n \"as the Fatherland\",\n \"favorable and above other nations\"\n ]\n]"},"document_id":{"kind":"string","value":"8cb9a3afd8d542c798c3a34fd1a9afa0a77931c2"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":72,"cells":{"text":{"kind":"list like","value":[["were lost in the great wind, and found after in the Bay of Gregory of \n the Golden Mouth, and carried up the two of them on the one plank, and \n in by that door. \n \n [She pauses for a moment, the girls start as if they heard something","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","CATHLEEN [To the women, as they are doing so.] \n \n What way was he drowned? \n \n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \n washed out where there is a great surf on the white rocks.","The young priest said he'd be passing to-morrow, and we might go down \n and speak to him below if it's Michael's they are surely. \n \n CATHLEEN [Taking the bundle.] \n \n Did he say what way they were found?","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","[Two younger women come in and pull out the table. Then men carry in the \n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \n it on the table.] \n","lost now, and let you call in Eamon and make me a good coffin out of \n the white boards, for I won't live after them. I've had a husband, and \n a husband's father, and six sons in this house--six fine men, though","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","[Cathleen stops her wheel with a sudden movement, and leans out to \n listen.] \n \n NORA We're to find out if it's Michael's they are, some time herself \n will be down looking by the sea. \n","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","it was a hard birth I had with every one of them and they coming to the \n world--and some of them were found and some of them were not found, but \n they're gone now the lot of them. . . There were Stephen, and Shawn,","It's that number is in it [crying out.] Ah, Nora, isn't it a bitter \n thing to think of him floating that way to the far north, and no one to \n keen him but the black hags that do be flying on the sea? \n","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out"],["The young priest said he'd be passing to-morrow, and we might go down \n and speak to him below if it's Michael's they are surely. \n \n CATHLEEN [Taking the bundle.] \n \n Did he say what way they were found?","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","Michael, and would any one have thought that? \n \n CATHLEEN [Slowly and clearly.] \n \n An old woman will be soon tired with anything she will do, and isn't it \n nine days herself is after crying and keening, and making great sorrow","NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","hard set his own mother would be to say what man was it. \n \n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \n of his clothes from the far north. \n","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","[Cathleen stops her wheel with a sudden movement, and leans out to \n listen.] \n \n NORA We're to find out if it's Michael's they are, some time herself \n will be down looking by the sea. \n","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","CATHLEEN [To the women, as they are doing so.] \n \n What way was he drowned? \n \n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \n washed out where there is a great surf on the white rocks.","CATHLEEN [To an old man.] \n \n Maybe yourself and Eamon would make a coffin when the sun rises. We have \n fine white boards herself bought, God help her, thinking Michael would","CATHLEEN How would they be Michael's, Nora. How would he go the length \n of that way to the far north? \n \n NORA The young priest says he's known the like of it. \"If it's Michael's","Is it Patch, or Michael, or what is it at all? \n \n CATHLEEN Michael is after being found in the far north, and when he is \n found there how could he be here in this place? \n","for she'll be getting her death,\" says he, \"with crying and lamenting.\" \n \n [The door which Nora half closed is blown open by a gust of wind.] \n \n CATHLEEN [Looking out anxiously.] \n","CATHLEEN [Begins to keen.] \n \n It's destroyed we are from this day. It's destroyed, surely. \n \n NORA Didn't the young priest say the Almighty God wouldn't leave her","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","She is, Cathleen. She's coming up to the door. \n \n CATHLEEN Put these things away before she'll come in. Maybe it's easier \n she'll be after giving her blessing to Bartley, and we won't let on","BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \n \n Where is the bit of new rope, Cathleen, was bought in Connemara? \n \n CATHLEEN [Coming down.] \n","may have a shirt of it as well as Michael himself? \n \n NORA [Who has taken up the stocking and counted the stitches, crying \n out.] \n \n It's Michael, Cathleen, it's Michael; God spare his soul, and what will"],["MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","MAURYA There does be a power of young men floating round in the sea, and \n what way would they know if it was Michael they had, or another man like \n him, for when a man is nine days in the sea, and the wind blowing, it's","There's some one after crying out by the seashore. \n \n MAURYA [Continues without hearing anything.] \n \n There was Sheamus and his father, and his own father again, were lost in","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","MAURYA [Turning round to the fire, and putting her shawl over her head.] \n \n Isn't it a hard and cruel man won't hear a word from an old woman, and \n she holding him from the sea? \n","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","MAURYA It's hard set we'll be surely the day you're drownd'd with the \n rest. What way will I live and the girls with me, and I an old woman \n looking for the grave? \n","me.... I'll have no call now to be up crying and praying when the wind \n breaks from the south, and you can hear the surf is in the east, and the \n surf is in the west, making a great stir with the two noises, and they","MAURYA It's a hard thing they'll be saying below if the body is washed \n up and there's no man in it to make the coffin, and I after giving a big \n price for the finest white boards you'd find in Connemara. \n","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?","MAURYA If it wasn't found itself, that wind is raising the sea, and \n there was a star up against the moon, and it rising in the night. If it \n was a hundred horses, or a thousand horses you had itself, what is the","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","MAURYA [Sitting down on a stool at the fire.] \n \n He won't go this day with the wind rising from the south and west. He \n won't go this day, for the young priest will stop him surely. \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty"],["Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","had been washed up on the far away coast of Donegal, and who, by reason \n of certain peculiarities of dress, was suspected to be from the island. \n In due course, he was recognised as a native of Inishmaan, in exactly","a dark night, and not a stick or sign was seen of them when the sun went \n up. There was Patch after was drowned out of a curagh that turned over. \n I was sitting here with Bartley, and he a baby, lying on my two knees,","CATHLEEN It's the life of a young man to be going on the sea, and who \n would listen to an old woman with one thing and she saying it over? \n \n BARTLEY [Taking the halter.] \n","CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \n shirt was heavy with the salt in it [pointing to the corner]. There's a \n bit of a sleeve was of the same stuff. Give me that and it will do. \n","[Two younger women come in and pull out the table. Then men carry in the \n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \n it on the table.] \n","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","Holy Water over him.] \n \n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \n It isn't that I haven't said prayers in the dark night till you wouldn't","Did you ask him would he stop Bartley going this day with the horses to \n the Galway fair? \n \n NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","herself say when she hears this story, and Bartley on the sea? \n \n CATHLEEN [Taking the stocking.] \n \n It's a plain stocking. \n","BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \n \n Where is the bit of new rope, Cathleen, was bought in Connemara? \n \n CATHLEEN [Coming down.] \n","NORA [Looking out.] She's passing the green head and letting fall her \n sails. \n \n BARTLEY [Getting his purse and tobacco.] \n","Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at all","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","By J. M. Synge \n \n \n \n \n INTRODUCTION \n \n It must have been on Synge's second visit to the Aran Islands that he \n had the experience out of which was wrought what many believe to be his","CATHLEEN [Cutting the string.] \n \n It is surely. There was a man in here a while ago--the man sold us that \n knife--and he said if you set off walking from the rocks beyond, it","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,"],["had been washed up on the far away coast of Donegal, and who, by reason \n of certain peculiarities of dress, was suspected to be from the island. \n In due course, he was recognised as a native of Inishmaan, in exactly","were lost in the great wind, and found after in the Bay of Gregory of \n the Golden Mouth, and carried up the two of them on the one plank, and \n in by that door. \n \n [She pauses for a moment, the girls start as if they heard something","It's that number is in it [crying out.] Ah, Nora, isn't it a bitter \n thing to think of him floating that way to the far north, and no one to \n keen him but the black hags that do be flying on the sea? \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","[She looks round at the boards.] \n \n BARTLEY How would it be washed up, and we after looking each day for \n nine days, and a strong wind blowing a while back from the west and \n south? \n","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at all","NORA [Swinging herself round, and throwing out her arms on the clothes.] \n \n And isn't it a pitiful thing when there is nothing left of a man who \n was a great rower and fisher, but a bit of an old shirt and a plain","CATHLEEN [Cutting the string.] \n \n It is surely. There was a man in here a while ago--the man sold us that \n knife--and he said if you set off walking from the rocks beyond, it","[Two younger women come in and pull out the table. Then men carry in the \n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \n it on the table.] \n","a dark night, and not a stick or sign was seen of them when the sun went \n up. There was Patch after was drowned out of a curagh that turned over. \n I was sitting here with Bartley, and he a baby, lying on my two knees,","it was a hard birth I had with every one of them and they coming to the \n world--and some of them were found and some of them were not found, but \n they're gone now the lot of them. . . There were Stephen, and Shawn,","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","If the west wind holds with the last bit of the moon let you and Nora \n get up weed enough for another cock for the kelp. It's hard set we'll be \n from this day with no one in it but one man to work. \n","the manner described in the play, and perhaps one of the most poignantly \n vivid passages in Synge's book on \"The Aran Islands\" relates the \n incident of his burial. \n \n The other element in the story which Synge introduces into the play is","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","CATHLEEN [To the women, as they are doing so.] \n \n What way was he drowned? \n \n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \n washed out where there is a great surf on the white rocks.","MAURYA There does be a power of young men floating round in the sea, and \n what way would they know if it was Michael they had, or another man like \n him, for when a man is nine days in the sea, and the wind blowing, it's","In the big world the old people do be leaving things after them for \n their sons and children, but in this place it is the young men do be \n leaving things behind for them that do be old. \n \n [She goes out slowly. Nora goes over to the ladder.] \n"],["MAURYA It's a hard thing they'll be saying below if the body is washed \n up and there's no man in it to make the coffin, and I after giving a big \n price for the finest white boards you'd find in Connemara. \n","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","NORA He'll not stop him, mother, and I heard Eamon Simon and Stephen \n Pheety and Colum Shawn saying he would go. \n \n MAURYA Where is he itself? \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","There's some one after crying out by the seashore. \n \n MAURYA [Continues without hearing anything.] \n \n There was Sheamus and his father, and his own father again, were lost in","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","MAURYA There does be a power of young men floating round in the sea, and \n what way would they know if it was Michael they had, or another man like \n him, for when a man is nine days in the sea, and the wind blowing, it's","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","had been washed up on the far away coast of Donegal, and who, by reason \n of certain peculiarities of dress, was suspected to be from the island. \n In due course, he was recognised as a native of Inishmaan, in exactly","MAURYA [Sitting down on a stool at the fire.] \n \n He won't go this day with the wind rising from the south and west. He \n won't go this day, for the young priest will stop him surely. \n","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?","opens softly and old women begin to come in, crossing themselves on the \n threshold, and kneeling down in front of the stage with red petticoats \n over their heads.] \n \n MAURYA [Half in a dream, to Cathleen.] \n","First performed at the Molesworth Hall, Dublin, February 25th, 1904. \n \n \n \n \n PERSONS \n \n MAURYA (an old woman)...... Honor Lavelle \n"],["from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","a dark night, and not a stick or sign was seen of them when the sun went \n up. There was Patch after was drowned out of a curagh that turned over. \n I was sitting here with Bartley, and he a baby, lying on my two knees,","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","were lost in the great wind, and found after in the Bay of Gregory of \n the Golden Mouth, and carried up the two of them on the one plank, and \n in by that door. \n \n [She pauses for a moment, the girls start as if they heard something","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","through the door that is half open behind them.] \n \n NORA [In a whisper.] \n \n Did you hear that, Cathleen? Did you hear a noise in the north-east? \n \n CATHLEEN [In a whisper.] \n","CATHLEEN [To the women, as they are doing so.] \n \n What way was he drowned? \n \n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \n washed out where there is a great surf on the white rocks.","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","[Two younger women come in and pull out the table. Then men carry in the \n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \n it on the table.] \n","for she'll be getting her death,\" says he, \"with crying and lamenting.\" \n \n [The door which Nora half closed is blown open by a gust of wind.] \n \n CATHLEEN [Looking out anxiously.] \n","had been washed up on the far away coast of Donegal, and who, by reason \n of certain peculiarities of dress, was suspected to be from the island. \n In due course, he was recognised as a native of Inishmaan, in exactly","CATHLEEN [Cutting the string.] \n \n It is surely. There was a man in here a while ago--the man sold us that \n knife--and he said if you set off walking from the rocks beyond, it","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","and I seen two women, and three women, and four women coming in, and \n they crossing themselves, and not saying a word. I looked out then, and \n there were men coming after them, and they holding a thing in the half"],["It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","MAURYA [Turning round to the fire, and putting her shawl over her head.] \n \n Isn't it a hard and cruel man won't hear a word from an old woman, and \n she holding him from the sea? \n","Michael, and would any one have thought that? \n \n CATHLEEN [Slowly and clearly.] \n \n An old woman will be soon tired with anything she will do, and isn't it \n nine days herself is after crying and keening, and making great sorrow","NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","CATHLEEN [A little impatiently.] \n \n God forgive you; isn't it a better thing to raise your voice and tell \n what you seen, than to be making lamentation for a thing that's done?","CATHLEEN [To the women, as they are doing so.] \n \n What way was he drowned? \n \n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \n washed out where there is a great surf on the white rocks.","were lost in the great wind, and found after in the Bay of Gregory of \n the Golden Mouth, and carried up the two of them on the one plank, and \n in by that door. \n \n [She pauses for a moment, the girls start as if they heard something","In the big world the old people do be leaving things after them for \n their sons and children, but in this place it is the young men do be \n leaving things behind for them that do be old. \n \n [She goes out slowly. Nora goes over to the ladder.] \n","CATHLEEN [Crying out.] \n \n The Son of God forgive us, Nora, we're after forgetting his bit of \n bread. \n \n [She comes over to the fire.] \n","It's that number is in it [crying out.] Ah, Nora, isn't it a bitter \n thing to think of him floating that way to the far north, and no one to \n keen him but the black hags that do be flying on the sea? \n","for she'll be getting her death,\" says he, \"with crying and lamenting.\" \n \n [The door which Nora half closed is blown open by a gust of wind.] \n \n CATHLEEN [Looking out anxiously.] \n","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","[They put them into a hole in the chimney corner. Cathleen goes back to \n the spinning-wheel.] \n \n NORA Will she see it was crying I was? \n","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","opens softly and old women begin to come in, crossing themselves on the \n threshold, and kneeling down in front of the stage with red petticoats \n over their heads.] \n \n MAURYA [Half in a dream, to Cathleen.] \n","hitting one on the other. I'll have no call now to be going down and \n getting Holy Water in the dark nights after Samhain, and I won't care \n what way the sea is when the other women will be keening. [To Nora]. Give","and I seen two women, and three women, and four women coming in, and \n they crossing themselves, and not saying a word. I looked out then, and \n there were men coming after them, and they holding a thing in the half","stool at the other side of the fire. The cloth with the bread is still \n in her hand. The girls look at each other, and Nora points to the bundle \n of bread.] \n \n CATHLEEN [After spinning for a moment.] \n"],["equally true. Many tales of \"second sight\" are to be heard among Celtic \n races. In fact, they are so common as to arouse little or no wonder in \n the minds of the people. It is just such a tale, which there seems no","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?","CATHLEEN [Cutting the string.] \n \n It is surely. There was a man in here a while ago--the man sold us that \n knife--and he said if you set off walking from the rocks beyond, it","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","CATHLEEN [To the women, as they are doing so.] \n \n What way was he drowned? \n \n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \n washed out where there is a great surf on the white rocks.","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","a dark night, and not a stick or sign was seen of them when the sun went \n up. There was Patch after was drowned out of a curagh that turned over. \n I was sitting here with Bartley, and he a baby, lying on my two knees,","were lost in the great wind, and found after in the Bay of Gregory of \n the Golden Mouth, and carried up the two of them on the one plank, and \n in by that door. \n \n [She pauses for a moment, the girls start as if they heard something","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","CATHLEEN [A little impatiently.] \n \n God forgive you; isn't it a better thing to raise your voice and tell \n what you seen, than to be making lamentation for a thing that's done?","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","me.... I'll have no call now to be up crying and praying when the wind \n breaks from the south, and you can hear the surf is in the east, and the \n surf is in the west, making a great stir with the two noises, and they","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","Holy Water over him.] \n \n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \n It isn't that I haven't said prayers in the dark night till you wouldn't","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","I must go now quickly. I'll ride down on the red mare, and the gray \n pony'll run behind me. . . The blessing of God on you. \n \n [He goes out.] \n"],["MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","MAURYA It's hard set we'll be surely the day you're drownd'd with the \n rest. What way will I live and the girls with me, and I an old woman \n looking for the grave? \n","and none but the lonely man in tragedy may be great. He dies, and then \n it is the virtue in life of the women mothers and wives and sisters to \n be great in their loneliness, great as Maurya, the stricken mother, is \n great in her final word.","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","MAURYA [Turning round to the fire, and putting her shawl over her head.] \n \n Isn't it a hard and cruel man won't hear a word from an old woman, and \n she holding him from the sea? \n","There's some one after crying out by the seashore. \n \n MAURYA [Continues without hearing anything.] \n \n There was Sheamus and his father, and his own father again, were lost in","First performed at the Molesworth Hall, Dublin, February 25th, 1904. \n \n \n \n \n PERSONS \n \n MAURYA (an old woman)...... Honor Lavelle \n","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","opens softly and old women begin to come in, crossing themselves on the \n threshold, and kneeling down in front of the stage with red petticoats \n over their heads.] \n \n MAURYA [Half in a dream, to Cathleen.] \n","MAURYA It's a hard thing they'll be saying below if the body is washed \n up and there's no man in it to make the coffin, and I after giving a big \n price for the finest white boards you'd find in Connemara. \n","MAURYA [Looking up at Cathleen and speaking querulously.] \n \n Isn't it turf enough you have for this day and evening? \n \n CATHLEEN There's a cake baking at the fire for a short space. [Throwing"],["MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","MAURYA It's hard set we'll be surely the day you're drownd'd with the \n rest. What way will I live and the girls with me, and I an old woman \n looking for the grave? \n","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","First performed at the Molesworth Hall, Dublin, February 25th, 1904. \n \n \n \n \n PERSONS \n \n MAURYA (an old woman)...... Honor Lavelle \n","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","There's some one after crying out by the seashore. \n \n MAURYA [Continues without hearing anything.] \n \n There was Sheamus and his father, and his own father again, were lost in","MAURYA [Turning round to the fire, and putting her shawl over her head.] \n \n Isn't it a hard and cruel man won't hear a word from an old woman, and \n she holding him from the sea? \n","MAURYA [Looking up at Cathleen and speaking querulously.] \n \n Isn't it turf enough you have for this day and evening? \n \n CATHLEEN There's a cake baking at the fire for a short space. [Throwing","MAURYA [Sitting down on a stool at the fire.] \n \n He won't go this day with the wind rising from the south and west. He \n won't go this day, for the young priest will stop him surely. \n","MAURYA There does be a power of young men floating round in the sea, and \n what way would they know if it was Michael they had, or another man like \n him, for when a man is nine days in the sea, and the wind blowing, it's"],["CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \n shirt was heavy with the salt in it [pointing to the corner]. There's a \n bit of a sleeve was of the same stuff. Give me that and it will do. \n","[Two younger women come in and pull out the table. Then men carry in the \n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \n it on the table.] \n","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","rye, and if the jobber comes you can sell the pig with the black feet if \n there is a good price going. \n \n MAURYA How would the like of her get a good price for a pig? \n \n BARTLEY [To Cathleen]","Did you ask him would he stop Bartley going this day with the horses to \n the Galway fair? \n \n NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","NORA [Looking out.] She's passing the green head and letting fall her \n sails. \n \n BARTLEY [Getting his purse and tobacco.] \n","CATHLEEN It's the life of a young man to be going on the sea, and who \n would listen to an old woman with one thing and she saying it over? \n \n BARTLEY [Taking the halter.] \n","[Bartley lays down the halter, takes off his old coat, and puts on a \n newer one of the same flannel.] \n \n BARTLEY [To Nora.] \n \n Is she coming to the pier? \n","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \n \n Where is the bit of new rope, Cathleen, was bought in Connemara? \n \n CATHLEEN [Coming down.] \n","Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at all","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","herself say when she hears this story, and Bartley on the sea? \n \n CATHLEEN [Taking the stocking.] \n \n It's a plain stocking. \n","Holy Water over him.] \n \n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \n It isn't that I haven't said prayers in the dark night till you wouldn't","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","down the turf] and Bartley will want it when the tide turns if he goes \n to Connemara. \n \n [Nora picks up the turf and puts it round the pot-oven.] \n"],["for she'll be getting her death,\" says he, \"with crying and lamenting.\" \n \n [The door which Nora half closed is blown open by a gust of wind.] \n \n CATHLEEN [Looking out anxiously.] \n","CATHLEEN [Looking out.] \n \n She's gone now. Throw it down quickly, for the Lord knows when she'll be \n out of it again. \n \n NORA [Getting the bundle from the loft.] \n","CATHLEEN She's lying down, God help her, and may be sleeping, if she's \n able. \n \n [Nora comes in softly, and takes a bundle from under her shawl.] \n","CATHLEEN AND NORA UAH. \n \n [They crouch down in front of the old woman at the fire.] \n \n NORA Tell us what it is you seen. \n","NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","passing the black cliffs of the north.\" \n \n CATHLEEN [Trying to open the bundle.] \n \n Give me a knife, Nora, the string's perished with the salt water, and","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","CATHLEEN [Spinning the wheel rapidly.] \n \n What is it you have? \n \n NORA The young priest is after bringing them. It's a shirt and a plain \n stocking were got off a drowned man in Donegal. \n","stool at the other side of the fire. The cloth with the bread is still \n in her hand. The girls look at each other, and Nora points to the bundle \n of bread.] \n \n CATHLEEN [After spinning for a moment.] \n","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","through the door that is half open behind them.] \n \n NORA [In a whisper.] \n \n Did you hear that, Cathleen? Did you hear a noise in the north-east? \n \n CATHLEEN [In a whisper.] \n","CATHLEEN [Begins to keen.] \n \n It's destroyed we are from this day. It's destroyed, surely. \n \n NORA Didn't the young priest say the Almighty God wouldn't leave her","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","CATHLEEN [Crying out.] \n \n The Son of God forgive us, Nora, we're after forgetting his bit of \n bread. \n \n [She comes over to the fire.] \n","[Cathleen stops her wheel with a sudden movement, and leans out to \n listen.] \n \n NORA We're to find out if it's Michael's they are, some time herself \n will be down looking by the sea. \n","Give her the stick, Nora, or maybe she'll slip on the big stones. \n \n NORA What stick? \n \n CATHLEEN The stick Michael brought from Connemara. \n \n MAURYA [Taking a stick Nora gives her.]","The young priest said he'd be passing to-morrow, and we might go down \n and speak to him below if it's Michael's they are surely. \n \n CATHLEEN [Taking the bundle.] \n \n Did he say what way they were found?","NORA And it's destroyed he'll be going till dark night, and he after \n eating nothing since the sun went up. \n \n CATHLEEN [Turning the cake out of the oven.] \n","CATHLEEN Keep your back to the door the way the light'll not be on you. \n \n [Nora sits down at the chimney corner, with her back to the door. Maurya \n comes in very slowly, without looking at the girls, and goes over to her","[They put them into a hole in the chimney corner. Cathleen goes back to \n the spinning-wheel.] \n \n NORA Will she see it was crying I was? \n"],["Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","[Two younger women come in and pull out the table. Then men carry in the \n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \n it on the table.] \n","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \n shirt was heavy with the salt in it [pointing to the corner]. There's a \n bit of a sleeve was of the same stuff. Give me that and it will do. \n","a dark night, and not a stick or sign was seen of them when the sun went \n up. There was Patch after was drowned out of a curagh that turned over. \n I was sitting here with Bartley, and he a baby, lying on my two knees,","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at all","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","Holy Water over him.] \n \n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \n It isn't that I haven't said prayers in the dark night till you wouldn't","Did you ask him would he stop Bartley going this day with the horses to \n the Galway fair? \n \n NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself","CATHLEEN It's the life of a young man to be going on the sea, and who \n would listen to an old woman with one thing and she saying it over? \n \n BARTLEY [Taking the halter.] \n","God have mercy on Bartley's soul, and on Michael's soul, and on the \n souls of Sheamus and Patch, and Stephen and Shawn (bending her head]); \n and may He have mercy on my soul, Nora, and on the soul of every one is","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the"," BARTLEY (her son).......... W. G. Fay \n \n CATHLEEN (her daughter).... Sarah Allgood \n \n NORA (a younger daughter).. Emma Vernon \n","BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \n \n Where is the bit of new rope, Cathleen, was bought in Connemara? \n \n CATHLEEN [Coming down.] \n","herself say when she hears this story, and Bartley on the sea? \n \n CATHLEEN [Taking the stocking.] \n \n It's a plain stocking. \n"],["long nights after Samhain, if it's only a bit of wet flour we do have to \n eat, and maybe a fish that would be stinking. \n \n [She kneels down again, crossing herself, and saying prayers under her \n breath.] \n","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","hitting one on the other. I'll have no call now to be going down and \n getting Holy Water in the dark nights after Samhain, and I won't care \n what way the sea is when the other women will be keening. [To Nora]. Give","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","a dark night, and not a stick or sign was seen of them when the sun went \n up. There was Patch after was drowned out of a curagh that turned over. \n I was sitting here with Bartley, and he a baby, lying on my two knees,","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","There's some one after crying out by the seashore. \n \n MAURYA [Continues without hearing anything.] \n \n There was Sheamus and his father, and his own father again, were lost in","MAURYA [Looking up at Cathleen and speaking querulously.] \n \n Isn't it turf enough you have for this day and evening? \n \n CATHLEEN There's a cake baking at the fire for a short space. [Throwing","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","opens softly and old women begin to come in, crossing themselves on the \n threshold, and kneeling down in front of the stage with red petticoats \n over their heads.] \n \n MAURYA [Half in a dream, to Cathleen.] \n","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something"],["me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","Holy Water over him.] \n \n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \n It isn't that I haven't said prayers in the dark night till you wouldn't","opens softly and old women begin to come in, crossing themselves on the \n threshold, and kneeling down in front of the stage with red petticoats \n over their heads.] \n \n MAURYA [Half in a dream, to Cathleen.] \n","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","MAURYA [Turning round to the fire, and putting her shawl over her head.] \n \n Isn't it a hard and cruel man won't hear a word from an old woman, and \n she holding him from the sea? \n","MAURYA It's a hard thing they'll be saying below if the body is washed \n up and there's no man in it to make the coffin, and I after giving a big \n price for the finest white boards you'd find in Connemara. \n","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","MAURYA [Sitting down on a stool at the fire.] \n \n He won't go this day with the wind rising from the south and west. He \n won't go this day, for the young priest will stop him surely. \n"],["MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","MAURYA [Looking up at Cathleen and speaking querulously.] \n \n Isn't it turf enough you have for this day and evening? \n \n CATHLEEN There's a cake baking at the fire for a short space. [Throwing","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","rye, and if the jobber comes you can sell the pig with the black feet if \n there is a good price going. \n \n MAURYA How would the like of her get a good price for a pig? \n \n BARTLEY [To Cathleen]","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","NORA He'll not stop him, mother, and I heard Eamon Simon and Stephen \n Pheety and Colum Shawn saying he would go. \n \n MAURYA Where is he itself? \n","There's some one after crying out by the seashore. \n \n MAURYA [Continues without hearing anything.] \n \n There was Sheamus and his father, and his own father again, were lost in","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","Did you ask him would he stop Bartley going this day with the horses to \n the Galway fair? \n \n NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself"],["had been washed up on the far away coast of Donegal, and who, by reason \n of certain peculiarities of dress, was suspected to be from the island. \n In due course, he was recognised as a native of Inishmaan, in exactly","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at all","MAURYA There does be a power of young men floating round in the sea, and \n what way would they know if it was Michael they had, or another man like \n him, for when a man is nine days in the sea, and the wind blowing, it's","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","CATHLEEN [To the women, as they are doing so.] \n \n What way was he drowned? \n \n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \n washed out where there is a great surf on the white rocks.","The young priest said he'd be passing to-morrow, and we might go down \n and speak to him below if it's Michael's they are surely. \n \n CATHLEEN [Taking the bundle.] \n \n Did he say what way they were found?","NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","Is it Patch, or Michael, or what is it at all? \n \n CATHLEEN Michael is after being found in the far north, and when he is \n found there how could he be here in this place? \n","God on you,\" says he, and I could say nothing. I looked up then, and \n I crying, at the gray pony, and there was Michael upon it--with fine \n clothes on him, and new shoes on his feet. \n","It's that number is in it [crying out.] Ah, Nora, isn't it a bitter \n thing to think of him floating that way to the far north, and no one to \n keen him but the black hags that do be flying on the sea? \n","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","There's some one after crying out by the seashore. \n \n MAURYA [Continues without hearing anything.] \n \n There was Sheamus and his father, and his own father again, were lost in","[Two younger women come in and pull out the table. Then men carry in the \n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \n it on the table.] \n","hard set his own mother would be to say what man was it. \n \n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \n of his clothes from the far north. \n","[Cathleen stops her wheel with a sudden movement, and leans out to \n listen.] \n \n NORA We're to find out if it's Michael's they are, some time herself \n will be down looking by the sea. \n","Michael, and would any one have thought that? \n \n CATHLEEN [Slowly and clearly.] \n \n An old woman will be soon tired with anything she will do, and isn't it \n nine days herself is after crying and keening, and making great sorrow","a dark night, and not a stick or sign was seen of them when the sun went \n up. There was Patch after was drowned out of a curagh that turned over. \n I was sitting here with Bartley, and he a baby, lying on my two knees,","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the"],["MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","MAURYA It's hard set we'll be surely the day you're drownd'd with the \n rest. What way will I live and the girls with me, and I an old woman \n looking for the grave? \n","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","MAURYA [Sitting down on a stool at the fire.] \n \n He won't go this day with the wind rising from the south and west. He \n won't go this day, for the young priest will stop him surely. \n","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","MAURYA If it wasn't found itself, that wind is raising the sea, and \n there was a star up against the moon, and it rising in the night. If it \n was a hundred horses, or a thousand horses you had itself, what is the","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","MAURYA [Looking up at Cathleen and speaking querulously.] \n \n Isn't it turf enough you have for this day and evening? \n \n CATHLEEN There's a cake baking at the fire for a short space. [Throwing","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","MAURYA [Turning round to the fire, and putting her shawl over her head.] \n \n Isn't it a hard and cruel man won't hear a word from an old woman, and \n she holding him from the sea? \n","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","MAURYA It's a hard thing they'll be saying below if the body is washed \n up and there's no man in it to make the coffin, and I after giving a big \n price for the finest white boards you'd find in Connemara. \n","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be"],["down the turf] and Bartley will want it when the tide turns if he goes \n to Connemara. \n \n [Nora picks up the turf and puts it round the pot-oven.] \n","BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \n \n Where is the bit of new rope, Cathleen, was bought in Connemara? \n \n CATHLEEN [Coming down.] \n","Did you ask him would he stop Bartley going this day with the horses to \n the Galway fair? \n \n NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","CATHLEEN It's the life of a young man to be going on the sea, and who \n would listen to an old woman with one thing and she saying it over? \n \n BARTLEY [Taking the halter.] \n","CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \n shirt was heavy with the salt in it [pointing to the corner]. There's a \n bit of a sleeve was of the same stuff. Give me that and it will do. \n","rye, and if the jobber comes you can sell the pig with the black feet if \n there is a good price going. \n \n MAURYA How would the like of her get a good price for a pig? \n \n BARTLEY [To Cathleen]","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","NORA [Looking out.] She's passing the green head and letting fall her \n sails. \n \n BARTLEY [Getting his purse and tobacco.] \n","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","[Bartley lays down the halter, takes off his old coat, and puts on a \n newer one of the same flannel.] \n \n BARTLEY [To Nora.] \n \n Is she coming to the pier? \n","She is, Cathleen. She's coming up to the door. \n \n CATHLEEN Put these things away before she'll come in. Maybe it's easier \n she'll be after giving her blessing to Bartley, and we won't let on","herself say when she hears this story, and Bartley on the sea? \n \n CATHLEEN [Taking the stocking.] \n \n It's a plain stocking. \n","a dark night, and not a stick or sign was seen of them when the sun went \n up. There was Patch after was drowned out of a curagh that turned over. \n I was sitting here with Bartley, and he a baby, lying on my two knees,","[Two younger women come in and pull out the table. Then men carry in the \n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \n it on the table.] \n","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","price of a thousand horses against a son where there is one son only? \n \n BARTLEY [Working at the halter, to Cathleen.] \n \n Let you go down each day, and see the sheep aren't jumping in on the","Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at all","MAURYA It's a hard thing they'll be saying below if the body is washed \n up and there's no man in it to make the coffin, and I after giving a big \n price for the finest white boards you'd find in Connemara. \n","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something"],["Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \n shirt was heavy with the salt in it [pointing to the corner]. There's a \n bit of a sleeve was of the same stuff. Give me that and it will do. \n","CATHLEEN It's the life of a young man to be going on the sea, and who \n would listen to an old woman with one thing and she saying it over? \n \n BARTLEY [Taking the halter.] \n"," BARTLEY (her son).......... W. G. Fay \n \n CATHLEEN (her daughter).... Sarah Allgood \n \n NORA (a younger daughter).. Emma Vernon \n","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","Did you ask him would he stop Bartley going this day with the horses to \n the Galway fair? \n \n NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself","MAURYA [Looking up at Cathleen and speaking querulously.] \n \n Isn't it turf enough you have for this day and evening? \n \n CATHLEEN There's a cake baking at the fire for a short space. [Throwing","She is, Cathleen. She's coming up to the door. \n \n CATHLEEN Put these things away before she'll come in. Maybe it's easier \n she'll be after giving her blessing to Bartley, and we won't let on","rye, and if the jobber comes you can sell the pig with the black feet if \n there is a good price going. \n \n MAURYA How would the like of her get a good price for a pig? \n \n BARTLEY [To Cathleen]","BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \n \n Where is the bit of new rope, Cathleen, was bought in Connemara? \n \n CATHLEEN [Coming down.] \n","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","First performed at the Molesworth Hall, Dublin, February 25th, 1904. \n \n \n \n \n PERSONS \n \n MAURYA (an old woman)...... Honor Lavelle \n"],["You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","MAURYA There does be a power of young men floating round in the sea, and \n what way would they know if it was Michael they had, or another man like \n him, for when a man is nine days in the sea, and the wind blowing, it's","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","First performed at the Molesworth Hall, Dublin, February 25th, 1904. \n \n \n \n \n PERSONS \n \n MAURYA (an old woman)...... Honor Lavelle \n","MAURYA [Looking up at Cathleen and speaking querulously.] \n \n Isn't it turf enough you have for this day and evening? \n \n CATHLEEN There's a cake baking at the fire for a short space. [Throwing","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","Is it Patch, or Michael, or what is it at all? \n \n CATHLEEN Michael is after being found in the far north, and when he is \n found there how could he be here in this place? \n","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","hard set his own mother would be to say what man was it. \n \n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \n of his clothes from the far north. \n","God on you,\" says he, and I could say nothing. I looked up then, and \n I crying, at the gray pony, and there was Michael upon it--with fine \n clothes on him, and new shoes on his feet. \n","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","There's some one after crying out by the seashore. \n \n MAURYA [Continues without hearing anything.] \n \n There was Sheamus and his father, and his own father again, were lost in","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be"],["NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","[Cathleen stops her wheel with a sudden movement, and leans out to \n listen.] \n \n NORA We're to find out if it's Michael's they are, some time herself \n will be down looking by the sea. \n","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","Give her the stick, Nora, or maybe she'll slip on the big stones. \n \n NORA What stick? \n \n CATHLEEN The stick Michael brought from Connemara. \n \n MAURYA [Taking a stick Nora gives her.]","CATHLEEN How would they be Michael's, Nora. How would he go the length \n of that way to the far north? \n \n NORA The young priest says he's known the like of it. \"If it's Michael's","through the door that is half open behind them.] \n \n NORA [In a whisper.] \n \n Did you hear that, Cathleen? Did you hear a noise in the north-east? \n \n CATHLEEN [In a whisper.] \n","may have a shirt of it as well as Michael himself? \n \n NORA [Who has taken up the stocking and counted the stitches, crying \n out.] \n \n It's Michael, Cathleen, it's Michael; God spare his soul, and what will","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","NORA [Looking out.] She's passing the green head and letting fall her \n sails. \n \n BARTLEY [Getting his purse and tobacco.] \n","for she'll be getting her death,\" says he, \"with crying and lamenting.\" \n \n [The door which Nora half closed is blown open by a gust of wind.] \n \n CATHLEEN [Looking out anxiously.] \n","CATHLEEN [Looking out.] \n \n She's gone now. Throw it down quickly, for the Lord knows when she'll be \n out of it again. \n \n NORA [Getting the bundle from the loft.] \n","It's a long time we'll be, and the two of us crying. \n \n NORA [Goes to the inner door and listens.] \n \n She's moving about on the bed. She'll be coming in a minute. \n","spin at the wheel. NORA, a young girl, puts her head in at the door.) \n \n \n NORA [In a low voice.] \n \n Where is she? \n","In the big world the old people do be leaving things after them for \n their sons and children, but in this place it is the young men do be \n leaving things behind for them that do be old. \n \n [She goes out slowly. Nora goes over to the ladder.] \n","hard set his own mother would be to say what man was it. \n \n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \n of his clothes from the far north. \n","CATHLEEN She's lying down, God help her, and may be sleeping, if she's \n able. \n \n [Nora comes in softly, and takes a bundle from under her shawl.] \n","Give it to him, Nora; it's on a nail by the white boards. I hung it up \n this morning, for the pig with the black feet was eating it. \n \n NORA [Giving him a rope.] \n \n Is that it, Bartley?","CATHLEEN [Begins to keen.] \n \n It's destroyed we are from this day. It's destroyed, surely. \n \n NORA Didn't the young priest say the Almighty God wouldn't leave her","NORA [Swinging herself round, and throwing out her arms on the clothes.] \n \n And isn't it a pitiful thing when there is nothing left of a man who \n was a great rower and fisher, but a bit of an old shirt and a plain"],["for she'll be getting her death,\" says he, \"with crying and lamenting.\" \n \n [The door which Nora half closed is blown open by a gust of wind.] \n \n CATHLEEN [Looking out anxiously.] \n","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","CATHLEEN [Looking out.] \n \n She's gone now. Throw it down quickly, for the Lord knows when she'll be \n out of it again. \n \n NORA [Getting the bundle from the loft.] \n","[Cathleen stops her wheel with a sudden movement, and leans out to \n listen.] \n \n NORA We're to find out if it's Michael's they are, some time herself \n will be down looking by the sea. \n","CATHLEEN AND NORA UAH. \n \n [They crouch down in front of the old woman at the fire.] \n \n NORA Tell us what it is you seen. \n","stool at the other side of the fire. The cloth with the bread is still \n in her hand. The girls look at each other, and Nora points to the bundle \n of bread.] \n \n CATHLEEN [After spinning for a moment.] \n","CATHLEEN She's lying down, God help her, and may be sleeping, if she's \n able. \n \n [Nora comes in softly, and takes a bundle from under her shawl.] \n","CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry, \n God help her, you wouldn't know the thing she'd do. \n \n NORA Is she gone round by the bush? \n","through the door that is half open behind them.] \n \n NORA [In a whisper.] \n \n Did you hear that, Cathleen? Did you hear a noise in the north-east? \n \n CATHLEEN [In a whisper.] \n","CATHLEEN [Crying out.] \n \n The Son of God forgive us, Nora, we're after forgetting his bit of \n bread. \n \n [She comes over to the fire.] \n","CATHLEEN [Begins to keen.] \n \n It's destroyed we are from this day. It's destroyed, surely. \n \n NORA Didn't the young priest say the Almighty God wouldn't leave her","CATHLEEN Keep your back to the door the way the light'll not be on you. \n \n [Nora sits down at the chimney corner, with her back to the door. Maurya \n comes in very slowly, without looking at the girls, and goes over to her","She is, Cathleen. She's coming up to the door. \n \n CATHLEEN Put these things away before she'll come in. Maybe it's easier \n she'll be after giving her blessing to Bartley, and we won't let on","Give her the stick, Nora, or maybe she'll slip on the big stones. \n \n NORA What stick? \n \n CATHLEEN The stick Michael brought from Connemara. \n \n MAURYA [Taking a stick Nora gives her.]","NORA And it's destroyed he'll be going till dark night, and he after \n eating nothing since the sun went up. \n \n CATHLEEN [Turning the cake out of the oven.] \n","passing the black cliffs of the north.\" \n \n CATHLEEN [Trying to open the bundle.] \n \n Give me a knife, Nora, the string's perished with the salt water, and","CATHLEEN [In a low voice.] \n \n The Lord spare us, Nora! isn't it a queer hard thing to say if it's his \n they are surely? \n","does be saying prayers half through the night, and the Almighty God \n won't leave her destitute,\" says he, \"with no son living.\" \n \n CATHLEEN Is the sea bad by the white rocks, Nora? \n","[They put them into a hole in the chimney corner. Cathleen goes back to \n the spinning-wheel.] \n \n NORA Will she see it was crying I was? \n"],["[Cathleen stops her wheel with a sudden movement, and leans out to \n listen.] \n \n NORA We're to find out if it's Michael's they are, some time herself \n will be down looking by the sea. \n","NORA [In a whisper to Cathleen.] \n \n She's quiet now and easy; but the day Michael was drowned you could \n hear her crying out from this to the spring well. It's fonder she was of","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","The young priest said he'd be passing to-morrow, and we might go down \n and speak to him below if it's Michael's they are surely. \n \n CATHLEEN [Taking the bundle.] \n \n Did he say what way they were found?","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","for she'll be getting her death,\" says he, \"with crying and lamenting.\" \n \n [The door which Nora half closed is blown open by a gust of wind.] \n \n CATHLEEN [Looking out anxiously.] \n","hard set his own mother would be to say what man was it. \n \n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \n of his clothes from the far north. \n","Michael, and would any one have thought that? \n \n CATHLEEN [Slowly and clearly.] \n \n An old woman will be soon tired with anything she will do, and isn't it \n nine days herself is after crying and keening, and making great sorrow","CATHLEEN [Begins to keen.] \n \n It's destroyed we are from this day. It's destroyed, surely. \n \n NORA Didn't the young priest say the Almighty God wouldn't leave her","CATHLEEN How would they be Michael's, Nora. How would he go the length \n of that way to the far north? \n \n NORA The young priest says he's known the like of it. \"If it's Michael's","may have a shirt of it as well as Michael himself? \n \n NORA [Who has taken up the stocking and counted the stitches, crying \n out.] \n \n It's Michael, Cathleen, it's Michael; God spare his soul, and what will","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","through the door that is half open behind them.] \n \n NORA [In a whisper.] \n \n Did you hear that, Cathleen? Did you hear a noise in the north-east? \n \n CATHLEEN [In a whisper.] \n","of it and leaving a track by the big stones. \n \n CATHLEEN [In a whisper to the women who have come in.] \n \n Is it Bartley it is? \n \n ONE OF THE WOMEN It is surely, God rest his soul. \n","CATHLEEN I hear some one passing the big stones. \n \n NORA [Looking out.] \n \n He's coming now, and he's in a hurry. \n","CATHLEEN [Looking out.] \n \n She's gone now. Throw it down quickly, for the Lord knows when she'll be \n out of it again. \n \n NORA [Getting the bundle from the loft.] \n","CATHLEEN [Crying out.] \n \n The Son of God forgive us, Nora, we're after forgetting his bit of \n bread. \n \n [She comes over to the fire.] \n","CATHLEEN Keep your back to the door the way the light'll not be on you. \n \n [Nora sits down at the chimney corner, with her back to the door. Maurya \n comes in very slowly, without looking at the girls, and goes over to her","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","CATHLEEN She's lying down, God help her, and may be sleeping, if she's \n able. \n \n [Nora comes in softly, and takes a bundle from under her shawl.] \n"],["Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at all","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","God have mercy on Bartley's soul, and on Michael's soul, and on the \n souls of Sheamus and Patch, and Stephen and Shawn (bending her head]); \n and may He have mercy on my soul, Nora, and on the soul of every one is","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","The young priest said he'd be passing to-morrow, and we might go down \n and speak to him below if it's Michael's they are surely. \n \n CATHLEEN [Taking the bundle.] \n \n Did he say what way they were found?","Did you ask him would he stop Bartley going this day with the horses to \n the Galway fair? \n \n NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself"],["MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n","What is it ails you, at all? \n \n MAURYA [Speaking very slowly.] \n \n I've seen the fearfulest thing any person has seen, since the day Bride \n Dara seen the dead man with the child in his arms. \n","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","opens softly and old women begin to come in, crossing themselves on the \n threshold, and kneeling down in front of the stage with red petticoats \n over their heads.] \n \n MAURYA [Half in a dream, to Cathleen.] \n","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","MAURYA [Looking up at Cathleen and speaking querulously.] \n \n Isn't it turf enough you have for this day and evening? \n \n CATHLEEN There's a cake baking at the fire for a short space. [Throwing","left living in the world. \n \n [She pauses, and the keen rises a little more loudly from the women, \n then sinks away.] \n \n MAURYA [Continuing.] \n","You'll see him then and the dark word will be broken, and you can say \n \"God speed you,\" the way he'll be easy in his mind. \n \n MAURYA [Taking the bread.] \n \n Will I be in it as soon as himself?"],["Did you see Bartley, I'm saying to you? \n \n MAURYA [With a weak voice.] \n \n My heart's broken from this day. \n \n CATHLEEN [As before.] \n \n Did you see Bartley? \n","You did not, mother; it wasn't Michael you seen, for his body is after \n being found in the far north, and he's got a clean burial by the grace \n of God. \n \n MAURYA [A little defiantly.] \n","CATHLEEN It's getting old she is, and broken. \n \n [Maurya stands up again very slowly and spreads out the pieces of \n Michael's clothes beside the body, sprinkling them with the last of the \n Holy Water.] \n","MAURYA [Crying out as he is in the door.] \n \n He's gone now, God spare us, and we'll not see him again. He's gone \n now, and when the black night is falling I'll have no son left me in the","\"Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at","Michael has a clean burial in the far north, by the grace of the \n Almighty God. Bartley will have a fine coffin out of the white boards, \n and a deep grave surely. What more can we want than that? No man at all","MAURYA [Raising her head and speaking as if she did not see the people \n around her.] \n \n They're all gone now, and there isn't anything more the sea can do to","in the house? \n \n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \n hands together on Bartley's feet.] \n \n They're all together this time, and the end is come. May the Almighty","me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","MAURYA I seen the fearfulest thing. \n \n CATHLEEN [Leaves her wheel and looks out.] \n \n God forgive you; he's riding the mare now over the green head, and the \n gray pony behind him. \n","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","God have mercy on Bartley's soul, and on Michael's soul, and on the \n souls of Sheamus and Patch, and Stephen and Shawn (bending her head]); \n and may He have mercy on my soul, Nora, and on the soul of every one is","destitute with no son living? \n \n MAURYA [In a low voice, but clearly.] \n \n It's little the like of him knows of the sea. . . . Bartley will be","MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \n [Bartley takes the rope]. It will be wanting in this place, I'm telling \n you, if Michael is washed up to-morrow morning, or the next morning,","MAURYA I went down to the spring well, and I stood there saying a prayer \n to myself. Then Bartley came along, and he riding on the red mare with \n the gray pony behind him [she puts up her hands, as if to hide something","MAURYA It's a hard thing they'll be saying below if the body is washed \n up and there's no man in it to make the coffin, and I after giving a big \n price for the finest white boards you'd find in Connemara. \n","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","I'm after seeing him this day, and he riding and galloping. Bartley came \n first on the red mare; and I tried to say \"God speed you,\" but something \n choked the words in my throat. He went by quickly; and \"the blessing of","You didn't give him his bit of bread? \n \n [Maurya begins to keen softly, without turning round.] \n \n CATHLEEN Did you see him riding down? \n \n [Maurya goes on keening.] \n"],["me the Holy Water, Nora, there's a small sup still on the dresser. \n \n [Nora gives it to her.] \n \n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the","[She reaches out and hands Maurya the clothes that belonged to Michael. \n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \n \n NORA They're carrying a thing among them and there's water dripping out","Give her the stick, Nora, or maybe she'll slip on the big stones. \n \n NORA What stick? \n \n CATHLEEN The stick Michael brought from Connemara. \n \n MAURYA [Taking a stick Nora gives her.]","his ear? \n \n [Maurya takes up the tongs and begins raking the fire aimlessly without \n looking round.] \n \n NORA [Turning towards her.] \n \n You're taking away the turf from the cake. \n","CATHLEEN Keep your back to the door the way the light'll not be on you. \n \n [Nora sits down at the chimney corner, with her back to the door. Maurya \n comes in very slowly, without looking at the girls, and goes over to her","In the big world the old people do be leaving things after them for \n their sons and children, but in this place it is the young men do be \n leaving things behind for them that do be old. \n \n [She goes out slowly. Nora goes over to the ladder.] \n","It's a long time we'll be, and the two of us crying. \n \n NORA [Goes to the inner door and listens.] \n \n She's moving about on the bed. She'll be coming in a minute. \n","opens softly and old women begin to come in, crossing themselves on the \n threshold, and kneeling down in front of the stage with red petticoats \n over their heads.] \n \n MAURYA [Half in a dream, to Cathleen.] \n","NORA [Swinging herself round, and throwing out her arms on the clothes.] \n \n And isn't it a pitiful thing when there is nothing left of a man who \n was a great rower and fisher, but a bit of an old shirt and a plain","[Maurya has gone over and knelt down at the head of the table. The women \n are keening softly and swaying themselves with a slow movement. Cathleen \n and Nora kneel at the other end of the table. The men kneel near the \n door.] \n","NORA [Looking out.] She's passing the green head and letting fall her \n sails. \n \n BARTLEY [Getting his purse and tobacco.] \n","of a red sail, and water dripping out of it--it was a dry day, Nora--and \n leaving a track to the door. \n \n [She pauses again with her hand stretched out towards the door. It","from her eyes.] The Son of God spare us, Nora! \n \n CATHLEEN What is it you seen. \n \n MAURYA I seen Michael himself. \n \n CATHLEEN [Speaking softly.] \n","through the door that is half open behind them.] \n \n NORA [In a whisper.] \n \n Did you hear that, Cathleen? Did you hear a noise in the north-east? \n \n CATHLEEN [In a whisper.] \n","CATHLEEN [Looking out.] \n \n She's gone now. Throw it down quickly, for the Lord knows when she'll be \n out of it again. \n \n NORA [Getting the bundle from the loft.] \n","Give it to him, Nora; it's on a nail by the white boards. I hung it up \n this morning, for the pig with the black feet was eating it. \n \n NORA [Giving him a rope.] \n \n Is that it, Bartley?","CATHLEEN She's lying down, God help her, and may be sleeping, if she's \n able. \n \n [Nora comes in softly, and takes a bundle from under her shawl.] \n","stool at the other side of the fire. The cloth with the bread is still \n in her hand. The girls look at each other, and Nora points to the bundle \n of bread.] \n \n CATHLEEN [After spinning for a moment.] \n","It's destroyed he'll be, surely. There's no sense left on any person in \n a house where an old woman will be talking for ever. \n \n [Maurya sways herself on her stool.] \n","MAURYA [Starts, so that her shawl falls back from her head and shows her \n white tossed hair. With a frightened voice.] \n \n The gray pony behind him. \n \n CATHLEEN [Coming to the fire.] \n"]],"string":"[\n [\n \"were lost in the great wind, and found after in the Bay of Gregory of \\n the Golden Mouth, and carried up the two of them on the one plank, and \\n in by that door. \\n \\n [She pauses for a moment, the girls start as if they heard something\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"CATHLEEN [To the women, as they are doing so.] \\n \\n What way was he drowned? \\n \\n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \\n washed out where there is a great surf on the white rocks.\",\n \"The young priest said he'd be passing to-morrow, and we might go down \\n and speak to him below if it's Michael's they are surely. \\n \\n CATHLEEN [Taking the bundle.] \\n \\n Did he say what way they were found?\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"[Two younger women come in and pull out the table. Then men carry in the \\n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \\n it on the table.] \\n\",\n \"lost now, and let you call in Eamon and make me a good coffin out of \\n the white boards, for I won't live after them. I've had a husband, and \\n a husband's father, and six sons in this house--six fine men, though\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"[Cathleen stops her wheel with a sudden movement, and leans out to \\n listen.] \\n \\n NORA We're to find out if it's Michael's they are, some time herself \\n will be down looking by the sea. \\n\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"it was a hard birth I had with every one of them and they coming to the \\n world--and some of them were found and some of them were not found, but \\n they're gone now the lot of them. . . There were Stephen, and Shawn,\",\n \"It's that number is in it [crying out.] Ah, Nora, isn't it a bitter \\n thing to think of him floating that way to the far north, and no one to \\n keen him but the black hags that do be flying on the sea? \\n\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\"\n ],\n [\n \"The young priest said he'd be passing to-morrow, and we might go down \\n and speak to him below if it's Michael's they are surely. \\n \\n CATHLEEN [Taking the bundle.] \\n \\n Did he say what way they were found?\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"Michael, and would any one have thought that? \\n \\n CATHLEEN [Slowly and clearly.] \\n \\n An old woman will be soon tired with anything she will do, and isn't it \\n nine days herself is after crying and keening, and making great sorrow\",\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"hard set his own mother would be to say what man was it. \\n \\n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \\n of his clothes from the far north. \\n\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"[Cathleen stops her wheel with a sudden movement, and leans out to \\n listen.] \\n \\n NORA We're to find out if it's Michael's they are, some time herself \\n will be down looking by the sea. \\n\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"CATHLEEN [To the women, as they are doing so.] \\n \\n What way was he drowned? \\n \\n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \\n washed out where there is a great surf on the white rocks.\",\n \"CATHLEEN [To an old man.] \\n \\n Maybe yourself and Eamon would make a coffin when the sun rises. We have \\n fine white boards herself bought, God help her, thinking Michael would\",\n \"CATHLEEN How would they be Michael's, Nora. How would he go the length \\n of that way to the far north? \\n \\n NORA The young priest says he's known the like of it. \\\"If it's Michael's\",\n \"Is it Patch, or Michael, or what is it at all? \\n \\n CATHLEEN Michael is after being found in the far north, and when he is \\n found there how could he be here in this place? \\n\",\n \"for she'll be getting her death,\\\" says he, \\\"with crying and lamenting.\\\" \\n \\n [The door which Nora half closed is blown open by a gust of wind.] \\n \\n CATHLEEN [Looking out anxiously.] \\n\",\n \"CATHLEEN [Begins to keen.] \\n \\n It's destroyed we are from this day. It's destroyed, surely. \\n \\n NORA Didn't the young priest say the Almighty God wouldn't leave her\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"She is, Cathleen. She's coming up to the door. \\n \\n CATHLEEN Put these things away before she'll come in. Maybe it's easier \\n she'll be after giving her blessing to Bartley, and we won't let on\",\n \"BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \\n \\n Where is the bit of new rope, Cathleen, was bought in Connemara? \\n \\n CATHLEEN [Coming down.] \\n\",\n \"may have a shirt of it as well as Michael himself? \\n \\n NORA [Who has taken up the stocking and counted the stitches, crying \\n out.] \\n \\n It's Michael, Cathleen, it's Michael; God spare his soul, and what will\"\n ],\n [\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"MAURYA There does be a power of young men floating round in the sea, and \\n what way would they know if it was Michael they had, or another man like \\n him, for when a man is nine days in the sea, and the wind blowing, it's\",\n \"There's some one after crying out by the seashore. \\n \\n MAURYA [Continues without hearing anything.] \\n \\n There was Sheamus and his father, and his own father again, were lost in\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"MAURYA [Turning round to the fire, and putting her shawl over her head.] \\n \\n Isn't it a hard and cruel man won't hear a word from an old woman, and \\n she holding him from the sea? \\n\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"MAURYA It's hard set we'll be surely the day you're drownd'd with the \\n rest. What way will I live and the girls with me, and I an old woman \\n looking for the grave? \\n\",\n \"me.... I'll have no call now to be up crying and praying when the wind \\n breaks from the south, and you can hear the surf is in the east, and the \\n surf is in the west, making a great stir with the two noises, and they\",\n \"MAURYA It's a hard thing they'll be saying below if the body is washed \\n up and there's no man in it to make the coffin, and I after giving a big \\n price for the finest white boards you'd find in Connemara. \\n\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\",\n \"MAURYA If it wasn't found itself, that wind is raising the sea, and \\n there was a star up against the moon, and it rising in the night. If it \\n was a hundred horses, or a thousand horses you had itself, what is the\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"MAURYA [Sitting down on a stool at the fire.] \\n \\n He won't go this day with the wind rising from the south and west. He \\n won't go this day, for the young priest will stop him surely. \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\"\n ],\n [\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"had been washed up on the far away coast of Donegal, and who, by reason \\n of certain peculiarities of dress, was suspected to be from the island. \\n In due course, he was recognised as a native of Inishmaan, in exactly\",\n \"a dark night, and not a stick or sign was seen of them when the sun went \\n up. There was Patch after was drowned out of a curagh that turned over. \\n I was sitting here with Bartley, and he a baby, lying on my two knees,\",\n \"CATHLEEN It's the life of a young man to be going on the sea, and who \\n would listen to an old woman with one thing and she saying it over? \\n \\n BARTLEY [Taking the halter.] \\n\",\n \"CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \\n shirt was heavy with the salt in it [pointing to the corner]. There's a \\n bit of a sleeve was of the same stuff. Give me that and it will do. \\n\",\n \"[Two younger women come in and pull out the table. Then men carry in the \\n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \\n it on the table.] \\n\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"Holy Water over him.] \\n \\n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \\n It isn't that I haven't said prayers in the dark night till you wouldn't\",\n \"Did you ask him would he stop Bartley going this day with the horses to \\n the Galway fair? \\n \\n NORA \\\"I won't stop him,\\\" says he, \\\"but let you not be afraid. Herself\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"herself say when she hears this story, and Bartley on the sea? \\n \\n CATHLEEN [Taking the stocking.] \\n \\n It's a plain stocking. \\n\",\n \"BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \\n \\n Where is the bit of new rope, Cathleen, was bought in Connemara? \\n \\n CATHLEEN [Coming down.] \\n\",\n \"NORA [Looking out.] She's passing the green head and letting fall her \\n sails. \\n \\n BARTLEY [Getting his purse and tobacco.] \\n\",\n \"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at all\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"By J. M. Synge \\n \\n \\n \\n \\n INTRODUCTION \\n \\n It must have been on Synge's second visit to the Aran Islands that he \\n had the experience out of which was wrought what many believe to be his\",\n \"CATHLEEN [Cutting the string.] \\n \\n It is surely. There was a man in here a while ago--the man sold us that \\n knife--and he said if you set off walking from the rocks beyond, it\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\"\n ],\n [\n \"had been washed up on the far away coast of Donegal, and who, by reason \\n of certain peculiarities of dress, was suspected to be from the island. \\n In due course, he was recognised as a native of Inishmaan, in exactly\",\n \"were lost in the great wind, and found after in the Bay of Gregory of \\n the Golden Mouth, and carried up the two of them on the one plank, and \\n in by that door. \\n \\n [She pauses for a moment, the girls start as if they heard something\",\n \"It's that number is in it [crying out.] Ah, Nora, isn't it a bitter \\n thing to think of him floating that way to the far north, and no one to \\n keen him but the black hags that do be flying on the sea? \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"[She looks round at the boards.] \\n \\n BARTLEY How would it be washed up, and we after looking each day for \\n nine days, and a strong wind blowing a while back from the west and \\n south? \\n\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at all\",\n \"NORA [Swinging herself round, and throwing out her arms on the clothes.] \\n \\n And isn't it a pitiful thing when there is nothing left of a man who \\n was a great rower and fisher, but a bit of an old shirt and a plain\",\n \"CATHLEEN [Cutting the string.] \\n \\n It is surely. There was a man in here a while ago--the man sold us that \\n knife--and he said if you set off walking from the rocks beyond, it\",\n \"[Two younger women come in and pull out the table. Then men carry in the \\n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \\n it on the table.] \\n\",\n \"a dark night, and not a stick or sign was seen of them when the sun went \\n up. There was Patch after was drowned out of a curagh that turned over. \\n I was sitting here with Bartley, and he a baby, lying on my two knees,\",\n \"it was a hard birth I had with every one of them and they coming to the \\n world--and some of them were found and some of them were not found, but \\n they're gone now the lot of them. . . There were Stephen, and Shawn,\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"If the west wind holds with the last bit of the moon let you and Nora \\n get up weed enough for another cock for the kelp. It's hard set we'll be \\n from this day with no one in it but one man to work. \\n\",\n \"the manner described in the play, and perhaps one of the most poignantly \\n vivid passages in Synge's book on \\\"The Aran Islands\\\" relates the \\n incident of his burial. \\n \\n The other element in the story which Synge introduces into the play is\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"CATHLEEN [To the women, as they are doing so.] \\n \\n What way was he drowned? \\n \\n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \\n washed out where there is a great surf on the white rocks.\",\n \"MAURYA There does be a power of young men floating round in the sea, and \\n what way would they know if it was Michael they had, or another man like \\n him, for when a man is nine days in the sea, and the wind blowing, it's\",\n \"In the big world the old people do be leaving things after them for \\n their sons and children, but in this place it is the young men do be \\n leaving things behind for them that do be old. \\n \\n [She goes out slowly. Nora goes over to the ladder.] \\n\"\n ],\n [\n \"MAURYA It's a hard thing they'll be saying below if the body is washed \\n up and there's no man in it to make the coffin, and I after giving a big \\n price for the finest white boards you'd find in Connemara. \\n\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"NORA He'll not stop him, mother, and I heard Eamon Simon and Stephen \\n Pheety and Colum Shawn saying he would go. \\n \\n MAURYA Where is he itself? \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"There's some one after crying out by the seashore. \\n \\n MAURYA [Continues without hearing anything.] \\n \\n There was Sheamus and his father, and his own father again, were lost in\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"MAURYA There does be a power of young men floating round in the sea, and \\n what way would they know if it was Michael they had, or another man like \\n him, for when a man is nine days in the sea, and the wind blowing, it's\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"had been washed up on the far away coast of Donegal, and who, by reason \\n of certain peculiarities of dress, was suspected to be from the island. \\n In due course, he was recognised as a native of Inishmaan, in exactly\",\n \"MAURYA [Sitting down on a stool at the fire.] \\n \\n He won't go this day with the wind rising from the south and west. He \\n won't go this day, for the young priest will stop him surely. \\n\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\",\n \"opens softly and old women begin to come in, crossing themselves on the \\n threshold, and kneeling down in front of the stage with red petticoats \\n over their heads.] \\n \\n MAURYA [Half in a dream, to Cathleen.] \\n\",\n \"First performed at the Molesworth Hall, Dublin, February 25th, 1904. \\n \\n \\n \\n \\n PERSONS \\n \\n MAURYA (an old woman)...... Honor Lavelle \\n\"\n ],\n [\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"a dark night, and not a stick or sign was seen of them when the sun went \\n up. There was Patch after was drowned out of a curagh that turned over. \\n I was sitting here with Bartley, and he a baby, lying on my two knees,\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"were lost in the great wind, and found after in the Bay of Gregory of \\n the Golden Mouth, and carried up the two of them on the one plank, and \\n in by that door. \\n \\n [She pauses for a moment, the girls start as if they heard something\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"through the door that is half open behind them.] \\n \\n NORA [In a whisper.] \\n \\n Did you hear that, Cathleen? Did you hear a noise in the north-east? \\n \\n CATHLEEN [In a whisper.] \\n\",\n \"CATHLEEN [To the women, as they are doing so.] \\n \\n What way was he drowned? \\n \\n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \\n washed out where there is a great surf on the white rocks.\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"[Two younger women come in and pull out the table. Then men carry in the \\n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \\n it on the table.] \\n\",\n \"for she'll be getting her death,\\\" says he, \\\"with crying and lamenting.\\\" \\n \\n [The door which Nora half closed is blown open by a gust of wind.] \\n \\n CATHLEEN [Looking out anxiously.] \\n\",\n \"had been washed up on the far away coast of Donegal, and who, by reason \\n of certain peculiarities of dress, was suspected to be from the island. \\n In due course, he was recognised as a native of Inishmaan, in exactly\",\n \"CATHLEEN [Cutting the string.] \\n \\n It is surely. There was a man in here a while ago--the man sold us that \\n knife--and he said if you set off walking from the rocks beyond, it\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"and I seen two women, and three women, and four women coming in, and \\n they crossing themselves, and not saying a word. I looked out then, and \\n there were men coming after them, and they holding a thing in the half\"\n ],\n [\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"MAURYA [Turning round to the fire, and putting her shawl over her head.] \\n \\n Isn't it a hard and cruel man won't hear a word from an old woman, and \\n she holding him from the sea? \\n\",\n \"Michael, and would any one have thought that? \\n \\n CATHLEEN [Slowly and clearly.] \\n \\n An old woman will be soon tired with anything she will do, and isn't it \\n nine days herself is after crying and keening, and making great sorrow\",\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"CATHLEEN [A little impatiently.] \\n \\n God forgive you; isn't it a better thing to raise your voice and tell \\n what you seen, than to be making lamentation for a thing that's done?\",\n \"CATHLEEN [To the women, as they are doing so.] \\n \\n What way was he drowned? \\n \\n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \\n washed out where there is a great surf on the white rocks.\",\n \"were lost in the great wind, and found after in the Bay of Gregory of \\n the Golden Mouth, and carried up the two of them on the one plank, and \\n in by that door. \\n \\n [She pauses for a moment, the girls start as if they heard something\",\n \"In the big world the old people do be leaving things after them for \\n their sons and children, but in this place it is the young men do be \\n leaving things behind for them that do be old. \\n \\n [She goes out slowly. Nora goes over to the ladder.] \\n\",\n \"CATHLEEN [Crying out.] \\n \\n The Son of God forgive us, Nora, we're after forgetting his bit of \\n bread. \\n \\n [She comes over to the fire.] \\n\",\n \"It's that number is in it [crying out.] Ah, Nora, isn't it a bitter \\n thing to think of him floating that way to the far north, and no one to \\n keen him but the black hags that do be flying on the sea? \\n\",\n \"for she'll be getting her death,\\\" says he, \\\"with crying and lamenting.\\\" \\n \\n [The door which Nora half closed is blown open by a gust of wind.] \\n \\n CATHLEEN [Looking out anxiously.] \\n\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"[They put them into a hole in the chimney corner. Cathleen goes back to \\n the spinning-wheel.] \\n \\n NORA Will she see it was crying I was? \\n\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"opens softly and old women begin to come in, crossing themselves on the \\n threshold, and kneeling down in front of the stage with red petticoats \\n over their heads.] \\n \\n MAURYA [Half in a dream, to Cathleen.] \\n\",\n \"hitting one on the other. I'll have no call now to be going down and \\n getting Holy Water in the dark nights after Samhain, and I won't care \\n what way the sea is when the other women will be keening. [To Nora]. Give\",\n \"and I seen two women, and three women, and four women coming in, and \\n they crossing themselves, and not saying a word. I looked out then, and \\n there were men coming after them, and they holding a thing in the half\",\n \"stool at the other side of the fire. The cloth with the bread is still \\n in her hand. The girls look at each other, and Nora points to the bundle \\n of bread.] \\n \\n CATHLEEN [After spinning for a moment.] \\n\"\n ],\n [\n \"equally true. Many tales of \\\"second sight\\\" are to be heard among Celtic \\n races. In fact, they are so common as to arouse little or no wonder in \\n the minds of the people. It is just such a tale, which there seems no\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\",\n \"CATHLEEN [Cutting the string.] \\n \\n It is surely. There was a man in here a while ago--the man sold us that \\n knife--and he said if you set off walking from the rocks beyond, it\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"CATHLEEN [To the women, as they are doing so.] \\n \\n What way was he drowned? \\n \\n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \\n washed out where there is a great surf on the white rocks.\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"a dark night, and not a stick or sign was seen of them when the sun went \\n up. There was Patch after was drowned out of a curagh that turned over. \\n I was sitting here with Bartley, and he a baby, lying on my two knees,\",\n \"were lost in the great wind, and found after in the Bay of Gregory of \\n the Golden Mouth, and carried up the two of them on the one plank, and \\n in by that door. \\n \\n [She pauses for a moment, the girls start as if they heard something\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"CATHLEEN [A little impatiently.] \\n \\n God forgive you; isn't it a better thing to raise your voice and tell \\n what you seen, than to be making lamentation for a thing that's done?\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"me.... I'll have no call now to be up crying and praying when the wind \\n breaks from the south, and you can hear the surf is in the east, and the \\n surf is in the west, making a great stir with the two noises, and they\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"Holy Water over him.] \\n \\n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \\n It isn't that I haven't said prayers in the dark night till you wouldn't\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"I must go now quickly. I'll ride down on the red mare, and the gray \\n pony'll run behind me. . . The blessing of God on you. \\n \\n [He goes out.] \\n\"\n ],\n [\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"MAURYA It's hard set we'll be surely the day you're drownd'd with the \\n rest. What way will I live and the girls with me, and I an old woman \\n looking for the grave? \\n\",\n \"and none but the lonely man in tragedy may be great. He dies, and then \\n it is the virtue in life of the women mothers and wives and sisters to \\n be great in their loneliness, great as Maurya, the stricken mother, is \\n great in her final word.\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"MAURYA [Turning round to the fire, and putting her shawl over her head.] \\n \\n Isn't it a hard and cruel man won't hear a word from an old woman, and \\n she holding him from the sea? \\n\",\n \"There's some one after crying out by the seashore. \\n \\n MAURYA [Continues without hearing anything.] \\n \\n There was Sheamus and his father, and his own father again, were lost in\",\n \"First performed at the Molesworth Hall, Dublin, February 25th, 1904. \\n \\n \\n \\n \\n PERSONS \\n \\n MAURYA (an old woman)...... Honor Lavelle \\n\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"opens softly and old women begin to come in, crossing themselves on the \\n threshold, and kneeling down in front of the stage with red petticoats \\n over their heads.] \\n \\n MAURYA [Half in a dream, to Cathleen.] \\n\",\n \"MAURYA It's a hard thing they'll be saying below if the body is washed \\n up and there's no man in it to make the coffin, and I after giving a big \\n price for the finest white boards you'd find in Connemara. \\n\",\n \"MAURYA [Looking up at Cathleen and speaking querulously.] \\n \\n Isn't it turf enough you have for this day and evening? \\n \\n CATHLEEN There's a cake baking at the fire for a short space. [Throwing\"\n ],\n [\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"MAURYA It's hard set we'll be surely the day you're drownd'd with the \\n rest. What way will I live and the girls with me, and I an old woman \\n looking for the grave? \\n\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"First performed at the Molesworth Hall, Dublin, February 25th, 1904. \\n \\n \\n \\n \\n PERSONS \\n \\n MAURYA (an old woman)...... Honor Lavelle \\n\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"There's some one after crying out by the seashore. \\n \\n MAURYA [Continues without hearing anything.] \\n \\n There was Sheamus and his father, and his own father again, were lost in\",\n \"MAURYA [Turning round to the fire, and putting her shawl over her head.] \\n \\n Isn't it a hard and cruel man won't hear a word from an old woman, and \\n she holding him from the sea? \\n\",\n \"MAURYA [Looking up at Cathleen and speaking querulously.] \\n \\n Isn't it turf enough you have for this day and evening? \\n \\n CATHLEEN There's a cake baking at the fire for a short space. [Throwing\",\n \"MAURYA [Sitting down on a stool at the fire.] \\n \\n He won't go this day with the wind rising from the south and west. He \\n won't go this day, for the young priest will stop him surely. \\n\",\n \"MAURYA There does be a power of young men floating round in the sea, and \\n what way would they know if it was Michael they had, or another man like \\n him, for when a man is nine days in the sea, and the wind blowing, it's\"\n ],\n [\n \"CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \\n shirt was heavy with the salt in it [pointing to the corner]. There's a \\n bit of a sleeve was of the same stuff. Give me that and it will do. \\n\",\n \"[Two younger women come in and pull out the table. Then men carry in the \\n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \\n it on the table.] \\n\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"rye, and if the jobber comes you can sell the pig with the black feet if \\n there is a good price going. \\n \\n MAURYA How would the like of her get a good price for a pig? \\n \\n BARTLEY [To Cathleen]\",\n \"Did you ask him would he stop Bartley going this day with the horses to \\n the Galway fair? \\n \\n NORA \\\"I won't stop him,\\\" says he, \\\"but let you not be afraid. Herself\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"NORA [Looking out.] She's passing the green head and letting fall her \\n sails. \\n \\n BARTLEY [Getting his purse and tobacco.] \\n\",\n \"CATHLEEN It's the life of a young man to be going on the sea, and who \\n would listen to an old woman with one thing and she saying it over? \\n \\n BARTLEY [Taking the halter.] \\n\",\n \"[Bartley lays down the halter, takes off his old coat, and puts on a \\n newer one of the same flannel.] \\n \\n BARTLEY [To Nora.] \\n \\n Is she coming to the pier? \\n\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \\n \\n Where is the bit of new rope, Cathleen, was bought in Connemara? \\n \\n CATHLEEN [Coming down.] \\n\",\n \"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at all\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"herself say when she hears this story, and Bartley on the sea? \\n \\n CATHLEEN [Taking the stocking.] \\n \\n It's a plain stocking. \\n\",\n \"Holy Water over him.] \\n \\n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \\n It isn't that I haven't said prayers in the dark night till you wouldn't\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"down the turf] and Bartley will want it when the tide turns if he goes \\n to Connemara. \\n \\n [Nora picks up the turf and puts it round the pot-oven.] \\n\"\n ],\n [\n \"for she'll be getting her death,\\\" says he, \\\"with crying and lamenting.\\\" \\n \\n [The door which Nora half closed is blown open by a gust of wind.] \\n \\n CATHLEEN [Looking out anxiously.] \\n\",\n \"CATHLEEN [Looking out.] \\n \\n She's gone now. Throw it down quickly, for the Lord knows when she'll be \\n out of it again. \\n \\n NORA [Getting the bundle from the loft.] \\n\",\n \"CATHLEEN She's lying down, God help her, and may be sleeping, if she's \\n able. \\n \\n [Nora comes in softly, and takes a bundle from under her shawl.] \\n\",\n \"CATHLEEN AND NORA UAH. \\n \\n [They crouch down in front of the old woman at the fire.] \\n \\n NORA Tell us what it is you seen. \\n\",\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"passing the black cliffs of the north.\\\" \\n \\n CATHLEEN [Trying to open the bundle.] \\n \\n Give me a knife, Nora, the string's perished with the salt water, and\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"CATHLEEN [Spinning the wheel rapidly.] \\n \\n What is it you have? \\n \\n NORA The young priest is after bringing them. It's a shirt and a plain \\n stocking were got off a drowned man in Donegal. \\n\",\n \"stool at the other side of the fire. The cloth with the bread is still \\n in her hand. The girls look at each other, and Nora points to the bundle \\n of bread.] \\n \\n CATHLEEN [After spinning for a moment.] \\n\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"through the door that is half open behind them.] \\n \\n NORA [In a whisper.] \\n \\n Did you hear that, Cathleen? Did you hear a noise in the north-east? \\n \\n CATHLEEN [In a whisper.] \\n\",\n \"CATHLEEN [Begins to keen.] \\n \\n It's destroyed we are from this day. It's destroyed, surely. \\n \\n NORA Didn't the young priest say the Almighty God wouldn't leave her\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"CATHLEEN [Crying out.] \\n \\n The Son of God forgive us, Nora, we're after forgetting his bit of \\n bread. \\n \\n [She comes over to the fire.] \\n\",\n \"[Cathleen stops her wheel with a sudden movement, and leans out to \\n listen.] \\n \\n NORA We're to find out if it's Michael's they are, some time herself \\n will be down looking by the sea. \\n\",\n \"Give her the stick, Nora, or maybe she'll slip on the big stones. \\n \\n NORA What stick? \\n \\n CATHLEEN The stick Michael brought from Connemara. \\n \\n MAURYA [Taking a stick Nora gives her.]\",\n \"The young priest said he'd be passing to-morrow, and we might go down \\n and speak to him below if it's Michael's they are surely. \\n \\n CATHLEEN [Taking the bundle.] \\n \\n Did he say what way they were found?\",\n \"NORA And it's destroyed he'll be going till dark night, and he after \\n eating nothing since the sun went up. \\n \\n CATHLEEN [Turning the cake out of the oven.] \\n\",\n \"CATHLEEN Keep your back to the door the way the light'll not be on you. \\n \\n [Nora sits down at the chimney corner, with her back to the door. Maurya \\n comes in very slowly, without looking at the girls, and goes over to her\",\n \"[They put them into a hole in the chimney corner. Cathleen goes back to \\n the spinning-wheel.] \\n \\n NORA Will she see it was crying I was? \\n\"\n ],\n [\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"[Two younger women come in and pull out the table. Then men carry in the \\n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \\n it on the table.] \\n\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \\n shirt was heavy with the salt in it [pointing to the corner]. There's a \\n bit of a sleeve was of the same stuff. Give me that and it will do. \\n\",\n \"a dark night, and not a stick or sign was seen of them when the sun went \\n up. There was Patch after was drowned out of a curagh that turned over. \\n I was sitting here with Bartley, and he a baby, lying on my two knees,\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at all\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"Holy Water over him.] \\n \\n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \\n It isn't that I haven't said prayers in the dark night till you wouldn't\",\n \"Did you ask him would he stop Bartley going this day with the horses to \\n the Galway fair? \\n \\n NORA \\\"I won't stop him,\\\" says he, \\\"but let you not be afraid. Herself\",\n \"CATHLEEN It's the life of a young man to be going on the sea, and who \\n would listen to an old woman with one thing and she saying it over? \\n \\n BARTLEY [Taking the halter.] \\n\",\n \"God have mercy on Bartley's soul, and on Michael's soul, and on the \\n souls of Sheamus and Patch, and Stephen and Shawn (bending her head]); \\n and may He have mercy on my soul, Nora, and on the soul of every one is\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \" BARTLEY (her son).......... W. G. Fay \\n \\n CATHLEEN (her daughter).... Sarah Allgood \\n \\n NORA (a younger daughter).. Emma Vernon \\n\",\n \"BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \\n \\n Where is the bit of new rope, Cathleen, was bought in Connemara? \\n \\n CATHLEEN [Coming down.] \\n\",\n \"herself say when she hears this story, and Bartley on the sea? \\n \\n CATHLEEN [Taking the stocking.] \\n \\n It's a plain stocking. \\n\"\n ],\n [\n \"long nights after Samhain, if it's only a bit of wet flour we do have to \\n eat, and maybe a fish that would be stinking. \\n \\n [She kneels down again, crossing herself, and saying prayers under her \\n breath.] \\n\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"hitting one on the other. I'll have no call now to be going down and \\n getting Holy Water in the dark nights after Samhain, and I won't care \\n what way the sea is when the other women will be keening. [To Nora]. Give\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"a dark night, and not a stick or sign was seen of them when the sun went \\n up. There was Patch after was drowned out of a curagh that turned over. \\n I was sitting here with Bartley, and he a baby, lying on my two knees,\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"There's some one after crying out by the seashore. \\n \\n MAURYA [Continues without hearing anything.] \\n \\n There was Sheamus and his father, and his own father again, were lost in\",\n \"MAURYA [Looking up at Cathleen and speaking querulously.] \\n \\n Isn't it turf enough you have for this day and evening? \\n \\n CATHLEEN There's a cake baking at the fire for a short space. [Throwing\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"opens softly and old women begin to come in, crossing themselves on the \\n threshold, and kneeling down in front of the stage with red petticoats \\n over their heads.] \\n \\n MAURYA [Half in a dream, to Cathleen.] \\n\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\"\n ],\n [\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"Holy Water over him.] \\n \\n It isn't that I haven't prayed for you, Bartley, to the Almighty God. \\n It isn't that I haven't said prayers in the dark night till you wouldn't\",\n \"opens softly and old women begin to come in, crossing themselves on the \\n threshold, and kneeling down in front of the stage with red petticoats \\n over their heads.] \\n \\n MAURYA [Half in a dream, to Cathleen.] \\n\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"MAURYA [Turning round to the fire, and putting her shawl over her head.] \\n \\n Isn't it a hard and cruel man won't hear a word from an old woman, and \\n she holding him from the sea? \\n\",\n \"MAURYA It's a hard thing they'll be saying below if the body is washed \\n up and there's no man in it to make the coffin, and I after giving a big \\n price for the finest white boards you'd find in Connemara. \\n\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"MAURYA [Sitting down on a stool at the fire.] \\n \\n He won't go this day with the wind rising from the south and west. He \\n won't go this day, for the young priest will stop him surely. \\n\"\n ],\n [\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"MAURYA [Looking up at Cathleen and speaking querulously.] \\n \\n Isn't it turf enough you have for this day and evening? \\n \\n CATHLEEN There's a cake baking at the fire for a short space. [Throwing\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"rye, and if the jobber comes you can sell the pig with the black feet if \\n there is a good price going. \\n \\n MAURYA How would the like of her get a good price for a pig? \\n \\n BARTLEY [To Cathleen]\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"NORA He'll not stop him, mother, and I heard Eamon Simon and Stephen \\n Pheety and Colum Shawn saying he would go. \\n \\n MAURYA Where is he itself? \\n\",\n \"There's some one after crying out by the seashore. \\n \\n MAURYA [Continues without hearing anything.] \\n \\n There was Sheamus and his father, and his own father again, were lost in\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"Did you ask him would he stop Bartley going this day with the horses to \\n the Galway fair? \\n \\n NORA \\\"I won't stop him,\\\" says he, \\\"but let you not be afraid. Herself\"\n ],\n [\n \"had been washed up on the far away coast of Donegal, and who, by reason \\n of certain peculiarities of dress, was suspected to be from the island. \\n In due course, he was recognised as a native of Inishmaan, in exactly\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at all\",\n \"MAURYA There does be a power of young men floating round in the sea, and \\n what way would they know if it was Michael they had, or another man like \\n him, for when a man is nine days in the sea, and the wind blowing, it's\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"CATHLEEN [To the women, as they are doing so.] \\n \\n What way was he drowned? \\n \\n ONE OF THE WOMEN The gray pony knocked him into the sea, and he was \\n washed out where there is a great surf on the white rocks.\",\n \"The young priest said he'd be passing to-morrow, and we might go down \\n and speak to him below if it's Michael's they are surely. \\n \\n CATHLEEN [Taking the bundle.] \\n \\n Did he say what way they were found?\",\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"Is it Patch, or Michael, or what is it at all? \\n \\n CATHLEEN Michael is after being found in the far north, and when he is \\n found there how could he be here in this place? \\n\",\n \"God on you,\\\" says he, and I could say nothing. I looked up then, and \\n I crying, at the gray pony, and there was Michael upon it--with fine \\n clothes on him, and new shoes on his feet. \\n\",\n \"It's that number is in it [crying out.] Ah, Nora, isn't it a bitter \\n thing to think of him floating that way to the far north, and no one to \\n keen him but the black hags that do be flying on the sea? \\n\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"There's some one after crying out by the seashore. \\n \\n MAURYA [Continues without hearing anything.] \\n \\n There was Sheamus and his father, and his own father again, were lost in\",\n \"[Two younger women come in and pull out the table. Then men carry in the \\n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \\n it on the table.] \\n\",\n \"hard set his own mother would be to say what man was it. \\n \\n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \\n of his clothes from the far north. \\n\",\n \"[Cathleen stops her wheel with a sudden movement, and leans out to \\n listen.] \\n \\n NORA We're to find out if it's Michael's they are, some time herself \\n will be down looking by the sea. \\n\",\n \"Michael, and would any one have thought that? \\n \\n CATHLEEN [Slowly and clearly.] \\n \\n An old woman will be soon tired with anything she will do, and isn't it \\n nine days herself is after crying and keening, and making great sorrow\",\n \"a dark night, and not a stick or sign was seen of them when the sun went \\n up. There was Patch after was drowned out of a curagh that turned over. \\n I was sitting here with Bartley, and he a baby, lying on my two knees,\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\"\n ],\n [\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"MAURYA It's hard set we'll be surely the day you're drownd'd with the \\n rest. What way will I live and the girls with me, and I an old woman \\n looking for the grave? \\n\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"MAURYA [Sitting down on a stool at the fire.] \\n \\n He won't go this day with the wind rising from the south and west. He \\n won't go this day, for the young priest will stop him surely. \\n\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"MAURYA If it wasn't found itself, that wind is raising the sea, and \\n there was a star up against the moon, and it rising in the night. If it \\n was a hundred horses, or a thousand horses you had itself, what is the\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"MAURYA [Looking up at Cathleen and speaking querulously.] \\n \\n Isn't it turf enough you have for this day and evening? \\n \\n CATHLEEN There's a cake baking at the fire for a short space. [Throwing\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"MAURYA [Turning round to the fire, and putting her shawl over her head.] \\n \\n Isn't it a hard and cruel man won't hear a word from an old woman, and \\n she holding him from the sea? \\n\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"MAURYA It's a hard thing they'll be saying below if the body is washed \\n up and there's no man in it to make the coffin, and I after giving a big \\n price for the finest white boards you'd find in Connemara. \\n\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\"\n ],\n [\n \"down the turf] and Bartley will want it when the tide turns if he goes \\n to Connemara. \\n \\n [Nora picks up the turf and puts it round the pot-oven.] \\n\",\n \"BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \\n \\n Where is the bit of new rope, Cathleen, was bought in Connemara? \\n \\n CATHLEEN [Coming down.] \\n\",\n \"Did you ask him would he stop Bartley going this day with the horses to \\n the Galway fair? \\n \\n NORA \\\"I won't stop him,\\\" says he, \\\"but let you not be afraid. Herself\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"CATHLEEN It's the life of a young man to be going on the sea, and who \\n would listen to an old woman with one thing and she saying it over? \\n \\n BARTLEY [Taking the halter.] \\n\",\n \"CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \\n shirt was heavy with the salt in it [pointing to the corner]. There's a \\n bit of a sleeve was of the same stuff. Give me that and it will do. \\n\",\n \"rye, and if the jobber comes you can sell the pig with the black feet if \\n there is a good price going. \\n \\n MAURYA How would the like of her get a good price for a pig? \\n \\n BARTLEY [To Cathleen]\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"NORA [Looking out.] She's passing the green head and letting fall her \\n sails. \\n \\n BARTLEY [Getting his purse and tobacco.] \\n\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"[Bartley lays down the halter, takes off his old coat, and puts on a \\n newer one of the same flannel.] \\n \\n BARTLEY [To Nora.] \\n \\n Is she coming to the pier? \\n\",\n \"She is, Cathleen. She's coming up to the door. \\n \\n CATHLEEN Put these things away before she'll come in. Maybe it's easier \\n she'll be after giving her blessing to Bartley, and we won't let on\",\n \"herself say when she hears this story, and Bartley on the sea? \\n \\n CATHLEEN [Taking the stocking.] \\n \\n It's a plain stocking. \\n\",\n \"a dark night, and not a stick or sign was seen of them when the sun went \\n up. There was Patch after was drowned out of a curagh that turned over. \\n I was sitting here with Bartley, and he a baby, lying on my two knees,\",\n \"[Two younger women come in and pull out the table. Then men carry in the \\n body of Bartley, laid on a plank, with a bit of a sail over it, and lay \\n it on the table.] \\n\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"price of a thousand horses against a son where there is one son only? \\n \\n BARTLEY [Working at the halter, to Cathleen.] \\n \\n Let you go down each day, and see the sheep aren't jumping in on the\",\n \"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at all\",\n \"MAURYA It's a hard thing they'll be saying below if the body is washed \\n up and there's no man in it to make the coffin, and I after giving a big \\n price for the finest white boards you'd find in Connemara. \\n\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\"\n ],\n [\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"CATHLEEN I'm thinking Bartley put it on him in the morning, for his own \\n shirt was heavy with the salt in it [pointing to the corner]. There's a \\n bit of a sleeve was of the same stuff. Give me that and it will do. \\n\",\n \"CATHLEEN It's the life of a young man to be going on the sea, and who \\n would listen to an old woman with one thing and she saying it over? \\n \\n BARTLEY [Taking the halter.] \\n\",\n \" BARTLEY (her son).......... W. G. Fay \\n \\n CATHLEEN (her daughter).... Sarah Allgood \\n \\n NORA (a younger daughter).. Emma Vernon \\n\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"Did you ask him would he stop Bartley going this day with the horses to \\n the Galway fair? \\n \\n NORA \\\"I won't stop him,\\\" says he, \\\"but let you not be afraid. Herself\",\n \"MAURYA [Looking up at Cathleen and speaking querulously.] \\n \\n Isn't it turf enough you have for this day and evening? \\n \\n CATHLEEN There's a cake baking at the fire for a short space. [Throwing\",\n \"She is, Cathleen. She's coming up to the door. \\n \\n CATHLEEN Put these things away before she'll come in. Maybe it's easier \\n she'll be after giving her blessing to Bartley, and we won't let on\",\n \"rye, and if the jobber comes you can sell the pig with the black feet if \\n there is a good price going. \\n \\n MAURYA How would the like of her get a good price for a pig? \\n \\n BARTLEY [To Cathleen]\",\n \"BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.] \\n \\n Where is the bit of new rope, Cathleen, was bought in Connemara? \\n \\n CATHLEEN [Coming down.] \\n\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"First performed at the Molesworth Hall, Dublin, February 25th, 1904. \\n \\n \\n \\n \\n PERSONS \\n \\n MAURYA (an old woman)...... Honor Lavelle \\n\"\n ],\n [\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"MAURYA There does be a power of young men floating round in the sea, and \\n what way would they know if it was Michael they had, or another man like \\n him, for when a man is nine days in the sea, and the wind blowing, it's\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"First performed at the Molesworth Hall, Dublin, February 25th, 1904. \\n \\n \\n \\n \\n PERSONS \\n \\n MAURYA (an old woman)...... Honor Lavelle \\n\",\n \"MAURYA [Looking up at Cathleen and speaking querulously.] \\n \\n Isn't it turf enough you have for this day and evening? \\n \\n CATHLEEN There's a cake baking at the fire for a short space. [Throwing\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"Is it Patch, or Michael, or what is it at all? \\n \\n CATHLEEN Michael is after being found in the far north, and when he is \\n found there how could he be here in this place? \\n\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"hard set his own mother would be to say what man was it. \\n \\n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \\n of his clothes from the far north. \\n\",\n \"God on you,\\\" says he, and I could say nothing. I looked up then, and \\n I crying, at the gray pony, and there was Michael upon it--with fine \\n clothes on him, and new shoes on his feet. \\n\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"There's some one after crying out by the seashore. \\n \\n MAURYA [Continues without hearing anything.] \\n \\n There was Sheamus and his father, and his own father again, were lost in\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\"\n ],\n [\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"[Cathleen stops her wheel with a sudden movement, and leans out to \\n listen.] \\n \\n NORA We're to find out if it's Michael's they are, some time herself \\n will be down looking by the sea. \\n\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"Give her the stick, Nora, or maybe she'll slip on the big stones. \\n \\n NORA What stick? \\n \\n CATHLEEN The stick Michael brought from Connemara. \\n \\n MAURYA [Taking a stick Nora gives her.]\",\n \"CATHLEEN How would they be Michael's, Nora. How would he go the length \\n of that way to the far north? \\n \\n NORA The young priest says he's known the like of it. \\\"If it's Michael's\",\n \"through the door that is half open behind them.] \\n \\n NORA [In a whisper.] \\n \\n Did you hear that, Cathleen? Did you hear a noise in the north-east? \\n \\n CATHLEEN [In a whisper.] \\n\",\n \"may have a shirt of it as well as Michael himself? \\n \\n NORA [Who has taken up the stocking and counted the stitches, crying \\n out.] \\n \\n It's Michael, Cathleen, it's Michael; God spare his soul, and what will\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"NORA [Looking out.] She's passing the green head and letting fall her \\n sails. \\n \\n BARTLEY [Getting his purse and tobacco.] \\n\",\n \"for she'll be getting her death,\\\" says he, \\\"with crying and lamenting.\\\" \\n \\n [The door which Nora half closed is blown open by a gust of wind.] \\n \\n CATHLEEN [Looking out anxiously.] \\n\",\n \"CATHLEEN [Looking out.] \\n \\n She's gone now. Throw it down quickly, for the Lord knows when she'll be \\n out of it again. \\n \\n NORA [Getting the bundle from the loft.] \\n\",\n \"It's a long time we'll be, and the two of us crying. \\n \\n NORA [Goes to the inner door and listens.] \\n \\n She's moving about on the bed. She'll be coming in a minute. \\n\",\n \"spin at the wheel. NORA, a young girl, puts her head in at the door.) \\n \\n \\n NORA [In a low voice.] \\n \\n Where is she? \\n\",\n \"In the big world the old people do be leaving things after them for \\n their sons and children, but in this place it is the young men do be \\n leaving things behind for them that do be old. \\n \\n [She goes out slowly. Nora goes over to the ladder.] \\n\",\n \"hard set his own mother would be to say what man was it. \\n \\n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \\n of his clothes from the far north. \\n\",\n \"CATHLEEN She's lying down, God help her, and may be sleeping, if she's \\n able. \\n \\n [Nora comes in softly, and takes a bundle from under her shawl.] \\n\",\n \"Give it to him, Nora; it's on a nail by the white boards. I hung it up \\n this morning, for the pig with the black feet was eating it. \\n \\n NORA [Giving him a rope.] \\n \\n Is that it, Bartley?\",\n \"CATHLEEN [Begins to keen.] \\n \\n It's destroyed we are from this day. It's destroyed, surely. \\n \\n NORA Didn't the young priest say the Almighty God wouldn't leave her\",\n \"NORA [Swinging herself round, and throwing out her arms on the clothes.] \\n \\n And isn't it a pitiful thing when there is nothing left of a man who \\n was a great rower and fisher, but a bit of an old shirt and a plain\"\n ],\n [\n \"for she'll be getting her death,\\\" says he, \\\"with crying and lamenting.\\\" \\n \\n [The door which Nora half closed is blown open by a gust of wind.] \\n \\n CATHLEEN [Looking out anxiously.] \\n\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"CATHLEEN [Looking out.] \\n \\n She's gone now. Throw it down quickly, for the Lord knows when she'll be \\n out of it again. \\n \\n NORA [Getting the bundle from the loft.] \\n\",\n \"[Cathleen stops her wheel with a sudden movement, and leans out to \\n listen.] \\n \\n NORA We're to find out if it's Michael's they are, some time herself \\n will be down looking by the sea. \\n\",\n \"CATHLEEN AND NORA UAH. \\n \\n [They crouch down in front of the old woman at the fire.] \\n \\n NORA Tell us what it is you seen. \\n\",\n \"stool at the other side of the fire. The cloth with the bread is still \\n in her hand. The girls look at each other, and Nora points to the bundle \\n of bread.] \\n \\n CATHLEEN [After spinning for a moment.] \\n\",\n \"CATHLEEN She's lying down, God help her, and may be sleeping, if she's \\n able. \\n \\n [Nora comes in softly, and takes a bundle from under her shawl.] \\n\",\n \"CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry, \\n God help her, you wouldn't know the thing she'd do. \\n \\n NORA Is she gone round by the bush? \\n\",\n \"through the door that is half open behind them.] \\n \\n NORA [In a whisper.] \\n \\n Did you hear that, Cathleen? Did you hear a noise in the north-east? \\n \\n CATHLEEN [In a whisper.] \\n\",\n \"CATHLEEN [Crying out.] \\n \\n The Son of God forgive us, Nora, we're after forgetting his bit of \\n bread. \\n \\n [She comes over to the fire.] \\n\",\n \"CATHLEEN [Begins to keen.] \\n \\n It's destroyed we are from this day. It's destroyed, surely. \\n \\n NORA Didn't the young priest say the Almighty God wouldn't leave her\",\n \"CATHLEEN Keep your back to the door the way the light'll not be on you. \\n \\n [Nora sits down at the chimney corner, with her back to the door. Maurya \\n comes in very slowly, without looking at the girls, and goes over to her\",\n \"She is, Cathleen. She's coming up to the door. \\n \\n CATHLEEN Put these things away before she'll come in. Maybe it's easier \\n she'll be after giving her blessing to Bartley, and we won't let on\",\n \"Give her the stick, Nora, or maybe she'll slip on the big stones. \\n \\n NORA What stick? \\n \\n CATHLEEN The stick Michael brought from Connemara. \\n \\n MAURYA [Taking a stick Nora gives her.]\",\n \"NORA And it's destroyed he'll be going till dark night, and he after \\n eating nothing since the sun went up. \\n \\n CATHLEEN [Turning the cake out of the oven.] \\n\",\n \"passing the black cliffs of the north.\\\" \\n \\n CATHLEEN [Trying to open the bundle.] \\n \\n Give me a knife, Nora, the string's perished with the salt water, and\",\n \"CATHLEEN [In a low voice.] \\n \\n The Lord spare us, Nora! isn't it a queer hard thing to say if it's his \\n they are surely? \\n\",\n \"does be saying prayers half through the night, and the Almighty God \\n won't leave her destitute,\\\" says he, \\\"with no son living.\\\" \\n \\n CATHLEEN Is the sea bad by the white rocks, Nora? \\n\",\n \"[They put them into a hole in the chimney corner. Cathleen goes back to \\n the spinning-wheel.] \\n \\n NORA Will she see it was crying I was? \\n\"\n ],\n [\n \"[Cathleen stops her wheel with a sudden movement, and leans out to \\n listen.] \\n \\n NORA We're to find out if it's Michael's they are, some time herself \\n will be down looking by the sea. \\n\",\n \"NORA [In a whisper to Cathleen.] \\n \\n She's quiet now and easy; but the day Michael was drowned you could \\n hear her crying out from this to the spring well. It's fonder she was of\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"The young priest said he'd be passing to-morrow, and we might go down \\n and speak to him below if it's Michael's they are surely. \\n \\n CATHLEEN [Taking the bundle.] \\n \\n Did he say what way they were found?\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"for she'll be getting her death,\\\" says he, \\\"with crying and lamenting.\\\" \\n \\n [The door which Nora half closed is blown open by a gust of wind.] \\n \\n CATHLEEN [Looking out anxiously.] \\n\",\n \"hard set his own mother would be to say what man was it. \\n \\n CATHLEEN It's Michael, God spare him, for they're after sending us a bit \\n of his clothes from the far north. \\n\",\n \"Michael, and would any one have thought that? \\n \\n CATHLEEN [Slowly and clearly.] \\n \\n An old woman will be soon tired with anything she will do, and isn't it \\n nine days herself is after crying and keening, and making great sorrow\",\n \"CATHLEEN [Begins to keen.] \\n \\n It's destroyed we are from this day. It's destroyed, surely. \\n \\n NORA Didn't the young priest say the Almighty God wouldn't leave her\",\n \"CATHLEEN How would they be Michael's, Nora. How would he go the length \\n of that way to the far north? \\n \\n NORA The young priest says he's known the like of it. \\\"If it's Michael's\",\n \"may have a shirt of it as well as Michael himself? \\n \\n NORA [Who has taken up the stocking and counted the stitches, crying \\n out.] \\n \\n It's Michael, Cathleen, it's Michael; God spare his soul, and what will\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"through the door that is half open behind them.] \\n \\n NORA [In a whisper.] \\n \\n Did you hear that, Cathleen? Did you hear a noise in the north-east? \\n \\n CATHLEEN [In a whisper.] \\n\",\n \"of it and leaving a track by the big stones. \\n \\n CATHLEEN [In a whisper to the women who have come in.] \\n \\n Is it Bartley it is? \\n \\n ONE OF THE WOMEN It is surely, God rest his soul. \\n\",\n \"CATHLEEN I hear some one passing the big stones. \\n \\n NORA [Looking out.] \\n \\n He's coming now, and he's in a hurry. \\n\",\n \"CATHLEEN [Looking out.] \\n \\n She's gone now. Throw it down quickly, for the Lord knows when she'll be \\n out of it again. \\n \\n NORA [Getting the bundle from the loft.] \\n\",\n \"CATHLEEN [Crying out.] \\n \\n The Son of God forgive us, Nora, we're after forgetting his bit of \\n bread. \\n \\n [She comes over to the fire.] \\n\",\n \"CATHLEEN Keep your back to the door the way the light'll not be on you. \\n \\n [Nora sits down at the chimney corner, with her back to the door. Maurya \\n comes in very slowly, without looking at the girls, and goes over to her\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"CATHLEEN She's lying down, God help her, and may be sleeping, if she's \\n able. \\n \\n [Nora comes in softly, and takes a bundle from under her shawl.] \\n\"\n ],\n [\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at all\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"God have mercy on Bartley's soul, and on Michael's soul, and on the \\n souls of Sheamus and Patch, and Stephen and Shawn (bending her head]); \\n and may He have mercy on my soul, Nora, and on the soul of every one is\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"The young priest said he'd be passing to-morrow, and we might go down \\n and speak to him below if it's Michael's they are surely. \\n \\n CATHLEEN [Taking the bundle.] \\n \\n Did he say what way they were found?\",\n \"Did you ask him would he stop Bartley going this day with the horses to \\n the Galway fair? \\n \\n NORA \\\"I won't stop him,\\\" says he, \\\"but let you not be afraid. Herself\"\n ],\n [\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\",\n \"What is it ails you, at all? \\n \\n MAURYA [Speaking very slowly.] \\n \\n I've seen the fearfulest thing any person has seen, since the day Bride \\n Dara seen the dead man with the child in his arms. \\n\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"opens softly and old women begin to come in, crossing themselves on the \\n threshold, and kneeling down in front of the stage with red petticoats \\n over their heads.] \\n \\n MAURYA [Half in a dream, to Cathleen.] \\n\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"MAURYA [Looking up at Cathleen and speaking querulously.] \\n \\n Isn't it turf enough you have for this day and evening? \\n \\n CATHLEEN There's a cake baking at the fire for a short space. [Throwing\",\n \"left living in the world. \\n \\n [She pauses, and the keen rises a little more loudly from the women, \\n then sinks away.] \\n \\n MAURYA [Continuing.] \\n\",\n \"You'll see him then and the dark word will be broken, and you can say \\n \\\"God speed you,\\\" the way he'll be easy in his mind. \\n \\n MAURYA [Taking the bread.] \\n \\n Will I be in it as soon as himself?\"\n ],\n [\n \"Did you see Bartley, I'm saying to you? \\n \\n MAURYA [With a weak voice.] \\n \\n My heart's broken from this day. \\n \\n CATHLEEN [As before.] \\n \\n Did you see Bartley? \\n\",\n \"You did not, mother; it wasn't Michael you seen, for his body is after \\n being found in the far north, and he's got a clean burial by the grace \\n of God. \\n \\n MAURYA [A little defiantly.] \\n\",\n \"CATHLEEN It's getting old she is, and broken. \\n \\n [Maurya stands up again very slowly and spreads out the pieces of \\n Michael's clothes beside the body, sprinkling them with the last of the \\n Holy Water.] \\n\",\n \"MAURYA [Crying out as he is in the door.] \\n \\n He's gone now, God spare us, and we'll not see him again. He's gone \\n now, and when the black night is falling I'll have no son left me in the\",\n \"\\\"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at\",\n \"Michael has a clean burial in the far north, by the grace of the \\n Almighty God. Bartley will have a fine coffin out of the white boards, \\n and a deep grave surely. What more can we want than that? No man at all\",\n \"MAURYA [Raising her head and speaking as if she did not see the people \\n around her.] \\n \\n They're all gone now, and there isn't anything more the sea can do to\",\n \"in the house? \\n \\n MAURYA [Puts the empty cup mouth downwards on the table, and lays her \\n hands together on Bartley's feet.] \\n \\n They're all together this time, and the end is come. May the Almighty\",\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"MAURYA I seen the fearfulest thing. \\n \\n CATHLEEN [Leaves her wheel and looks out.] \\n \\n God forgive you; he's riding the mare now over the green head, and the \\n gray pony behind him. \\n\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"God have mercy on Bartley's soul, and on Michael's soul, and on the \\n souls of Sheamus and Patch, and Stephen and Shawn (bending her head]); \\n and may He have mercy on my soul, Nora, and on the soul of every one is\",\n \"destitute with no son living? \\n \\n MAURYA [In a low voice, but clearly.] \\n \\n It's little the like of him knows of the sea. . . . Bartley will be\",\n \"MAURYA You'd do right to leave that rope, Bartley, hanging by the boards \\n [Bartley takes the rope]. It will be wanting in this place, I'm telling \\n you, if Michael is washed up to-morrow morning, or the next morning,\",\n \"MAURYA I went down to the spring well, and I stood there saying a prayer \\n to myself. Then Bartley came along, and he riding on the red mare with \\n the gray pony behind him [she puts up her hands, as if to hide something\",\n \"MAURYA It's a hard thing they'll be saying below if the body is washed \\n up and there's no man in it to make the coffin, and I after giving a big \\n price for the finest white boards you'd find in Connemara. \\n\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"I'm after seeing him this day, and he riding and galloping. Bartley came \\n first on the red mare; and I tried to say \\\"God speed you,\\\" but something \\n choked the words in my throat. He went by quickly; and \\\"the blessing of\",\n \"You didn't give him his bit of bread? \\n \\n [Maurya begins to keen softly, without turning round.] \\n \\n CATHLEEN Did you see him riding down? \\n \\n [Maurya goes on keening.] \\n\"\n ],\n [\n \"me the Holy Water, Nora, there's a small sup still on the dresser. \\n \\n [Nora gives it to her.] \\n \\n MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\",\n \"[She reaches out and hands Maurya the clothes that belonged to Michael. \\n Maurya stands up slowly, and takes them into her hands. NORA looks out.] \\n \\n NORA They're carrying a thing among them and there's water dripping out\",\n \"Give her the stick, Nora, or maybe she'll slip on the big stones. \\n \\n NORA What stick? \\n \\n CATHLEEN The stick Michael brought from Connemara. \\n \\n MAURYA [Taking a stick Nora gives her.]\",\n \"his ear? \\n \\n [Maurya takes up the tongs and begins raking the fire aimlessly without \\n looking round.] \\n \\n NORA [Turning towards her.] \\n \\n You're taking away the turf from the cake. \\n\",\n \"CATHLEEN Keep your back to the door the way the light'll not be on you. \\n \\n [Nora sits down at the chimney corner, with her back to the door. Maurya \\n comes in very slowly, without looking at the girls, and goes over to her\",\n \"In the big world the old people do be leaving things after them for \\n their sons and children, but in this place it is the young men do be \\n leaving things behind for them that do be old. \\n \\n [She goes out slowly. Nora goes over to the ladder.] \\n\",\n \"It's a long time we'll be, and the two of us crying. \\n \\n NORA [Goes to the inner door and listens.] \\n \\n She's moving about on the bed. She'll be coming in a minute. \\n\",\n \"opens softly and old women begin to come in, crossing themselves on the \\n threshold, and kneeling down in front of the stage with red petticoats \\n over their heads.] \\n \\n MAURYA [Half in a dream, to Cathleen.] \\n\",\n \"NORA [Swinging herself round, and throwing out her arms on the clothes.] \\n \\n And isn't it a pitiful thing when there is nothing left of a man who \\n was a great rower and fisher, but a bit of an old shirt and a plain\",\n \"[Maurya has gone over and knelt down at the head of the table. The women \\n are keening softly and swaying themselves with a slow movement. Cathleen \\n and Nora kneel at the other end of the table. The men kneel near the \\n door.] \\n\",\n \"NORA [Looking out.] She's passing the green head and letting fall her \\n sails. \\n \\n BARTLEY [Getting his purse and tobacco.] \\n\",\n \"of a red sail, and water dripping out of it--it was a dry day, Nora--and \\n leaving a track to the door. \\n \\n [She pauses again with her hand stretched out towards the door. It\",\n \"from her eyes.] The Son of God spare us, Nora! \\n \\n CATHLEEN What is it you seen. \\n \\n MAURYA I seen Michael himself. \\n \\n CATHLEEN [Speaking softly.] \\n\",\n \"through the door that is half open behind them.] \\n \\n NORA [In a whisper.] \\n \\n Did you hear that, Cathleen? Did you hear a noise in the north-east? \\n \\n CATHLEEN [In a whisper.] \\n\",\n \"CATHLEEN [Looking out.] \\n \\n She's gone now. Throw it down quickly, for the Lord knows when she'll be \\n out of it again. \\n \\n NORA [Getting the bundle from the loft.] \\n\",\n \"Give it to him, Nora; it's on a nail by the white boards. I hung it up \\n this morning, for the pig with the black feet was eating it. \\n \\n NORA [Giving him a rope.] \\n \\n Is that it, Bartley?\",\n \"CATHLEEN She's lying down, God help her, and may be sleeping, if she's \\n able. \\n \\n [Nora comes in softly, and takes a bundle from under her shawl.] \\n\",\n \"stool at the other side of the fire. The cloth with the bread is still \\n in her hand. The girls look at each other, and Nora points to the bundle \\n of bread.] \\n \\n CATHLEEN [After spinning for a moment.] \\n\",\n \"It's destroyed he'll be, surely. There's no sense left on any person in \\n a house where an old woman will be talking for ever. \\n \\n [Maurya sways herself on her stool.] \\n\",\n \"MAURYA [Starts, so that her shawl falls back from her head and shows her \\n white tossed hair. With a frightened voice.] \\n \\n The gray pony behind him. \\n \\n CATHLEEN [Coming to the fire.] \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["Who told the sisters their brother may be dead?","When did Cathleen know Michael was dead?","Why doesn't Maurya have to worry about the sea anymore?","What island was Bartley voyaging from in the story?","What was found on the north-most island?","How was Maurya's son traveling to his Connemarre?","When was the ghost seen?","Why was the widow scolded?","What occurrence was foretold?","What does Maurya lose her family to?","Who is Maurya's brother?","What is bartley planning to sell?","What do Nora and Cathleen receive from the dead corpse?","What happened to bartley ?","What does Maurya seek in the dark nights after Samhain?","Who gives Maurya holy water?","Why does Maurya go after bartley?","What shore does Michael's corpse wash up on?","What does maurya predict by nightfall?","What is Bartley planning to sell in Connemara?","What is Bartley's relationship to Maurya?","What is Michael's relationship to Maurya?","What is Nora's relationship to MIchael?","What is Cathleen's relationship to Nora?","What evidence do Cathleen and Nora receive that confirms the death of Michael?","What does Maurya predict will happen to MIchael and Bartley?","What does Maurya claim to see riding behind Bartley?","After the death of Michael and Bartley what entity does Maurya claim can no longer threaten the family?","What does Maurya ask Nora to fetch from the dresser?"],"string":"[\n \"Who told the sisters their brother may be dead?\",\n \"When did Cathleen know Michael was dead?\",\n \"Why doesn't Maurya have to worry about the sea anymore?\",\n \"What island was Bartley voyaging from in the story?\",\n \"What was found on the north-most island?\",\n \"How was Maurya's son traveling to his Connemarre?\",\n \"When was the ghost seen?\",\n \"Why was the widow scolded?\",\n \"What occurrence was foretold?\",\n \"What does Maurya lose her family to?\",\n \"Who is Maurya's brother?\",\n \"What is bartley planning to sell?\",\n \"What do Nora and Cathleen receive from the dead corpse?\",\n \"What happened to bartley ?\",\n \"What does Maurya seek in the dark nights after Samhain?\",\n \"Who gives Maurya holy water?\",\n \"Why does Maurya go after bartley?\",\n \"What shore does Michael's corpse wash up on?\",\n \"What does maurya predict by nightfall?\",\n \"What is Bartley planning to sell in Connemara?\",\n \"What is Bartley's relationship to Maurya?\",\n \"What is Michael's relationship to Maurya?\",\n \"What is Nora's relationship to MIchael?\",\n \"What is Cathleen's relationship to Nora?\",\n \"What evidence do Cathleen and Nora receive that confirms the death of Michael?\",\n \"What does Maurya predict will happen to MIchael and Bartley?\",\n \"What does Maurya claim to see riding behind Bartley?\",\n \"After the death of Michael and Bartley what entity does Maurya claim can no longer threaten the family?\",\n \"What does Maurya ask Nora to fetch from the dresser?\"\n]"},"answers":{"kind":"list like","value":[["the priest","the priest"],["when she saw the clothes from the corpse","They received clothing from a drowned corpse, Michael's clothing"],["it has already taken her husband and all her sons","everyone is dead"],["Inishmaan","Inishmaan"],["a body","Her brother"],["sailing","Sailing"],["when Maurya went after Bartlry","As Bartley's ship left"],["she wasn't nice to her son before he left","for sending bartley of with an ill word"],["the death of Bartley","the death of her sons"],["The sea.","Sea."],["Michael","Maurya's brother is Bartley"],["A horse","a horse"],["Clothing ","Clothing"],["He fell off his horse and drowned in the sea","fell of his horse into the sea and died"],["Holy Water","Holy Water"],["Nora","Nora"],["To bless his voyage","to bless his voyage"],["The shore of donegal","Donegal"],["she will have no living sons","Her last living son will be dead"],["A horse.","a horse"],["Bartley is Maurya's son.","her last living son"],["MIchael is Maurya's son.","her son"],["Nora is Michael's sister","Nora is Michael's brother"],["Cathleen is Nora's sister","sisters"],["Michael's clothing","clothing"],["Bartley and Michael wil die","they die"],["The ghost of Michael","His dead brother. Micheal."],["The sea.","a ghost"],["Holy water.","holy water"]],"string":"[\n [\n \"the priest\",\n \"the priest\"\n ],\n [\n \"when she saw the clothes from the corpse\",\n \"They received clothing from a drowned corpse, Michael's clothing\"\n ],\n [\n \"it has already taken her husband and all her sons\",\n \"everyone is dead\"\n ],\n [\n \"Inishmaan\",\n \"Inishmaan\"\n ],\n [\n \"a body\",\n \"Her brother\"\n ],\n [\n \"sailing\",\n \"Sailing\"\n ],\n [\n \"when Maurya went after Bartlry\",\n \"As Bartley's ship left\"\n ],\n [\n \"she wasn't nice to her son before he left\",\n \"for sending bartley of with an ill word\"\n ],\n [\n \"the death of Bartley\",\n \"the death of her sons\"\n ],\n [\n \"The sea.\",\n \"Sea.\"\n ],\n [\n \"Michael\",\n \"Maurya's brother is Bartley\"\n ],\n [\n \"A horse\",\n \"a horse\"\n ],\n [\n \"Clothing \",\n \"Clothing\"\n ],\n [\n \"He fell off his horse and drowned in the sea\",\n \"fell of his horse into the sea and died\"\n ],\n [\n \"Holy Water\",\n \"Holy Water\"\n ],\n [\n \"Nora\",\n \"Nora\"\n ],\n [\n \"To bless his voyage\",\n \"to bless his voyage\"\n ],\n [\n \"The shore of donegal\",\n \"Donegal\"\n ],\n [\n \"she will have no living sons\",\n \"Her last living son will be dead\"\n ],\n [\n \"A horse.\",\n \"a horse\"\n ],\n [\n \"Bartley is Maurya's son.\",\n \"her last living son\"\n ],\n [\n \"MIchael is Maurya's son.\",\n \"her son\"\n ],\n [\n \"Nora is Michael's sister\",\n \"Nora is Michael's brother\"\n ],\n [\n \"Cathleen is Nora's sister\",\n \"sisters\"\n ],\n [\n \"Michael's clothing\",\n \"clothing\"\n ],\n [\n \"Bartley and Michael wil die\",\n \"they die\"\n ],\n [\n \"The ghost of Michael\",\n \"His dead brother. Micheal.\"\n ],\n [\n \"The sea.\",\n \"a ghost\"\n ],\n [\n \"Holy water.\",\n \"holy water\"\n ]\n]"},"document_id":{"kind":"string","value":"b2091fab7149af1b52bdd0a2bc28e60a2092a16a"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":73,"cells":{"text":{"kind":"list like","value":[[" FLASHBACK. Steven sits over an untouched tray of food, \n staring at it detached. \n \n STEVEN (V.O.) \n Faking your death from AIDS is no easy"," STEVEN (V.O.) \n I had been living a lie for a long, long \n time. I tend to do that... hide things. \n \n MOUSTACHED MAN"," Steven pauses. He looks Phillip square in the eye. \n \n STEVEN \n You don't. \n \n And as Phillip stares at him- \n \n CUT TO BLACK:"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," makes his exit. \n \n STEVEN (V.O.) (CONT'D) \n Now it didn't happen all at once. It was \n sort of a gradual thing... \n \n"," STEVEN!! STEVEN! \n \n He sees the line at the sally port start to move and \n stops to think. He knows what he has to do. \n \n"," MIRROR in his cell. \n \n STEVEN (V.O.) \n Whatever the case, how does a person who \n doesn't exist go on existing? Well the \n answer is- he doesn't."," He straddles the patient's chest and pushes down hard- \n the sound of a sternum CRACKING can be heard. \n \n With the staff distracted, Steven reaches into his \n mattress hole and pulls out scores of pills. He stuffs"," the phone on the hook and leaves. \n \n Steven lies motionless. He gazes out the window to the \n passing clouds in the sky. It's time. \n \n DISSOLVE TO:"," them to Steven, who is dressed in his lawyer attire. \n \n Steven exits the line and ducks into a nearby bathroom. \n \n"," I know- he seemed so happy and-- \n \n Just then Debbie notices Steven is not in bed and looks \n up in time to see him disappearing around the corner. \n \n DEBBIE \n Steven!!! \n \n","Steven doesn't know what this means... But the other \n lawyer does. And he's not happy. \n \n LAWYER \n (sotto) \n Shit... \n \n Seeing this, Steven puffs with confidence. \n"," PHILLIP \n It was for the best. He was suffering. \n \n Steven acknowledges his kindness with a smile. \n \n STEVEN \n (referring to law book)"," Steven resumes his VOICE OVER in the penitentiary \n infirmary. \n \n STEVEN (V.O.) \n There I was, keeping secrets, living a"," He throws himself down the escalator, out of frame to the \n floor below. Painful tumbling is heard. \n \n At the BOTTOM of the escalator a hard THUD is heard. A \n beat later, Steven's feet slide into frame."," They grab Steven and yank him out of the cell. \n \n PHILLIP \n Wait! \n \n Phillip tries to follow but a guard knocks him back down \n onto the bunk. \n \n STEVEN"," around frantically. They spot him running across the open \n air lot and give chase. \n \n Steven comes to a stairwell door. It's locked. He runs \n some more and finds himself cornered at the guard rail. \n"," Steven looks worse than ever in his semi-private bed, \n looking out the window at the clouds with a catatonic \n gaze. \n \n He's at peace. It is the moment of his death. \n"," STEVEN \n I know you're trying to protect yourself, \n I get that. It's fine. Give me a chance \n to prove you wrong. \n \n Phillip is melting but tries to hide it. \n"," me an accomplice! You fucking liar! I \n don't want to see you. Go away! I never \n want to see you again! \n \n STEVEN \n Phillip don't say that. \n \n No response."],[" way of forcing these things into the \n light. \n \n CRASH! A CROSSING PICKUP TRUCK smashes into the driver \n side door-- violently propelling steven and his corvette \n out of frame."," just in time to see Phillip's car rounding the corner. \n \n STEVEN \n COME BACK! WAIT! \n \n"," STEVEN!! STEVEN! \n \n He sees the line at the sally port start to move and \n stops to think. He knows what he has to do. \n \n"," PHILLIP (CONT'D) \n STEVEN! \n \n Steven gets in his seat and yells out the window. \n \n STEVEN \n What the hell are you doing!? \n"," The door SLAMS and off he drives. \n \n STEVEN (V.O.) \n Fucking Texas... \n \n \n 207 INT. TAXI, 1998 - DAY 207"," (into phone) \n Okay you can put him through. \n \n She puts the phone to Steven's ear. He can muster only a \n few words."," metallic ROAR, revealing a very impatient Steven with a \n few days stubble on his face. \n \n STEVEN \n It's about damn time! \n \n He rushes out."," paying much attention to their passenger. \n \n In the REAR, Steven nervously and quietly prepares an \n INSULIN SYRINGE and inexpertly INJECTS IT in his belly. \n"," demeanor make him the very essence of a man with new \n found freedoms. \n \n STEVEN (V.O.) \n Life was good. Everything was falling \n right into place. I moved to Florida, got"," STEVEN (V.O.) \n Anyway where was I? Oh yeah-- \n \n SMASH CUT TO: \n \n"," them to Steven, who is dressed in his lawyer attire. \n \n Steven exits the line and ducks into a nearby bathroom. \n \n"," Steven. Oh God... Why didn't you write \n me? I don't know how this happened, they \n say I'm fine. Oh God, who did this? \n (then)"," Steven drives his red Corvette, hard top removed, with a \n contented look on his face. He glows as the Pet Shop \n Boys' \"West End Girls\" plays on the radio. \n \n STEVEN (V.O.)"," to his new cell clutching his prison issue belongings. \n \n Although we can only see him from behind, we can only \n assume this is Steven. He continues his walk amidst a"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," He staggers toward Steven as a kaleidoscope of emotions \n plays across his face. Bewilderment, relief, sorrow, joy \n and finally, anger- \n \n WHACK! He slaps Steven across the face. \n"," STEVEN'S CAR IDLES INTO FRAME AT 1 MPH. The Heights', \n \"How Do You Talk To An Angel\" is barely audible over the \n car horn and STEVEN is slumped over the steering wheel. \n","137 EXT. NEW HOUSE - 1996 - DAY 137 \n \n Steven exits and heads for his car, but before he can get \n in- \n"," Steven sits over an untouched tray of food, staring at it \n detached. He looks thin. Pale. \n \n"," makes his exit. \n \n STEVEN (V.O.) (CONT'D) \n Now it didn't happen all at once. It was \n sort of a gradual thing... \n \n"],[" demeanor make him the very essence of a man with new \n found freedoms. \n \n STEVEN (V.O.) \n Life was good. Everything was falling \n right into place. I moved to Florida, got"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight.","4 INT. LIVING ROOM CHESAPEAKE BAY, VA - 1966 - DAY 4 \n \n Young Steven sits in the middle of the couch. His PARENTS"," So Debbie tells me you used to be in the \n police force back in Georgia. \n \n STEVEN \n Virginia Beach. \n \n NEIL \n Right. Sorry... \n \n SARA"," \"BASHAM, BRENDA\" \n \n \n 6A INT. STEVEN'S HOUSE, VIRGINIA BEACH - 1984 - NIGHT 6A \n","7 INT. STEPHANIE'S BEDROOM (VIRGINIA, 1984) - NIGHT 7 \n \n Steven switches off the small lamp beside Stephanie's \n bed. He kisses her forehead. \n"," STEVEN (V.O.) (CONT'D) \n I quit the force that day. I packed up \n the family and moved to Texas. I got a \n great job and got to living the American \n Dream. \n"," What? What is it? Steven? \n \n He cannot believe his eyes. \n \n \n 11 EXT. BASCOMBE HOME, VIRGINIA, 1984 - DAY 11 \n"," Steven resumes his VOICE OVER in the penitentiary \n infirmary. \n \n STEVEN (V.O.) \n There I was, keeping secrets, living a","8 INT. STEVEN AND DEBBIE'S BEDROOM (VIRGINIA, 1984) - NIGHT 8 \n \n Steven and Debbie kneel at the edge of the bed, praying. \n"," Steven looks worse than ever in his semi-private bed, \n looking out the window at the clouds with a catatonic \n gaze. \n \n He's at peace. It is the moment of his death. \n"," makes his exit. \n \n STEVEN (V.O.) (CONT'D) \n Now it didn't happen all at once. It was \n sort of a gradual thing... \n \n"," Steven. Oh God... Why didn't you write \n me? I don't know how this happened, they \n say I'm fine. Oh God, who did this? \n (then)"," Steven walks up to a middle class home and raps on the \n screen door. A kindly woman (MRS. BASCOMBE) arrives \n behind the mesh wearing a birthday PARTY HAT. \n \n MRS. BASCOMBE","114 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 114 \n \n FLASHBACK to Steven's first day on the job as his RHEBA"," parked in a bleak lot near a looming billboard. \n \n STEVEN (V.O.) \n But one thing was for sure-- I was not \n gonna let them put me away. I was a cop"," A joyous Sunday. OPEN ON the LETTER BOARD of THE VIRGINIA \n BEACH CHURCH OF GOD. The date reads, MARCH 1984. \n \n A congregation packs the church to the rafters as a"," pounds. \n \n STEVEN (O.S.) \n Yeah, that's him. \n \n PHILLIP (O.S.) \n Oh he was such an asshole. \n"," STEVEN (V.O.) \n I had been living a lie for a long, long \n time. I tend to do that... hide things. \n \n MOUSTACHED MAN"," At his desk, Steven leafs through the company finances. \n \n STEVEN (V.O.) \n It occurred to me to set up an investment \n account where the held money would earn \n interest for the short time that the"],[" to his new cell clutching his prison issue belongings. \n \n Although we can only see him from behind, we can only \n assume this is Steven. He continues his walk amidst a"," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a"," Steven resumes his VOICE OVER in the penitentiary \n infirmary. \n \n STEVEN (V.O.) \n There I was, keeping secrets, living a"," He hangs up. A nearby inmate chimes in. \n \n NEW CELLMATE \n How long you in for? \n \n STEVEN \n Not long. \n (picks up phone)"," STEVEN (V.O.) \n Those were the longest three months of my \n life. I wrote to Phillip every day until \n I got released. \n \n"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," And as he talks-- \n \n STEVEN (V.O.) (CONT'D) \n And once I got settled in, I just called \n the Department of Corrections and"," This is Steven. Steven- Blake and Baylor. \n \n BLAKE \n (Gasp) This is him?! This is your gay \n lawyer prison boyfriend?! Pleased to \n meet you. \n"," STEVEN (V.O.) \n They wanted me for all sorts of stuff- \n Insurance fraud, identity theft, passport \n fraud. They were probably gonna \n extradite me all the way back to Texas. I"," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."," They grab Steven and yank him out of the cell. \n \n PHILLIP \n Wait! \n \n Phillip tries to follow but a guard knocks him back down \n onto the bunk. \n \n STEVEN"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," As the prisoners resume their activities, Steven notices \n a GENTLE LOOKING INMATE approaching the bird. \n \n Rapt, Steven watches as the inmate sympathetically scoops \n up the bird and walks off. Steven is quite taken."," He hangs up. Bored and lonely, he has a moment of repose. \n Just then, a loud RUCKUS across the COMMON AREA gets his \n attention. \n \n Steven watches as a group of ROWDY PRISONERS throw"," STEVEN (V.O.) \n I had been living a lie for a long, long \n time. I tend to do that... hide things. \n \n MOUSTACHED MAN","203 EXT. RESTFUL ACRES CARE CENTER, 1998 - DAY 203 \n \n Steven is helped from a corrections van into a wheelchair \n outside the Restful Acres facility. \n"," STEVEN \n Yes I do. I promise. \n \n He hangs up, tortured by this news. His eyes catch a \n glimpse of a DETECTIVE exiting the cell block, banging on","214 EXT. TEXAS STATE PENITENTIARY - DAY 214 \n \n A SIREN BLARES over a wide of the facility. Small in \n frame, we see Steven running from the prison gaining"," I could certainly try. \n \n EUDORA \n Can you still practice law, having been \n to prison? \n \n STEVEN \n Sure- why not? \n \n EUDORA","158 INT. HARRIS COUNTY JAIL, HOUSTON - 1996 - DAY 158 \n \n Three manacled PRISONERS, one of them Steven, follow a"],[" STEVEN \n I have an early release order for Phillip \n Morris. \n \n The Officer glances at the paperwork. \n \n RELEASE OFFICER \n Yep- Morris- we got him right here"," They grab Steven and yank him out of the cell. \n \n PHILLIP \n Wait! \n \n Phillip tries to follow but a guard knocks him back down \n onto the bunk. \n \n STEVEN"," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."," Phillip Morris! Now they think I'm in on \n everything! I'm facing real time! You \n know I can't go back to prison. \n \n STEVEN \n I'm sorry about that- they weren't"," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," Well thank you, I-- \n \n STEVEN \n My name's Steven Russell. \n \n PHILLIP \n Pleased to meet you Steven Russell, my \n name's Phillip Morris. \n"," Phillip runs through another cell block until he comes to \n a window. He looks outside. \n \n PHILLIP \n Steven! \n \n"," He hangs up. A nearby inmate chimes in. \n \n NEW CELLMATE \n How long you in for? \n \n STEVEN \n Not long. \n (picks up phone)"," STEVEN (V.O.) \n Those were the longest three months of my \n life. I wrote to Phillip every day until \n I got released. \n \n"," PHILLIP \n It was for the best. He was suffering. \n \n Steven acknowledges his kindness with a smile. \n \n STEVEN \n (referring to law book)","Steven doesn't know what this means... But the other \n lawyer does. And he's not happy. \n \n LAWYER \n (sotto) \n Shit... \n \n Seeing this, Steven puffs with confidence. \n"," Steven is intrigued. \n \n STEVEN \n Does he have a lawyer? \n \"I Love You Phillip Morris\" Green Pages 5-23-08 32. \n \n \n PHILLIP"," Phillip enters, standing by the door. \n \n PHILLIP \n Get up... \n \n Steven sits up. \n \n PHILLIP (CONT'D) \n Did you pay to have the Screecher beat","Steven interjects. \n \n STEVEN \n (sotto to Lawyer) \n Next week. \n \n The attorney looks at him quizzically and turns back to \n the judge. \n \n ATTORNEY"," \"I Love You Phillip Morris\" Green Pages 5-23-08 18. \n \n \n STEVEN \n Thank you. \n \n With great difficulty, Steven gets on his crutches and"," STEVEN (CONT'D) \n Well what am I supposed to do? \n \n PHILLIP (O.S.) \n You're the lawyer, you figure it out. \n \n This time, it's Steven who remains silent."," And as he talks-- \n \n STEVEN (V.O.) (CONT'D) \n And once I got settled in, I just called \n the Department of Corrections and"," Yeah. \n \n STEVEN \n Have him get in touch with the Prisoner \n Rights Committee. They deal with this all \n the time- pro bono. I've got the number. \n \n PHILLIP","189 INT. TEXAS STATE PEN INFIRMARY OFFICE - 1998- DAY 189 \n \n Phillip is INTERCUT with the helpless Steven. \n \n PHILLIP"],[" STEVEN \n Produce. I work for Sysco. \n \n NEIL \n That's a big outfit. They give you that \n Corvette out there? \n \n STEVEN","28 EXT. GROCERY RECEIVING DOCK - MIAMI, 1992 - DAY 28 \n \n An OLD WAREHOUSE MANAGER emerges from a darkened AMITY"," ever. He passes the AMITY FOODSERVICE Logo and a CHERUBIC \n SECRETARY. \n \n STEVEN \n Morning Sandy! \n \n CHERUBIC SECRETARY"," around frantically. They spot him running across the open \n air lot and give chase. \n \n Steven comes to a stairwell door. It's locked. He runs \n some more and finds himself cornered at the guard rail. \n"," LINDHOLM \n Steven? Where are you? \n \n STEVEN \n The Gulf Freeway. Where are you? \n \n LINDHOLM \n At the office. You coming back anytime \n soon?"," FOODSERVICE trailer with a crate of tomatoes in hand. As \n he steps out onto the dock, he passes Steven, who is \n talking with a 500 pound PRODUCE MANAGER. \n \n Tomato crates are all around."," Steven walks up to a middle class home and raps on the \n screen door. A kindly woman (MRS. BASCOMBE) arrives \n behind the mesh wearing a birthday PARTY HAT. \n \n MRS. BASCOMBE","33 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 33 \n \n Steven exits an elevator and saunters into work, happy as"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight.","34 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 34 \n \n Steven paces nervously outside the elevator, growing more \n and more anxious as he waits. \n","100 INT. USAMM BOARDROOM - 1996 - DAY 100 \n \n Steven sits in a board meeting, surrounded by all of the \n company honchos. Dan Lindholm lords over the gathering"," KROEGER'S SUPERMARKET DELI COUNTER in uniform as a \n HOUSEWIFE waits impatiently. He hangs up. \n \n STEVEN (CONT'D) \n (big smile)","105 INT. USAMM OFFICE - 1996 - DAY 105 \n \n Steven saunters over to VERA the company accountant who \n is stamping some checks. He places some papers on her \n desk."," paying much attention to their passenger. \n \n In the REAR, Steven nervously and quietly prepares an \n INSULIN SYRINGE and inexpertly INJECTS IT in his belly. \n"," that reads, \"Harris County Police, 12:30\" \n \n He leaps out of the chair and exits the office. \n \n","102 INT. HOUSTON BALLROOM - 1996 - NIGHT 102 \n \n A black-tie cocktail party is in full swing. Steven eats"," Take a seat. \n \n They take a seat on a bench outside a large steel door as \n the officer talks to a PROCESSING CLERK. Steven is \n visibly agitated and ignores the other men on the bench \n with him. \n"," Get me out of here. \n \n \n 81 INT. DELI OFFICE - DAY 81 \n \n Steven stands over a desk, talking sternly into a \n telephone.","158 INT. HARRIS COUNTY JAIL, HOUSTON - 1996 - DAY 158 \n \n Three manacled PRISONERS, one of them Steven, follow a"," Phillip runs through the yard, passing GIANT WOLF- \n WHISTLING INMATES as they put down their weights and stop \n their basketball games. \n \n Phillip maintains his focus on the sally port on the"],[" STEVEN \n Yeah. Yeah, I did. \n \n PHILLIP \n Steven... \n \n A tear comes to Phillip's eye. \n \n PHILLIP (CONT'D)"," Phillip's voices are heard. \n \n PHILLIP (O.S.) \n I've been meaning to ask you something. \n \n STEVEN (O.S.) \n Yeah? \n"," PHILLIP \n I fucking knew it- you did do something. \n You lied to me! You looked me right in \n the eye and lied! \n \n STEVEN"," PHILLIP \n You're such a fucker! \n \n STEVEN \n I know- I'm sorry- You weren't supposed \n to find out. \n \n PHILLIP"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," looks through his records. \n \n YOUNG DOCTOR \n ...you have AIDS. \n \n Steven sits expressionless. \n \n STEVEN \n How long do I have? \n"," uh... Well... you have AIDS. \n \n Steven sits expressionless. \n \n STEVEN \n How long do I have? \n \n And off the Doctor's grave face-- \n"," Open the door Phillip. \n \n PHILLIP (O.S.) \n No. \n \n Steven walks up to the door and pleads gently. \n \n STEVEN \n (quietly)"," Before he stands up, Phillip manages a terse statement. \n \n PHILLIP \n I will never forgive you Steven. Never. \n \n Steven is speechless as he watches Phillip walk away- \n disappearing down a long corridor."," STEVEN \n I love you. \n \n No response. Phillip can only sit and stew. And stew. \n Until finally, he's had enough."," PHILLIP \n Huh? \n (realizing) \n Oh. Him, yeah... he's at peace. \n \n STEVEN \n Oh, I'm sorry. \n"," Steven sits before a YOUNG PRISON DOCTOR who looks \n through his records. \n \n YOUNG DOCTOR \n I'm sorry to have to tell you this \n Steven, your t-cell counts indicate that,"," What? \n \n PHILLIP \n You're a homosexual. \n \n STEVEN \n It's work. \n \n PHILLIP \n You know, you can tell them. They can't"," Steven pauses. He looks Phillip square in the eye. \n \n STEVEN \n You don't. \n \n And as Phillip stares at him- \n \n CUT TO BLACK:"," Phillip tries to take this to heart. After a moment... \n \n PHILLIP \n You're so skinny. \n \n STEVEN \n I'm fine. Just hungry. \n \n PHILLIP"," FLASHBACK. Steven sits over an untouched tray of food, \n staring at it detached. \n \n STEVEN (V.O.) \n Faking your death from AIDS is no easy"," me an accomplice! You fucking liar! I \n don't want to see you. Go away! I never \n want to see you again! \n \n STEVEN \n Phillip don't say that. \n \n No response."," Go away Steven! \n \n Steven is surprised. \n \n PHILLIP (O.S.) (CONT'D) \n You think I didn't know you were coming!? \n \n STEVEN \n Phillip-"," one thing. \n \n Phillip is listening. \n \n STEVEN (CONT'D) \n I know you thought we were nothing but a \n lie- but underneath all those lies there \n was always something that was real. I"," PHILLIP (CONT'D) \n STEVEN! \n \n Steven gets in his seat and yells out the window. \n \n STEVEN \n What the hell are you doing!? \n"],[" STEVEN \n Hey Debbie. \n \n DEBBIE \n Steven. How are you? \n \n STEVEN \n Good. How's Steffie doing? \n \n DEBBIE"," Debbie quickly realizes where his head is at. \n \n DEBBIE \n Oh... that. Yeah, um, well I don't know- \n \n STEVEN \n I swear honey- getting around the system's"," Debbie freezes, she can't believe her ears. And as she \n stares at his smiling face in shock... \n \n STEVEN (V.O.) (CONT'D) \n To my surprise, we stayed friends."," COUPLE. She waves him over. \n \n STEVEN \n (to Stephanie) \n In the laundry room. \n \n He puts her down and heads over to Debbie and the couple. \n"," DEBBIE \n Oh Steven, are you on the lam again? \n \n STEVEN \n Deb, you always knew me best. \n \n DEBBIE \n Steven you really should stop all this,"," STEPHANIE \n I can't find my blue fish. \n \n DEBBIE (O.S.) \n Steven? \n \n He turns to see Debbie across the room talking to a YOUNG"," wife (DEBBIE) and their 4 YEAR OLD DAUGHTER (STEPHANIE) \n who sit in the first row. \n \n Steven, oblivious, hits a sour note or two-- but keeps on"," It's really her? \n \n STEVEN \n Yeah. No question. \n \n DEBBIE \n My goodness Steven, that's wonderful. \n \n He reads on, his smile ever widening until-"," DEBBIE \n It's good to have him where I can keep an \n eye on him. \n \n STEVEN \n (suggestive) \n Among other things... \n"," STEVEN \n I haven't looked. It's downstairs. \n \n DEBBIE \n Really? Well let's go! \n \n She moves to get up. Steven takes umbrage. \n"," Good. Real good. She sure is your \n daughter... \n \n STEVEN \n She's interested in boys already? \n \n DEBBIE \n Ha-ha. How's Phillip? \n"," STEVEN \n Well hold on- let me finish. \n \n DEBBIE \n Oh, right. \n \n Steven thrusts and tenses. \n \n STEVEN","22 INT. HOUSTON HOSPITAL - 1986 - NIGHT - CONTINUOUS 22 \n \n Debbie enters the room to find Steven, bandaged and \n bristling with tubes. \n"," I know- he seemed so happy and-- \n \n Just then Debbie notices Steven is not in bed and looks \n up in time to see him disappearing around the corner. \n \n DEBBIE \n Steven!!! \n \n"," So Debbie tells me you used to be in the \n police force back in Georgia. \n \n STEVEN \n Virginia Beach. \n \n NEIL \n Right. Sorry... \n \n SARA"," And as Steven listens to Debbie's rant-- \n \n STEVEN (V.O.) \n Of course, Jimmy and Debbie had no idea \n what I was up to. For the time being, at \n least..."," Steven smiles at that sentiment. Again he moves to get up \n when-- \n \n DEBBIE (CONT'D) \n This man who pursued me to the ends of \n the Earth and promised me a life of"," Steven flips through the file box, reading through \n various pages. Debbie watches with compassion as he \n reads. Eventually he cracks an incredulous SMILE. \n \n DEBBIE \n What? \n \n STEVEN"," DEBBIE \n I can't keep this. \n \n STEVEN \n Why not? \n \n DEBBIE \n Well... it's not Christian. \n \n STEVEN"," background, opening gifts at the base of their tree. \n \n DEBBIE \n Merry Christmas. \n \n STEVEN \n Hi Debbie!"],[" It's really her? \n \n STEVEN \n Yeah. No question. \n \n DEBBIE \n My goodness Steven, that's wonderful. \n \n He reads on, his smile ever widening until-","Her face says it all. \n \n STEVEN'S MOM \n It's true. \n \n WHACK! She SWATS his brother in the head. Steven starts \n putting things together. \n"," very important, but I want you to \n understand that it doesn't change a \n thing. \n \n Steven awaits, smiling. \n \n STEVEN'S MOM (CONT'D)"," Steven smiles and nods. \n \n STEVEN'S MOM (CONT'D) \n You've always been such a happy little \n boy. \n (then) \n Now Steven, we want to tell you something"," He staggers toward Steven as a kaleidoscope of emotions \n plays across his face. Bewilderment, relief, sorrow, joy \n and finally, anger- \n \n WHACK! He slaps Steven across the face. \n"," STEVEN \n (lip quivering) \n In a manner of speaking, yes. You gave \n up a baby for adoption, correct? \n"," bedroom where Steven sits over Kemple's rapidly \n deteriorating body. \n \n KEMPLE \n Thanks Mom. \n \n She kisses both Jimmy and Steven. \n \n HELEN"," of God. \n \n He chokes back a tear, then throws an arm around Steven. \n \n LINDHOLM (CONT'D) \n I want you to meet my wife. \n \n"," Steven walks up to a middle class home and raps on the \n screen door. A kindly woman (MRS. BASCOMBE) arrives \n behind the mesh wearing a birthday PARTY HAT. \n \n MRS. BASCOMBE"," (into phone) \n Okay you can put him through. \n \n She puts the phone to Steven's ear. He can muster only a \n few words."," You were young. I know that you made a \n mistake giving me away, but- \n \n MRS. BASCOMBE \n Listen- \n \n STEVEN"," STEVEN \n Hey Debbie. \n \n DEBBIE \n Steven. How are you? \n \n STEVEN \n Good. How's Steffie doing? \n \n DEBBIE"," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."," STEVEN'S MOM \n It doesn't change a thing honey. We love \n you just as much as we love your brother \n here... \n (best of intentions) \n ...and he's natural. \n"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," Steeeeeeeeeven... \n \n Steven looks down the hill to see his mother calling. \n \n STEVEN'S MOM (CONT'D) \n Steeeeeeeeeven... \n \n"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," A young STEVEN RUSSELL (9) is among them. \n \n YOUNG STEVEN \n It's really big. \n \n STEVEN'S MOM (O.S.)"," Eudora waits on a bench in the corridor, nervously \n glancing at her watch. Steven stands behind a column \n down the hall hiding and watching. He looks at his \n watch, then approaches her. \n \n STEVEN"," Good. Real good. She sure is your \n daughter... \n \n STEVEN \n She's interested in boys already? \n \n DEBBIE \n Ha-ha. How's Phillip? \n"],[" demeanor make him the very essence of a man with new \n found freedoms. \n \n STEVEN (V.O.) \n Life was good. Everything was falling \n right into place. I moved to Florida, got","7 INT. STEPHANIE'S BEDROOM (VIRGINIA, 1984) - NIGHT 7 \n \n Steven switches off the small lamp beside Stephanie's \n bed. He kisses her forehead. \n"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," So Debbie tells me you used to be in the \n police force back in Georgia. \n \n STEVEN \n Virginia Beach. \n \n NEIL \n Right. Sorry... \n \n SARA"," \"BASHAM, BRENDA\" \n \n \n 6A INT. STEVEN'S HOUSE, VIRGINIA BEACH - 1984 - NIGHT 6A \n"," STEVEN (V.O.) (CONT'D) \n I quit the force that day. I packed up \n the family and moved to Texas. I got a \n great job and got to living the American \n Dream. \n"," Steven resumes his VOICE OVER in the penitentiary \n infirmary. \n \n STEVEN (V.O.) \n There I was, keeping secrets, living a","8 INT. STEVEN AND DEBBIE'S BEDROOM (VIRGINIA, 1984) - NIGHT 8 \n \n Steven and Debbie kneel at the edge of the bed, praying. \n"," (embarrassed) \n Neil... \n \n STEVEN \n Yeah, kinda lost interest. Got back into \n the family business. \n \n NEIL \n Which is? \n"," What? What is it? Steven? \n \n He cannot believe his eyes. \n \n \n 11 EXT. BASCOMBE HOME, VIRGINIA, 1984 - DAY 11 \n","4 INT. LIVING ROOM CHESAPEAKE BAY, VA - 1966 - DAY 4 \n \n Young Steven sits in the middle of the couch. His PARENTS"," A joyous Sunday. OPEN ON the LETTER BOARD of THE VIRGINIA \n BEACH CHURCH OF GOD. The date reads, MARCH 1984. \n \n A congregation packs the church to the rafters as a"," FLASHBACK. Months later, Steven sits up in his bed. He \n now has a grey beard and with his shirt off we can see he \n has lost an unhealthy amount of weight. \n \n STEVEN (V.O.)"," makes his exit. \n \n STEVEN (V.O.) (CONT'D) \n Now it didn't happen all at once. It was \n sort of a gradual thing... \n \n"," At his desk, Steven leafs through the company finances. \n \n STEVEN (V.O.) \n It occurred to me to set up an investment \n account where the held money would earn \n interest for the short time that the"," STEVEN (V.O.) \n I had been living a lie for a long, long \n time. I tend to do that... hide things. \n \n MOUSTACHED MAN"," pounds. \n \n STEVEN (O.S.) \n Yeah, that's him. \n \n PHILLIP (O.S.) \n Oh he was such an asshole. \n"," The door SLAMS and off he drives. \n \n STEVEN (V.O.) \n Fucking Texas... \n \n \n 207 INT. TAXI, 1998 - DAY 207"," PHILLIP \n I didn't ask. \n \n STEVEN \n What'd you do for him? \n \n PHILLIP \n I mainly just rode around town in his"," Steven sits at his desk, detached and fed up. \n \n STEVEN (V.O.) \n Maybe it was because it's just my nature, \n or maybe it was because of my past... or"],[" Well where is she, sweetheart? \n \n STEVEN \n She works. Travels a lot. It's killing \n her she couldn't be here. \n \n And as the wives fret symathetically- \n"," Before he stands up, Phillip manages a terse statement. \n \n PHILLIP \n I will never forgive you Steven. Never. \n \n Steven is speechless as he watches Phillip walk away- \n disappearing down a long corridor."," makes his exit. \n \n STEVEN (V.O.) (CONT'D) \n Now it didn't happen all at once. It was \n sort of a gradual thing... \n \n"," wife (DEBBIE) and their 4 YEAR OLD DAUGHTER (STEPHANIE) \n who sit in the first row. \n \n Steven, oblivious, hits a sour note or two-- but keeps on"," of God. \n \n He chokes back a tear, then throws an arm around Steven. \n \n LINDHOLM (CONT'D) \n I want you to meet my wife. \n \n"," it's fine. Just tell me why-- \n \n MRS. BASCOMBE (O.S.) \n Go away! \n \n STEVEN \n Okay, okay. I understand. It's a lot at"," I know- he seemed so happy and-- \n \n Just then Debbie notices Steven is not in bed and looks \n up in time to see him disappearing around the corner. \n \n DEBBIE \n Steven!!! \n \n"," Now just because I was screwing around \n doesn't mean I didn't love Debbie. I did. \n I loved her with all my heart... \n Stephanie too. My family was all I had"," He is right Mr. Russell- what do you have \n to say? \n \n Steven is stonewalled. He looks to Eudora as if to say, \n \"What do I do now?\" and it terrifies her. \n"," He staggers toward Steven as a kaleidoscope of emotions \n plays across his face. Bewilderment, relief, sorrow, joy \n and finally, anger- \n \n WHACK! He slaps Steven across the face. \n"," STEVEN \n I love you. \n \n No response. Phillip can only sit and stew. And stew. \n Until finally, he's had enough."," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," eternal happiness. A promise he has kept \n oh Lord. Every day. Amen. \n \n STEVEN \n Amen. \n \n Steven tries to get up again. Then-"," He looks ill. \n \n KEMPLE \n I'm sick. \n \n STEVEN \n I know. \n \n KEMPLE \n No really sick. You haven't seen me in a"," demeanor make him the very essence of a man with new \n found freedoms. \n \n STEVEN (V.O.) \n Life was good. Everything was falling \n right into place. I moved to Florida, got"," and they needed me. So I told myself it \n was just a little lie and it was better \n for everybody if it stayed that way. \n (beat) \n That's what I told myself. But life has a"," Steven looks down. The soft bags of trash below beckon \n him to freedom. \n \n KEMPLE (CONT'D) \n Steven I'm serious! You stop or you'll \n never see me again!"," Steven sits at his desk, detached and fed up. \n \n STEVEN (V.O.) \n Maybe it was because it's just my nature, \n or maybe it was because of my past... or"," STEVEN (CONT'D) \n That one you and me are having right now- \n the one you're trying to forget exists \n because you're going away. But there's"," (embarrassed) \n Neil... \n \n STEVEN \n Yeah, kinda lost interest. Got back into \n the family business. \n \n NEIL \n Which is? \n"],[" As the prisoners resume their activities, Steven notices \n a GENTLE LOOKING INMATE approaching the bird. \n \n Rapt, Steven watches as the inmate sympathetically scoops \n up the bird and walks off. Steven is quite taken."," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," STEVEN \n (mid-sentence) \n ...I made the mistake of writing her and \n saying I was lonely in here. And next \n thing you know, my ex-wife catches her"," to his new cell clutching his prison issue belongings. \n \n Although we can only see him from behind, we can only \n assume this is Steven. He continues his walk amidst a"," He hangs up. Bored and lonely, he has a moment of repose. \n Just then, a loud RUCKUS across the COMMON AREA gets his \n attention. \n \n Steven watches as a group of ROWDY PRISONERS throw"," lies. Lies to make people love me, lies \n to keep them from leaving me and lies to \n make them give me their money. \n \n He enters his cell. \n \n"," Through the glass wall outside the phone room, we watch \n as Steven continues to absorb the bad news. \n \n He hangs up the phone and falls to pieces as the \n CACOPHONY of the prison masks any sound of his grief. \n"," He hangs up. A nearby inmate chimes in. \n \n NEW CELLMATE \n How long you in for? \n \n STEVEN \n Not long. \n (picks up phone)"," This is Steven. Steven- Blake and Baylor. \n \n BLAKE \n (Gasp) This is him?! This is your gay \n lawyer prison boyfriend?! Pleased to \n meet you. \n"," They drag him off. Phillip watches with deep worry as \n another guard keeps him there. He grows more and more \n upset, pacing and working himself up. \n \n Finally, the guard leaves and Phillip exits his cell and"," It's really her? \n \n STEVEN \n Yeah. No question. \n \n DEBBIE \n My goodness Steven, that's wonderful. \n \n He reads on, his smile ever widening until-"," Manacled to a line of prisoners, Steven shuffles through \n a crowded hallway. Courthouse staff are everywhere. \n \n Steven spots a HARRIED woman approaching with an armful \n of paperwork. \n","145 INT. MIAMI JAIL CORRIDOR - 1994 - DAY 145 \n \n Steven approaches a section of bars where a BLONDE INMATE \n is waiting. \n"," Steven resumes his VOICE OVER in the penitentiary \n infirmary. \n \n STEVEN (V.O.) \n There I was, keeping secrets, living a"," Now just because I was screwing around \n doesn't mean I didn't love Debbie. I did. \n I loved her with all my heart... \n Stephanie too. My family was all I had"," Outside the courtroom with Eudora, Steven is ecstatic. \n \n STEVEN \n YES! I did great! Can you believe how \n great I did!? \n \n EUDORA"," They grab Steven and yank him out of the cell. \n \n PHILLIP \n Wait! \n \n Phillip tries to follow but a guard knocks him back down \n onto the bunk. \n \n STEVEN"," STEVEN (O.S.) \n Actually- I was in the yard once. Another \n guard asked him to pay him back five. He \n opened his wallet and I saw this picture \n of a little girl about Steffie's age. So"," through the bars. Steven gives a look. Something upsets \n him. \n \n STEVEN \n What the hell's this? \n \n BLONDE INMATE \n It's all I could get. \n"," I love you so much. \n \n STEVEN \n Phillip, you are the sweetest, most \n gentle man I have ever met. And I know \n people have taken advantage of that. But"],[" until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," They drag him off. Phillip watches with deep worry as \n another guard keeps him there. He grows more and more \n upset, pacing and working himself up. \n \n Finally, the guard leaves and Phillip exits his cell and"," They grab Steven and yank him out of the cell. \n \n PHILLIP \n Wait! \n \n Phillip tries to follow but a guard knocks him back down \n onto the bunk. \n \n STEVEN"," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a"," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."," Phillip runs through another cell block until he comes to \n a window. He looks outside. \n \n PHILLIP \n Steven! \n \n"," Well thank you, I-- \n \n STEVEN \n My name's Steven Russell. \n \n PHILLIP \n Pleased to meet you Steven Russell, my \n name's Phillip Morris. \n"," STEVEN (V.O.) \n Those were the longest three months of my \n life. I wrote to Phillip every day until \n I got released. \n \n"," STEVEN (V.O.) \n Funny, huh? \n \n The guard pushes Phillip past the threshold. The door \n SLAMS SHUT behind him. \n"," Phillip's voices are heard. \n \n PHILLIP (O.S.) \n I've been meaning to ask you something. \n \n STEVEN (O.S.) \n Yeah? \n"," Open the door Phillip. \n \n PHILLIP (O.S.) \n No. \n \n Steven walks up to the door and pleads gently. \n \n STEVEN \n (quietly)"," Phillip passes the cells of Michael Unit, clutching his \n belongings and soon enters his cell. He looks around \n sheepishly until he is interrupted- \n \n CLEAVON (O.S.) \n You Phillip? \n"," Phillip enters, standing by the door. \n \n PHILLIP \n Get up... \n \n Steven sits up. \n \n PHILLIP (CONT'D) \n Did you pay to have the Screecher beat"," Phillip turns to see CLEAVON- a huge black inmate mopping \n the hall outside his cell \n \n PHILLIP \n Yes. \n \n He tosses Phillip a folded note. He catches it and looks"," PHILLIP \n It was for the best. He was suffering. \n \n Steven acknowledges his kindness with a smile. \n \n STEVEN \n (referring to law book)"," STEVEN \n I know you're trying to protect yourself, \n I get that. It's fine. Give me a chance \n to prove you wrong. \n \n Phillip is melting but tries to hide it. \n"," Before he stands up, Phillip manages a terse statement. \n \n PHILLIP \n I will never forgive you Steven. Never. \n \n Steven is speechless as he watches Phillip walk away- \n disappearing down a long corridor."," anxiously peers out the bars and catches a glimpse of the \n mopping Cleavon working his way closer to his cell. \n \n PHILLIP \n Hurry up would you? \n \n CLEAVON"," supposed to love something that don't \n even exist? You tell me. \n \n Eventually a POLICEMAN stands before Phillip. \n \n POLICEMAN (O.S.) \n Morris. You're up. \n"," me an accomplice! You fucking liar! I \n don't want to see you. Go away! I never \n want to see you again! \n \n STEVEN \n Phillip don't say that. \n \n No response."],["114 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 114 \n \n FLASHBACK to Steven's first day on the job as his RHEBA"," Larry Birkheim, the CEO of USAMM sits beside Dan \n Lindholm. He chimes in. \n \n BIRKHEIM \n Okay Steven, your turn. I know you've \n only had the one quarter to play catch up","99 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 99 \n \n An uptight assistant (RHEBA) leads Steven into his fancy \n new office. \n","105 INT. USAMM OFFICE - 1996 - DAY 105 \n \n Steven saunters over to VERA the company accountant who \n is stamping some checks. He places some papers on her \n desk.","115 MONTAGE: HOW MONEY FLOWS AT USAMM-- 115 \n \n QUICK CUTS of Steven researching by leafing through","96 INT. USAMM HQ - LINDHOLM'S OFFICE - 1996 - DAY 96 \n \n A bored Steven waits in the middle of a big wig's office."," Steven is worried. \n \n \n 126 INT. USAMM CUBICLE - 1996 - DAY 126 \n \n OPEN CLOSE on blank copies spitting out of a copier."," MATCH CUT TO: \n \n \n 113 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 113 \n","124 INT. USAMM HALLWAY - 1996 - DAY 124 \n \n Steven whistles happily and takes a draw off his coffee \n mug. As he passes an office, something catches his ear. \n","100 INT. USAMM BOARDROOM - 1996 - DAY 100 \n \n Steven sits in a board meeting, surrounded by all of the \n company honchos. Dan Lindholm lords over the gathering","107 INT. USAMM - BREAK ROOM - 1996 - DAY 107 \n \n Steven refills his mug of coffee while in the background, \n two SECRETARIES dish. \n","122 INT. USAMM ELEVATOR - 1996 - A SHORT TIME LATER 122 \n \n Birkheim and Steven share the elevator. \n \n BIRKHEIM \n Nice car."," STEVEN!! STEVEN! \n \n He sees the line at the sally port start to move and \n stops to think. He knows what he has to do. \n \n"," wooden box and secretly plucks the RUBBER STAMP. \n \n \n 118 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 118 \n"," He straddles the patient's chest and pushes down hard- \n the sound of a sternum CRACKING can be heard. \n \n With the staff distracted, Steven reaches into his \n mattress hole and pulls out scores of pills. He stuffs"," The door is slightly ajar. He secretly peeks in to see... \n \n TWO FEDERAL MARSHALLS wait in Steven's office. He \n instantly knows what's going on. \n"," Steven M Russell, Doctor Steven M \n Russell, Doctor Steven J Russell... \n (seeing one he likes) \n Ah! \n \n He gives a card to a smiling SALESWOMAN. \n"," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look.","The group looks at him quizzically. Just as it seems \n Steven has been up to nothing-- \n \n STEVEN (CONT'D) \n Well, I'll just show you. Todd? \n"," Steven stares back and convinces Phillip with a look. \n They kiss. \n \n \n 121 INT. USAMM PARKING GARAGE - 1996 - DAY 121 \n"],[" Steven just smiles. \n \n KEMPLE (CONT'D) \n What? \n \n STEVEN \n I love you Jimmy. \n \n Kemple smirks. \n","38 INT. PALM BEACH HOSPITAL CORRIDOR - 1992 - CONTINUOUS 38 \n \n Jimmy joins Debbie and the Cop in the hallway. Steven is"," DEBBIE \n What? \n \n KEMPLE \n I should have known... I should have said \n something. \n \n DEBBIE \n Don't blame yourself Jimmy... I did the"," bedroom where Steven sits over Kemple's rapidly \n deteriorating body. \n \n KEMPLE \n Thanks Mom. \n \n She kisses both Jimmy and Steven. \n \n HELEN"," He readjusts to see Jimmy sitting nearby. \n \n STEVEN \n (bleary) \n Sorry. \n \n KEMPLE \n Why didn't you tell me? \n \n STEVEN"," something I didn't tell you... \n (beat) \n ...it's about my old boyfriend. Do you \n remember him? His name was Jimmy. \n \n CUT TO:"," task, believe me. But after watching \n Jimmy die, I thought I could make it \n convincing. First, you have to starve \n yourself- I ate half as much every day \n for ten months. After that, you have to","33 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 33 \n \n Steven exits an elevator and saunters into work, happy as"," STEVEN (V.O.) \n ...But I knew he was right. Phillip, \n Jimmy, Debbie- they've all been right. \n My whole life was nothing but a bunch of"," Steven looks worse than ever in his semi-private bed, \n looking out the window at the clouds with a catatonic \n gaze. \n \n He's at peace. It is the moment of his death. \n"," demeanor make him the very essence of a man with new \n found freedoms. \n \n STEVEN (V.O.) \n Life was good. Everything was falling \n right into place. I moved to Florida, got"," Okay-okay calm down. It's okay. I just \n want to tell them you're awake and we can \n take it from there. \n \n Confident that Steven is calm, Jimmy steps into the hall. \n \n","34 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 34 \n \n Steven paces nervously outside the elevator, growing more \n and more anxious as he waits. \n"," But why then? \n \n DEBBIE \n And why suicide? I mean- just like that? \n \n After that, he dresses and walks out the door behind \n them. \n \n KEMPLE"," He looks ill. \n \n KEMPLE \n I'm sick. \n \n STEVEN \n I know. \n \n KEMPLE \n No really sick. You haven't seen me in a"," Waiting to die. The only thing that keeps \n me going is the thought that I might get \n a chance to see Phillip one more time. \n (beat) \n But I don't know how much longer I can do"," The Florida sun bathes the bedroom in a heavenly glow, \n illuminating Jimmy Kemple as he wakes. He opens his eyes \n to see Steven staring longingly at him. \n \n KEMPLE \n What? \n"," FLASHBACK. Steven sits over an untouched tray of food, \n staring at it detached. \n \n STEVEN (V.O.) \n Faking your death from AIDS is no easy"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight.","147 INT. MIAMI JAIL HALLWAY - 1994 - DAY 147 \n \n OPEN CLOSE on a MAN'S ASS IN RUBY RED, SKIN TIGHT"],[" He hangs up. A nearby inmate chimes in. \n \n NEW CELLMATE \n How long you in for? \n \n STEVEN \n Not long. \n (picks up phone)"," They grab Steven and yank him out of the cell. \n \n PHILLIP \n Wait! \n \n Phillip tries to follow but a guard knocks him back down \n onto the bunk. \n \n STEVEN"," Steven resumes his VOICE OVER in the penitentiary \n infirmary. \n \n STEVEN (V.O.) \n There I was, keeping secrets, living a"," FLASHBACK. Steven kneels over the toilet in his cell, \n sticking his finger down his throat until he pukes. \n \n STEVEN (V.O.) \n You gotta keep this up for months until"," to his new cell clutching his prison issue belongings. \n \n Although we can only see him from behind, we can only \n assume this is Steven. He continues his walk amidst a"," He hangs up. Bored and lonely, he has a moment of repose. \n Just then, a loud RUCKUS across the COMMON AREA gets his \n attention. \n \n Steven watches as a group of ROWDY PRISONERS throw"," And as he talks-- \n \n STEVEN (V.O.) (CONT'D) \n And once I got settled in, I just called \n the Department of Corrections and"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," STEVEN (V.O.) \n Those were the longest three months of my \n life. I wrote to Phillip every day until \n I got released. \n \n","75 INT. TEXAS STATE PENITENTIARY HOSPITAL WARD - 1998 - DAY 75 \n \n Back in the present, Steven remains in his hospital bed \n at the Penitentiary Infirmary."," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a","214 EXT. TEXAS STATE PENITENTIARY - DAY 214 \n \n A SIREN BLARES over a wide of the facility. Small in \n frame, we see Steven running from the prison gaining","14 INT. TEXAS STATE PENITENTIARY HOSPITAL WARD - 1998 - DAY 14 \n \n We are back with Steven in his hospital bed at the \n Penitentiary. \n"," STEVEN!! STEVEN! \n \n He sees the line at the sally port start to move and \n stops to think. He knows what he has to do. \n \n"," Larry Birkheim, the CEO of USAMM sits beside Dan \n Lindholm. He chimes in. \n \n BIRKHEIM \n Okay Steven, your turn. I know you've \n only had the one quarter to play catch up"," STEVEN \n I have an early release order for Phillip \n Morris. \n \n The Officer glances at the paperwork. \n \n RELEASE OFFICER \n Yep- Morris- we got him right here"," You're transferred. Nonney snitched you \n out about the Screecher. You're going to \n Ramsey Two. \n \n STEVEN \n Ah shit... \n"," The door is slightly ajar. He secretly peeks in to see... \n \n TWO FEDERAL MARSHALLS wait in Steven's office. He \n instantly knows what's going on. \n"," I could certainly try. \n \n EUDORA \n Can you still practice law, having been \n to prison? \n \n STEVEN \n Sure- why not? \n \n EUDORA","114 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 114 \n \n FLASHBACK to Steven's first day on the job as his RHEBA"],[" They grab Steven and yank him out of the cell. \n \n PHILLIP \n Wait! \n \n Phillip tries to follow but a guard knocks him back down \n onto the bunk. \n \n STEVEN"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a"," They drag him off. Phillip watches with deep worry as \n another guard keeps him there. He grows more and more \n upset, pacing and working himself up. \n \n Finally, the guard leaves and Phillip exits his cell and"," Phillip Morris! Now they think I'm in on \n everything! I'm facing real time! You \n know I can't go back to prison. \n \n STEVEN \n I'm sorry about that- they weren't"," Before he stands up, Phillip manages a terse statement. \n \n PHILLIP \n I will never forgive you Steven. Never. \n \n Steven is speechless as he watches Phillip walk away- \n disappearing down a long corridor."," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."," Phillip turns to see CLEAVON- a huge black inmate mopping \n the hall outside his cell \n \n PHILLIP \n Yes. \n \n He tosses Phillip a folded note. He catches it and looks"," STEVEN (V.O.) \n Those were the longest three months of my \n life. I wrote to Phillip every day until \n I got released. \n \n"," Now don't get angry, it's gonna be fun, I \n swear. \n \n PHILLIP \n Are you going back to jail? Steven, you \n promised we'd always be together! \n \n STEVEN"," Phillip runs after Steven, quickly arriving at a LOCKED \n GATE. Steven is on the other side, still being escorted \n away. Phillip is forced to find an alternative route. \n \n"," Phillip runs through another cell block until he comes to \n a window. He looks outside. \n \n PHILLIP \n Steven! \n \n"," PHILLIP \n I fucking knew it- you did do something. \n You lied to me! You looked me right in \n the eye and lied! \n \n STEVEN"," just in time to see Phillip's car rounding the corner. \n \n STEVEN \n COME BACK! WAIT! \n \n"," As his VO continues, Phillip folds up the paper and \n passes it through the bars back to Cleavon. \n \n"," STEVEN (CONT'D) \n Well what am I supposed to do? \n \n PHILLIP (O.S.) \n You're the lawyer, you figure it out. \n \n This time, it's Steven who remains silent."," STEVEN (V.O.) \n Funny, huh? \n \n The guard pushes Phillip past the threshold. The door \n SLAMS SHUT behind him. \n"," PHILLIP \n It was for the best. He was suffering. \n \n Steven acknowledges his kindness with a smile. \n \n STEVEN \n (referring to law book)"," supposed to find that. It was for your \n own good. So we could be together. \n \n PHILLIP (O.S.) \n Fuck off! I'm in enough trouble. \n \n STEVEN"," He hangs up. A nearby inmate chimes in. \n \n NEW CELLMATE \n How long you in for? \n \n STEVEN \n Not long. \n (picks up phone)"],[" Phillip Morris! Now they think I'm in on \n everything! I'm facing real time! You \n know I can't go back to prison. \n \n STEVEN \n I'm sorry about that- they weren't","48 INT. TX STATE PENITENTIARY - LAW LIBRARY - 1995 - DAY 48 \n \n The gentle inmate, PHILLIP MORRIS, is a slightly built,"," STEVEN (V.O.) \n Those were the longest three months of my \n life. I wrote to Phillip every day until \n I got released. \n \n"," STEVEN \n I have an early release order for Phillip \n Morris. \n \n The Officer glances at the paperwork. \n \n RELEASE OFFICER \n Yep- Morris- we got him right here"," Phillip turns to see CLEAVON- a huge black inmate mopping \n the hall outside his cell \n \n PHILLIP \n Yes. \n \n He tosses Phillip a folded note. He catches it and looks"," Well thank you, I-- \n \n STEVEN \n My name's Steven Russell. \n \n PHILLIP \n Pleased to meet you Steven Russell, my \n name's Phillip Morris. \n"," They drag him off. Phillip watches with deep worry as \n another guard keeps him there. He grows more and more \n upset, pacing and working himself up. \n \n Finally, the guard leaves and Phillip exits his cell and"," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a"," Phillip Morris. Like the cigarette huh? \n \n STEVEN \n I beg your pardon? \n \n"," supposed to love something that don't \n even exist? You tell me. \n \n Eventually a POLICEMAN stands before Phillip. \n \n POLICEMAN (O.S.) \n Morris. You're up. \n","73 EXT. TX STATE PEN BREEZEWAY, 1995 - YARD GATE - DAY 73 \n \n Phillip runs down a breezeway. Eventually he reaches a"," an attorney. My client is Phillip \n Morris. I called earlier. \n \n The guard checks his roster. \n \n DUTY OFFICER \n Mmm hmmm. There you are. Rousseau..."," anxiously peers out the bars and catches a glimpse of the \n mopping Cleavon working his way closer to his cell. \n \n PHILLIP \n Hurry up would you? \n \n CLEAVON","53 INT. TX STATE PEN, 1995 - STEVEN'S CELL - CONTINUOUS 53 \n \n Steven reads the letter on his bunk. \n \n PHILLIP (V.O.)","49 INT. TX STATE PENITENTIARY - LAW LIBRARY - 1995 - LATER 49 \n \n Steven sits close to Phillip at a table. A large open law \n text lies between them. \n"," Phillip is aghast, frozen. \n \"I Love You Phillip Morris\" Green Pages 5-23-08 106. \n \n \n STEVEN (V.O.)"," Phillip composes himself and follows the guard out. \n \n \n 192 INT. TEXAS STATE PENITENTIARY CORRIDOR - 1998 - DAY 192 \n"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," Phillip passes the cells of Michael Unit, clutching his \n belongings and soon enters his cell. He looks around \n sheepishly until he is interrupted- \n \n CLEAVON (O.S.) \n You Phillip? \n","54 INT. TEXAS STATE PEN, 1995 - PHILLIP'S CELL - DAY 54 \n \n Phillip peers out of his cell to see Cleavon working his"],[" As he nods and moves on he's greeted by a VARIOUS \n POLICEMEN. We can tell he's well liked. \n \n STEVEN \n Hey fellas. \n"," that reads, \"Harris County Police, 12:30\" \n \n He leaps out of the chair and exits the office. \n \n"," So Debbie tells me you used to be in the \n police force back in Georgia. \n \n STEVEN \n Virginia Beach. \n \n NEIL \n Right. Sorry... \n \n SARA"," to find a few POLICE CARS parked outside. He drives on. \n \n SMASH CUT TO: \n \n"," a group of POLICEMEN. \n \n STEVEN \n NO! JUST GIVE ME SOME TIME! I PROMISED! \n I PROMISED I'D BE THERE! I PROMISED HE"," WHAM! He's grabbed by a group of POLICEMEN. He SQUEALS \n like a rabbit's death bleat and flails wildly. \n \n This continues for a while until-- \n"," Take a seat. \n \n They take a seat on a bench outside a large steel door as \n the officer talks to a PROCESSING CLERK. Steven is \n visibly agitated and ignores the other men on the bench \n with him. \n"," VARIOUS POLICEMAN \n Hey Steve, Steve, mornin', etc... \n \n Steven arrives at his desk to find a large FILE BOX. He \n turns it around to reveal writing on the side. It reads,"," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."," (to cop) \n Can you tell me exactly what he did? \n \n As they CONTINUE TO TALK, they fail to notice Steven \n getting out of bed and looking around blearily. \n"," supposed to love something that don't \n even exist? You tell me. \n \n Eventually a POLICEMAN stands before Phillip. \n \n POLICEMAN (O.S.) \n Morris. You're up. \n"," They turn around. \n \n HOUSTON COP \n Ahh! He shit himself! Get us to the \n hospital! \n \n The SIREN WAILS. \n \n"," (alarmed) \n Is something wrong officer? \n \n STEVEN \n Are you Barbra Bascombe? \n \n MRS. BASCOMBE \n Yes. Is something wrong? Is someone hurt?"," A police receptionist (MANDI) at a switchboard in a small- \n town police station answers the phone. \n \n MANDI \n Virginia Beach Police Department, how may \n I direct your call? \n"," parked in a bleak lot near a looming billboard. \n \n STEVEN (V.O.) \n But one thing was for sure-- I was not \n gonna let them put me away. I was a cop"," catches a putrid scent in the air. \n \n DRIVING COP \n Fuck... what is that? \n \n The other cop smells it too. They begin to look around. \n","155 INT. HOUSTON POLICE CRUISER - 1996 - A SHORT TIME LATER 155 \n \n The HOUSTON COP and a DRIVING COP ride up front, not"," janitors, but with a GROUP OF OFFICERS-- re-emerging from \n the elevator and back into the processing area. \n \n The LEAD OFFICER talks to the clerk. \n \n LEAD OFFICER","156 INT. HOUSTON POLICE CRUISER - 1996 - A SHORT TIME LATER 156 \n \n The DRIVING COP watches the road blankly until his nose"," waiting. \n \n CLANK-CLANG. The door begins to open as the Officer \n stamps some of the paperwork. \n \n RELEASE OFFICER (CONT'D) \n And you are--? \n"],[" STEVEN \n Produce. I work for Sysco. \n \n NEIL \n That's a big outfit. They give you that \n Corvette out there? \n \n STEVEN","28 EXT. GROCERY RECEIVING DOCK - MIAMI, 1992 - DAY 28 \n \n An OLD WAREHOUSE MANAGER emerges from a darkened AMITY"," ever. He passes the AMITY FOODSERVICE Logo and a CHERUBIC \n SECRETARY. \n \n STEVEN \n Morning Sandy! \n \n CHERUBIC SECRETARY"," FOODSERVICE trailer with a crate of tomatoes in hand. As \n he steps out onto the dock, he passes Steven, who is \n talking with a 500 pound PRODUCE MANAGER. \n \n Tomato crates are all around."," STEVEN (V.O.) \n It started with work. Tomatoes. I used to \n buy low grade tomatoes in the field and \n sell them to clueless chain stores as \n higher grade. \n"," KROEGER'S SUPERMARKET DELI COUNTER in uniform as a \n HOUSEWIFE waits impatiently. He hangs up. \n \n STEVEN (CONT'D) \n (big smile)"," Yes sir-ee. \n \n DEBBIE \n Great benefits, too. \n \n STEVEN \n And the hours don't crush me either. I \n get plenty of home time. \n","33 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 33 \n \n Steven exits an elevator and saunters into work, happy as"," paying much attention to their passenger. \n \n In the REAR, Steven nervously and quietly prepares an \n INSULIN SYRINGE and inexpertly INJECTS IT in his belly. \n"," At his desk, Steven leafs through the company finances. \n \n STEVEN (V.O.) \n It occurred to me to set up an investment \n account where the held money would earn \n interest for the short time that the","105 INT. USAMM OFFICE - 1996 - DAY 105 \n \n Steven saunters over to VERA the company accountant who \n is stamping some checks. He places some papers on her \n desk."," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," Steven sits over an untouched tray of food, staring at it \n detached. He looks thin. Pale. \n \n"," system from the HMO's to the doctors. \n It's a critical business. A powerful \n business... \n (beat) \n So when I read your resume, I wasn't sure \n what to think. Your level of education"," PRODUCE MANAGER \n These are gorgeous. U.S-1 right? \n \n STEVEN \n (big smile) \n Finest in the land... \n \n And as they talk- \n"," Get me out of here. \n \n \n 81 INT. DELI OFFICE - DAY 81 \n \n Steven stands over a desk, talking sternly into a \n telephone."," ...but STEVEN IS GONE. The man looks around. \n \n Across the room, Steven stands in an elevator amidst a \n group of lackadaisical JANITORS, clutching a mop. The"," Debbie quickly realizes where his head is at. \n \n DEBBIE \n Oh... that. Yeah, um, well I don't know- \n \n STEVEN \n I swear honey- getting around the system's"," escorts him to a desk piled high with financial reports. \n \n RHEBA \n Anything else I can do for you? \n \n STEVEN \n Uh.... cup of coffee? \n \n RHEBA"," SYRINGES. \n \n Steven passes by in the BACKGROUND with a brand new bag \n of golf clubs. Phillip is instantly puzzled. \n \n PHILLIP \n Golf!? \n \n STEVEN"],[" They drag him off. Phillip watches with deep worry as \n another guard keeps him there. He grows more and more \n upset, pacing and working himself up. \n \n Finally, the guard leaves and Phillip exits his cell and"," STEVEN (V.O.) \n Those were the longest three months of my \n life. I wrote to Phillip every day until \n I got released. \n \n"," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a"," Phillip turns to see CLEAVON- a huge black inmate mopping \n the hall outside his cell \n \n PHILLIP \n Yes. \n \n He tosses Phillip a folded note. He catches it and looks"," They grab Steven and yank him out of the cell. \n \n PHILLIP \n Wait! \n \n Phillip tries to follow but a guard knocks him back down \n onto the bunk. \n \n STEVEN"," Phillip calms himself. \n \n PHILLIP \n Just tell me where he is. What happened? \n \n DOCTOR \n He slipped into a coma for a few days."," his way with a look. Once he's alone, Phillip lets go \n and SOBS. \n \n He buries his face in his pillow. After a long while- \n"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," Phillip runs through another cell block until he comes to \n a window. He looks outside. \n \n PHILLIP \n Steven! \n \n"," anxiously peers out the bars and catches a glimpse of the \n mopping Cleavon working his way closer to his cell. \n \n PHILLIP \n Hurry up would you? \n \n CLEAVON"," Phillip passes the cells of Michael Unit, clutching his \n belongings and soon enters his cell. He looks around \n sheepishly until he is interrupted- \n \n CLEAVON (O.S.) \n You Phillip? \n","73 EXT. TX STATE PEN BREEZEWAY, 1995 - YARD GATE - DAY 73 \n \n Phillip runs down a breezeway. Eventually he reaches a"," Phillip composes himself and follows the guard out. \n \n \n 192 INT. TEXAS STATE PENITENTIARY CORRIDOR - 1998 - DAY 192 \n"," Phillip emerges from the line munching on a candy bar \n when he notices a ruckus on the other side of the fence. \n \n He wanders over to see a LARGE PRISONER beating the crap"," Before he stands up, Phillip manages a terse statement. \n \n PHILLIP \n I will never forgive you Steven. Never. \n \n Steven is speechless as he watches Phillip walk away- \n disappearing down a long corridor."," Phillip Morris! Now they think I'm in on \n everything! I'm facing real time! You \n know I can't go back to prison. \n \n STEVEN \n I'm sorry about that- they weren't"," Samuel walks past cell after cell with a grave look in \n his eyes. Eventually he arrives at Phillip's cell to \n find him sitting on his bunk. \n \n SAMUEL \n Phillip...? \n"," STEVEN \n I have an early release order for Phillip \n Morris. \n \n The Officer glances at the paperwork. \n \n RELEASE OFFICER \n Yep- Morris- we got him right here"," As his VO continues, Phillip folds up the paper and \n passes it through the bars back to Cleavon. \n \n"," PHILLIP \n It was for the best. He was suffering. \n \n Steven acknowledges his kindness with a smile. \n \n STEVEN \n (referring to law book)"],[" FLASHBACK. Steven sits over an untouched tray of food, \n staring at it detached. \n \n STEVEN (V.O.) \n Faking your death from AIDS is no easy"," convinced them I was a state-sponsored \n doctor looking for late stage AIDS \n patients for an experimental treatment. \n (then) \n As luck would have it, they had one \n patient that was eligible... \n"," uh... Well... you have AIDS. \n \n Steven sits expressionless. \n \n STEVEN \n How long do I have? \n \n And off the Doctor's grave face-- \n"," fake all sorts of symptoms. \n \n \n 195 INT. TEXAS STATE PEN, 1997 - MICHAEL UNIT CELL- NIGHT 195 \n"," I don't know what I'm doing. There's a \n guy I know- he's in the infirmary now. \n He's sick- he's real sick... AIDS. I"," looks through his records. \n \n YOUNG DOCTOR \n ...you have AIDS. \n \n Steven sits expressionless. \n \n STEVEN \n How long do I have? \n"," The shocked LAWYER turns to his client (EVANS). \n \n LAWYER \n (whispers) \n Is this true? \n \n EVANS \n No. \n"," STEVEN (V.O.) \n And for all that time- all those doctors, \n all those nurses and all those \n facilities... not one of them ever \n thought to give me an AIDS test... \n"," and they needed me. So I told myself it \n was just a little lie and it was better \n for everybody if it stayed that way. \n (beat) \n That's what I told myself. But life has a"," year. You don't know. I just came back \n from the doctor. My T-cells are... \n \n He begins to cry. \n \n KEMPLE (CONT'D)"," PHILLIP \n I fucking knew it- you did do something. \n You lied to me! You looked me right in \n the eye and lied! \n \n STEVEN"," He likes to keep little secrets \n sometimes. \n \n KEMPLE \n Like the fact that he was a big queer? \n \n DEBBIE \n Yeah, like that. \n"," task, believe me. But after watching \n Jimmy die, I thought I could make it \n convincing. First, you have to starve \n yourself- I ate half as much every day \n for ten months. After that, you have to"," Of course that was easy for me, every \n closet case is a con anyways. \n \n And as people gather around, he grasps his neck and moans \n litigiously-- \n \n"," STEVEN (V.O.) \n I had been living a lie for a long, long \n time. I tend to do that... hide things. \n \n MOUSTACHED MAN"," Did I forget to mention I didn't die? Yeah, \n I didn't die. Faked the whole thing. \n \n SMASH CUT TO: \n \n"," CLOSE ON THE FILE- a doctor's entry reads \"HIV+ since 91\" \n A few flips of the pages reveal FORGED BLOOD TEST \n DOCUMENTS. Buzzwords like T-CELL COUNTS and other terms"," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a"," He straddles the patient's chest and pushes down hard- \n the sound of a sternum CRACKING can be heard. \n \n With the staff distracted, Steven reaches into his \n mattress hole and pulls out scores of pills. He stuffs"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."],[" STEVEN (V.O.) \n Oh did I forget to mention I was gay? \n Yeah, sorry about that. I'm gay. Gay, \n gay, gay, gay, gay. Have been as long as"," This is Steven. Steven- Blake and Baylor. \n \n BLAKE \n (Gasp) This is him?! This is your gay \n lawyer prison boyfriend?! Pleased to \n meet you. \n"," STEVEN (V.O.) \n ...being gay is really expensive. \n (beat) \n It is. \n \n Steven leans over and makes out with Kemple. \n \n"," same thing. There were always signs. I \n should have known he was gay when he \n started shaving his chest. \n \n KEMPLE \n That would be a warning sign... \n \n DEBBIE"," He likes to keep little secrets \n sometimes. \n \n KEMPLE \n Like the fact that he was a big queer? \n \n DEBBIE \n Yeah, like that. \n"," What? \n \n PHILLIP \n You're a homosexual. \n \n STEVEN \n It's work. \n \n PHILLIP \n You know, you can tell them. They can't"," Of course that was easy for me, every \n closet case is a con anyways. \n \n And as people gather around, he grasps his neck and moans \n litigiously-- \n \n"," fire you for being gay. \n \n STEVEN \n I know... \n \n PHILLIP \n I'm trying to be understanding here \n honey, but golf? Why not just eat pussy? \n","24 INT. GAY CLUB - MIAMI, 1992 - NIGHT 24 \n \n DANCE MUSIC THUMPS as Steven passes around a tray of \n drinks to friends. \n"," are between them. \n \n STEVEN \n No. \n \n PHILLIP \n I swear. It's in the Ricky Martin People \n in the bathroom. \n \n Steven smiles and cuddles up."," way nearer with his mop. He's giddy. \n \n Moments later, Cleavon passes him by. Phillip is bummed. \n \n"," Building to the climax, Steven moans with pleasure. \n \n STEVEN \n I'm gonna come, I'm gonna come... \n \n Suddenly we see the face of the MOUSTACHED MAN he's \n fucking."," apart. Steven looks into Phillip's soul. He opens his \n mouth and-- \n \n SWAT COMMANDER (O.S.) \n Down on the ground faggots!! \n"," I don't know what I'm doing. There's a \n guy I know- he's in the infirmary now. \n He's sick- he's real sick... AIDS. I"," STEVEN (CONT'D) \n Let me introduce you to the mail guy. His \n name's Gary. \n \n"," Phillip slumps back onto his bed, depressed. \n \n PHILLIP \n Congratulations Phillip, scared off \n another one. \n \n A few moments later, he's startled by the CLANG of his"," PHILLIP (CONT'D) \n Now that I hear myself say it, I think he \n was just some rich chicken hawk. \n \n They get a GIGGLE out of this. \n","25 QUICK MONTAGE 25 \n \n QUICK CUTS of Steven enjoying his gay life with Kemple at"," SUPER: \"Steven Russell was arrested two weeks later \n trying to secure Phillip's release.\" \n \n Steven turns his head to find the man at the next urinal \n staring at him. It's a very surprised Birkheim with a"," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."],["33 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 33 \n \n Steven exits an elevator and saunters into work, happy as"," demeanor make him the very essence of a man with new \n found freedoms. \n \n STEVEN (V.O.) \n Life was good. Everything was falling \n right into place. I moved to Florida, got","34 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 34 \n \n Steven paces nervously outside the elevator, growing more \n and more anxious as he waits. \n"," As he admires his car proudly, the building volume of the \n MIAMI SOUND MACHINE gets his attention. \n \n He sees as Steven arrives in his NEW and MUCH MORE"," And as Steven riffles through an equally large stack of \n DRIVER'S LICENSES... \n \n \n 30 INT. DEPARTMENT STORE - MIAMI 1992 - DAY 30 \n","29 INT. MIAMI JEWELRY STORE - MIAMI 1992 - DAY 29 \n \n Steven stands before a SALESPERSON at a counter. \n \n SALESWOMAN","146 INT. MIAMI JAIL GUARD BOOTH - 1994 - DAY 146 \n \n Dressed in prison orange, Steven walks up to a counter, a","24 INT. GAY CLUB - MIAMI, 1992 - NIGHT 24 \n \n DANCE MUSIC THUMPS as Steven passes around a tray of \n drinks to friends. \n"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," Steven pushes a cart of food through the block delivering \n sandwiches to fellow detainees. \n \n \n 143 INT. MIAMI JAIL - PHONE BANK - 1993 - DAY 143 \n","37 INT. PALM BEACH HOSPITAL - 1992 - MORNING 37 \n \n Steven awakes in a hospital bed. He looks around and \n eventually looks through the observation glass into the"," around frantically. They spot him running across the open \n air lot and give chase. \n \n Steven comes to a stairwell door. It's locked. He runs \n some more and finds himself cornered at the guard rail. \n","145 INT. MIAMI JAIL CORRIDOR - 1994 - DAY 145 \n \n Steven approaches a section of bars where a BLONDE INMATE \n is waiting. \n"," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."," them to Steven, who is dressed in his lawyer attire. \n \n Steven exits the line and ducks into a nearby bathroom. \n \n","Her face says it all. \n \n STEVEN'S MOM \n It's true. \n \n WHACK! She SWATS his brother in the head. Steven starts \n putting things together. \n"," ...but STEVEN IS GONE. The man looks around. \n \n Across the room, Steven stands in an elevator amidst a \n group of lackadaisical JANITORS, clutching a mop. The","141 EXT. PALM BEACH HOSPITAL PARKING STRUCTURE - 1992 - DAY 141 \n \n A short time later, Steven lies MOANING and delirious."," Steven just smiles. \n \n KEMPLE (CONT'D) \n What? \n \n STEVEN \n I love you Jimmy. \n \n Kemple smirks. \n","35 EXT. ABANDONED LOT - FLORIDA, 1992 - DAY 35 \n \n Steven BLUBBERS TO HIMSELF inside his Bronco which is"],[" of God. \n \n He chokes back a tear, then throws an arm around Steven. \n \n LINDHOLM (CONT'D) \n I want you to meet my wife. \n \n"," Steven just smiles. \n \n KEMPLE (CONT'D) \n What? \n \n STEVEN \n I love you Jimmy. \n \n Kemple smirks. \n"," STEVEN \n I love you. \n \n No response. Phillip can only sit and stew. And stew. \n Until finally, he's had enough."," Steven smiles at that sentiment. Again he moves to get up \n when-- \n \n DEBBIE (CONT'D) \n This man who pursued me to the ends of \n the Earth and promised me a life of"," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," STEVEN \n I'm his lawyer. \n \n Phillip runs into his arms. As they kiss, the officer \n offers a surprised look."," It's really her? \n \n STEVEN \n Yeah. No question. \n \n DEBBIE \n My goodness Steven, that's wonderful. \n \n He reads on, his smile ever widening until-"," STEVEN \n Have lots of dreams... \n \n STEPHANIE \n (smiling) \n Okay. \n \n"," bedroom where Steven sits over Kemple's rapidly \n deteriorating body. \n \n KEMPLE \n Thanks Mom. \n \n She kisses both Jimmy and Steven. \n \n HELEN"," I love you so much. \n \n STEVEN \n Phillip, you are the sweetest, most \n gentle man I have ever met. And I know \n people have taken advantage of that. But"," KEMPLE \n It's only been a month, Steven. \n \n STEVEN \n I know. \n \n KEMPLE \n Don't fall for me Steven. \n"," He staggers toward Steven as a kaleidoscope of emotions \n plays across his face. Bewilderment, relief, sorrow, joy \n and finally, anger- \n \n WHACK! He slaps Steven across the face. \n"," STEVEN \n Hey Debbie. \n \n DEBBIE \n Steven. How are you? \n \n STEVEN \n Good. How's Steffie doing? \n \n DEBBIE"," like that. \n (tears) \n But it was never better, never more real \n than with you Steven. I realize now that \n all that crazy shit you did- in your"," a few moments of SILENCE, Steven rolls over and puts his \n arm around her, gently feeling her breasts. \n \n Debbie turns on her back and they kiss quietly as Steven \n quietly gets on top. In moments, they are rocking with"," STEVEN \n Yeah. Yeah, I did. \n \n PHILLIP \n Steven... \n \n A tear comes to Phillip's eye. \n \n PHILLIP (CONT'D)"," Debbie freezes, she can't believe her ears. And as she \n stares at his smiling face in shock... \n \n STEVEN (V.O.) (CONT'D) \n To my surprise, we stayed friends."," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," (into phone) \n Okay you can put him through. \n \n She puts the phone to Steven's ear. He can muster only a \n few words."," Outside the courtroom with Eudora, Steven is ecstatic. \n \n STEVEN \n YES! I did great! Can you believe how \n great I did!? \n \n EUDORA"],[" A young STEVEN RUSSELL (9) is among them. \n \n YOUNG STEVEN \n It's really big. \n \n STEVEN'S MOM (O.S.)"," wife (DEBBIE) and their 4 YEAR OLD DAUGHTER (STEPHANIE) \n who sit in the first row. \n \n Steven, oblivious, hits a sour note or two-- but keeps on"," (into phone) \n Okay you can put him through. \n \n She puts the phone to Steven's ear. He can muster only a \n few words."," Months later, Steven sits up in his bed. He now has a \n grey beard and with his shirt off we can see he has lost \n an unhealthy amount of weight."," Steven smiles and nods. \n \n STEVEN'S MOM (CONT'D) \n You've always been such a happy little \n boy. \n (then) \n Now Steven, we want to tell you something"," STEVEN (O.S.) \n Actually- I was in the yard once. Another \n guard asked him to pay him back five. He \n opened his wallet and I saw this picture \n of a little girl about Steffie's age. So","4 INT. LIVING ROOM CHESAPEAKE BAY, VA - 1966 - DAY 4 \n \n Young Steven sits in the middle of the couch. His PARENTS"," STEVEN \n I love you. \n \n No response. Phillip can only sit and stew. And stew. \n Until finally, he's had enough."," STEVEN \n Yeah. Yeah, I did. \n \n PHILLIP \n Steven... \n \n A tear comes to Phillip's eye. \n \n PHILLIP (CONT'D)","The group looks at him quizzically. Just as it seems \n Steven has been up to nothing-- \n \n STEVEN (CONT'D) \n Well, I'll just show you. Todd? \n"," and praise thee. Amen. \n \n STEVEN \n Amen. \n \n CUT TO: \n \n"," STEVEN \n Hey Debbie. \n \n DEBBIE \n Steven. How are you? \n \n STEVEN \n Good. How's Steffie doing? \n \n DEBBIE","Her face says it all. \n \n STEVEN'S MOM \n It's true. \n \n WHACK! She SWATS his brother in the head. Steven starts \n putting things together. \n"," STEVEN \n (lip quivering) \n In a manner of speaking, yes. You gave \n up a baby for adoption, correct? \n"," STEVEN \n Have lots of dreams... \n \n STEPHANIE \n (smiling) \n Okay. \n \n"," He staggers toward Steven as a kaleidoscope of emotions \n plays across his face. Bewilderment, relief, sorrow, joy \n and finally, anger- \n \n WHACK! He slaps Steven across the face. \n"," until he sees STEVEN enter his cell, clutching a pile of \n belongings. \n \n Phillip is overwhelmed as the cell door slams shut behind \n Steven. \n \n PHILLIP"," and 11 year old BROTHER stand before him. He stares at \n them- innocent and doe-eyed with a big smile on his face. \n \n STEVEN'S MOM \n Are you a happy little boy Steven? \n"," I know- he seemed so happy and-- \n \n Just then Debbie notices Steven is not in bed and looks \n up in time to see him disappearing around the corner. \n \n DEBBIE \n Steven!!! \n \n"," bedroom where Steven sits over Kemple's rapidly \n deteriorating body. \n \n KEMPLE \n Thanks Mom. \n \n She kisses both Jimmy and Steven. \n \n HELEN"]],"string":"[\n [\n \" FLASHBACK. Steven sits over an untouched tray of food, \\n staring at it detached. \\n \\n STEVEN (V.O.) \\n Faking your death from AIDS is no easy\",\n \" STEVEN (V.O.) \\n I had been living a lie for a long, long \\n time. I tend to do that... hide things. \\n \\n MOUSTACHED MAN\",\n \" Steven pauses. He looks Phillip square in the eye. \\n \\n STEVEN \\n You don't. \\n \\n And as Phillip stares at him- \\n \\n CUT TO BLACK:\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" makes his exit. \\n \\n STEVEN (V.O.) (CONT'D) \\n Now it didn't happen all at once. It was \\n sort of a gradual thing... \\n \\n\",\n \" STEVEN!! STEVEN! \\n \\n He sees the line at the sally port start to move and \\n stops to think. He knows what he has to do. \\n \\n\",\n \" MIRROR in his cell. \\n \\n STEVEN (V.O.) \\n Whatever the case, how does a person who \\n doesn't exist go on existing? Well the \\n answer is- he doesn't.\",\n \" He straddles the patient's chest and pushes down hard- \\n the sound of a sternum CRACKING can be heard. \\n \\n With the staff distracted, Steven reaches into his \\n mattress hole and pulls out scores of pills. He stuffs\",\n \" the phone on the hook and leaves. \\n \\n Steven lies motionless. He gazes out the window to the \\n passing clouds in the sky. It's time. \\n \\n DISSOLVE TO:\",\n \" them to Steven, who is dressed in his lawyer attire. \\n \\n Steven exits the line and ducks into a nearby bathroom. \\n \\n\",\n \" I know- he seemed so happy and-- \\n \\n Just then Debbie notices Steven is not in bed and looks \\n up in time to see him disappearing around the corner. \\n \\n DEBBIE \\n Steven!!! \\n \\n\",\n \"Steven doesn't know what this means... But the other \\n lawyer does. And he's not happy. \\n \\n LAWYER \\n (sotto) \\n Shit... \\n \\n Seeing this, Steven puffs with confidence. \\n\",\n \" PHILLIP \\n It was for the best. He was suffering. \\n \\n Steven acknowledges his kindness with a smile. \\n \\n STEVEN \\n (referring to law book)\",\n \" Steven resumes his VOICE OVER in the penitentiary \\n infirmary. \\n \\n STEVEN (V.O.) \\n There I was, keeping secrets, living a\",\n \" He throws himself down the escalator, out of frame to the \\n floor below. Painful tumbling is heard. \\n \\n At the BOTTOM of the escalator a hard THUD is heard. A \\n beat later, Steven's feet slide into frame.\",\n \" They grab Steven and yank him out of the cell. \\n \\n PHILLIP \\n Wait! \\n \\n Phillip tries to follow but a guard knocks him back down \\n onto the bunk. \\n \\n STEVEN\",\n \" around frantically. They spot him running across the open \\n air lot and give chase. \\n \\n Steven comes to a stairwell door. It's locked. He runs \\n some more and finds himself cornered at the guard rail. \\n\",\n \" Steven looks worse than ever in his semi-private bed, \\n looking out the window at the clouds with a catatonic \\n gaze. \\n \\n He's at peace. It is the moment of his death. \\n\",\n \" STEVEN \\n I know you're trying to protect yourself, \\n I get that. It's fine. Give me a chance \\n to prove you wrong. \\n \\n Phillip is melting but tries to hide it. \\n\",\n \" me an accomplice! You fucking liar! I \\n don't want to see you. Go away! I never \\n want to see you again! \\n \\n STEVEN \\n Phillip don't say that. \\n \\n No response.\"\n ],\n [\n \" way of forcing these things into the \\n light. \\n \\n CRASH! A CROSSING PICKUP TRUCK smashes into the driver \\n side door-- violently propelling steven and his corvette \\n out of frame.\",\n \" just in time to see Phillip's car rounding the corner. \\n \\n STEVEN \\n COME BACK! WAIT! \\n \\n\",\n \" STEVEN!! STEVEN! \\n \\n He sees the line at the sally port start to move and \\n stops to think. He knows what he has to do. \\n \\n\",\n \" PHILLIP (CONT'D) \\n STEVEN! \\n \\n Steven gets in his seat and yells out the window. \\n \\n STEVEN \\n What the hell are you doing!? \\n\",\n \" The door SLAMS and off he drives. \\n \\n STEVEN (V.O.) \\n Fucking Texas... \\n \\n \\n 207 INT. TAXI, 1998 - DAY 207\",\n \" (into phone) \\n Okay you can put him through. \\n \\n She puts the phone to Steven's ear. He can muster only a \\n few words.\",\n \" metallic ROAR, revealing a very impatient Steven with a \\n few days stubble on his face. \\n \\n STEVEN \\n It's about damn time! \\n \\n He rushes out.\",\n \" paying much attention to their passenger. \\n \\n In the REAR, Steven nervously and quietly prepares an \\n INSULIN SYRINGE and inexpertly INJECTS IT in his belly. \\n\",\n \" demeanor make him the very essence of a man with new \\n found freedoms. \\n \\n STEVEN (V.O.) \\n Life was good. Everything was falling \\n right into place. I moved to Florida, got\",\n \" STEVEN (V.O.) \\n Anyway where was I? Oh yeah-- \\n \\n SMASH CUT TO: \\n \\n\",\n \" them to Steven, who is dressed in his lawyer attire. \\n \\n Steven exits the line and ducks into a nearby bathroom. \\n \\n\",\n \" Steven. Oh God... Why didn't you write \\n me? I don't know how this happened, they \\n say I'm fine. Oh God, who did this? \\n (then)\",\n \" Steven drives his red Corvette, hard top removed, with a \\n contented look on his face. He glows as the Pet Shop \\n Boys' \\\"West End Girls\\\" plays on the radio. \\n \\n STEVEN (V.O.)\",\n \" to his new cell clutching his prison issue belongings. \\n \\n Although we can only see him from behind, we can only \\n assume this is Steven. He continues his walk amidst a\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" He staggers toward Steven as a kaleidoscope of emotions \\n plays across his face. Bewilderment, relief, sorrow, joy \\n and finally, anger- \\n \\n WHACK! He slaps Steven across the face. \\n\",\n \" STEVEN'S CAR IDLES INTO FRAME AT 1 MPH. The Heights', \\n \\\"How Do You Talk To An Angel\\\" is barely audible over the \\n car horn and STEVEN is slumped over the steering wheel. \\n\",\n \"137 EXT. NEW HOUSE - 1996 - DAY 137 \\n \\n Steven exits and heads for his car, but before he can get \\n in- \\n\",\n \" Steven sits over an untouched tray of food, staring at it \\n detached. He looks thin. Pale. \\n \\n\",\n \" makes his exit. \\n \\n STEVEN (V.O.) (CONT'D) \\n Now it didn't happen all at once. It was \\n sort of a gradual thing... \\n \\n\"\n ],\n [\n \" demeanor make him the very essence of a man with new \\n found freedoms. \\n \\n STEVEN (V.O.) \\n Life was good. Everything was falling \\n right into place. I moved to Florida, got\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \"4 INT. LIVING ROOM CHESAPEAKE BAY, VA - 1966 - DAY 4 \\n \\n Young Steven sits in the middle of the couch. His PARENTS\",\n \" So Debbie tells me you used to be in the \\n police force back in Georgia. \\n \\n STEVEN \\n Virginia Beach. \\n \\n NEIL \\n Right. Sorry... \\n \\n SARA\",\n \" \\\"BASHAM, BRENDA\\\" \\n \\n \\n 6A INT. STEVEN'S HOUSE, VIRGINIA BEACH - 1984 - NIGHT 6A \\n\",\n \"7 INT. STEPHANIE'S BEDROOM (VIRGINIA, 1984) - NIGHT 7 \\n \\n Steven switches off the small lamp beside Stephanie's \\n bed. He kisses her forehead. \\n\",\n \" STEVEN (V.O.) (CONT'D) \\n I quit the force that day. I packed up \\n the family and moved to Texas. I got a \\n great job and got to living the American \\n Dream. \\n\",\n \" What? What is it? Steven? \\n \\n He cannot believe his eyes. \\n \\n \\n 11 EXT. BASCOMBE HOME, VIRGINIA, 1984 - DAY 11 \\n\",\n \" Steven resumes his VOICE OVER in the penitentiary \\n infirmary. \\n \\n STEVEN (V.O.) \\n There I was, keeping secrets, living a\",\n \"8 INT. STEVEN AND DEBBIE'S BEDROOM (VIRGINIA, 1984) - NIGHT 8 \\n \\n Steven and Debbie kneel at the edge of the bed, praying. \\n\",\n \" Steven looks worse than ever in his semi-private bed, \\n looking out the window at the clouds with a catatonic \\n gaze. \\n \\n He's at peace. It is the moment of his death. \\n\",\n \" makes his exit. \\n \\n STEVEN (V.O.) (CONT'D) \\n Now it didn't happen all at once. It was \\n sort of a gradual thing... \\n \\n\",\n \" Steven. Oh God... Why didn't you write \\n me? I don't know how this happened, they \\n say I'm fine. Oh God, who did this? \\n (then)\",\n \" Steven walks up to a middle class home and raps on the \\n screen door. A kindly woman (MRS. BASCOMBE) arrives \\n behind the mesh wearing a birthday PARTY HAT. \\n \\n MRS. BASCOMBE\",\n \"114 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 114 \\n \\n FLASHBACK to Steven's first day on the job as his RHEBA\",\n \" parked in a bleak lot near a looming billboard. \\n \\n STEVEN (V.O.) \\n But one thing was for sure-- I was not \\n gonna let them put me away. I was a cop\",\n \" A joyous Sunday. OPEN ON the LETTER BOARD of THE VIRGINIA \\n BEACH CHURCH OF GOD. The date reads, MARCH 1984. \\n \\n A congregation packs the church to the rafters as a\",\n \" pounds. \\n \\n STEVEN (O.S.) \\n Yeah, that's him. \\n \\n PHILLIP (O.S.) \\n Oh he was such an asshole. \\n\",\n \" STEVEN (V.O.) \\n I had been living a lie for a long, long \\n time. I tend to do that... hide things. \\n \\n MOUSTACHED MAN\",\n \" At his desk, Steven leafs through the company finances. \\n \\n STEVEN (V.O.) \\n It occurred to me to set up an investment \\n account where the held money would earn \\n interest for the short time that the\"\n ],\n [\n \" to his new cell clutching his prison issue belongings. \\n \\n Although we can only see him from behind, we can only \\n assume this is Steven. He continues his walk amidst a\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \" Steven resumes his VOICE OVER in the penitentiary \\n infirmary. \\n \\n STEVEN (V.O.) \\n There I was, keeping secrets, living a\",\n \" He hangs up. A nearby inmate chimes in. \\n \\n NEW CELLMATE \\n How long you in for? \\n \\n STEVEN \\n Not long. \\n (picks up phone)\",\n \" STEVEN (V.O.) \\n Those were the longest three months of my \\n life. I wrote to Phillip every day until \\n I got released. \\n \\n\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" And as he talks-- \\n \\n STEVEN (V.O.) (CONT'D) \\n And once I got settled in, I just called \\n the Department of Corrections and\",\n \" This is Steven. Steven- Blake and Baylor. \\n \\n BLAKE \\n (Gasp) This is him?! This is your gay \\n lawyer prison boyfriend?! Pleased to \\n meet you. \\n\",\n \" STEVEN (V.O.) \\n They wanted me for all sorts of stuff- \\n Insurance fraud, identity theft, passport \\n fraud. They were probably gonna \\n extradite me all the way back to Texas. I\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \" They grab Steven and yank him out of the cell. \\n \\n PHILLIP \\n Wait! \\n \\n Phillip tries to follow but a guard knocks him back down \\n onto the bunk. \\n \\n STEVEN\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" As the prisoners resume their activities, Steven notices \\n a GENTLE LOOKING INMATE approaching the bird. \\n \\n Rapt, Steven watches as the inmate sympathetically scoops \\n up the bird and walks off. Steven is quite taken.\",\n \" He hangs up. Bored and lonely, he has a moment of repose. \\n Just then, a loud RUCKUS across the COMMON AREA gets his \\n attention. \\n \\n Steven watches as a group of ROWDY PRISONERS throw\",\n \" STEVEN (V.O.) \\n I had been living a lie for a long, long \\n time. I tend to do that... hide things. \\n \\n MOUSTACHED MAN\",\n \"203 EXT. RESTFUL ACRES CARE CENTER, 1998 - DAY 203 \\n \\n Steven is helped from a corrections van into a wheelchair \\n outside the Restful Acres facility. \\n\",\n \" STEVEN \\n Yes I do. I promise. \\n \\n He hangs up, tortured by this news. His eyes catch a \\n glimpse of a DETECTIVE exiting the cell block, banging on\",\n \"214 EXT. TEXAS STATE PENITENTIARY - DAY 214 \\n \\n A SIREN BLARES over a wide of the facility. Small in \\n frame, we see Steven running from the prison gaining\",\n \" I could certainly try. \\n \\n EUDORA \\n Can you still practice law, having been \\n to prison? \\n \\n STEVEN \\n Sure- why not? \\n \\n EUDORA\",\n \"158 INT. HARRIS COUNTY JAIL, HOUSTON - 1996 - DAY 158 \\n \\n Three manacled PRISONERS, one of them Steven, follow a\"\n ],\n [\n \" STEVEN \\n I have an early release order for Phillip \\n Morris. \\n \\n The Officer glances at the paperwork. \\n \\n RELEASE OFFICER \\n Yep- Morris- we got him right here\",\n \" They grab Steven and yank him out of the cell. \\n \\n PHILLIP \\n Wait! \\n \\n Phillip tries to follow but a guard knocks him back down \\n onto the bunk. \\n \\n STEVEN\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \" Phillip Morris! Now they think I'm in on \\n everything! I'm facing real time! You \\n know I can't go back to prison. \\n \\n STEVEN \\n I'm sorry about that- they weren't\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" Well thank you, I-- \\n \\n STEVEN \\n My name's Steven Russell. \\n \\n PHILLIP \\n Pleased to meet you Steven Russell, my \\n name's Phillip Morris. \\n\",\n \" Phillip runs through another cell block until he comes to \\n a window. He looks outside. \\n \\n PHILLIP \\n Steven! \\n \\n\",\n \" He hangs up. A nearby inmate chimes in. \\n \\n NEW CELLMATE \\n How long you in for? \\n \\n STEVEN \\n Not long. \\n (picks up phone)\",\n \" STEVEN (V.O.) \\n Those were the longest three months of my \\n life. I wrote to Phillip every day until \\n I got released. \\n \\n\",\n \" PHILLIP \\n It was for the best. He was suffering. \\n \\n Steven acknowledges his kindness with a smile. \\n \\n STEVEN \\n (referring to law book)\",\n \"Steven doesn't know what this means... But the other \\n lawyer does. And he's not happy. \\n \\n LAWYER \\n (sotto) \\n Shit... \\n \\n Seeing this, Steven puffs with confidence. \\n\",\n \" Steven is intrigued. \\n \\n STEVEN \\n Does he have a lawyer? \\n \\\"I Love You Phillip Morris\\\" Green Pages 5-23-08 32. \\n \\n \\n PHILLIP\",\n \" Phillip enters, standing by the door. \\n \\n PHILLIP \\n Get up... \\n \\n Steven sits up. \\n \\n PHILLIP (CONT'D) \\n Did you pay to have the Screecher beat\",\n \"Steven interjects. \\n \\n STEVEN \\n (sotto to Lawyer) \\n Next week. \\n \\n The attorney looks at him quizzically and turns back to \\n the judge. \\n \\n ATTORNEY\",\n \" \\\"I Love You Phillip Morris\\\" Green Pages 5-23-08 18. \\n \\n \\n STEVEN \\n Thank you. \\n \\n With great difficulty, Steven gets on his crutches and\",\n \" STEVEN (CONT'D) \\n Well what am I supposed to do? \\n \\n PHILLIP (O.S.) \\n You're the lawyer, you figure it out. \\n \\n This time, it's Steven who remains silent.\",\n \" And as he talks-- \\n \\n STEVEN (V.O.) (CONT'D) \\n And once I got settled in, I just called \\n the Department of Corrections and\",\n \" Yeah. \\n \\n STEVEN \\n Have him get in touch with the Prisoner \\n Rights Committee. They deal with this all \\n the time- pro bono. I've got the number. \\n \\n PHILLIP\",\n \"189 INT. TEXAS STATE PEN INFIRMARY OFFICE - 1998- DAY 189 \\n \\n Phillip is INTERCUT with the helpless Steven. \\n \\n PHILLIP\"\n ],\n [\n \" STEVEN \\n Produce. I work for Sysco. \\n \\n NEIL \\n That's a big outfit. They give you that \\n Corvette out there? \\n \\n STEVEN\",\n \"28 EXT. GROCERY RECEIVING DOCK - MIAMI, 1992 - DAY 28 \\n \\n An OLD WAREHOUSE MANAGER emerges from a darkened AMITY\",\n \" ever. He passes the AMITY FOODSERVICE Logo and a CHERUBIC \\n SECRETARY. \\n \\n STEVEN \\n Morning Sandy! \\n \\n CHERUBIC SECRETARY\",\n \" around frantically. They spot him running across the open \\n air lot and give chase. \\n \\n Steven comes to a stairwell door. It's locked. He runs \\n some more and finds himself cornered at the guard rail. \\n\",\n \" LINDHOLM \\n Steven? Where are you? \\n \\n STEVEN \\n The Gulf Freeway. Where are you? \\n \\n LINDHOLM \\n At the office. You coming back anytime \\n soon?\",\n \" FOODSERVICE trailer with a crate of tomatoes in hand. As \\n he steps out onto the dock, he passes Steven, who is \\n talking with a 500 pound PRODUCE MANAGER. \\n \\n Tomato crates are all around.\",\n \" Steven walks up to a middle class home and raps on the \\n screen door. A kindly woman (MRS. BASCOMBE) arrives \\n behind the mesh wearing a birthday PARTY HAT. \\n \\n MRS. BASCOMBE\",\n \"33 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 33 \\n \\n Steven exits an elevator and saunters into work, happy as\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \"34 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 34 \\n \\n Steven paces nervously outside the elevator, growing more \\n and more anxious as he waits. \\n\",\n \"100 INT. USAMM BOARDROOM - 1996 - DAY 100 \\n \\n Steven sits in a board meeting, surrounded by all of the \\n company honchos. Dan Lindholm lords over the gathering\",\n \" KROEGER'S SUPERMARKET DELI COUNTER in uniform as a \\n HOUSEWIFE waits impatiently. He hangs up. \\n \\n STEVEN (CONT'D) \\n (big smile)\",\n \"105 INT. USAMM OFFICE - 1996 - DAY 105 \\n \\n Steven saunters over to VERA the company accountant who \\n is stamping some checks. He places some papers on her \\n desk.\",\n \" paying much attention to their passenger. \\n \\n In the REAR, Steven nervously and quietly prepares an \\n INSULIN SYRINGE and inexpertly INJECTS IT in his belly. \\n\",\n \" that reads, \\\"Harris County Police, 12:30\\\" \\n \\n He leaps out of the chair and exits the office. \\n \\n\",\n \"102 INT. HOUSTON BALLROOM - 1996 - NIGHT 102 \\n \\n A black-tie cocktail party is in full swing. Steven eats\",\n \" Take a seat. \\n \\n They take a seat on a bench outside a large steel door as \\n the officer talks to a PROCESSING CLERK. Steven is \\n visibly agitated and ignores the other men on the bench \\n with him. \\n\",\n \" Get me out of here. \\n \\n \\n 81 INT. DELI OFFICE - DAY 81 \\n \\n Steven stands over a desk, talking sternly into a \\n telephone.\",\n \"158 INT. HARRIS COUNTY JAIL, HOUSTON - 1996 - DAY 158 \\n \\n Three manacled PRISONERS, one of them Steven, follow a\",\n \" Phillip runs through the yard, passing GIANT WOLF- \\n WHISTLING INMATES as they put down their weights and stop \\n their basketball games. \\n \\n Phillip maintains his focus on the sally port on the\"\n ],\n [\n \" STEVEN \\n Yeah. Yeah, I did. \\n \\n PHILLIP \\n Steven... \\n \\n A tear comes to Phillip's eye. \\n \\n PHILLIP (CONT'D)\",\n \" Phillip's voices are heard. \\n \\n PHILLIP (O.S.) \\n I've been meaning to ask you something. \\n \\n STEVEN (O.S.) \\n Yeah? \\n\",\n \" PHILLIP \\n I fucking knew it- you did do something. \\n You lied to me! You looked me right in \\n the eye and lied! \\n \\n STEVEN\",\n \" PHILLIP \\n You're such a fucker! \\n \\n STEVEN \\n I know- I'm sorry- You weren't supposed \\n to find out. \\n \\n PHILLIP\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" looks through his records. \\n \\n YOUNG DOCTOR \\n ...you have AIDS. \\n \\n Steven sits expressionless. \\n \\n STEVEN \\n How long do I have? \\n\",\n \" uh... Well... you have AIDS. \\n \\n Steven sits expressionless. \\n \\n STEVEN \\n How long do I have? \\n \\n And off the Doctor's grave face-- \\n\",\n \" Open the door Phillip. \\n \\n PHILLIP (O.S.) \\n No. \\n \\n Steven walks up to the door and pleads gently. \\n \\n STEVEN \\n (quietly)\",\n \" Before he stands up, Phillip manages a terse statement. \\n \\n PHILLIP \\n I will never forgive you Steven. Never. \\n \\n Steven is speechless as he watches Phillip walk away- \\n disappearing down a long corridor.\",\n \" STEVEN \\n I love you. \\n \\n No response. Phillip can only sit and stew. And stew. \\n Until finally, he's had enough.\",\n \" PHILLIP \\n Huh? \\n (realizing) \\n Oh. Him, yeah... he's at peace. \\n \\n STEVEN \\n Oh, I'm sorry. \\n\",\n \" Steven sits before a YOUNG PRISON DOCTOR who looks \\n through his records. \\n \\n YOUNG DOCTOR \\n I'm sorry to have to tell you this \\n Steven, your t-cell counts indicate that,\",\n \" What? \\n \\n PHILLIP \\n You're a homosexual. \\n \\n STEVEN \\n It's work. \\n \\n PHILLIP \\n You know, you can tell them. They can't\",\n \" Steven pauses. He looks Phillip square in the eye. \\n \\n STEVEN \\n You don't. \\n \\n And as Phillip stares at him- \\n \\n CUT TO BLACK:\",\n \" Phillip tries to take this to heart. After a moment... \\n \\n PHILLIP \\n You're so skinny. \\n \\n STEVEN \\n I'm fine. Just hungry. \\n \\n PHILLIP\",\n \" FLASHBACK. Steven sits over an untouched tray of food, \\n staring at it detached. \\n \\n STEVEN (V.O.) \\n Faking your death from AIDS is no easy\",\n \" me an accomplice! You fucking liar! I \\n don't want to see you. Go away! I never \\n want to see you again! \\n \\n STEVEN \\n Phillip don't say that. \\n \\n No response.\",\n \" Go away Steven! \\n \\n Steven is surprised. \\n \\n PHILLIP (O.S.) (CONT'D) \\n You think I didn't know you were coming!? \\n \\n STEVEN \\n Phillip-\",\n \" one thing. \\n \\n Phillip is listening. \\n \\n STEVEN (CONT'D) \\n I know you thought we were nothing but a \\n lie- but underneath all those lies there \\n was always something that was real. I\",\n \" PHILLIP (CONT'D) \\n STEVEN! \\n \\n Steven gets in his seat and yells out the window. \\n \\n STEVEN \\n What the hell are you doing!? \\n\"\n ],\n [\n \" STEVEN \\n Hey Debbie. \\n \\n DEBBIE \\n Steven. How are you? \\n \\n STEVEN \\n Good. How's Steffie doing? \\n \\n DEBBIE\",\n \" Debbie quickly realizes where his head is at. \\n \\n DEBBIE \\n Oh... that. Yeah, um, well I don't know- \\n \\n STEVEN \\n I swear honey- getting around the system's\",\n \" Debbie freezes, she can't believe her ears. And as she \\n stares at his smiling face in shock... \\n \\n STEVEN (V.O.) (CONT'D) \\n To my surprise, we stayed friends.\",\n \" COUPLE. She waves him over. \\n \\n STEVEN \\n (to Stephanie) \\n In the laundry room. \\n \\n He puts her down and heads over to Debbie and the couple. \\n\",\n \" DEBBIE \\n Oh Steven, are you on the lam again? \\n \\n STEVEN \\n Deb, you always knew me best. \\n \\n DEBBIE \\n Steven you really should stop all this,\",\n \" STEPHANIE \\n I can't find my blue fish. \\n \\n DEBBIE (O.S.) \\n Steven? \\n \\n He turns to see Debbie across the room talking to a YOUNG\",\n \" wife (DEBBIE) and their 4 YEAR OLD DAUGHTER (STEPHANIE) \\n who sit in the first row. \\n \\n Steven, oblivious, hits a sour note or two-- but keeps on\",\n \" It's really her? \\n \\n STEVEN \\n Yeah. No question. \\n \\n DEBBIE \\n My goodness Steven, that's wonderful. \\n \\n He reads on, his smile ever widening until-\",\n \" DEBBIE \\n It's good to have him where I can keep an \\n eye on him. \\n \\n STEVEN \\n (suggestive) \\n Among other things... \\n\",\n \" STEVEN \\n I haven't looked. It's downstairs. \\n \\n DEBBIE \\n Really? Well let's go! \\n \\n She moves to get up. Steven takes umbrage. \\n\",\n \" Good. Real good. She sure is your \\n daughter... \\n \\n STEVEN \\n She's interested in boys already? \\n \\n DEBBIE \\n Ha-ha. How's Phillip? \\n\",\n \" STEVEN \\n Well hold on- let me finish. \\n \\n DEBBIE \\n Oh, right. \\n \\n Steven thrusts and tenses. \\n \\n STEVEN\",\n \"22 INT. HOUSTON HOSPITAL - 1986 - NIGHT - CONTINUOUS 22 \\n \\n Debbie enters the room to find Steven, bandaged and \\n bristling with tubes. \\n\",\n \" I know- he seemed so happy and-- \\n \\n Just then Debbie notices Steven is not in bed and looks \\n up in time to see him disappearing around the corner. \\n \\n DEBBIE \\n Steven!!! \\n \\n\",\n \" So Debbie tells me you used to be in the \\n police force back in Georgia. \\n \\n STEVEN \\n Virginia Beach. \\n \\n NEIL \\n Right. Sorry... \\n \\n SARA\",\n \" And as Steven listens to Debbie's rant-- \\n \\n STEVEN (V.O.) \\n Of course, Jimmy and Debbie had no idea \\n what I was up to. For the time being, at \\n least...\",\n \" Steven smiles at that sentiment. Again he moves to get up \\n when-- \\n \\n DEBBIE (CONT'D) \\n This man who pursued me to the ends of \\n the Earth and promised me a life of\",\n \" Steven flips through the file box, reading through \\n various pages. Debbie watches with compassion as he \\n reads. Eventually he cracks an incredulous SMILE. \\n \\n DEBBIE \\n What? \\n \\n STEVEN\",\n \" DEBBIE \\n I can't keep this. \\n \\n STEVEN \\n Why not? \\n \\n DEBBIE \\n Well... it's not Christian. \\n \\n STEVEN\",\n \" background, opening gifts at the base of their tree. \\n \\n DEBBIE \\n Merry Christmas. \\n \\n STEVEN \\n Hi Debbie!\"\n ],\n [\n \" It's really her? \\n \\n STEVEN \\n Yeah. No question. \\n \\n DEBBIE \\n My goodness Steven, that's wonderful. \\n \\n He reads on, his smile ever widening until-\",\n \"Her face says it all. \\n \\n STEVEN'S MOM \\n It's true. \\n \\n WHACK! She SWATS his brother in the head. Steven starts \\n putting things together. \\n\",\n \" very important, but I want you to \\n understand that it doesn't change a \\n thing. \\n \\n Steven awaits, smiling. \\n \\n STEVEN'S MOM (CONT'D)\",\n \" Steven smiles and nods. \\n \\n STEVEN'S MOM (CONT'D) \\n You've always been such a happy little \\n boy. \\n (then) \\n Now Steven, we want to tell you something\",\n \" He staggers toward Steven as a kaleidoscope of emotions \\n plays across his face. Bewilderment, relief, sorrow, joy \\n and finally, anger- \\n \\n WHACK! He slaps Steven across the face. \\n\",\n \" STEVEN \\n (lip quivering) \\n In a manner of speaking, yes. You gave \\n up a baby for adoption, correct? \\n\",\n \" bedroom where Steven sits over Kemple's rapidly \\n deteriorating body. \\n \\n KEMPLE \\n Thanks Mom. \\n \\n She kisses both Jimmy and Steven. \\n \\n HELEN\",\n \" of God. \\n \\n He chokes back a tear, then throws an arm around Steven. \\n \\n LINDHOLM (CONT'D) \\n I want you to meet my wife. \\n \\n\",\n \" Steven walks up to a middle class home and raps on the \\n screen door. A kindly woman (MRS. BASCOMBE) arrives \\n behind the mesh wearing a birthday PARTY HAT. \\n \\n MRS. BASCOMBE\",\n \" (into phone) \\n Okay you can put him through. \\n \\n She puts the phone to Steven's ear. He can muster only a \\n few words.\",\n \" You were young. I know that you made a \\n mistake giving me away, but- \\n \\n MRS. BASCOMBE \\n Listen- \\n \\n STEVEN\",\n \" STEVEN \\n Hey Debbie. \\n \\n DEBBIE \\n Steven. How are you? \\n \\n STEVEN \\n Good. How's Steffie doing? \\n \\n DEBBIE\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \" STEVEN'S MOM \\n It doesn't change a thing honey. We love \\n you just as much as we love your brother \\n here... \\n (best of intentions) \\n ...and he's natural. \\n\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" Steeeeeeeeeven... \\n \\n Steven looks down the hill to see his mother calling. \\n \\n STEVEN'S MOM (CONT'D) \\n Steeeeeeeeeven... \\n \\n\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" A young STEVEN RUSSELL (9) is among them. \\n \\n YOUNG STEVEN \\n It's really big. \\n \\n STEVEN'S MOM (O.S.)\",\n \" Eudora waits on a bench in the corridor, nervously \\n glancing at her watch. Steven stands behind a column \\n down the hall hiding and watching. He looks at his \\n watch, then approaches her. \\n \\n STEVEN\",\n \" Good. Real good. She sure is your \\n daughter... \\n \\n STEVEN \\n She's interested in boys already? \\n \\n DEBBIE \\n Ha-ha. How's Phillip? \\n\"\n ],\n [\n \" demeanor make him the very essence of a man with new \\n found freedoms. \\n \\n STEVEN (V.O.) \\n Life was good. Everything was falling \\n right into place. I moved to Florida, got\",\n \"7 INT. STEPHANIE'S BEDROOM (VIRGINIA, 1984) - NIGHT 7 \\n \\n Steven switches off the small lamp beside Stephanie's \\n bed. He kisses her forehead. \\n\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" So Debbie tells me you used to be in the \\n police force back in Georgia. \\n \\n STEVEN \\n Virginia Beach. \\n \\n NEIL \\n Right. Sorry... \\n \\n SARA\",\n \" \\\"BASHAM, BRENDA\\\" \\n \\n \\n 6A INT. STEVEN'S HOUSE, VIRGINIA BEACH - 1984 - NIGHT 6A \\n\",\n \" STEVEN (V.O.) (CONT'D) \\n I quit the force that day. I packed up \\n the family and moved to Texas. I got a \\n great job and got to living the American \\n Dream. \\n\",\n \" Steven resumes his VOICE OVER in the penitentiary \\n infirmary. \\n \\n STEVEN (V.O.) \\n There I was, keeping secrets, living a\",\n \"8 INT. STEVEN AND DEBBIE'S BEDROOM (VIRGINIA, 1984) - NIGHT 8 \\n \\n Steven and Debbie kneel at the edge of the bed, praying. \\n\",\n \" (embarrassed) \\n Neil... \\n \\n STEVEN \\n Yeah, kinda lost interest. Got back into \\n the family business. \\n \\n NEIL \\n Which is? \\n\",\n \" What? What is it? Steven? \\n \\n He cannot believe his eyes. \\n \\n \\n 11 EXT. BASCOMBE HOME, VIRGINIA, 1984 - DAY 11 \\n\",\n \"4 INT. LIVING ROOM CHESAPEAKE BAY, VA - 1966 - DAY 4 \\n \\n Young Steven sits in the middle of the couch. His PARENTS\",\n \" A joyous Sunday. OPEN ON the LETTER BOARD of THE VIRGINIA \\n BEACH CHURCH OF GOD. The date reads, MARCH 1984. \\n \\n A congregation packs the church to the rafters as a\",\n \" FLASHBACK. Months later, Steven sits up in his bed. He \\n now has a grey beard and with his shirt off we can see he \\n has lost an unhealthy amount of weight. \\n \\n STEVEN (V.O.)\",\n \" makes his exit. \\n \\n STEVEN (V.O.) (CONT'D) \\n Now it didn't happen all at once. It was \\n sort of a gradual thing... \\n \\n\",\n \" At his desk, Steven leafs through the company finances. \\n \\n STEVEN (V.O.) \\n It occurred to me to set up an investment \\n account where the held money would earn \\n interest for the short time that the\",\n \" STEVEN (V.O.) \\n I had been living a lie for a long, long \\n time. I tend to do that... hide things. \\n \\n MOUSTACHED MAN\",\n \" pounds. \\n \\n STEVEN (O.S.) \\n Yeah, that's him. \\n \\n PHILLIP (O.S.) \\n Oh he was such an asshole. \\n\",\n \" The door SLAMS and off he drives. \\n \\n STEVEN (V.O.) \\n Fucking Texas... \\n \\n \\n 207 INT. TAXI, 1998 - DAY 207\",\n \" PHILLIP \\n I didn't ask. \\n \\n STEVEN \\n What'd you do for him? \\n \\n PHILLIP \\n I mainly just rode around town in his\",\n \" Steven sits at his desk, detached and fed up. \\n \\n STEVEN (V.O.) \\n Maybe it was because it's just my nature, \\n or maybe it was because of my past... or\"\n ],\n [\n \" Well where is she, sweetheart? \\n \\n STEVEN \\n She works. Travels a lot. It's killing \\n her she couldn't be here. \\n \\n And as the wives fret symathetically- \\n\",\n \" Before he stands up, Phillip manages a terse statement. \\n \\n PHILLIP \\n I will never forgive you Steven. Never. \\n \\n Steven is speechless as he watches Phillip walk away- \\n disappearing down a long corridor.\",\n \" makes his exit. \\n \\n STEVEN (V.O.) (CONT'D) \\n Now it didn't happen all at once. It was \\n sort of a gradual thing... \\n \\n\",\n \" wife (DEBBIE) and their 4 YEAR OLD DAUGHTER (STEPHANIE) \\n who sit in the first row. \\n \\n Steven, oblivious, hits a sour note or two-- but keeps on\",\n \" of God. \\n \\n He chokes back a tear, then throws an arm around Steven. \\n \\n LINDHOLM (CONT'D) \\n I want you to meet my wife. \\n \\n\",\n \" it's fine. Just tell me why-- \\n \\n MRS. BASCOMBE (O.S.) \\n Go away! \\n \\n STEVEN \\n Okay, okay. I understand. It's a lot at\",\n \" I know- he seemed so happy and-- \\n \\n Just then Debbie notices Steven is not in bed and looks \\n up in time to see him disappearing around the corner. \\n \\n DEBBIE \\n Steven!!! \\n \\n\",\n \" Now just because I was screwing around \\n doesn't mean I didn't love Debbie. I did. \\n I loved her with all my heart... \\n Stephanie too. My family was all I had\",\n \" He is right Mr. Russell- what do you have \\n to say? \\n \\n Steven is stonewalled. He looks to Eudora as if to say, \\n \\\"What do I do now?\\\" and it terrifies her. \\n\",\n \" He staggers toward Steven as a kaleidoscope of emotions \\n plays across his face. Bewilderment, relief, sorrow, joy \\n and finally, anger- \\n \\n WHACK! He slaps Steven across the face. \\n\",\n \" STEVEN \\n I love you. \\n \\n No response. Phillip can only sit and stew. And stew. \\n Until finally, he's had enough.\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" eternal happiness. A promise he has kept \\n oh Lord. Every day. Amen. \\n \\n STEVEN \\n Amen. \\n \\n Steven tries to get up again. Then-\",\n \" He looks ill. \\n \\n KEMPLE \\n I'm sick. \\n \\n STEVEN \\n I know. \\n \\n KEMPLE \\n No really sick. You haven't seen me in a\",\n \" demeanor make him the very essence of a man with new \\n found freedoms. \\n \\n STEVEN (V.O.) \\n Life was good. Everything was falling \\n right into place. I moved to Florida, got\",\n \" and they needed me. So I told myself it \\n was just a little lie and it was better \\n for everybody if it stayed that way. \\n (beat) \\n That's what I told myself. But life has a\",\n \" Steven looks down. The soft bags of trash below beckon \\n him to freedom. \\n \\n KEMPLE (CONT'D) \\n Steven I'm serious! You stop or you'll \\n never see me again!\",\n \" Steven sits at his desk, detached and fed up. \\n \\n STEVEN (V.O.) \\n Maybe it was because it's just my nature, \\n or maybe it was because of my past... or\",\n \" STEVEN (CONT'D) \\n That one you and me are having right now- \\n the one you're trying to forget exists \\n because you're going away. But there's\",\n \" (embarrassed) \\n Neil... \\n \\n STEVEN \\n Yeah, kinda lost interest. Got back into \\n the family business. \\n \\n NEIL \\n Which is? \\n\"\n ],\n [\n \" As the prisoners resume their activities, Steven notices \\n a GENTLE LOOKING INMATE approaching the bird. \\n \\n Rapt, Steven watches as the inmate sympathetically scoops \\n up the bird and walks off. Steven is quite taken.\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" STEVEN \\n (mid-sentence) \\n ...I made the mistake of writing her and \\n saying I was lonely in here. And next \\n thing you know, my ex-wife catches her\",\n \" to his new cell clutching his prison issue belongings. \\n \\n Although we can only see him from behind, we can only \\n assume this is Steven. He continues his walk amidst a\",\n \" He hangs up. Bored and lonely, he has a moment of repose. \\n Just then, a loud RUCKUS across the COMMON AREA gets his \\n attention. \\n \\n Steven watches as a group of ROWDY PRISONERS throw\",\n \" lies. Lies to make people love me, lies \\n to keep them from leaving me and lies to \\n make them give me their money. \\n \\n He enters his cell. \\n \\n\",\n \" Through the glass wall outside the phone room, we watch \\n as Steven continues to absorb the bad news. \\n \\n He hangs up the phone and falls to pieces as the \\n CACOPHONY of the prison masks any sound of his grief. \\n\",\n \" He hangs up. A nearby inmate chimes in. \\n \\n NEW CELLMATE \\n How long you in for? \\n \\n STEVEN \\n Not long. \\n (picks up phone)\",\n \" This is Steven. Steven- Blake and Baylor. \\n \\n BLAKE \\n (Gasp) This is him?! This is your gay \\n lawyer prison boyfriend?! Pleased to \\n meet you. \\n\",\n \" They drag him off. Phillip watches with deep worry as \\n another guard keeps him there. He grows more and more \\n upset, pacing and working himself up. \\n \\n Finally, the guard leaves and Phillip exits his cell and\",\n \" It's really her? \\n \\n STEVEN \\n Yeah. No question. \\n \\n DEBBIE \\n My goodness Steven, that's wonderful. \\n \\n He reads on, his smile ever widening until-\",\n \" Manacled to a line of prisoners, Steven shuffles through \\n a crowded hallway. Courthouse staff are everywhere. \\n \\n Steven spots a HARRIED woman approaching with an armful \\n of paperwork. \\n\",\n \"145 INT. MIAMI JAIL CORRIDOR - 1994 - DAY 145 \\n \\n Steven approaches a section of bars where a BLONDE INMATE \\n is waiting. \\n\",\n \" Steven resumes his VOICE OVER in the penitentiary \\n infirmary. \\n \\n STEVEN (V.O.) \\n There I was, keeping secrets, living a\",\n \" Now just because I was screwing around \\n doesn't mean I didn't love Debbie. I did. \\n I loved her with all my heart... \\n Stephanie too. My family was all I had\",\n \" Outside the courtroom with Eudora, Steven is ecstatic. \\n \\n STEVEN \\n YES! I did great! Can you believe how \\n great I did!? \\n \\n EUDORA\",\n \" They grab Steven and yank him out of the cell. \\n \\n PHILLIP \\n Wait! \\n \\n Phillip tries to follow but a guard knocks him back down \\n onto the bunk. \\n \\n STEVEN\",\n \" STEVEN (O.S.) \\n Actually- I was in the yard once. Another \\n guard asked him to pay him back five. He \\n opened his wallet and I saw this picture \\n of a little girl about Steffie's age. So\",\n \" through the bars. Steven gives a look. Something upsets \\n him. \\n \\n STEVEN \\n What the hell's this? \\n \\n BLONDE INMATE \\n It's all I could get. \\n\",\n \" I love you so much. \\n \\n STEVEN \\n Phillip, you are the sweetest, most \\n gentle man I have ever met. And I know \\n people have taken advantage of that. But\"\n ],\n [\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" They drag him off. Phillip watches with deep worry as \\n another guard keeps him there. He grows more and more \\n upset, pacing and working himself up. \\n \\n Finally, the guard leaves and Phillip exits his cell and\",\n \" They grab Steven and yank him out of the cell. \\n \\n PHILLIP \\n Wait! \\n \\n Phillip tries to follow but a guard knocks him back down \\n onto the bunk. \\n \\n STEVEN\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \" Phillip runs through another cell block until he comes to \\n a window. He looks outside. \\n \\n PHILLIP \\n Steven! \\n \\n\",\n \" Well thank you, I-- \\n \\n STEVEN \\n My name's Steven Russell. \\n \\n PHILLIP \\n Pleased to meet you Steven Russell, my \\n name's Phillip Morris. \\n\",\n \" STEVEN (V.O.) \\n Those were the longest three months of my \\n life. I wrote to Phillip every day until \\n I got released. \\n \\n\",\n \" STEVEN (V.O.) \\n Funny, huh? \\n \\n The guard pushes Phillip past the threshold. The door \\n SLAMS SHUT behind him. \\n\",\n \" Phillip's voices are heard. \\n \\n PHILLIP (O.S.) \\n I've been meaning to ask you something. \\n \\n STEVEN (O.S.) \\n Yeah? \\n\",\n \" Open the door Phillip. \\n \\n PHILLIP (O.S.) \\n No. \\n \\n Steven walks up to the door and pleads gently. \\n \\n STEVEN \\n (quietly)\",\n \" Phillip passes the cells of Michael Unit, clutching his \\n belongings and soon enters his cell. He looks around \\n sheepishly until he is interrupted- \\n \\n CLEAVON (O.S.) \\n You Phillip? \\n\",\n \" Phillip enters, standing by the door. \\n \\n PHILLIP \\n Get up... \\n \\n Steven sits up. \\n \\n PHILLIP (CONT'D) \\n Did you pay to have the Screecher beat\",\n \" Phillip turns to see CLEAVON- a huge black inmate mopping \\n the hall outside his cell \\n \\n PHILLIP \\n Yes. \\n \\n He tosses Phillip a folded note. He catches it and looks\",\n \" PHILLIP \\n It was for the best. He was suffering. \\n \\n Steven acknowledges his kindness with a smile. \\n \\n STEVEN \\n (referring to law book)\",\n \" STEVEN \\n I know you're trying to protect yourself, \\n I get that. It's fine. Give me a chance \\n to prove you wrong. \\n \\n Phillip is melting but tries to hide it. \\n\",\n \" Before he stands up, Phillip manages a terse statement. \\n \\n PHILLIP \\n I will never forgive you Steven. Never. \\n \\n Steven is speechless as he watches Phillip walk away- \\n disappearing down a long corridor.\",\n \" anxiously peers out the bars and catches a glimpse of the \\n mopping Cleavon working his way closer to his cell. \\n \\n PHILLIP \\n Hurry up would you? \\n \\n CLEAVON\",\n \" supposed to love something that don't \\n even exist? You tell me. \\n \\n Eventually a POLICEMAN stands before Phillip. \\n \\n POLICEMAN (O.S.) \\n Morris. You're up. \\n\",\n \" me an accomplice! You fucking liar! I \\n don't want to see you. Go away! I never \\n want to see you again! \\n \\n STEVEN \\n Phillip don't say that. \\n \\n No response.\"\n ],\n [\n \"114 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 114 \\n \\n FLASHBACK to Steven's first day on the job as his RHEBA\",\n \" Larry Birkheim, the CEO of USAMM sits beside Dan \\n Lindholm. He chimes in. \\n \\n BIRKHEIM \\n Okay Steven, your turn. I know you've \\n only had the one quarter to play catch up\",\n \"99 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 99 \\n \\n An uptight assistant (RHEBA) leads Steven into his fancy \\n new office. \\n\",\n \"105 INT. USAMM OFFICE - 1996 - DAY 105 \\n \\n Steven saunters over to VERA the company accountant who \\n is stamping some checks. He places some papers on her \\n desk.\",\n \"115 MONTAGE: HOW MONEY FLOWS AT USAMM-- 115 \\n \\n QUICK CUTS of Steven researching by leafing through\",\n \"96 INT. USAMM HQ - LINDHOLM'S OFFICE - 1996 - DAY 96 \\n \\n A bored Steven waits in the middle of a big wig's office.\",\n \" Steven is worried. \\n \\n \\n 126 INT. USAMM CUBICLE - 1996 - DAY 126 \\n \\n OPEN CLOSE on blank copies spitting out of a copier.\",\n \" MATCH CUT TO: \\n \\n \\n 113 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 113 \\n\",\n \"124 INT. USAMM HALLWAY - 1996 - DAY 124 \\n \\n Steven whistles happily and takes a draw off his coffee \\n mug. As he passes an office, something catches his ear. \\n\",\n \"100 INT. USAMM BOARDROOM - 1996 - DAY 100 \\n \\n Steven sits in a board meeting, surrounded by all of the \\n company honchos. Dan Lindholm lords over the gathering\",\n \"107 INT. USAMM - BREAK ROOM - 1996 - DAY 107 \\n \\n Steven refills his mug of coffee while in the background, \\n two SECRETARIES dish. \\n\",\n \"122 INT. USAMM ELEVATOR - 1996 - A SHORT TIME LATER 122 \\n \\n Birkheim and Steven share the elevator. \\n \\n BIRKHEIM \\n Nice car.\",\n \" STEVEN!! STEVEN! \\n \\n He sees the line at the sally port start to move and \\n stops to think. He knows what he has to do. \\n \\n\",\n \" wooden box and secretly plucks the RUBBER STAMP. \\n \\n \\n 118 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 118 \\n\",\n \" He straddles the patient's chest and pushes down hard- \\n the sound of a sternum CRACKING can be heard. \\n \\n With the staff distracted, Steven reaches into his \\n mattress hole and pulls out scores of pills. He stuffs\",\n \" The door is slightly ajar. He secretly peeks in to see... \\n \\n TWO FEDERAL MARSHALLS wait in Steven's office. He \\n instantly knows what's going on. \\n\",\n \" Steven M Russell, Doctor Steven M \\n Russell, Doctor Steven J Russell... \\n (seeing one he likes) \\n Ah! \\n \\n He gives a card to a smiling SALESWOMAN. \\n\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \"The group looks at him quizzically. Just as it seems \\n Steven has been up to nothing-- \\n \\n STEVEN (CONT'D) \\n Well, I'll just show you. Todd? \\n\",\n \" Steven stares back and convinces Phillip with a look. \\n They kiss. \\n \\n \\n 121 INT. USAMM PARKING GARAGE - 1996 - DAY 121 \\n\"\n ],\n [\n \" Steven just smiles. \\n \\n KEMPLE (CONT'D) \\n What? \\n \\n STEVEN \\n I love you Jimmy. \\n \\n Kemple smirks. \\n\",\n \"38 INT. PALM BEACH HOSPITAL CORRIDOR - 1992 - CONTINUOUS 38 \\n \\n Jimmy joins Debbie and the Cop in the hallway. Steven is\",\n \" DEBBIE \\n What? \\n \\n KEMPLE \\n I should have known... I should have said \\n something. \\n \\n DEBBIE \\n Don't blame yourself Jimmy... I did the\",\n \" bedroom where Steven sits over Kemple's rapidly \\n deteriorating body. \\n \\n KEMPLE \\n Thanks Mom. \\n \\n She kisses both Jimmy and Steven. \\n \\n HELEN\",\n \" He readjusts to see Jimmy sitting nearby. \\n \\n STEVEN \\n (bleary) \\n Sorry. \\n \\n KEMPLE \\n Why didn't you tell me? \\n \\n STEVEN\",\n \" something I didn't tell you... \\n (beat) \\n ...it's about my old boyfriend. Do you \\n remember him? His name was Jimmy. \\n \\n CUT TO:\",\n \" task, believe me. But after watching \\n Jimmy die, I thought I could make it \\n convincing. First, you have to starve \\n yourself- I ate half as much every day \\n for ten months. After that, you have to\",\n \"33 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 33 \\n \\n Steven exits an elevator and saunters into work, happy as\",\n \" STEVEN (V.O.) \\n ...But I knew he was right. Phillip, \\n Jimmy, Debbie- they've all been right. \\n My whole life was nothing but a bunch of\",\n \" Steven looks worse than ever in his semi-private bed, \\n looking out the window at the clouds with a catatonic \\n gaze. \\n \\n He's at peace. It is the moment of his death. \\n\",\n \" demeanor make him the very essence of a man with new \\n found freedoms. \\n \\n STEVEN (V.O.) \\n Life was good. Everything was falling \\n right into place. I moved to Florida, got\",\n \" Okay-okay calm down. It's okay. I just \\n want to tell them you're awake and we can \\n take it from there. \\n \\n Confident that Steven is calm, Jimmy steps into the hall. \\n \\n\",\n \"34 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 34 \\n \\n Steven paces nervously outside the elevator, growing more \\n and more anxious as he waits. \\n\",\n \" But why then? \\n \\n DEBBIE \\n And why suicide? I mean- just like that? \\n \\n After that, he dresses and walks out the door behind \\n them. \\n \\n KEMPLE\",\n \" He looks ill. \\n \\n KEMPLE \\n I'm sick. \\n \\n STEVEN \\n I know. \\n \\n KEMPLE \\n No really sick. You haven't seen me in a\",\n \" Waiting to die. The only thing that keeps \\n me going is the thought that I might get \\n a chance to see Phillip one more time. \\n (beat) \\n But I don't know how much longer I can do\",\n \" The Florida sun bathes the bedroom in a heavenly glow, \\n illuminating Jimmy Kemple as he wakes. He opens his eyes \\n to see Steven staring longingly at him. \\n \\n KEMPLE \\n What? \\n\",\n \" FLASHBACK. Steven sits over an untouched tray of food, \\n staring at it detached. \\n \\n STEVEN (V.O.) \\n Faking your death from AIDS is no easy\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \"147 INT. MIAMI JAIL HALLWAY - 1994 - DAY 147 \\n \\n OPEN CLOSE on a MAN'S ASS IN RUBY RED, SKIN TIGHT\"\n ],\n [\n \" He hangs up. A nearby inmate chimes in. \\n \\n NEW CELLMATE \\n How long you in for? \\n \\n STEVEN \\n Not long. \\n (picks up phone)\",\n \" They grab Steven and yank him out of the cell. \\n \\n PHILLIP \\n Wait! \\n \\n Phillip tries to follow but a guard knocks him back down \\n onto the bunk. \\n \\n STEVEN\",\n \" Steven resumes his VOICE OVER in the penitentiary \\n infirmary. \\n \\n STEVEN (V.O.) \\n There I was, keeping secrets, living a\",\n \" FLASHBACK. Steven kneels over the toilet in his cell, \\n sticking his finger down his throat until he pukes. \\n \\n STEVEN (V.O.) \\n You gotta keep this up for months until\",\n \" to his new cell clutching his prison issue belongings. \\n \\n Although we can only see him from behind, we can only \\n assume this is Steven. He continues his walk amidst a\",\n \" He hangs up. Bored and lonely, he has a moment of repose. \\n Just then, a loud RUCKUS across the COMMON AREA gets his \\n attention. \\n \\n Steven watches as a group of ROWDY PRISONERS throw\",\n \" And as he talks-- \\n \\n STEVEN (V.O.) (CONT'D) \\n And once I got settled in, I just called \\n the Department of Corrections and\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" STEVEN (V.O.) \\n Those were the longest three months of my \\n life. I wrote to Phillip every day until \\n I got released. \\n \\n\",\n \"75 INT. TEXAS STATE PENITENTIARY HOSPITAL WARD - 1998 - DAY 75 \\n \\n Back in the present, Steven remains in his hospital bed \\n at the Penitentiary Infirmary.\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \"214 EXT. TEXAS STATE PENITENTIARY - DAY 214 \\n \\n A SIREN BLARES over a wide of the facility. Small in \\n frame, we see Steven running from the prison gaining\",\n \"14 INT. TEXAS STATE PENITENTIARY HOSPITAL WARD - 1998 - DAY 14 \\n \\n We are back with Steven in his hospital bed at the \\n Penitentiary. \\n\",\n \" STEVEN!! STEVEN! \\n \\n He sees the line at the sally port start to move and \\n stops to think. He knows what he has to do. \\n \\n\",\n \" Larry Birkheim, the CEO of USAMM sits beside Dan \\n Lindholm. He chimes in. \\n \\n BIRKHEIM \\n Okay Steven, your turn. I know you've \\n only had the one quarter to play catch up\",\n \" STEVEN \\n I have an early release order for Phillip \\n Morris. \\n \\n The Officer glances at the paperwork. \\n \\n RELEASE OFFICER \\n Yep- Morris- we got him right here\",\n \" You're transferred. Nonney snitched you \\n out about the Screecher. You're going to \\n Ramsey Two. \\n \\n STEVEN \\n Ah shit... \\n\",\n \" The door is slightly ajar. He secretly peeks in to see... \\n \\n TWO FEDERAL MARSHALLS wait in Steven's office. He \\n instantly knows what's going on. \\n\",\n \" I could certainly try. \\n \\n EUDORA \\n Can you still practice law, having been \\n to prison? \\n \\n STEVEN \\n Sure- why not? \\n \\n EUDORA\",\n \"114 INT. USAMM - STEVEN'S OFFICE - 1996 - DAY 114 \\n \\n FLASHBACK to Steven's first day on the job as his RHEBA\"\n ],\n [\n \" They grab Steven and yank him out of the cell. \\n \\n PHILLIP \\n Wait! \\n \\n Phillip tries to follow but a guard knocks him back down \\n onto the bunk. \\n \\n STEVEN\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \" They drag him off. Phillip watches with deep worry as \\n another guard keeps him there. He grows more and more \\n upset, pacing and working himself up. \\n \\n Finally, the guard leaves and Phillip exits his cell and\",\n \" Phillip Morris! Now they think I'm in on \\n everything! I'm facing real time! You \\n know I can't go back to prison. \\n \\n STEVEN \\n I'm sorry about that- they weren't\",\n \" Before he stands up, Phillip manages a terse statement. \\n \\n PHILLIP \\n I will never forgive you Steven. Never. \\n \\n Steven is speechless as he watches Phillip walk away- \\n disappearing down a long corridor.\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \" Phillip turns to see CLEAVON- a huge black inmate mopping \\n the hall outside his cell \\n \\n PHILLIP \\n Yes. \\n \\n He tosses Phillip a folded note. He catches it and looks\",\n \" STEVEN (V.O.) \\n Those were the longest three months of my \\n life. I wrote to Phillip every day until \\n I got released. \\n \\n\",\n \" Now don't get angry, it's gonna be fun, I \\n swear. \\n \\n PHILLIP \\n Are you going back to jail? Steven, you \\n promised we'd always be together! \\n \\n STEVEN\",\n \" Phillip runs after Steven, quickly arriving at a LOCKED \\n GATE. Steven is on the other side, still being escorted \\n away. Phillip is forced to find an alternative route. \\n \\n\",\n \" Phillip runs through another cell block until he comes to \\n a window. He looks outside. \\n \\n PHILLIP \\n Steven! \\n \\n\",\n \" PHILLIP \\n I fucking knew it- you did do something. \\n You lied to me! You looked me right in \\n the eye and lied! \\n \\n STEVEN\",\n \" just in time to see Phillip's car rounding the corner. \\n \\n STEVEN \\n COME BACK! WAIT! \\n \\n\",\n \" As his VO continues, Phillip folds up the paper and \\n passes it through the bars back to Cleavon. \\n \\n\",\n \" STEVEN (CONT'D) \\n Well what am I supposed to do? \\n \\n PHILLIP (O.S.) \\n You're the lawyer, you figure it out. \\n \\n This time, it's Steven who remains silent.\",\n \" STEVEN (V.O.) \\n Funny, huh? \\n \\n The guard pushes Phillip past the threshold. The door \\n SLAMS SHUT behind him. \\n\",\n \" PHILLIP \\n It was for the best. He was suffering. \\n \\n Steven acknowledges his kindness with a smile. \\n \\n STEVEN \\n (referring to law book)\",\n \" supposed to find that. It was for your \\n own good. So we could be together. \\n \\n PHILLIP (O.S.) \\n Fuck off! I'm in enough trouble. \\n \\n STEVEN\",\n \" He hangs up. A nearby inmate chimes in. \\n \\n NEW CELLMATE \\n How long you in for? \\n \\n STEVEN \\n Not long. \\n (picks up phone)\"\n ],\n [\n \" Phillip Morris! Now they think I'm in on \\n everything! I'm facing real time! You \\n know I can't go back to prison. \\n \\n STEVEN \\n I'm sorry about that- they weren't\",\n \"48 INT. TX STATE PENITENTIARY - LAW LIBRARY - 1995 - DAY 48 \\n \\n The gentle inmate, PHILLIP MORRIS, is a slightly built,\",\n \" STEVEN (V.O.) \\n Those were the longest three months of my \\n life. I wrote to Phillip every day until \\n I got released. \\n \\n\",\n \" STEVEN \\n I have an early release order for Phillip \\n Morris. \\n \\n The Officer glances at the paperwork. \\n \\n RELEASE OFFICER \\n Yep- Morris- we got him right here\",\n \" Phillip turns to see CLEAVON- a huge black inmate mopping \\n the hall outside his cell \\n \\n PHILLIP \\n Yes. \\n \\n He tosses Phillip a folded note. He catches it and looks\",\n \" Well thank you, I-- \\n \\n STEVEN \\n My name's Steven Russell. \\n \\n PHILLIP \\n Pleased to meet you Steven Russell, my \\n name's Phillip Morris. \\n\",\n \" They drag him off. Phillip watches with deep worry as \\n another guard keeps him there. He grows more and more \\n upset, pacing and working himself up. \\n \\n Finally, the guard leaves and Phillip exits his cell and\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \" Phillip Morris. Like the cigarette huh? \\n \\n STEVEN \\n I beg your pardon? \\n \\n\",\n \" supposed to love something that don't \\n even exist? You tell me. \\n \\n Eventually a POLICEMAN stands before Phillip. \\n \\n POLICEMAN (O.S.) \\n Morris. You're up. \\n\",\n \"73 EXT. TX STATE PEN BREEZEWAY, 1995 - YARD GATE - DAY 73 \\n \\n Phillip runs down a breezeway. Eventually he reaches a\",\n \" an attorney. My client is Phillip \\n Morris. I called earlier. \\n \\n The guard checks his roster. \\n \\n DUTY OFFICER \\n Mmm hmmm. There you are. Rousseau...\",\n \" anxiously peers out the bars and catches a glimpse of the \\n mopping Cleavon working his way closer to his cell. \\n \\n PHILLIP \\n Hurry up would you? \\n \\n CLEAVON\",\n \"53 INT. TX STATE PEN, 1995 - STEVEN'S CELL - CONTINUOUS 53 \\n \\n Steven reads the letter on his bunk. \\n \\n PHILLIP (V.O.)\",\n \"49 INT. TX STATE PENITENTIARY - LAW LIBRARY - 1995 - LATER 49 \\n \\n Steven sits close to Phillip at a table. A large open law \\n text lies between them. \\n\",\n \" Phillip is aghast, frozen. \\n \\\"I Love You Phillip Morris\\\" Green Pages 5-23-08 106. \\n \\n \\n STEVEN (V.O.)\",\n \" Phillip composes himself and follows the guard out. \\n \\n \\n 192 INT. TEXAS STATE PENITENTIARY CORRIDOR - 1998 - DAY 192 \\n\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" Phillip passes the cells of Michael Unit, clutching his \\n belongings and soon enters his cell. He looks around \\n sheepishly until he is interrupted- \\n \\n CLEAVON (O.S.) \\n You Phillip? \\n\",\n \"54 INT. TEXAS STATE PEN, 1995 - PHILLIP'S CELL - DAY 54 \\n \\n Phillip peers out of his cell to see Cleavon working his\"\n ],\n [\n \" As he nods and moves on he's greeted by a VARIOUS \\n POLICEMEN. We can tell he's well liked. \\n \\n STEVEN \\n Hey fellas. \\n\",\n \" that reads, \\\"Harris County Police, 12:30\\\" \\n \\n He leaps out of the chair and exits the office. \\n \\n\",\n \" So Debbie tells me you used to be in the \\n police force back in Georgia. \\n \\n STEVEN \\n Virginia Beach. \\n \\n NEIL \\n Right. Sorry... \\n \\n SARA\",\n \" to find a few POLICE CARS parked outside. He drives on. \\n \\n SMASH CUT TO: \\n \\n\",\n \" a group of POLICEMEN. \\n \\n STEVEN \\n NO! JUST GIVE ME SOME TIME! I PROMISED! \\n I PROMISED I'D BE THERE! I PROMISED HE\",\n \" WHAM! He's grabbed by a group of POLICEMEN. He SQUEALS \\n like a rabbit's death bleat and flails wildly. \\n \\n This continues for a while until-- \\n\",\n \" Take a seat. \\n \\n They take a seat on a bench outside a large steel door as \\n the officer talks to a PROCESSING CLERK. Steven is \\n visibly agitated and ignores the other men on the bench \\n with him. \\n\",\n \" VARIOUS POLICEMAN \\n Hey Steve, Steve, mornin', etc... \\n \\n Steven arrives at his desk to find a large FILE BOX. He \\n turns it around to reveal writing on the side. It reads,\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \" (to cop) \\n Can you tell me exactly what he did? \\n \\n As they CONTINUE TO TALK, they fail to notice Steven \\n getting out of bed and looking around blearily. \\n\",\n \" supposed to love something that don't \\n even exist? You tell me. \\n \\n Eventually a POLICEMAN stands before Phillip. \\n \\n POLICEMAN (O.S.) \\n Morris. You're up. \\n\",\n \" They turn around. \\n \\n HOUSTON COP \\n Ahh! He shit himself! Get us to the \\n hospital! \\n \\n The SIREN WAILS. \\n \\n\",\n \" (alarmed) \\n Is something wrong officer? \\n \\n STEVEN \\n Are you Barbra Bascombe? \\n \\n MRS. BASCOMBE \\n Yes. Is something wrong? Is someone hurt?\",\n \" A police receptionist (MANDI) at a switchboard in a small- \\n town police station answers the phone. \\n \\n MANDI \\n Virginia Beach Police Department, how may \\n I direct your call? \\n\",\n \" parked in a bleak lot near a looming billboard. \\n \\n STEVEN (V.O.) \\n But one thing was for sure-- I was not \\n gonna let them put me away. I was a cop\",\n \" catches a putrid scent in the air. \\n \\n DRIVING COP \\n Fuck... what is that? \\n \\n The other cop smells it too. They begin to look around. \\n\",\n \"155 INT. HOUSTON POLICE CRUISER - 1996 - A SHORT TIME LATER 155 \\n \\n The HOUSTON COP and a DRIVING COP ride up front, not\",\n \" janitors, but with a GROUP OF OFFICERS-- re-emerging from \\n the elevator and back into the processing area. \\n \\n The LEAD OFFICER talks to the clerk. \\n \\n LEAD OFFICER\",\n \"156 INT. HOUSTON POLICE CRUISER - 1996 - A SHORT TIME LATER 156 \\n \\n The DRIVING COP watches the road blankly until his nose\",\n \" waiting. \\n \\n CLANK-CLANG. The door begins to open as the Officer \\n stamps some of the paperwork. \\n \\n RELEASE OFFICER (CONT'D) \\n And you are--? \\n\"\n ],\n [\n \" STEVEN \\n Produce. I work for Sysco. \\n \\n NEIL \\n That's a big outfit. They give you that \\n Corvette out there? \\n \\n STEVEN\",\n \"28 EXT. GROCERY RECEIVING DOCK - MIAMI, 1992 - DAY 28 \\n \\n An OLD WAREHOUSE MANAGER emerges from a darkened AMITY\",\n \" ever. He passes the AMITY FOODSERVICE Logo and a CHERUBIC \\n SECRETARY. \\n \\n STEVEN \\n Morning Sandy! \\n \\n CHERUBIC SECRETARY\",\n \" FOODSERVICE trailer with a crate of tomatoes in hand. As \\n he steps out onto the dock, he passes Steven, who is \\n talking with a 500 pound PRODUCE MANAGER. \\n \\n Tomato crates are all around.\",\n \" STEVEN (V.O.) \\n It started with work. Tomatoes. I used to \\n buy low grade tomatoes in the field and \\n sell them to clueless chain stores as \\n higher grade. \\n\",\n \" KROEGER'S SUPERMARKET DELI COUNTER in uniform as a \\n HOUSEWIFE waits impatiently. He hangs up. \\n \\n STEVEN (CONT'D) \\n (big smile)\",\n \" Yes sir-ee. \\n \\n DEBBIE \\n Great benefits, too. \\n \\n STEVEN \\n And the hours don't crush me either. I \\n get plenty of home time. \\n\",\n \"33 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 33 \\n \\n Steven exits an elevator and saunters into work, happy as\",\n \" paying much attention to their passenger. \\n \\n In the REAR, Steven nervously and quietly prepares an \\n INSULIN SYRINGE and inexpertly INJECTS IT in his belly. \\n\",\n \" At his desk, Steven leafs through the company finances. \\n \\n STEVEN (V.O.) \\n It occurred to me to set up an investment \\n account where the held money would earn \\n interest for the short time that the\",\n \"105 INT. USAMM OFFICE - 1996 - DAY 105 \\n \\n Steven saunters over to VERA the company accountant who \\n is stamping some checks. He places some papers on her \\n desk.\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" Steven sits over an untouched tray of food, staring at it \\n detached. He looks thin. Pale. \\n \\n\",\n \" system from the HMO's to the doctors. \\n It's a critical business. A powerful \\n business... \\n (beat) \\n So when I read your resume, I wasn't sure \\n what to think. Your level of education\",\n \" PRODUCE MANAGER \\n These are gorgeous. U.S-1 right? \\n \\n STEVEN \\n (big smile) \\n Finest in the land... \\n \\n And as they talk- \\n\",\n \" Get me out of here. \\n \\n \\n 81 INT. DELI OFFICE - DAY 81 \\n \\n Steven stands over a desk, talking sternly into a \\n telephone.\",\n \" ...but STEVEN IS GONE. The man looks around. \\n \\n Across the room, Steven stands in an elevator amidst a \\n group of lackadaisical JANITORS, clutching a mop. The\",\n \" Debbie quickly realizes where his head is at. \\n \\n DEBBIE \\n Oh... that. Yeah, um, well I don't know- \\n \\n STEVEN \\n I swear honey- getting around the system's\",\n \" escorts him to a desk piled high with financial reports. \\n \\n RHEBA \\n Anything else I can do for you? \\n \\n STEVEN \\n Uh.... cup of coffee? \\n \\n RHEBA\",\n \" SYRINGES. \\n \\n Steven passes by in the BACKGROUND with a brand new bag \\n of golf clubs. Phillip is instantly puzzled. \\n \\n PHILLIP \\n Golf!? \\n \\n STEVEN\"\n ],\n [\n \" They drag him off. Phillip watches with deep worry as \\n another guard keeps him there. He grows more and more \\n upset, pacing and working himself up. \\n \\n Finally, the guard leaves and Phillip exits his cell and\",\n \" STEVEN (V.O.) \\n Those were the longest three months of my \\n life. I wrote to Phillip every day until \\n I got released. \\n \\n\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \" Phillip turns to see CLEAVON- a huge black inmate mopping \\n the hall outside his cell \\n \\n PHILLIP \\n Yes. \\n \\n He tosses Phillip a folded note. He catches it and looks\",\n \" They grab Steven and yank him out of the cell. \\n \\n PHILLIP \\n Wait! \\n \\n Phillip tries to follow but a guard knocks him back down \\n onto the bunk. \\n \\n STEVEN\",\n \" Phillip calms himself. \\n \\n PHILLIP \\n Just tell me where he is. What happened? \\n \\n DOCTOR \\n He slipped into a coma for a few days.\",\n \" his way with a look. Once he's alone, Phillip lets go \\n and SOBS. \\n \\n He buries his face in his pillow. After a long while- \\n\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" Phillip runs through another cell block until he comes to \\n a window. He looks outside. \\n \\n PHILLIP \\n Steven! \\n \\n\",\n \" anxiously peers out the bars and catches a glimpse of the \\n mopping Cleavon working his way closer to his cell. \\n \\n PHILLIP \\n Hurry up would you? \\n \\n CLEAVON\",\n \" Phillip passes the cells of Michael Unit, clutching his \\n belongings and soon enters his cell. He looks around \\n sheepishly until he is interrupted- \\n \\n CLEAVON (O.S.) \\n You Phillip? \\n\",\n \"73 EXT. TX STATE PEN BREEZEWAY, 1995 - YARD GATE - DAY 73 \\n \\n Phillip runs down a breezeway. Eventually he reaches a\",\n \" Phillip composes himself and follows the guard out. \\n \\n \\n 192 INT. TEXAS STATE PENITENTIARY CORRIDOR - 1998 - DAY 192 \\n\",\n \" Phillip emerges from the line munching on a candy bar \\n when he notices a ruckus on the other side of the fence. \\n \\n He wanders over to see a LARGE PRISONER beating the crap\",\n \" Before he stands up, Phillip manages a terse statement. \\n \\n PHILLIP \\n I will never forgive you Steven. Never. \\n \\n Steven is speechless as he watches Phillip walk away- \\n disappearing down a long corridor.\",\n \" Phillip Morris! Now they think I'm in on \\n everything! I'm facing real time! You \\n know I can't go back to prison. \\n \\n STEVEN \\n I'm sorry about that- they weren't\",\n \" Samuel walks past cell after cell with a grave look in \\n his eyes. Eventually he arrives at Phillip's cell to \\n find him sitting on his bunk. \\n \\n SAMUEL \\n Phillip...? \\n\",\n \" STEVEN \\n I have an early release order for Phillip \\n Morris. \\n \\n The Officer glances at the paperwork. \\n \\n RELEASE OFFICER \\n Yep- Morris- we got him right here\",\n \" As his VO continues, Phillip folds up the paper and \\n passes it through the bars back to Cleavon. \\n \\n\",\n \" PHILLIP \\n It was for the best. He was suffering. \\n \\n Steven acknowledges his kindness with a smile. \\n \\n STEVEN \\n (referring to law book)\"\n ],\n [\n \" FLASHBACK. Steven sits over an untouched tray of food, \\n staring at it detached. \\n \\n STEVEN (V.O.) \\n Faking your death from AIDS is no easy\",\n \" convinced them I was a state-sponsored \\n doctor looking for late stage AIDS \\n patients for an experimental treatment. \\n (then) \\n As luck would have it, they had one \\n patient that was eligible... \\n\",\n \" uh... Well... you have AIDS. \\n \\n Steven sits expressionless. \\n \\n STEVEN \\n How long do I have? \\n \\n And off the Doctor's grave face-- \\n\",\n \" fake all sorts of symptoms. \\n \\n \\n 195 INT. TEXAS STATE PEN, 1997 - MICHAEL UNIT CELL- NIGHT 195 \\n\",\n \" I don't know what I'm doing. There's a \\n guy I know- he's in the infirmary now. \\n He's sick- he's real sick... AIDS. I\",\n \" looks through his records. \\n \\n YOUNG DOCTOR \\n ...you have AIDS. \\n \\n Steven sits expressionless. \\n \\n STEVEN \\n How long do I have? \\n\",\n \" The shocked LAWYER turns to his client (EVANS). \\n \\n LAWYER \\n (whispers) \\n Is this true? \\n \\n EVANS \\n No. \\n\",\n \" STEVEN (V.O.) \\n And for all that time- all those doctors, \\n all those nurses and all those \\n facilities... not one of them ever \\n thought to give me an AIDS test... \\n\",\n \" and they needed me. So I told myself it \\n was just a little lie and it was better \\n for everybody if it stayed that way. \\n (beat) \\n That's what I told myself. But life has a\",\n \" year. You don't know. I just came back \\n from the doctor. My T-cells are... \\n \\n He begins to cry. \\n \\n KEMPLE (CONT'D)\",\n \" PHILLIP \\n I fucking knew it- you did do something. \\n You lied to me! You looked me right in \\n the eye and lied! \\n \\n STEVEN\",\n \" He likes to keep little secrets \\n sometimes. \\n \\n KEMPLE \\n Like the fact that he was a big queer? \\n \\n DEBBIE \\n Yeah, like that. \\n\",\n \" task, believe me. But after watching \\n Jimmy die, I thought I could make it \\n convincing. First, you have to starve \\n yourself- I ate half as much every day \\n for ten months. After that, you have to\",\n \" Of course that was easy for me, every \\n closet case is a con anyways. \\n \\n And as people gather around, he grasps his neck and moans \\n litigiously-- \\n \\n\",\n \" STEVEN (V.O.) \\n I had been living a lie for a long, long \\n time. I tend to do that... hide things. \\n \\n MOUSTACHED MAN\",\n \" Did I forget to mention I didn't die? Yeah, \\n I didn't die. Faked the whole thing. \\n \\n SMASH CUT TO: \\n \\n\",\n \" CLOSE ON THE FILE- a doctor's entry reads \\\"HIV+ since 91\\\" \\n A few flips of the pages reveal FORGED BLOOD TEST \\n DOCUMENTS. Buzzwords like T-CELL COUNTS and other terms\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \" He straddles the patient's chest and pushes down hard- \\n the sound of a sternum CRACKING can be heard. \\n \\n With the staff distracted, Steven reaches into his \\n mattress hole and pulls out scores of pills. He stuffs\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\"\n ],\n [\n \" STEVEN (V.O.) \\n Oh did I forget to mention I was gay? \\n Yeah, sorry about that. I'm gay. Gay, \\n gay, gay, gay, gay. Have been as long as\",\n \" This is Steven. Steven- Blake and Baylor. \\n \\n BLAKE \\n (Gasp) This is him?! This is your gay \\n lawyer prison boyfriend?! Pleased to \\n meet you. \\n\",\n \" STEVEN (V.O.) \\n ...being gay is really expensive. \\n (beat) \\n It is. \\n \\n Steven leans over and makes out with Kemple. \\n \\n\",\n \" same thing. There were always signs. I \\n should have known he was gay when he \\n started shaving his chest. \\n \\n KEMPLE \\n That would be a warning sign... \\n \\n DEBBIE\",\n \" He likes to keep little secrets \\n sometimes. \\n \\n KEMPLE \\n Like the fact that he was a big queer? \\n \\n DEBBIE \\n Yeah, like that. \\n\",\n \" What? \\n \\n PHILLIP \\n You're a homosexual. \\n \\n STEVEN \\n It's work. \\n \\n PHILLIP \\n You know, you can tell them. They can't\",\n \" Of course that was easy for me, every \\n closet case is a con anyways. \\n \\n And as people gather around, he grasps his neck and moans \\n litigiously-- \\n \\n\",\n \" fire you for being gay. \\n \\n STEVEN \\n I know... \\n \\n PHILLIP \\n I'm trying to be understanding here \\n honey, but golf? Why not just eat pussy? \\n\",\n \"24 INT. GAY CLUB - MIAMI, 1992 - NIGHT 24 \\n \\n DANCE MUSIC THUMPS as Steven passes around a tray of \\n drinks to friends. \\n\",\n \" are between them. \\n \\n STEVEN \\n No. \\n \\n PHILLIP \\n I swear. It's in the Ricky Martin People \\n in the bathroom. \\n \\n Steven smiles and cuddles up.\",\n \" way nearer with his mop. He's giddy. \\n \\n Moments later, Cleavon passes him by. Phillip is bummed. \\n \\n\",\n \" Building to the climax, Steven moans with pleasure. \\n \\n STEVEN \\n I'm gonna come, I'm gonna come... \\n \\n Suddenly we see the face of the MOUSTACHED MAN he's \\n fucking.\",\n \" apart. Steven looks into Phillip's soul. He opens his \\n mouth and-- \\n \\n SWAT COMMANDER (O.S.) \\n Down on the ground faggots!! \\n\",\n \" I don't know what I'm doing. There's a \\n guy I know- he's in the infirmary now. \\n He's sick- he's real sick... AIDS. I\",\n \" STEVEN (CONT'D) \\n Let me introduce you to the mail guy. His \\n name's Gary. \\n \\n\",\n \" Phillip slumps back onto his bed, depressed. \\n \\n PHILLIP \\n Congratulations Phillip, scared off \\n another one. \\n \\n A few moments later, he's startled by the CLANG of his\",\n \" PHILLIP (CONT'D) \\n Now that I hear myself say it, I think he \\n was just some rich chicken hawk. \\n \\n They get a GIGGLE out of this. \\n\",\n \"25 QUICK MONTAGE 25 \\n \\n QUICK CUTS of Steven enjoying his gay life with Kemple at\",\n \" SUPER: \\\"Steven Russell was arrested two weeks later \\n trying to secure Phillip's release.\\\" \\n \\n Steven turns his head to find the man at the next urinal \\n staring at him. It's a very surprised Birkheim with a\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\"\n ],\n [\n \"33 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 33 \\n \\n Steven exits an elevator and saunters into work, happy as\",\n \" demeanor make him the very essence of a man with new \\n found freedoms. \\n \\n STEVEN (V.O.) \\n Life was good. Everything was falling \\n right into place. I moved to Florida, got\",\n \"34 INT. AMITY FOOD SERVICE - MIAMI, 1992 - MORNING 34 \\n \\n Steven paces nervously outside the elevator, growing more \\n and more anxious as he waits. \\n\",\n \" As he admires his car proudly, the building volume of the \\n MIAMI SOUND MACHINE gets his attention. \\n \\n He sees as Steven arrives in his NEW and MUCH MORE\",\n \" And as Steven riffles through an equally large stack of \\n DRIVER'S LICENSES... \\n \\n \\n 30 INT. DEPARTMENT STORE - MIAMI 1992 - DAY 30 \\n\",\n \"29 INT. MIAMI JEWELRY STORE - MIAMI 1992 - DAY 29 \\n \\n Steven stands before a SALESPERSON at a counter. \\n \\n SALESWOMAN\",\n \"146 INT. MIAMI JAIL GUARD BOOTH - 1994 - DAY 146 \\n \\n Dressed in prison orange, Steven walks up to a counter, a\",\n \"24 INT. GAY CLUB - MIAMI, 1992 - NIGHT 24 \\n \\n DANCE MUSIC THUMPS as Steven passes around a tray of \\n drinks to friends. \\n\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" Steven pushes a cart of food through the block delivering \\n sandwiches to fellow detainees. \\n \\n \\n 143 INT. MIAMI JAIL - PHONE BANK - 1993 - DAY 143 \\n\",\n \"37 INT. PALM BEACH HOSPITAL - 1992 - MORNING 37 \\n \\n Steven awakes in a hospital bed. He looks around and \\n eventually looks through the observation glass into the\",\n \" around frantically. They spot him running across the open \\n air lot and give chase. \\n \\n Steven comes to a stairwell door. It's locked. He runs \\n some more and finds himself cornered at the guard rail. \\n\",\n \"145 INT. MIAMI JAIL CORRIDOR - 1994 - DAY 145 \\n \\n Steven approaches a section of bars where a BLONDE INMATE \\n is waiting. \\n\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \" them to Steven, who is dressed in his lawyer attire. \\n \\n Steven exits the line and ducks into a nearby bathroom. \\n \\n\",\n \"Her face says it all. \\n \\n STEVEN'S MOM \\n It's true. \\n \\n WHACK! She SWATS his brother in the head. Steven starts \\n putting things together. \\n\",\n \" ...but STEVEN IS GONE. The man looks around. \\n \\n Across the room, Steven stands in an elevator amidst a \\n group of lackadaisical JANITORS, clutching a mop. The\",\n \"141 EXT. PALM BEACH HOSPITAL PARKING STRUCTURE - 1992 - DAY 141 \\n \\n A short time later, Steven lies MOANING and delirious.\",\n \" Steven just smiles. \\n \\n KEMPLE (CONT'D) \\n What? \\n \\n STEVEN \\n I love you Jimmy. \\n \\n Kemple smirks. \\n\",\n \"35 EXT. ABANDONED LOT - FLORIDA, 1992 - DAY 35 \\n \\n Steven BLUBBERS TO HIMSELF inside his Bronco which is\"\n ],\n [\n \" of God. \\n \\n He chokes back a tear, then throws an arm around Steven. \\n \\n LINDHOLM (CONT'D) \\n I want you to meet my wife. \\n \\n\",\n \" Steven just smiles. \\n \\n KEMPLE (CONT'D) \\n What? \\n \\n STEVEN \\n I love you Jimmy. \\n \\n Kemple smirks. \\n\",\n \" STEVEN \\n I love you. \\n \\n No response. Phillip can only sit and stew. And stew. \\n Until finally, he's had enough.\",\n \" Steven smiles at that sentiment. Again he moves to get up \\n when-- \\n \\n DEBBIE (CONT'D) \\n This man who pursued me to the ends of \\n the Earth and promised me a life of\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" STEVEN \\n I'm his lawyer. \\n \\n Phillip runs into his arms. As they kiss, the officer \\n offers a surprised look.\",\n \" It's really her? \\n \\n STEVEN \\n Yeah. No question. \\n \\n DEBBIE \\n My goodness Steven, that's wonderful. \\n \\n He reads on, his smile ever widening until-\",\n \" STEVEN \\n Have lots of dreams... \\n \\n STEPHANIE \\n (smiling) \\n Okay. \\n \\n\",\n \" bedroom where Steven sits over Kemple's rapidly \\n deteriorating body. \\n \\n KEMPLE \\n Thanks Mom. \\n \\n She kisses both Jimmy and Steven. \\n \\n HELEN\",\n \" I love you so much. \\n \\n STEVEN \\n Phillip, you are the sweetest, most \\n gentle man I have ever met. And I know \\n people have taken advantage of that. But\",\n \" KEMPLE \\n It's only been a month, Steven. \\n \\n STEVEN \\n I know. \\n \\n KEMPLE \\n Don't fall for me Steven. \\n\",\n \" He staggers toward Steven as a kaleidoscope of emotions \\n plays across his face. Bewilderment, relief, sorrow, joy \\n and finally, anger- \\n \\n WHACK! He slaps Steven across the face. \\n\",\n \" STEVEN \\n Hey Debbie. \\n \\n DEBBIE \\n Steven. How are you? \\n \\n STEVEN \\n Good. How's Steffie doing? \\n \\n DEBBIE\",\n \" like that. \\n (tears) \\n But it was never better, never more real \\n than with you Steven. I realize now that \\n all that crazy shit you did- in your\",\n \" a few moments of SILENCE, Steven rolls over and puts his \\n arm around her, gently feeling her breasts. \\n \\n Debbie turns on her back and they kiss quietly as Steven \\n quietly gets on top. In moments, they are rocking with\",\n \" STEVEN \\n Yeah. Yeah, I did. \\n \\n PHILLIP \\n Steven... \\n \\n A tear comes to Phillip's eye. \\n \\n PHILLIP (CONT'D)\",\n \" Debbie freezes, she can't believe her ears. And as she \\n stares at his smiling face in shock... \\n \\n STEVEN (V.O.) (CONT'D) \\n To my surprise, we stayed friends.\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" (into phone) \\n Okay you can put him through. \\n \\n She puts the phone to Steven's ear. He can muster only a \\n few words.\",\n \" Outside the courtroom with Eudora, Steven is ecstatic. \\n \\n STEVEN \\n YES! I did great! Can you believe how \\n great I did!? \\n \\n EUDORA\"\n ],\n [\n \" A young STEVEN RUSSELL (9) is among them. \\n \\n YOUNG STEVEN \\n It's really big. \\n \\n STEVEN'S MOM (O.S.)\",\n \" wife (DEBBIE) and their 4 YEAR OLD DAUGHTER (STEPHANIE) \\n who sit in the first row. \\n \\n Steven, oblivious, hits a sour note or two-- but keeps on\",\n \" (into phone) \\n Okay you can put him through. \\n \\n She puts the phone to Steven's ear. He can muster only a \\n few words.\",\n \" Months later, Steven sits up in his bed. He now has a \\n grey beard and with his shirt off we can see he has lost \\n an unhealthy amount of weight.\",\n \" Steven smiles and nods. \\n \\n STEVEN'S MOM (CONT'D) \\n You've always been such a happy little \\n boy. \\n (then) \\n Now Steven, we want to tell you something\",\n \" STEVEN (O.S.) \\n Actually- I was in the yard once. Another \\n guard asked him to pay him back five. He \\n opened his wallet and I saw this picture \\n of a little girl about Steffie's age. So\",\n \"4 INT. LIVING ROOM CHESAPEAKE BAY, VA - 1966 - DAY 4 \\n \\n Young Steven sits in the middle of the couch. His PARENTS\",\n \" STEVEN \\n I love you. \\n \\n No response. Phillip can only sit and stew. And stew. \\n Until finally, he's had enough.\",\n \" STEVEN \\n Yeah. Yeah, I did. \\n \\n PHILLIP \\n Steven... \\n \\n A tear comes to Phillip's eye. \\n \\n PHILLIP (CONT'D)\",\n \"The group looks at him quizzically. Just as it seems \\n Steven has been up to nothing-- \\n \\n STEVEN (CONT'D) \\n Well, I'll just show you. Todd? \\n\",\n \" and praise thee. Amen. \\n \\n STEVEN \\n Amen. \\n \\n CUT TO: \\n \\n\",\n \" STEVEN \\n Hey Debbie. \\n \\n DEBBIE \\n Steven. How are you? \\n \\n STEVEN \\n Good. How's Steffie doing? \\n \\n DEBBIE\",\n \"Her face says it all. \\n \\n STEVEN'S MOM \\n It's true. \\n \\n WHACK! She SWATS his brother in the head. Steven starts \\n putting things together. \\n\",\n \" STEVEN \\n (lip quivering) \\n In a manner of speaking, yes. You gave \\n up a baby for adoption, correct? \\n\",\n \" STEVEN \\n Have lots of dreams... \\n \\n STEPHANIE \\n (smiling) \\n Okay. \\n \\n\",\n \" He staggers toward Steven as a kaleidoscope of emotions \\n plays across his face. Bewilderment, relief, sorrow, joy \\n and finally, anger- \\n \\n WHACK! He slaps Steven across the face. \\n\",\n \" until he sees STEVEN enter his cell, clutching a pile of \\n belongings. \\n \\n Phillip is overwhelmed as the cell door slams shut behind \\n Steven. \\n \\n PHILLIP\",\n \" and 11 year old BROTHER stand before him. He stares at \\n them- innocent and doe-eyed with a big smile on his face. \\n \\n STEVEN'S MOM \\n Are you a happy little boy Steven? \\n\",\n \" I know- he seemed so happy and-- \\n \\n Just then Debbie notices Steven is not in bed and looks \\n up in time to see him disappearing around the corner. \\n \\n DEBBIE \\n Steven!!! \\n \\n\",\n \" bedroom where Steven sits over Kemple's rapidly \\n deteriorating body. \\n \\n KEMPLE \\n Thanks Mom. \\n \\n She kisses both Jimmy and Steven. \\n \\n HELEN\"\n ]\n]"},"questions":{"kind":"list like","value":["Why does Steven fake his death?","What was Steven on his way to do when he got into a car accident?","What was Stevens occupation when he lived in Virginia Beach?","What did Steven pretended to be after being released from prision?","How does Steven get Philip Morris released from prision?","Where is Sysco located?","How does Phillip learn that Steven is dying of AIDS?","Who is Debbie to Steven?","What happens when Steven meets his biological mother?","What was Stephen's job while he lived in Virginia Beach?","Why does Stephen leave his wife and family?","Who does Stephen fall in love with while in prison?","Who does Stephen pretend to be in order to help free Phillip from prison?","What position does Stephen hold at USAMM?","What does Jimmy in Miami die of?","Why does Stephen get sent back to prison after he works for USAMM?","Why does Phillip get sent back to prison after Stephen is caught embezzling?","What year was Phillip Morris released from prison?","Who was a police officer?","Who works at Sysco?","When was Phillip released from prison?","Who faked having AIDS?","Who is the gay man?","What did Steven find in Miami?","Who dies Steven fall in love with? ","How many children did Steven have?"],"string":"[\n \"Why does Steven fake his death?\",\n \"What was Steven on his way to do when he got into a car accident?\",\n \"What was Stevens occupation when he lived in Virginia Beach?\",\n \"What did Steven pretended to be after being released from prision?\",\n \"How does Steven get Philip Morris released from prision?\",\n \"Where is Sysco located?\",\n \"How does Phillip learn that Steven is dying of AIDS?\",\n \"Who is Debbie to Steven?\",\n \"What happens when Steven meets his biological mother?\",\n \"What was Stephen's job while he lived in Virginia Beach?\",\n \"Why does Stephen leave his wife and family?\",\n \"Who does Stephen fall in love with while in prison?\",\n \"Who does Stephen pretend to be in order to help free Phillip from prison?\",\n \"What position does Stephen hold at USAMM?\",\n \"What does Jimmy in Miami die of?\",\n \"Why does Stephen get sent back to prison after he works for USAMM?\",\n \"Why does Phillip get sent back to prison after Stephen is caught embezzling?\",\n \"What year was Phillip Morris released from prison?\",\n \"Who was a police officer?\",\n \"Who works at Sysco?\",\n \"When was Phillip released from prison?\",\n \"Who faked having AIDS?\",\n \"Who is the gay man?\",\n \"What did Steven find in Miami?\",\n \"Who dies Steven fall in love with? \",\n \"How many children did Steven have?\"\n]"},"answers":{"kind":"list like","value":[["To see Phillip again.","In order to see Phillip again. "],["Have a homosexual love affair.","Meet a gay lover in secret."],["He was a police officer.","Police officer"],[" the chief financial officer of USAMM","Right after being released from prison Steven pretended to be a lawyer. "],["He poses as a lawyer.","yes Steven does get Philip released"],["Texas.","In Texas"],["Another inmate informs him. ","Another inmate tells Phillip that Steven is dying of AIDS. "],["His wife.","is his wife"],["She rejects him.","She turns her back on him."],["A police officer.","officer of the law"],["He is homosexaul.","a car accident"],["Phillip Morris.","Phillip Morris"],["A lawyer.","lawyer"],["Chief financial officer.","Chief Financial Officer. "],["AIDS.","AIDS"],["He's caught embezzling funds.","He's caught embezzling"],["He's charged as an accomplice to Stephen's crime.","he was an accomplice"],["2006","2006"],["Steven Jay Russell","Steven"],["Steven","Steven"],["2006","In 2006. "],["Steven","Steven"],["Steven and Phillip","Steven"],["A boyfriend","A boyfriend."],["Phillip Morris","Philip"],["one","Steven had one child, a daughter. "]],"string":"[\n [\n \"To see Phillip again.\",\n \"In order to see Phillip again. \"\n ],\n [\n \"Have a homosexual love affair.\",\n \"Meet a gay lover in secret.\"\n ],\n [\n \"He was a police officer.\",\n \"Police officer\"\n ],\n [\n \" the chief financial officer of USAMM\",\n \"Right after being released from prison Steven pretended to be a lawyer. \"\n ],\n [\n \"He poses as a lawyer.\",\n \"yes Steven does get Philip released\"\n ],\n [\n \"Texas.\",\n \"In Texas\"\n ],\n [\n \"Another inmate informs him. \",\n \"Another inmate tells Phillip that Steven is dying of AIDS. \"\n ],\n [\n \"His wife.\",\n \"is his wife\"\n ],\n [\n \"She rejects him.\",\n \"She turns her back on him.\"\n ],\n [\n \"A police officer.\",\n \"officer of the law\"\n ],\n [\n \"He is homosexaul.\",\n \"a car accident\"\n ],\n [\n \"Phillip Morris.\",\n \"Phillip Morris\"\n ],\n [\n \"A lawyer.\",\n \"lawyer\"\n ],\n [\n \"Chief financial officer.\",\n \"Chief Financial Officer. \"\n ],\n [\n \"AIDS.\",\n \"AIDS\"\n ],\n [\n \"He's caught embezzling funds.\",\n \"He's caught embezzling\"\n ],\n [\n \"He's charged as an accomplice to Stephen's crime.\",\n \"he was an accomplice\"\n ],\n [\n \"2006\",\n \"2006\"\n ],\n [\n \"Steven Jay Russell\",\n \"Steven\"\n ],\n [\n \"Steven\",\n \"Steven\"\n ],\n [\n \"2006\",\n \"In 2006. \"\n ],\n [\n \"Steven\",\n \"Steven\"\n ],\n [\n \"Steven and Phillip\",\n \"Steven\"\n ],\n [\n \"A boyfriend\",\n \"A boyfriend.\"\n ],\n [\n \"Phillip Morris\",\n \"Philip\"\n ],\n [\n \"one\",\n \"Steven had one child, a daughter. \"\n ]\n]"},"document_id":{"kind":"string","value":"d8aeeba694332530d1ca1647779c3228959aa20a"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":74,"cells":{"text":{"kind":"list like","value":[["The foregoing had been instilled into my hero from earliest boyhood, much \n as it had been instilled into Theobald himself, and with the same \n result--the conviction, namely, that he was certainly to be a clergyman,","purpose to torment her. I suppose it is so with all of us. At any rate \n I am sure that most fathers, especially if they are clergymen, are like \n Theobald. \n","Any step of Theobald's was sure to be objectionable in his father's eyes, \n but that at three-and-twenty he should want to marry a penniless girl who \n was four years older than himself, afforded a golden opportunity which","Professor Cowey had published works through Theobald's father, and \n Theobald had on this account been taken in tow by Mrs Cowey from the \n beginning of his University career. She had had her eye upon him for","feared and disliked his father (though he still knew not how much this \n was), he had caught much from him; if Theobald had been kinder Ernest \n would have modelled himself upon him entirely, and ere long would","called Theobald \"papa\" when talking to Ernest) \"is so anxious you should \n not go into the Church blindly, and without fully realising the \n difficulties of a clergyman's position. He has considered all of them","studies than had been given hitherto. \n \n Theobald had the sense to see that he had a chance of independence if he \n worked hard, and he liked the notion of becoming a fellow. He therefore","himself. Theobald said he was \"willing to hope\"--this was one of his \n tags--that his son would turn over a new leaf now that he had left \n school, and for his own part he was \"only too ready\"--this was another","Theobald did not show his father's letter to Christina, nor, indeed, I \n believe to anyone. He was by nature secretive, and had been repressed \n too much and too early to be capable of railing or blowing off steam","Once, recently, when he was down at home after taking his degree, his \n mother had had a short conversation with him about his becoming a \n clergyman, set on thereto by Theobald, who shrank from the subject","was too favourable not to be embraced, and Theobald was not slow to \n embrace it. Ernest was annoyed and surprised, for had not his father and \n mother been wanting him to be more religious all his life? Now that he","have been taken _au serieux_ by a stronger boy, but Theobald was not a \n strong boy, and rightly or wrongly, gave his father credit for being \n quite ready to carry his threats into execution. Opposition had never","Then his mother would burst into tears and implore him to repent and seek \n the things belonging to his peace while there was yet time, by falling on \n his knees to Theobald and assuring him of his unfailing love for him as","Theobald stepped forward. \"Ernest, you must not, shall not, leave us in \n this way.\" \n \n \"Do not speak to me,\" said Ernest, his eyes flashing with a fire that was","it is your father. But surely he would hardly come at this time of day! \n Go at once into my bedroom.\" \n \n I went to the door, and, sure enough, there were both Theobald and","I should say that Ernest had written to his father, and told him of the \n unprecedented way in which he was being treated; he even ventured to \n suggest that Theobald should interfere for his protection and reminded","Theobald said nothing, but turned almost of an ashen colour; he never \n again spoke to his son in such a way as to make it necessary for him to \n repeat what he had said on this occasion. Ernest quickly recovered his","and prayed to be let off. If Theobald would only order dinner this once, \n she would order it any day and every day in future. \n \n But the inexorable Theobald was not to be put off with such absurd","so foreign to his experience) that he was independent of his father till \n a long time afterwards; nor did Theobald make any difference in his \n manner towards him. So strong was the hold which habit and association","the father doubtless argued that he had never told Theobald he was to \n have anything at all; he had a full right to do what he liked with his \n own money; if Theobald chose to indulge in unwarrantable expectations"],["generation--that is to say as against Ernest. On this head there was an \n offensive and defensive alliance between them, but between themselves \n there was subdued but internecine warfare. \n \n This at least was what Ernest gathered, partly from his recollections of","Master Ernest, you really must go and make it all up with her; indeed you \n must.\" \n \n Ernest felt rueful, but he had resisted so valiantly already that the \n devil might have saved himself the trouble of trying to get at him","about them which made Ernest wince; but he was quite subdued, and so the \n conversation ended. It left Ernest, however, not for the first time, \n consciously dissatisfied with Pryer, and inclined to set his friend's","towards religion. He hated people who did not know where to stop. Ernest \n was always so _outre_ and strange; there was never any knowing what he \n would do next, except that it would be something unusual and silly. If","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","father. True, Ernest was not thrown in with him much yet, but he was \n always there; there was no knowing at what moment he might not put in an \n appearance, and whenever he did show, it was to storm about something. He","quarrelled with his father and mother she assumed as a matter of course \n that the fault must lie entirely with Ernest. \n \n \"Oh, your pore, pore ma!\" said Ellen. \"She was always so very fond of","had not dared to stick to them and had turned them off, but she had made \n them hers at any rate for one brief moment, and this was better than \n nothing. Ernest noticed throughout his mother's illness, that Charlotte \n found immediate occasion to make herself disagreeable to him whenever","of flight came, he was quick in making it; the time, however, was not yet \n come, and the intimacy between the two was apparently all that it had \n ever been. It was only that horrid money business (so said Ernest to","As a matter of fact, however, it was not so. Ernest's faith in Pryer had \n been too great to be shaken down all in a moment, but it had been \n weakened lately more than once. Ernest had fought hard against allowing","me a look as though he thought me an old bore and did not care two straws \n whether I was shocked or not. Naturally enough, after this I did not \n like him. \n \n This, however, is anticipating, for it was not till Ernest had been three","Ernest, Ernest, do not grieve one who is so good and noble-hearted by \n conduct which I can call by no other name than ingratitude.\" \n \n Ernest could never stand being spoken to in this way by his mother: for","quietly, but slowly and decidedly, \"No, no, no,\" and escaped. \n \n It was all over with Ernest from that moment. As usual he did not know \n it, but he had entered none the less upon another reaction. Towneley had","himself and his family once for all Ernest had reckoned without his \n family. Theobald wanted to be rid of his son, it is true, in so far as \n he wished him to be no nearer at any rate than the Antipodes; but he had","Ernest into the world, \"spoke an ill word against anyone. He was not \n only liked, he was beloved by all who had anything to do with him.\" \n \n \"A more perfectly just and righteously dealing man,\" said the family","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at","regular old brick, and that it is Ernest who is in fault all through.\" \n \n So he would behave very nicely to the boy at first, and the boy would be \n delighted with him, and side with him against Ernest. Of course if","Ernest would like best and Theobald least. \n \n A few days, however, after Ernest had come into his property, I received \n a letter from Theobald enclosing one for Ernest which I could not \n withhold. \n \n The letter ran thus:--","Ernest had also inherited his mother's love of building castles in the \n air, and--so I suppose it must be called--her vanity. He was very fond \n of showing off, and, provided he could attract attention, cared little","Ernest had known more, would have reminded him of Robespierre. As it \n was, he saw it and unconsciously recognised the unrest and \n self-seekingness of the man, but could not yet formulate them; he"],["was twenty-eight years old, but neither he nor anyone else, except her \n lawyer and myself, was to know anything about it. She would leave 5000 \n pounds in other legacies, and 15,000 pounds to Ernest--which by the time","assuming, however, that if anything did happen to her while they were \n still alive, the money would, as a matter of course, come to them. \n \n The prospect of Alethea seeing much of Ernest was a serious matter.","know how to keep what he will get from me.\" \n \n Supposing he went bankrupt before he was twenty-eight years old, the \n money was to be mine absolutely, but she could trust me, she said, to \n hand it over to Ernest in due time. \n","endorsed upon it, to her sons when Ernest was sixteen years old. It \n reached him on his mother's death many years later, for it was the baby \n who died now, and not Christina. It was found among papers which she had","make Ernest her heir. I do not think she had given them so much as a \n hint to this effect. Theobald indeed gave Ernest to understand that she \n had done so in a letter which will be given shortly, but if Theobald","sum that had been settled upon him and Christina at the time of his \n marriage) had been cut down to 17,500 pounds when Mr Pontifex left \n \"something\" to Ernest. The \"something\" proved to be 2500 pounds, which","\"You ought to know,\" he wrote, \"that your Aunt Alethea had given your \n mother and me to understand that it was her wish to make you her heir--in \n the event, of course, of your conducting yourself in such a manner as to","told no one else. I mean that Ernest would come into his aunt's money in \n a few years' time, and would therefore then be rich. \n \n Towneley was doing all he could before this, but I knew that the","Presently old Mr Pontifex died, and then came the revelation of the \n little alteration he had made in his will simultaneously with his bequest \n to Ernest. It was rather hard to bear, especially as there was no way of","some other similar small token of recognition, but no letter. Of the \n children she has taken no notice. \n \n \n \n \n CHAPTER LXXVIII \n \n \n Ernest was now well turned twenty-six years old, and in little more than","to do with her money before they knew of her being at the point of death, \n and as I have said already, if they had thought it likely that Ernest \n would be made heir over their own heads without their having at any rate","than a year ago. Ernest gave them all they said they wanted and a good \n deal more. They have already presented him with a grandson, and I doubt \n not, will do so with many more. Georgie though only twenty-one is owner","Ernest would like best and Theobald least. \n \n A few days, however, after Ernest had come into his property, I received \n a letter from Theobald enclosing one for Ernest which I could not \n withhold. \n \n The letter ran thus:--","has a family, but he and Ernest very rarely have any intercourse. Of \n course, Ernest took nothing under his father's will; this had long been \n understood, so that the other two are both well provided for. \n","did, Ernest in his forlorn state was delighted to meet them. \n \n Pryer was about twenty-eight years old. He had been at Eton and at \n Oxford. He was tall, and passed generally for good-looking; I only saw","had got him off the school premises; and Ernest felt at once that she \n contrasted favourably even with his aunts the Misses Allaby, who were so \n very sweet and good. The Misses Allaby were very poor; sixpence was to","Alethea was born, and her husband did not marry again. \n \n \n \n \n CHAPTER III \n \n \n In the early years of the century five little children and a couple of","that early age Ernest believed in Ernest with a belief which was amusing \n from its absurdity. His aunt judged him charitably as she was sure to \n do; she knew very well where the priggishness came from, and seeing that","was aware of it, but I did not mind her talking about whom she should \n make her heir, so long as it was well understood that I was not to be the \n person. \n \n Ernest had satisfied her as having enough in him to tempt her strongly to","had come to about 10,000 pounds more, so that Ernest was then worth over \n 70,000 pounds. At present he is worth nearly double that sum, and all as \n the result of leaving well alone. \n"],["Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in"," mother, C. P.\" \n \n This letter did not produce the effect on Ernest that it would have done \n before his imprisonment began. His father and mother thought they could \n take him up as they had left him off. They forgot the rapidity with","Ernest had known more, would have reminded him of Robespierre. As it \n was, he saw it and unconsciously recognised the unrest and \n self-seekingness of the man, but could not yet formulate them; he","Ernest was now so far convalescent as to be able to sit up for the \n greater part of the day. He had been three months in prison, and, though \n not strong enough to leave the infirmary, was beyond all fear of a","After Ernest had been sentenced, he was taken back to the cells to wait \n for the van which should take him to Coldbath Fields, where he was to \n serve his term. \n \n He was still too stunned and dazed by the suddenness with which events","Archbishop whose perceptions had never been quickened by imprisonment for \n assault--would not be able to withstand. When brought face to face with \n the facts, as he, Ernest, could arrange them; his Grace would have no","in the present case. It was not Ernest's having been imprisoned. \n Theobald forgot all about that much sooner than nine fathers out of ten \n would have done. Partly, no doubt, it was due to incompatibility of","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","In less than a fortnight from the time of his leaving prison all these \n arrangements had been completed, and Ernest felt that he had again linked \n himself on to the life which he had led before his imprisonment--with a \n few important differences, however, which were greatly to his advantage.","gaol asking whether he could be admitted inside the gaol to receive \n Ernest when his sentence had expired. He received answer in the \n affirmative, and the pair left Battersby the day before Ernest was to \n come out of prison. \n","regards the treatment he might think best for any of his pupils. Ernest \n said no more; he still felt that it was so discreditable to him to have \n allowed any confession to be wrung from him, that he could not press the \n promised amnesty for himself.","trust everything that was told him by those in authority, and following \n everything out to the bitter end, no matter how preposterous, returned \n with redoubled strength. I suppose this was what might have been \n expected from anyone placed as Ernest now was, especially when his","were instantly applied, and Ernest, demoralised as he already was, \n recanted and submitted himself to the powers that were. He told only a \n little less than he knew or thought he knew. He was examined,","book there was an editorial note to the effect that the writer was to be \n condemned. Ernest particularly admired the book he was desired to \n condemn, and feeling how hopeless it was for him to do anything like","generation--that is to say as against Ernest. On this head there was an \n offensive and defensive alliance between them, but between themselves \n there was subdued but internecine warfare. \n \n This at least was what Ernest gathered, partly from his recollections of","was at an end. \n \n \n \n \n CHAPTER LXVII \n \n \n As soon as Ernest found that he had no money to look to upon leaving \n prison he saw that his dreams about emigrating and farming must come to","co-ordinated at all. At the outset, therefore, each one of us must ruin \n many souls which could be saved by knowledge of a few elementary \n principles.\" \n \n Ernest was very much impressed. \n","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n"],["As a matter of fact, however, it was not so. Ernest's faith in Pryer had \n been too great to be shaken down all in a moment, but it had been \n weakened lately more than once. Ernest had fought hard against allowing","and be as nice as possible. And he was nice, and Ernest knew that such \n men as himself and Pryer were not nice, and his old dejection came over \n him. \n \n Then came an even worse reflection; how if he had fallen among material","say nothing at all about it, and I never will.\" Of course no further \n questioning was possible. It had more than once occurred to Ernest that \n Charlotte did not in reality believe more than he did himself, and this","He came to me--not for money, but to tell me his miserable story. I had \n seen for some time that there was something wrong, and had suspected \n pretty shrewdly what the matter was, but of course I said nothing. Ernest","have ever had from him; my hope henceforth must be in my remaining \n children.\" \n \n I told him how Ernest's fellow curate had got hold of his money, and \n hinted that he might very likely be penniless, or nearly so, on leaving","and in the end ruin him. Absolute independence he believed to be his \n only chance of very life itself. \n \n Over and above this--if this were not enough--Ernest had a faith in his","till I saw him by his own desire a few days after the chaplin had broken \n to him the substance of what I had written. \n \n Ernest was terribly shocked when he heard of the loss of his money, but \n his ignorance of the world prevented him from seeing the full extent of","years Ernest would have many times over as much money as he had lost, but \n I knew also that he did not know this, and feared that the supposed loss \n of all he had in the world might be more than he could stand when coupled \n with his other misfortunes. \n","Monstrous, odious falsehood! Ernest's feeble pulse quickened and his \n pale face flushed as this hateful view of life presented itself to him in \n all its logical consistency. It was not the fact of most men being liars","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at","as being what he thought would be most likely to interest him, and \n Ernest, still confused and shy, gave him for lack of something better to \n say his little threepenny-bit about poor people being so very nice.","and an admirable man of business, so his money would doubtless come back \n to him all right some day. \n \n Ernest comforted himself as regards this last source of anxiety, but as \n regards the other, he began to feel as though, if he was to be saved, a","about them which made Ernest wince; but he was quite subdued, and so the \n conversation ended. It left Ernest, however, not for the first time, \n consciously dissatisfied with Pryer, and inclined to set his friend's","shaking game and came practically to this, that Ernest was no good, and \n that if he went on as he was going on now, he would probably have to go \n about the streets begging without any shoes or stockings soon after he","The winter had been a trying one. Ernest had only paid his way by \n selling his piano. With this he seemed to cut away the last link that \n connected him with his earlier life, and to sink once for all into the","himself while there was yet time. \n \n But Ernest had not prayed to be made \"truly honest and conscientious\" for \n as many years as Christina had. He tried to conceal what he felt and","nothing that you repent of, nothing which makes you unhappy in connection \n with that miserable girl Ellen?\" \n \n Ernest's heart failed him. \"I am a dead boy now,\" he said to himself. He","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n","of Spiritual Pathology altogether; and so Ernest was cowed into \n acquiescence, or cajoled, according to the humour in which Pryer saw him \n to be. Ernest thought that further questions would look as if he doubted","I could see the publisher, who ought to know, had lost all faith in \n Ernest's literary position, and looked upon him as a man whose failure \n was all the more hopeless for the fact of his having once made a _coup_."],["In less than a fortnight from the time of his leaving prison all these \n arrangements had been completed, and Ernest felt that he had again linked \n himself on to the life which he had led before his imprisonment--with a \n few important differences, however, which were greatly to his advantage.","was at an end. \n \n \n \n \n CHAPTER LXVII \n \n \n As soon as Ernest found that he had no money to look to upon leaving \n prison he saw that his dreams about emigrating and farming must come to","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","keep up the connection, provided it did not involve Ernest's coming to \n Battersby nor any recurring outlay. \n \n When the time approached for him to leave prison, his father and mother \n consulted as to what course they should adopt. \n","gaol asking whether he could be admitted inside the gaol to receive \n Ernest when his sentence had expired. He received answer in the \n affirmative, and the pair left Battersby the day before Ernest was to \n come out of prison. \n","But to return to my story. When Ernest got to the top of the street and \n looked back, he saw the grimy, sullen walls of his prison filling up the \n end of it. He paused for a minute or two. \"There,\" he said to himself,","Ernest was now so far convalescent as to be able to sit up for the \n greater part of the day. He had been three months in prison, and, though \n not strong enough to leave the infirmary, was beyond all fear of a","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","But to return, the conclusion Ernest came to was that he would be a \n tailor. He talked the matter over with the chaplain, who told him there \n was no reason why he should not be able to earn his six or seven","chasteneth, Susan,' and here she began to cry again. 'As for him,' she \n went on, 'he has made his bed, and he must lie on it; when he comes out \n of prison his pa will know what is best to be done, and Master Ernest may","good or not, but I am sure Ernest's instinct was right in telling him \n that after a heavy fall he had better begin life again at a very low \n stage, and as I have just said, I would have let him go back to his shop","no idea of entirely breaking with him. He knew his son well enough to \n have a pretty shrewd idea that this was what Ernest would wish himself, \n and perhaps as much for this reason as for any other he was determined to","Ernest had not reckoned on this, and was rather surprised on being told a \n few minutes before nine that he was to go into the receiving room before \n he left the prison as there were visitors waiting to see him. His heart","came for him to leave prison, he did so, or thought he did so, not \n without regret. \n \n \n \n \n CHAPTER LXIX \n \n \n In coming to the conclusion that he would sever the connection between","Ernest would come round; he had been sure of it, but he had hardly \n expected the conversion to be so sudden. Ernest said no more had he, but \n now that he saw his duty so clearly he would get ordained as soon as"," mother, C. P.\" \n \n This letter did not produce the effect on Ernest that it would have done \n before his imprisonment began. His father and mother thought they could \n take him up as they had left him off. They forgot the rapidity with","respects Ernest should have proved his steadfastness. Then they might \n steal out again little by little--and so they did. \n \n Ernest now wrote home a letter couched in a vein different from his","wanted to be. They had only one idea; one and all, Georgie among the \n rest, wanted to be bargemen. Young ducks could hardly have a more \n evident hankering after the water. \n \n \"And what do you want, Alice?\" said Ernest.","On our way to town Ernest broached his plans for spending the next year \n or two. I wanted him to try and get more into society again, but he \n brushed this aside at once as the very last thing he had a fancy for. For","himself and his family once for all Ernest had reckoned without his \n family. Theobald wanted to be rid of his son, it is true, in so far as \n he wished him to be no nearer at any rate than the Antipodes; but he had"],["Ellen did what she was told, and the two parted with many tears, the \n girl's last words being that she should never forget him, and that they \n should meet again hereafter, she was sure they should, and then she would \n repay him. \n","living. Ellen remained with her till she was fourteen, when she first \n went out to service. Four years later, when she was about eighteen, but \n so well grown that she might have passed for twenty, she had been","she replied that Ellen was one of her own servants, the bishop seemed, so \n she thought or chose to think, quite pleased that so pretty a girl should \n have found so exceptionally good a situation. \n \n Ernest used to get up early during the holidays so that he might play the","Ellen during supper had more than once alluded to. He had been charmed \n with the way in which she had declared that a pint of beer would make her \n tipsy, and had only allowed herself to be forced into drinking the whole","piano before breakfast without disturbing his papa and mamma--or rather, \n perhaps, without being disturbed by them. Ellen would generally be there \n sweeping the drawing-room floor and dusting while he was playing, and the","Ernest brought Ellen to me. I did not want to see her, but could not \n well refuse. He had laid out a few of his shillings upon her wardrobe, \n so that she was neatly dressed, and, indeed, she looked very pretty and","The great change in Ellen's life consequent upon her meeting Ernest and \n getting married had for a time actually sobered her by shaking her out of \n her old ways. Drunkenness is so much a matter of habit, and habit so","day. Ellen went with him the first few times, but she said she found it \n too much for her, there were a few of her old friends whom she should \n sometimes like to see, and they and he, she said, would not hit it off","she was during the first days of her married life, and so quick was he to \n forget pain, that after a few days he was as fond of her as ever. But \n Ellen could not forgive him for knowing what he did. She knew that he","have done, but still if he was being punished for this, God was a hard \n taskmaster, and one, too, who was continually pouncing out upon his \n unhappy creatures from ambuscades. In marrying Ellen he had meant to","said Ellen, who had now recovered herself and was quite at home with my \n hero. \"Oh, dear, dear me,\" she said, \"I did love your pa; he was a good \n gentleman, he was, and your ma too; it would do anyone good to live with","Ernest could only see what he gathered from the cook, namely, that his \n favourite, Ellen, was being turned adrift with a matter of three pounds \n in her pocket, to go she knew not where, and to do she knew not what, and","whom Ernest could have spoken most freely at this juncture. He told her \n what he thought he could have told to no one else. \n \n \"You know, Ellen,\" he concluded, \"I had learnt as a boy things that I","\"And I,\" thought Ernest to himself again when the arrangement was \n concluded, \"am the man who thought himself unlucky!\" \n \n I may as well say here all that need be said further about Ellen. For","Ellen without his knowledge, or for which he had already given her the \n money. This was awful, and even Ernest turned. When he remonstrated \n with her--not for having bought the things, but for having said nothing","devolved upon him, but his business no longer prospered. He could buy as \n hitherto, but Ellen seemed unable to sell as she had sold at first. The \n fact was that she sold as well as ever, but kept back part of the","being married, and she didn't like his not being married--but, anyhow, it \n was Ellen's fault, not his, and she hoped he would be happy. \"But after","to him about the moneys being owing--Ellen met him with hysteria and \n there was a scene. She had now pretty well forgotten the hard times she \n had known when she had been on her own resources and reproached him","Rectory from the spinney behind the house just as Ellen's things were \n being put into the carriage. He thought it was Ellen whom he then saw \n get into the carriage, but as her face had been hidden by her","Theobald agreed that no time must be lost in paying Ellen her wages and \n packing her off. So this was done, and less than two hours after Dr \n Martin had entered the house Ellen was sitting beside John the coachman,"],["who keep this unconsciously in view at all times whether of work or \n pastime.\" \n \n If Ernest had published this work in his own name I should think it would \n have fallen stillborn from the press, but the form he had chosen was","towards religion. He hated people who did not know where to stop. Ernest \n was always so _outre_ and strange; there was never any knowing what he \n would do next, except that it would be something unusual and silly. If","than a year ago. Ernest gave them all they said they wanted and a good \n deal more. They have already presented him with a grandson, and I doubt \n not, will do so with many more. Georgie though only twenty-one is owner","Ernest into the world, \"spoke an ill word against anyone. He was not \n only liked, he was beloved by all who had anything to do with him.\" \n \n \"A more perfectly just and righteously dealing man,\" said the family","Before, however, I had come to this conclusion, I had thought that Ernest \n might be able to help me to the right thing, and had written to him upon \n the subject. The following is the answer I received-- \n","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","respects Ernest should have proved his steadfastness. Then they might \n steal out again little by little--and so they did. \n \n Ernest now wrote home a letter couched in a vein different from his","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","generation--that is to say as against Ernest. On this head there was an \n offensive and defensive alliance between them, but between themselves \n there was subdued but internecine warfare. \n \n This at least was what Ernest gathered, partly from his recollections of","know him. He liked looking at him if he got a chance, and was very much \n ashamed of himself for doing so, but there the matter ended. \n \n By a strange accident, however, during Ernest's last year, when the names","own identity, but it will generally be found that those who talk in this \n way have no children of their own. Practical family men know better. \n \n About twelve months after the birth of Ernest there came a second, also a","quietly, but slowly and decidedly, \"No, no, no,\" and escaped. \n \n It was all over with Ernest from that moment. As usual he did not know \n it, but he had entered none the less upon another reaction. Towneley had","But to return, the conclusion Ernest came to was that he would be a \n tailor. He talked the matter over with the chaplain, who told him there \n was no reason why he should not be able to earn his six or seven","Ernest is as fond of music as ever, perhaps more so, and of late years \n has added musical composition to the other irons in his fire. He finds \n it still a little difficult, and is in constant trouble through getting","This, however, was not the general verdict concerning him, and the \n general verdict is often the truest. \n \n Ernest was overwhelmed with expressions of condolence and respect for his \n father's memory. \"He never,\" said Dr Martin, the old doctor who brought","and in the end ruin him. Absolute independence he believed to be his \n only chance of very life itself. \n \n Over and above this--if this were not enough--Ernest had a faith in his","though many had much less than this. Ernest did as he had done at \n school--he spent what he could, soon after he received his money; he then \n incurred a few modest liabilities, and then lived penuriously till next"],["The great change in Ellen's life consequent upon her meeting Ernest and \n getting married had for a time actually sobered her by shaking her out of \n her old ways. Drunkenness is so much a matter of habit, and habit so","\"And I,\" thought Ernest to himself again when the arrangement was \n concluded, \"am the man who thought himself unlucky!\" \n \n I may as well say here all that need be said further about Ellen. For","Ernest had by this time been married some two months, for he had stuck to \n his original plan of marrying Ellen on the first day he could legally do \n so. This date was a little delayed by the change of abode from Laystall","Ernest brought Ellen to me. I did not want to see her, but could not \n well refuse. He had laid out a few of his shillings upon her wardrobe, \n so that she was neatly dressed, and, indeed, she looked very pretty and","Ellen without his knowledge, or for which he had already given her the \n money. This was awful, and even Ernest turned. When he remonstrated \n with her--not for having bought the things, but for having said nothing","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","if Ellen had been only what he thought her, and if his prospects had been \n in reality no better than he believed they were, I do not know that there \n is anything much more imprudent in what Ernest proposed than there is in \n half the marriages that take place every day.","she replied that Ellen was one of her own servants, the bishop seemed, so \n she thought or chose to think, quite pleased that so pretty a girl should \n have found so exceptionally good a situation. \n \n Ernest used to get up early during the holidays so that he might play the","Ernest could only see what he gathered from the cook, namely, that his \n favourite, Ellen, was being turned adrift with a matter of three pounds \n in her pocket, to go she knew not where, and to do she knew not what, and","which Ellen would suffer on becoming an outcast again. Ernest saw Mrs \n Richards, the neighbour who had called him down on the night when he had \n first discovered his wife's drunkenness, and got from her some details of","whom Ernest could have spoken most freely at this juncture. He told her \n what he thought he could have told to no one else. \n \n \"You know, Ellen,\" he concluded, \"I had learnt as a boy things that I","Ellen's guilt? Was it, could it be, her own son, her darling Ernest? \n Ernest was getting a big boy now. She could excuse any young woman for \n taking a fancy to him; as for himself, why she was sure he was behind no","quarrelled with his father and mother she assumed as a matter of course \n that the fault must lie entirely with Ernest. \n \n \"Oh, your pore, pore ma!\" said Ellen. \"She was always so very fond of","He must marry someone; that was already settled. He could not marry a \n lady; that was absurd. He must marry a poor woman. Yes, but a fallen \n one? Was he not fallen himself? Ellen would fall no more. He had only","being married, and she didn't like his not being married--but, anyhow, it \n was Ellen's fault, not his, and she hoped he would be happy. \"But after","afraid I showed this, for he again avoided me for some time, and, indeed, \n for many months I hardly saw him at all. \n \n Ellen remained very ill for some days, and then gradually recovered. \n Ernest hardly left her till she was out of danger. When she had","allowance myself--of course intending that it should come out of Ernest's \n money; but he would not hear of this. He had married Ellen, he said, and \n he must try to reform her. He hated it, but he must try; and finding him","I think the devil must have chuckled and made tolerably sure of his game \n this time. \n \n \n \n \n CHAPTER LXXII \n \n \n Ernest told Ellen of his difficulty about finding employment. \n","she was during the first days of her married life, and so quick was he to \n forget pain, that after a few days he was as fond of her as ever. But \n Ellen could not forgive him for knowing what he did. She knew that he","but his shyness had worn off with Ellen, and the pair had become fast \n friends. \n \n Perhaps it was well that Ernest was not at home for very long together, \n but as yet his affection though hearty was quite Platonic. He was not"],["up to this point; but it has been altered here and there from time to \n time occasionally. It is now the autumn of 1882, and if I am to say more \n I should do so quickly, for I am eighty years old and though well in","But to return to my story. When Ernest got to the top of the street and \n looked back, he saw the grimy, sullen walls of his prison filling up the \n end of it. He paused for a minute or two. \"There,\" he said to himself,","helped him over the bad places, and questioned him till I had got out \n pretty nearly the whole story as I have given it above. \n \n I hope I did not show it, but I was very angry. I had begun to like","He came to me--not for money, but to tell me his miserable story. I had \n seen for some time that there was something wrong, and had suspected \n pretty shrewdly what the matter was, but of course I said nothing. Ernest","to him, for she had known him ever since he had been five or six years \n old. Her name was Susan. He sat down in the rocking-chair before her \n fire, and Susan went on ironing at the table in front of the window, and","them. This was the effect of unchanged surroundings upon the unchanged \n part of him. But there was a changed part, and the effect of unchanged \n surroundings upon this was to make everything seem almost as strange as","story. For the last few years there had been difficulties in the way of \n our meeting, and I had not seen her, though, as I have said, keeping up a \n close correspondence with her. Naturally I was overjoyed to meet her","his own size, or to stop him midway in the story with a remonstrance \n against being kicked when he was down. The boy was too much shocked and \n shaken to be inventive; he could only drift and stammer out that the tale \n was true. \n","discretion, he took the bull by the horns, and announced himself at once \n as having just come in after having met with a terrible misfortune. \n Little by little he told his story, and though Theobald stormed somewhat","time that I am writing this book, for I know that whether I like it or no \n I am portraying myself more surely than I am portraying any of the \n characters whom I set before the reader. I am sorry that it is so, but I","\"I have been thinking,\" he said, \"that I may perhaps never recover from \n this illness, and in case I do not I should like you to know that there \n is only one thing which weighs upon me. I refer,\" he continued after a","heavy upon her, and looked back more and more longingly upon the lawless \n freedom of the life she had led before she met her husband. \n \n I will dwell no longer on this part of my story. During the spring","himself. This time it was during a turn taken in the garden, and not on \n the sofa--which was reserved for supreme occasions. \n \n \"You know, my dearest boy,\" she said to him, \"that papa\" (she always","but noted everything. Once only did he frighten me. He called me to his \n bedside just as it was getting dusk and said in a grave, quiet manner \n that he should like to speak to me. \n","\"And I,\" thought Ernest to himself again when the arrangement was \n concluded, \"am the man who thought himself unlucky!\" \n \n I may as well say here all that need be said further about Ellen. For","had happened during the last twenty-four hours to be able to realise his \n position. A great chasm had opened between his past and future; \n nevertheless he breathed, his pulse beat, he could think and speak. It","So the bride sat crying in one corner of the carriage; and the bridegroom \n sulked in the other, and he feared her as only a bridegroom can fear. \n \n Presently, however, a feeble voice was heard from the bride's corner \n saying:","in full, for it is a typical one, and will explain a state of mind which \n in another generation or two will seem to stand sadly in need of \n explanation. \n \n \"My young friends,\" said Mr Hawke, \"I am persuaded there is not one of","consciousness sufficiently to be able to see them. It was known that she \n had sent for me on being taken ill, and that I remained at Roughborough, \n and I own I was angered by the mingled air of suspicion, defiance and","their first half hour, the reader must guess, for it is beyond my power \n to tell him; at the end of that time, however, Theobald had rummaged up a \n conclusion from some odd corner of his soul to the effect that now he and"],["to him, for she had known him ever since he had been five or six years \n old. Her name was Susan. He sat down in the rocking-chair before her \n fire, and Susan went on ironing at the table in front of the window, and","story. For the last few years there had been difficulties in the way of \n our meeting, and I had not seen her, though, as I have said, keeping up a \n close correspondence with her. Naturally I was overjoyed to meet her","volatile, and continually takes things up only to throw them down again. \n How can he find out his strength or weakness otherwise? A man's \n profession,\" she said, and here she gave one of her wicked little laughs,","of themselves. He would begin with his own house. \n \n Who then should he take first? Surely he could not do better than begin \n with the tailor who lived immediately over his head. This would be","years old, so that his character had begun to shape. His aunt had not \n seen him for some little time and, thinking that if she was to exploit \n him she could do so now perhaps better than at any other time, she","loved no one else in the world except her husband (and him only after a \n fashion) was most tenderly attached to the unexpected child of her old \n age; nevertheless she showed it little. \n \n The boy grew up into a sturdy bright-eyed little fellow, with plenty of","He came to me--not for money, but to tell me his miserable story. I had \n seen for some time that there was something wrong, and had suspected \n pretty shrewdly what the matter was, but of course I said nothing. Ernest","He was turning from her, as he had turned from so many others, when she \n started back with a movement that aroused his curiosity. He had hardly \n seen her face, but being determined to catch sight of it, followed her as","pleasure in giving you a character if you want one. Have you anything \n more to say?\" \n \n \"No more nor what I have said,\" said John sullenly, \"but what I've said I \n means and I'll stick to--character or no character.\"","But to return to my story. When Ernest got to the top of the street and \n looked back, he saw the grimy, sullen walls of his prison filling up the \n end of it. He paused for a minute or two. \"There,\" he said to himself,","himself. This time it was during a turn taken in the garden, and not on \n the sofa--which was reserved for supreme occasions. \n \n \"You know, my dearest boy,\" she said to him, \"that papa\" (she always","character, and to have been universally liked at Battersby. She was then \n a quick, smart, hard-working girl--and a very pretty one. When at last \n they met again she was on her best behaviour, in fact, she was modesty","But to return to my story. It transpired afterwards that Miss Maitland \n had had no intention of giving Ernest in charge when she ran out of Mrs \n Jupp's house. She was running away because she was frightened, but","accident--his moral character. As for Miss Maitland, he had done his \n best to ruin hers, and had damaged himself gravely and irretrievably in \n consequence. The only lodger who had done him no harm was the bellows'","clothes, and spending his evenings in cleaning and mending them. \n \n One morning, as he was returning from a house at the West End where he \n had bought some clothes from one of the servants, he was struck by a","\"I have been thinking,\" he said, \"that I may perhaps never recover from \n this illness, and in case I do not I should like you to know that there \n is only one thing which weighs upon me. I refer,\" he continued after a","else into little pieces of mincemeat to gratify the slightest wish of her \n husband, but she would not have chopped him up for any one else, and so \n long as he did not cross her she was very fond of him. By nature she was","himself. \n \n His having lived six months in Ashpit Place was a case in point. Things \n were possible to him which to others like him would be impossible. If \n such a man as Towneley were told he must live henceforth in a house like","discretion, he took the bull by the horns, and announced himself at once \n as having just come in after having met with a terrible misfortune. \n Little by little he told his story, and though Theobald stormed somewhat","had happened during the last twenty-four hours to be able to realise his \n position. A great chasm had opened between his past and future; \n nevertheless he breathed, his pulse beat, he could think and speak. It"],["concluded, the magistrate spoke as follows: \"Ernest Pontifex, yours is \n one of the most painful cases that I have ever had to deal with. You \n have been singularly favoured in your parentage and education. You have","His face dropped as he caught sight of Ernest. \"What, you here, \n Pontifex! Well, upon my word!\" \n \n I cannot describe the hurried explanations that passed quickly between \n the three--enough that in less than a minute Ernest, blushing more","Mrs Jupp to whom, by the way, Ernest made a small weekly allowance. It \n was at Ernest's chambers, and for some reason we were left alone for a \n few minutes. I said to her: \"Mr Pontifex has written another book, Mrs","that he could never henceforth see a bishop going to consecration without \n saying to himself: \"There, but for the grace of God, went Ernest \n Pontifex.\" It was no doing of his. He could not boast; if he had lived"," myself.--Your affectionate Godson, ERNEST PONTIFEX.\" \n \n Was this the little lad who could get sweeties for two-pence but not for","Presently old Mr Pontifex died, and then came the revelation of the \n little alteration he had made in his will simultaneously with his bequest \n to Ernest. It was rather hard to bear, especially as there was no way of","CHAPTER LIV \n \n \n This move on Ernest's part was variously commented upon by his friends, \n the general opinion being that it was just like Pontifex, who was sure to \n do something unusual wherever he went, but that on the whole the idea was","indeed were the other demure young clerics to whom Pryer had introduced \n Ernest. \n \n \n \n \n CHAPTER LII \n \n \n \"You know, my dear Pontifex,\" said Pryer to him, some few weeks after","Gaunt had had children before he was married, he, Ernest Pontifex, might \n have them also, and he would be obliged to me if I would tell him what he \n had better do under the circumstances. \n","arrived at in the matter of fireworks and Guy Fawkes festivities. This \n year it was decided that Pontifex's governor should be the victim, and \n Ernest though a good deal exercised in mind as to what he ought to do, in","Miss Pontifex soon found out that Ernest did not like games, but she saw \n also that he could hardly be expected to like them. He was perfectly \n well shaped but unusually devoid of physical strength. He got a fair","Ernest had become acquainted with him, when the two were taking a \n constitutional one day in Kensington Gardens, \"You know, my dear \n Pontifex, it is all very well to quarrel with Rome, but Rome has reduced","unkindly and seldom does she completely fail a favoured nursling. \n \n Was George Pontifex one of Fortune's favoured nurslings or not? On the \n whole I should say that he was not, for he did not consider himself so;","which the reader may be inclined to pass too hastily, not only upon Mr \n George Pontifex, but also upon Theobald and Christina. And now I will \n continue my story. \n \n \n \n \n CHAPTER XX \n \n"," Believe me, Your affectionate father, T. PONTIFEX.\" \n \n Of course there could be no hesitation on Ernest's part. He could afford \n to smile now at his father's offering to pay for his clothes, and his","Miss Pontifex, as I have said, got hold of some of these youngsters \n through Ernest, and fed them well. No boy can resist being fed well by a \n good-natured and still handsome woman. Boys are very like nice dogs in","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n","did, Ernest in his forlorn state was delighted to meet them. \n \n Pryer was about twenty-eight years old. He had been at Eton and at \n Oxford. He was tall, and passed generally for good-looking; I only saw","not like Ernest's getting more and more into his aunt's good books, still \n it was perhaps better that he should do so than that she should be driven \n back upon the John Pontifexes. The only thing, said Theobald, which made","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at"],["was twenty-eight years old, but neither he nor anyone else, except her \n lawyer and myself, was to know anything about it. She would leave 5000 \n pounds in other legacies, and 15,000 pounds to Ernest--which by the time","know how to keep what he will get from me.\" \n \n Supposing he went bankrupt before he was twenty-eight years old, the \n money was to be mine absolutely, but she could trust me, she said, to \n hand it over to Ernest in due time. \n","endorsed upon it, to her sons when Ernest was sixteen years old. It \n reached him on his mother's death many years later, for it was the baby \n who died now, and not Christina. It was found among papers which she had","sum that had been settled upon him and Christina at the time of his \n marriage) had been cut down to 17,500 pounds when Mr Pontifex left \n \"something\" to Ernest. The \"something\" proved to be 2500 pounds, which","into a cab, and come with me at once, if you can spare time, to Mr \n Overton's at the Temple.\" \n \n \n \n \n CHAPTER LXXVII \n \n \n I do not think Ernest himself was much more pleased at finding that he","did he not hand it over to my brother John and me?\" He stammered a good \n deal and looked sheepish, but he got the words out. \n \n \"Because, my dear father,\" said Ernest still laughing, \"my aunt left it","to do with her money before they knew of her being at the point of death, \n and as I have said already, if they had thought it likely that Ernest \n would be made heir over their own heads without their having at any rate","make Ernest her heir. I do not think she had given them so much as a \n hint to this effect. Theobald indeed gave Ernest to understand that she \n had done so in a letter which will be given shortly, but if Theobald","told no one else. I mean that Ernest would come into his aunt's money in \n a few years' time, and would therefore then be rich. \n \n Towneley was doing all he could before this, but I knew that the","Presently old Mr Pontifex died, and then came the revelation of the \n little alteration he had made in his will simultaneously with his bequest \n to Ernest. It was rather hard to bear, especially as there was no way of","had come to about 10,000 pounds more, so that Ernest was then worth over \n 70,000 pounds. At present he is worth nearly double that sum, and all as \n the result of leaving well alone. \n","overturning of a boat when he was only two years old and had left him as \n their only child and heir to one of the finest estates in the South of \n England. Fortune every now and then does things handsomely by a man all","Her fortune consisted, as I have said, of 5000 pounds, which had come to \n her by her mother's marriage settlements, and 15,000 pounds left her by \n her father, over both which sums she had now absolute control. These","No provision was made for either my death or Ernest's--Miss Pontifex had \n settled it that we were neither of us going to die, and was too ill to go \n into details; she was so anxious, moreover, to sign her will while still","give her confidence in you; as a matter of fact, however, she has left \n you nothing, and the whole of her property has gone to your godfather, Mr \n Overton. Your mother and I are willing to hope that if she had lived","their heir. He was thus not only sole partner in the business but found \n himself with a fortune of some 30,000 pounds into the bargain, and this \n was a large sum in those days. Money came pouring in upon him, and the","me (even Ernest saw that it was not from Theobald at all) at any rate \n till after my death, which for aught any of us know may be yet many years \n distant. It is not a large sum, but it is sufficient if supplemented by","His mother kicked a little at first against the money's having gone to \n him as she said \"over his papa's head.\" \"Why, my dear,\" she said in a \n deprecating tone, \"this is more than ever your papa has had\"; but Ernest","than a year ago. Ernest gave them all they said they wanted and a good \n deal more. They have already presented him with a grandson, and I doubt \n not, will do so with many more. Georgie though only twenty-one is owner","has a family, but he and Ernest very rarely have any intercourse. Of \n course, Ernest took nothing under his father's will; this had long been \n understood, so that the other two are both well provided for. \n"],["Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","was at an end. \n \n \n \n \n CHAPTER LXVII \n \n \n As soon as Ernest found that he had no money to look to upon leaving \n prison he saw that his dreams about emigrating and farming must come to","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","After Ernest had been sentenced, he was taken back to the cells to wait \n for the van which should take him to Coldbath Fields, where he was to \n serve his term. \n \n He was still too stunned and dazed by the suddenness with which events","quietly, but slowly and decidedly, \"No, no, no,\" and escaped. \n \n It was all over with Ernest from that moment. As usual he did not know \n it, but he had entered none the less upon another reaction. Towneley had","gaol asking whether he could be admitted inside the gaol to receive \n Ernest when his sentence had expired. He received answer in the \n affirmative, and the pair left Battersby the day before Ernest was to \n come out of prison. \n","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at","But to return to my story. When Ernest got to the top of the street and \n looked back, he saw the grimy, sullen walls of his prison filling up the \n end of it. He paused for a minute or two. \"There,\" he said to himself,","chasteneth, Susan,' and here she began to cry again. 'As for him,' she \n went on, 'he has made his bed, and he must lie on it; when he comes out \n of prison his pa will know what is best to be done, and Master Ernest may","Ernest was now so far convalescent as to be able to sit up for the \n greater part of the day. He had been three months in prison, and, though \n not strong enough to leave the infirmary, was beyond all fear of a","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n","heard a disturbance, and going down to Ernest's room while Miss Maitland \n was out of doors, had found him lying, as it were, stunned at the foot of \n the moral precipice over which he had that moment fallen. He saw the","Ernest got off with the head boys easier than he expected. It was \n admitted that the offence, heinous though it was, had been committed \n under extenuating circumstances; the frankness with which the culprit had","In less than a fortnight from the time of his leaving prison all these \n arrangements had been completed, and Ernest felt that he had again linked \n himself on to the life which he had led before his imprisonment--with a \n few important differences, however, which were greatly to his advantage.","very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \n break to him some bad news about his speculations. \n \n \n \n \n CHAPTER LX \n \n \n Ernest now went home and occupied himself till luncheon with studying","whole thing at a glance, but before he could take action, the policemen \n came in and action became impossible. \n \n He asked Ernest who were his friends in London. Ernest at first wanted \n not to say, but Towneley soon gave him to understand that he must do as","He came to me--not for money, but to tell me his miserable story. I had \n seen for some time that there was something wrong, and had suspected \n pretty shrewdly what the matter was, but of course I said nothing. Ernest"," mother, C. P.\" \n \n This letter did not produce the effect on Ernest that it would have done \n before his imprisonment began. His father and mother thought they could \n take him up as they had left him off. They forgot the rapidity with","Then Ernest got into a field by the roadside, flung himself on the grass, \n and waited under the shadow of a hedge till the carriage should pass on \n its return from the station and pick him up, for he was dead beat."],[" mother, C. P.\" \n \n This letter did not produce the effect on Ernest that it would have done \n before his imprisonment began. His father and mother thought they could \n take him up as they had left him off. They forgot the rapidity with","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","Ernest felt that this last home-thrust was just. In his less anxious \n moments he had thought his papa and mamma \"green\" for the readiness with \n which they believed him, but he could not deny that their credulity was a","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","keep up the connection, provided it did not involve Ernest's coming to \n Battersby nor any recurring outlay. \n \n When the time approached for him to leave prison, his father and mother \n consulted as to what course they should adopt. \n","quarrelled with his father and mother she assumed as a matter of course \n that the fault must lie entirely with Ernest. \n \n \"Oh, your pore, pore ma!\" said Ellen. \"She was always so very fond of","and weeping as she flung her arms around him, cried: \"Oh, I knew he would \n come, I knew, I knew he could come.\" \n \n Ernest broke down and wept as he had not done for years. \n","in her arms. \"Oh, my boy, my boy,\" she sobbed, and she could say no \n more. \n \n Ernest was as white as a sheet. His heart beat so that he could hardly","chasteneth, Susan,' and here she began to cry again. 'As for him,' she \n went on, 'he has made his bed, and he must lie on it; when he comes out \n of prison his pa will know what is best to be done, and Master Ernest may","quietly, but slowly and decidedly, \"No, no, no,\" and escaped. \n \n It was all over with Ernest from that moment. As usual he did not know \n it, but he had entered none the less upon another reaction. Towneley had","Then came the odious task of getting rid of their unhappy mother. \n Ernest's heart smote him at the notion of the shock the break-up would be \n to her. He was always thinking that people had a claim upon him for some","respects Ernest should have proved his steadfastness. Then they might \n steal out again little by little--and so they did. \n \n Ernest now wrote home a letter couched in a vein different from his","\"Now look here, Ernest,\" said his father with his blackest scowl, \"I am \n going to put a stop to this nonsense once for all. Either take me fully \n into your confidence, as a son should take a father, and trust me to deal","The pair then went upstairs to Christina's room, the one in which Ernest \n had been born. His father went before him and prepared her for her son's \n approach. The poor woman raised herself in bed as he came towards her,","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","After Ernest had been sentenced, he was taken back to the cells to wait \n for the van which should take him to Coldbath Fields, where he was to \n serve his term. \n \n He was still too stunned and dazed by the suddenness with which events","gaol asking whether he could be admitted inside the gaol to receive \n Ernest when his sentence had expired. He received answer in the \n affirmative, and the pair left Battersby the day before Ernest was to \n come out of prison. \n","But Ernest cut this--I will not say short--but a great deal shorter than \n it would have been if Christina had had her say out, by extricating \n himself from his mamma's embrace and showing a clean pair of heels. As","Ernest had not reckoned on this, and was rather surprised on being told a \n few minutes before nine that he was to go into the receiving room before \n he left the prison as there were visitors waiting to see him. His heart","father. True, Ernest was not thrown in with him much yet, but he was \n always there; there was no knowing at what moment he might not put in an \n appearance, and whenever he did show, it was to storm about something. He"],["In less than a fortnight from the time of his leaving prison all these \n arrangements had been completed, and Ernest felt that he had again linked \n himself on to the life which he had led before his imprisonment--with a \n few important differences, however, which were greatly to his advantage.","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","was at an end. \n \n \n \n \n CHAPTER LXVII \n \n \n As soon as Ernest found that he had no money to look to upon leaving \n prison he saw that his dreams about emigrating and farming must come to","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","Ernest was now so far convalescent as to be able to sit up for the \n greater part of the day. He had been three months in prison, and, though \n not strong enough to leave the infirmary, was beyond all fear of a","But to return, the conclusion Ernest came to was that he would be a \n tailor. He talked the matter over with the chaplain, who told him there \n was no reason why he should not be able to earn his six or seven","But to return to my story. When Ernest got to the top of the street and \n looked back, he saw the grimy, sullen walls of his prison filling up the \n end of it. He paused for a minute or two. \"There,\" he said to himself,","good or not, but I am sure Ernest's instinct was right in telling him \n that after a heavy fall he had better begin life again at a very low \n stage, and as I have just said, I would have let him go back to his shop","gaol asking whether he could be admitted inside the gaol to receive \n Ernest when his sentence had expired. He received answer in the \n affirmative, and the pair left Battersby the day before Ernest was to \n come out of prison. \n","chasteneth, Susan,' and here she began to cry again. 'As for him,' she \n went on, 'he has made his bed, and he must lie on it; when he comes out \n of prison his pa will know what is best to be done, and Master Ernest may"," mother, C. P.\" \n \n This letter did not produce the effect on Ernest that it would have done \n before his imprisonment began. His father and mother thought they could \n take him up as they had left him off. They forgot the rapidity with","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at","Ernest had not reckoned on this, and was rather surprised on being told a \n few minutes before nine that he was to go into the receiving room before \n he left the prison as there were visitors waiting to see him. His heart","in the present case. It was not Ernest's having been imprisoned. \n Theobald forgot all about that much sooner than nine fathers out of ten \n would have done. Partly, no doubt, it was due to incompatibility of","the infirmary the chaplain came to his cell and told him that the \n prisoner who played the organ in chapel had just finished his sentence \n and was leaving the prison; he therefore offered the post to Ernest, who","music, books, learning his trade, and conversation with the chaplain, who \n was just the kindly, sensible person that Ernest wanted in order to \n steady him a little, the days went by so pleasantly that when the time","Ernest would come round; he had been sure of it, but he had hardly \n expected the conversion to be so sudden. Ernest said no more had he, but \n now that he saw his duty so clearly he would get ordained as soon as","After Ernest had been sentenced, he was taken back to the cells to wait \n for the van which should take him to Coldbath Fields, where he was to \n serve his term. \n \n He was still too stunned and dazed by the suddenness with which events","respects Ernest should have proved his steadfastness. Then they might \n steal out again little by little--and so they did. \n \n Ernest now wrote home a letter couched in a vein different from his","very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \n break to him some bad news about his speculations. \n \n \n \n \n CHAPTER LX \n \n \n Ernest now went home and occupied himself till luncheon with studying"],["Ernest had by this time been married some two months, for he had stuck to \n his original plan of marrying Ellen on the first day he could legally do \n so. This date was a little delayed by the change of abode from Laystall","married already, and would doubtless marry a lawful wife later on. Such \n a man was worth taking pains with, and when Towneley one day met Ernest \n in the street, and Ernest tried to avoid him, Towneley would not have it,","\"And I,\" thought Ernest to himself again when the arrangement was \n concluded, \"am the man who thought himself unlucky!\" \n \n I may as well say here all that need be said further about Ellen. For","evening whenever he had a mind, without in the least caring that he \n should take her too--and this suited Ernest very well. He was, I should \n say, much happier in his married life than people generally are. \n","marry. It was not easy for Theobald to hit on any much more sensible \n plan. He could not get Ernest into business, for he had no business \n connections--besides he did not know what business meant; he had no","Ernest. I don't know why, but I never have heard that any young man to \n whom I had become attached was going to get married without hating his \n intended instinctively, though I had never seen her; I have observed that","had in the end married her eldest daughter, till after a time behold, \n there was the dragon lying dead, while he was himself alive and not very \n seriously hurt after all. \n \n \"I do not know what you mean, mamma,\" exclaimed Ernest anxiously and more","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","The great change in Ellen's life consequent upon her meeting Ernest and \n getting married had for a time actually sobered her by shaking her out of \n her old ways. Drunkenness is so much a matter of habit, and habit so","than a year ago. Ernest gave them all they said they wanted and a good \n deal more. They have already presented him with a grandson, and I doubt \n not, will do so with many more. Georgie though only twenty-one is owner","with Ernest--made him an excellent wife as long as she kept sober, but a \n very bad one afterwards.\" \n \n \"There isn't,\" said John, \"a sweeter-tempered, handier, prettier girl","Ernest would come round; he had been sure of it, but he had hardly \n expected the conversion to be so sudden. Ernest said no more had he, but \n now that he saw his duty so clearly he would get ordained as soon as","fast enough. Why, as for Jack here, he's almost as good a bargeman as I \n am.\" And he looked fondly and patronisingly towards his offspring. \n \n \"I think,\" said Ernest to Mr Rollings, \"if he wants to marry Alice when","written to Ernest to say she was coming and he was of course on the look- \n out for her. He had not seen her for so long that he was rather shy at \n first, but her good nature soon set him at his ease. She was so strongly","Ernest who was naught for not thinking more highly of him. \n \n When she had once got hold of a name she never forgot it. \"And how is So- \n and-so?\" she would exclaim, mentioning some former friend of Ernest's","he was,--but so are a great many other young people of Ernest's age. \n \n \n \n \n CHAPTER XXXVII \n \n \n If Theobald and Christina had not been too well pleased when Miss","quietly, but slowly and decidedly, \"No, no, no,\" and escaped. \n \n It was all over with Ernest from that moment. As usual he did not know \n it, but he had entered none the less upon another reaction. Towneley had","downright with having married her--on that moment the scales fell from \n Ernest's eyes as they had fallen when Towneley had said, \"No, no, no.\" He \n said nothing, but he woke up once for all to the fact that he had made a","Christians, the second, with few exceptions, she regarded with suspicion, \n not wholly unmingled with contempt. \n \n Then Ernest told her what had happened to him during the last six months, \n and by-and-by she believed him. \n","Master Ernest, you really must go and make it all up with her; indeed you \n must.\" \n \n Ernest felt rueful, but he had resisted so valiantly already that the \n devil might have saved himself the trouble of trying to get at him"],["Ernest could only see what he gathered from the cook, namely, that his \n favourite, Ellen, was being turned adrift with a matter of three pounds \n in her pocket, to go she knew not where, and to do she knew not what, and","\"And I,\" thought Ernest to himself again when the arrangement was \n concluded, \"am the man who thought himself unlucky!\" \n \n I may as well say here all that need be said further about Ellen. For","afraid I showed this, for he again avoided me for some time, and, indeed, \n for many months I hardly saw him at all. \n \n Ellen remained very ill for some days, and then gradually recovered. \n Ernest hardly left her till she was out of danger. When she had","Ellen without his knowledge, or for which he had already given her the \n money. This was awful, and even Ernest turned. When he remonstrated \n with her--not for having bought the things, but for having said nothing","The great change in Ellen's life consequent upon her meeting Ernest and \n getting married had for a time actually sobered her by shaking her out of \n her old ways. Drunkenness is so much a matter of habit, and habit so","Ernest brought Ellen to me. I did not want to see her, but could not \n well refuse. He had laid out a few of his shillings upon her wardrobe, \n so that she was neatly dressed, and, indeed, she looked very pretty and","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","quarrelled with his father and mother she assumed as a matter of course \n that the fault must lie entirely with Ernest. \n \n \"Oh, your pore, pore ma!\" said Ellen. \"She was always so very fond of","\"Lor'! Master Ernest, whatever can you be meaning?\" \n \n The pair soon afterwards left the eating-house and walked up Fetter Lane \n together. \n \n Ellen had had hard times since she had left Battersby, but they had left","But Ernest cut this--I will not say short--but a great deal shorter than \n it would have been if Christina had had her say out, by extricating \n himself from his mamma's embrace and showing a clean pair of heels. As","which Ellen would suffer on becoming an outcast again. Ernest saw Mrs \n Richards, the neighbour who had called him down on the night when he had \n first discovered his wife's drunkenness, and got from her some details of","I think the devil must have chuckled and made tolerably sure of his game \n this time. \n \n \n \n \n CHAPTER LXXII \n \n \n Ernest told Ellen of his difficulty about finding employment. \n","Theobald agreed that no time must be lost in paying Ellen her wages and \n packing her off. So this was done, and less than two hours after Dr \n Martin had entered the house Ellen was sitting beside John the coachman,","Ernest had by this time been married some two months, for he had stuck to \n his original plan of marrying Ellen on the first day he could legally do \n so. This date was a little delayed by the change of abode from Laystall","things which she threatened--for his sake if for no other reason. \n \n Ellen at first would not hear of taking anything from him, but the \n coachman, who was from the north country, sided with Ernest. \"Take it,","Ellen's guilt? Was it, could it be, her own son, her darling Ernest? \n Ernest was getting a big boy now. She could excuse any young woman for \n taking a fancy to him; as for himself, why she was sure he was behind no","nothing that you repent of, nothing which makes you unhappy in connection \n with that miserable girl Ellen?\" \n \n Ernest's heart failed him. \"I am a dead boy now,\" he said to himself. He","Ellen did what she was told, and the two parted with many tears, the \n girl's last words being that she should never forget him, and that they \n should meet again hereafter, she was sure they should, and then she would \n repay him. \n","whom Ernest could have spoken most freely at this juncture. He told her \n what he thought he could have told to no one else. \n \n \"You know, Ellen,\" he concluded, \"I had learnt as a boy things that I","But to return to my story. It transpired afterwards that Miss Maitland \n had had no intention of giving Ernest in charge when she ran out of Mrs \n Jupp's house. She was running away because she was frightened, but"],["Ernest would come round; he had been sure of it, but he had hardly \n expected the conversion to be so sudden. Ernest said no more had he, but \n now that he saw his duty so clearly he would get ordained as soon as","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","know him. He liked looking at him if he got a chance, and was very much \n ashamed of himself for doing so, but there the matter ended. \n \n By a strange accident, however, during Ernest's last year, when the names","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at","quietly, but slowly and decidedly, \"No, no, no,\" and escaped. \n \n It was all over with Ernest from that moment. As usual he did not know \n it, but he had entered none the less upon another reaction. Towneley had","But to return, the conclusion Ernest came to was that he would be a \n tailor. He talked the matter over with the chaplain, who told him there \n was no reason why he should not be able to earn his six or seven","has a family, but he and Ernest very rarely have any intercourse. Of \n course, Ernest took nothing under his father's will; this had long been \n understood, so that the other two are both well provided for. \n","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n","regular old brick, and that it is Ernest who is in fault all through.\" \n \n So he would behave very nicely to the boy at first, and the boy would be \n delighted with him, and side with him against Ernest. Of course if","very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \n break to him some bad news about his speculations. \n \n \n \n \n CHAPTER LX \n \n \n Ernest now went home and occupied himself till luncheon with studying","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","which development follows misfortune, if the sufferer is young and of a \n sound temperament. Ernest made no reply to his father's letter, but his \n desire for a total break developed into something like a passion. \"There","This, however, was not the general verdict concerning him, and the \n general verdict is often the truest. \n \n Ernest was overwhelmed with expressions of condolence and respect for his \n father's memory. \"He never,\" said Dr Martin, the old doctor who brought","himself while there was yet time. \n \n But Ernest had not prayed to be made \"truly honest and conscientious\" for \n as many years as Christina had. He tried to conceal what he felt and","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","than a year ago. Ernest gave them all they said they wanted and a good \n deal more. They have already presented him with a grandson, and I doubt \n not, will do so with many more. Georgie though only twenty-one is owner","he had to let him have it all his own way, and this was not what he was \n accustomed to. He was wondering how he could bring it to an end, when a \n diversion was created by the discovery that Ernest had begun to","and in the end ruin him. Absolute independence he believed to be his \n only chance of very life itself. \n \n Over and above this--if this were not enough--Ernest had a faith in his","towards religion. He hated people who did not know where to stop. Ernest \n was always so _outre_ and strange; there was never any knowing what he \n would do next, except that it would be something unusual and silly. If","from any word of theirs. But Ernest was not an ideal boy, and he was not \n strong enough for his surroundings; I doubt how far any boy could \n withstand the moral pressure which was brought to bear upon him; at any"],["Ellen did what she was told, and the two parted with many tears, the \n girl's last words being that she should never forget him, and that they \n should meet again hereafter, she was sure they should, and then she would \n repay him. \n","Theobald agreed that no time must be lost in paying Ellen her wages and \n packing her off. So this was done, and less than two hours after Dr \n Martin had entered the house Ellen was sitting beside John the coachman,","We talked the situation over, and decided first to get the children away, \n and then to come to terms with Ellen concerning their future custody; as \n for herself, I proposed that we should make her an allowance of, say, a","Ernest could only see what he gathered from the cook, namely, that his \n favourite, Ellen, was being turned adrift with a matter of three pounds \n in her pocket, to go she knew not where, and to do she knew not what, and","dashed off into the conviction that the only thing to do was to pay Ellen \n her wages, and pack her off on the instant bag and baggage out of the \n house which purity had more especially and particularly singled out for","living. Ellen remained with her till she was fourteen, when she first \n went out to service. Four years later, when she was about eighteen, but \n so well grown that she might have passed for twenty, she had been","gentleman completely, until such time as he could work his way up again. \n If he had been left to himself he would have lived with Ellen in the shop \n back parlour and kitchen, and have let out both the upper floors","\"And I,\" thought Ernest to himself again when the arrangement was \n concluded, \"am the man who thought himself unlucky!\" \n \n I may as well say here all that need be said further about Ellen. For","into a cab, and come with me at once, if you can spare time, to Mr \n Overton's at the Temple.\" \n \n \n \n \n CHAPTER LXXVII \n \n \n I do not think Ernest himself was much more pleased at finding that he","Ernest brought Ellen to me. I did not want to see her, but could not \n well refuse. He had laid out a few of his shillings upon her wardrobe, \n so that she was neatly dressed, and, indeed, she looked very pretty and","Ellen without his knowledge, or for which he had already given her the \n money. This was awful, and even Ernest turned. When he remonstrated \n with her--not for having bought the things, but for having said nothing","day. Ellen went with him the first few times, but she said she found it \n too much for her, there were a few of her old friends whom she should \n sometimes like to see, and they and he, she said, would not hit it off","however, if Alethea chose to go and live at Roughborough, they could not \n well stop her, and must make the best of it. \n \n In a few weeks' time Alethea did choose to go and live at Roughborough. A","to him about the moneys being owing--Ellen met him with hysteria and \n there was a scene. She had now pretty well forgotten the hard times she \n had known when she had been on her own resources and reproached him","devolved upon him, but his business no longer prospered. He could buy as \n hitherto, but Ellen seemed unable to sell as she had sold at first. The \n fact was that she sold as well as ever, but kept back part of the","and died in his arm-chair once for all. \n \n As he was musing thus and looking upon the wreck of his hopes--for he saw \n well enough that as long as he was linked to Ellen he should never rise","friend who began like that and had now moved to a better shop, where she \n made 5 or 6 pounds a week at least--and she, Ellen, had done the greater \n part of the buying and selling herself. \n","through it all again if necessary. The loss of the money was the worst, \n but Ellen said she was sure they would get on, and she knew all about it. \n As for the loss of reputation--considering that he had Ellen and me left,","to over-ride them, but in the greater number of cases, if people are \n saved at all they are saved so as by fire. \n \n While Ernest was with me Ellen was looking out for a shop on the south","its abiding city. When she thought of the fearful contamination which \n Ellen's continued presence even for a week would occasion, she could not \n hesitate. \n \n Then came the question--horrid thought!--as to who was the partner of"],["father. True, Ernest was not thrown in with him much yet, but he was \n always there; there was no knowing at what moment he might not put in an \n appearance, and whenever he did show, it was to storm about something. He","This, however, was not the general verdict concerning him, and the \n general verdict is often the truest. \n \n Ernest was overwhelmed with expressions of condolence and respect for his \n father's memory. \"He never,\" said Dr Martin, the old doctor who brought","His face dropped as he caught sight of Ernest. \"What, you here, \n Pontifex! Well, upon my word!\" \n \n I cannot describe the hurried explanations that passed quickly between \n the three--enough that in less than a minute Ernest, blushing more","has a family, but he and Ernest very rarely have any intercourse. Of \n course, Ernest took nothing under his father's will; this had long been \n understood, so that the other two are both well provided for. \n","here told me. I hope you'll neither of you say you've seen me.\" \n \n We assured him we would keep his counsel, and then he left us, with many \n protestations of affection towards Ernest, to whom he had been always \n much attached. \n","that early age Ernest believed in Ernest with a belief which was amusing \n from its absurdity. His aunt judged him charitably as she was sure to \n do; she knew very well where the priggishness came from, and seeing that","Ernest the description of how his father used to visit Mrs Thompson at \n Battersby, he coloured and said--\"that's just what I used to say to Mr \n Brookes.\" Ernest felt that his visits, so far from comforting Mr","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","know him. He liked looking at him if he got a chance, and was very much \n ashamed of himself for doing so, but there the matter ended. \n \n By a strange accident, however, during Ernest's last year, when the names","generation--that is to say as against Ernest. On this head there was an \n offensive and defensive alliance between them, but between themselves \n there was subdued but internecine warfare. \n \n This at least was what Ernest gathered, partly from his recollections of","Ernest into the world, \"spoke an ill word against anyone. He was not \n only liked, he was beloved by all who had anything to do with him.\" \n \n \"A more perfectly just and righteously dealing man,\" said the family","his father's hand on the door, and in another second Theobald entered. \n \n \"Oh, Ernest,\" said he, in an off-hand, rather cheery manner, \"there's a \n little matter which I should like you to explain to me, as I have no","did, Ernest in his forlorn state was delighted to meet them. \n \n Pryer was about twenty-eight years old. He had been at Eton and at \n Oxford. He was tall, and passed generally for good-looking; I only saw","than a year ago. Ernest gave them all they said they wanted and a good \n deal more. They have already presented him with a grandson, and I doubt \n not, will do so with many more. Georgie though only twenty-one is owner","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n","minutes more he was on the steps in front of his father's house. His \n father, hearing the carriage arrive, came a little way down the steps to \n meet him. Like the coachman he saw at a glance that Ernest was appointed","Ernest would come round; he had been sure of it, but he had hardly \n expected the conversion to be so sudden. Ernest said no more had he, but \n now that he saw his duty so clearly he would get ordained as soon as","up, as a parson. It was the merest passing shade upon Towneley's face, \n but Ernest had felt it. \n \n Towneley said a few words of common form to Ernest about his profession","right, and could look forward to meeting his father without alarm. The \n old gentleman, indeed, had written him a most cordial letter, announcing \n his intention of standing godfather to the boy--nay, I may as well give","I should say that Ernest had written to his father, and told him of the \n unprecedented way in which he was being treated; he even ventured to \n suggest that Theobald should interfere for his protection and reminded"],["make Ernest her heir. I do not think she had given them so much as a \n hint to this effect. Theobald indeed gave Ernest to understand that she \n had done so in a letter which will be given shortly, but if Theobald","to do with her money before they knew of her being at the point of death, \n and as I have said already, if they had thought it likely that Ernest \n would be made heir over their own heads without their having at any rate","endorsed upon it, to her sons when Ernest was sixteen years old. It \n reached him on his mother's death many years later, for it was the baby \n who died now, and not Christina. It was found among papers which she had","was twenty-eight years old, but neither he nor anyone else, except her \n lawyer and myself, was to know anything about it. She would leave 5000 \n pounds in other legacies, and 15,000 pounds to Ernest--which by the time","know how to keep what he will get from me.\" \n \n Supposing he went bankrupt before he was twenty-eight years old, the \n money was to be mine absolutely, but she could trust me, she said, to \n hand it over to Ernest in due time. \n","into a cab, and come with me at once, if you can spare time, to Mr \n Overton's at the Temple.\" \n \n \n \n \n CHAPTER LXXVII \n \n \n I do not think Ernest himself was much more pleased at finding that he","told no one else. I mean that Ernest would come into his aunt's money in \n a few years' time, and would therefore then be rich. \n \n Towneley was doing all he could before this, but I knew that the","No provision was made for either my death or Ernest's--Miss Pontifex had \n settled it that we were neither of us going to die, and was too ill to go \n into details; she was so anxious, moreover, to sign her will while still"," \"To my son Ernest,--Although you have more than once rejected my \n overtures I appeal yet again to your better nature. Your mother, who \n has long been ailing, is, I believe, near her end; she is unable to","did he not hand it over to my brother John and me?\" He stammered a good \n deal and looked sheepish, but he got the words out. \n \n \"Because, my dear father,\" said Ernest still laughing, \"my aunt left it","give her confidence in you; as a matter of fact, however, she has left \n you nothing, and the whole of her property has gone to your godfather, Mr \n Overton. Your mother and I are willing to hope that if she had lived","His mother kicked a little at first against the money's having gone to \n him as she said \"over his papa's head.\" \"Why, my dear,\" she said in a \n deprecating tone, \"this is more than ever your papa has had\"; but Ernest","alarmed about Theobald's pocket, which she supposed would have to be \n mulcted for all this magnificence. Perceiving this, Ernest relieved her \n mind and told her all about his aunt's bequest, and how I had husbanded","Her fortune consisted, as I have said, of 5000 pounds, which had come to \n her by her mother's marriage settlements, and 15,000 pounds left her by \n her father, over both which sums she had now absolute control. These","sum that had been settled upon him and Christina at the time of his \n marriage) had been cut down to 17,500 pounds when Mr Pontifex left \n \"something\" to Ernest. The \"something\" proved to be 2500 pounds, which","it very odd that she should want to go and live at Roughborough, but they \n did not suspect that she was going there solely on her nephew's account, \n much less that she had thought of making Ernest her heir. If they had","as I have said, knew that Ernest would have money soon, but Ernest did \n not of course know that he knew it. Towneley was rich himself, and was \n married now; Ernest would be rich soon, had _bona fide_ intended to be","Ellen without his knowledge, or for which he had already given her the \n money. This was awful, and even Ernest turned. When he remonstrated \n with her--not for having bought the things, but for having said nothing","Presently old Mr Pontifex died, and then came the revelation of the \n little alteration he had made in his will simultaneously with his bequest \n to Ernest. It was rather hard to bear, especially as there was no way of","me (even Ernest saw that it was not from Theobald at all) at any rate \n till after my death, which for aught any of us know may be yet many years \n distant. It is not a large sum, but it is sufficient if supplemented by"],["When Christina was informed by her lover of his father's opposition, and \n of the time which must probably elapse before they could be married, she \n offered--with how much sincerity I know not--to set him free from his","Christina, who helped him to draft the letter, thought to be everything \n that was filial, and expressed himself as anxious to be married with the \n least possible delay. He could not help saying this, as Christina was at","\"Of course, my dear,\" said Christina, and she said \"Gloria\" for ever \n after. Then she thought what a wonderfully clever girl Charlotte was, \n and how she ought to marry no one lower than a bishop. By-and-by when","Christina to me, in the course of the evening, when her husband was for a \n few moments absent. \"Of course one must not complain, but I assure you \n it grieves me to see a man of Theobald's ability thrown away upon such a","she had a grand dinner party for him, and called him \"My lord\" several \n times), he was so much struck with her pretty face and modest demeanour \n when he laid his hands upon her that he asked Christina about her. When","Christina, they said the life led by their sister and brother-in-law was \n an idyll. Happy indeed was Christina in her choice, for that she had had \n a choice was a fiction which soon took root among them--and happy","wish to make them his own, and this may have had something to do with the \n rapidity and completeness with which Christina had dismissed them one \n after another and had wanted a new one. \n \n And now she wanted Towneley. Ernest had seen this coming and had tried","and others. Theobald did not like it, but he did it, or allowed it to be \n done. \n \n Then Christina said: \"My dear, do you know, I really think\" (Christina","Theobald believed her, and in ten minutes more the happy couple alighted \n at the inn at Newmarket. \n \n Bravely did Christina go through her arduous task. Eagerly did she","her duty never to lose sight of. The first step towards it would be her \n marriage with Theobald. In spite, however, of these flights of religious \n romanticism, Christina was a good-tempered kindly-natured girl enough,","excuses. He was master now. Had not Christina less than two hours ago \n promised solemnly to honour and obey him, and was she turning restive \n over such a trifle as this? The loving smile departed from his face, and","the beginning with them--that might do better, but as it was he did not \n like it. He felt as he had felt when he had been required to come and be \n married to Christina--that he had been going on for a long time quite","I need not give Christina's answer, which of course was to accept. Much \n as Theobald feared old Mr Allaby I do not think he would have wrought up \n his courage to the point of actually proposing but for the fact of the","\"Oh, Ernest, Ernest,\" sobbed Christina, \"be wise in time, and trust those \n who have already shown you that they know but too well how to be \n forbearing.\" \n \n No genuine hero of romance should have hesitated for a moment. Nothing","The winner was Christina, the second unmarried daughter, then just twenty- \n seven years old and therefore four years older than Theobald. The \n younger sisters complained that it was throwing a husband away to let","again; once more he became the fellow and tutor of his college, the \n Junior Dean, the betrothed of Christina, the idol of the Allaby \n womankind. From all which it may be gathered that if Christina had been","but revolved unutterable things in his heart. Was this, then, the end of \n his six years of unflagging devotion? Was it for this that when \n Christina had offered to let him off, he had stuck to his engagement? Was","\"We must never leave him to himself,\" said Theobald impressively; \"we can \n neither of us wish that.\" \n \n \"Oh, no! no! dearest Theobald,\" exclaimed Christina. \"Whoever else","Christina were married the sooner they fell into their future mutual \n relations the better. If people who are in a difficulty will only do the \n first little reasonable thing which they can clearly recognise as \n reasonable, they will always find the next step more easy both to see and"," \"Dearest Miss Christina,--I do not know whether you have guessed the \n feelings that I have long entertained for you--feelings which I have \n concealed as much as I could through fear of drawing you into an"],["has a family, but he and Ernest very rarely have any intercourse. Of \n course, Ernest took nothing under his father's will; this had long been \n understood, so that the other two are both well provided for. \n","quarrelled with his father and mother she assumed as a matter of course \n that the fault must lie entirely with Ernest. \n \n \"Oh, your pore, pore ma!\" said Ellen. \"She was always so very fond of","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","father. True, Ernest was not thrown in with him much yet, but he was \n always there; there was no knowing at what moment he might not put in an \n appearance, and whenever he did show, it was to storm about something. He","generation--that is to say as against Ernest. On this head there was an \n offensive and defensive alliance between them, but between themselves \n there was subdued but internecine warfare. \n \n This at least was what Ernest gathered, partly from his recollections of","no idea of entirely breaking with him. He knew his son well enough to \n have a pretty shrewd idea that this was what Ernest would wish himself, \n and perhaps as much for this reason as for any other he was determined to","never alluded to them in his father's presence. The pair, as I have \n said, got on excellently, but it was doubtless as well that Ernest's \n visits were short and not too frequent. Once Theobald wanted Ernest to","Ernest, Ernest, do not grieve one who is so good and noble-hearted by \n conduct which I can call by no other name than ingratitude.\" \n \n Ernest could never stand being spoken to in this way by his mother: for","Ernest had also inherited his mother's love of building castles in the \n air, and--so I suppose it must be called--her vanity. He was very fond \n of showing off, and, provided he could attract attention, cared little","Then came the odious task of getting rid of their unhappy mother. \n Ernest's heart smote him at the notion of the shock the break-up would be \n to her. He was always thinking that people had a claim upon him for some"," mother, C. P.\" \n \n This letter did not produce the effect on Ernest that it would have done \n before his imprisonment began. His father and mother thought they could \n take him up as they had left him off. They forgot the rapidity with","Ernest felt that this last home-thrust was just. In his less anxious \n moments he had thought his papa and mamma \"green\" for the readiness with \n which they believed him, but he could not deny that their credulity was a","his own estimation, and he was beginning almost to think that his mother \n was a better judge of character than he was; but I think it may be \n assumed with some certainty that if Ernest had brought her a real young","\"Now look here, Ernest,\" said his father with his blackest scowl, \"I am \n going to put a stop to this nonsense once for all. Either take me fully \n into your confidence, as a son should take a father, and trust me to deal","which development follows misfortune, if the sufferer is young and of a \n sound temperament. Ernest made no reply to his father's letter, but his \n desire for a total break developed into something like a passion. \"There","bring his children, but Ernest knew they would not like it, so this was \n not done. \n \n Sometimes Theobald came up to town on small business matters and paid a \n visit to Ernest's chambers; he generally brought with him a couple of","from any word of theirs. But Ernest was not an ideal boy, and he was not \n strong enough for his surroundings; I doubt how far any boy could \n withstand the moral pressure which was brought to bear upon him; at any","that early age Ernest believed in Ernest with a belief which was amusing \n from its absurdity. His aunt judged him charitably as she was sure to \n do; she knew very well where the priggishness came from, and seeing that","This, however, was not the general verdict concerning him, and the \n general verdict is often the truest. \n \n Ernest was overwhelmed with expressions of condolence and respect for his \n father's memory. \"He never,\" said Dr Martin, the old doctor who brought","of flight came, he was quick in making it; the time, however, was not yet \n come, and the intimacy between the two was apparently all that it had \n ever been. It was only that horrid money business (so said Ernest to"],["Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","was at an end. \n \n \n \n \n CHAPTER LXVII \n \n \n As soon as Ernest found that he had no money to look to upon leaving \n prison he saw that his dreams about emigrating and farming must come to","After Ernest had been sentenced, he was taken back to the cells to wait \n for the van which should take him to Coldbath Fields, where he was to \n serve his term. \n \n He was still too stunned and dazed by the suddenness with which events","gaol asking whether he could be admitted inside the gaol to receive \n Ernest when his sentence had expired. He received answer in the \n affirmative, and the pair left Battersby the day before Ernest was to \n come out of prison. \n","\"Very well, Ernest,\" said his father, catching him angrily by the \n shoulder. \"I have done my best to save you, but if you will have it so, \n you will,\" and he lugged the little wretch, crying by anticipation, out","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","chasteneth, Susan,' and here she began to cry again. 'As for him,' she \n went on, 'he has made his bed, and he must lie on it; when he comes out \n of prison his pa will know what is best to be done, and Master Ernest may","Ernest had not reckoned on this, and was rather surprised on being told a \n few minutes before nine that he was to go into the receiving room before \n he left the prison as there were visitors waiting to see him. His heart","in the present case. It was not Ernest's having been imprisoned. \n Theobald forgot all about that much sooner than nine fathers out of ten \n would have done. Partly, no doubt, it was due to incompatibility of","But to return to my story. When Ernest got to the top of the street and \n looked back, he saw the grimy, sullen walls of his prison filling up the \n end of it. He paused for a minute or two. \"There,\" he said to himself,","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at","Ernest was now so far convalescent as to be able to sit up for the \n greater part of the day. He had been three months in prison, and, though \n not strong enough to leave the infirmary, was beyond all fear of a"," mother, C. P.\" \n \n This letter did not produce the effect on Ernest that it would have done \n before his imprisonment began. His father and mother thought they could \n take him up as they had left him off. They forgot the rapidity with","Ernest got off with the head boys easier than he expected. It was \n admitted that the offence, heinous though it was, had been committed \n under extenuating circumstances; the frankness with which the culprit had","himself while there was yet time. \n \n But Ernest had not prayed to be made \"truly honest and conscientious\" for \n as many years as Christina had. He tried to conceal what he felt and","very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \n break to him some bad news about his speculations. \n \n \n \n \n CHAPTER LX \n \n \n Ernest now went home and occupied himself till luncheon with studying","quietly, but slowly and decidedly, \"No, no, no,\" and escaped. \n \n It was all over with Ernest from that moment. As usual he did not know \n it, but he had entered none the less upon another reaction. Towneley had","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n","He came to me--not for money, but to tell me his miserable story. I had \n seen for some time that there was something wrong, and had suspected \n pretty shrewdly what the matter was, but of course I said nothing. Ernest","no idea of entirely breaking with him. He knew his son well enough to \n have a pretty shrewd idea that this was what Ernest would wish himself, \n and perhaps as much for this reason as for any other he was determined to"],["In less than a fortnight from the time of his leaving prison all these \n arrangements had been completed, and Ernest felt that he had again linked \n himself on to the life which he had led before his imprisonment--with a \n few important differences, however, which were greatly to his advantage.","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","was at an end. \n \n \n \n \n CHAPTER LXVII \n \n \n As soon as Ernest found that he had no money to look to upon leaving \n prison he saw that his dreams about emigrating and farming must come to","\"Well, I have,\" said Ernest, with a forced laugh, \"I came out three or \n four days ago after six months with hard labour.\" \n \n Ellen did not believe him, but she looked at him with a \"Lor'! Master","But to return, the conclusion Ernest came to was that he would be a \n tailor. He talked the matter over with the chaplain, who told him there \n was no reason why he should not be able to earn his six or seven","Ernest was now so far convalescent as to be able to sit up for the \n greater part of the day. He had been three months in prison, and, though \n not strong enough to leave the infirmary, was beyond all fear of a","But to return to my story. When Ernest got to the top of the street and \n looked back, he saw the grimy, sullen walls of his prison filling up the \n end of it. He paused for a minute or two. \"There,\" he said to himself,","good or not, but I am sure Ernest's instinct was right in telling him \n that after a heavy fall he had better begin life again at a very low \n stage, and as I have just said, I would have let him go back to his shop","chasteneth, Susan,' and here she began to cry again. 'As for him,' she \n went on, 'he has made his bed, and he must lie on it; when he comes out \n of prison his pa will know what is best to be done, and Master Ernest may","respects Ernest should have proved his steadfastness. Then they might \n steal out again little by little--and so they did. \n \n Ernest now wrote home a letter couched in a vein different from his","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at"," mother, C. P.\" \n \n This letter did not produce the effect on Ernest that it would have done \n before his imprisonment began. His father and mother thought they could \n take him up as they had left him off. They forgot the rapidity with","Ernest would come round; he had been sure of it, but he had hardly \n expected the conversion to be so sudden. Ernest said no more had he, but \n now that he saw his duty so clearly he would get ordained as soon as","in the present case. It was not Ernest's having been imprisoned. \n Theobald forgot all about that much sooner than nine fathers out of ten \n would have done. Partly, no doubt, it was due to incompatibility of","Then Ernest got into a field by the roadside, flung himself on the grass, \n and waited under the shadow of a hedge till the carriage should pass on \n its return from the station and pick him up, for he was dead beat.","gaol asking whether he could be admitted inside the gaol to receive \n Ernest when his sentence had expired. He received answer in the \n affirmative, and the pair left Battersby the day before Ernest was to \n come out of prison. \n","music, books, learning his trade, and conversation with the chaplain, who \n was just the kindly, sensible person that Ernest wanted in order to \n steady him a little, the days went by so pleasantly that when the time","very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \n break to him some bad news about his speculations. \n \n \n \n \n CHAPTER LX \n \n \n Ernest now went home and occupied himself till luncheon with studying","The winter had been a trying one. Ernest had only paid his way by \n selling his piano. With this he seemed to cut away the last link that \n connected him with his earlier life, and to sink once for all into the","men.\" What culture is comparable to this? What a lie, what a sickly \n debilitating debauch did not Ernest's school and university career now \n seem to him, in comparison with his life in prison and as a tailor in"],["perhaps may be interested. You see we must infuse new life into the \n Church somehow; we are not holding our own against either Rome or \n infidelity.\" (I may say in passing that I do not believe Ernest had as","Ernest felt the force of this, and Pryer saw that he wavered. \n \n \"We are living,\" he continued more genially, \"in an age of transition, \n and in a country which, though it has gained much by the Reformation,","Ernest would come round; he had been sure of it, but he had hardly \n expected the conversion to be so sudden. Ernest said no more had he, but \n now that he saw his duty so clearly he would get ordained as soon as","In his eagerness to regenerate the Church of England (and through this \n the universe) by the means which Pryer had suggested to him, it occurred \n to him to try to familiarise himself with the habits and thoughts of the","\"And now, my dear,\" resumed Christina, after having disposed of all the \n difficulties that might stand in the way of Ernest's becoming a \n clergyman, \"there is another matter on which I should like to have a talk","many practices he now tolerated which in his youth he would have \n considered Popish; he knew very well therefore which way things were \n going in Church matters, and saw that as usual Ernest was setting himself \n the other way. The opportunity for telling his son that he was a fool","the Church--how far more wisely God arranges matters for us than ever we \n can do for ourselves! She saw it all now--it was Joey who would become \n Archbishop of Canterbury and Ernest would remain a layman and become","Nothing indeed; but giving occasional half-crowns to Mrs Gover was not \n regenerating the universe, and Ernest wanted nothing short of this. The \n world was all out of joint, and instead of feeling it to be a cursed","Ernest expressed his readiness to be questioned. \n \n \"Then,\" said the tinker, \"give me the story of the Resurrection of Jesus \n Christ as told in St John's gospel.\" \n","and in the end ruin him. Absolute independence he believed to be his \n only chance of very life itself. \n \n Over and above this--if this were not enough--Ernest had a faith in his","over Ernest, as Ernest had often noticed them wander before: the words \n were about Church discipline, but somehow or other the discipline part of \n the story had a knack of dropping out after having been again and again","called Theobald \"papa\" when talking to Ernest) \"is so anxious you should \n not go into the Church blindly, and without fully realising the \n difficulties of a clergyman's position. He has considered all of them","Ernest asked in what respects it was that his friend desired a return to \n the practice of our forefathers. \n \n \"Why, my dear fellow, can you really be ignorant? It is just this, \n either the priest is indeed a spiritual guide, as being able to show","say nothing at all about it, and I never will.\" Of course no further \n questioning was possible. It had more than once occurred to Ernest that \n Charlotte did not in reality believe more than he did himself, and this","Ernest had become acquainted with him, when the two were taking a \n constitutional one day in Kensington Gardens, \"You know, my dear \n Pontifex, it is all very well to quarrel with Rome, but Rome has reduced","Christians, the second, with few exceptions, she regarded with suspicion, \n not wholly unmingled with contempt. \n \n Then Ernest told her what had happened to him during the last six months, \n and by-and-by she believed him. \n","Before, however, I had come to this conclusion, I had thought that Ernest \n might be able to help me to the right thing, and had written to him upon \n the subject. The following is the answer I received-- \n","Ernest, quite prepared to be told that Pryer believed nothing of the \n kind. \n \n \"I do not believe it, I know it.\" \n \n \"But how--if the testimony of the Bible fails?\" \n","have ever had from him; my hope henceforth must be in my remaining \n children.\" \n \n I told him how Ernest's fellow curate had got hold of his money, and \n hinted that he might very likely be penniless, or nearly so, on leaving","I?\" Ernest said, \"I suppose not,\" and was checked. By-and-by he vented \n a number of small second-hand priggishnesses which he had caught up \n believing them to be the correct thing, and made it plain that even at"],["\"And I,\" thought Ernest to himself again when the arrangement was \n concluded, \"am the man who thought himself unlucky!\" \n \n I may as well say here all that need be said further about Ellen. For","The great change in Ellen's life consequent upon her meeting Ernest and \n getting married had for a time actually sobered her by shaking her out of \n her old ways. Drunkenness is so much a matter of habit, and habit so","Ernest had by this time been married some two months, for he had stuck to \n his original plan of marrying Ellen on the first day he could legally do \n so. This date was a little delayed by the change of abode from Laystall","Ernest brought Ellen to me. I did not want to see her, but could not \n well refuse. He had laid out a few of his shillings upon her wardrobe, \n so that she was neatly dressed, and, indeed, she looked very pretty and","Ellen without his knowledge, or for which he had already given her the \n money. This was awful, and even Ernest turned. When he remonstrated \n with her--not for having bought the things, but for having said nothing","Ernest,\" and dried her eyes at once. The ice was broken between them, \n for as a matter of fact Ellen had been in prison several times, and \n though she did not believe Ernest, his merely saying he had been in","Ernest could only see what he gathered from the cook, namely, that his \n favourite, Ellen, was being turned adrift with a matter of three pounds \n in her pocket, to go she knew not where, and to do she knew not what, and","she replied that Ellen was one of her own servants, the bishop seemed, so \n she thought or chose to think, quite pleased that so pretty a girl should \n have found so exceptionally good a situation. \n \n Ernest used to get up early during the holidays so that he might play the","I think the devil must have chuckled and made tolerably sure of his game \n this time. \n \n \n \n \n CHAPTER LXXII \n \n \n Ernest told Ellen of his difficulty about finding employment. \n","if Ellen had been only what he thought her, and if his prospects had been \n in reality no better than he believed they were, I do not know that there \n is anything much more imprudent in what Ernest proposed than there is in \n half the marriages that take place every day.","whom Ernest could have spoken most freely at this juncture. He told her \n what he thought he could have told to no one else. \n \n \"You know, Ellen,\" he concluded, \"I had learnt as a boy things that I","which Ellen would suffer on becoming an outcast again. Ernest saw Mrs \n Richards, the neighbour who had called him down on the night when he had \n first discovered his wife's drunkenness, and got from her some details of","quarrelled with his father and mother she assumed as a matter of course \n that the fault must lie entirely with Ernest. \n \n \"Oh, your pore, pore ma!\" said Ellen. \"She was always so very fond of","Ellen's guilt? Was it, could it be, her own son, her darling Ernest? \n Ernest was getting a big boy now. She could excuse any young woman for \n taking a fancy to him; as for himself, why she was sure he was behind no","afraid I showed this, for he again avoided me for some time, and, indeed, \n for many months I hardly saw him at all. \n \n Ellen remained very ill for some days, and then gradually recovered. \n Ernest hardly left her till she was out of danger. When she had","allowance myself--of course intending that it should come out of Ernest's \n money; but he would not hear of this. He had married Ellen, he said, and \n he must try to reform her. He hated it, but he must try; and finding him","living. Ellen remained with her till she was fourteen, when she first \n went out to service. Four years later, when she was about eighteen, but \n so well grown that she might have passed for twenty, she had been","but his shyness had worn off with Ellen, and the pair had become fast \n friends. \n \n Perhaps it was well that Ernest was not at home for very long together, \n but as yet his affection though hearty was quite Platonic. He was not","to over-ride them, but in the greater number of cases, if people are \n saved at all they are saved so as by fire. \n \n While Ernest was with me Ellen was looking out for a shop on the south","\"But what do you think of going into a shop for, my dear,\" said Ellen. \n \"Why not take a little shop yourself?\" \n \n Ernest asked how much this would cost. Ellen told him that he might take"],["some other similar small token of recognition, but no letter. Of the \n children she has taken no notice. \n \n \n \n \n CHAPTER LXXVIII \n \n \n Ernest was now well turned twenty-six years old, and in little more than","endorsed upon it, to her sons when Ernest was sixteen years old. It \n reached him on his mother's death many years later, for it was the baby \n who died now, and not Christina. It was found among papers which she had","than a year ago. Ernest gave them all they said they wanted and a good \n deal more. They have already presented him with a grandson, and I doubt \n not, will do so with many more. Georgie though only twenty-one is owner","did, Ernest in his forlorn state was delighted to meet them. \n \n Pryer was about twenty-eight years old. He had been at Eton and at \n Oxford. He was tall, and passed generally for good-looking; I only saw","that early age Ernest believed in Ernest with a belief which was amusing \n from its absurdity. His aunt judged him charitably as she was sure to \n do; she knew very well where the priggishness came from, and seeing that","Ernest would like best and Theobald least. \n \n A few days, however, after Ernest had come into his property, I received \n a letter from Theobald enclosing one for Ernest which I could not \n withhold. \n \n The letter ran thus:--","assuming, however, that if anything did happen to her while they were \n still alive, the money would, as a matter of course, come to them. \n \n The prospect of Alethea seeing much of Ernest was a serious matter.","better suited to her than either John or Ernest. On his birthday Ernest \n generally receives an envelope with an American post-mark containing a \n book-marker with a flaunting text upon it, or a moral kettle-holder, or","about Alethea's wishing to keep it, and Ernest would not have a house of \n his own for ever so many years, and they could never have it at the \n Rectory. Oh, no! Battersby Church was the only proper place for it. \n","Charlotte, but to see so much of Ernest as should enable her to form an \n opinion about his disposition and abilities. \n \n He had now been a year and a half at Roughborough and was nearly fourteen","had got him off the school premises; and Ernest felt at once that she \n contrasted favourably even with his aunts the Misses Allaby, who were so \n very sweet and good. The Misses Allaby were very poor; sixpence was to","least risk and greatest satisfaction to himself. This organ, it may be \n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \n to unburden himself, not personally, but by letter. \n","little trace upon her. \n \n Ernest saw only the fresh-looking smiling face, the dimpled cheek, the \n clear blue eyes and lovely sphinx-like lips which he had remembered as a \n boy. At nineteen she had looked older than she was, now she looked much","\"It had occurred to your mother and myself that we should like to set you \n up with a watch again before you went back to school\" (\"Oh, that's all,\" \n said Ernest to himself quite relieved), \"and I have been to-day to look","Nothing was to be said to Ernest, but it was to be bought, and laid upon \n his plate as a surprise just before the holidays were over. Theobald \n would have to go to the county town in a few days, and could then find","he was,--but so are a great many other young people of Ernest's age. \n \n \n \n \n CHAPTER XXXVII \n \n \n If Theobald and Christina had not been too well pleased when Miss","his own estimation, and he was beginning almost to think that his mother \n was a better judge of character than he was; but I think it may be \n assumed with some certainty that if Ernest had brought her a real young","rector had bought in Germany--the work, it was supposed, of Albert Durer. \n He questioned Ernest, and finding that he was fond of music, he said in \n his old trembling voice (for he was over eighty), \"Then you should have","written to Ernest to say she was coming and he was of course on the look- \n out for her. He had not seen her for so long that he was rather shy at \n first, but her good nature soon set him at his ease. She was so strongly","was twenty-eight years old, but neither he nor anyone else, except her \n lawyer and myself, was to know anything about it. She would leave 5000 \n pounds in other legacies, and 15,000 pounds to Ernest--which by the time"]],"string":"[\n [\n \"The foregoing had been instilled into my hero from earliest boyhood, much \\n as it had been instilled into Theobald himself, and with the same \\n result--the conviction, namely, that he was certainly to be a clergyman,\",\n \"purpose to torment her. I suppose it is so with all of us. At any rate \\n I am sure that most fathers, especially if they are clergymen, are like \\n Theobald. \\n\",\n \"Any step of Theobald's was sure to be objectionable in his father's eyes, \\n but that at three-and-twenty he should want to marry a penniless girl who \\n was four years older than himself, afforded a golden opportunity which\",\n \"Professor Cowey had published works through Theobald's father, and \\n Theobald had on this account been taken in tow by Mrs Cowey from the \\n beginning of his University career. She had had her eye upon him for\",\n \"feared and disliked his father (though he still knew not how much this \\n was), he had caught much from him; if Theobald had been kinder Ernest \\n would have modelled himself upon him entirely, and ere long would\",\n \"called Theobald \\\"papa\\\" when talking to Ernest) \\\"is so anxious you should \\n not go into the Church blindly, and without fully realising the \\n difficulties of a clergyman's position. He has considered all of them\",\n \"studies than had been given hitherto. \\n \\n Theobald had the sense to see that he had a chance of independence if he \\n worked hard, and he liked the notion of becoming a fellow. He therefore\",\n \"himself. Theobald said he was \\\"willing to hope\\\"--this was one of his \\n tags--that his son would turn over a new leaf now that he had left \\n school, and for his own part he was \\\"only too ready\\\"--this was another\",\n \"Theobald did not show his father's letter to Christina, nor, indeed, I \\n believe to anyone. He was by nature secretive, and had been repressed \\n too much and too early to be capable of railing or blowing off steam\",\n \"Once, recently, when he was down at home after taking his degree, his \\n mother had had a short conversation with him about his becoming a \\n clergyman, set on thereto by Theobald, who shrank from the subject\",\n \"was too favourable not to be embraced, and Theobald was not slow to \\n embrace it. Ernest was annoyed and surprised, for had not his father and \\n mother been wanting him to be more religious all his life? Now that he\",\n \"have been taken _au serieux_ by a stronger boy, but Theobald was not a \\n strong boy, and rightly or wrongly, gave his father credit for being \\n quite ready to carry his threats into execution. Opposition had never\",\n \"Then his mother would burst into tears and implore him to repent and seek \\n the things belonging to his peace while there was yet time, by falling on \\n his knees to Theobald and assuring him of his unfailing love for him as\",\n \"Theobald stepped forward. \\\"Ernest, you must not, shall not, leave us in \\n this way.\\\" \\n \\n \\\"Do not speak to me,\\\" said Ernest, his eyes flashing with a fire that was\",\n \"it is your father. But surely he would hardly come at this time of day! \\n Go at once into my bedroom.\\\" \\n \\n I went to the door, and, sure enough, there were both Theobald and\",\n \"I should say that Ernest had written to his father, and told him of the \\n unprecedented way in which he was being treated; he even ventured to \\n suggest that Theobald should interfere for his protection and reminded\",\n \"Theobald said nothing, but turned almost of an ashen colour; he never \\n again spoke to his son in such a way as to make it necessary for him to \\n repeat what he had said on this occasion. Ernest quickly recovered his\",\n \"and prayed to be let off. If Theobald would only order dinner this once, \\n she would order it any day and every day in future. \\n \\n But the inexorable Theobald was not to be put off with such absurd\",\n \"so foreign to his experience) that he was independent of his father till \\n a long time afterwards; nor did Theobald make any difference in his \\n manner towards him. So strong was the hold which habit and association\",\n \"the father doubtless argued that he had never told Theobald he was to \\n have anything at all; he had a full right to do what he liked with his \\n own money; if Theobald chose to indulge in unwarrantable expectations\"\n ],\n [\n \"generation--that is to say as against Ernest. On this head there was an \\n offensive and defensive alliance between them, but between themselves \\n there was subdued but internecine warfare. \\n \\n This at least was what Ernest gathered, partly from his recollections of\",\n \"Master Ernest, you really must go and make it all up with her; indeed you \\n must.\\\" \\n \\n Ernest felt rueful, but he had resisted so valiantly already that the \\n devil might have saved himself the trouble of trying to get at him\",\n \"about them which made Ernest wince; but he was quite subdued, and so the \\n conversation ended. It left Ernest, however, not for the first time, \\n consciously dissatisfied with Pryer, and inclined to set his friend's\",\n \"towards religion. He hated people who did not know where to stop. Ernest \\n was always so _outre_ and strange; there was never any knowing what he \\n would do next, except that it would be something unusual and silly. If\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"father. True, Ernest was not thrown in with him much yet, but he was \\n always there; there was no knowing at what moment he might not put in an \\n appearance, and whenever he did show, it was to storm about something. He\",\n \"quarrelled with his father and mother she assumed as a matter of course \\n that the fault must lie entirely with Ernest. \\n \\n \\\"Oh, your pore, pore ma!\\\" said Ellen. \\\"She was always so very fond of\",\n \"had not dared to stick to them and had turned them off, but she had made \\n them hers at any rate for one brief moment, and this was better than \\n nothing. Ernest noticed throughout his mother's illness, that Charlotte \\n found immediate occasion to make herself disagreeable to him whenever\",\n \"of flight came, he was quick in making it; the time, however, was not yet \\n come, and the intimacy between the two was apparently all that it had \\n ever been. It was only that horrid money business (so said Ernest to\",\n \"As a matter of fact, however, it was not so. Ernest's faith in Pryer had \\n been too great to be shaken down all in a moment, but it had been \\n weakened lately more than once. Ernest had fought hard against allowing\",\n \"me a look as though he thought me an old bore and did not care two straws \\n whether I was shocked or not. Naturally enough, after this I did not \\n like him. \\n \\n This, however, is anticipating, for it was not till Ernest had been three\",\n \"Ernest, Ernest, do not grieve one who is so good and noble-hearted by \\n conduct which I can call by no other name than ingratitude.\\\" \\n \\n Ernest could never stand being spoken to in this way by his mother: for\",\n \"quietly, but slowly and decidedly, \\\"No, no, no,\\\" and escaped. \\n \\n It was all over with Ernest from that moment. As usual he did not know \\n it, but he had entered none the less upon another reaction. Towneley had\",\n \"himself and his family once for all Ernest had reckoned without his \\n family. Theobald wanted to be rid of his son, it is true, in so far as \\n he wished him to be no nearer at any rate than the Antipodes; but he had\",\n \"Ernest into the world, \\\"spoke an ill word against anyone. He was not \\n only liked, he was beloved by all who had anything to do with him.\\\" \\n \\n \\\"A more perfectly just and righteously dealing man,\\\" said the family\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \"regular old brick, and that it is Ernest who is in fault all through.\\\" \\n \\n So he would behave very nicely to the boy at first, and the boy would be \\n delighted with him, and side with him against Ernest. Of course if\",\n \"Ernest would like best and Theobald least. \\n \\n A few days, however, after Ernest had come into his property, I received \\n a letter from Theobald enclosing one for Ernest which I could not \\n withhold. \\n \\n The letter ran thus:--\",\n \"Ernest had also inherited his mother's love of building castles in the \\n air, and--so I suppose it must be called--her vanity. He was very fond \\n of showing off, and, provided he could attract attention, cared little\",\n \"Ernest had known more, would have reminded him of Robespierre. As it \\n was, he saw it and unconsciously recognised the unrest and \\n self-seekingness of the man, but could not yet formulate them; he\"\n ],\n [\n \"was twenty-eight years old, but neither he nor anyone else, except her \\n lawyer and myself, was to know anything about it. She would leave 5000 \\n pounds in other legacies, and 15,000 pounds to Ernest--which by the time\",\n \"assuming, however, that if anything did happen to her while they were \\n still alive, the money would, as a matter of course, come to them. \\n \\n The prospect of Alethea seeing much of Ernest was a serious matter.\",\n \"know how to keep what he will get from me.\\\" \\n \\n Supposing he went bankrupt before he was twenty-eight years old, the \\n money was to be mine absolutely, but she could trust me, she said, to \\n hand it over to Ernest in due time. \\n\",\n \"endorsed upon it, to her sons when Ernest was sixteen years old. It \\n reached him on his mother's death many years later, for it was the baby \\n who died now, and not Christina. It was found among papers which she had\",\n \"make Ernest her heir. I do not think she had given them so much as a \\n hint to this effect. Theobald indeed gave Ernest to understand that she \\n had done so in a letter which will be given shortly, but if Theobald\",\n \"sum that had been settled upon him and Christina at the time of his \\n marriage) had been cut down to 17,500 pounds when Mr Pontifex left \\n \\\"something\\\" to Ernest. The \\\"something\\\" proved to be 2500 pounds, which\",\n \"\\\"You ought to know,\\\" he wrote, \\\"that your Aunt Alethea had given your \\n mother and me to understand that it was her wish to make you her heir--in \\n the event, of course, of your conducting yourself in such a manner as to\",\n \"told no one else. I mean that Ernest would come into his aunt's money in \\n a few years' time, and would therefore then be rich. \\n \\n Towneley was doing all he could before this, but I knew that the\",\n \"Presently old Mr Pontifex died, and then came the revelation of the \\n little alteration he had made in his will simultaneously with his bequest \\n to Ernest. It was rather hard to bear, especially as there was no way of\",\n \"some other similar small token of recognition, but no letter. Of the \\n children she has taken no notice. \\n \\n \\n \\n \\n CHAPTER LXXVIII \\n \\n \\n Ernest was now well turned twenty-six years old, and in little more than\",\n \"to do with her money before they knew of her being at the point of death, \\n and as I have said already, if they had thought it likely that Ernest \\n would be made heir over their own heads without their having at any rate\",\n \"than a year ago. Ernest gave them all they said they wanted and a good \\n deal more. They have already presented him with a grandson, and I doubt \\n not, will do so with many more. Georgie though only twenty-one is owner\",\n \"Ernest would like best and Theobald least. \\n \\n A few days, however, after Ernest had come into his property, I received \\n a letter from Theobald enclosing one for Ernest which I could not \\n withhold. \\n \\n The letter ran thus:--\",\n \"has a family, but he and Ernest very rarely have any intercourse. Of \\n course, Ernest took nothing under his father's will; this had long been \\n understood, so that the other two are both well provided for. \\n\",\n \"did, Ernest in his forlorn state was delighted to meet them. \\n \\n Pryer was about twenty-eight years old. He had been at Eton and at \\n Oxford. He was tall, and passed generally for good-looking; I only saw\",\n \"had got him off the school premises; and Ernest felt at once that she \\n contrasted favourably even with his aunts the Misses Allaby, who were so \\n very sweet and good. The Misses Allaby were very poor; sixpence was to\",\n \"Alethea was born, and her husband did not marry again. \\n \\n \\n \\n \\n CHAPTER III \\n \\n \\n In the early years of the century five little children and a couple of\",\n \"that early age Ernest believed in Ernest with a belief which was amusing \\n from its absurdity. His aunt judged him charitably as she was sure to \\n do; she knew very well where the priggishness came from, and seeing that\",\n \"was aware of it, but I did not mind her talking about whom she should \\n make her heir, so long as it was well understood that I was not to be the \\n person. \\n \\n Ernest had satisfied her as having enough in him to tempt her strongly to\",\n \"had come to about 10,000 pounds more, so that Ernest was then worth over \\n 70,000 pounds. At present he is worth nearly double that sum, and all as \\n the result of leaving well alone. \\n\"\n ],\n [\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \" mother, C. P.\\\" \\n \\n This letter did not produce the effect on Ernest that it would have done \\n before his imprisonment began. His father and mother thought they could \\n take him up as they had left him off. They forgot the rapidity with\",\n \"Ernest had known more, would have reminded him of Robespierre. As it \\n was, he saw it and unconsciously recognised the unrest and \\n self-seekingness of the man, but could not yet formulate them; he\",\n \"Ernest was now so far convalescent as to be able to sit up for the \\n greater part of the day. He had been three months in prison, and, though \\n not strong enough to leave the infirmary, was beyond all fear of a\",\n \"After Ernest had been sentenced, he was taken back to the cells to wait \\n for the van which should take him to Coldbath Fields, where he was to \\n serve his term. \\n \\n He was still too stunned and dazed by the suddenness with which events\",\n \"Archbishop whose perceptions had never been quickened by imprisonment for \\n assault--would not be able to withstand. When brought face to face with \\n the facts, as he, Ernest, could arrange them; his Grace would have no\",\n \"in the present case. It was not Ernest's having been imprisoned. \\n Theobald forgot all about that much sooner than nine fathers out of ten \\n would have done. Partly, no doubt, it was due to incompatibility of\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"In less than a fortnight from the time of his leaving prison all these \\n arrangements had been completed, and Ernest felt that he had again linked \\n himself on to the life which he had led before his imprisonment--with a \\n few important differences, however, which were greatly to his advantage.\",\n \"gaol asking whether he could be admitted inside the gaol to receive \\n Ernest when his sentence had expired. He received answer in the \\n affirmative, and the pair left Battersby the day before Ernest was to \\n come out of prison. \\n\",\n \"regards the treatment he might think best for any of his pupils. Ernest \\n said no more; he still felt that it was so discreditable to him to have \\n allowed any confession to be wrung from him, that he could not press the \\n promised amnesty for himself.\",\n \"trust everything that was told him by those in authority, and following \\n everything out to the bitter end, no matter how preposterous, returned \\n with redoubled strength. I suppose this was what might have been \\n expected from anyone placed as Ernest now was, especially when his\",\n \"were instantly applied, and Ernest, demoralised as he already was, \\n recanted and submitted himself to the powers that were. He told only a \\n little less than he knew or thought he knew. He was examined,\",\n \"book there was an editorial note to the effect that the writer was to be \\n condemned. Ernest particularly admired the book he was desired to \\n condemn, and feeling how hopeless it was for him to do anything like\",\n \"generation--that is to say as against Ernest. On this head there was an \\n offensive and defensive alliance between them, but between themselves \\n there was subdued but internecine warfare. \\n \\n This at least was what Ernest gathered, partly from his recollections of\",\n \"was at an end. \\n \\n \\n \\n \\n CHAPTER LXVII \\n \\n \\n As soon as Ernest found that he had no money to look to upon leaving \\n prison he saw that his dreams about emigrating and farming must come to\",\n \"co-ordinated at all. At the outset, therefore, each one of us must ruin \\n many souls which could be saved by knowledge of a few elementary \\n principles.\\\" \\n \\n Ernest was very much impressed. \\n\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\"\n ],\n [\n \"As a matter of fact, however, it was not so. Ernest's faith in Pryer had \\n been too great to be shaken down all in a moment, but it had been \\n weakened lately more than once. Ernest had fought hard against allowing\",\n \"and be as nice as possible. And he was nice, and Ernest knew that such \\n men as himself and Pryer were not nice, and his old dejection came over \\n him. \\n \\n Then came an even worse reflection; how if he had fallen among material\",\n \"say nothing at all about it, and I never will.\\\" Of course no further \\n questioning was possible. It had more than once occurred to Ernest that \\n Charlotte did not in reality believe more than he did himself, and this\",\n \"He came to me--not for money, but to tell me his miserable story. I had \\n seen for some time that there was something wrong, and had suspected \\n pretty shrewdly what the matter was, but of course I said nothing. Ernest\",\n \"have ever had from him; my hope henceforth must be in my remaining \\n children.\\\" \\n \\n I told him how Ernest's fellow curate had got hold of his money, and \\n hinted that he might very likely be penniless, or nearly so, on leaving\",\n \"and in the end ruin him. Absolute independence he believed to be his \\n only chance of very life itself. \\n \\n Over and above this--if this were not enough--Ernest had a faith in his\",\n \"till I saw him by his own desire a few days after the chaplin had broken \\n to him the substance of what I had written. \\n \\n Ernest was terribly shocked when he heard of the loss of his money, but \\n his ignorance of the world prevented him from seeing the full extent of\",\n \"years Ernest would have many times over as much money as he had lost, but \\n I knew also that he did not know this, and feared that the supposed loss \\n of all he had in the world might be more than he could stand when coupled \\n with his other misfortunes. \\n\",\n \"Monstrous, odious falsehood! Ernest's feeble pulse quickened and his \\n pale face flushed as this hateful view of life presented itself to him in \\n all its logical consistency. It was not the fact of most men being liars\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \"as being what he thought would be most likely to interest him, and \\n Ernest, still confused and shy, gave him for lack of something better to \\n say his little threepenny-bit about poor people being so very nice.\",\n \"and an admirable man of business, so his money would doubtless come back \\n to him all right some day. \\n \\n Ernest comforted himself as regards this last source of anxiety, but as \\n regards the other, he began to feel as though, if he was to be saved, a\",\n \"about them which made Ernest wince; but he was quite subdued, and so the \\n conversation ended. It left Ernest, however, not for the first time, \\n consciously dissatisfied with Pryer, and inclined to set his friend's\",\n \"shaking game and came practically to this, that Ernest was no good, and \\n that if he went on as he was going on now, he would probably have to go \\n about the streets begging without any shoes or stockings soon after he\",\n \"The winter had been a trying one. Ernest had only paid his way by \\n selling his piano. With this he seemed to cut away the last link that \\n connected him with his earlier life, and to sink once for all into the\",\n \"himself while there was yet time. \\n \\n But Ernest had not prayed to be made \\\"truly honest and conscientious\\\" for \\n as many years as Christina had. He tried to conceal what he felt and\",\n \"nothing that you repent of, nothing which makes you unhappy in connection \\n with that miserable girl Ellen?\\\" \\n \\n Ernest's heart failed him. \\\"I am a dead boy now,\\\" he said to himself. He\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\",\n \"of Spiritual Pathology altogether; and so Ernest was cowed into \\n acquiescence, or cajoled, according to the humour in which Pryer saw him \\n to be. Ernest thought that further questions would look as if he doubted\",\n \"I could see the publisher, who ought to know, had lost all faith in \\n Ernest's literary position, and looked upon him as a man whose failure \\n was all the more hopeless for the fact of his having once made a _coup_.\"\n ],\n [\n \"In less than a fortnight from the time of his leaving prison all these \\n arrangements had been completed, and Ernest felt that he had again linked \\n himself on to the life which he had led before his imprisonment--with a \\n few important differences, however, which were greatly to his advantage.\",\n \"was at an end. \\n \\n \\n \\n \\n CHAPTER LXVII \\n \\n \\n As soon as Ernest found that he had no money to look to upon leaving \\n prison he saw that his dreams about emigrating and farming must come to\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"keep up the connection, provided it did not involve Ernest's coming to \\n Battersby nor any recurring outlay. \\n \\n When the time approached for him to leave prison, his father and mother \\n consulted as to what course they should adopt. \\n\",\n \"gaol asking whether he could be admitted inside the gaol to receive \\n Ernest when his sentence had expired. He received answer in the \\n affirmative, and the pair left Battersby the day before Ernest was to \\n come out of prison. \\n\",\n \"But to return to my story. When Ernest got to the top of the street and \\n looked back, he saw the grimy, sullen walls of his prison filling up the \\n end of it. He paused for a minute or two. \\\"There,\\\" he said to himself,\",\n \"Ernest was now so far convalescent as to be able to sit up for the \\n greater part of the day. He had been three months in prison, and, though \\n not strong enough to leave the infirmary, was beyond all fear of a\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"But to return, the conclusion Ernest came to was that he would be a \\n tailor. He talked the matter over with the chaplain, who told him there \\n was no reason why he should not be able to earn his six or seven\",\n \"chasteneth, Susan,' and here she began to cry again. 'As for him,' she \\n went on, 'he has made his bed, and he must lie on it; when he comes out \\n of prison his pa will know what is best to be done, and Master Ernest may\",\n \"good or not, but I am sure Ernest's instinct was right in telling him \\n that after a heavy fall he had better begin life again at a very low \\n stage, and as I have just said, I would have let him go back to his shop\",\n \"no idea of entirely breaking with him. He knew his son well enough to \\n have a pretty shrewd idea that this was what Ernest would wish himself, \\n and perhaps as much for this reason as for any other he was determined to\",\n \"Ernest had not reckoned on this, and was rather surprised on being told a \\n few minutes before nine that he was to go into the receiving room before \\n he left the prison as there were visitors waiting to see him. His heart\",\n \"came for him to leave prison, he did so, or thought he did so, not \\n without regret. \\n \\n \\n \\n \\n CHAPTER LXIX \\n \\n \\n In coming to the conclusion that he would sever the connection between\",\n \"Ernest would come round; he had been sure of it, but he had hardly \\n expected the conversion to be so sudden. Ernest said no more had he, but \\n now that he saw his duty so clearly he would get ordained as soon as\",\n \" mother, C. P.\\\" \\n \\n This letter did not produce the effect on Ernest that it would have done \\n before his imprisonment began. His father and mother thought they could \\n take him up as they had left him off. They forgot the rapidity with\",\n \"respects Ernest should have proved his steadfastness. Then they might \\n steal out again little by little--and so they did. \\n \\n Ernest now wrote home a letter couched in a vein different from his\",\n \"wanted to be. They had only one idea; one and all, Georgie among the \\n rest, wanted to be bargemen. Young ducks could hardly have a more \\n evident hankering after the water. \\n \\n \\\"And what do you want, Alice?\\\" said Ernest.\",\n \"On our way to town Ernest broached his plans for spending the next year \\n or two. I wanted him to try and get more into society again, but he \\n brushed this aside at once as the very last thing he had a fancy for. For\",\n \"himself and his family once for all Ernest had reckoned without his \\n family. Theobald wanted to be rid of his son, it is true, in so far as \\n he wished him to be no nearer at any rate than the Antipodes; but he had\"\n ],\n [\n \"Ellen did what she was told, and the two parted with many tears, the \\n girl's last words being that she should never forget him, and that they \\n should meet again hereafter, she was sure they should, and then she would \\n repay him. \\n\",\n \"living. Ellen remained with her till she was fourteen, when she first \\n went out to service. Four years later, when she was about eighteen, but \\n so well grown that she might have passed for twenty, she had been\",\n \"she replied that Ellen was one of her own servants, the bishop seemed, so \\n she thought or chose to think, quite pleased that so pretty a girl should \\n have found so exceptionally good a situation. \\n \\n Ernest used to get up early during the holidays so that he might play the\",\n \"Ellen during supper had more than once alluded to. He had been charmed \\n with the way in which she had declared that a pint of beer would make her \\n tipsy, and had only allowed herself to be forced into drinking the whole\",\n \"piano before breakfast without disturbing his papa and mamma--or rather, \\n perhaps, without being disturbed by them. Ellen would generally be there \\n sweeping the drawing-room floor and dusting while he was playing, and the\",\n \"Ernest brought Ellen to me. I did not want to see her, but could not \\n well refuse. He had laid out a few of his shillings upon her wardrobe, \\n so that she was neatly dressed, and, indeed, she looked very pretty and\",\n \"The great change in Ellen's life consequent upon her meeting Ernest and \\n getting married had for a time actually sobered her by shaking her out of \\n her old ways. Drunkenness is so much a matter of habit, and habit so\",\n \"day. Ellen went with him the first few times, but she said she found it \\n too much for her, there were a few of her old friends whom she should \\n sometimes like to see, and they and he, she said, would not hit it off\",\n \"she was during the first days of her married life, and so quick was he to \\n forget pain, that after a few days he was as fond of her as ever. But \\n Ellen could not forgive him for knowing what he did. She knew that he\",\n \"have done, but still if he was being punished for this, God was a hard \\n taskmaster, and one, too, who was continually pouncing out upon his \\n unhappy creatures from ambuscades. In marrying Ellen he had meant to\",\n \"said Ellen, who had now recovered herself and was quite at home with my \\n hero. \\\"Oh, dear, dear me,\\\" she said, \\\"I did love your pa; he was a good \\n gentleman, he was, and your ma too; it would do anyone good to live with\",\n \"Ernest could only see what he gathered from the cook, namely, that his \\n favourite, Ellen, was being turned adrift with a matter of three pounds \\n in her pocket, to go she knew not where, and to do she knew not what, and\",\n \"whom Ernest could have spoken most freely at this juncture. He told her \\n what he thought he could have told to no one else. \\n \\n \\\"You know, Ellen,\\\" he concluded, \\\"I had learnt as a boy things that I\",\n \"\\\"And I,\\\" thought Ernest to himself again when the arrangement was \\n concluded, \\\"am the man who thought himself unlucky!\\\" \\n \\n I may as well say here all that need be said further about Ellen. For\",\n \"Ellen without his knowledge, or for which he had already given her the \\n money. This was awful, and even Ernest turned. When he remonstrated \\n with her--not for having bought the things, but for having said nothing\",\n \"devolved upon him, but his business no longer prospered. He could buy as \\n hitherto, but Ellen seemed unable to sell as she had sold at first. The \\n fact was that she sold as well as ever, but kept back part of the\",\n \"being married, and she didn't like his not being married--but, anyhow, it \\n was Ellen's fault, not his, and she hoped he would be happy. \\\"But after\",\n \"to him about the moneys being owing--Ellen met him with hysteria and \\n there was a scene. She had now pretty well forgotten the hard times she \\n had known when she had been on her own resources and reproached him\",\n \"Rectory from the spinney behind the house just as Ellen's things were \\n being put into the carriage. He thought it was Ellen whom he then saw \\n get into the carriage, but as her face had been hidden by her\",\n \"Theobald agreed that no time must be lost in paying Ellen her wages and \\n packing her off. So this was done, and less than two hours after Dr \\n Martin had entered the house Ellen was sitting beside John the coachman,\"\n ],\n [\n \"who keep this unconsciously in view at all times whether of work or \\n pastime.\\\" \\n \\n If Ernest had published this work in his own name I should think it would \\n have fallen stillborn from the press, but the form he had chosen was\",\n \"towards religion. He hated people who did not know where to stop. Ernest \\n was always so _outre_ and strange; there was never any knowing what he \\n would do next, except that it would be something unusual and silly. If\",\n \"than a year ago. Ernest gave them all they said they wanted and a good \\n deal more. They have already presented him with a grandson, and I doubt \\n not, will do so with many more. Georgie though only twenty-one is owner\",\n \"Ernest into the world, \\\"spoke an ill word against anyone. He was not \\n only liked, he was beloved by all who had anything to do with him.\\\" \\n \\n \\\"A more perfectly just and righteously dealing man,\\\" said the family\",\n \"Before, however, I had come to this conclusion, I had thought that Ernest \\n might be able to help me to the right thing, and had written to him upon \\n the subject. The following is the answer I received-- \\n\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"respects Ernest should have proved his steadfastness. Then they might \\n steal out again little by little--and so they did. \\n \\n Ernest now wrote home a letter couched in a vein different from his\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"generation--that is to say as against Ernest. On this head there was an \\n offensive and defensive alliance between them, but between themselves \\n there was subdued but internecine warfare. \\n \\n This at least was what Ernest gathered, partly from his recollections of\",\n \"know him. He liked looking at him if he got a chance, and was very much \\n ashamed of himself for doing so, but there the matter ended. \\n \\n By a strange accident, however, during Ernest's last year, when the names\",\n \"own identity, but it will generally be found that those who talk in this \\n way have no children of their own. Practical family men know better. \\n \\n About twelve months after the birth of Ernest there came a second, also a\",\n \"quietly, but slowly and decidedly, \\\"No, no, no,\\\" and escaped. \\n \\n It was all over with Ernest from that moment. As usual he did not know \\n it, but he had entered none the less upon another reaction. Towneley had\",\n \"But to return, the conclusion Ernest came to was that he would be a \\n tailor. He talked the matter over with the chaplain, who told him there \\n was no reason why he should not be able to earn his six or seven\",\n \"Ernest is as fond of music as ever, perhaps more so, and of late years \\n has added musical composition to the other irons in his fire. He finds \\n it still a little difficult, and is in constant trouble through getting\",\n \"This, however, was not the general verdict concerning him, and the \\n general verdict is often the truest. \\n \\n Ernest was overwhelmed with expressions of condolence and respect for his \\n father's memory. \\\"He never,\\\" said Dr Martin, the old doctor who brought\",\n \"and in the end ruin him. Absolute independence he believed to be his \\n only chance of very life itself. \\n \\n Over and above this--if this were not enough--Ernest had a faith in his\",\n \"though many had much less than this. Ernest did as he had done at \\n school--he spent what he could, soon after he received his money; he then \\n incurred a few modest liabilities, and then lived penuriously till next\"\n ],\n [\n \"The great change in Ellen's life consequent upon her meeting Ernest and \\n getting married had for a time actually sobered her by shaking her out of \\n her old ways. Drunkenness is so much a matter of habit, and habit so\",\n \"\\\"And I,\\\" thought Ernest to himself again when the arrangement was \\n concluded, \\\"am the man who thought himself unlucky!\\\" \\n \\n I may as well say here all that need be said further about Ellen. For\",\n \"Ernest had by this time been married some two months, for he had stuck to \\n his original plan of marrying Ellen on the first day he could legally do \\n so. This date was a little delayed by the change of abode from Laystall\",\n \"Ernest brought Ellen to me. I did not want to see her, but could not \\n well refuse. He had laid out a few of his shillings upon her wardrobe, \\n so that she was neatly dressed, and, indeed, she looked very pretty and\",\n \"Ellen without his knowledge, or for which he had already given her the \\n money. This was awful, and even Ernest turned. When he remonstrated \\n with her--not for having bought the things, but for having said nothing\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"if Ellen had been only what he thought her, and if his prospects had been \\n in reality no better than he believed they were, I do not know that there \\n is anything much more imprudent in what Ernest proposed than there is in \\n half the marriages that take place every day.\",\n \"she replied that Ellen was one of her own servants, the bishop seemed, so \\n she thought or chose to think, quite pleased that so pretty a girl should \\n have found so exceptionally good a situation. \\n \\n Ernest used to get up early during the holidays so that he might play the\",\n \"Ernest could only see what he gathered from the cook, namely, that his \\n favourite, Ellen, was being turned adrift with a matter of three pounds \\n in her pocket, to go she knew not where, and to do she knew not what, and\",\n \"which Ellen would suffer on becoming an outcast again. Ernest saw Mrs \\n Richards, the neighbour who had called him down on the night when he had \\n first discovered his wife's drunkenness, and got from her some details of\",\n \"whom Ernest could have spoken most freely at this juncture. He told her \\n what he thought he could have told to no one else. \\n \\n \\\"You know, Ellen,\\\" he concluded, \\\"I had learnt as a boy things that I\",\n \"Ellen's guilt? Was it, could it be, her own son, her darling Ernest? \\n Ernest was getting a big boy now. She could excuse any young woman for \\n taking a fancy to him; as for himself, why she was sure he was behind no\",\n \"quarrelled with his father and mother she assumed as a matter of course \\n that the fault must lie entirely with Ernest. \\n \\n \\\"Oh, your pore, pore ma!\\\" said Ellen. \\\"She was always so very fond of\",\n \"He must marry someone; that was already settled. He could not marry a \\n lady; that was absurd. He must marry a poor woman. Yes, but a fallen \\n one? Was he not fallen himself? Ellen would fall no more. He had only\",\n \"being married, and she didn't like his not being married--but, anyhow, it \\n was Ellen's fault, not his, and she hoped he would be happy. \\\"But after\",\n \"afraid I showed this, for he again avoided me for some time, and, indeed, \\n for many months I hardly saw him at all. \\n \\n Ellen remained very ill for some days, and then gradually recovered. \\n Ernest hardly left her till she was out of danger. When she had\",\n \"allowance myself--of course intending that it should come out of Ernest's \\n money; but he would not hear of this. He had married Ellen, he said, and \\n he must try to reform her. He hated it, but he must try; and finding him\",\n \"I think the devil must have chuckled and made tolerably sure of his game \\n this time. \\n \\n \\n \\n \\n CHAPTER LXXII \\n \\n \\n Ernest told Ellen of his difficulty about finding employment. \\n\",\n \"she was during the first days of her married life, and so quick was he to \\n forget pain, that after a few days he was as fond of her as ever. But \\n Ellen could not forgive him for knowing what he did. She knew that he\",\n \"but his shyness had worn off with Ellen, and the pair had become fast \\n friends. \\n \\n Perhaps it was well that Ernest was not at home for very long together, \\n but as yet his affection though hearty was quite Platonic. He was not\"\n ],\n [\n \"up to this point; but it has been altered here and there from time to \\n time occasionally. It is now the autumn of 1882, and if I am to say more \\n I should do so quickly, for I am eighty years old and though well in\",\n \"But to return to my story. When Ernest got to the top of the street and \\n looked back, he saw the grimy, sullen walls of his prison filling up the \\n end of it. He paused for a minute or two. \\\"There,\\\" he said to himself,\",\n \"helped him over the bad places, and questioned him till I had got out \\n pretty nearly the whole story as I have given it above. \\n \\n I hope I did not show it, but I was very angry. I had begun to like\",\n \"He came to me--not for money, but to tell me his miserable story. I had \\n seen for some time that there was something wrong, and had suspected \\n pretty shrewdly what the matter was, but of course I said nothing. Ernest\",\n \"to him, for she had known him ever since he had been five or six years \\n old. Her name was Susan. He sat down in the rocking-chair before her \\n fire, and Susan went on ironing at the table in front of the window, and\",\n \"them. This was the effect of unchanged surroundings upon the unchanged \\n part of him. But there was a changed part, and the effect of unchanged \\n surroundings upon this was to make everything seem almost as strange as\",\n \"story. For the last few years there had been difficulties in the way of \\n our meeting, and I had not seen her, though, as I have said, keeping up a \\n close correspondence with her. Naturally I was overjoyed to meet her\",\n \"his own size, or to stop him midway in the story with a remonstrance \\n against being kicked when he was down. The boy was too much shocked and \\n shaken to be inventive; he could only drift and stammer out that the tale \\n was true. \\n\",\n \"discretion, he took the bull by the horns, and announced himself at once \\n as having just come in after having met with a terrible misfortune. \\n Little by little he told his story, and though Theobald stormed somewhat\",\n \"time that I am writing this book, for I know that whether I like it or no \\n I am portraying myself more surely than I am portraying any of the \\n characters whom I set before the reader. I am sorry that it is so, but I\",\n \"\\\"I have been thinking,\\\" he said, \\\"that I may perhaps never recover from \\n this illness, and in case I do not I should like you to know that there \\n is only one thing which weighs upon me. I refer,\\\" he continued after a\",\n \"heavy upon her, and looked back more and more longingly upon the lawless \\n freedom of the life she had led before she met her husband. \\n \\n I will dwell no longer on this part of my story. During the spring\",\n \"himself. This time it was during a turn taken in the garden, and not on \\n the sofa--which was reserved for supreme occasions. \\n \\n \\\"You know, my dearest boy,\\\" she said to him, \\\"that papa\\\" (she always\",\n \"but noted everything. Once only did he frighten me. He called me to his \\n bedside just as it was getting dusk and said in a grave, quiet manner \\n that he should like to speak to me. \\n\",\n \"\\\"And I,\\\" thought Ernest to himself again when the arrangement was \\n concluded, \\\"am the man who thought himself unlucky!\\\" \\n \\n I may as well say here all that need be said further about Ellen. For\",\n \"had happened during the last twenty-four hours to be able to realise his \\n position. A great chasm had opened between his past and future; \\n nevertheless he breathed, his pulse beat, he could think and speak. It\",\n \"So the bride sat crying in one corner of the carriage; and the bridegroom \\n sulked in the other, and he feared her as only a bridegroom can fear. \\n \\n Presently, however, a feeble voice was heard from the bride's corner \\n saying:\",\n \"in full, for it is a typical one, and will explain a state of mind which \\n in another generation or two will seem to stand sadly in need of \\n explanation. \\n \\n \\\"My young friends,\\\" said Mr Hawke, \\\"I am persuaded there is not one of\",\n \"consciousness sufficiently to be able to see them. It was known that she \\n had sent for me on being taken ill, and that I remained at Roughborough, \\n and I own I was angered by the mingled air of suspicion, defiance and\",\n \"their first half hour, the reader must guess, for it is beyond my power \\n to tell him; at the end of that time, however, Theobald had rummaged up a \\n conclusion from some odd corner of his soul to the effect that now he and\"\n ],\n [\n \"to him, for she had known him ever since he had been five or six years \\n old. Her name was Susan. He sat down in the rocking-chair before her \\n fire, and Susan went on ironing at the table in front of the window, and\",\n \"story. For the last few years there had been difficulties in the way of \\n our meeting, and I had not seen her, though, as I have said, keeping up a \\n close correspondence with her. Naturally I was overjoyed to meet her\",\n \"volatile, and continually takes things up only to throw them down again. \\n How can he find out his strength or weakness otherwise? A man's \\n profession,\\\" she said, and here she gave one of her wicked little laughs,\",\n \"of themselves. He would begin with his own house. \\n \\n Who then should he take first? Surely he could not do better than begin \\n with the tailor who lived immediately over his head. This would be\",\n \"years old, so that his character had begun to shape. His aunt had not \\n seen him for some little time and, thinking that if she was to exploit \\n him she could do so now perhaps better than at any other time, she\",\n \"loved no one else in the world except her husband (and him only after a \\n fashion) was most tenderly attached to the unexpected child of her old \\n age; nevertheless she showed it little. \\n \\n The boy grew up into a sturdy bright-eyed little fellow, with plenty of\",\n \"He came to me--not for money, but to tell me his miserable story. I had \\n seen for some time that there was something wrong, and had suspected \\n pretty shrewdly what the matter was, but of course I said nothing. Ernest\",\n \"He was turning from her, as he had turned from so many others, when she \\n started back with a movement that aroused his curiosity. He had hardly \\n seen her face, but being determined to catch sight of it, followed her as\",\n \"pleasure in giving you a character if you want one. Have you anything \\n more to say?\\\" \\n \\n \\\"No more nor what I have said,\\\" said John sullenly, \\\"but what I've said I \\n means and I'll stick to--character or no character.\\\"\",\n \"But to return to my story. When Ernest got to the top of the street and \\n looked back, he saw the grimy, sullen walls of his prison filling up the \\n end of it. He paused for a minute or two. \\\"There,\\\" he said to himself,\",\n \"himself. This time it was during a turn taken in the garden, and not on \\n the sofa--which was reserved for supreme occasions. \\n \\n \\\"You know, my dearest boy,\\\" she said to him, \\\"that papa\\\" (she always\",\n \"character, and to have been universally liked at Battersby. She was then \\n a quick, smart, hard-working girl--and a very pretty one. When at last \\n they met again she was on her best behaviour, in fact, she was modesty\",\n \"But to return to my story. It transpired afterwards that Miss Maitland \\n had had no intention of giving Ernest in charge when she ran out of Mrs \\n Jupp's house. She was running away because she was frightened, but\",\n \"accident--his moral character. As for Miss Maitland, he had done his \\n best to ruin hers, and had damaged himself gravely and irretrievably in \\n consequence. The only lodger who had done him no harm was the bellows'\",\n \"clothes, and spending his evenings in cleaning and mending them. \\n \\n One morning, as he was returning from a house at the West End where he \\n had bought some clothes from one of the servants, he was struck by a\",\n \"\\\"I have been thinking,\\\" he said, \\\"that I may perhaps never recover from \\n this illness, and in case I do not I should like you to know that there \\n is only one thing which weighs upon me. I refer,\\\" he continued after a\",\n \"else into little pieces of mincemeat to gratify the slightest wish of her \\n husband, but she would not have chopped him up for any one else, and so \\n long as he did not cross her she was very fond of him. By nature she was\",\n \"himself. \\n \\n His having lived six months in Ashpit Place was a case in point. Things \\n were possible to him which to others like him would be impossible. If \\n such a man as Towneley were told he must live henceforth in a house like\",\n \"discretion, he took the bull by the horns, and announced himself at once \\n as having just come in after having met with a terrible misfortune. \\n Little by little he told his story, and though Theobald stormed somewhat\",\n \"had happened during the last twenty-four hours to be able to realise his \\n position. A great chasm had opened between his past and future; \\n nevertheless he breathed, his pulse beat, he could think and speak. It\"\n ],\n [\n \"concluded, the magistrate spoke as follows: \\\"Ernest Pontifex, yours is \\n one of the most painful cases that I have ever had to deal with. You \\n have been singularly favoured in your parentage and education. You have\",\n \"His face dropped as he caught sight of Ernest. \\\"What, you here, \\n Pontifex! Well, upon my word!\\\" \\n \\n I cannot describe the hurried explanations that passed quickly between \\n the three--enough that in less than a minute Ernest, blushing more\",\n \"Mrs Jupp to whom, by the way, Ernest made a small weekly allowance. It \\n was at Ernest's chambers, and for some reason we were left alone for a \\n few minutes. I said to her: \\\"Mr Pontifex has written another book, Mrs\",\n \"that he could never henceforth see a bishop going to consecration without \\n saying to himself: \\\"There, but for the grace of God, went Ernest \\n Pontifex.\\\" It was no doing of his. He could not boast; if he had lived\",\n \" myself.--Your affectionate Godson, ERNEST PONTIFEX.\\\" \\n \\n Was this the little lad who could get sweeties for two-pence but not for\",\n \"Presently old Mr Pontifex died, and then came the revelation of the \\n little alteration he had made in his will simultaneously with his bequest \\n to Ernest. It was rather hard to bear, especially as there was no way of\",\n \"CHAPTER LIV \\n \\n \\n This move on Ernest's part was variously commented upon by his friends, \\n the general opinion being that it was just like Pontifex, who was sure to \\n do something unusual wherever he went, but that on the whole the idea was\",\n \"indeed were the other demure young clerics to whom Pryer had introduced \\n Ernest. \\n \\n \\n \\n \\n CHAPTER LII \\n \\n \\n \\\"You know, my dear Pontifex,\\\" said Pryer to him, some few weeks after\",\n \"Gaunt had had children before he was married, he, Ernest Pontifex, might \\n have them also, and he would be obliged to me if I would tell him what he \\n had better do under the circumstances. \\n\",\n \"arrived at in the matter of fireworks and Guy Fawkes festivities. This \\n year it was decided that Pontifex's governor should be the victim, and \\n Ernest though a good deal exercised in mind as to what he ought to do, in\",\n \"Miss Pontifex soon found out that Ernest did not like games, but she saw \\n also that he could hardly be expected to like them. He was perfectly \\n well shaped but unusually devoid of physical strength. He got a fair\",\n \"Ernest had become acquainted with him, when the two were taking a \\n constitutional one day in Kensington Gardens, \\\"You know, my dear \\n Pontifex, it is all very well to quarrel with Rome, but Rome has reduced\",\n \"unkindly and seldom does she completely fail a favoured nursling. \\n \\n Was George Pontifex one of Fortune's favoured nurslings or not? On the \\n whole I should say that he was not, for he did not consider himself so;\",\n \"which the reader may be inclined to pass too hastily, not only upon Mr \\n George Pontifex, but also upon Theobald and Christina. And now I will \\n continue my story. \\n \\n \\n \\n \\n CHAPTER XX \\n \\n\",\n \" Believe me, Your affectionate father, T. PONTIFEX.\\\" \\n \\n Of course there could be no hesitation on Ernest's part. He could afford \\n to smile now at his father's offering to pay for his clothes, and his\",\n \"Miss Pontifex, as I have said, got hold of some of these youngsters \\n through Ernest, and fed them well. No boy can resist being fed well by a \\n good-natured and still handsome woman. Boys are very like nice dogs in\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\",\n \"did, Ernest in his forlorn state was delighted to meet them. \\n \\n Pryer was about twenty-eight years old. He had been at Eton and at \\n Oxford. He was tall, and passed generally for good-looking; I only saw\",\n \"not like Ernest's getting more and more into his aunt's good books, still \\n it was perhaps better that he should do so than that she should be driven \\n back upon the John Pontifexes. The only thing, said Theobald, which made\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\"\n ],\n [\n \"was twenty-eight years old, but neither he nor anyone else, except her \\n lawyer and myself, was to know anything about it. She would leave 5000 \\n pounds in other legacies, and 15,000 pounds to Ernest--which by the time\",\n \"know how to keep what he will get from me.\\\" \\n \\n Supposing he went bankrupt before he was twenty-eight years old, the \\n money was to be mine absolutely, but she could trust me, she said, to \\n hand it over to Ernest in due time. \\n\",\n \"endorsed upon it, to her sons when Ernest was sixteen years old. It \\n reached him on his mother's death many years later, for it was the baby \\n who died now, and not Christina. It was found among papers which she had\",\n \"sum that had been settled upon him and Christina at the time of his \\n marriage) had been cut down to 17,500 pounds when Mr Pontifex left \\n \\\"something\\\" to Ernest. The \\\"something\\\" proved to be 2500 pounds, which\",\n \"into a cab, and come with me at once, if you can spare time, to Mr \\n Overton's at the Temple.\\\" \\n \\n \\n \\n \\n CHAPTER LXXVII \\n \\n \\n I do not think Ernest himself was much more pleased at finding that he\",\n \"did he not hand it over to my brother John and me?\\\" He stammered a good \\n deal and looked sheepish, but he got the words out. \\n \\n \\\"Because, my dear father,\\\" said Ernest still laughing, \\\"my aunt left it\",\n \"to do with her money before they knew of her being at the point of death, \\n and as I have said already, if they had thought it likely that Ernest \\n would be made heir over their own heads without their having at any rate\",\n \"make Ernest her heir. I do not think she had given them so much as a \\n hint to this effect. Theobald indeed gave Ernest to understand that she \\n had done so in a letter which will be given shortly, but if Theobald\",\n \"told no one else. I mean that Ernest would come into his aunt's money in \\n a few years' time, and would therefore then be rich. \\n \\n Towneley was doing all he could before this, but I knew that the\",\n \"Presently old Mr Pontifex died, and then came the revelation of the \\n little alteration he had made in his will simultaneously with his bequest \\n to Ernest. It was rather hard to bear, especially as there was no way of\",\n \"had come to about 10,000 pounds more, so that Ernest was then worth over \\n 70,000 pounds. At present he is worth nearly double that sum, and all as \\n the result of leaving well alone. \\n\",\n \"overturning of a boat when he was only two years old and had left him as \\n their only child and heir to one of the finest estates in the South of \\n England. Fortune every now and then does things handsomely by a man all\",\n \"Her fortune consisted, as I have said, of 5000 pounds, which had come to \\n her by her mother's marriage settlements, and 15,000 pounds left her by \\n her father, over both which sums she had now absolute control. These\",\n \"No provision was made for either my death or Ernest's--Miss Pontifex had \\n settled it that we were neither of us going to die, and was too ill to go \\n into details; she was so anxious, moreover, to sign her will while still\",\n \"give her confidence in you; as a matter of fact, however, she has left \\n you nothing, and the whole of her property has gone to your godfather, Mr \\n Overton. Your mother and I are willing to hope that if she had lived\",\n \"their heir. He was thus not only sole partner in the business but found \\n himself with a fortune of some 30,000 pounds into the bargain, and this \\n was a large sum in those days. Money came pouring in upon him, and the\",\n \"me (even Ernest saw that it was not from Theobald at all) at any rate \\n till after my death, which for aught any of us know may be yet many years \\n distant. It is not a large sum, but it is sufficient if supplemented by\",\n \"His mother kicked a little at first against the money's having gone to \\n him as she said \\\"over his papa's head.\\\" \\\"Why, my dear,\\\" she said in a \\n deprecating tone, \\\"this is more than ever your papa has had\\\"; but Ernest\",\n \"than a year ago. Ernest gave them all they said they wanted and a good \\n deal more. They have already presented him with a grandson, and I doubt \\n not, will do so with many more. Georgie though only twenty-one is owner\",\n \"has a family, but he and Ernest very rarely have any intercourse. Of \\n course, Ernest took nothing under his father's will; this had long been \\n understood, so that the other two are both well provided for. \\n\"\n ],\n [\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"was at an end. \\n \\n \\n \\n \\n CHAPTER LXVII \\n \\n \\n As soon as Ernest found that he had no money to look to upon leaving \\n prison he saw that his dreams about emigrating and farming must come to\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"After Ernest had been sentenced, he was taken back to the cells to wait \\n for the van which should take him to Coldbath Fields, where he was to \\n serve his term. \\n \\n He was still too stunned and dazed by the suddenness with which events\",\n \"quietly, but slowly and decidedly, \\\"No, no, no,\\\" and escaped. \\n \\n It was all over with Ernest from that moment. As usual he did not know \\n it, but he had entered none the less upon another reaction. Towneley had\",\n \"gaol asking whether he could be admitted inside the gaol to receive \\n Ernest when his sentence had expired. He received answer in the \\n affirmative, and the pair left Battersby the day before Ernest was to \\n come out of prison. \\n\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \"But to return to my story. When Ernest got to the top of the street and \\n looked back, he saw the grimy, sullen walls of his prison filling up the \\n end of it. He paused for a minute or two. \\\"There,\\\" he said to himself,\",\n \"chasteneth, Susan,' and here she began to cry again. 'As for him,' she \\n went on, 'he has made his bed, and he must lie on it; when he comes out \\n of prison his pa will know what is best to be done, and Master Ernest may\",\n \"Ernest was now so far convalescent as to be able to sit up for the \\n greater part of the day. He had been three months in prison, and, though \\n not strong enough to leave the infirmary, was beyond all fear of a\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\",\n \"heard a disturbance, and going down to Ernest's room while Miss Maitland \\n was out of doors, had found him lying, as it were, stunned at the foot of \\n the moral precipice over which he had that moment fallen. He saw the\",\n \"Ernest got off with the head boys easier than he expected. It was \\n admitted that the offence, heinous though it was, had been committed \\n under extenuating circumstances; the frankness with which the culprit had\",\n \"In less than a fortnight from the time of his leaving prison all these \\n arrangements had been completed, and Ernest felt that he had again linked \\n himself on to the life which he had led before his imprisonment--with a \\n few important differences, however, which were greatly to his advantage.\",\n \"very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \\n break to him some bad news about his speculations. \\n \\n \\n \\n \\n CHAPTER LX \\n \\n \\n Ernest now went home and occupied himself till luncheon with studying\",\n \"whole thing at a glance, but before he could take action, the policemen \\n came in and action became impossible. \\n \\n He asked Ernest who were his friends in London. Ernest at first wanted \\n not to say, but Towneley soon gave him to understand that he must do as\",\n \"He came to me--not for money, but to tell me his miserable story. I had \\n seen for some time that there was something wrong, and had suspected \\n pretty shrewdly what the matter was, but of course I said nothing. Ernest\",\n \" mother, C. P.\\\" \\n \\n This letter did not produce the effect on Ernest that it would have done \\n before his imprisonment began. His father and mother thought they could \\n take him up as they had left him off. They forgot the rapidity with\",\n \"Then Ernest got into a field by the roadside, flung himself on the grass, \\n and waited under the shadow of a hedge till the carriage should pass on \\n its return from the station and pick him up, for he was dead beat.\"\n ],\n [\n \" mother, C. P.\\\" \\n \\n This letter did not produce the effect on Ernest that it would have done \\n before his imprisonment began. His father and mother thought they could \\n take him up as they had left him off. They forgot the rapidity with\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"Ernest felt that this last home-thrust was just. In his less anxious \\n moments he had thought his papa and mamma \\\"green\\\" for the readiness with \\n which they believed him, but he could not deny that their credulity was a\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"keep up the connection, provided it did not involve Ernest's coming to \\n Battersby nor any recurring outlay. \\n \\n When the time approached for him to leave prison, his father and mother \\n consulted as to what course they should adopt. \\n\",\n \"quarrelled with his father and mother she assumed as a matter of course \\n that the fault must lie entirely with Ernest. \\n \\n \\\"Oh, your pore, pore ma!\\\" said Ellen. \\\"She was always so very fond of\",\n \"and weeping as she flung her arms around him, cried: \\\"Oh, I knew he would \\n come, I knew, I knew he could come.\\\" \\n \\n Ernest broke down and wept as he had not done for years. \\n\",\n \"in her arms. \\\"Oh, my boy, my boy,\\\" she sobbed, and she could say no \\n more. \\n \\n Ernest was as white as a sheet. His heart beat so that he could hardly\",\n \"chasteneth, Susan,' and here she began to cry again. 'As for him,' she \\n went on, 'he has made his bed, and he must lie on it; when he comes out \\n of prison his pa will know what is best to be done, and Master Ernest may\",\n \"quietly, but slowly and decidedly, \\\"No, no, no,\\\" and escaped. \\n \\n It was all over with Ernest from that moment. As usual he did not know \\n it, but he had entered none the less upon another reaction. Towneley had\",\n \"Then came the odious task of getting rid of their unhappy mother. \\n Ernest's heart smote him at the notion of the shock the break-up would be \\n to her. He was always thinking that people had a claim upon him for some\",\n \"respects Ernest should have proved his steadfastness. Then they might \\n steal out again little by little--and so they did. \\n \\n Ernest now wrote home a letter couched in a vein different from his\",\n \"\\\"Now look here, Ernest,\\\" said his father with his blackest scowl, \\\"I am \\n going to put a stop to this nonsense once for all. Either take me fully \\n into your confidence, as a son should take a father, and trust me to deal\",\n \"The pair then went upstairs to Christina's room, the one in which Ernest \\n had been born. His father went before him and prepared her for her son's \\n approach. The poor woman raised herself in bed as he came towards her,\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"After Ernest had been sentenced, he was taken back to the cells to wait \\n for the van which should take him to Coldbath Fields, where he was to \\n serve his term. \\n \\n He was still too stunned and dazed by the suddenness with which events\",\n \"gaol asking whether he could be admitted inside the gaol to receive \\n Ernest when his sentence had expired. He received answer in the \\n affirmative, and the pair left Battersby the day before Ernest was to \\n come out of prison. \\n\",\n \"But Ernest cut this--I will not say short--but a great deal shorter than \\n it would have been if Christina had had her say out, by extricating \\n himself from his mamma's embrace and showing a clean pair of heels. As\",\n \"Ernest had not reckoned on this, and was rather surprised on being told a \\n few minutes before nine that he was to go into the receiving room before \\n he left the prison as there were visitors waiting to see him. His heart\",\n \"father. True, Ernest was not thrown in with him much yet, but he was \\n always there; there was no knowing at what moment he might not put in an \\n appearance, and whenever he did show, it was to storm about something. He\"\n ],\n [\n \"In less than a fortnight from the time of his leaving prison all these \\n arrangements had been completed, and Ernest felt that he had again linked \\n himself on to the life which he had led before his imprisonment--with a \\n few important differences, however, which were greatly to his advantage.\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"was at an end. \\n \\n \\n \\n \\n CHAPTER LXVII \\n \\n \\n As soon as Ernest found that he had no money to look to upon leaving \\n prison he saw that his dreams about emigrating and farming must come to\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"Ernest was now so far convalescent as to be able to sit up for the \\n greater part of the day. He had been three months in prison, and, though \\n not strong enough to leave the infirmary, was beyond all fear of a\",\n \"But to return, the conclusion Ernest came to was that he would be a \\n tailor. He talked the matter over with the chaplain, who told him there \\n was no reason why he should not be able to earn his six or seven\",\n \"But to return to my story. When Ernest got to the top of the street and \\n looked back, he saw the grimy, sullen walls of his prison filling up the \\n end of it. He paused for a minute or two. \\\"There,\\\" he said to himself,\",\n \"good or not, but I am sure Ernest's instinct was right in telling him \\n that after a heavy fall he had better begin life again at a very low \\n stage, and as I have just said, I would have let him go back to his shop\",\n \"gaol asking whether he could be admitted inside the gaol to receive \\n Ernest when his sentence had expired. He received answer in the \\n affirmative, and the pair left Battersby the day before Ernest was to \\n come out of prison. \\n\",\n \"chasteneth, Susan,' and here she began to cry again. 'As for him,' she \\n went on, 'he has made his bed, and he must lie on it; when he comes out \\n of prison his pa will know what is best to be done, and Master Ernest may\",\n \" mother, C. P.\\\" \\n \\n This letter did not produce the effect on Ernest that it would have done \\n before his imprisonment began. His father and mother thought they could \\n take him up as they had left him off. They forgot the rapidity with\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \"Ernest had not reckoned on this, and was rather surprised on being told a \\n few minutes before nine that he was to go into the receiving room before \\n he left the prison as there were visitors waiting to see him. His heart\",\n \"in the present case. It was not Ernest's having been imprisoned. \\n Theobald forgot all about that much sooner than nine fathers out of ten \\n would have done. Partly, no doubt, it was due to incompatibility of\",\n \"the infirmary the chaplain came to his cell and told him that the \\n prisoner who played the organ in chapel had just finished his sentence \\n and was leaving the prison; he therefore offered the post to Ernest, who\",\n \"music, books, learning his trade, and conversation with the chaplain, who \\n was just the kindly, sensible person that Ernest wanted in order to \\n steady him a little, the days went by so pleasantly that when the time\",\n \"Ernest would come round; he had been sure of it, but he had hardly \\n expected the conversion to be so sudden. Ernest said no more had he, but \\n now that he saw his duty so clearly he would get ordained as soon as\",\n \"After Ernest had been sentenced, he was taken back to the cells to wait \\n for the van which should take him to Coldbath Fields, where he was to \\n serve his term. \\n \\n He was still too stunned and dazed by the suddenness with which events\",\n \"respects Ernest should have proved his steadfastness. Then they might \\n steal out again little by little--and so they did. \\n \\n Ernest now wrote home a letter couched in a vein different from his\",\n \"very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \\n break to him some bad news about his speculations. \\n \\n \\n \\n \\n CHAPTER LX \\n \\n \\n Ernest now went home and occupied himself till luncheon with studying\"\n ],\n [\n \"Ernest had by this time been married some two months, for he had stuck to \\n his original plan of marrying Ellen on the first day he could legally do \\n so. This date was a little delayed by the change of abode from Laystall\",\n \"married already, and would doubtless marry a lawful wife later on. Such \\n a man was worth taking pains with, and when Towneley one day met Ernest \\n in the street, and Ernest tried to avoid him, Towneley would not have it,\",\n \"\\\"And I,\\\" thought Ernest to himself again when the arrangement was \\n concluded, \\\"am the man who thought himself unlucky!\\\" \\n \\n I may as well say here all that need be said further about Ellen. For\",\n \"evening whenever he had a mind, without in the least caring that he \\n should take her too--and this suited Ernest very well. He was, I should \\n say, much happier in his married life than people generally are. \\n\",\n \"marry. It was not easy for Theobald to hit on any much more sensible \\n plan. He could not get Ernest into business, for he had no business \\n connections--besides he did not know what business meant; he had no\",\n \"Ernest. I don't know why, but I never have heard that any young man to \\n whom I had become attached was going to get married without hating his \\n intended instinctively, though I had never seen her; I have observed that\",\n \"had in the end married her eldest daughter, till after a time behold, \\n there was the dragon lying dead, while he was himself alive and not very \\n seriously hurt after all. \\n \\n \\\"I do not know what you mean, mamma,\\\" exclaimed Ernest anxiously and more\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"The great change in Ellen's life consequent upon her meeting Ernest and \\n getting married had for a time actually sobered her by shaking her out of \\n her old ways. Drunkenness is so much a matter of habit, and habit so\",\n \"than a year ago. Ernest gave them all they said they wanted and a good \\n deal more. They have already presented him with a grandson, and I doubt \\n not, will do so with many more. Georgie though only twenty-one is owner\",\n \"with Ernest--made him an excellent wife as long as she kept sober, but a \\n very bad one afterwards.\\\" \\n \\n \\\"There isn't,\\\" said John, \\\"a sweeter-tempered, handier, prettier girl\",\n \"Ernest would come round; he had been sure of it, but he had hardly \\n expected the conversion to be so sudden. Ernest said no more had he, but \\n now that he saw his duty so clearly he would get ordained as soon as\",\n \"fast enough. Why, as for Jack here, he's almost as good a bargeman as I \\n am.\\\" And he looked fondly and patronisingly towards his offspring. \\n \\n \\\"I think,\\\" said Ernest to Mr Rollings, \\\"if he wants to marry Alice when\",\n \"written to Ernest to say she was coming and he was of course on the look- \\n out for her. He had not seen her for so long that he was rather shy at \\n first, but her good nature soon set him at his ease. She was so strongly\",\n \"Ernest who was naught for not thinking more highly of him. \\n \\n When she had once got hold of a name she never forgot it. \\\"And how is So- \\n and-so?\\\" she would exclaim, mentioning some former friend of Ernest's\",\n \"he was,--but so are a great many other young people of Ernest's age. \\n \\n \\n \\n \\n CHAPTER XXXVII \\n \\n \\n If Theobald and Christina had not been too well pleased when Miss\",\n \"quietly, but slowly and decidedly, \\\"No, no, no,\\\" and escaped. \\n \\n It was all over with Ernest from that moment. As usual he did not know \\n it, but he had entered none the less upon another reaction. Towneley had\",\n \"downright with having married her--on that moment the scales fell from \\n Ernest's eyes as they had fallen when Towneley had said, \\\"No, no, no.\\\" He \\n said nothing, but he woke up once for all to the fact that he had made a\",\n \"Christians, the second, with few exceptions, she regarded with suspicion, \\n not wholly unmingled with contempt. \\n \\n Then Ernest told her what had happened to him during the last six months, \\n and by-and-by she believed him. \\n\",\n \"Master Ernest, you really must go and make it all up with her; indeed you \\n must.\\\" \\n \\n Ernest felt rueful, but he had resisted so valiantly already that the \\n devil might have saved himself the trouble of trying to get at him\"\n ],\n [\n \"Ernest could only see what he gathered from the cook, namely, that his \\n favourite, Ellen, was being turned adrift with a matter of three pounds \\n in her pocket, to go she knew not where, and to do she knew not what, and\",\n \"\\\"And I,\\\" thought Ernest to himself again when the arrangement was \\n concluded, \\\"am the man who thought himself unlucky!\\\" \\n \\n I may as well say here all that need be said further about Ellen. For\",\n \"afraid I showed this, for he again avoided me for some time, and, indeed, \\n for many months I hardly saw him at all. \\n \\n Ellen remained very ill for some days, and then gradually recovered. \\n Ernest hardly left her till she was out of danger. When she had\",\n \"Ellen without his knowledge, or for which he had already given her the \\n money. This was awful, and even Ernest turned. When he remonstrated \\n with her--not for having bought the things, but for having said nothing\",\n \"The great change in Ellen's life consequent upon her meeting Ernest and \\n getting married had for a time actually sobered her by shaking her out of \\n her old ways. Drunkenness is so much a matter of habit, and habit so\",\n \"Ernest brought Ellen to me. I did not want to see her, but could not \\n well refuse. He had laid out a few of his shillings upon her wardrobe, \\n so that she was neatly dressed, and, indeed, she looked very pretty and\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"quarrelled with his father and mother she assumed as a matter of course \\n that the fault must lie entirely with Ernest. \\n \\n \\\"Oh, your pore, pore ma!\\\" said Ellen. \\\"She was always so very fond of\",\n \"\\\"Lor'! Master Ernest, whatever can you be meaning?\\\" \\n \\n The pair soon afterwards left the eating-house and walked up Fetter Lane \\n together. \\n \\n Ellen had had hard times since she had left Battersby, but they had left\",\n \"But Ernest cut this--I will not say short--but a great deal shorter than \\n it would have been if Christina had had her say out, by extricating \\n himself from his mamma's embrace and showing a clean pair of heels. As\",\n \"which Ellen would suffer on becoming an outcast again. Ernest saw Mrs \\n Richards, the neighbour who had called him down on the night when he had \\n first discovered his wife's drunkenness, and got from her some details of\",\n \"I think the devil must have chuckled and made tolerably sure of his game \\n this time. \\n \\n \\n \\n \\n CHAPTER LXXII \\n \\n \\n Ernest told Ellen of his difficulty about finding employment. \\n\",\n \"Theobald agreed that no time must be lost in paying Ellen her wages and \\n packing her off. So this was done, and less than two hours after Dr \\n Martin had entered the house Ellen was sitting beside John the coachman,\",\n \"Ernest had by this time been married some two months, for he had stuck to \\n his original plan of marrying Ellen on the first day he could legally do \\n so. This date was a little delayed by the change of abode from Laystall\",\n \"things which she threatened--for his sake if for no other reason. \\n \\n Ellen at first would not hear of taking anything from him, but the \\n coachman, who was from the north country, sided with Ernest. \\\"Take it,\",\n \"Ellen's guilt? Was it, could it be, her own son, her darling Ernest? \\n Ernest was getting a big boy now. She could excuse any young woman for \\n taking a fancy to him; as for himself, why she was sure he was behind no\",\n \"nothing that you repent of, nothing which makes you unhappy in connection \\n with that miserable girl Ellen?\\\" \\n \\n Ernest's heart failed him. \\\"I am a dead boy now,\\\" he said to himself. He\",\n \"Ellen did what she was told, and the two parted with many tears, the \\n girl's last words being that she should never forget him, and that they \\n should meet again hereafter, she was sure they should, and then she would \\n repay him. \\n\",\n \"whom Ernest could have spoken most freely at this juncture. He told her \\n what he thought he could have told to no one else. \\n \\n \\\"You know, Ellen,\\\" he concluded, \\\"I had learnt as a boy things that I\",\n \"But to return to my story. It transpired afterwards that Miss Maitland \\n had had no intention of giving Ernest in charge when she ran out of Mrs \\n Jupp's house. She was running away because she was frightened, but\"\n ],\n [\n \"Ernest would come round; he had been sure of it, but he had hardly \\n expected the conversion to be so sudden. Ernest said no more had he, but \\n now that he saw his duty so clearly he would get ordained as soon as\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"know him. He liked looking at him if he got a chance, and was very much \\n ashamed of himself for doing so, but there the matter ended. \\n \\n By a strange accident, however, during Ernest's last year, when the names\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \"quietly, but slowly and decidedly, \\\"No, no, no,\\\" and escaped. \\n \\n It was all over with Ernest from that moment. As usual he did not know \\n it, but he had entered none the less upon another reaction. Towneley had\",\n \"But to return, the conclusion Ernest came to was that he would be a \\n tailor. He talked the matter over with the chaplain, who told him there \\n was no reason why he should not be able to earn his six or seven\",\n \"has a family, but he and Ernest very rarely have any intercourse. Of \\n course, Ernest took nothing under his father's will; this had long been \\n understood, so that the other two are both well provided for. \\n\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\",\n \"regular old brick, and that it is Ernest who is in fault all through.\\\" \\n \\n So he would behave very nicely to the boy at first, and the boy would be \\n delighted with him, and side with him against Ernest. Of course if\",\n \"very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \\n break to him some bad news about his speculations. \\n \\n \\n \\n \\n CHAPTER LX \\n \\n \\n Ernest now went home and occupied himself till luncheon with studying\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"which development follows misfortune, if the sufferer is young and of a \\n sound temperament. Ernest made no reply to his father's letter, but his \\n desire for a total break developed into something like a passion. \\\"There\",\n \"This, however, was not the general verdict concerning him, and the \\n general verdict is often the truest. \\n \\n Ernest was overwhelmed with expressions of condolence and respect for his \\n father's memory. \\\"He never,\\\" said Dr Martin, the old doctor who brought\",\n \"himself while there was yet time. \\n \\n But Ernest had not prayed to be made \\\"truly honest and conscientious\\\" for \\n as many years as Christina had. He tried to conceal what he felt and\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"than a year ago. Ernest gave them all they said they wanted and a good \\n deal more. They have already presented him with a grandson, and I doubt \\n not, will do so with many more. Georgie though only twenty-one is owner\",\n \"he had to let him have it all his own way, and this was not what he was \\n accustomed to. He was wondering how he could bring it to an end, when a \\n diversion was created by the discovery that Ernest had begun to\",\n \"and in the end ruin him. Absolute independence he believed to be his \\n only chance of very life itself. \\n \\n Over and above this--if this were not enough--Ernest had a faith in his\",\n \"towards religion. He hated people who did not know where to stop. Ernest \\n was always so _outre_ and strange; there was never any knowing what he \\n would do next, except that it would be something unusual and silly. If\",\n \"from any word of theirs. But Ernest was not an ideal boy, and he was not \\n strong enough for his surroundings; I doubt how far any boy could \\n withstand the moral pressure which was brought to bear upon him; at any\"\n ],\n [\n \"Ellen did what she was told, and the two parted with many tears, the \\n girl's last words being that she should never forget him, and that they \\n should meet again hereafter, she was sure they should, and then she would \\n repay him. \\n\",\n \"Theobald agreed that no time must be lost in paying Ellen her wages and \\n packing her off. So this was done, and less than two hours after Dr \\n Martin had entered the house Ellen was sitting beside John the coachman,\",\n \"We talked the situation over, and decided first to get the children away, \\n and then to come to terms with Ellen concerning their future custody; as \\n for herself, I proposed that we should make her an allowance of, say, a\",\n \"Ernest could only see what he gathered from the cook, namely, that his \\n favourite, Ellen, was being turned adrift with a matter of three pounds \\n in her pocket, to go she knew not where, and to do she knew not what, and\",\n \"dashed off into the conviction that the only thing to do was to pay Ellen \\n her wages, and pack her off on the instant bag and baggage out of the \\n house which purity had more especially and particularly singled out for\",\n \"living. Ellen remained with her till she was fourteen, when she first \\n went out to service. Four years later, when she was about eighteen, but \\n so well grown that she might have passed for twenty, she had been\",\n \"gentleman completely, until such time as he could work his way up again. \\n If he had been left to himself he would have lived with Ellen in the shop \\n back parlour and kitchen, and have let out both the upper floors\",\n \"\\\"And I,\\\" thought Ernest to himself again when the arrangement was \\n concluded, \\\"am the man who thought himself unlucky!\\\" \\n \\n I may as well say here all that need be said further about Ellen. For\",\n \"into a cab, and come with me at once, if you can spare time, to Mr \\n Overton's at the Temple.\\\" \\n \\n \\n \\n \\n CHAPTER LXXVII \\n \\n \\n I do not think Ernest himself was much more pleased at finding that he\",\n \"Ernest brought Ellen to me. I did not want to see her, but could not \\n well refuse. He had laid out a few of his shillings upon her wardrobe, \\n so that she was neatly dressed, and, indeed, she looked very pretty and\",\n \"Ellen without his knowledge, or for which he had already given her the \\n money. This was awful, and even Ernest turned. When he remonstrated \\n with her--not for having bought the things, but for having said nothing\",\n \"day. Ellen went with him the first few times, but she said she found it \\n too much for her, there were a few of her old friends whom she should \\n sometimes like to see, and they and he, she said, would not hit it off\",\n \"however, if Alethea chose to go and live at Roughborough, they could not \\n well stop her, and must make the best of it. \\n \\n In a few weeks' time Alethea did choose to go and live at Roughborough. A\",\n \"to him about the moneys being owing--Ellen met him with hysteria and \\n there was a scene. She had now pretty well forgotten the hard times she \\n had known when she had been on her own resources and reproached him\",\n \"devolved upon him, but his business no longer prospered. He could buy as \\n hitherto, but Ellen seemed unable to sell as she had sold at first. The \\n fact was that she sold as well as ever, but kept back part of the\",\n \"and died in his arm-chair once for all. \\n \\n As he was musing thus and looking upon the wreck of his hopes--for he saw \\n well enough that as long as he was linked to Ellen he should never rise\",\n \"friend who began like that and had now moved to a better shop, where she \\n made 5 or 6 pounds a week at least--and she, Ellen, had done the greater \\n part of the buying and selling herself. \\n\",\n \"through it all again if necessary. The loss of the money was the worst, \\n but Ellen said she was sure they would get on, and she knew all about it. \\n As for the loss of reputation--considering that he had Ellen and me left,\",\n \"to over-ride them, but in the greater number of cases, if people are \\n saved at all they are saved so as by fire. \\n \\n While Ernest was with me Ellen was looking out for a shop on the south\",\n \"its abiding city. When she thought of the fearful contamination which \\n Ellen's continued presence even for a week would occasion, she could not \\n hesitate. \\n \\n Then came the question--horrid thought!--as to who was the partner of\"\n ],\n [\n \"father. True, Ernest was not thrown in with him much yet, but he was \\n always there; there was no knowing at what moment he might not put in an \\n appearance, and whenever he did show, it was to storm about something. He\",\n \"This, however, was not the general verdict concerning him, and the \\n general verdict is often the truest. \\n \\n Ernest was overwhelmed with expressions of condolence and respect for his \\n father's memory. \\\"He never,\\\" said Dr Martin, the old doctor who brought\",\n \"His face dropped as he caught sight of Ernest. \\\"What, you here, \\n Pontifex! Well, upon my word!\\\" \\n \\n I cannot describe the hurried explanations that passed quickly between \\n the three--enough that in less than a minute Ernest, blushing more\",\n \"has a family, but he and Ernest very rarely have any intercourse. Of \\n course, Ernest took nothing under his father's will; this had long been \\n understood, so that the other two are both well provided for. \\n\",\n \"here told me. I hope you'll neither of you say you've seen me.\\\" \\n \\n We assured him we would keep his counsel, and then he left us, with many \\n protestations of affection towards Ernest, to whom he had been always \\n much attached. \\n\",\n \"that early age Ernest believed in Ernest with a belief which was amusing \\n from its absurdity. His aunt judged him charitably as she was sure to \\n do; she knew very well where the priggishness came from, and seeing that\",\n \"Ernest the description of how his father used to visit Mrs Thompson at \\n Battersby, he coloured and said--\\\"that's just what I used to say to Mr \\n Brookes.\\\" Ernest felt that his visits, so far from comforting Mr\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"know him. He liked looking at him if he got a chance, and was very much \\n ashamed of himself for doing so, but there the matter ended. \\n \\n By a strange accident, however, during Ernest's last year, when the names\",\n \"generation--that is to say as against Ernest. On this head there was an \\n offensive and defensive alliance between them, but between themselves \\n there was subdued but internecine warfare. \\n \\n This at least was what Ernest gathered, partly from his recollections of\",\n \"Ernest into the world, \\\"spoke an ill word against anyone. He was not \\n only liked, he was beloved by all who had anything to do with him.\\\" \\n \\n \\\"A more perfectly just and righteously dealing man,\\\" said the family\",\n \"his father's hand on the door, and in another second Theobald entered. \\n \\n \\\"Oh, Ernest,\\\" said he, in an off-hand, rather cheery manner, \\\"there's a \\n little matter which I should like you to explain to me, as I have no\",\n \"did, Ernest in his forlorn state was delighted to meet them. \\n \\n Pryer was about twenty-eight years old. He had been at Eton and at \\n Oxford. He was tall, and passed generally for good-looking; I only saw\",\n \"than a year ago. Ernest gave them all they said they wanted and a good \\n deal more. They have already presented him with a grandson, and I doubt \\n not, will do so with many more. Georgie though only twenty-one is owner\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\",\n \"minutes more he was on the steps in front of his father's house. His \\n father, hearing the carriage arrive, came a little way down the steps to \\n meet him. Like the coachman he saw at a glance that Ernest was appointed\",\n \"Ernest would come round; he had been sure of it, but he had hardly \\n expected the conversion to be so sudden. Ernest said no more had he, but \\n now that he saw his duty so clearly he would get ordained as soon as\",\n \"up, as a parson. It was the merest passing shade upon Towneley's face, \\n but Ernest had felt it. \\n \\n Towneley said a few words of common form to Ernest about his profession\",\n \"right, and could look forward to meeting his father without alarm. The \\n old gentleman, indeed, had written him a most cordial letter, announcing \\n his intention of standing godfather to the boy--nay, I may as well give\",\n \"I should say that Ernest had written to his father, and told him of the \\n unprecedented way in which he was being treated; he even ventured to \\n suggest that Theobald should interfere for his protection and reminded\"\n ],\n [\n \"make Ernest her heir. I do not think she had given them so much as a \\n hint to this effect. Theobald indeed gave Ernest to understand that she \\n had done so in a letter which will be given shortly, but if Theobald\",\n \"to do with her money before they knew of her being at the point of death, \\n and as I have said already, if they had thought it likely that Ernest \\n would be made heir over their own heads without their having at any rate\",\n \"endorsed upon it, to her sons when Ernest was sixteen years old. It \\n reached him on his mother's death many years later, for it was the baby \\n who died now, and not Christina. It was found among papers which she had\",\n \"was twenty-eight years old, but neither he nor anyone else, except her \\n lawyer and myself, was to know anything about it. She would leave 5000 \\n pounds in other legacies, and 15,000 pounds to Ernest--which by the time\",\n \"know how to keep what he will get from me.\\\" \\n \\n Supposing he went bankrupt before he was twenty-eight years old, the \\n money was to be mine absolutely, but she could trust me, she said, to \\n hand it over to Ernest in due time. \\n\",\n \"into a cab, and come with me at once, if you can spare time, to Mr \\n Overton's at the Temple.\\\" \\n \\n \\n \\n \\n CHAPTER LXXVII \\n \\n \\n I do not think Ernest himself was much more pleased at finding that he\",\n \"told no one else. I mean that Ernest would come into his aunt's money in \\n a few years' time, and would therefore then be rich. \\n \\n Towneley was doing all he could before this, but I knew that the\",\n \"No provision was made for either my death or Ernest's--Miss Pontifex had \\n settled it that we were neither of us going to die, and was too ill to go \\n into details; she was so anxious, moreover, to sign her will while still\",\n \" \\\"To my son Ernest,--Although you have more than once rejected my \\n overtures I appeal yet again to your better nature. Your mother, who \\n has long been ailing, is, I believe, near her end; she is unable to\",\n \"did he not hand it over to my brother John and me?\\\" He stammered a good \\n deal and looked sheepish, but he got the words out. \\n \\n \\\"Because, my dear father,\\\" said Ernest still laughing, \\\"my aunt left it\",\n \"give her confidence in you; as a matter of fact, however, she has left \\n you nothing, and the whole of her property has gone to your godfather, Mr \\n Overton. Your mother and I are willing to hope that if she had lived\",\n \"His mother kicked a little at first against the money's having gone to \\n him as she said \\\"over his papa's head.\\\" \\\"Why, my dear,\\\" she said in a \\n deprecating tone, \\\"this is more than ever your papa has had\\\"; but Ernest\",\n \"alarmed about Theobald's pocket, which she supposed would have to be \\n mulcted for all this magnificence. Perceiving this, Ernest relieved her \\n mind and told her all about his aunt's bequest, and how I had husbanded\",\n \"Her fortune consisted, as I have said, of 5000 pounds, which had come to \\n her by her mother's marriage settlements, and 15,000 pounds left her by \\n her father, over both which sums she had now absolute control. These\",\n \"sum that had been settled upon him and Christina at the time of his \\n marriage) had been cut down to 17,500 pounds when Mr Pontifex left \\n \\\"something\\\" to Ernest. The \\\"something\\\" proved to be 2500 pounds, which\",\n \"it very odd that she should want to go and live at Roughborough, but they \\n did not suspect that she was going there solely on her nephew's account, \\n much less that she had thought of making Ernest her heir. If they had\",\n \"as I have said, knew that Ernest would have money soon, but Ernest did \\n not of course know that he knew it. Towneley was rich himself, and was \\n married now; Ernest would be rich soon, had _bona fide_ intended to be\",\n \"Ellen without his knowledge, or for which he had already given her the \\n money. This was awful, and even Ernest turned. When he remonstrated \\n with her--not for having bought the things, but for having said nothing\",\n \"Presently old Mr Pontifex died, and then came the revelation of the \\n little alteration he had made in his will simultaneously with his bequest \\n to Ernest. It was rather hard to bear, especially as there was no way of\",\n \"me (even Ernest saw that it was not from Theobald at all) at any rate \\n till after my death, which for aught any of us know may be yet many years \\n distant. It is not a large sum, but it is sufficient if supplemented by\"\n ],\n [\n \"When Christina was informed by her lover of his father's opposition, and \\n of the time which must probably elapse before they could be married, she \\n offered--with how much sincerity I know not--to set him free from his\",\n \"Christina, who helped him to draft the letter, thought to be everything \\n that was filial, and expressed himself as anxious to be married with the \\n least possible delay. He could not help saying this, as Christina was at\",\n \"\\\"Of course, my dear,\\\" said Christina, and she said \\\"Gloria\\\" for ever \\n after. Then she thought what a wonderfully clever girl Charlotte was, \\n and how she ought to marry no one lower than a bishop. By-and-by when\",\n \"Christina to me, in the course of the evening, when her husband was for a \\n few moments absent. \\\"Of course one must not complain, but I assure you \\n it grieves me to see a man of Theobald's ability thrown away upon such a\",\n \"she had a grand dinner party for him, and called him \\\"My lord\\\" several \\n times), he was so much struck with her pretty face and modest demeanour \\n when he laid his hands upon her that he asked Christina about her. When\",\n \"Christina, they said the life led by their sister and brother-in-law was \\n an idyll. Happy indeed was Christina in her choice, for that she had had \\n a choice was a fiction which soon took root among them--and happy\",\n \"wish to make them his own, and this may have had something to do with the \\n rapidity and completeness with which Christina had dismissed them one \\n after another and had wanted a new one. \\n \\n And now she wanted Towneley. Ernest had seen this coming and had tried\",\n \"and others. Theobald did not like it, but he did it, or allowed it to be \\n done. \\n \\n Then Christina said: \\\"My dear, do you know, I really think\\\" (Christina\",\n \"Theobald believed her, and in ten minutes more the happy couple alighted \\n at the inn at Newmarket. \\n \\n Bravely did Christina go through her arduous task. Eagerly did she\",\n \"her duty never to lose sight of. The first step towards it would be her \\n marriage with Theobald. In spite, however, of these flights of religious \\n romanticism, Christina was a good-tempered kindly-natured girl enough,\",\n \"excuses. He was master now. Had not Christina less than two hours ago \\n promised solemnly to honour and obey him, and was she turning restive \\n over such a trifle as this? The loving smile departed from his face, and\",\n \"the beginning with them--that might do better, but as it was he did not \\n like it. He felt as he had felt when he had been required to come and be \\n married to Christina--that he had been going on for a long time quite\",\n \"I need not give Christina's answer, which of course was to accept. Much \\n as Theobald feared old Mr Allaby I do not think he would have wrought up \\n his courage to the point of actually proposing but for the fact of the\",\n \"\\\"Oh, Ernest, Ernest,\\\" sobbed Christina, \\\"be wise in time, and trust those \\n who have already shown you that they know but too well how to be \\n forbearing.\\\" \\n \\n No genuine hero of romance should have hesitated for a moment. Nothing\",\n \"The winner was Christina, the second unmarried daughter, then just twenty- \\n seven years old and therefore four years older than Theobald. The \\n younger sisters complained that it was throwing a husband away to let\",\n \"again; once more he became the fellow and tutor of his college, the \\n Junior Dean, the betrothed of Christina, the idol of the Allaby \\n womankind. From all which it may be gathered that if Christina had been\",\n \"but revolved unutterable things in his heart. Was this, then, the end of \\n his six years of unflagging devotion? Was it for this that when \\n Christina had offered to let him off, he had stuck to his engagement? Was\",\n \"\\\"We must never leave him to himself,\\\" said Theobald impressively; \\\"we can \\n neither of us wish that.\\\" \\n \\n \\\"Oh, no! no! dearest Theobald,\\\" exclaimed Christina. \\\"Whoever else\",\n \"Christina were married the sooner they fell into their future mutual \\n relations the better. If people who are in a difficulty will only do the \\n first little reasonable thing which they can clearly recognise as \\n reasonable, they will always find the next step more easy both to see and\",\n \" \\\"Dearest Miss Christina,--I do not know whether you have guessed the \\n feelings that I have long entertained for you--feelings which I have \\n concealed as much as I could through fear of drawing you into an\"\n ],\n [\n \"has a family, but he and Ernest very rarely have any intercourse. Of \\n course, Ernest took nothing under his father's will; this had long been \\n understood, so that the other two are both well provided for. \\n\",\n \"quarrelled with his father and mother she assumed as a matter of course \\n that the fault must lie entirely with Ernest. \\n \\n \\\"Oh, your pore, pore ma!\\\" said Ellen. \\\"She was always so very fond of\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"father. True, Ernest was not thrown in with him much yet, but he was \\n always there; there was no knowing at what moment he might not put in an \\n appearance, and whenever he did show, it was to storm about something. He\",\n \"generation--that is to say as against Ernest. On this head there was an \\n offensive and defensive alliance between them, but between themselves \\n there was subdued but internecine warfare. \\n \\n This at least was what Ernest gathered, partly from his recollections of\",\n \"no idea of entirely breaking with him. He knew his son well enough to \\n have a pretty shrewd idea that this was what Ernest would wish himself, \\n and perhaps as much for this reason as for any other he was determined to\",\n \"never alluded to them in his father's presence. The pair, as I have \\n said, got on excellently, but it was doubtless as well that Ernest's \\n visits were short and not too frequent. Once Theobald wanted Ernest to\",\n \"Ernest, Ernest, do not grieve one who is so good and noble-hearted by \\n conduct which I can call by no other name than ingratitude.\\\" \\n \\n Ernest could never stand being spoken to in this way by his mother: for\",\n \"Ernest had also inherited his mother's love of building castles in the \\n air, and--so I suppose it must be called--her vanity. He was very fond \\n of showing off, and, provided he could attract attention, cared little\",\n \"Then came the odious task of getting rid of their unhappy mother. \\n Ernest's heart smote him at the notion of the shock the break-up would be \\n to her. He was always thinking that people had a claim upon him for some\",\n \" mother, C. P.\\\" \\n \\n This letter did not produce the effect on Ernest that it would have done \\n before his imprisonment began. His father and mother thought they could \\n take him up as they had left him off. They forgot the rapidity with\",\n \"Ernest felt that this last home-thrust was just. In his less anxious \\n moments he had thought his papa and mamma \\\"green\\\" for the readiness with \\n which they believed him, but he could not deny that their credulity was a\",\n \"his own estimation, and he was beginning almost to think that his mother \\n was a better judge of character than he was; but I think it may be \\n assumed with some certainty that if Ernest had brought her a real young\",\n \"\\\"Now look here, Ernest,\\\" said his father with his blackest scowl, \\\"I am \\n going to put a stop to this nonsense once for all. Either take me fully \\n into your confidence, as a son should take a father, and trust me to deal\",\n \"which development follows misfortune, if the sufferer is young and of a \\n sound temperament. Ernest made no reply to his father's letter, but his \\n desire for a total break developed into something like a passion. \\\"There\",\n \"bring his children, but Ernest knew they would not like it, so this was \\n not done. \\n \\n Sometimes Theobald came up to town on small business matters and paid a \\n visit to Ernest's chambers; he generally brought with him a couple of\",\n \"from any word of theirs. But Ernest was not an ideal boy, and he was not \\n strong enough for his surroundings; I doubt how far any boy could \\n withstand the moral pressure which was brought to bear upon him; at any\",\n \"that early age Ernest believed in Ernest with a belief which was amusing \\n from its absurdity. His aunt judged him charitably as she was sure to \\n do; she knew very well where the priggishness came from, and seeing that\",\n \"This, however, was not the general verdict concerning him, and the \\n general verdict is often the truest. \\n \\n Ernest was overwhelmed with expressions of condolence and respect for his \\n father's memory. \\\"He never,\\\" said Dr Martin, the old doctor who brought\",\n \"of flight came, he was quick in making it; the time, however, was not yet \\n come, and the intimacy between the two was apparently all that it had \\n ever been. It was only that horrid money business (so said Ernest to\"\n ],\n [\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"was at an end. \\n \\n \\n \\n \\n CHAPTER LXVII \\n \\n \\n As soon as Ernest found that he had no money to look to upon leaving \\n prison he saw that his dreams about emigrating and farming must come to\",\n \"After Ernest had been sentenced, he was taken back to the cells to wait \\n for the van which should take him to Coldbath Fields, where he was to \\n serve his term. \\n \\n He was still too stunned and dazed by the suddenness with which events\",\n \"gaol asking whether he could be admitted inside the gaol to receive \\n Ernest when his sentence had expired. He received answer in the \\n affirmative, and the pair left Battersby the day before Ernest was to \\n come out of prison. \\n\",\n \"\\\"Very well, Ernest,\\\" said his father, catching him angrily by the \\n shoulder. \\\"I have done my best to save you, but if you will have it so, \\n you will,\\\" and he lugged the little wretch, crying by anticipation, out\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"chasteneth, Susan,' and here she began to cry again. 'As for him,' she \\n went on, 'he has made his bed, and he must lie on it; when he comes out \\n of prison his pa will know what is best to be done, and Master Ernest may\",\n \"Ernest had not reckoned on this, and was rather surprised on being told a \\n few minutes before nine that he was to go into the receiving room before \\n he left the prison as there were visitors waiting to see him. His heart\",\n \"in the present case. It was not Ernest's having been imprisoned. \\n Theobald forgot all about that much sooner than nine fathers out of ten \\n would have done. Partly, no doubt, it was due to incompatibility of\",\n \"But to return to my story. When Ernest got to the top of the street and \\n looked back, he saw the grimy, sullen walls of his prison filling up the \\n end of it. He paused for a minute or two. \\\"There,\\\" he said to himself,\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \"Ernest was now so far convalescent as to be able to sit up for the \\n greater part of the day. He had been three months in prison, and, though \\n not strong enough to leave the infirmary, was beyond all fear of a\",\n \" mother, C. P.\\\" \\n \\n This letter did not produce the effect on Ernest that it would have done \\n before his imprisonment began. His father and mother thought they could \\n take him up as they had left him off. They forgot the rapidity with\",\n \"Ernest got off with the head boys easier than he expected. It was \\n admitted that the offence, heinous though it was, had been committed \\n under extenuating circumstances; the frankness with which the culprit had\",\n \"himself while there was yet time. \\n \\n But Ernest had not prayed to be made \\\"truly honest and conscientious\\\" for \\n as many years as Christina had. He tried to conceal what he felt and\",\n \"very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \\n break to him some bad news about his speculations. \\n \\n \\n \\n \\n CHAPTER LX \\n \\n \\n Ernest now went home and occupied himself till luncheon with studying\",\n \"quietly, but slowly and decidedly, \\\"No, no, no,\\\" and escaped. \\n \\n It was all over with Ernest from that moment. As usual he did not know \\n it, but he had entered none the less upon another reaction. Towneley had\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\",\n \"He came to me--not for money, but to tell me his miserable story. I had \\n seen for some time that there was something wrong, and had suspected \\n pretty shrewdly what the matter was, but of course I said nothing. Ernest\",\n \"no idea of entirely breaking with him. He knew his son well enough to \\n have a pretty shrewd idea that this was what Ernest would wish himself, \\n and perhaps as much for this reason as for any other he was determined to\"\n ],\n [\n \"In less than a fortnight from the time of his leaving prison all these \\n arrangements had been completed, and Ernest felt that he had again linked \\n himself on to the life which he had led before his imprisonment--with a \\n few important differences, however, which were greatly to his advantage.\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"was at an end. \\n \\n \\n \\n \\n CHAPTER LXVII \\n \\n \\n As soon as Ernest found that he had no money to look to upon leaving \\n prison he saw that his dreams about emigrating and farming must come to\",\n \"\\\"Well, I have,\\\" said Ernest, with a forced laugh, \\\"I came out three or \\n four days ago after six months with hard labour.\\\" \\n \\n Ellen did not believe him, but she looked at him with a \\\"Lor'! Master\",\n \"But to return, the conclusion Ernest came to was that he would be a \\n tailor. He talked the matter over with the chaplain, who told him there \\n was no reason why he should not be able to earn his six or seven\",\n \"Ernest was now so far convalescent as to be able to sit up for the \\n greater part of the day. He had been three months in prison, and, though \\n not strong enough to leave the infirmary, was beyond all fear of a\",\n \"But to return to my story. When Ernest got to the top of the street and \\n looked back, he saw the grimy, sullen walls of his prison filling up the \\n end of it. He paused for a minute or two. \\\"There,\\\" he said to himself,\",\n \"good or not, but I am sure Ernest's instinct was right in telling him \\n that after a heavy fall he had better begin life again at a very low \\n stage, and as I have just said, I would have let him go back to his shop\",\n \"chasteneth, Susan,' and here she began to cry again. 'As for him,' she \\n went on, 'he has made his bed, and he must lie on it; when he comes out \\n of prison his pa will know what is best to be done, and Master Ernest may\",\n \"respects Ernest should have proved his steadfastness. Then they might \\n steal out again little by little--and so they did. \\n \\n Ernest now wrote home a letter couched in a vein different from his\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\",\n \" mother, C. P.\\\" \\n \\n This letter did not produce the effect on Ernest that it would have done \\n before his imprisonment began. His father and mother thought they could \\n take him up as they had left him off. They forgot the rapidity with\",\n \"Ernest would come round; he had been sure of it, but he had hardly \\n expected the conversion to be so sudden. Ernest said no more had he, but \\n now that he saw his duty so clearly he would get ordained as soon as\",\n \"in the present case. It was not Ernest's having been imprisoned. \\n Theobald forgot all about that much sooner than nine fathers out of ten \\n would have done. Partly, no doubt, it was due to incompatibility of\",\n \"Then Ernest got into a field by the roadside, flung himself on the grass, \\n and waited under the shadow of a hedge till the carriage should pass on \\n its return from the station and pick him up, for he was dead beat.\",\n \"gaol asking whether he could be admitted inside the gaol to receive \\n Ernest when his sentence had expired. He received answer in the \\n affirmative, and the pair left Battersby the day before Ernest was to \\n come out of prison. \\n\",\n \"music, books, learning his trade, and conversation with the chaplain, who \\n was just the kindly, sensible person that Ernest wanted in order to \\n steady him a little, the days went by so pleasantly that when the time\",\n \"very last time that Ernest ever saw Pryer. Perhaps Pryer was going to \\n break to him some bad news about his speculations. \\n \\n \\n \\n \\n CHAPTER LX \\n \\n \\n Ernest now went home and occupied himself till luncheon with studying\",\n \"The winter had been a trying one. Ernest had only paid his way by \\n selling his piano. With this he seemed to cut away the last link that \\n connected him with his earlier life, and to sink once for all into the\",\n \"men.\\\" What culture is comparable to this? What a lie, what a sickly \\n debilitating debauch did not Ernest's school and university career now \\n seem to him, in comparison with his life in prison and as a tailor in\"\n ],\n [\n \"perhaps may be interested. You see we must infuse new life into the \\n Church somehow; we are not holding our own against either Rome or \\n infidelity.\\\" (I may say in passing that I do not believe Ernest had as\",\n \"Ernest felt the force of this, and Pryer saw that he wavered. \\n \\n \\\"We are living,\\\" he continued more genially, \\\"in an age of transition, \\n and in a country which, though it has gained much by the Reformation,\",\n \"Ernest would come round; he had been sure of it, but he had hardly \\n expected the conversion to be so sudden. Ernest said no more had he, but \\n now that he saw his duty so clearly he would get ordained as soon as\",\n \"In his eagerness to regenerate the Church of England (and through this \\n the universe) by the means which Pryer had suggested to him, it occurred \\n to him to try to familiarise himself with the habits and thoughts of the\",\n \"\\\"And now, my dear,\\\" resumed Christina, after having disposed of all the \\n difficulties that might stand in the way of Ernest's becoming a \\n clergyman, \\\"there is another matter on which I should like to have a talk\",\n \"many practices he now tolerated which in his youth he would have \\n considered Popish; he knew very well therefore which way things were \\n going in Church matters, and saw that as usual Ernest was setting himself \\n the other way. The opportunity for telling his son that he was a fool\",\n \"the Church--how far more wisely God arranges matters for us than ever we \\n can do for ourselves! She saw it all now--it was Joey who would become \\n Archbishop of Canterbury and Ernest would remain a layman and become\",\n \"Nothing indeed; but giving occasional half-crowns to Mrs Gover was not \\n regenerating the universe, and Ernest wanted nothing short of this. The \\n world was all out of joint, and instead of feeling it to be a cursed\",\n \"Ernest expressed his readiness to be questioned. \\n \\n \\\"Then,\\\" said the tinker, \\\"give me the story of the Resurrection of Jesus \\n Christ as told in St John's gospel.\\\" \\n\",\n \"and in the end ruin him. Absolute independence he believed to be his \\n only chance of very life itself. \\n \\n Over and above this--if this were not enough--Ernest had a faith in his\",\n \"over Ernest, as Ernest had often noticed them wander before: the words \\n were about Church discipline, but somehow or other the discipline part of \\n the story had a knack of dropping out after having been again and again\",\n \"called Theobald \\\"papa\\\" when talking to Ernest) \\\"is so anxious you should \\n not go into the Church blindly, and without fully realising the \\n difficulties of a clergyman's position. He has considered all of them\",\n \"Ernest asked in what respects it was that his friend desired a return to \\n the practice of our forefathers. \\n \\n \\\"Why, my dear fellow, can you really be ignorant? It is just this, \\n either the priest is indeed a spiritual guide, as being able to show\",\n \"say nothing at all about it, and I never will.\\\" Of course no further \\n questioning was possible. It had more than once occurred to Ernest that \\n Charlotte did not in reality believe more than he did himself, and this\",\n \"Ernest had become acquainted with him, when the two were taking a \\n constitutional one day in Kensington Gardens, \\\"You know, my dear \\n Pontifex, it is all very well to quarrel with Rome, but Rome has reduced\",\n \"Christians, the second, with few exceptions, she regarded with suspicion, \\n not wholly unmingled with contempt. \\n \\n Then Ernest told her what had happened to him during the last six months, \\n and by-and-by she believed him. \\n\",\n \"Before, however, I had come to this conclusion, I had thought that Ernest \\n might be able to help me to the right thing, and had written to him upon \\n the subject. The following is the answer I received-- \\n\",\n \"Ernest, quite prepared to be told that Pryer believed nothing of the \\n kind. \\n \\n \\\"I do not believe it, I know it.\\\" \\n \\n \\\"But how--if the testimony of the Bible fails?\\\" \\n\",\n \"have ever had from him; my hope henceforth must be in my remaining \\n children.\\\" \\n \\n I told him how Ernest's fellow curate had got hold of his money, and \\n hinted that he might very likely be penniless, or nearly so, on leaving\",\n \"I?\\\" Ernest said, \\\"I suppose not,\\\" and was checked. By-and-by he vented \\n a number of small second-hand priggishnesses which he had caught up \\n believing them to be the correct thing, and made it plain that even at\"\n ],\n [\n \"\\\"And I,\\\" thought Ernest to himself again when the arrangement was \\n concluded, \\\"am the man who thought himself unlucky!\\\" \\n \\n I may as well say here all that need be said further about Ellen. For\",\n \"The great change in Ellen's life consequent upon her meeting Ernest and \\n getting married had for a time actually sobered her by shaking her out of \\n her old ways. Drunkenness is so much a matter of habit, and habit so\",\n \"Ernest had by this time been married some two months, for he had stuck to \\n his original plan of marrying Ellen on the first day he could legally do \\n so. This date was a little delayed by the change of abode from Laystall\",\n \"Ernest brought Ellen to me. I did not want to see her, but could not \\n well refuse. He had laid out a few of his shillings upon her wardrobe, \\n so that she was neatly dressed, and, indeed, she looked very pretty and\",\n \"Ellen without his knowledge, or for which he had already given her the \\n money. This was awful, and even Ernest turned. When he remonstrated \\n with her--not for having bought the things, but for having said nothing\",\n \"Ernest,\\\" and dried her eyes at once. The ice was broken between them, \\n for as a matter of fact Ellen had been in prison several times, and \\n though she did not believe Ernest, his merely saying he had been in\",\n \"Ernest could only see what he gathered from the cook, namely, that his \\n favourite, Ellen, was being turned adrift with a matter of three pounds \\n in her pocket, to go she knew not where, and to do she knew not what, and\",\n \"she replied that Ellen was one of her own servants, the bishop seemed, so \\n she thought or chose to think, quite pleased that so pretty a girl should \\n have found so exceptionally good a situation. \\n \\n Ernest used to get up early during the holidays so that he might play the\",\n \"I think the devil must have chuckled and made tolerably sure of his game \\n this time. \\n \\n \\n \\n \\n CHAPTER LXXII \\n \\n \\n Ernest told Ellen of his difficulty about finding employment. \\n\",\n \"if Ellen had been only what he thought her, and if his prospects had been \\n in reality no better than he believed they were, I do not know that there \\n is anything much more imprudent in what Ernest proposed than there is in \\n half the marriages that take place every day.\",\n \"whom Ernest could have spoken most freely at this juncture. He told her \\n what he thought he could have told to no one else. \\n \\n \\\"You know, Ellen,\\\" he concluded, \\\"I had learnt as a boy things that I\",\n \"which Ellen would suffer on becoming an outcast again. Ernest saw Mrs \\n Richards, the neighbour who had called him down on the night when he had \\n first discovered his wife's drunkenness, and got from her some details of\",\n \"quarrelled with his father and mother she assumed as a matter of course \\n that the fault must lie entirely with Ernest. \\n \\n \\\"Oh, your pore, pore ma!\\\" said Ellen. \\\"She was always so very fond of\",\n \"Ellen's guilt? Was it, could it be, her own son, her darling Ernest? \\n Ernest was getting a big boy now. She could excuse any young woman for \\n taking a fancy to him; as for himself, why she was sure he was behind no\",\n \"afraid I showed this, for he again avoided me for some time, and, indeed, \\n for many months I hardly saw him at all. \\n \\n Ellen remained very ill for some days, and then gradually recovered. \\n Ernest hardly left her till she was out of danger. When she had\",\n \"allowance myself--of course intending that it should come out of Ernest's \\n money; but he would not hear of this. He had married Ellen, he said, and \\n he must try to reform her. He hated it, but he must try; and finding him\",\n \"living. Ellen remained with her till she was fourteen, when she first \\n went out to service. Four years later, when she was about eighteen, but \\n so well grown that she might have passed for twenty, she had been\",\n \"but his shyness had worn off with Ellen, and the pair had become fast \\n friends. \\n \\n Perhaps it was well that Ernest was not at home for very long together, \\n but as yet his affection though hearty was quite Platonic. He was not\",\n \"to over-ride them, but in the greater number of cases, if people are \\n saved at all they are saved so as by fire. \\n \\n While Ernest was with me Ellen was looking out for a shop on the south\",\n \"\\\"But what do you think of going into a shop for, my dear,\\\" said Ellen. \\n \\\"Why not take a little shop yourself?\\\" \\n \\n Ernest asked how much this would cost. Ellen told him that he might take\"\n ],\n [\n \"some other similar small token of recognition, but no letter. Of the \\n children she has taken no notice. \\n \\n \\n \\n \\n CHAPTER LXXVIII \\n \\n \\n Ernest was now well turned twenty-six years old, and in little more than\",\n \"endorsed upon it, to her sons when Ernest was sixteen years old. It \\n reached him on his mother's death many years later, for it was the baby \\n who died now, and not Christina. It was found among papers which she had\",\n \"than a year ago. Ernest gave them all they said they wanted and a good \\n deal more. They have already presented him with a grandson, and I doubt \\n not, will do so with many more. Georgie though only twenty-one is owner\",\n \"did, Ernest in his forlorn state was delighted to meet them. \\n \\n Pryer was about twenty-eight years old. He had been at Eton and at \\n Oxford. He was tall, and passed generally for good-looking; I only saw\",\n \"that early age Ernest believed in Ernest with a belief which was amusing \\n from its absurdity. His aunt judged him charitably as she was sure to \\n do; she knew very well where the priggishness came from, and seeing that\",\n \"Ernest would like best and Theobald least. \\n \\n A few days, however, after Ernest had come into his property, I received \\n a letter from Theobald enclosing one for Ernest which I could not \\n withhold. \\n \\n The letter ran thus:--\",\n \"assuming, however, that if anything did happen to her while they were \\n still alive, the money would, as a matter of course, come to them. \\n \\n The prospect of Alethea seeing much of Ernest was a serious matter.\",\n \"better suited to her than either John or Ernest. On his birthday Ernest \\n generally receives an envelope with an American post-mark containing a \\n book-marker with a flaunting text upon it, or a moral kettle-holder, or\",\n \"about Alethea's wishing to keep it, and Ernest would not have a house of \\n his own for ever so many years, and they could never have it at the \\n Rectory. Oh, no! Battersby Church was the only proper place for it. \\n\",\n \"Charlotte, but to see so much of Ernest as should enable her to form an \\n opinion about his disposition and abilities. \\n \\n He had now been a year and a half at Roughborough and was nearly fourteen\",\n \"had got him off the school premises; and Ernest felt at once that she \\n contrasted favourably even with his aunts the Misses Allaby, who were so \\n very sweet and good. The Misses Allaby were very poor; sixpence was to\",\n \"least risk and greatest satisfaction to himself. This organ, it may be \\n guessed, was nothing else than Ernest; to Ernest therefore he proceeded \\n to unburden himself, not personally, but by letter. \\n\",\n \"little trace upon her. \\n \\n Ernest saw only the fresh-looking smiling face, the dimpled cheek, the \\n clear blue eyes and lovely sphinx-like lips which he had remembered as a \\n boy. At nineteen she had looked older than she was, now she looked much\",\n \"\\\"It had occurred to your mother and myself that we should like to set you \\n up with a watch again before you went back to school\\\" (\\\"Oh, that's all,\\\" \\n said Ernest to himself quite relieved), \\\"and I have been to-day to look\",\n \"Nothing was to be said to Ernest, but it was to be bought, and laid upon \\n his plate as a surprise just before the holidays were over. Theobald \\n would have to go to the county town in a few days, and could then find\",\n \"he was,--but so are a great many other young people of Ernest's age. \\n \\n \\n \\n \\n CHAPTER XXXVII \\n \\n \\n If Theobald and Christina had not been too well pleased when Miss\",\n \"his own estimation, and he was beginning almost to think that his mother \\n was a better judge of character than he was; but I think it may be \\n assumed with some certainty that if Ernest had brought her a real young\",\n \"rector had bought in Germany--the work, it was supposed, of Albert Durer. \\n He questioned Ernest, and finding that he was fond of music, he said in \\n his old trembling voice (for he was over eighty), \\\"Then you should have\",\n \"written to Ernest to say she was coming and he was of course on the look- \\n out for her. He had not seen her for so long that he was rather shy at \\n first, but her good nature soon set him at his ease. She was so strongly\",\n \"was twenty-eight years old, but neither he nor anyone else, except her \\n lawyer and myself, was to know anything about it. She would leave 5000 \\n pounds in other legacies, and 15,000 pounds to Ernest--which by the time\"\n ]\n]"},"questions":{"kind":"list like","value":["Theobald was being pressed by his father to become what?","With whom did Ernest have an antagonistic relationship with?","How old did Ernest have to be to receive Alethea's small fortune?","What led to Ernest being imprisoned?","What did Ernest lose his faith in after having a conversation with a poor person?","Once out of prison, what did Ernest want to do for work?","Ellen practiced what two things?","Ernest eventually authored what?","What did Ellen used to be before marrying Ernest?","Who is the narrator in this story?","Who is the central character of the story?","What is the narrator's relation to Ernest Pontifex, the main character?","Who leaves Overton a fortune after her death, that he is able to claim after Ernest turns 28 years old?","What does Ernest do that lands him in jail?","What do Ernest's parents do when they learn of Ernest's arrest?","What job does Ernest take up after he is released from prison?","Who does Ernest marry?","What made Ellen leave Ernest?","What does Ernest eventually become?","Where does Ellen go after Overton gives her a stipend?","Who is Ernest's godfather?","Who gives Overton a fortune to give to Ernest before her death?","Who is manipulated to marry Christina?","What type of relationship does Ernest have with his parents?","Why does Ernest go to prison?","What profession does Ernest take up when he gets out of prison?","What does Ernest believe will regenerate the Church of England?","What job did Ellen have before marrying Ernest?","How old is Ernest when he receives Alethea's gift?"],"string":"[\n \"Theobald was being pressed by his father to become what?\",\n \"With whom did Ernest have an antagonistic relationship with?\",\n \"How old did Ernest have to be to receive Alethea's small fortune?\",\n \"What led to Ernest being imprisoned?\",\n \"What did Ernest lose his faith in after having a conversation with a poor person?\",\n \"Once out of prison, what did Ernest want to do for work?\",\n \"Ellen practiced what two things?\",\n \"Ernest eventually authored what?\",\n \"What did Ellen used to be before marrying Ernest?\",\n \"Who is the narrator in this story?\",\n \"Who is the central character of the story?\",\n \"What is the narrator's relation to Ernest Pontifex, the main character?\",\n \"Who leaves Overton a fortune after her death, that he is able to claim after Ernest turns 28 years old?\",\n \"What does Ernest do that lands him in jail?\",\n \"What do Ernest's parents do when they learn of Ernest's arrest?\",\n \"What job does Ernest take up after he is released from prison?\",\n \"Who does Ernest marry?\",\n \"What made Ellen leave Ernest?\",\n \"What does Ernest eventually become?\",\n \"Where does Ellen go after Overton gives her a stipend?\",\n \"Who is Ernest's godfather?\",\n \"Who gives Overton a fortune to give to Ernest before her death?\",\n \"Who is manipulated to marry Christina?\",\n \"What type of relationship does Ernest have with his parents?\",\n \"Why does Ernest go to prison?\",\n \"What profession does Ernest take up when he gets out of prison?\",\n \"What does Ernest believe will regenerate the Church of England?\",\n \"What job did Ellen have before marrying Ernest?\",\n \"How old is Ernest when he receives Alethea's gift?\"\n]"},"answers":{"kind":"list like","value":[["A minister.","clergyman"],["His parents.","His parents. "],["28 years old.","28"],["He attempted a sexual assault on what he thought was an immoral woman.","he assaulted a woman"],["The integrity of the Bible.","in the Bible"],["Be a tailor.","become a tailor"],["Bigamy and alcoholism.","she is a bigamist and an alcoholic"],["Controversial literature.","controversial literature"],["A housemaid of Ernest's parents.","a housemaid for his parents"],["Overton","Overton."],["Ernest Pontifex","Ernest Pontifex."],["The narrator is Ernest's godfather","his godfather"],["Ernest's Aunt Alethea","aunt Alethea "],["Attempts to sexually assault a woman","assaults a woman "],["They disown him","disown him"],["Tailoring","tailor"],["Ellen, his parent's former housemaid","He marries Ellen."],["Overton paid her","Overton pays her a stipend."],["An author","author of controversial literature"],["America","America"],["Overton","Overton, the narrator of the story."],["Alethea","aunt Alethea "],["Theobold","Theobald."],["He has an antagonistic relationship with his parents.","Antagonistic. "],["He attempted to sexually assault a woman.","He attempted to sexually assault a woman. "],["He decides to become a tailor.","he becomes a tailor"],["He believes that living among the poor will help the Church of England.","The way to regenerate the Church of England would be to live among the poor."],["She was the maid for Ernest's parents.","a maid in his parents' house"],["Ernest was 28.","28 yrs old"]],"string":"[\n [\n \"A minister.\",\n \"clergyman\"\n ],\n [\n \"His parents.\",\n \"His parents. \"\n ],\n [\n \"28 years old.\",\n \"28\"\n ],\n [\n \"He attempted a sexual assault on what he thought was an immoral woman.\",\n \"he assaulted a woman\"\n ],\n [\n \"The integrity of the Bible.\",\n \"in the Bible\"\n ],\n [\n \"Be a tailor.\",\n \"become a tailor\"\n ],\n [\n \"Bigamy and alcoholism.\",\n \"she is a bigamist and an alcoholic\"\n ],\n [\n \"Controversial literature.\",\n \"controversial literature\"\n ],\n [\n \"A housemaid of Ernest's parents.\",\n \"a housemaid for his parents\"\n ],\n [\n \"Overton\",\n \"Overton.\"\n ],\n [\n \"Ernest Pontifex\",\n \"Ernest Pontifex.\"\n ],\n [\n \"The narrator is Ernest's godfather\",\n \"his godfather\"\n ],\n [\n \"Ernest's Aunt Alethea\",\n \"aunt Alethea \"\n ],\n [\n \"Attempts to sexually assault a woman\",\n \"assaults a woman \"\n ],\n [\n \"They disown him\",\n \"disown him\"\n ],\n [\n \"Tailoring\",\n \"tailor\"\n ],\n [\n \"Ellen, his parent's former housemaid\",\n \"He marries Ellen.\"\n ],\n [\n \"Overton paid her\",\n \"Overton pays her a stipend.\"\n ],\n [\n \"An author\",\n \"author of controversial literature\"\n ],\n [\n \"America\",\n \"America\"\n ],\n [\n \"Overton\",\n \"Overton, the narrator of the story.\"\n ],\n [\n \"Alethea\",\n \"aunt Alethea \"\n ],\n [\n \"Theobold\",\n \"Theobald.\"\n ],\n [\n \"He has an antagonistic relationship with his parents.\",\n \"Antagonistic. \"\n ],\n [\n \"He attempted to sexually assault a woman.\",\n \"He attempted to sexually assault a woman. \"\n ],\n [\n \"He decides to become a tailor.\",\n \"he becomes a tailor\"\n ],\n [\n \"He believes that living among the poor will help the Church of England.\",\n \"The way to regenerate the Church of England would be to live among the poor.\"\n ],\n [\n \"She was the maid for Ernest's parents.\",\n \"a maid in his parents' house\"\n ],\n [\n \"Ernest was 28.\",\n \"28 yrs old\"\n ]\n]"},"document_id":{"kind":"string","value":"f90f97c9ae38be55921b5e8a93d06ddada82dd1f"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":75,"cells":{"text":{"kind":"list like","value":[["A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the"],["HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner"],["mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","produced from images generously made available by The \n Internet Archive) \n \n \n \n \n \n \n \n \n \n \n THE TALE OF TWO BAD MICE \n \n \n \n \n \n FOR","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","THERE were two red lobsters and a ham, a fish, a pudding, and some \n pears and oranges. \n \n They would not come off the plates, but they were extremely beautiful. \n"],["could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n"],["THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n"],["THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n"],["TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n"],["THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n"],["THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n"],["ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n"],["THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the"],["THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they"],["Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","As the fish would not come off the plate, they put it into the red-hot \n crinkly paper fire in the kitchen; but it would not burn either. \n \n \n \n \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","THERE were two red lobsters and a ham, a fish, a pudding, and some \n pears and oranges. \n \n They would not come off the plates, but they were extremely beautiful. \n"],["HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red"],["labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n"],["ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red"],["THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n"],["near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they"," GUTENBERG EBOOK THE TALE OF TWO BAD MICE *** \n \n \n \n \n Produced by David Edwards, Emmy and the Online Distributed \n Proofreading Team at http://www.pgdp.net (This file was","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","produced from images generously made available by The \n Internet Archive) \n \n \n \n \n \n \n \n \n \n \n THE TALE OF TWO BAD MICE \n \n \n \n \n \n FOR","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n"," TWO BAD MICE \n \n BY \n BEATRIX POTTER \n \n _Author of \n 'The Tale of Peter Rabbit,' &c._ \n \n \n \n \n \n LONDON","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the"],["AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n"],["of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n"],["ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF"],["produced from images generously made available by The \n Internet Archive) \n \n \n \n \n \n \n \n \n \n \n THE TALE OF TWO BAD MICE \n \n \n \n \n \n FOR"," GUTENBERG EBOOK THE TALE OF TWO BAD MICE *** \n \n \n \n \n Produced by David Edwards, Emmy and the Online Distributed \n Proofreading Team at http://www.pgdp.net (This file was"," TWO BAD MICE \n \n BY \n BEATRIX POTTER \n \n _Author of \n 'The Tale of Peter Rabbit,' &c._ \n \n \n \n \n \n LONDON","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","End of Project Gutenberg's The Tale of Two Bad Mice, by Beatrix Potter \n \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n"],["HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","produced from images generously made available by The \n Internet Archive) \n \n \n \n \n \n \n \n \n \n \n THE TALE OF TWO BAD MICE \n \n \n \n \n \n FOR","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n"," GUTENBERG EBOOK THE TALE OF TWO BAD MICE *** \n \n \n \n \n Produced by David Edwards, Emmy and the Online Distributed \n Proofreading Team at http://www.pgdp.net (This file was","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY"],["Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red"],["Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","As the fish would not come off the plate, they put it into the red-hot \n crinkly paper fire in the kitchen; but it would not burn either. \n \n \n \n \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n"],["HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","produced from images generously made available by The \n Internet Archive) \n \n \n \n \n \n \n \n \n \n \n THE TALE OF TWO BAD MICE \n \n \n \n \n \n FOR"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF"],["THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","brick with white windows, and it had real muslin curtains and a front \n door and a chimney. \n \n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \n to Lucinda, but she never ordered meals. \n","SHE also has some useful pots and pans, and several other things. \n \n \n \n \n \n THE little girl that the doll's-house belonged to, said,--\"I will get \n a doll dressed like a policeman!\" \n"," =W. M. L. W.= \n THE LITTLE GIRL \n WHO HAD THE DOLL'S HOUSE \n \n \n \n \n \n \n THE TALE OF","WHAT a sight met the eyes of Jane and Lucinda! \n \n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \n against the kitchen dresser and smiled--but neither of them made any \n remark. \n \n \n \n \n"," FREDERICK WARNE & CO. \n ENTERED AT STATIONERS' HALL. \n \n \n \n \n \n \n ONCE upon a time there was a very beautiful doll's-house; it was red","near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","of Lucinda's bolster, she remembered that she herself was in want of a \n feather bed. \n \n WITH Tom Thumb's assistance she carried the bolster downstairs, and \n across the hearth-rug. It was difficult to squeeze the bolster into the","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","Jane was the Cook; but she never did any cooking, because the dinner \n had been bought ready-made, in a box full of shavings. \n \n \n \n \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the"],["near the fire-place, where there was a hole under the skirting-board. \n \n Tom Thumb put out his head for a moment, and then popped it in again. \n \n Tom Thumb was a mouse. \n \n \n \n \n","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n"," GUTENBERG EBOOK THE TALE OF TWO BAD MICE *** \n \n \n \n \n Produced by David Edwards, Emmy and the Online Distributed \n Proofreading Team at http://www.pgdp.net (This file was","produced from images generously made available by The \n Internet Archive) \n \n \n \n \n \n \n \n \n \n \n THE TALE OF TWO BAD MICE \n \n \n \n \n \n FOR","HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","spoons, and lead knives and forks, and two dolly-chairs--all _so_ \n convenient! \n \n TOM THUMB set to work at once to carve the ham. It was a beautiful \n shiny yellow, streaked with red. \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n"," TWO BAD MICE \n \n BY \n BEATRIX POTTER \n \n _Author of \n 'The Tale of Peter Rabbit,' &c._ \n \n \n \n \n \n LONDON"],["HUNCA MUNCA stood up in her chair, and chopped at the ham with another \n lead knife. \n \n \"It's as hard as the hams at the cheesemonger's,\" said Hunca Munca. \n","HUNCA MUNCA was just returning with another chair, when suddenly there \n was a noise of talking outside upon the landing. The mice rushed back \n to their hole, and the dolls came into the nursery. \n","HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \n dish. \n \n Then Tom Thumb lost his temper. He put the ham in the middle of the","AND very early every morning--before anybody is awake--Hunca Munca \n comes with her dust-pan and her broom to sweep the Dollies' house! \n \n THE END. \n \n \n \n PRINTED BY","could--especially Tom Thumb! He took Jane's clothes out of the chest of \n drawers in her bedroom, and he threw them out of the top floor window. \n \n But Hunca Munca had a frugal mind. After pulling half the feathers out","The knife crumpled up and hurt him; he put his finger in his mouth. \n \n \"It is not boiled enough; it is hard. You have a try, Hunca Munca.\" \n \n \n \n \n","TOM THUMB and Hunca Munca went upstairs and peeped into the \n dining-room. Then they squeaked with joy! \n \n Such a lovely dinner was laid out upon the table! There were tin","He found a crooked sixpence under the hearthrug; and upon Christmas \n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \n and Jane. \n \n \n \n \n","A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \n when she saw that there was no one in the nursery, she ventured out on \n the oilcloth under the coal-box. \n","mouse-hole; but they managed it somehow. \n \n \n \n \n \n THEN Hunca Munca went back and fetched a chair, a book-case, a \n bird-cage, and several small odds and ends. The book-case and the","THEN there was no end to the rage and disappointment of Tom Thumb and \n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \n oranges. \n","TOM THUMB went up the kitchen chimney and looked out at the top--there \n was no soot. \n \n WHILE Tom Thumb was up the chimney, Hunca Munca had another \n disappointment. She found some tiny canisters upon the dresser,","bird-cage refused to go into the mouse-hole. \n \n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \n \n \n \n \n","THE ham broke off the plate with a jerk, and rolled under the table. \n \n \"Let it alone,\" said Tom Thumb; \"give me some fish, Hunca Munca!\" \n \n \n \n \n","THE book-case and the bird-cage were rescued from under the \n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \n clothes. \n","THE doll's-house stood at the other side of the fire-place. Tom Thumb \n and Hunca Munca went cautiously across the hearthrug. They pushed the \n front door--it was not fast. \n \n \n \n \n","floor, and hit it with the tongs and with the shovel--bang, bang, \n smash, smash! \n \n The ham flew all into pieces, for underneath the shiny paint it was \n made of nothing but plaster! \n","ONE morning Lucinda and Jane had gone out for a drive in the doll's \n perambulator. There was no one in the nursery, and it was very quiet. \n Presently there was a little scuffling, scratching noise in a corner","labelled--Rice--Coffee--Sago--but when she turned them upside down, \n there was nothing inside except red and blue beads. \n \n \n \n \n \n THEN those mice set to work to do all the mischief they","BUT the nurse said,--\"I will set a mouse-trap!\" \n \n \n \n SO that is the story of the two Bad Mice,--but they were not so very \n very naughty after all, because Tom Thumb paid for everything he broke. \n"]],"string":"[\n [\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\"\n ],\n [\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\"\n ],\n [\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"produced from images generously made available by The \\n Internet Archive) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE TALE OF TWO BAD MICE \\n \\n \\n \\n \\n \\n FOR\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"THERE were two red lobsters and a ham, a fish, a pudding, and some \\n pears and oranges. \\n \\n They would not come off the plates, but they were extremely beautiful. \\n\"\n ],\n [\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\"\n ],\n [\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\"\n ],\n [\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\"\n ],\n [\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\"\n ],\n [\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\"\n ],\n [\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\"\n ],\n [\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\"\n ],\n [\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\"\n ],\n [\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\"\n ],\n [\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"As the fish would not come off the plate, they put it into the red-hot \\n crinkly paper fire in the kitchen; but it would not burn either. \\n \\n \\n \\n \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"THERE were two red lobsters and a ham, a fish, a pudding, and some \\n pears and oranges. \\n \\n They would not come off the plates, but they were extremely beautiful. \\n\"\n ],\n [\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\"\n ],\n [\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\"\n ],\n [\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\"\n ],\n [\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\"\n ],\n [\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \" GUTENBERG EBOOK THE TALE OF TWO BAD MICE *** \\n \\n \\n \\n \\n Produced by David Edwards, Emmy and the Online Distributed \\n Proofreading Team at http://www.pgdp.net (This file was\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"produced from images generously made available by The \\n Internet Archive) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE TALE OF TWO BAD MICE \\n \\n \\n \\n \\n \\n FOR\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \" TWO BAD MICE \\n \\n BY \\n BEATRIX POTTER \\n \\n _Author of \\n 'The Tale of Peter Rabbit,' &c._ \\n \\n \\n \\n \\n \\n LONDON\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\"\n ],\n [\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\"\n ],\n [\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\"\n ],\n [\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\"\n ],\n [\n \"produced from images generously made available by The \\n Internet Archive) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE TALE OF TWO BAD MICE \\n \\n \\n \\n \\n \\n FOR\",\n \" GUTENBERG EBOOK THE TALE OF TWO BAD MICE *** \\n \\n \\n \\n \\n Produced by David Edwards, Emmy and the Online Distributed \\n Proofreading Team at http://www.pgdp.net (This file was\",\n \" TWO BAD MICE \\n \\n BY \\n BEATRIX POTTER \\n \\n _Author of \\n 'The Tale of Peter Rabbit,' &c._ \\n \\n \\n \\n \\n \\n LONDON\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"End of Project Gutenberg's The Tale of Two Bad Mice, by Beatrix Potter \\n \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\"\n ],\n [\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"produced from images generously made available by The \\n Internet Archive) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE TALE OF TWO BAD MICE \\n \\n \\n \\n \\n \\n FOR\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \" GUTENBERG EBOOK THE TALE OF TWO BAD MICE *** \\n \\n \\n \\n \\n Produced by David Edwards, Emmy and the Online Distributed \\n Proofreading Team at http://www.pgdp.net (This file was\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\"\n ],\n [\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\"\n ],\n [\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"As the fish would not come off the plate, they put it into the red-hot \\n crinkly paper fire in the kitchen; but it would not burn either. \\n \\n \\n \\n \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\"\n ],\n [\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"produced from images generously made available by The \\n Internet Archive) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE TALE OF TWO BAD MICE \\n \\n \\n \\n \\n \\n FOR\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\"\n ],\n [\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"brick with white windows, and it had real muslin curtains and a front \\n door and a chimney. \\n \\n IT belonged to two Dolls called Lucinda and Jane; at least it belonged \\n to Lucinda, but she never ordered meals. \\n\",\n \"SHE also has some useful pots and pans, and several other things. \\n \\n \\n \\n \\n \\n THE little girl that the doll's-house belonged to, said,--\\\"I will get \\n a doll dressed like a policeman!\\\" \\n\",\n \" =W. M. L. W.= \\n THE LITTLE GIRL \\n WHO HAD THE DOLL'S HOUSE \\n \\n \\n \\n \\n \\n \\n THE TALE OF\",\n \"WHAT a sight met the eyes of Jane and Lucinda! \\n \\n Lucinda sat upon the upset kitchen stove and stared; and Jane leant \\n against the kitchen dresser and smiled--but neither of them made any \\n remark. \\n \\n \\n \\n \\n\",\n \" FREDERICK WARNE & CO. \\n ENTERED AT STATIONERS' HALL. \\n \\n \\n \\n \\n \\n \\n ONCE upon a time there was a very beautiful doll's-house; it was red\",\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"of Lucinda's bolster, she remembered that she herself was in want of a \\n feather bed. \\n \\n WITH Tom Thumb's assistance she carried the bolster downstairs, and \\n across the hearth-rug. It was difficult to squeeze the bolster into the\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"Jane was the Cook; but she never did any cooking, because the dinner \\n had been bought ready-made, in a box full of shavings. \\n \\n \\n \\n \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\"\n ],\n [\n \"near the fire-place, where there was a hole under the skirting-board. \\n \\n Tom Thumb put out his head for a moment, and then popped it in again. \\n \\n Tom Thumb was a mouse. \\n \\n \\n \\n \\n\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \" GUTENBERG EBOOK THE TALE OF TWO BAD MICE *** \\n \\n \\n \\n \\n Produced by David Edwards, Emmy and the Online Distributed \\n Proofreading Team at http://www.pgdp.net (This file was\",\n \"produced from images generously made available by The \\n Internet Archive) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE TALE OF TWO BAD MICE \\n \\n \\n \\n \\n \\n FOR\",\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"spoons, and lead knives and forks, and two dolly-chairs--all _so_ \\n convenient! \\n \\n TOM THUMB set to work at once to carve the ham. It was a beautiful \\n shiny yellow, streaked with red. \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \" TWO BAD MICE \\n \\n BY \\n BEATRIX POTTER \\n \\n _Author of \\n 'The Tale of Peter Rabbit,' &c._ \\n \\n \\n \\n \\n \\n LONDON\"\n ],\n [\n \"HUNCA MUNCA stood up in her chair, and chopped at the ham with another \\n lead knife. \\n \\n \\\"It's as hard as the hams at the cheesemonger's,\\\" said Hunca Munca. \\n\",\n \"HUNCA MUNCA was just returning with another chair, when suddenly there \\n was a noise of talking outside upon the landing. The mice rushed back \\n to their hole, and the dolls came into the nursery. \\n\",\n \"HUNCA MUNCA tried every tin spoon in turn; the fish was glued to the \\n dish. \\n \\n Then Tom Thumb lost his temper. He put the ham in the middle of the\",\n \"AND very early every morning--before anybody is awake--Hunca Munca \\n comes with her dust-pan and her broom to sweep the Dollies' house! \\n \\n THE END. \\n \\n \\n \\n PRINTED BY\",\n \"could--especially Tom Thumb! He took Jane's clothes out of the chest of \\n drawers in her bedroom, and he threw them out of the top floor window. \\n \\n But Hunca Munca had a frugal mind. After pulling half the feathers out\",\n \"The knife crumpled up and hurt him; he put his finger in his mouth. \\n \\n \\\"It is not boiled enough; it is hard. You have a try, Hunca Munca.\\\" \\n \\n \\n \\n \\n\",\n \"TOM THUMB and Hunca Munca went upstairs and peeped into the \\n dining-room. Then they squeaked with joy! \\n \\n Such a lovely dinner was laid out upon the table! There were tin\",\n \"He found a crooked sixpence under the hearthrug; and upon Christmas \\n Eve, he and Hunca Munca stuffed it into one of the stockings of Lucinda \\n and Jane. \\n \\n \\n \\n \\n\",\n \"A MINUTE afterwards, Hunca Munca, his wife, put her head out, too; and \\n when she saw that there was no one in the nursery, she ventured out on \\n the oilcloth under the coal-box. \\n\",\n \"mouse-hole; but they managed it somehow. \\n \\n \\n \\n \\n \\n THEN Hunca Munca went back and fetched a chair, a book-case, a \\n bird-cage, and several small odds and ends. The book-case and the\",\n \"THEN there was no end to the rage and disappointment of Tom Thumb and \\n Hunca Munca. They broke up the pudding, the lobsters, the pears and the \\n oranges. \\n\",\n \"TOM THUMB went up the kitchen chimney and looked out at the top--there \\n was no soot. \\n \\n WHILE Tom Thumb was up the chimney, Hunca Munca had another \\n disappointment. She found some tiny canisters upon the dresser,\",\n \"bird-cage refused to go into the mouse-hole. \\n \\n HUNCA MUNCA left them behind the coal-box, and went to fetch a cradle. \\n \\n \\n \\n \\n\",\n \"THE ham broke off the plate with a jerk, and rolled under the table. \\n \\n \\\"Let it alone,\\\" said Tom Thumb; \\\"give me some fish, Hunca Munca!\\\" \\n \\n \\n \\n \\n\",\n \"THE book-case and the bird-cage were rescued from under the \\n coal-box--but Hunca Munca has got the cradle, and some of Lucinda's \\n clothes. \\n\",\n \"THE doll's-house stood at the other side of the fire-place. Tom Thumb \\n and Hunca Munca went cautiously across the hearthrug. They pushed the \\n front door--it was not fast. \\n \\n \\n \\n \\n\",\n \"floor, and hit it with the tongs and with the shovel--bang, bang, \\n smash, smash! \\n \\n The ham flew all into pieces, for underneath the shiny paint it was \\n made of nothing but plaster! \\n\",\n \"ONE morning Lucinda and Jane had gone out for a drive in the doll's \\n perambulator. There was no one in the nursery, and it was very quiet. \\n Presently there was a little scuffling, scratching noise in a corner\",\n \"labelled--Rice--Coffee--Sago--but when she turned them upside down, \\n there was nothing inside except red and blue beads. \\n \\n \\n \\n \\n \\n THEN those mice set to work to do all the mischief they\",\n \"BUT the nurse said,--\\\"I will set a mouse-trap!\\\" \\n \\n \\n \\n SO that is the story of the two Bad Mice,--but they were not so very \\n very naughty after all, because Tom Thumb paid for everything he broke. \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["What does the nurse set up?","What is the punishment Hunca Munca received?","Which items did not fit through the mouse hole?","What did Tom Thumb toss out the window?","Why does Tom Thumb lose his temper?","What is placed in front of the doll house front door after vandalism has been discovered?","What do Tom Thumb and Hunca Munca do after they discover the food is plaster?","Where do Tom Thumb and Hunca Munca take the dolls' bolster?","Whose doll house do Tom Thumb and Hunca Munca trespass onto? ","What is the name of the vehicle that the dolls' possess? ","Who owns the doll house?","Who is the cook of the doll house? ","What is the reason that Jane never cooks? ","What upsets the mice in the doll house? ","Who empties the red and blue canisters? ","Who throws the dolls' dresses out the window? ","What gets placed at the front door after the doll house has been vandalized? ","Who sets down a mouse trap? ","How does Hunca Munca pay for what she did? ","Who was Lucinda?","Where does Lucinda leaves?","What were the name of the two mice?","Why did the mice trashed the doll house?","Who was Jane? ","Why Jane never cook?","What did the mice did when they finshed trashed the doll house?","Who was position at the door of the doll house?","Who set a mouse trap?","What was Hunca Munca punishment?"],"string":"[\n \"What does the nurse set up?\",\n \"What is the punishment Hunca Munca received?\",\n \"Which items did not fit through the mouse hole?\",\n \"What did Tom Thumb toss out the window?\",\n \"Why does Tom Thumb lose his temper?\",\n \"What is placed in front of the doll house front door after vandalism has been discovered?\",\n \"What do Tom Thumb and Hunca Munca do after they discover the food is plaster?\",\n \"Where do Tom Thumb and Hunca Munca take the dolls' bolster?\",\n \"Whose doll house do Tom Thumb and Hunca Munca trespass onto? \",\n \"What is the name of the vehicle that the dolls' possess? \",\n \"Who owns the doll house?\",\n \"Who is the cook of the doll house? \",\n \"What is the reason that Jane never cooks? \",\n \"What upsets the mice in the doll house? \",\n \"Who empties the red and blue canisters? \",\n \"Who throws the dolls' dresses out the window? \",\n \"What gets placed at the front door after the doll house has been vandalized? \",\n \"Who sets down a mouse trap? \",\n \"How does Hunca Munca pay for what she did? \",\n \"Who was Lucinda?\",\n \"Where does Lucinda leaves?\",\n \"What were the name of the two mice?\",\n \"Why did the mice trashed the doll house?\",\n \"Who was Jane? \",\n \"Why Jane never cook?\",\n \"What did the mice did when they finshed trashed the doll house?\",\n \"Who was position at the door of the doll house?\",\n \"Who set a mouse trap?\",\n \"What was Hunca Munca punishment?\"\n]"},"answers":{"kind":"list like","value":[["A mouse trap.","A mouse-trap"],["Sweeping the doll's house each morning.","She sweeps the dollhouse every day."],["The bookcase and bird cage.","A birdcage and a bookcase."],["The dolls' dresses.","The dolls' dresses"],["He finds out the food is plaster.","BECAUSE THE FOOD IS PLASTIC "],["A policeman doll.","A policeman doll "],["They break every dish on the table.","They smash all the dishes."],["To the mouse hole.","To their mouse hole."],["Doll Lucinda and cook doll Jane.","Lucinda's"],["The perambulator","PERAMBULATOR"],["The little girl","Lucinda and Jane."],["Jane","Jane."],["Because the food is made of plaster","The food is made of plaster."],["The food is not real","The food on the plates were made of plaster."],["Hunca Munca","Hunca Munca."],["Tom Thumb","Tom Thumb."],["A policeman doll","Policeman doll."],["The nurse","The nurse."],["She sweeps the doll house every morning","She sweeps the doll-house every morning."],["Lucinda was a doll","a doll"],["Lucinda leaves at the doll house","the doll house"],["Tom Thumb and Hunca Munca","Tom Thumb and Hunca Munca."],["Because the food at the doll house was plastic","Tom Thumb discovered the food is plaster"],["Lucinda cook","A DOLL THAT IS SUPPOSE TO BE THE COOK DOLL"],["Jane never cook because the doll's house food is plastic.","Doll's house food is made of plaster"],["The took small items to thier mouse- hole","THEY TAKE DOLL BOLSTER TO THEIR MOUSE HOLE"],["Doll policeman","A policeman doll."],["Doll nurse","THE LITTLE GIRL HAS THE NURSE DOLL SET THE MOUSE TRAP"],["Hunca Munca had to sweep the doll house every morning.","By sweeping the doll house every morning."]],"string":"[\n [\n \"A mouse trap.\",\n \"A mouse-trap\"\n ],\n [\n \"Sweeping the doll's house each morning.\",\n \"She sweeps the dollhouse every day.\"\n ],\n [\n \"The bookcase and bird cage.\",\n \"A birdcage and a bookcase.\"\n ],\n [\n \"The dolls' dresses.\",\n \"The dolls' dresses\"\n ],\n [\n \"He finds out the food is plaster.\",\n \"BECAUSE THE FOOD IS PLASTIC \"\n ],\n [\n \"A policeman doll.\",\n \"A policeman doll \"\n ],\n [\n \"They break every dish on the table.\",\n \"They smash all the dishes.\"\n ],\n [\n \"To the mouse hole.\",\n \"To their mouse hole.\"\n ],\n [\n \"Doll Lucinda and cook doll Jane.\",\n \"Lucinda's\"\n ],\n [\n \"The perambulator\",\n \"PERAMBULATOR\"\n ],\n [\n \"The little girl\",\n \"Lucinda and Jane.\"\n ],\n [\n \"Jane\",\n \"Jane.\"\n ],\n [\n \"Because the food is made of plaster\",\n \"The food is made of plaster.\"\n ],\n [\n \"The food is not real\",\n \"The food on the plates were made of plaster.\"\n ],\n [\n \"Hunca Munca\",\n \"Hunca Munca.\"\n ],\n [\n \"Tom Thumb\",\n \"Tom Thumb.\"\n ],\n [\n \"A policeman doll\",\n \"Policeman doll.\"\n ],\n [\n \"The nurse\",\n \"The nurse.\"\n ],\n [\n \"She sweeps the doll house every morning\",\n \"She sweeps the doll-house every morning.\"\n ],\n [\n \"Lucinda was a doll\",\n \"a doll\"\n ],\n [\n \"Lucinda leaves at the doll house\",\n \"the doll house\"\n ],\n [\n \"Tom Thumb and Hunca Munca\",\n \"Tom Thumb and Hunca Munca.\"\n ],\n [\n \"Because the food at the doll house was plastic\",\n \"Tom Thumb discovered the food is plaster\"\n ],\n [\n \"Lucinda cook\",\n \"A DOLL THAT IS SUPPOSE TO BE THE COOK DOLL\"\n ],\n [\n \"Jane never cook because the doll's house food is plastic.\",\n \"Doll's house food is made of plaster\"\n ],\n [\n \"The took small items to thier mouse- hole\",\n \"THEY TAKE DOLL BOLSTER TO THEIR MOUSE HOLE\"\n ],\n [\n \"Doll policeman\",\n \"A policeman doll.\"\n ],\n [\n \"Doll nurse\",\n \"THE LITTLE GIRL HAS THE NURSE DOLL SET THE MOUSE TRAP\"\n ],\n [\n \"Hunca Munca had to sweep the doll house every morning.\",\n \"By sweeping the doll house every morning.\"\n ]\n]"},"document_id":{"kind":"string","value":"08c3429e9717bc663bc5f41cd3a2c701c222ed2f"},"split":{"kind":"string","value":"test"}}},{"rowIdx":76,"cells":{"text":{"kind":"list like","value":[[" Older Carl and Ellie smile at themselves in the hall mirror. \n \n \n \n EXT. ZOO - DAY \n \n \n \n Carl in his 60's. They still work happily side by side at"," \n Ellie emerges from the South America House, dressed in her \n Zookeeper's uniform. \n \n \n Carl shows off his new BALLOON CART and uniform. Behind him"," clouds. He watches as a cloud transforms into a turtle. \n \n \n Carl closes his eyes and smiles. He's lucky to be with her. \n \n \n \n EXT. ZOO - DAY \n \n"," of Carl's cane. \n \n \n \n INT. DIRIGIBLE, CAGE ROOM - MOMENTS LATER \n \n \n \n Carl drops down from the ceiling and stands on the cage. He"," Russell rolls over to show Carl a badge. \n \n \n \n RUSSELL \n Zoology. \n \n CARL \n Oh, for the love of Pete. Go on into"," the zoo. Carl's cart lifts off the ground. He casually \n leans an elbow on it. \n \n \n \n INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - NIGHT \n"," \n \n \n \n INT. DIRIGIBLE, CAGE ROOM \n \n \n \n Carl opens the cage door. \n \n \n \n CARL"," Russell, nose buried in his MANUAL, reads to Carl. \n \n RUSSELL \n \"Good afternoon. My name is \n Russell. And I am a Wilderness"," \n The dirigible turns, revealing Carl's house sneaking up \n behind. \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," Carl pokes at the bird with his cane, trying to scare it off. \n \n CARL \n Go on, get out of here. Go on! \n Shoo! \n \n "," Carl is shocked. He runs to the box. \n \n \n \n CARL \n What? Hey! Hey you! What do you \n think you're doing? \n"," \n \n CARL \n Aaah! Shoo, shoo! Get out of here. \n \n \n Carl shoos the bird away. The bird mimics him. \n \n \n"," CARL \n That doesn't even rhyme. \n \n \n \n RUSSELL \n Yeah it does. \n Russell points up to the roof of Carl's house. \n \n \n"," \n \n 32. \n \n \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," The bird grooms Russell. \n \n \n \n RUSSELL \n \n (LAUGHING) \n No stop, that tickles! \n \n \n Carl pokes the bird with his cane."," Carl sits in his chair slowly paging through the book. \n \n \n \n 23. \n \n \n \n \n He turns to the page marked \"STUFF I'M GOING TO DO.\" He"," into the room where the bird is kept in a cage. \n \n CARL \n Kevin! \n \n \n The bird recognizes Carl and CRIES OUT. \n \n CARL"," CARL \n Hey! That's mine! \n \n \n The bird chokes and the cane comes back up. \n \n \n \n 43. \n \n \n"," \n \n CARL \n No. Yes. Tell your boss over there \n that you boys are ruining our house. \n \n \n He points across the lot to a business man in a suit talking"," CARL \n Hurry! \n \n RUSSELL \n I am hurrying! \n \n \n Dogs descend down the ramp behind them. \n \n RUSSELL"],[" drawn picture of Ellie's clubhouse is glued to the top. \n \n \n \n YOUNG ELLIE \n (reading caption) \n \"Paradise Falls, a land lost in"," her overalls are patched and dirty. \n The old house has been transformed into a make-believe \n dirigible cockpit. Ellie steers, the wheel made from a rusty \n old bicycle. \n \n \n"," the real house, just like Ellie wanted. \n \n RUSSELL (O.S.) \n Here. \n Behind him, Russell throws his sash on the ground. \n \n RUSSELL"," time.\" I ripped this right out of \n a library book. \n \n \n Carl GASPS in horror. \n \n YOUNG ELLIE \n I'm gonna move my clubhouse there,"," Their house now matches Ellie's colorful CLUB HOUSE DRAWING \n from her childhood Adventure Book. \n \n \n \n 11. \n \n \n \n \n \n \n"," Oh my Ellie would have loved all \n this. You know, it's because of \n you she had this dream to come down \n here and live by Paradise Falls. \n \n "," The photo of Ellie rocks and slides off the wall. Carl \n lunges to catch it. \n \n \n \n EXT. CARL'S HOUSE, FLOATING \n \n \n "," \n Carl rounds the corner to see... \n \n \n ELLIE, an eight year old girl, her mussy red hair barely \n visible beneath her flight helmet and goggles. Bare footed,"," \n The bird jumps down and hides behind Russell. \n \n CARL \n Sheesh! Can you believe this, Ellie? \n \n \n \n RUSSELL \n Ellie?"," EXT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON \n \n Carl looks out the window. Ellie sits alone under a tree, \n the wind in her hair. \n \n \n"," Carl ROLLS HIS EYES. He looks up at the house. \n \n CARL \n Don't you worry, Ellie. We'll get \n our house over there."," (to house) \n Don't worry, Ellie. I got it. \n The wind clears the fog, slowly revealing a crescent shaped, \n flat-topped mountain on which they stand. \n \n "," anyway, Ellie. \n \n RUSSELL (O.S.) \n Which one's the front? \n \n \n Russell struggles to set up the tent. He reads his manual. \n"," 12. \n \n \n \n \n \n \n \n EXT. CARL AND ELLIE'S HOUSE, YARD - AFTERNOON \n \n \n "," Behind him, Ellie sweeps the floor. Their dream has gone \n unfulfilled. \n \n \n Carl has an idea. \n \n \n \n EXT. TRAVEL AGENCY - DAY \n \n"," Carl pulls out a suitcase. A book tips over. Ellie's \n Adventure Book. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," Carl stands at the door. He smiles and walks to her bedside. \n \n \n Ellie pushes her Adventure Book toward him. She weakly pats \n his cheek and adjusts his tie. \n \n "," Russell finds Ellie's house drawing sitting on the pages of \n the open atlas. \n \n \n \n RUSSELL \n Wow, you going on a trip? \n (reads from the engraving)"," A large truck is backing up, getting dangerously close to \n \n ELLIE'S MAILBOX. \n \n \n \n CONSTRUCTION WORKER STEVE \n Okay, keep her coming... And..."," Carl rights Ellie's chair, sets the lamp upright, slides the \n table into position. \n He pushes their two chairs back into their place. \n \n \n \n 79. \n \n \n \n "],[" \n \n ALPHA \n I will have many enjoyments for \n what I am about to do, Dug. \n \n \n Alpha lunges at Dug through the steering wheel. Dug cowers,"," \n \n \n \n DUG \n Alpha? I am not Alpha, he is- \n \n (REALIZING) \n Oohhhh! \n \n \n"," Alpha throws Dug viciously across the room. Alpha throws him \n again and Dug crashes into the steering wheel, knocking a \n radar shade off the control panel. \n Alpha moves in. Dug hides behind the steering wheel. \n"," Dug follows, but is blocked by Alpha and Beta. \n \n BETA \n Not you. \n \n \n \n 64. \n \n \n \n \n"," Alpha's voice is high and squeaky, as if he's breathed in \n helium. \n \n \n \n ALPHA (CONT'D) \n Find the scent, my compadres and"," ALPHA \n Master will be most pleased we have \n found them, and will ask of them \n many questions. \n (commanding, to Carl) \n Come! \n \n \n"," ALPHA (CONT'D) \n This is Alpha calling Dug. Come \n in, Dug. \n \n \n The screen shows ground moving past: the view from Dug's \n collar. \n \n "," but then notices the RADAR SHADE. \n \n \n As Alpha lunges again, Dug jams the shade over Alpha's head. \n Alpha's head is stuck, trapped by the cone. \n The dogs all GASP."," Alpha BARKS angrily. \n \n \n \n ALPHA \n You lost it. Why do I not have a \n surprised feeling? Well, at least \n you now have lead us to the small"," There you go big fella. \n \n \n \n ALPHA \n (deep scary voice) \n Thank you Master. \n Russell reacts. \n \n \n \n RUSSELL"," barking and growling. Carl protects Russell with his cane. \n \n \n Dug is conflicted. \n \n \n Alpha walks forward and stares menacingly at Carl. \n He turns toward Dug. \n \n "," We'd better tell him someone took \n the bird, right Alpha? \n ALPHA, a Doberman pinscher, sits with his back to them. \n \n \n \n ALPHA"," And they wouldn't believe me. Just \n wait till they get a look at you. \n \n \n Alpha enters. \n \n \n \n ALPHA \n Master! The small mailman has"," ALPHA \n (high-pitched voice) \n Where's the bird? You said you had \n the bird. \n \n \n \n DUG"," 50. \n \n \n \n \n \n ALPHA \n You are wise, my trusted \n Lieutenant. \n \n \n Alpha powers up a video screen on Beta's collar."," Locked out, Dug jumps on the door and barks. \n \n \n He hears growling and turns around. There stands Alpha and \n the other dogs. \n \n DUG \n Hi. \n"," EXT. MOUNTAIN, DESOLATE ROCKY AREA - DAY \n \n Alpha leads Carl and Russell through a canyon. \n \n \n Dogs patrol the tops of the canyon walls."," Muntz and Alpha exchange glances. \n \n MUNTZ \n Follow you? Impossible. How? \n \n \n \n RUSSELL \n She likes chocolate. \n \n "," Beta and Gamma SNICKER derisively. \n \n GAMMA \n Yeah, I wonder if he's found the \n bird on his very special mission. \n \n ALPHA"," Beta and Gamma LAUGH. Alpha turns. They stop laughing. \n \n ALPHA \n Beta. Gamma. Mayhaps you desire \n to -- SQUIRREL! \n \n "],[" Dug wears a high-tech collar. The dog's thoughts come out of \n it as words through a speaker. It can talk. Unfortunately, \n it talks non-stop. \n \n \n \n DUG"," \n \n DUG \n My master is good and smart. \n \n CARL \n It's not possible. \n \n \n \n DUG \n Oh it is, because my master is"," Dug BARKS. \n \n \n \n DUG \n And here's howling! \n Dug HOWLS. The bird HISSES at Dug. \n \n \n"," \n \n DUG \n I am warning you, once again, bird! \n \n RUSSELL \n Hey! Quit it! \n \n \n \n DUG"," Dug, stop bothering Kevin! \n \n \n \n DUG \n That man there says I can take the \n bird and I love that man there like \n he is my master. \n \n "," CARL \n Did that dog just say \"Hi there?\" \n \n DUG \n Oh yes. \n Carl JUMPS back. \n \n \n \n DUG"," The bird drags Dug, still clamped onto it's leg. \n \n \n \n DUG \n Oh please oh please oh PLEASE be my \n prisoner! \n \n \n \n RUSSELL"," The bird HISSES. \n \n \n \n CARL \n I am not your master! \n \n \n The bird tries to shake Dug off its leg. Dug jumps up on it. \n"," My master made me this collar. He \n is a good and smart master and he \n made me this collar so that I may \n talk -- SQUIRREL!! \n Dug stares transfixed at a tree. False alarm. \n"," Dug nuzzles around the sleeping bird's leg. \n \n \n \n RUSSELL \n Mr. Fredricksen, Dug says he wants \n to take Kevin prisoner. We have to \n protect him!"," Oh, look! There he is. \n \n \n Russell points to the right. The bird is on top of Carl's \n house. \n Dug turns around. \n \n \n \n DUG \n"," barking and growling. Carl protects Russell with his cane. \n \n \n Dug is conflicted. \n \n \n Alpha walks forward and stares menacingly at Carl. \n He turns toward Dug. \n \n "," Dug crazily searches and sniffs, looking for the bird. \n \n DUG \n Find the bird. Find the bird... \n \n POINT!"," Carl looks back as the bird keeps running. Dug is up on the \n canyon wall. He caused the avalanche! \n \n \n \n DUG \n Go on Master! I will stop the \n dogs!"," Dug goes rigid like a pointer dog and \"points\" to the left. \n \n \n \n 58. \n \n \n \n \n \n RUSSELL"," DUG \n Hi Alpha. Hey, your voice sounds \n funny. \n \n \n \n ALPHA \n I know, I know! Have you seen the \n bird? \n"," Surprised at Dug's moxy, Alpha sits. All other dogs sit too. \n \n \n \n DOG WALLA \n Yes, Alpha. \n \n \n \n 92."," \n \n CARL \n I think that did the trick. \n \n \n He turns. Dug. With the ball in his mouth. \n \n \n \n DUG"," DUG \n I was hiding under your porch \n because I love you. Can I stay? \n \n \n \n CARL \n Can you stay? Well, you're my dog"," It's just a weird trick or \n something. Let's get to the falls. \n \n \n Carl grabs Russell. The bird follows, as does Dug. \n \n DUG"],[" Carl collects his teeth and motions for Kevin. \n \n \n \n CARL \n Come on! \n \n \n Muntz advances on Carl, who struggles to protect the bird. \n \n "," Carl panics. He rushes toward the house, dropping the knife. \n \n \n Muntz motions to the dogs. They swarm past Russell, knocking \n him down and grabbing the bird in the net. \n \n \n"," MUNTZ \n (to dogs) \n Get them! \n \n \n \n INT. CAVE \n \n \n \n Carl and Russell untie Carl's house from the pylon. \n \n "," \n Muntz KICKS the door. \n \n \n Suddenly, Carl has an idea. \n \n CARL \n Russell! Hang on to Kevin! Don't \n let go of her! \n"," Muntz is a wild man now, smashing and destroying anything \n that gets in his way. \n \n \n \n MUNTZ \n Enough! I'm taking that bird back \n with me alive or dead!"," The ship corrects again. Carl climbs back inside. \n Muntz comes at Carl. \n \n \n \n CARL \n Come on, Kevin! \n \n \n \n 91."," BLAM! Muntz appears on top of the dirigible with a rifle! \n \n \n A bullet blasts through Carl's balloon strings. A third of \n them break or shoot skyward. The house plummets, crashing"," a group of dogs drag forward CARL'S HOUSE. \n \n \n Muntz hurls a lit lantern. Flames burst up beneath the house. \n \n "," with his cane, knocking Muntz off the ladder. Muntz catches \n on to a rung of the ladder. \n \n \n He watches Carl and the bird climb. \n \n \n Muntz descends the ladder."," Muntz walks to the window and looks out. Atop the roof he \n sees THE BIRD. \n \n MUNTZ \n It's here. \n He turns back to Carl... but they're gone. \n"," Muntz POUNDS on the door with the butt of the rifle. \n \n \n \n \n \n INT. CARL'S HOUSE, HALLWAY \n \n Russell, Dug and Kevin back away from the door. \n"," capture the beast... alive! \n \n \n \n MUNTZ \n I promise to capture the beast... \n alive! \n \n \n In the theater, young Carl smiles. \n \n MUNTZ"," Muntz smashes his trophy collection as he swings for Carl. \n His sword gets stuck in a mounted skeleton. \n Carl swings his cane and hits Muntz on the head. The tennis"," MUNTZ \n Go ahead and moor your airship \n right next to mine. \n \n \n Muntz gestures to a pylon, where Carl ties off the house."," \n Muntz storms toward the house. Carl holds desperately to the \n hose. \n \n \n \n CARL \n No! Leave them alone! \n \n "," porthole. Flying toward him is CARL'S HOUSE! \n \n \n \n MUNTZ \n Alpha! Fredricksen's coming back. \n Guard that bird. If you see the"," \n Muntz grabs the leaf blower and drags Russell out. \n \n \n \n MUNTZ \n Well, if you're here, Fredricksen \n can't be far behind. \n"," Carl rushes to shake Muntz's hand. Muntz is charmed. \n \n \n \n MUNTZ \n Well, you're a man of good taste! \n \n "," Carl trips and falls to the floor. Muntz is about to deal \n the final blow. \n \n \n \n INT. DIRIGIBLE, COCKPIT \n \n \n "," Muntz leaps after them. \n But balloon strings tangle around his leg and pull him back. \n \n \n Muntz hangs for a moment... It's thousands of feet from the \n ground.... \n He falls. \n"],[" Carl painfully gets up. He looks up at his house. It's \n still intact. \n \n \n He breathes a SIGH OF RELIEF. \n \n RUSSELL (O.S.)"," house. The house slides on to the dirigible's tail fin. \n Holding the hose, Carl digs in his heels and is just able to \n stop it. \n \n \n The house teeters on the very edge of the tail fin."," EXT. MOUNTAIN, ROCKY LANDSCAPE \n \n \n \n BAM!!! The house CRASHES into the ground. \n \n \n Russell and Carl fly off the porch and onto the ground. They"," CARL \n No, Russell! No! \n Carl runs back to his house and tries in desperation to lift \n it. He struggles, but the house doesn't budge. The balloons \n have lost too much helium. \n"," slides down the ramp as it lowers, closer and closer to the \n edge. \n \n \n \n CARL \n Russell! \n Carl steers his house to the dirigible. \n \n \n \n "," onto the dirigible. \n \n \n \n 94. \n \n \n \n \n Carl is THROWN from the house onto the airship. \n \n "," land hard. \n \n \n Carl's house is floating away! \n \n \n Carl runs after the GARDEN HOSE dragging across the ground. \n \n CARL"," The house floats off into the sky, leaving a huge pile of \n things. Beside it sits Carl and Ellie's chairs, side by side \n atop Paradise Falls. \n \n \n \n \n"," EXT. CARL'S HOUSE, FLOATING \n \n The house soars into the air, sails billowing. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM"," The house rips away from its foundation. \n \n \n The nurses duck and YELL as the house soars over them. Carl \n looks out the window and LAUGHS. \n \n CARL"," EXT. MOUNTAIN HILLSIDE - MORNING \n \n \n \n With the last of his energy, Carl drags the house into place. \n The house groans as it comes to rest. \n \n "," EXT. CARL'S HOUSE, FLOATING \n \n The house drifts through the clouds. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," Russell steers the house toward Carl. \n \n RUSSELL \n Mr. Fredricksen! \n \n \n The house slows and lowers atop the airship. Carl HOISTS the"," Oh boy. Oh boy! \n \n \n \n EXT. CARL'S HOUSE, FLOATING - CONTINUOUS \n \n \n \n The house flies off into the sky. \n"," The tiny house is heading for a MASSIVE STORM. \n Carl STRUGGLES to steer the house away but is blown into the \n storm. The steering mechanism recoils and sends Carl flying. \n \n "," Carl struggles to push a refrigerator from the porch. It \n teeters... and falls. The house lifts off! \n \n CARL \n Wahhoo! \n \n "," Now barely aloft, Carl pulls the house across the rocky \n landscape. \n \n \n Russell's harness drags along side, empty. \n \n \n Russell walks behind. \n \n \n"," EXT. CARL'S HOUSE, FLOATING \n \n \n \n The house lowers into the fog. \n \n \n \n RUSSELL (O.S.)"," The storm rages. The house is tossed into the storm clouds. \n All goes black. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM - MORNING \n"," BLAM! Muntz appears on top of the dirigible with a rifle! \n \n \n A bullet blasts through Carl's balloon strings. A third of \n them break or shoot skyward. The house plummets, crashing"],[" EXT. CARL'S HOUSE, FLOATING \n \n The house soars into the air, sails billowing. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM"," onto the dirigible. \n \n \n \n 94. \n \n \n \n \n Carl is THROWN from the house onto the airship. \n \n "," house. The house slides on to the dirigible's tail fin. \n Holding the hose, Carl digs in his heels and is just able to \n stop it. \n \n \n The house teeters on the very edge of the tail fin."," slides down the ramp as it lowers, closer and closer to the \n edge. \n \n \n \n CARL \n Russell! \n Carl steers his house to the dirigible. \n \n \n \n "," Carl struggles to push a refrigerator from the porch. It \n teeters... and falls. The house lifts off! \n \n CARL \n Wahhoo! \n \n "," The house turns. \n Carl looks out the window, satisfied. He checks the balloons. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," \n The dirigible turns, revealing Carl's house sneaking up \n behind. \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," CARL \n No, Russell! No! \n Carl runs back to his house and tries in desperation to lift \n it. He struggles, but the house doesn't budge. The balloons \n have lost too much helium. \n"," Russell steers the house toward Carl. \n \n RUSSELL \n Mr. Fredricksen! \n \n \n The house slows and lowers atop the airship. Carl HOISTS the"," EXT. CARL'S HOUSE, FLOATING \n \n The house drifts through the clouds. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," Oh boy. Oh boy! \n \n \n \n EXT. CARL'S HOUSE, FLOATING - CONTINUOUS \n \n \n \n The house flies off into the sky. \n"," Now barely aloft, Carl pulls the house across the rocky \n landscape. \n \n \n Russell's harness drags along side, empty. \n \n \n Russell walks behind. \n \n \n"," The house rips away from its foundation. \n \n \n The nurses duck and YELL as the house soars over them. Carl \n looks out the window and LAUGHS. \n \n CARL"," Inside the house, Carl adjusts his steering, scans the skies. \n \n \n \n 81. \n \n \n \n "," EXT. CARL'S HOUSE, FLOATING \n \n \n \n A small cluster of balloons fly up and away from the house. \n \n \n"," The tiny house is heading for a MASSIVE STORM. \n Carl STRUGGLES to steer the house away but is blown into the \n storm. The steering mechanism recoils and sends Carl flying. \n \n "," \n \n CARL \n Uh... yeah. \n \n VOICE \n In a house? A floating house? \n The man laughs. Carl and Russell laugh along nervously. \n"," the zoo. Carl's cart lifts off the ground. He casually \n leans an elbow on it. \n \n \n \n INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - NIGHT \n"," MUNTZ \n Go ahead and moor your airship \n right next to mine. \n \n \n Muntz gestures to a pylon, where Carl ties off the house."," BLAM! Muntz appears on top of the dirigible with a rifle! \n \n \n A bullet blasts through Carl's balloon strings. A third of \n them break or shoot skyward. The house plummets, crashing"],[" Russell, nose buried in his MANUAL, reads to Carl. \n \n RUSSELL \n \"Good afternoon. My name is \n Russell. And I am a Wilderness"," Carl listens through the door. Is the kid gone? He opens it. \n \n \n \n RUSSELL \n \"Good afternoon. My name is \n Russell.\" \n \n \n \n CARL"," The dog nuzzles Russell, who nervously pets it. \n \n \n \n RUSSELL \n Hey, I like dogs! \n \n \n \n CARL \n (calls out)"," Russell rolls over to show Carl a badge. \n \n \n \n RUSSELL \n Zoology. \n \n CARL \n Oh, for the love of Pete. Go on into"," EXT. CARL'S HOUSE, PORCH - DAY - CONTINUOUS \n \n \n \n Nothing. He looks left. Nothing. He looks right. Russell. \n He looks... Russell?!! \n"," Russell looks up at the house. Who's Carl talking to? \n \n \n \n RUSSELL \n Huh. \n (shrugs it off)"," CARL \n (calls after Russell) \n Bring it back here when you find \n it! \n Carl rolls his eyes and begins to close his door. \n \n \n He stops short. \n \n "," CARL \n Kid. KID!! \n \n \n Russell stops... but goes back to reading. \n \n RUSSELL \n \"Are you in need of any assistance \n today Sir?\" \n"," CARL \n Hurry! \n \n RUSSELL \n I am hurrying! \n \n \n Dogs descend down the ramp behind them. \n \n RUSSELL"," Russell struggles with a tent pole, trying to winch it into \n place. \n \n \n Carl can't watch. \n An off screen SMACK! Russell walks to Carl. Miraculously, \n he looks unscathed."," Russell goes limp and lies face down in the dirt. \n \n RUSSELL \n I don't want to walk anymore. Can \n we stop? \n \n \n \n CARL"," RUSSELL \n That might sound boring, but I \n think the boring stuff is the stuff \n I remember the most. \n They walk in silence. Carl understands. \n \n "," Russell spots the labyrinth, now close by. He tries to run \n but is pulled back by his tether. \n \n \n LAUGHING, Carl unclips Russell's tether. \n \n CARL"," \n The bird jumps down and hides behind Russell. \n \n CARL \n Sheesh! Can you believe this, Ellie? \n \n \n \n RUSSELL \n Ellie?"," Carl closes the door in Russell's face. \n \n \n \n INT. CARL'S HOUSE, FRONT HALL - CONTINUOUS \n \n \n "," \n \n RUSSELL \n Ready? \n Carl gives a thumbs up. \n \n \n \n CARL \n Ready! \n \n \n"," CARL (O.S.) \n Excuse me. Pardon me. Old man \n coming through. \n Carl takes his place next to Russell. \n \n \n \n CARL"," \n \n CARL \n Russell! Get out of there! \n Russell, Dug and Kevin run toward the front porch. \n \n \n BLAM! A bullet smashes the door jam next to them. \n"," \n Somehow energized, Russell jams his pack into Carl's hands, \n secures his rope to a tree and tromps off into the shrubs. \n \n \n He goes into the woods carrying a small shovel in one hand"," \n Russell pats Carl on the head. \n \n CARL \n \"Kevin\"? \n \n RUSSELL \n Yeah, that's his name I just gave \n him. \n"],[" YOUNG ELLIE \n You know him. \n Carl smiles excitedly. \n \n YOUNG ELLIE \n Charles Muntz, explorer. When I get"," CARL \n (far in the distance) \n Russell! \n \n RUSSELL \n Huh? \n \n \n Carl calls for help: the WILDERNESS EXPLORER CALL."," Young Carl stares, mouth agape, wearing leather flight helmet \n and goggles -- just like his idol on the silver screen. \n \n \n \n NEWSREEL ANNOUNCER (V.O.)"," YOUNG CARL \n No! \n \n \n Muntz's portrait is removed from a wall of paintings of other \n famous explorers. \n"," Of everyone watching in the modest, small town theater, no \n one is more enthralled than 8 year old CARL FREDRICKSEN. \n \n \n \n NEWSREEL ANNOUNCER (O.S.)"," MUNTZ \n You know, Carl. These people who \n pass through here, they all tell \n pretty good stories. A \"Surveyor\" \n making a map."," Russell, nose buried in his MANUAL, reads to Carl. \n \n RUSSELL \n \"Good afternoon. My name is \n Russell. And I am a Wilderness"," Carl stands at the door. He smiles and walks to her bedside. \n \n \n Ellie pushes her Adventure Book toward him. She weakly pats \n his cheek and adjusts his tie. \n \n "," Explorer call. Caw caw, raaar!! \n \n \n The WILDERNESS EXPLORER CALL sets off Carl's hearing aid. \n \n \n \n 37. \n \n "," EXT. CARL'S HOUSE, PORCH - DAY \n \n \n \n The door opens. \n A Wilderness Explorer stands, reading from a Wilderness"," CARL \n It's really him! \n (to Russell) \n That's Charles Muntz! \n \n RUSSELL \n \n (EXCITED)"," Carl pulls out a suitcase. A book tips over. Ellie's \n Adventure Book. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," Carl sets a compass next to the map of South America. \n \n \n \n EXT. CARL'S HOUSE, BEDROOM WINDOW \n \n \n "," \"The wilderness must be explored! \n \n CAW-CAW! RAAAR!\" \n \n \n This sets Carl's hearing aid off. Carl GRUMBLES in pain. \n \n RUSSELL"," \n The dirigible turns, revealing Carl's house sneaking up \n behind. \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," A painted portrait of a dashing young adventurer. \n \n \n \n NEWSREEL ANNOUNCER (V.O.) \n Why, our subject today: Charles \n Muntz! \n"," Carl rushes to shake Muntz's hand. Muntz is charmed. \n \n \n \n MUNTZ \n Well, you're a man of good taste! \n \n "," No. \n \n \n \n RUSSELL \n \n (RECITING) \n \"An Explorer is a friend to all, be \n it plants or fish or tiny mole.\" \n \n \n"," \n Carl's eyes adjust to the dark. Muntz's dirigible the \n \"Spirit of Adventure\" is tethered in the cave. \n \n \n \n MUNTZ (O.S.)"," Carl sits in his chair slowly paging through the book. \n \n \n \n 23. \n \n \n \n \n He turns to the page marked \"STUFF I'M GOING TO DO.\" He"],[" addresses the crowd. \n \n \n \n NEWSREEL ANNOUNCER (V.O.) \n Humiliated, Muntz vows a return to \n Paradise Falls and promises to"," Muntz is a wild man now, smashing and destroying anything \n that gets in his way. \n \n \n \n MUNTZ \n Enough! I'm taking that bird back \n with me alive or dead!"," Muntz leaps after them. \n But balloon strings tangle around his leg and pull him back. \n \n \n Muntz hangs for a moment... It's thousands of feet from the \n ground.... \n He falls. \n"," old man, you know what to do. \n \n \n Muntz pulls the switch and walks out of the room. \n \n RUSSELL \n Hey, where are you going? I'm not"," Muntz topples another helmet. \n He lifts a third to show Carl. \n \n \n \n MUNTZ \n An old man taking his house to \n Paradise Falls. \n \n "," Muntz walks to the window and looks out. Atop the roof he \n sees THE BIRD. \n \n MUNTZ \n It's here. \n He turns back to Carl... but they're gone. \n"," Muntz gives him the \"thumbs up.\" \n \n \n \n MUNTZ \n \"Adventure is out there!\" \n \n \n Carl GIGGLES with glee. \n \n \n"," Carl collects his teeth and motions for Kevin. \n \n \n \n CARL \n Come on! \n \n \n Muntz advances on Carl, who struggles to protect the bird. \n \n "," \n The figure walks out toward Carl into the light. Carl \n recognizes him! \n \n CARL \n Wait, are you Charles Muntz?! \n \n \n \n MUNTZ"," \n Muntz picks up a lantern and walks to the back of the room. \n \n MUNTZ \n They called me a fraud, those... \n dah! But once I bring back this"," This is Muntz's obsession. He looks over to a full size \n skeleton. \n \n \n \n MUNTZ \n Beautiful, isn't it? I've spent a \n lifetime tracking it. Sometimes"," Muntz is lost in reverie. \n \n \n \n MUNTZ \n And here they come, these bandits, \n and think the bird is theirs to \n take! But they soon find that this"," And I will not come back until I do! \n The crowd CHEERS. \n \n \n Muntz gives his thumbs up from the cockpit as the dirigible \n lifts off. \n"," returned. \n \n MUNTZ \n What? \n \n \n \n INT. DIRIGIBLE \n \n \n \n Dogs tie Russell to a chair. \n"," Cameras flash as Muntz stands heroic, striking his signature \n \"thumbs up\" stance. \n \n MUNTZ \n \"Adventure is out there!\" \n \n In the theater, Young Carl returns the thumbs up."," \n Muntz grabs the leaf blower and drags Russell out. \n \n \n \n MUNTZ \n Well, if you're here, Fredricksen \n can't be far behind. \n"," pushes the bird along as he goes. \n \n \n Muntz follows up. \n \n \n \n INT. DIRIGIBLE, COCKPIT \n \n \n "," porthole. Flying toward him is CARL'S HOUSE! \n \n \n \n MUNTZ \n Alpha! Fredricksen's coming back. \n Guard that bird. If you see the"," Carl rushes to shake Muntz's hand. Muntz is charmed. \n \n \n \n MUNTZ \n Well, you're a man of good taste! \n \n "," CARL \n It's really him! \n (to Russell) \n That's Charles Muntz! \n \n RUSSELL \n \n (EXCITED)"],[" He closes the book. But as he does, Carl sees something he \n hadn't before. \n \n \n The blank pages at the end are no longer blank. \n A WEDDING PHOTO of the two of them."," Carl blushes as she pulls him out of the room. \n \n \n \n 7. \n \n \n \n \n \n \n \n INT. DILAPIDATED HOUSE, UPSTAIRS"," Carl stands at the door. He smiles and walks to her bedside. \n \n \n Ellie pushes her Adventure Book toward him. She weakly pats \n his cheek and adjusts his tie. \n \n "," Carl watches her stride out of the room. She pops back in. \n \n YOUNG ELLIE \n My name's Ellie. \n \n \n She grabs his hand."," Carl painfully gets up. He looks up at his house. It's \n still intact. \n \n \n He breathes a SIGH OF RELIEF. \n \n RUSSELL (O.S.)"," 15. \n \n \n \n \n \n \n \n INT. CARL'S LIVING ROOM WINDOW - LATER \n \n \n "," \n Carl rounds the corner to see... \n \n \n ELLIE, an eight year old girl, her mussy red hair barely \n visible beneath her flight helmet and goggles. Bare footed,"," 25. \n \n \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," FLASH! A photo is taken of the wedding couple: Carl and \n Ellie, now 19. She jumps at him and gives him a big kiss. \n \n "," \n \n 32. \n \n \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," LOVE, ELLIE.\" \n Carl smiles. \n \n \n He looks over to Ellie's empty chair. On the arm is \n Russell's sash. Carl picks it up. \n He looks to Ellie's chair."," \n The dirigible turns, revealing Carl's house sneaking up \n behind. \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," He kisses her on the forehead. \n \n \n \n INT. CHURCH - AFTERNOON \n \n \n \n Carl sits alone, next to a huge bouquet of balloons. \n \n \n"," Carl backs into his house. \n \n \n \n INT. CARL'S LIVING ROOM \n \n \n \n Carl shuts his door. He closes the curtains."," Carl waves at a high-rise window washer, who tentatively \n waves back. \n The house crests the top of a building, drifting over and away \n from the city. Carl looks out his window. Good riddance. \n \n \n"," EXT. DILAPIDATED HOUSE - DAY \n \n \n \n Carl carries her past a \"SOLD\" sign. It's the same house \n where they met as kids. \n \n \n \n \n"," Carl pulls out a suitcase. A book tips over. Ellie's \n Adventure Book. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," Carl joins Ellie. He hands her the Adventure Book. She smiles. \n \n \n \n INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON \n \n \n "," 5. \n \n \n \n \n Carl walks toward the voice. \n \n \n \n GIRL'S VOICE (O.S.) \n Hold together old girl. How're my"," On a picnic. Celebrating birthdays. Another and another... \n photos of their ordinary life together, the ups and downs. \n Carl's face warms. Ellie lived the life she wanted: she saw \n adventure in everyday life. \n"],[" 25. \n \n \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," \n \n 32. \n \n \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," CARL \n That doesn't even rhyme. \n \n \n \n RUSSELL \n Yeah it does. \n Russell points up to the roof of Carl's house. \n \n \n"," Carl sits in his chair slowly paging through the book. \n \n \n \n 23. \n \n \n \n \n He turns to the page marked \"STUFF I'M GOING TO DO.\" He"," \n \n CARL \n No. Yes. Tell your boss over there \n that you boys are ruining our house. \n \n \n He points across the lot to a business man in a suit talking"," Carl blushes as she pulls him out of the room. \n \n \n \n 7. \n \n \n \n \n \n \n \n INT. DILAPIDATED HOUSE, UPSTAIRS"," He closes the book. But as he does, Carl sees something he \n hadn't before. \n \n \n The blank pages at the end are no longer blank. \n A WEDDING PHOTO of the two of them."," Carl stands at the door. He smiles and walks to her bedside. \n \n \n Ellie pushes her Adventure Book toward him. She weakly pats \n his cheek and adjusts his tie. \n \n "," Carl backs into his house. \n \n \n \n INT. CARL'S LIVING ROOM \n \n \n \n Carl shuts his door. He closes the curtains."," Russell, nose buried in his MANUAL, reads to Carl. \n \n RUSSELL \n \"Good afternoon. My name is \n Russell. And I am a Wilderness"," Carl relaxes in his chair. \n \n \n \n KNOCK KNOCK KNOCK. \n \n \n \n CARL \n Huh? \n \n \n"," Carl painfully gets up. He looks up at his house. It's \n still intact. \n \n \n He breathes a SIGH OF RELIEF. \n \n RUSSELL (O.S.)"," Carl is shocked. He runs to the box. \n \n \n \n CARL \n What? Hey! Hey you! What do you \n think you're doing? \n"," He peeks out the window. The injured worker is helped to his \n feet. A police car pulls up. \n \n \n The Real Estate Developer looks toward Carl's house. His \n hand rests on Carl's fence. \n"," \n The dirigible turns, revealing Carl's house sneaking up \n behind. \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," Carl pulls out a suitcase. A book tips over. Ellie's \n Adventure Book. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," Carl closes his eyes, takes a deep breath, and sits. \n \n \n Quiet. \n \n \n Nothing, save the distant sound of the falls outside. \n Carl surveys the room. \n \n "," CARL \n (calls after Russell) \n Bring it back here when you find \n it! \n Carl rolls his eyes and begins to close his door. \n \n \n He stops short. \n \n "," Carl waves at a high-rise window washer, who tentatively \n waves back. \n The house crests the top of a building, drifting over and away \n from the city. Carl looks out his window. Good riddance. \n \n \n"," 15. \n \n \n \n \n \n \n \n INT. CARL'S LIVING ROOM WINDOW - LATER \n \n \n "],[" Only... I just don't know how I'm \n gonna get to Paradise Falls. \n Ellie closes the book, disappointed. \n \n \n Carl has a thought. He looks at his toy dirigible. \n \n "," Carl painfully gets up. He looks up at his house. It's \n still intact. \n \n \n He breathes a SIGH OF RELIEF. \n \n RUSSELL (O.S.)"," slides down the ramp as it lowers, closer and closer to the \n edge. \n \n \n \n CARL \n Russell! \n Carl steers his house to the dirigible. \n \n \n \n "," He looks over. He's finally made it: Paradise Falls. \n Torrents of water careen over the massive cliff edge. \n \n \n Carl takes out Ellie's childhood drawing. Next to him stands"," Russell steers the house toward Carl. \n \n RUSSELL \n Mr. Fredricksen! \n \n \n The house slows and lowers atop the airship. Carl HOISTS the"," Carl ROLLS HIS EYES. He looks up at the house. \n \n CARL \n Don't you worry, Ellie. We'll get \n our house over there."," CARL \n No, Russell! No! \n Carl runs back to his house and tries in desperation to lift \n it. He struggles, but the house doesn't budge. The balloons \n have lost too much helium. \n"," The house floats off into the sky, leaving a huge pile of \n things. Beside it sits Carl and Ellie's chairs, side by side \n atop Paradise Falls. \n \n \n \n \n"," Muntz topples another helmet. \n He lifts a third to show Carl. \n \n \n \n MUNTZ \n An old man taking his house to \n Paradise Falls. \n \n "," EXT. MOUNTAIN HILLSIDE - MORNING \n \n \n \n With the last of his energy, Carl drags the house into place. \n The house groans as it comes to rest. \n \n "," That building's so close I could \n almost touch it. \n \n \n That gives Carl an idea. \n \n CUT TO: \n \n \n Carl lowers Russell on a rope below the floating house."," Dug scampers back to Carl and Russell, who pull the house \n from behind a tree canopy. \n \n CARL \n This is crazy. I finally meet my \n childhood hero and he's trying to"," The house rips away from its foundation. \n \n \n The nurses duck and YELL as the house soars over them. Carl \n looks out the window and LAUGHS. \n \n CARL"," The tiny house is heading for a MASSIVE STORM. \n Carl STRUGGLES to steer the house away but is blown into the \n storm. The steering mechanism recoils and sends Carl flying. \n \n "," Across it, some ten miles away, is PARADISE FALLS. \n Carl stares. He can't believe it. \n \n \n \n CARL \n There it is. Ellie, it's so"," Ellie paints a MURAL of their house atop Paradise Falls over \n the mantle. Carl organizes a compass, map, binoculars, and \n native bird figurine beneath the painting. It's their shrine \n to Adventure."," Dug! Bring `er over! \n Dug winches in the hose caddy, pulling the house closer to \n the dirigible ramp. \n \n \n Carl carries Russell into the house. \n \n \n"," get to the falls! \n \n \n Carl pulls on the tether, knocking Russell over. Carl falls, \n pulling the house into a tall rock. SMASH! \n Carl GASPS. He turns his anger to the group."," Carl struggles to push a refrigerator from the porch. It \n teeters... and falls. The house lifts off! \n \n CARL \n Wahhoo! \n \n "," EXT. PARADISE FALLS - AFTERNOON \n \n On top of Paradise Falls sits Carl's house, just as Ellie \n imagined it. \n \n \n THE END \n \n \n"],[" Carl watches her stride out of the room. She pops back in. \n \n YOUNG ELLIE \n My name's Ellie. \n \n \n She grabs his hand."," \n Carl rounds the corner to see... \n \n \n ELLIE, an eight year old girl, her mussy red hair barely \n visible beneath her flight helmet and goggles. Bare footed,"," CARL \n Quite a sight, huh Ellie? \n (noticing mailbox) \n Uhp, mail's here. \n \n \n Carl walks to the mailbox. He touches Ellie's faded"," Carl stands at the door. He smiles and walks to her bedside. \n \n \n Ellie pushes her Adventure Book toward him. She weakly pats \n his cheek and adjusts his tie. \n \n "," LOVE, ELLIE.\" \n Carl smiles. \n \n \n He looks over to Ellie's empty chair. On the arm is \n Russell's sash. Carl picks it up. \n He looks to Ellie's chair."," Carl does. \n \n YOUNG ELLIE \n Good. You promised. No backing out. \n \n \n Carl shakes his head \"no.\" \n \n YOUNG ELLIE"," Ellie pops up in front of Carl. \n \n \n \n 6. \n \n \n \n \n \n YOUNG ELLIE \n What are you doing!?! \n \n "," \n The bird jumps down and hides behind Russell. \n \n CARL \n Sheesh! Can you believe this, Ellie? \n \n \n \n RUSSELL \n Ellie?"," Carl pulls out a suitcase. A book tips over. Ellie's \n Adventure Book. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," The photo of Ellie rocks and slides off the wall. Carl \n lunges to catch it. \n \n \n \n EXT. CARL'S HOUSE, FLOATING \n \n \n "," Carl touches Ellie's shoulder as the doctor explains. Ellie \n drops her head in her hands. \n \n \n \n \n"," Carl kisses a photo of Ellie. \n \n \n \n CARL \n We're on our way, Ellie. \n Carl kneels at the fireplace and plunks the balloon strings"," She offers her hand. Carl looks down, embarrassed. \n \n \n \n YOUNG ELLIE \n What's wrong? Can't you talk? \n Carl is frozen. Ellie softens. \n \n "," Carl screams. He lets go of his balloon. It floats through \n a broken part of the ceiling and disappears. \n Ellie circles Carl accusingly. \n \n \n \n YOUNG ELLIE"," to pick you up in the morning, okay? \n The officer drives off, leaving Carl alone. \n \n \n Carl faces the house. He touches Ellie's dented mailbox. \n \n \n \n CARL"," YOUNG ELLIE \n Go on. \n \n \n Carl steels his courage. He puts on his goggles, starts \n forward... and FALLS through the floor. \n \n CUT TO:"," 12. \n \n \n \n \n \n \n \n EXT. CARL AND ELLIE'S HOUSE, YARD - AFTERNOON \n \n \n "," Whew! I thought you were dead. \n \n CARL \n Wha... what happened? \n \n \n Carl STRUGGLES to rise from the pile of Ellie's things he'd \n been protecting."," bird? Uh-huh. Uh-huh. \n (to Carl) \n She said for you to let me. \n \n \n \n CARL \n (to Ellie)"," \n \n INT. CARL AND ELLIE'S HOUSE, FRONT HALL - 3 YEARS LATER \n \n Ellie struggles to tie Carl's tie as they rush out the door. \n \n "],[" Russell, nose buried in his MANUAL, reads to Carl. \n \n RUSSELL \n \"Good afternoon. My name is \n Russell. And I am a Wilderness"," RUSSELL \n That might sound boring, but I \n think the boring stuff is the stuff \n I remember the most. \n They walk in silence. Carl understands. \n \n "," \n Russell points to his SASH. It is covered with badges except \n for one glaringly empty space. \n \n \n \n RUSSELL \n See these? These are my Wilderness"," \n Somehow energized, Russell jams his pack into Carl's hands, \n secures his rope to a tree and tromps off into the shrubs. \n \n \n He goes into the woods carrying a small shovel in one hand"," \n \n \n Russell turns. Nothing there. \n \n \n Another nibble! Zip! \n \n \n \n RUSSELL \n Ha! Gotcha! \n \n "," really good at camping, and how to \n make fire from rocks and stuff. He \n used to come to all my Sweatlodge \n meetings. \n \n \n Russell smiles at the thought. \n \n "," Russell clings to the end of the hose, swaying in the wind. \n \n \n What's that noise? From beneath the dirigible emerges... \n \n \n"," Russell rolls over to show Carl a badge. \n \n \n \n RUSSELL \n Zoology. \n \n CARL \n Oh, for the love of Pete. Go on into"," Russell looks out the window in front of him. \n \n \n \n 28. \n \n \n \n \n \n RUSSELL \n Hey look, buildings! \n \n \n"," The dog nuzzles Russell, who nervously pets it. \n \n \n \n RUSSELL \n Hey, I like dogs! \n \n \n \n CARL \n (calls out)"," Russell and others duck inside and slam the door. \n \n \n The house tilts, threatening to tip off at any second. Carl \n holds on for his life. \n \n "," RUSSELL \n (pointing to tent) \n That's for you! \n \n \n The tent pole springs loose, catapulting the tent over the \n cliff. \n \n \n"," EXT. CARL'S HOUSE, PORCH - DAY - CONTINUOUS \n \n \n \n Nothing. He looks left. Nothing. He looks right. Russell. \n He looks... Russell?!! \n"," \n The bird jumps down and hides behind Russell. \n \n CARL \n Sheesh! Can you believe this, Ellie? \n \n \n \n RUSSELL \n Ellie?"," Russell struggles with a tent pole, trying to winch it into \n place. \n \n \n Carl can't watch. \n An off screen SMACK! Russell walks to Carl. Miraculously, \n he looks unscathed."," quickly and quietly, with no rap \n music or flash-dancing. \n Russell inspects his surroundings. \n \n RUSSELL \n \n (DISTRACTED) \n Uh-huh. \n"," CARL \n Russell? \n \n \n \n 80. \n \n \n \n \n But Russell is nowhere to be seen. \n \n "," through but manages to grab the frame with his cane. He \n dangles out over open air. \n He sees the biplanes circling the house, Russell hanging \n beneath it. \n \n "," Russell spots the labyrinth, now close by. He tries to run \n but is pulled back by his tether. \n \n \n LAUGHING, Carl unclips Russell's tether. \n \n CARL"," Sure enough. \n \n \n \n RUSSELL \n Look at that one! That one looks \n like a dog! \n The \"rock\" walks forward. \n \n RUSSELL"],[" \n \n DUG \n My master is good and smart. \n \n CARL \n It's not possible. \n \n \n \n DUG \n Oh it is, because my master is"," Dug wears a high-tech collar. The dog's thoughts come out of \n it as words through a speaker. It can talk. Unfortunately, \n it talks non-stop. \n \n \n \n DUG"," \n \n DUG \n I am warning you, once again, bird! \n \n RUSSELL \n Hey! Quit it! \n \n \n \n DUG"," DUG \n Master. It's alright. \n \n \n \n CARL \n I am not your master! And if you \n hadn't a shown up, none of this"," Dug, stop bothering Kevin! \n \n \n \n DUG \n That man there says I can take the \n bird and I love that man there like \n he is my master. \n \n "," Dug BARKS. \n \n \n \n DUG \n And here's howling! \n Dug HOWLS. The bird HISSES at Dug. \n \n \n"," DUG \n Hi Alpha. Hey, your voice sounds \n funny. \n \n \n \n ALPHA \n I know, I know! Have you seen the \n bird? \n"," The bird HISSES. \n \n \n \n CARL \n I am not your master! \n \n \n The bird tries to shake Dug off its leg. Dug jumps up on it. \n"," Dug goes rigid like a pointer dog and \"points\" to the left. \n \n \n \n 58. \n \n \n \n \n \n RUSSELL"," My master made me this collar. He \n is a good and smart master and he \n made me this collar so that I may \n talk -- SQUIRREL!! \n Dug stares transfixed at a tree. False alarm. \n"," DUG \n Yeah, get off of his <>! \n \n \n In the distance, BABY BIRDS call out. The bird CALLS back. \n \n \n \n CARL"," CARL \n Did that dog just say \"Hi there?\" \n \n DUG \n Oh yes. \n Carl JUMPS back. \n \n \n \n DUG"," The bird drags Dug, still clamped onto it's leg. \n \n \n \n DUG \n Oh please oh please oh PLEASE be my \n prisoner! \n \n \n \n RUSSELL"," INT. CARL'S HOUSE, PORCH - CONTINUOUS \n \n \n \n The door swings open. \n \n \n \n CARL \n Dug! \n \n "," Dug points to a grate in the wall. \n \n \n \n \n \n INT. DIRIGIBLE, GAS CELL AREA \n \n Dug leads Carl \"backstage\" through a vent shaft into the"," Dug WHIMPERS. \n \n \n \n EXT. DIRIGIBLE GANGPLANK - MOMENTS LATER \n \n \n \n Alpha, Gamma and Beta walk into the dirigible. Dug sits"," DUG \n Why yes, the bird is my prisoner \n now. \n \n \n \n GAMMA \n Yeah, right. \n \n "," DUG \n Master! \n The house bears down on them. They run to meet it. \n \n \n \n CARL \n Russell!! Over here!! Let's go! \n \n "," \n \n CARL \n I think that did the trick. \n \n \n He turns. Dug. With the ball in his mouth. \n \n \n \n DUG"," DUG \n I was hiding under your porch \n because I love you. Can I stay? \n \n \n \n CARL \n Can you stay? Well, you're my dog"],[" Carl painfully gets up. He looks up at his house. It's \n still intact. \n \n \n He breathes a SIGH OF RELIEF. \n \n RUSSELL (O.S.)"," Russell, nose buried in his MANUAL, reads to Carl. \n \n RUSSELL \n \"Good afternoon. My name is \n Russell. And I am a Wilderness"," No. \n \n \n Russell falls to his knees, pleading. \n \n \n \n RUSSELL \n But it's a talking dog! \n \n \n \n CARL"," (to Camp Master) \n I'm here for him. \n \n CAMP MASTER STRAUCH \n Congratulations, Russell. Sir... \n \n \n The Camp Master hands Carl the badge and continues down the"," Russell is just inches above Carl, still STRUGGLING to climb. \n He slides down onto Carl's head, exhausted. \n \n \n \n CARL \n What? That's it?! I came all this"," \n Somehow energized, Russell jams his pack into Carl's hands, \n secures his rope to a tree and tromps off into the shrubs. \n \n \n He goes into the woods carrying a small shovel in one hand"," CARL \n (calls after Russell) \n Bring it back here when you find \n it! \n Carl rolls his eyes and begins to close his door. \n \n \n He stops short. \n \n "," Carl steers toward the cockpit. He dons Russell's sash, then \n hooks his cane onto his back. He's fighting for a cause. \n He hears SCREAMING. It's Russell! Tied to his chair, he"," The dog nuzzles Russell, who nervously pets it. \n \n \n \n RUSSELL \n Hey, I like dogs! \n \n \n \n CARL \n (calls out)"," \n \n RUSSELL \n But I want to help! \n \n \n \n CARL \n I don't want your help. I want you \n safe!"," Russell struggles with a tent pole, trying to winch it into \n place. \n \n \n Carl can't watch. \n An off screen SMACK! Russell walks to Carl. Miraculously, \n he looks unscathed."," LOVE, ELLIE.\" \n Carl smiles. \n \n \n He looks over to Ellie's empty chair. On the arm is \n Russell's sash. Carl picks it up. \n He looks to Ellie's chair."," Russell spots the labyrinth, now close by. He tries to run \n but is pulled back by his tether. \n \n \n LAUGHING, Carl unclips Russell's tether. \n \n CARL"," Carl listens through the door. Is the kid gone? He opens it. \n \n \n \n RUSSELL \n \"Good afternoon. My name is \n Russell.\" \n \n \n \n CARL"," Russell goes limp and lies face down in the dirt. \n \n RUSSELL \n I don't want to walk anymore. Can \n we stop? \n \n \n \n CARL"," \n \n RUSSELL \n Okay! \n \n \n Russell PULLS Carl by the leg away from the cliff edge. \n Carl, still hanging from the hose, looks around."," EXT. CARL'S HOUSE, PORCH - DAY - CONTINUOUS \n \n \n \n Nothing. He looks left. Nothing. He looks right. Russell. \n He looks... Russell?!! \n"," The rope slips through Carl's hands. Russell FALLS. \n \n \n \n CUT TO: \n Carl stands beside Russell at the window. Russell's fall had \n been a daydream. \n"," RUSSELL \n No! \n Carl pulls his house away from the flames. \n \n \n \n 77. \n \n \n \n "," CARL \n We don't want to take advantage of \n your hospitality. Come on Russell. \n \n \n Carl leads Russell toward the door. \n \n \n \n RUSSELL"],[" Of everyone watching in the modest, small town theater, no \n one is more enthralled than 8 year old CARL FREDRICKSEN. \n \n \n \n NEWSREEL ANNOUNCER (O.S.)"," DOG WALLA \n Yes! It is him! He is! \n \n CARL \n I'm Carl Fredricksen. My wife and \n I, we were your biggest fans! \n \n "," \n \n CARL \n C'mon Russell! \n \n \n \n RUSSELL \n Wait. Wait, Mr. Fredricksen. \n \n \n \n \n"," CARL \n Aaaah! \n \n \n \n RUSSELL \n Uh-oh! No no no no no Kevin, it's \n okay. Mr. Fredricksen is nice!"," Cameras flash as Muntz stands heroic, striking his signature \n \"thumbs up\" stance. \n \n MUNTZ \n \"Adventure is out there!\" \n \n In the theater, Young Carl returns the thumbs up."," RUSSELL \n You leave Mr. Fredricksen alone! \n \n \n Russell CLIMBS! \n He's more machine than boy now. Biplanes shooting the whole \n way, he climbs up onto the porch."," \"Paradise Falls: A Land Lost in \n Time.\" You going to South America, \n Mr. Fredricksen? \n Carl takes the page and puts it in his pocket. \n \n CARL"," YOUNG ELLIE \n You know him. \n Carl smiles excitedly. \n \n YOUNG ELLIE \n Charles Muntz, explorer. When I get"," Russell tries to get Carl's attention. A storm is brewing in \n the distance. \n \n \n \n RUSSELL \n (nearly silent) \n Mr. Fredricksen, there's a big"," CARL \n It's really him! \n (to Russell) \n That's Charles Muntz! \n \n RUSSELL \n \n (EXCITED)"," Another dark object whooshes past them. Carl ducks. \n \n \n \n RUSSELL \n What was that, Mr. Fredricksen? \n \n \n \n CARL"," \n \n RUSSELL \n Hi, Mr. Fredricksen. It's me, \n Russell. \n \n \n \n CARL \n What are you doing out here, kid?"," just as Russell slides off the ramp edge. They land safely \n together. \n \n \n \n RUSSELL \n Mr. Fredricksen! \n \n \n \n CARL"," Dug scampers back to Carl and Russell, who pull the house \n from behind a tree canopy. \n \n CARL \n This is crazy. I finally meet my \n childhood hero and he's trying to"," Russell steers the house toward Carl. \n \n RUSSELL \n Mr. Fredricksen! \n \n \n The house slows and lowers atop the airship. Carl HOISTS the"," RUSSELL \n \n (LAUGHING) \n Hey, look Mr. Fredricksen, it likes \n me! \n \n \n \n CARL \n Russell!"," Muntz gives him the \"thumbs up.\" \n \n \n \n MUNTZ \n \"Adventure is out there!\" \n \n \n Carl GIGGLES with glee. \n \n \n"," Sorry about your house, Mr. \n Fredricksen. \n \n \n Carl smiles. He puts his arm around Russell. \n \n \n \n CARL"," porthole. Flying toward him is CARL'S HOUSE! \n \n \n \n MUNTZ \n Alpha! Fredricksen's coming back. \n Guard that bird. If you see the"," \n \n RUSSELL \n Mr. Fredricksen, you're cheating. \n \n CARL \n No, I'm not. Red one. \n \n RUSSELL"],[" It is?!? \n \n (CONSIDERS) \n Who's Charles Muntz? \n \n \n \n CARL \n Him! \n \n \n"," CARL \n It's really him! \n (to Russell) \n That's Charles Muntz! \n \n RUSSELL \n \n (EXCITED)"," \n The figure walks out toward Carl into the light. Carl \n recognizes him! \n \n CARL \n Wait, are you Charles Muntz?! \n \n \n \n MUNTZ"," Well... Yes. \n \n \n \n 62. \n \n \n \n \n \n CARL \n The Charles Muntz? \n \n "," YOUNG ELLIE \n You know him. \n Carl smiles excitedly. \n \n YOUNG ELLIE \n Charles Muntz, explorer. When I get"," TITLE CARD: WALT DISNEY PICTURES PRESENTS \n \n \n \n NEWSREEL ANNOUNCER (V.O.) \n Here's Charles Muntz piloting his"," A painted portrait of a dashing young adventurer. \n \n \n \n NEWSREEL ANNOUNCER (V.O.) \n Why, our subject today: Charles \n Muntz! \n"," Carl rushes to shake Muntz's hand. Muntz is charmed. \n \n \n \n MUNTZ \n Well, you're a man of good taste! \n \n "," Muntz leaps after them. \n But balloon strings tangle around his leg and pull him back. \n \n \n Muntz hangs for a moment... It's thousands of feet from the \n ground.... \n He falls. \n"," \n \n TITLE CARD: UP \n \n \n \n NEWSREEL ANNOUNCER (V.O.) \n Yes, as Muntz himself says: \n \"Adventure is--\""," pushes the bird along as he goes. \n \n \n Muntz follows up. \n \n \n \n INT. DIRIGIBLE, COCKPIT \n \n \n "," This is Muntz's obsession. He looks over to a full size \n skeleton. \n \n \n \n MUNTZ \n Beautiful, isn't it? I've spent a \n lifetime tracking it. Sometimes"," Muntz gives him the \"thumbs up.\" \n \n \n \n MUNTZ \n \"Adventure is out there!\" \n \n \n Carl GIGGLES with glee. \n \n \n"," Muntz is a wild man now, smashing and destroying anything \n that gets in his way. \n \n \n \n MUNTZ \n Enough! I'm taking that bird back \n with me alive or dead!"," Muntz is lost in reverie. \n \n \n \n MUNTZ \n And here they come, these bandits, \n and think the bird is theirs to \n take! But they soon find that this"," And I will not come back until I do! \n The crowd CHEERS. \n \n \n Muntz gives his thumbs up from the cockpit as the dirigible \n lifts off. \n"," gangplank to the delight of the crowd. His dogs trail him. \n \n \n \n NEWSREEL ANNOUNCER (V.O.) \n Never apart from his faithful dogs, \n Muntz conceived the craft for"," Cameras flash as Muntz stands heroic, striking his signature \n \"thumbs up\" stance. \n \n MUNTZ \n \"Adventure is out there!\" \n \n In the theater, Young Carl returns the thumbs up."," NEWSREEL ANNOUNCER (V.O.) \n But what has Muntz brought back \n this time? \n \n \n Muntz speaks to a crowded auditorium, on stage beside a"," capture the beast... alive! \n \n \n \n MUNTZ \n I promise to capture the beast... \n alive! \n \n \n In the theater, young Carl smiles. \n \n MUNTZ"],[" Ellie finishes painting a wall mural of a stork carrying a \n bundle in its beak. Carl hangs a mobile above the crib. \n \n \n \n \n \n INT. DOCTOR'S OFFICE - AFTERNOON"," Carl touches Ellie's shoulder as the doctor explains. Ellie \n drops her head in her hands. \n \n \n \n \n"," Behind him, Ellie sweeps the floor. Their dream has gone \n unfulfilled. \n \n \n Carl has an idea. \n \n \n \n EXT. TRAVEL AGENCY - DAY \n \n"," Carl kisses a photo of Ellie. \n \n \n \n CARL \n We're on our way, Ellie. \n Carl kneels at the fireplace and plunks the balloon strings"," Carl stands at the door. He smiles and walks to her bedside. \n \n \n Ellie pushes her Adventure Book toward him. She weakly pats \n his cheek and adjusts his tie. \n \n "," CARL \n Quite a sight, huh Ellie? \n (noticing mailbox) \n Uhp, mail's here. \n \n \n Carl walks to the mailbox. He touches Ellie's faded"," 12. \n \n \n \n \n \n \n \n EXT. CARL AND ELLIE'S HOUSE, YARD - AFTERNOON \n \n \n "," EXT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON \n \n Carl looks out the window. Ellie sits alone under a tree, \n the wind in her hair. \n \n \n"," Carl does. \n \n YOUNG ELLIE \n Good. You promised. No backing out. \n \n \n Carl shakes his head \"no.\" \n \n YOUNG ELLIE"," Carl pulls out a suitcase. A book tips over. Ellie's \n Adventure Book. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," He turns to the page marked: STUFF I'M GOING TO DO. \n \n \n Carl sighs. He managed to bring the house to the falls, but \n Ellie never made it."," The photo of Ellie rocks and slides off the wall. Carl \n lunges to catch it. \n \n \n \n EXT. CARL'S HOUSE, FLOATING \n \n \n "," to pick you up in the morning, okay? \n The officer drives off, leaving Carl alone. \n \n \n Carl faces the house. He touches Ellie's dented mailbox. \n \n \n \n CARL"," LOVE, ELLIE.\" \n Carl smiles. \n \n \n He looks over to Ellie's empty chair. On the arm is \n Russell's sash. Carl picks it up. \n He looks to Ellie's chair."," Carl joins Ellie. He hands her the Adventure Book. She smiles. \n \n \n \n INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON \n \n \n "," \n \n INT. CARL AND ELLIE'S HOUSE, FRONT HALL - 3 YEARS LATER \n \n Ellie struggles to tie Carl's tie as they rush out the door. \n \n "," Carl ROLLS HIS EYES. He looks up at the house. \n \n CARL \n Don't you worry, Ellie. We'll get \n our house over there."," Whew! I thought you were dead. \n \n CARL \n Wha... what happened? \n \n \n Carl STRUGGLES to rise from the pile of Ellie's things he'd \n been protecting."," babies! Carl is stunned... but smiles. \n \n \n \n \n \n INT. CARL AND ELLIE'S HOUSE, BABY ROOM - DAY \n \n \n "," \n \n INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS \n \n Carl and Ellie's things are strewn across the floor, a mess \n from the rough journey. \n \n "],[" CONSTRUCTION WORKER STEVE \n I am so sorry, sir... \n \n \n The worker bangs on the mailbox, trying to fix it. \n \n CARL \n Don't touch that! \n"," CONSTRUCTION WORKER STEVE \n No no, let me take care of that for you. \n \n \n Carl grabs the mailbox, trying to wrestle it from the worker. \n \n CARL \n"," (STRUGGLING) \n Get away from our mailbox! \n \n \n \n CONSTRUCTION WORKER STEVE \n Hey sir, I... \n \n CARL"," Carl backs up toward his door, cradling his mailbox. What \n has he done? \n \n \n Passerbys stare. \n Workers gather, as does the REAL ESTATE DEVELOPER. \n \n "," He peeks out the window. The injured worker is helped to his \n feet. A police car pulls up. \n \n \n The Real Estate Developer looks toward Carl's house. His \n hand rests on Carl's fence. \n"," Carl is shocked. He runs to the box. \n \n \n \n CARL \n What? Hey! Hey you! What do you \n think you're doing? \n"," I don't want you to touch it! \n Carl HITS the worker with his cane. He falls to the sidewalk. \n The worker rubs his head. Blood. \n \n "," CARL \n Quite a sight, huh Ellie? \n (noticing mailbox) \n Uhp, mail's here. \n \n \n Carl walks to the mailbox. He touches Ellie's faded"," Carl notices DUST on his mailbox. \n \n \n \n CARL \n Hm. \n \n \n He pulls up a LEAF BLOWER. He revs it and blasts off the dust. \n"," EXT. CARL'S NEIGHBORHOOD - CONTINUOUS \n \n \n \n Carl's house is the lone surviving square on the block not \n under construction. Machinery and workers circle busily."," to pick you up in the morning, okay? \n The officer drives off, leaving Carl alone. \n \n \n Carl faces the house. He touches Ellie's dented mailbox. \n \n \n \n CARL"," \n \n CARL \n No. Yes. Tell your boss over there \n that you boys are ruining our house. \n \n \n He points across the lot to a business man in a suit talking"," Carl painfully gets up. He looks up at his house. It's \n still intact. \n \n \n He breathes a SIGH OF RELIEF. \n \n RUSSELL (O.S.)"," \n Somehow energized, Russell jams his pack into Carl's hands, \n secures his rope to a tree and tromps off into the shrubs. \n \n \n He goes into the woods carrying a small shovel in one hand"," cases slide after him. \n The dirigible tilts to the other side. \n \n \n The broken trophy cases barrel straight toward Carl! \n Carl is thrown into a window which bursts open. Carl falls"," Uh, I take that as a no, then. \n \n CARL \n I believe I made my position to \n your boss quite clear. \n \n CONSTRUCTION FOREMAN TOM"," \n \n CARL \n Tell your boss he can have our house. \n \n \n \n CONSTRUCTION FOREMAN TOM \n Really? \n \n \n \n CARL"," (to Boss, re Carl) \n I am not with him! \n (to Carl) \n This is serious. He's out to get \n your house! \n \n \n Carl walks to his front door."," Carl blushes as she pulls him out of the room. \n \n \n \n 7. \n \n \n \n \n \n \n \n INT. DILAPIDATED HOUSE, UPSTAIRS"," Russell struggles with a tent pole, trying to winch it into \n place. \n \n \n Carl can't watch. \n An off screen SMACK! Russell walks to Carl. Miraculously, \n he looks unscathed."],[" EXT. CARL'S HOUSE, FLOATING \n \n The house soars into the air, sails billowing. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM"," EXT. CARL'S HOUSE, FLOATING \n \n The house drifts through the clouds. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," house. The house slides on to the dirigible's tail fin. \n Holding the hose, Carl digs in his heels and is just able to \n stop it. \n \n \n The house teeters on the very edge of the tail fin."," EXT. CARL'S HOUSE, FLOATING \n \n \n \n A small cluster of balloons fly up and away from the house. \n \n \n"," CARL \n No, Russell! No! \n Carl runs back to his house and tries in desperation to lift \n it. He struggles, but the house doesn't budge. The balloons \n have lost too much helium. \n"," The house turns. \n Carl looks out the window, satisfied. He checks the balloons. \n \n \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n"," \n \n \n \n EXT. CARL'S HOUSE, FLOATING \n \n \n \n The house floats motionless above an ocean of clouds. \n \n \n"," onto the dirigible. \n \n \n \n 94. \n \n \n \n \n Carl is THROWN from the house onto the airship. \n \n "," That building's so close I could \n almost touch it. \n \n \n That gives Carl an idea. \n \n CUT TO: \n \n \n Carl lowers Russell on a rope below the floating house."," \n The dirigible turns, revealing Carl's house sneaking up \n behind. \n \n \n \n INT. CARL'S HOUSE, LIVING ROOM \n \n \n "," \n \n CARL \n Uh... yeah. \n \n VOICE \n In a house? A floating house? \n The man laughs. Carl and Russell laugh along nervously. \n"," slides down the ramp as it lowers, closer and closer to the \n edge. \n \n \n \n CARL \n Russell! \n Carl steers his house to the dirigible. \n \n \n \n "," land hard. \n \n \n Carl's house is floating away! \n \n \n Carl runs after the GARDEN HOSE dragging across the ground. \n \n CARL"," Carl struggles to push a refrigerator from the porch. It \n teeters... and falls. The house lifts off! \n \n CARL \n Wahhoo! \n \n "," Oh boy. Oh boy! \n \n \n \n EXT. CARL'S HOUSE, FLOATING - CONTINUOUS \n \n \n \n The house flies off into the sky. \n"," Russell steers the house toward Carl. \n \n RUSSELL \n Mr. Fredricksen! \n \n \n The house slows and lowers atop the airship. Carl HOISTS the"," EXT. CARL'S HOUSE, FLOATING \n \n \n \n The house lowers into the fog. \n \n \n \n RUSSELL (O.S.)"," A SHADOW falls over the nurses. They turn to look. \n \n \n A giant tarp rises behind Carl's house. It unfolds to reveal \n \n THOUSANDS OF BALLOONS. \n"," BLAM! Muntz appears on top of the dirigible with a rifle! \n \n \n A bullet blasts through Carl's balloon strings. A third of \n them break or shoot skyward. The house plummets, crashing"," The photo of Ellie rocks and slides off the wall. Carl \n lunges to catch it. \n \n \n \n EXT. CARL'S HOUSE, FLOATING \n \n \n "],[" talk about! \n \n \n A distant HAUNTED WAIL. Everyone stops. \n \n \n \n RUSSELL \n Kevin?"," Kevin! \n \n \n The bird tries to stand but SQUAWKS pitifully and falls back \n to the ground. Russell rushes to her side. \n \n \n \n 73. \n \n "," \n \n 89. \n \n \n \n \n \n CARL \n Come on, Kevin. \n \n "," You gave away Kevin. You just gave \n her away. \n \n \n \n CARL \n This is none of my concern. I \n didn't ask for any of this! \n \n "," \n Russell pats Carl on the head. \n \n CARL \n \"Kevin\"? \n \n RUSSELL \n Yeah, that's his name I just gave \n him. \n"," mountain is a very dangerous \n place. \n \n \n Distracted Russell finally notices the skeleton. \n \n \n \n RUSSELL \n Hey, that looks like Kevin! \n \n "," \n \n RUSSELL \n You came back for Kevin! Let's go \n get her. \n \n \n \n CARL \n I'm getting Kevin. You stay here! \n"," I'm sorry Kevin. Let's get you out \n of here. \n \n \n \n \n \n INT. DIRIGIBLE, COCKPIT \n"," Yes! Don't worry Kevin! I'll save - \n Growling dogs move toward him. \n \n \n Russell blows the leaf blower at the dogs. \n \n \n"," \n Russell YAWNS and lies down on the rock next to Carl. \n \n RUSSELL \n Can Kevin go with us? \n \n \n \n CARL"," Run Kevin! Run! \n \n \n A net shoots out and binds her. She falls and CALLS OUT. \n \n \n \n RUSSELL \n Oh no! \n \n "," RUSSELL \n Hey, look! Kevin! \n \n \n \n CARL \n What? Get down! You're not \n allowed up there! \n \n "," \n Muntz KICKS the door. \n \n \n Suddenly, Carl has an idea. \n \n CARL \n Russell! Hang on to Kevin! Don't \n let go of her! \n"," Wait, Kevin's just leaving? But \n you promised to protect her! \n \n \n \n RUSSELL \n Her babies need her, we gotta make \n sure they're together. \n \n "," The house bumps into a tree, jostling the injured BIRD on the \n porch. \n \n RUSSELL \n You okay, Kevin? \n Kevin goes back to sleep. Russell looks at her BANDAGED LEG."," \n Kevin lunges, pushing past Muntz and knocking the rifle from \n his hands. \n \n \n Muntz lunges after them. \n \n \n"," From the distant labyrinth of rocks, the BIRD BABIES call. \n Kevin CALLS back to them. She tries to stand, but can't. \n \n \n Russell runs to her side. \n \n \n"," Dug, stop bothering Kevin! \n \n \n \n DUG \n That man there says I can take the \n bird and I love that man there like \n he is my master. \n \n "," into the room where the bird is kept in a cage. \n \n CARL \n Kevin! \n \n \n The bird recognizes Carl and CRIES OUT. \n \n CARL"," RUSSELL \n I'm gonna help Kevin even if you \n won't! \n \n \n Russell fires up a LEAF BLOWER and steers himself off into \n the sky. \n \n \n"],[" \n \n DUG \n My master is good and smart. \n \n CARL \n It's not possible. \n \n \n \n DUG \n Oh it is, because my master is"," Dug wears a high-tech collar. The dog's thoughts come out of \n it as words through a speaker. It can talk. Unfortunately, \n it talks non-stop. \n \n \n \n DUG"," Dug crazily searches and sniffs, looking for the bird. \n \n DUG \n Find the bird. Find the bird... \n \n POINT!"," \n \n CARL \n I think that did the trick. \n \n \n He turns. Dug. With the ball in his mouth. \n \n \n \n DUG"," Dug goes rigid like a pointer dog and \"points\" to the left. \n \n \n \n 58. \n \n \n \n \n \n RUSSELL"," Dug, stop bothering Kevin! \n \n \n \n DUG \n That man there says I can take the \n bird and I love that man there like \n he is my master. \n \n "," \n \n DUG \n I am warning you, once again, bird! \n \n RUSSELL \n Hey! Quit it! \n \n \n \n DUG"," Dug BARKS. \n \n \n \n DUG \n And here's howling! \n Dug HOWLS. The bird HISSES at Dug. \n \n \n"," CARL \n Did that dog just say \"Hi there?\" \n \n DUG \n Oh yes. \n Carl JUMPS back. \n \n \n \n DUG"," Carl looks back as the bird keeps running. Dug is up on the \n canyon wall. He caused the avalanche! \n \n \n \n DUG \n Go on Master! I will stop the \n dogs!"," barking and growling. Carl protects Russell with his cane. \n \n \n Dug is conflicted. \n \n \n Alpha walks forward and stares menacingly at Carl. \n He turns toward Dug. \n \n "," CARL \n Go get it!! \n Carl throws the ball far away. Dug chases after it. \n \n \n \n DUG \n Oh boy, oh boy! I will get it and"," The bird HISSES. \n \n \n \n CARL \n I am not your master! \n \n \n The bird tries to shake Dug off its leg. Dug jumps up on it. \n"," The bird drags Dug, still clamped onto it's leg. \n \n \n \n DUG \n Oh please oh please oh PLEASE be my \n prisoner! \n \n \n \n RUSSELL"," Suddenly, a trap door opens. Carl GASPS... but it's Dug! \n \n \n \n CARL \n Dug! \n Dug jumps up on Carl, licking his face. \n \n "," Dug nuzzles around the sleeping bird's leg. \n \n \n \n RUSSELL \n Mr. Fredricksen, Dug says he wants \n to take Kevin prisoner. We have to \n protect him!"," DUG \n I am a great tracker. My pack sent \n me on a special mission all by \n myself. Have you seen a bird? I \n want to find one and I have been on"," DUG \n I was hiding under your porch \n because I love you. Can I stay? \n \n \n \n CARL \n Can you stay? Well, you're my dog"," Oh, look! There he is. \n \n \n Russell points to the right. The bird is on top of Carl's \n house. \n Dug turns around. \n \n \n \n DUG \n"," My name is Dug. I have just met \n you and I love you. \n \n \n Dug jumps up on to Carl. \n \n CARL \n Uh..wha? \n \n "],[" Muntz leaps after them. \n But balloon strings tangle around his leg and pull him back. \n \n \n Muntz hangs for a moment... It's thousands of feet from the \n ground.... \n He falls. \n"," Muntz smashes his trophy collection as he swings for Carl. \n His sword gets stuck in a mounted skeleton. \n Carl swings his cane and hits Muntz on the head. The tennis"," Carl panics. He rushes toward the house, dropping the knife. \n \n \n Muntz motions to the dogs. They swarm past Russell, knocking \n him down and grabbing the bird in the net. \n \n \n"," Muntz is a wild man now, smashing and destroying anything \n that gets in his way. \n \n \n \n MUNTZ \n Enough! I'm taking that bird back \n with me alive or dead!"," Carl trips and falls to the floor. Muntz is about to deal \n the final blow. \n \n \n \n INT. DIRIGIBLE, COCKPIT \n \n \n "," Behind the door, Muntz is waiting for them. He grabs a sword \n from the wall display and attacks. \n Dug hears and BITES Muntz on the leg. \n \n "," BLAM! Muntz appears on top of the dirigible with a rifle! \n \n \n A bullet blasts through Carl's balloon strings. A third of \n them break or shoot skyward. The house plummets, crashing"," finished with you! \n \n MUNTZ \n Nice talking with you. \n \n \n Muntz slams the door. \n Light emerges from the floor. Russell is on the ramp, which"," Muntz walks to the window and looks out. Atop the roof he \n sees THE BIRD. \n \n MUNTZ \n It's here. \n He turns back to Carl... but they're gone. \n"," Carl collects his teeth and motions for Kevin. \n \n \n \n CARL \n Come on! \n \n \n Muntz advances on Carl, who struggles to protect the bird. \n \n "," old man, you know what to do. \n \n \n Muntz pulls the switch and walks out of the room. \n \n RUSSELL \n Hey, where are you going? I'm not"," And I will not come back until I do! \n The crowd CHEERS. \n \n \n Muntz gives his thumbs up from the cockpit as the dirigible \n lifts off. \n"," with his cane, knocking Muntz off the ladder. Muntz catches \n on to a rung of the ladder. \n \n \n He watches Carl and the bird climb. \n \n \n Muntz descends the ladder."," pushes the bird along as he goes. \n \n \n Muntz follows up. \n \n \n \n INT. DIRIGIBLE, COCKPIT \n \n \n "," 98. \n \n \n \n \n \n \n \n EXT. DIRIGIBLE \n \n \n \n Muntz's dirigible ascends into the sky. Dug and all of"," Muntz breaks through the door. He lifts his rifle and sights \n the bird... \n Through the window, Carl yells out. \n \n \n \n \n \n EXT. DIRIGIBLE, TOP \n"," Muntz's \"Explorer's Society\" badge is ceremoniously RIPPED \n from his jacket. \n Carl GASPS. \n \n \n Muntz stands next to his dirigible at an airfield. He grimly"," Muntz kicks Dug loose and out the door. He slams it shut. \n \n \n \n INT. DIRIGIBLE, OUTSIDE OF TROPHY ROOM - CONTINUOUS \n \n \n "," raises his cane over his head and his back CRACKS too. \n \n \n Carl and Muntz STRUGGLE to move. Muntz CRACKS his back free \n and kicks Carl in the chest, knocking him against a trophy."," He has the upper hand now. He throttles him with his arm and \n lifts his sword. \n \n \n \n MUNTZ \n Any last words, Fredricksen? Come"],[" (to Camp Master) \n I'm here for him. \n \n CAMP MASTER STRAUCH \n Congratulations, Russell. Sir... \n \n \n The Camp Master hands Carl the badge and continues down the"," They salute each other. Russell gives Carl a hug. Carl \n returns it. \n Russell's mom sits in the audience with Dug. Russell proudly \n shows her the badge. \n \n CAMP MASTER STRAUCH"," Russell, nose buried in his MANUAL, reads to Carl. \n \n RUSSELL \n \"Good afternoon. My name is \n Russell. And I am a Wilderness"," \n Somehow energized, Russell jams his pack into Carl's hands, \n secures his rope to a tree and tromps off into the shrubs. \n \n \n He goes into the woods carrying a small shovel in one hand"," Russell is just inches above Carl, still STRUGGLING to climb. \n He slides down onto Carl's head, exhausted. \n \n \n \n CARL \n What? That's it?! I came all this"," LOVE, ELLIE.\" \n Carl smiles. \n \n \n He looks over to Ellie's empty chair. On the arm is \n Russell's sash. Carl picks it up. \n He looks to Ellie's chair."," Carl steers toward the cockpit. He dons Russell's sash, then \n hooks his cane onto his back. He's fighting for a cause. \n He hears SCREAMING. It's Russell! Tied to his chair, he"," Russell rolls over to show Carl a badge. \n \n \n \n RUSSELL \n Zoology. \n \n CARL \n Oh, for the love of Pete. Go on into"," Russell struggles with a tent pole, trying to winch it into \n place. \n \n \n Carl can't watch. \n An off screen SMACK! Russell walks to Carl. Miraculously, \n he looks unscathed."," Carl swings the door shut, but a small camping boot stops it. \n \n \n \n RUSSELL \n Ow. \n \n \n Carl opens the door. Russell stands at attention. \n \n "," Carl painfully gets up. He looks up at his house. It's \n still intact. \n \n \n He breathes a SIGH OF RELIEF. \n \n RUSSELL (O.S.)"," Carl panics. He rushes toward the house, dropping the knife. \n \n \n Muntz motions to the dogs. They swarm past Russell, knocking \n him down and grabbing the bird in the net. \n \n \n"," the call of duty, I would like to \n award you the highest honor I can \n bestow: The Ellie Badge. \n \n \n Carl pins the badge onto the missing spot on Russell's sash."," No. \n \n \n Russell falls to his knees, pleading. \n \n \n \n RUSSELL \n But it's a talking dog! \n \n \n \n CARL"," He scans the camp. The bird is gone. \n \n CARL \n Huh. Bird's gone. Maybe Russell \n won't notice. \n (calls out) \n Alright, everybody up!"," Russell goes limp and lies face down in the dirt. \n \n RUSSELL \n I don't want to walk anymore. Can \n we stop? \n \n \n \n CARL"," \n Russell points to his SASH. It is covered with badges except \n for one glaringly empty space. \n \n \n \n RUSSELL \n See these? These are my Wilderness"," Congratulations, Brandon. \n (hands badge) \n For Assisting the Elderly... \n Russell is tanned and dirty. And alone. \n \n CAMP MASTER STRAUCH"," CARL \n (calls after Russell) \n Bring it back here when you find \n it! \n Carl rolls his eyes and begins to close his door. \n \n \n He stops short. \n \n "," CARL \n (far in the distance) \n Russell! \n \n RUSSELL \n Huh? \n \n \n Carl calls for help: the WILDERNESS EXPLORER CALL."]],"string":"[\n [\n \" Older Carl and Ellie smile at themselves in the hall mirror. \\n \\n \\n \\n EXT. ZOO - DAY \\n \\n \\n \\n Carl in his 60's. They still work happily side by side at\",\n \" \\n Ellie emerges from the South America House, dressed in her \\n Zookeeper's uniform. \\n \\n \\n Carl shows off his new BALLOON CART and uniform. Behind him\",\n \" clouds. He watches as a cloud transforms into a turtle. \\n \\n \\n Carl closes his eyes and smiles. He's lucky to be with her. \\n \\n \\n \\n EXT. ZOO - DAY \\n \\n\",\n \" of Carl's cane. \\n \\n \\n \\n INT. DIRIGIBLE, CAGE ROOM - MOMENTS LATER \\n \\n \\n \\n Carl drops down from the ceiling and stands on the cage. He\",\n \" Russell rolls over to show Carl a badge. \\n \\n \\n \\n RUSSELL \\n Zoology. \\n \\n CARL \\n Oh, for the love of Pete. Go on into\",\n \" the zoo. Carl's cart lifts off the ground. He casually \\n leans an elbow on it. \\n \\n \\n \\n INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - NIGHT \\n\",\n \" \\n \\n \\n \\n INT. DIRIGIBLE, CAGE ROOM \\n \\n \\n \\n Carl opens the cage door. \\n \\n \\n \\n CARL\",\n \" Russell, nose buried in his MANUAL, reads to Carl. \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell. And I am a Wilderness\",\n \" \\n The dirigible turns, revealing Carl's house sneaking up \\n behind. \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" Carl pokes at the bird with his cane, trying to scare it off. \\n \\n CARL \\n Go on, get out of here. Go on! \\n Shoo! \\n \\n \",\n \" Carl is shocked. He runs to the box. \\n \\n \\n \\n CARL \\n What? Hey! Hey you! What do you \\n think you're doing? \\n\",\n \" \\n \\n CARL \\n Aaah! Shoo, shoo! Get out of here. \\n \\n \\n Carl shoos the bird away. The bird mimics him. \\n \\n \\n\",\n \" CARL \\n That doesn't even rhyme. \\n \\n \\n \\n RUSSELL \\n Yeah it does. \\n Russell points up to the roof of Carl's house. \\n \\n \\n\",\n \" \\n \\n 32. \\n \\n \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" The bird grooms Russell. \\n \\n \\n \\n RUSSELL \\n \\n (LAUGHING) \\n No stop, that tickles! \\n \\n \\n Carl pokes the bird with his cane.\",\n \" Carl sits in his chair slowly paging through the book. \\n \\n \\n \\n 23. \\n \\n \\n \\n \\n He turns to the page marked \\\"STUFF I'M GOING TO DO.\\\" He\",\n \" into the room where the bird is kept in a cage. \\n \\n CARL \\n Kevin! \\n \\n \\n The bird recognizes Carl and CRIES OUT. \\n \\n CARL\",\n \" CARL \\n Hey! That's mine! \\n \\n \\n The bird chokes and the cane comes back up. \\n \\n \\n \\n 43. \\n \\n \\n\",\n \" \\n \\n CARL \\n No. Yes. Tell your boss over there \\n that you boys are ruining our house. \\n \\n \\n He points across the lot to a business man in a suit talking\",\n \" CARL \\n Hurry! \\n \\n RUSSELL \\n I am hurrying! \\n \\n \\n Dogs descend down the ramp behind them. \\n \\n RUSSELL\"\n ],\n [\n \" drawn picture of Ellie's clubhouse is glued to the top. \\n \\n \\n \\n YOUNG ELLIE \\n (reading caption) \\n \\\"Paradise Falls, a land lost in\",\n \" her overalls are patched and dirty. \\n The old house has been transformed into a make-believe \\n dirigible cockpit. Ellie steers, the wheel made from a rusty \\n old bicycle. \\n \\n \\n\",\n \" the real house, just like Ellie wanted. \\n \\n RUSSELL (O.S.) \\n Here. \\n Behind him, Russell throws his sash on the ground. \\n \\n RUSSELL\",\n \" time.\\\" I ripped this right out of \\n a library book. \\n \\n \\n Carl GASPS in horror. \\n \\n YOUNG ELLIE \\n I'm gonna move my clubhouse there,\",\n \" Their house now matches Ellie's colorful CLUB HOUSE DRAWING \\n from her childhood Adventure Book. \\n \\n \\n \\n 11. \\n \\n \\n \\n \\n \\n \\n\",\n \" Oh my Ellie would have loved all \\n this. You know, it's because of \\n you she had this dream to come down \\n here and live by Paradise Falls. \\n \\n \",\n \" The photo of Ellie rocks and slides off the wall. Carl \\n lunges to catch it. \\n \\n \\n \\n EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \",\n \" \\n Carl rounds the corner to see... \\n \\n \\n ELLIE, an eight year old girl, her mussy red hair barely \\n visible beneath her flight helmet and goggles. Bare footed,\",\n \" \\n The bird jumps down and hides behind Russell. \\n \\n CARL \\n Sheesh! Can you believe this, Ellie? \\n \\n \\n \\n RUSSELL \\n Ellie?\",\n \" EXT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON \\n \\n Carl looks out the window. Ellie sits alone under a tree, \\n the wind in her hair. \\n \\n \\n\",\n \" Carl ROLLS HIS EYES. He looks up at the house. \\n \\n CARL \\n Don't you worry, Ellie. We'll get \\n our house over there.\",\n \" (to house) \\n Don't worry, Ellie. I got it. \\n The wind clears the fog, slowly revealing a crescent shaped, \\n flat-topped mountain on which they stand. \\n \\n \",\n \" anyway, Ellie. \\n \\n RUSSELL (O.S.) \\n Which one's the front? \\n \\n \\n Russell struggles to set up the tent. He reads his manual. \\n\",\n \" 12. \\n \\n \\n \\n \\n \\n \\n \\n EXT. CARL AND ELLIE'S HOUSE, YARD - AFTERNOON \\n \\n \\n \",\n \" Behind him, Ellie sweeps the floor. Their dream has gone \\n unfulfilled. \\n \\n \\n Carl has an idea. \\n \\n \\n \\n EXT. TRAVEL AGENCY - DAY \\n \\n\",\n \" Carl pulls out a suitcase. A book tips over. Ellie's \\n Adventure Book. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" Carl stands at the door. He smiles and walks to her bedside. \\n \\n \\n Ellie pushes her Adventure Book toward him. She weakly pats \\n his cheek and adjusts his tie. \\n \\n \",\n \" Russell finds Ellie's house drawing sitting on the pages of \\n the open atlas. \\n \\n \\n \\n RUSSELL \\n Wow, you going on a trip? \\n (reads from the engraving)\",\n \" A large truck is backing up, getting dangerously close to \\n \\n ELLIE'S MAILBOX. \\n \\n \\n \\n CONSTRUCTION WORKER STEVE \\n Okay, keep her coming... And...\",\n \" Carl rights Ellie's chair, sets the lamp upright, slides the \\n table into position. \\n He pushes their two chairs back into their place. \\n \\n \\n \\n 79. \\n \\n \\n \\n \"\n ],\n [\n \" \\n \\n ALPHA \\n I will have many enjoyments for \\n what I am about to do, Dug. \\n \\n \\n Alpha lunges at Dug through the steering wheel. Dug cowers,\",\n \" \\n \\n \\n \\n DUG \\n Alpha? I am not Alpha, he is- \\n \\n (REALIZING) \\n Oohhhh! \\n \\n \\n\",\n \" Alpha throws Dug viciously across the room. Alpha throws him \\n again and Dug crashes into the steering wheel, knocking a \\n radar shade off the control panel. \\n Alpha moves in. Dug hides behind the steering wheel. \\n\",\n \" Dug follows, but is blocked by Alpha and Beta. \\n \\n BETA \\n Not you. \\n \\n \\n \\n 64. \\n \\n \\n \\n \\n\",\n \" Alpha's voice is high and squeaky, as if he's breathed in \\n helium. \\n \\n \\n \\n ALPHA (CONT'D) \\n Find the scent, my compadres and\",\n \" ALPHA \\n Master will be most pleased we have \\n found them, and will ask of them \\n many questions. \\n (commanding, to Carl) \\n Come! \\n \\n \\n\",\n \" ALPHA (CONT'D) \\n This is Alpha calling Dug. Come \\n in, Dug. \\n \\n \\n The screen shows ground moving past: the view from Dug's \\n collar. \\n \\n \",\n \" but then notices the RADAR SHADE. \\n \\n \\n As Alpha lunges again, Dug jams the shade over Alpha's head. \\n Alpha's head is stuck, trapped by the cone. \\n The dogs all GASP.\",\n \" Alpha BARKS angrily. \\n \\n \\n \\n ALPHA \\n You lost it. Why do I not have a \\n surprised feeling? Well, at least \\n you now have lead us to the small\",\n \" There you go big fella. \\n \\n \\n \\n ALPHA \\n (deep scary voice) \\n Thank you Master. \\n Russell reacts. \\n \\n \\n \\n RUSSELL\",\n \" barking and growling. Carl protects Russell with his cane. \\n \\n \\n Dug is conflicted. \\n \\n \\n Alpha walks forward and stares menacingly at Carl. \\n He turns toward Dug. \\n \\n \",\n \" We'd better tell him someone took \\n the bird, right Alpha? \\n ALPHA, a Doberman pinscher, sits with his back to them. \\n \\n \\n \\n ALPHA\",\n \" And they wouldn't believe me. Just \\n wait till they get a look at you. \\n \\n \\n Alpha enters. \\n \\n \\n \\n ALPHA \\n Master! The small mailman has\",\n \" ALPHA \\n (high-pitched voice) \\n Where's the bird? You said you had \\n the bird. \\n \\n \\n \\n DUG\",\n \" 50. \\n \\n \\n \\n \\n \\n ALPHA \\n You are wise, my trusted \\n Lieutenant. \\n \\n \\n Alpha powers up a video screen on Beta's collar.\",\n \" Locked out, Dug jumps on the door and barks. \\n \\n \\n He hears growling and turns around. There stands Alpha and \\n the other dogs. \\n \\n DUG \\n Hi. \\n\",\n \" EXT. MOUNTAIN, DESOLATE ROCKY AREA - DAY \\n \\n Alpha leads Carl and Russell through a canyon. \\n \\n \\n Dogs patrol the tops of the canyon walls.\",\n \" Muntz and Alpha exchange glances. \\n \\n MUNTZ \\n Follow you? Impossible. How? \\n \\n \\n \\n RUSSELL \\n She likes chocolate. \\n \\n \",\n \" Beta and Gamma SNICKER derisively. \\n \\n GAMMA \\n Yeah, I wonder if he's found the \\n bird on his very special mission. \\n \\n ALPHA\",\n \" Beta and Gamma LAUGH. Alpha turns. They stop laughing. \\n \\n ALPHA \\n Beta. Gamma. Mayhaps you desire \\n to -- SQUIRREL! \\n \\n \"\n ],\n [\n \" Dug wears a high-tech collar. The dog's thoughts come out of \\n it as words through a speaker. It can talk. Unfortunately, \\n it talks non-stop. \\n \\n \\n \\n DUG\",\n \" \\n \\n DUG \\n My master is good and smart. \\n \\n CARL \\n It's not possible. \\n \\n \\n \\n DUG \\n Oh it is, because my master is\",\n \" Dug BARKS. \\n \\n \\n \\n DUG \\n And here's howling! \\n Dug HOWLS. The bird HISSES at Dug. \\n \\n \\n\",\n \" \\n \\n DUG \\n I am warning you, once again, bird! \\n \\n RUSSELL \\n Hey! Quit it! \\n \\n \\n \\n DUG\",\n \" Dug, stop bothering Kevin! \\n \\n \\n \\n DUG \\n That man there says I can take the \\n bird and I love that man there like \\n he is my master. \\n \\n \",\n \" CARL \\n Did that dog just say \\\"Hi there?\\\" \\n \\n DUG \\n Oh yes. \\n Carl JUMPS back. \\n \\n \\n \\n DUG\",\n \" The bird drags Dug, still clamped onto it's leg. \\n \\n \\n \\n DUG \\n Oh please oh please oh PLEASE be my \\n prisoner! \\n \\n \\n \\n RUSSELL\",\n \" The bird HISSES. \\n \\n \\n \\n CARL \\n I am not your master! \\n \\n \\n The bird tries to shake Dug off its leg. Dug jumps up on it. \\n\",\n \" My master made me this collar. He \\n is a good and smart master and he \\n made me this collar so that I may \\n talk -- SQUIRREL!! \\n Dug stares transfixed at a tree. False alarm. \\n\",\n \" Dug nuzzles around the sleeping bird's leg. \\n \\n \\n \\n RUSSELL \\n Mr. Fredricksen, Dug says he wants \\n to take Kevin prisoner. We have to \\n protect him!\",\n \" Oh, look! There he is. \\n \\n \\n Russell points to the right. The bird is on top of Carl's \\n house. \\n Dug turns around. \\n \\n \\n \\n DUG \\n\",\n \" barking and growling. Carl protects Russell with his cane. \\n \\n \\n Dug is conflicted. \\n \\n \\n Alpha walks forward and stares menacingly at Carl. \\n He turns toward Dug. \\n \\n \",\n \" Dug crazily searches and sniffs, looking for the bird. \\n \\n DUG \\n Find the bird. Find the bird... \\n \\n POINT!\",\n \" Carl looks back as the bird keeps running. Dug is up on the \\n canyon wall. He caused the avalanche! \\n \\n \\n \\n DUG \\n Go on Master! I will stop the \\n dogs!\",\n \" Dug goes rigid like a pointer dog and \\\"points\\\" to the left. \\n \\n \\n \\n 58. \\n \\n \\n \\n \\n \\n RUSSELL\",\n \" DUG \\n Hi Alpha. Hey, your voice sounds \\n funny. \\n \\n \\n \\n ALPHA \\n I know, I know! Have you seen the \\n bird? \\n\",\n \" Surprised at Dug's moxy, Alpha sits. All other dogs sit too. \\n \\n \\n \\n DOG WALLA \\n Yes, Alpha. \\n \\n \\n \\n 92.\",\n \" \\n \\n CARL \\n I think that did the trick. \\n \\n \\n He turns. Dug. With the ball in his mouth. \\n \\n \\n \\n DUG\",\n \" DUG \\n I was hiding under your porch \\n because I love you. Can I stay? \\n \\n \\n \\n CARL \\n Can you stay? Well, you're my dog\",\n \" It's just a weird trick or \\n something. Let's get to the falls. \\n \\n \\n Carl grabs Russell. The bird follows, as does Dug. \\n \\n DUG\"\n ],\n [\n \" Carl collects his teeth and motions for Kevin. \\n \\n \\n \\n CARL \\n Come on! \\n \\n \\n Muntz advances on Carl, who struggles to protect the bird. \\n \\n \",\n \" Carl panics. He rushes toward the house, dropping the knife. \\n \\n \\n Muntz motions to the dogs. They swarm past Russell, knocking \\n him down and grabbing the bird in the net. \\n \\n \\n\",\n \" MUNTZ \\n (to dogs) \\n Get them! \\n \\n \\n \\n INT. CAVE \\n \\n \\n \\n Carl and Russell untie Carl's house from the pylon. \\n \\n \",\n \" \\n Muntz KICKS the door. \\n \\n \\n Suddenly, Carl has an idea. \\n \\n CARL \\n Russell! Hang on to Kevin! Don't \\n let go of her! \\n\",\n \" Muntz is a wild man now, smashing and destroying anything \\n that gets in his way. \\n \\n \\n \\n MUNTZ \\n Enough! I'm taking that bird back \\n with me alive or dead!\",\n \" The ship corrects again. Carl climbs back inside. \\n Muntz comes at Carl. \\n \\n \\n \\n CARL \\n Come on, Kevin! \\n \\n \\n \\n 91.\",\n \" BLAM! Muntz appears on top of the dirigible with a rifle! \\n \\n \\n A bullet blasts through Carl's balloon strings. A third of \\n them break or shoot skyward. The house plummets, crashing\",\n \" a group of dogs drag forward CARL'S HOUSE. \\n \\n \\n Muntz hurls a lit lantern. Flames burst up beneath the house. \\n \\n \",\n \" with his cane, knocking Muntz off the ladder. Muntz catches \\n on to a rung of the ladder. \\n \\n \\n He watches Carl and the bird climb. \\n \\n \\n Muntz descends the ladder.\",\n \" Muntz walks to the window and looks out. Atop the roof he \\n sees THE BIRD. \\n \\n MUNTZ \\n It's here. \\n He turns back to Carl... but they're gone. \\n\",\n \" Muntz POUNDS on the door with the butt of the rifle. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, HALLWAY \\n \\n Russell, Dug and Kevin back away from the door. \\n\",\n \" capture the beast... alive! \\n \\n \\n \\n MUNTZ \\n I promise to capture the beast... \\n alive! \\n \\n \\n In the theater, young Carl smiles. \\n \\n MUNTZ\",\n \" Muntz smashes his trophy collection as he swings for Carl. \\n His sword gets stuck in a mounted skeleton. \\n Carl swings his cane and hits Muntz on the head. The tennis\",\n \" MUNTZ \\n Go ahead and moor your airship \\n right next to mine. \\n \\n \\n Muntz gestures to a pylon, where Carl ties off the house.\",\n \" \\n Muntz storms toward the house. Carl holds desperately to the \\n hose. \\n \\n \\n \\n CARL \\n No! Leave them alone! \\n \\n \",\n \" porthole. Flying toward him is CARL'S HOUSE! \\n \\n \\n \\n MUNTZ \\n Alpha! Fredricksen's coming back. \\n Guard that bird. If you see the\",\n \" \\n Muntz grabs the leaf blower and drags Russell out. \\n \\n \\n \\n MUNTZ \\n Well, if you're here, Fredricksen \\n can't be far behind. \\n\",\n \" Carl rushes to shake Muntz's hand. Muntz is charmed. \\n \\n \\n \\n MUNTZ \\n Well, you're a man of good taste! \\n \\n \",\n \" Carl trips and falls to the floor. Muntz is about to deal \\n the final blow. \\n \\n \\n \\n INT. DIRIGIBLE, COCKPIT \\n \\n \\n \",\n \" Muntz leaps after them. \\n But balloon strings tangle around his leg and pull him back. \\n \\n \\n Muntz hangs for a moment... It's thousands of feet from the \\n ground.... \\n He falls. \\n\"\n ],\n [\n \" Carl painfully gets up. He looks up at his house. It's \\n still intact. \\n \\n \\n He breathes a SIGH OF RELIEF. \\n \\n RUSSELL (O.S.)\",\n \" house. The house slides on to the dirigible's tail fin. \\n Holding the hose, Carl digs in his heels and is just able to \\n stop it. \\n \\n \\n The house teeters on the very edge of the tail fin.\",\n \" EXT. MOUNTAIN, ROCKY LANDSCAPE \\n \\n \\n \\n BAM!!! The house CRASHES into the ground. \\n \\n \\n Russell and Carl fly off the porch and onto the ground. They\",\n \" CARL \\n No, Russell! No! \\n Carl runs back to his house and tries in desperation to lift \\n it. He struggles, but the house doesn't budge. The balloons \\n have lost too much helium. \\n\",\n \" slides down the ramp as it lowers, closer and closer to the \\n edge. \\n \\n \\n \\n CARL \\n Russell! \\n Carl steers his house to the dirigible. \\n \\n \\n \\n \",\n \" onto the dirigible. \\n \\n \\n \\n 94. \\n \\n \\n \\n \\n Carl is THROWN from the house onto the airship. \\n \\n \",\n \" land hard. \\n \\n \\n Carl's house is floating away! \\n \\n \\n Carl runs after the GARDEN HOSE dragging across the ground. \\n \\n CARL\",\n \" The house floats off into the sky, leaving a huge pile of \\n things. Beside it sits Carl and Ellie's chairs, side by side \\n atop Paradise Falls. \\n \\n \\n \\n \\n\",\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n The house soars into the air, sails billowing. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM\",\n \" The house rips away from its foundation. \\n \\n \\n The nurses duck and YELL as the house soars over them. Carl \\n looks out the window and LAUGHS. \\n \\n CARL\",\n \" EXT. MOUNTAIN HILLSIDE - MORNING \\n \\n \\n \\n With the last of his energy, Carl drags the house into place. \\n The house groans as it comes to rest. \\n \\n \",\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n The house drifts through the clouds. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" Russell steers the house toward Carl. \\n \\n RUSSELL \\n Mr. Fredricksen! \\n \\n \\n The house slows and lowers atop the airship. Carl HOISTS the\",\n \" Oh boy. Oh boy! \\n \\n \\n \\n EXT. CARL'S HOUSE, FLOATING - CONTINUOUS \\n \\n \\n \\n The house flies off into the sky. \\n\",\n \" The tiny house is heading for a MASSIVE STORM. \\n Carl STRUGGLES to steer the house away but is blown into the \\n storm. The steering mechanism recoils and sends Carl flying. \\n \\n \",\n \" Carl struggles to push a refrigerator from the porch. It \\n teeters... and falls. The house lifts off! \\n \\n CARL \\n Wahhoo! \\n \\n \",\n \" Now barely aloft, Carl pulls the house across the rocky \\n landscape. \\n \\n \\n Russell's harness drags along side, empty. \\n \\n \\n Russell walks behind. \\n \\n \\n\",\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \\n The house lowers into the fog. \\n \\n \\n \\n RUSSELL (O.S.)\",\n \" The storm rages. The house is tossed into the storm clouds. \\n All goes black. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM - MORNING \\n\",\n \" BLAM! Muntz appears on top of the dirigible with a rifle! \\n \\n \\n A bullet blasts through Carl's balloon strings. A third of \\n them break or shoot skyward. The house plummets, crashing\"\n ],\n [\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n The house soars into the air, sails billowing. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM\",\n \" onto the dirigible. \\n \\n \\n \\n 94. \\n \\n \\n \\n \\n Carl is THROWN from the house onto the airship. \\n \\n \",\n \" house. The house slides on to the dirigible's tail fin. \\n Holding the hose, Carl digs in his heels and is just able to \\n stop it. \\n \\n \\n The house teeters on the very edge of the tail fin.\",\n \" slides down the ramp as it lowers, closer and closer to the \\n edge. \\n \\n \\n \\n CARL \\n Russell! \\n Carl steers his house to the dirigible. \\n \\n \\n \\n \",\n \" Carl struggles to push a refrigerator from the porch. It \\n teeters... and falls. The house lifts off! \\n \\n CARL \\n Wahhoo! \\n \\n \",\n \" The house turns. \\n Carl looks out the window, satisfied. He checks the balloons. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" \\n The dirigible turns, revealing Carl's house sneaking up \\n behind. \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" CARL \\n No, Russell! No! \\n Carl runs back to his house and tries in desperation to lift \\n it. He struggles, but the house doesn't budge. The balloons \\n have lost too much helium. \\n\",\n \" Russell steers the house toward Carl. \\n \\n RUSSELL \\n Mr. Fredricksen! \\n \\n \\n The house slows and lowers atop the airship. Carl HOISTS the\",\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n The house drifts through the clouds. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" Oh boy. Oh boy! \\n \\n \\n \\n EXT. CARL'S HOUSE, FLOATING - CONTINUOUS \\n \\n \\n \\n The house flies off into the sky. \\n\",\n \" Now barely aloft, Carl pulls the house across the rocky \\n landscape. \\n \\n \\n Russell's harness drags along side, empty. \\n \\n \\n Russell walks behind. \\n \\n \\n\",\n \" The house rips away from its foundation. \\n \\n \\n The nurses duck and YELL as the house soars over them. Carl \\n looks out the window and LAUGHS. \\n \\n CARL\",\n \" Inside the house, Carl adjusts his steering, scans the skies. \\n \\n \\n \\n 81. \\n \\n \\n \\n \",\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \\n A small cluster of balloons fly up and away from the house. \\n \\n \\n\",\n \" The tiny house is heading for a MASSIVE STORM. \\n Carl STRUGGLES to steer the house away but is blown into the \\n storm. The steering mechanism recoils and sends Carl flying. \\n \\n \",\n \" \\n \\n CARL \\n Uh... yeah. \\n \\n VOICE \\n In a house? A floating house? \\n The man laughs. Carl and Russell laugh along nervously. \\n\",\n \" the zoo. Carl's cart lifts off the ground. He casually \\n leans an elbow on it. \\n \\n \\n \\n INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - NIGHT \\n\",\n \" MUNTZ \\n Go ahead and moor your airship \\n right next to mine. \\n \\n \\n Muntz gestures to a pylon, where Carl ties off the house.\",\n \" BLAM! Muntz appears on top of the dirigible with a rifle! \\n \\n \\n A bullet blasts through Carl's balloon strings. A third of \\n them break or shoot skyward. The house plummets, crashing\"\n ],\n [\n \" Russell, nose buried in his MANUAL, reads to Carl. \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell. And I am a Wilderness\",\n \" Carl listens through the door. Is the kid gone? He opens it. \\n \\n \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell.\\\" \\n \\n \\n \\n CARL\",\n \" The dog nuzzles Russell, who nervously pets it. \\n \\n \\n \\n RUSSELL \\n Hey, I like dogs! \\n \\n \\n \\n CARL \\n (calls out)\",\n \" Russell rolls over to show Carl a badge. \\n \\n \\n \\n RUSSELL \\n Zoology. \\n \\n CARL \\n Oh, for the love of Pete. Go on into\",\n \" EXT. CARL'S HOUSE, PORCH - DAY - CONTINUOUS \\n \\n \\n \\n Nothing. He looks left. Nothing. He looks right. Russell. \\n He looks... Russell?!! \\n\",\n \" Russell looks up at the house. Who's Carl talking to? \\n \\n \\n \\n RUSSELL \\n Huh. \\n (shrugs it off)\",\n \" CARL \\n (calls after Russell) \\n Bring it back here when you find \\n it! \\n Carl rolls his eyes and begins to close his door. \\n \\n \\n He stops short. \\n \\n \",\n \" CARL \\n Kid. KID!! \\n \\n \\n Russell stops... but goes back to reading. \\n \\n RUSSELL \\n \\\"Are you in need of any assistance \\n today Sir?\\\" \\n\",\n \" CARL \\n Hurry! \\n \\n RUSSELL \\n I am hurrying! \\n \\n \\n Dogs descend down the ramp behind them. \\n \\n RUSSELL\",\n \" Russell struggles with a tent pole, trying to winch it into \\n place. \\n \\n \\n Carl can't watch. \\n An off screen SMACK! Russell walks to Carl. Miraculously, \\n he looks unscathed.\",\n \" Russell goes limp and lies face down in the dirt. \\n \\n RUSSELL \\n I don't want to walk anymore. Can \\n we stop? \\n \\n \\n \\n CARL\",\n \" RUSSELL \\n That might sound boring, but I \\n think the boring stuff is the stuff \\n I remember the most. \\n They walk in silence. Carl understands. \\n \\n \",\n \" Russell spots the labyrinth, now close by. He tries to run \\n but is pulled back by his tether. \\n \\n \\n LAUGHING, Carl unclips Russell's tether. \\n \\n CARL\",\n \" \\n The bird jumps down and hides behind Russell. \\n \\n CARL \\n Sheesh! Can you believe this, Ellie? \\n \\n \\n \\n RUSSELL \\n Ellie?\",\n \" Carl closes the door in Russell's face. \\n \\n \\n \\n INT. CARL'S HOUSE, FRONT HALL - CONTINUOUS \\n \\n \\n \",\n \" \\n \\n RUSSELL \\n Ready? \\n Carl gives a thumbs up. \\n \\n \\n \\n CARL \\n Ready! \\n \\n \\n\",\n \" CARL (O.S.) \\n Excuse me. Pardon me. Old man \\n coming through. \\n Carl takes his place next to Russell. \\n \\n \\n \\n CARL\",\n \" \\n \\n CARL \\n Russell! Get out of there! \\n Russell, Dug and Kevin run toward the front porch. \\n \\n \\n BLAM! A bullet smashes the door jam next to them. \\n\",\n \" \\n Somehow energized, Russell jams his pack into Carl's hands, \\n secures his rope to a tree and tromps off into the shrubs. \\n \\n \\n He goes into the woods carrying a small shovel in one hand\",\n \" \\n Russell pats Carl on the head. \\n \\n CARL \\n \\\"Kevin\\\"? \\n \\n RUSSELL \\n Yeah, that's his name I just gave \\n him. \\n\"\n ],\n [\n \" YOUNG ELLIE \\n You know him. \\n Carl smiles excitedly. \\n \\n YOUNG ELLIE \\n Charles Muntz, explorer. When I get\",\n \" CARL \\n (far in the distance) \\n Russell! \\n \\n RUSSELL \\n Huh? \\n \\n \\n Carl calls for help: the WILDERNESS EXPLORER CALL.\",\n \" Young Carl stares, mouth agape, wearing leather flight helmet \\n and goggles -- just like his idol on the silver screen. \\n \\n \\n \\n NEWSREEL ANNOUNCER (V.O.)\",\n \" YOUNG CARL \\n No! \\n \\n \\n Muntz's portrait is removed from a wall of paintings of other \\n famous explorers. \\n\",\n \" Of everyone watching in the modest, small town theater, no \\n one is more enthralled than 8 year old CARL FREDRICKSEN. \\n \\n \\n \\n NEWSREEL ANNOUNCER (O.S.)\",\n \" MUNTZ \\n You know, Carl. These people who \\n pass through here, they all tell \\n pretty good stories. A \\\"Surveyor\\\" \\n making a map.\",\n \" Russell, nose buried in his MANUAL, reads to Carl. \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell. And I am a Wilderness\",\n \" Carl stands at the door. He smiles and walks to her bedside. \\n \\n \\n Ellie pushes her Adventure Book toward him. She weakly pats \\n his cheek and adjusts his tie. \\n \\n \",\n \" Explorer call. Caw caw, raaar!! \\n \\n \\n The WILDERNESS EXPLORER CALL sets off Carl's hearing aid. \\n \\n \\n \\n 37. \\n \\n \",\n \" EXT. CARL'S HOUSE, PORCH - DAY \\n \\n \\n \\n The door opens. \\n A Wilderness Explorer stands, reading from a Wilderness\",\n \" CARL \\n It's really him! \\n (to Russell) \\n That's Charles Muntz! \\n \\n RUSSELL \\n \\n (EXCITED)\",\n \" Carl pulls out a suitcase. A book tips over. Ellie's \\n Adventure Book. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" Carl sets a compass next to the map of South America. \\n \\n \\n \\n EXT. CARL'S HOUSE, BEDROOM WINDOW \\n \\n \\n \",\n \" \\\"The wilderness must be explored! \\n \\n CAW-CAW! RAAAR!\\\" \\n \\n \\n This sets Carl's hearing aid off. Carl GRUMBLES in pain. \\n \\n RUSSELL\",\n \" \\n The dirigible turns, revealing Carl's house sneaking up \\n behind. \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" A painted portrait of a dashing young adventurer. \\n \\n \\n \\n NEWSREEL ANNOUNCER (V.O.) \\n Why, our subject today: Charles \\n Muntz! \\n\",\n \" Carl rushes to shake Muntz's hand. Muntz is charmed. \\n \\n \\n \\n MUNTZ \\n Well, you're a man of good taste! \\n \\n \",\n \" No. \\n \\n \\n \\n RUSSELL \\n \\n (RECITING) \\n \\\"An Explorer is a friend to all, be \\n it plants or fish or tiny mole.\\\" \\n \\n \\n\",\n \" \\n Carl's eyes adjust to the dark. Muntz's dirigible the \\n \\\"Spirit of Adventure\\\" is tethered in the cave. \\n \\n \\n \\n MUNTZ (O.S.)\",\n \" Carl sits in his chair slowly paging through the book. \\n \\n \\n \\n 23. \\n \\n \\n \\n \\n He turns to the page marked \\\"STUFF I'M GOING TO DO.\\\" He\"\n ],\n [\n \" addresses the crowd. \\n \\n \\n \\n NEWSREEL ANNOUNCER (V.O.) \\n Humiliated, Muntz vows a return to \\n Paradise Falls and promises to\",\n \" Muntz is a wild man now, smashing and destroying anything \\n that gets in his way. \\n \\n \\n \\n MUNTZ \\n Enough! I'm taking that bird back \\n with me alive or dead!\",\n \" Muntz leaps after them. \\n But balloon strings tangle around his leg and pull him back. \\n \\n \\n Muntz hangs for a moment... It's thousands of feet from the \\n ground.... \\n He falls. \\n\",\n \" old man, you know what to do. \\n \\n \\n Muntz pulls the switch and walks out of the room. \\n \\n RUSSELL \\n Hey, where are you going? I'm not\",\n \" Muntz topples another helmet. \\n He lifts a third to show Carl. \\n \\n \\n \\n MUNTZ \\n An old man taking his house to \\n Paradise Falls. \\n \\n \",\n \" Muntz walks to the window and looks out. Atop the roof he \\n sees THE BIRD. \\n \\n MUNTZ \\n It's here. \\n He turns back to Carl... but they're gone. \\n\",\n \" Muntz gives him the \\\"thumbs up.\\\" \\n \\n \\n \\n MUNTZ \\n \\\"Adventure is out there!\\\" \\n \\n \\n Carl GIGGLES with glee. \\n \\n \\n\",\n \" Carl collects his teeth and motions for Kevin. \\n \\n \\n \\n CARL \\n Come on! \\n \\n \\n Muntz advances on Carl, who struggles to protect the bird. \\n \\n \",\n \" \\n The figure walks out toward Carl into the light. Carl \\n recognizes him! \\n \\n CARL \\n Wait, are you Charles Muntz?! \\n \\n \\n \\n MUNTZ\",\n \" \\n Muntz picks up a lantern and walks to the back of the room. \\n \\n MUNTZ \\n They called me a fraud, those... \\n dah! But once I bring back this\",\n \" This is Muntz's obsession. He looks over to a full size \\n skeleton. \\n \\n \\n \\n MUNTZ \\n Beautiful, isn't it? I've spent a \\n lifetime tracking it. Sometimes\",\n \" Muntz is lost in reverie. \\n \\n \\n \\n MUNTZ \\n And here they come, these bandits, \\n and think the bird is theirs to \\n take! But they soon find that this\",\n \" And I will not come back until I do! \\n The crowd CHEERS. \\n \\n \\n Muntz gives his thumbs up from the cockpit as the dirigible \\n lifts off. \\n\",\n \" returned. \\n \\n MUNTZ \\n What? \\n \\n \\n \\n INT. DIRIGIBLE \\n \\n \\n \\n Dogs tie Russell to a chair. \\n\",\n \" Cameras flash as Muntz stands heroic, striking his signature \\n \\\"thumbs up\\\" stance. \\n \\n MUNTZ \\n \\\"Adventure is out there!\\\" \\n \\n In the theater, Young Carl returns the thumbs up.\",\n \" \\n Muntz grabs the leaf blower and drags Russell out. \\n \\n \\n \\n MUNTZ \\n Well, if you're here, Fredricksen \\n can't be far behind. \\n\",\n \" pushes the bird along as he goes. \\n \\n \\n Muntz follows up. \\n \\n \\n \\n INT. DIRIGIBLE, COCKPIT \\n \\n \\n \",\n \" porthole. Flying toward him is CARL'S HOUSE! \\n \\n \\n \\n MUNTZ \\n Alpha! Fredricksen's coming back. \\n Guard that bird. If you see the\",\n \" Carl rushes to shake Muntz's hand. Muntz is charmed. \\n \\n \\n \\n MUNTZ \\n Well, you're a man of good taste! \\n \\n \",\n \" CARL \\n It's really him! \\n (to Russell) \\n That's Charles Muntz! \\n \\n RUSSELL \\n \\n (EXCITED)\"\n ],\n [\n \" He closes the book. But as he does, Carl sees something he \\n hadn't before. \\n \\n \\n The blank pages at the end are no longer blank. \\n A WEDDING PHOTO of the two of them.\",\n \" Carl blushes as she pulls him out of the room. \\n \\n \\n \\n 7. \\n \\n \\n \\n \\n \\n \\n \\n INT. DILAPIDATED HOUSE, UPSTAIRS\",\n \" Carl stands at the door. He smiles and walks to her bedside. \\n \\n \\n Ellie pushes her Adventure Book toward him. She weakly pats \\n his cheek and adjusts his tie. \\n \\n \",\n \" Carl watches her stride out of the room. She pops back in. \\n \\n YOUNG ELLIE \\n My name's Ellie. \\n \\n \\n She grabs his hand.\",\n \" Carl painfully gets up. He looks up at his house. It's \\n still intact. \\n \\n \\n He breathes a SIGH OF RELIEF. \\n \\n RUSSELL (O.S.)\",\n \" 15. \\n \\n \\n \\n \\n \\n \\n \\n INT. CARL'S LIVING ROOM WINDOW - LATER \\n \\n \\n \",\n \" \\n Carl rounds the corner to see... \\n \\n \\n ELLIE, an eight year old girl, her mussy red hair barely \\n visible beneath her flight helmet and goggles. Bare footed,\",\n \" 25. \\n \\n \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" FLASH! A photo is taken of the wedding couple: Carl and \\n Ellie, now 19. She jumps at him and gives him a big kiss. \\n \\n \",\n \" \\n \\n 32. \\n \\n \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" LOVE, ELLIE.\\\" \\n Carl smiles. \\n \\n \\n He looks over to Ellie's empty chair. On the arm is \\n Russell's sash. Carl picks it up. \\n He looks to Ellie's chair.\",\n \" \\n The dirigible turns, revealing Carl's house sneaking up \\n behind. \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" He kisses her on the forehead. \\n \\n \\n \\n INT. CHURCH - AFTERNOON \\n \\n \\n \\n Carl sits alone, next to a huge bouquet of balloons. \\n \\n \\n\",\n \" Carl backs into his house. \\n \\n \\n \\n INT. CARL'S LIVING ROOM \\n \\n \\n \\n Carl shuts his door. He closes the curtains.\",\n \" Carl waves at a high-rise window washer, who tentatively \\n waves back. \\n The house crests the top of a building, drifting over and away \\n from the city. Carl looks out his window. Good riddance. \\n \\n \\n\",\n \" EXT. DILAPIDATED HOUSE - DAY \\n \\n \\n \\n Carl carries her past a \\\"SOLD\\\" sign. It's the same house \\n where they met as kids. \\n \\n \\n \\n \\n\",\n \" Carl pulls out a suitcase. A book tips over. Ellie's \\n Adventure Book. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" Carl joins Ellie. He hands her the Adventure Book. She smiles. \\n \\n \\n \\n INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON \\n \\n \\n \",\n \" 5. \\n \\n \\n \\n \\n Carl walks toward the voice. \\n \\n \\n \\n GIRL'S VOICE (O.S.) \\n Hold together old girl. How're my\",\n \" On a picnic. Celebrating birthdays. Another and another... \\n photos of their ordinary life together, the ups and downs. \\n Carl's face warms. Ellie lived the life she wanted: she saw \\n adventure in everyday life. \\n\"\n ],\n [\n \" 25. \\n \\n \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" \\n \\n 32. \\n \\n \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" CARL \\n That doesn't even rhyme. \\n \\n \\n \\n RUSSELL \\n Yeah it does. \\n Russell points up to the roof of Carl's house. \\n \\n \\n\",\n \" Carl sits in his chair slowly paging through the book. \\n \\n \\n \\n 23. \\n \\n \\n \\n \\n He turns to the page marked \\\"STUFF I'M GOING TO DO.\\\" He\",\n \" \\n \\n CARL \\n No. Yes. Tell your boss over there \\n that you boys are ruining our house. \\n \\n \\n He points across the lot to a business man in a suit talking\",\n \" Carl blushes as she pulls him out of the room. \\n \\n \\n \\n 7. \\n \\n \\n \\n \\n \\n \\n \\n INT. DILAPIDATED HOUSE, UPSTAIRS\",\n \" He closes the book. But as he does, Carl sees something he \\n hadn't before. \\n \\n \\n The blank pages at the end are no longer blank. \\n A WEDDING PHOTO of the two of them.\",\n \" Carl stands at the door. He smiles and walks to her bedside. \\n \\n \\n Ellie pushes her Adventure Book toward him. She weakly pats \\n his cheek and adjusts his tie. \\n \\n \",\n \" Carl backs into his house. \\n \\n \\n \\n INT. CARL'S LIVING ROOM \\n \\n \\n \\n Carl shuts his door. He closes the curtains.\",\n \" Russell, nose buried in his MANUAL, reads to Carl. \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell. And I am a Wilderness\",\n \" Carl relaxes in his chair. \\n \\n \\n \\n KNOCK KNOCK KNOCK. \\n \\n \\n \\n CARL \\n Huh? \\n \\n \\n\",\n \" Carl painfully gets up. He looks up at his house. It's \\n still intact. \\n \\n \\n He breathes a SIGH OF RELIEF. \\n \\n RUSSELL (O.S.)\",\n \" Carl is shocked. He runs to the box. \\n \\n \\n \\n CARL \\n What? Hey! Hey you! What do you \\n think you're doing? \\n\",\n \" He peeks out the window. The injured worker is helped to his \\n feet. A police car pulls up. \\n \\n \\n The Real Estate Developer looks toward Carl's house. His \\n hand rests on Carl's fence. \\n\",\n \" \\n The dirigible turns, revealing Carl's house sneaking up \\n behind. \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" Carl pulls out a suitcase. A book tips over. Ellie's \\n Adventure Book. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" Carl closes his eyes, takes a deep breath, and sits. \\n \\n \\n Quiet. \\n \\n \\n Nothing, save the distant sound of the falls outside. \\n Carl surveys the room. \\n \\n \",\n \" CARL \\n (calls after Russell) \\n Bring it back here when you find \\n it! \\n Carl rolls his eyes and begins to close his door. \\n \\n \\n He stops short. \\n \\n \",\n \" Carl waves at a high-rise window washer, who tentatively \\n waves back. \\n The house crests the top of a building, drifting over and away \\n from the city. Carl looks out his window. Good riddance. \\n \\n \\n\",\n \" 15. \\n \\n \\n \\n \\n \\n \\n \\n INT. CARL'S LIVING ROOM WINDOW - LATER \\n \\n \\n \"\n ],\n [\n \" Only... I just don't know how I'm \\n gonna get to Paradise Falls. \\n Ellie closes the book, disappointed. \\n \\n \\n Carl has a thought. He looks at his toy dirigible. \\n \\n \",\n \" Carl painfully gets up. He looks up at his house. It's \\n still intact. \\n \\n \\n He breathes a SIGH OF RELIEF. \\n \\n RUSSELL (O.S.)\",\n \" slides down the ramp as it lowers, closer and closer to the \\n edge. \\n \\n \\n \\n CARL \\n Russell! \\n Carl steers his house to the dirigible. \\n \\n \\n \\n \",\n \" He looks over. He's finally made it: Paradise Falls. \\n Torrents of water careen over the massive cliff edge. \\n \\n \\n Carl takes out Ellie's childhood drawing. Next to him stands\",\n \" Russell steers the house toward Carl. \\n \\n RUSSELL \\n Mr. Fredricksen! \\n \\n \\n The house slows and lowers atop the airship. Carl HOISTS the\",\n \" Carl ROLLS HIS EYES. He looks up at the house. \\n \\n CARL \\n Don't you worry, Ellie. We'll get \\n our house over there.\",\n \" CARL \\n No, Russell! No! \\n Carl runs back to his house and tries in desperation to lift \\n it. He struggles, but the house doesn't budge. The balloons \\n have lost too much helium. \\n\",\n \" The house floats off into the sky, leaving a huge pile of \\n things. Beside it sits Carl and Ellie's chairs, side by side \\n atop Paradise Falls. \\n \\n \\n \\n \\n\",\n \" Muntz topples another helmet. \\n He lifts a third to show Carl. \\n \\n \\n \\n MUNTZ \\n An old man taking his house to \\n Paradise Falls. \\n \\n \",\n \" EXT. MOUNTAIN HILLSIDE - MORNING \\n \\n \\n \\n With the last of his energy, Carl drags the house into place. \\n The house groans as it comes to rest. \\n \\n \",\n \" That building's so close I could \\n almost touch it. \\n \\n \\n That gives Carl an idea. \\n \\n CUT TO: \\n \\n \\n Carl lowers Russell on a rope below the floating house.\",\n \" Dug scampers back to Carl and Russell, who pull the house \\n from behind a tree canopy. \\n \\n CARL \\n This is crazy. I finally meet my \\n childhood hero and he's trying to\",\n \" The house rips away from its foundation. \\n \\n \\n The nurses duck and YELL as the house soars over them. Carl \\n looks out the window and LAUGHS. \\n \\n CARL\",\n \" The tiny house is heading for a MASSIVE STORM. \\n Carl STRUGGLES to steer the house away but is blown into the \\n storm. The steering mechanism recoils and sends Carl flying. \\n \\n \",\n \" Across it, some ten miles away, is PARADISE FALLS. \\n Carl stares. He can't believe it. \\n \\n \\n \\n CARL \\n There it is. Ellie, it's so\",\n \" Ellie paints a MURAL of their house atop Paradise Falls over \\n the mantle. Carl organizes a compass, map, binoculars, and \\n native bird figurine beneath the painting. It's their shrine \\n to Adventure.\",\n \" Dug! Bring `er over! \\n Dug winches in the hose caddy, pulling the house closer to \\n the dirigible ramp. \\n \\n \\n Carl carries Russell into the house. \\n \\n \\n\",\n \" get to the falls! \\n \\n \\n Carl pulls on the tether, knocking Russell over. Carl falls, \\n pulling the house into a tall rock. SMASH! \\n Carl GASPS. He turns his anger to the group.\",\n \" Carl struggles to push a refrigerator from the porch. It \\n teeters... and falls. The house lifts off! \\n \\n CARL \\n Wahhoo! \\n \\n \",\n \" EXT. PARADISE FALLS - AFTERNOON \\n \\n On top of Paradise Falls sits Carl's house, just as Ellie \\n imagined it. \\n \\n \\n THE END \\n \\n \\n\"\n ],\n [\n \" Carl watches her stride out of the room. She pops back in. \\n \\n YOUNG ELLIE \\n My name's Ellie. \\n \\n \\n She grabs his hand.\",\n \" \\n Carl rounds the corner to see... \\n \\n \\n ELLIE, an eight year old girl, her mussy red hair barely \\n visible beneath her flight helmet and goggles. Bare footed,\",\n \" CARL \\n Quite a sight, huh Ellie? \\n (noticing mailbox) \\n Uhp, mail's here. \\n \\n \\n Carl walks to the mailbox. He touches Ellie's faded\",\n \" Carl stands at the door. He smiles and walks to her bedside. \\n \\n \\n Ellie pushes her Adventure Book toward him. She weakly pats \\n his cheek and adjusts his tie. \\n \\n \",\n \" LOVE, ELLIE.\\\" \\n Carl smiles. \\n \\n \\n He looks over to Ellie's empty chair. On the arm is \\n Russell's sash. Carl picks it up. \\n He looks to Ellie's chair.\",\n \" Carl does. \\n \\n YOUNG ELLIE \\n Good. You promised. No backing out. \\n \\n \\n Carl shakes his head \\\"no.\\\" \\n \\n YOUNG ELLIE\",\n \" Ellie pops up in front of Carl. \\n \\n \\n \\n 6. \\n \\n \\n \\n \\n \\n YOUNG ELLIE \\n What are you doing!?! \\n \\n \",\n \" \\n The bird jumps down and hides behind Russell. \\n \\n CARL \\n Sheesh! Can you believe this, Ellie? \\n \\n \\n \\n RUSSELL \\n Ellie?\",\n \" Carl pulls out a suitcase. A book tips over. Ellie's \\n Adventure Book. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" The photo of Ellie rocks and slides off the wall. Carl \\n lunges to catch it. \\n \\n \\n \\n EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \",\n \" Carl touches Ellie's shoulder as the doctor explains. Ellie \\n drops her head in her hands. \\n \\n \\n \\n \\n\",\n \" Carl kisses a photo of Ellie. \\n \\n \\n \\n CARL \\n We're on our way, Ellie. \\n Carl kneels at the fireplace and plunks the balloon strings\",\n \" She offers her hand. Carl looks down, embarrassed. \\n \\n \\n \\n YOUNG ELLIE \\n What's wrong? Can't you talk? \\n Carl is frozen. Ellie softens. \\n \\n \",\n \" Carl screams. He lets go of his balloon. It floats through \\n a broken part of the ceiling and disappears. \\n Ellie circles Carl accusingly. \\n \\n \\n \\n YOUNG ELLIE\",\n \" to pick you up in the morning, okay? \\n The officer drives off, leaving Carl alone. \\n \\n \\n Carl faces the house. He touches Ellie's dented mailbox. \\n \\n \\n \\n CARL\",\n \" YOUNG ELLIE \\n Go on. \\n \\n \\n Carl steels his courage. He puts on his goggles, starts \\n forward... and FALLS through the floor. \\n \\n CUT TO:\",\n \" 12. \\n \\n \\n \\n \\n \\n \\n \\n EXT. CARL AND ELLIE'S HOUSE, YARD - AFTERNOON \\n \\n \\n \",\n \" Whew! I thought you were dead. \\n \\n CARL \\n Wha... what happened? \\n \\n \\n Carl STRUGGLES to rise from the pile of Ellie's things he'd \\n been protecting.\",\n \" bird? Uh-huh. Uh-huh. \\n (to Carl) \\n She said for you to let me. \\n \\n \\n \\n CARL \\n (to Ellie)\",\n \" \\n \\n INT. CARL AND ELLIE'S HOUSE, FRONT HALL - 3 YEARS LATER \\n \\n Ellie struggles to tie Carl's tie as they rush out the door. \\n \\n \"\n ],\n [\n \" Russell, nose buried in his MANUAL, reads to Carl. \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell. And I am a Wilderness\",\n \" RUSSELL \\n That might sound boring, but I \\n think the boring stuff is the stuff \\n I remember the most. \\n They walk in silence. Carl understands. \\n \\n \",\n \" \\n Russell points to his SASH. It is covered with badges except \\n for one glaringly empty space. \\n \\n \\n \\n RUSSELL \\n See these? These are my Wilderness\",\n \" \\n Somehow energized, Russell jams his pack into Carl's hands, \\n secures his rope to a tree and tromps off into the shrubs. \\n \\n \\n He goes into the woods carrying a small shovel in one hand\",\n \" \\n \\n \\n Russell turns. Nothing there. \\n \\n \\n Another nibble! Zip! \\n \\n \\n \\n RUSSELL \\n Ha! Gotcha! \\n \\n \",\n \" really good at camping, and how to \\n make fire from rocks and stuff. He \\n used to come to all my Sweatlodge \\n meetings. \\n \\n \\n Russell smiles at the thought. \\n \\n \",\n \" Russell clings to the end of the hose, swaying in the wind. \\n \\n \\n What's that noise? From beneath the dirigible emerges... \\n \\n \\n\",\n \" Russell rolls over to show Carl a badge. \\n \\n \\n \\n RUSSELL \\n Zoology. \\n \\n CARL \\n Oh, for the love of Pete. Go on into\",\n \" Russell looks out the window in front of him. \\n \\n \\n \\n 28. \\n \\n \\n \\n \\n \\n RUSSELL \\n Hey look, buildings! \\n \\n \\n\",\n \" The dog nuzzles Russell, who nervously pets it. \\n \\n \\n \\n RUSSELL \\n Hey, I like dogs! \\n \\n \\n \\n CARL \\n (calls out)\",\n \" Russell and others duck inside and slam the door. \\n \\n \\n The house tilts, threatening to tip off at any second. Carl \\n holds on for his life. \\n \\n \",\n \" RUSSELL \\n (pointing to tent) \\n That's for you! \\n \\n \\n The tent pole springs loose, catapulting the tent over the \\n cliff. \\n \\n \\n\",\n \" EXT. CARL'S HOUSE, PORCH - DAY - CONTINUOUS \\n \\n \\n \\n Nothing. He looks left. Nothing. He looks right. Russell. \\n He looks... Russell?!! \\n\",\n \" \\n The bird jumps down and hides behind Russell. \\n \\n CARL \\n Sheesh! Can you believe this, Ellie? \\n \\n \\n \\n RUSSELL \\n Ellie?\",\n \" Russell struggles with a tent pole, trying to winch it into \\n place. \\n \\n \\n Carl can't watch. \\n An off screen SMACK! Russell walks to Carl. Miraculously, \\n he looks unscathed.\",\n \" quickly and quietly, with no rap \\n music or flash-dancing. \\n Russell inspects his surroundings. \\n \\n RUSSELL \\n \\n (DISTRACTED) \\n Uh-huh. \\n\",\n \" CARL \\n Russell? \\n \\n \\n \\n 80. \\n \\n \\n \\n \\n But Russell is nowhere to be seen. \\n \\n \",\n \" through but manages to grab the frame with his cane. He \\n dangles out over open air. \\n He sees the biplanes circling the house, Russell hanging \\n beneath it. \\n \\n \",\n \" Russell spots the labyrinth, now close by. He tries to run \\n but is pulled back by his tether. \\n \\n \\n LAUGHING, Carl unclips Russell's tether. \\n \\n CARL\",\n \" Sure enough. \\n \\n \\n \\n RUSSELL \\n Look at that one! That one looks \\n like a dog! \\n The \\\"rock\\\" walks forward. \\n \\n RUSSELL\"\n ],\n [\n \" \\n \\n DUG \\n My master is good and smart. \\n \\n CARL \\n It's not possible. \\n \\n \\n \\n DUG \\n Oh it is, because my master is\",\n \" Dug wears a high-tech collar. The dog's thoughts come out of \\n it as words through a speaker. It can talk. Unfortunately, \\n it talks non-stop. \\n \\n \\n \\n DUG\",\n \" \\n \\n DUG \\n I am warning you, once again, bird! \\n \\n RUSSELL \\n Hey! Quit it! \\n \\n \\n \\n DUG\",\n \" DUG \\n Master. It's alright. \\n \\n \\n \\n CARL \\n I am not your master! And if you \\n hadn't a shown up, none of this\",\n \" Dug, stop bothering Kevin! \\n \\n \\n \\n DUG \\n That man there says I can take the \\n bird and I love that man there like \\n he is my master. \\n \\n \",\n \" Dug BARKS. \\n \\n \\n \\n DUG \\n And here's howling! \\n Dug HOWLS. The bird HISSES at Dug. \\n \\n \\n\",\n \" DUG \\n Hi Alpha. Hey, your voice sounds \\n funny. \\n \\n \\n \\n ALPHA \\n I know, I know! Have you seen the \\n bird? \\n\",\n \" The bird HISSES. \\n \\n \\n \\n CARL \\n I am not your master! \\n \\n \\n The bird tries to shake Dug off its leg. Dug jumps up on it. \\n\",\n \" Dug goes rigid like a pointer dog and \\\"points\\\" to the left. \\n \\n \\n \\n 58. \\n \\n \\n \\n \\n \\n RUSSELL\",\n \" My master made me this collar. He \\n is a good and smart master and he \\n made me this collar so that I may \\n talk -- SQUIRREL!! \\n Dug stares transfixed at a tree. False alarm. \\n\",\n \" DUG \\n Yeah, get off of his <>! \\n \\n \\n In the distance, BABY BIRDS call out. The bird CALLS back. \\n \\n \\n \\n CARL\",\n \" CARL \\n Did that dog just say \\\"Hi there?\\\" \\n \\n DUG \\n Oh yes. \\n Carl JUMPS back. \\n \\n \\n \\n DUG\",\n \" The bird drags Dug, still clamped onto it's leg. \\n \\n \\n \\n DUG \\n Oh please oh please oh PLEASE be my \\n prisoner! \\n \\n \\n \\n RUSSELL\",\n \" INT. CARL'S HOUSE, PORCH - CONTINUOUS \\n \\n \\n \\n The door swings open. \\n \\n \\n \\n CARL \\n Dug! \\n \\n \",\n \" Dug points to a grate in the wall. \\n \\n \\n \\n \\n \\n INT. DIRIGIBLE, GAS CELL AREA \\n \\n Dug leads Carl \\\"backstage\\\" through a vent shaft into the\",\n \" Dug WHIMPERS. \\n \\n \\n \\n EXT. DIRIGIBLE GANGPLANK - MOMENTS LATER \\n \\n \\n \\n Alpha, Gamma and Beta walk into the dirigible. Dug sits\",\n \" DUG \\n Why yes, the bird is my prisoner \\n now. \\n \\n \\n \\n GAMMA \\n Yeah, right. \\n \\n \",\n \" DUG \\n Master! \\n The house bears down on them. They run to meet it. \\n \\n \\n \\n CARL \\n Russell!! Over here!! Let's go! \\n \\n \",\n \" \\n \\n CARL \\n I think that did the trick. \\n \\n \\n He turns. Dug. With the ball in his mouth. \\n \\n \\n \\n DUG\",\n \" DUG \\n I was hiding under your porch \\n because I love you. Can I stay? \\n \\n \\n \\n CARL \\n Can you stay? Well, you're my dog\"\n ],\n [\n \" Carl painfully gets up. He looks up at his house. It's \\n still intact. \\n \\n \\n He breathes a SIGH OF RELIEF. \\n \\n RUSSELL (O.S.)\",\n \" Russell, nose buried in his MANUAL, reads to Carl. \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell. And I am a Wilderness\",\n \" No. \\n \\n \\n Russell falls to his knees, pleading. \\n \\n \\n \\n RUSSELL \\n But it's a talking dog! \\n \\n \\n \\n CARL\",\n \" (to Camp Master) \\n I'm here for him. \\n \\n CAMP MASTER STRAUCH \\n Congratulations, Russell. Sir... \\n \\n \\n The Camp Master hands Carl the badge and continues down the\",\n \" Russell is just inches above Carl, still STRUGGLING to climb. \\n He slides down onto Carl's head, exhausted. \\n \\n \\n \\n CARL \\n What? That's it?! I came all this\",\n \" \\n Somehow energized, Russell jams his pack into Carl's hands, \\n secures his rope to a tree and tromps off into the shrubs. \\n \\n \\n He goes into the woods carrying a small shovel in one hand\",\n \" CARL \\n (calls after Russell) \\n Bring it back here when you find \\n it! \\n Carl rolls his eyes and begins to close his door. \\n \\n \\n He stops short. \\n \\n \",\n \" Carl steers toward the cockpit. He dons Russell's sash, then \\n hooks his cane onto his back. He's fighting for a cause. \\n He hears SCREAMING. It's Russell! Tied to his chair, he\",\n \" The dog nuzzles Russell, who nervously pets it. \\n \\n \\n \\n RUSSELL \\n Hey, I like dogs! \\n \\n \\n \\n CARL \\n (calls out)\",\n \" \\n \\n RUSSELL \\n But I want to help! \\n \\n \\n \\n CARL \\n I don't want your help. I want you \\n safe!\",\n \" Russell struggles with a tent pole, trying to winch it into \\n place. \\n \\n \\n Carl can't watch. \\n An off screen SMACK! Russell walks to Carl. Miraculously, \\n he looks unscathed.\",\n \" LOVE, ELLIE.\\\" \\n Carl smiles. \\n \\n \\n He looks over to Ellie's empty chair. On the arm is \\n Russell's sash. Carl picks it up. \\n He looks to Ellie's chair.\",\n \" Russell spots the labyrinth, now close by. He tries to run \\n but is pulled back by his tether. \\n \\n \\n LAUGHING, Carl unclips Russell's tether. \\n \\n CARL\",\n \" Carl listens through the door. Is the kid gone? He opens it. \\n \\n \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell.\\\" \\n \\n \\n \\n CARL\",\n \" Russell goes limp and lies face down in the dirt. \\n \\n RUSSELL \\n I don't want to walk anymore. Can \\n we stop? \\n \\n \\n \\n CARL\",\n \" \\n \\n RUSSELL \\n Okay! \\n \\n \\n Russell PULLS Carl by the leg away from the cliff edge. \\n Carl, still hanging from the hose, looks around.\",\n \" EXT. CARL'S HOUSE, PORCH - DAY - CONTINUOUS \\n \\n \\n \\n Nothing. He looks left. Nothing. He looks right. Russell. \\n He looks... Russell?!! \\n\",\n \" The rope slips through Carl's hands. Russell FALLS. \\n \\n \\n \\n CUT TO: \\n Carl stands beside Russell at the window. Russell's fall had \\n been a daydream. \\n\",\n \" RUSSELL \\n No! \\n Carl pulls his house away from the flames. \\n \\n \\n \\n 77. \\n \\n \\n \\n \",\n \" CARL \\n We don't want to take advantage of \\n your hospitality. Come on Russell. \\n \\n \\n Carl leads Russell toward the door. \\n \\n \\n \\n RUSSELL\"\n ],\n [\n \" Of everyone watching in the modest, small town theater, no \\n one is more enthralled than 8 year old CARL FREDRICKSEN. \\n \\n \\n \\n NEWSREEL ANNOUNCER (O.S.)\",\n \" DOG WALLA \\n Yes! It is him! He is! \\n \\n CARL \\n I'm Carl Fredricksen. My wife and \\n I, we were your biggest fans! \\n \\n \",\n \" \\n \\n CARL \\n C'mon Russell! \\n \\n \\n \\n RUSSELL \\n Wait. Wait, Mr. Fredricksen. \\n \\n \\n \\n \\n\",\n \" CARL \\n Aaaah! \\n \\n \\n \\n RUSSELL \\n Uh-oh! No no no no no Kevin, it's \\n okay. Mr. Fredricksen is nice!\",\n \" Cameras flash as Muntz stands heroic, striking his signature \\n \\\"thumbs up\\\" stance. \\n \\n MUNTZ \\n \\\"Adventure is out there!\\\" \\n \\n In the theater, Young Carl returns the thumbs up.\",\n \" RUSSELL \\n You leave Mr. Fredricksen alone! \\n \\n \\n Russell CLIMBS! \\n He's more machine than boy now. Biplanes shooting the whole \\n way, he climbs up onto the porch.\",\n \" \\\"Paradise Falls: A Land Lost in \\n Time.\\\" You going to South America, \\n Mr. Fredricksen? \\n Carl takes the page and puts it in his pocket. \\n \\n CARL\",\n \" YOUNG ELLIE \\n You know him. \\n Carl smiles excitedly. \\n \\n YOUNG ELLIE \\n Charles Muntz, explorer. When I get\",\n \" Russell tries to get Carl's attention. A storm is brewing in \\n the distance. \\n \\n \\n \\n RUSSELL \\n (nearly silent) \\n Mr. Fredricksen, there's a big\",\n \" CARL \\n It's really him! \\n (to Russell) \\n That's Charles Muntz! \\n \\n RUSSELL \\n \\n (EXCITED)\",\n \" Another dark object whooshes past them. Carl ducks. \\n \\n \\n \\n RUSSELL \\n What was that, Mr. Fredricksen? \\n \\n \\n \\n CARL\",\n \" \\n \\n RUSSELL \\n Hi, Mr. Fredricksen. It's me, \\n Russell. \\n \\n \\n \\n CARL \\n What are you doing out here, kid?\",\n \" just as Russell slides off the ramp edge. They land safely \\n together. \\n \\n \\n \\n RUSSELL \\n Mr. Fredricksen! \\n \\n \\n \\n CARL\",\n \" Dug scampers back to Carl and Russell, who pull the house \\n from behind a tree canopy. \\n \\n CARL \\n This is crazy. I finally meet my \\n childhood hero and he's trying to\",\n \" Russell steers the house toward Carl. \\n \\n RUSSELL \\n Mr. Fredricksen! \\n \\n \\n The house slows and lowers atop the airship. Carl HOISTS the\",\n \" RUSSELL \\n \\n (LAUGHING) \\n Hey, look Mr. Fredricksen, it likes \\n me! \\n \\n \\n \\n CARL \\n Russell!\",\n \" Muntz gives him the \\\"thumbs up.\\\" \\n \\n \\n \\n MUNTZ \\n \\\"Adventure is out there!\\\" \\n \\n \\n Carl GIGGLES with glee. \\n \\n \\n\",\n \" Sorry about your house, Mr. \\n Fredricksen. \\n \\n \\n Carl smiles. He puts his arm around Russell. \\n \\n \\n \\n CARL\",\n \" porthole. Flying toward him is CARL'S HOUSE! \\n \\n \\n \\n MUNTZ \\n Alpha! Fredricksen's coming back. \\n Guard that bird. If you see the\",\n \" \\n \\n RUSSELL \\n Mr. Fredricksen, you're cheating. \\n \\n CARL \\n No, I'm not. Red one. \\n \\n RUSSELL\"\n ],\n [\n \" It is?!? \\n \\n (CONSIDERS) \\n Who's Charles Muntz? \\n \\n \\n \\n CARL \\n Him! \\n \\n \\n\",\n \" CARL \\n It's really him! \\n (to Russell) \\n That's Charles Muntz! \\n \\n RUSSELL \\n \\n (EXCITED)\",\n \" \\n The figure walks out toward Carl into the light. Carl \\n recognizes him! \\n \\n CARL \\n Wait, are you Charles Muntz?! \\n \\n \\n \\n MUNTZ\",\n \" Well... Yes. \\n \\n \\n \\n 62. \\n \\n \\n \\n \\n \\n CARL \\n The Charles Muntz? \\n \\n \",\n \" YOUNG ELLIE \\n You know him. \\n Carl smiles excitedly. \\n \\n YOUNG ELLIE \\n Charles Muntz, explorer. When I get\",\n \" TITLE CARD: WALT DISNEY PICTURES PRESENTS \\n \\n \\n \\n NEWSREEL ANNOUNCER (V.O.) \\n Here's Charles Muntz piloting his\",\n \" A painted portrait of a dashing young adventurer. \\n \\n \\n \\n NEWSREEL ANNOUNCER (V.O.) \\n Why, our subject today: Charles \\n Muntz! \\n\",\n \" Carl rushes to shake Muntz's hand. Muntz is charmed. \\n \\n \\n \\n MUNTZ \\n Well, you're a man of good taste! \\n \\n \",\n \" Muntz leaps after them. \\n But balloon strings tangle around his leg and pull him back. \\n \\n \\n Muntz hangs for a moment... It's thousands of feet from the \\n ground.... \\n He falls. \\n\",\n \" \\n \\n TITLE CARD: UP \\n \\n \\n \\n NEWSREEL ANNOUNCER (V.O.) \\n Yes, as Muntz himself says: \\n \\\"Adventure is--\\\"\",\n \" pushes the bird along as he goes. \\n \\n \\n Muntz follows up. \\n \\n \\n \\n INT. DIRIGIBLE, COCKPIT \\n \\n \\n \",\n \" This is Muntz's obsession. He looks over to a full size \\n skeleton. \\n \\n \\n \\n MUNTZ \\n Beautiful, isn't it? I've spent a \\n lifetime tracking it. Sometimes\",\n \" Muntz gives him the \\\"thumbs up.\\\" \\n \\n \\n \\n MUNTZ \\n \\\"Adventure is out there!\\\" \\n \\n \\n Carl GIGGLES with glee. \\n \\n \\n\",\n \" Muntz is a wild man now, smashing and destroying anything \\n that gets in his way. \\n \\n \\n \\n MUNTZ \\n Enough! I'm taking that bird back \\n with me alive or dead!\",\n \" Muntz is lost in reverie. \\n \\n \\n \\n MUNTZ \\n And here they come, these bandits, \\n and think the bird is theirs to \\n take! But they soon find that this\",\n \" And I will not come back until I do! \\n The crowd CHEERS. \\n \\n \\n Muntz gives his thumbs up from the cockpit as the dirigible \\n lifts off. \\n\",\n \" gangplank to the delight of the crowd. His dogs trail him. \\n \\n \\n \\n NEWSREEL ANNOUNCER (V.O.) \\n Never apart from his faithful dogs, \\n Muntz conceived the craft for\",\n \" Cameras flash as Muntz stands heroic, striking his signature \\n \\\"thumbs up\\\" stance. \\n \\n MUNTZ \\n \\\"Adventure is out there!\\\" \\n \\n In the theater, Young Carl returns the thumbs up.\",\n \" NEWSREEL ANNOUNCER (V.O.) \\n But what has Muntz brought back \\n this time? \\n \\n \\n Muntz speaks to a crowded auditorium, on stage beside a\",\n \" capture the beast... alive! \\n \\n \\n \\n MUNTZ \\n I promise to capture the beast... \\n alive! \\n \\n \\n In the theater, young Carl smiles. \\n \\n MUNTZ\"\n ],\n [\n \" Ellie finishes painting a wall mural of a stork carrying a \\n bundle in its beak. Carl hangs a mobile above the crib. \\n \\n \\n \\n \\n \\n INT. DOCTOR'S OFFICE - AFTERNOON\",\n \" Carl touches Ellie's shoulder as the doctor explains. Ellie \\n drops her head in her hands. \\n \\n \\n \\n \\n\",\n \" Behind him, Ellie sweeps the floor. Their dream has gone \\n unfulfilled. \\n \\n \\n Carl has an idea. \\n \\n \\n \\n EXT. TRAVEL AGENCY - DAY \\n \\n\",\n \" Carl kisses a photo of Ellie. \\n \\n \\n \\n CARL \\n We're on our way, Ellie. \\n Carl kneels at the fireplace and plunks the balloon strings\",\n \" Carl stands at the door. He smiles and walks to her bedside. \\n \\n \\n Ellie pushes her Adventure Book toward him. She weakly pats \\n his cheek and adjusts his tie. \\n \\n \",\n \" CARL \\n Quite a sight, huh Ellie? \\n (noticing mailbox) \\n Uhp, mail's here. \\n \\n \\n Carl walks to the mailbox. He touches Ellie's faded\",\n \" 12. \\n \\n \\n \\n \\n \\n \\n \\n EXT. CARL AND ELLIE'S HOUSE, YARD - AFTERNOON \\n \\n \\n \",\n \" EXT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON \\n \\n Carl looks out the window. Ellie sits alone under a tree, \\n the wind in her hair. \\n \\n \\n\",\n \" Carl does. \\n \\n YOUNG ELLIE \\n Good. You promised. No backing out. \\n \\n \\n Carl shakes his head \\\"no.\\\" \\n \\n YOUNG ELLIE\",\n \" Carl pulls out a suitcase. A book tips over. Ellie's \\n Adventure Book. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" He turns to the page marked: STUFF I'M GOING TO DO. \\n \\n \\n Carl sighs. He managed to bring the house to the falls, but \\n Ellie never made it.\",\n \" The photo of Ellie rocks and slides off the wall. Carl \\n lunges to catch it. \\n \\n \\n \\n EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \",\n \" to pick you up in the morning, okay? \\n The officer drives off, leaving Carl alone. \\n \\n \\n Carl faces the house. He touches Ellie's dented mailbox. \\n \\n \\n \\n CARL\",\n \" LOVE, ELLIE.\\\" \\n Carl smiles. \\n \\n \\n He looks over to Ellie's empty chair. On the arm is \\n Russell's sash. Carl picks it up. \\n He looks to Ellie's chair.\",\n \" Carl joins Ellie. He hands her the Adventure Book. She smiles. \\n \\n \\n \\n INT. CARL AND ELLIE'S HOUSE, LIVING ROOM - AFTERNOON \\n \\n \\n \",\n \" \\n \\n INT. CARL AND ELLIE'S HOUSE, FRONT HALL - 3 YEARS LATER \\n \\n Ellie struggles to tie Carl's tie as they rush out the door. \\n \\n \",\n \" Carl ROLLS HIS EYES. He looks up at the house. \\n \\n CARL \\n Don't you worry, Ellie. We'll get \\n our house over there.\",\n \" Whew! I thought you were dead. \\n \\n CARL \\n Wha... what happened? \\n \\n \\n Carl STRUGGLES to rise from the pile of Ellie's things he'd \\n been protecting.\",\n \" babies! Carl is stunned... but smiles. \\n \\n \\n \\n \\n \\n INT. CARL AND ELLIE'S HOUSE, BABY ROOM - DAY \\n \\n \\n \",\n \" \\n \\n INT. CARL'S HOUSE, LIVING ROOM - CONTINUOUS \\n \\n Carl and Ellie's things are strewn across the floor, a mess \\n from the rough journey. \\n \\n \"\n ],\n [\n \" CONSTRUCTION WORKER STEVE \\n I am so sorry, sir... \\n \\n \\n The worker bangs on the mailbox, trying to fix it. \\n \\n CARL \\n Don't touch that! \\n\",\n \" CONSTRUCTION WORKER STEVE \\n No no, let me take care of that for you. \\n \\n \\n Carl grabs the mailbox, trying to wrestle it from the worker. \\n \\n CARL \\n\",\n \" (STRUGGLING) \\n Get away from our mailbox! \\n \\n \\n \\n CONSTRUCTION WORKER STEVE \\n Hey sir, I... \\n \\n CARL\",\n \" Carl backs up toward his door, cradling his mailbox. What \\n has he done? \\n \\n \\n Passerbys stare. \\n Workers gather, as does the REAL ESTATE DEVELOPER. \\n \\n \",\n \" He peeks out the window. The injured worker is helped to his \\n feet. A police car pulls up. \\n \\n \\n The Real Estate Developer looks toward Carl's house. His \\n hand rests on Carl's fence. \\n\",\n \" Carl is shocked. He runs to the box. \\n \\n \\n \\n CARL \\n What? Hey! Hey you! What do you \\n think you're doing? \\n\",\n \" I don't want you to touch it! \\n Carl HITS the worker with his cane. He falls to the sidewalk. \\n The worker rubs his head. Blood. \\n \\n \",\n \" CARL \\n Quite a sight, huh Ellie? \\n (noticing mailbox) \\n Uhp, mail's here. \\n \\n \\n Carl walks to the mailbox. He touches Ellie's faded\",\n \" Carl notices DUST on his mailbox. \\n \\n \\n \\n CARL \\n Hm. \\n \\n \\n He pulls up a LEAF BLOWER. He revs it and blasts off the dust. \\n\",\n \" EXT. CARL'S NEIGHBORHOOD - CONTINUOUS \\n \\n \\n \\n Carl's house is the lone surviving square on the block not \\n under construction. Machinery and workers circle busily.\",\n \" to pick you up in the morning, okay? \\n The officer drives off, leaving Carl alone. \\n \\n \\n Carl faces the house. He touches Ellie's dented mailbox. \\n \\n \\n \\n CARL\",\n \" \\n \\n CARL \\n No. Yes. Tell your boss over there \\n that you boys are ruining our house. \\n \\n \\n He points across the lot to a business man in a suit talking\",\n \" Carl painfully gets up. He looks up at his house. It's \\n still intact. \\n \\n \\n He breathes a SIGH OF RELIEF. \\n \\n RUSSELL (O.S.)\",\n \" \\n Somehow energized, Russell jams his pack into Carl's hands, \\n secures his rope to a tree and tromps off into the shrubs. \\n \\n \\n He goes into the woods carrying a small shovel in one hand\",\n \" cases slide after him. \\n The dirigible tilts to the other side. \\n \\n \\n The broken trophy cases barrel straight toward Carl! \\n Carl is thrown into a window which bursts open. Carl falls\",\n \" Uh, I take that as a no, then. \\n \\n CARL \\n I believe I made my position to \\n your boss quite clear. \\n \\n CONSTRUCTION FOREMAN TOM\",\n \" \\n \\n CARL \\n Tell your boss he can have our house. \\n \\n \\n \\n CONSTRUCTION FOREMAN TOM \\n Really? \\n \\n \\n \\n CARL\",\n \" (to Boss, re Carl) \\n I am not with him! \\n (to Carl) \\n This is serious. He's out to get \\n your house! \\n \\n \\n Carl walks to his front door.\",\n \" Carl blushes as she pulls him out of the room. \\n \\n \\n \\n 7. \\n \\n \\n \\n \\n \\n \\n \\n INT. DILAPIDATED HOUSE, UPSTAIRS\",\n \" Russell struggles with a tent pole, trying to winch it into \\n place. \\n \\n \\n Carl can't watch. \\n An off screen SMACK! Russell walks to Carl. Miraculously, \\n he looks unscathed.\"\n ],\n [\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n The house soars into the air, sails billowing. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM\",\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n The house drifts through the clouds. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" house. The house slides on to the dirigible's tail fin. \\n Holding the hose, Carl digs in his heels and is just able to \\n stop it. \\n \\n \\n The house teeters on the very edge of the tail fin.\",\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \\n A small cluster of balloons fly up and away from the house. \\n \\n \\n\",\n \" CARL \\n No, Russell! No! \\n Carl runs back to his house and tries in desperation to lift \\n it. He struggles, but the house doesn't budge. The balloons \\n have lost too much helium. \\n\",\n \" The house turns. \\n Carl looks out the window, satisfied. He checks the balloons. \\n \\n \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n\",\n \" \\n \\n \\n \\n EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \\n The house floats motionless above an ocean of clouds. \\n \\n \\n\",\n \" onto the dirigible. \\n \\n \\n \\n 94. \\n \\n \\n \\n \\n Carl is THROWN from the house onto the airship. \\n \\n \",\n \" That building's so close I could \\n almost touch it. \\n \\n \\n That gives Carl an idea. \\n \\n CUT TO: \\n \\n \\n Carl lowers Russell on a rope below the floating house.\",\n \" \\n The dirigible turns, revealing Carl's house sneaking up \\n behind. \\n \\n \\n \\n INT. CARL'S HOUSE, LIVING ROOM \\n \\n \\n \",\n \" \\n \\n CARL \\n Uh... yeah. \\n \\n VOICE \\n In a house? A floating house? \\n The man laughs. Carl and Russell laugh along nervously. \\n\",\n \" slides down the ramp as it lowers, closer and closer to the \\n edge. \\n \\n \\n \\n CARL \\n Russell! \\n Carl steers his house to the dirigible. \\n \\n \\n \\n \",\n \" land hard. \\n \\n \\n Carl's house is floating away! \\n \\n \\n Carl runs after the GARDEN HOSE dragging across the ground. \\n \\n CARL\",\n \" Carl struggles to push a refrigerator from the porch. It \\n teeters... and falls. The house lifts off! \\n \\n CARL \\n Wahhoo! \\n \\n \",\n \" Oh boy. Oh boy! \\n \\n \\n \\n EXT. CARL'S HOUSE, FLOATING - CONTINUOUS \\n \\n \\n \\n The house flies off into the sky. \\n\",\n \" Russell steers the house toward Carl. \\n \\n RUSSELL \\n Mr. Fredricksen! \\n \\n \\n The house slows and lowers atop the airship. Carl HOISTS the\",\n \" EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \\n The house lowers into the fog. \\n \\n \\n \\n RUSSELL (O.S.)\",\n \" A SHADOW falls over the nurses. They turn to look. \\n \\n \\n A giant tarp rises behind Carl's house. It unfolds to reveal \\n \\n THOUSANDS OF BALLOONS. \\n\",\n \" BLAM! Muntz appears on top of the dirigible with a rifle! \\n \\n \\n A bullet blasts through Carl's balloon strings. A third of \\n them break or shoot skyward. The house plummets, crashing\",\n \" The photo of Ellie rocks and slides off the wall. Carl \\n lunges to catch it. \\n \\n \\n \\n EXT. CARL'S HOUSE, FLOATING \\n \\n \\n \"\n ],\n [\n \" talk about! \\n \\n \\n A distant HAUNTED WAIL. Everyone stops. \\n \\n \\n \\n RUSSELL \\n Kevin?\",\n \" Kevin! \\n \\n \\n The bird tries to stand but SQUAWKS pitifully and falls back \\n to the ground. Russell rushes to her side. \\n \\n \\n \\n 73. \\n \\n \",\n \" \\n \\n 89. \\n \\n \\n \\n \\n \\n CARL \\n Come on, Kevin. \\n \\n \",\n \" You gave away Kevin. You just gave \\n her away. \\n \\n \\n \\n CARL \\n This is none of my concern. I \\n didn't ask for any of this! \\n \\n \",\n \" \\n Russell pats Carl on the head. \\n \\n CARL \\n \\\"Kevin\\\"? \\n \\n RUSSELL \\n Yeah, that's his name I just gave \\n him. \\n\",\n \" mountain is a very dangerous \\n place. \\n \\n \\n Distracted Russell finally notices the skeleton. \\n \\n \\n \\n RUSSELL \\n Hey, that looks like Kevin! \\n \\n \",\n \" \\n \\n RUSSELL \\n You came back for Kevin! Let's go \\n get her. \\n \\n \\n \\n CARL \\n I'm getting Kevin. You stay here! \\n\",\n \" I'm sorry Kevin. Let's get you out \\n of here. \\n \\n \\n \\n \\n \\n INT. DIRIGIBLE, COCKPIT \\n\",\n \" Yes! Don't worry Kevin! I'll save - \\n Growling dogs move toward him. \\n \\n \\n Russell blows the leaf blower at the dogs. \\n \\n \\n\",\n \" \\n Russell YAWNS and lies down on the rock next to Carl. \\n \\n RUSSELL \\n Can Kevin go with us? \\n \\n \\n \\n CARL\",\n \" Run Kevin! Run! \\n \\n \\n A net shoots out and binds her. She falls and CALLS OUT. \\n \\n \\n \\n RUSSELL \\n Oh no! \\n \\n \",\n \" RUSSELL \\n Hey, look! Kevin! \\n \\n \\n \\n CARL \\n What? Get down! You're not \\n allowed up there! \\n \\n \",\n \" \\n Muntz KICKS the door. \\n \\n \\n Suddenly, Carl has an idea. \\n \\n CARL \\n Russell! Hang on to Kevin! Don't \\n let go of her! \\n\",\n \" Wait, Kevin's just leaving? But \\n you promised to protect her! \\n \\n \\n \\n RUSSELL \\n Her babies need her, we gotta make \\n sure they're together. \\n \\n \",\n \" The house bumps into a tree, jostling the injured BIRD on the \\n porch. \\n \\n RUSSELL \\n You okay, Kevin? \\n Kevin goes back to sleep. Russell looks at her BANDAGED LEG.\",\n \" \\n Kevin lunges, pushing past Muntz and knocking the rifle from \\n his hands. \\n \\n \\n Muntz lunges after them. \\n \\n \\n\",\n \" From the distant labyrinth of rocks, the BIRD BABIES call. \\n Kevin CALLS back to them. She tries to stand, but can't. \\n \\n \\n Russell runs to her side. \\n \\n \\n\",\n \" Dug, stop bothering Kevin! \\n \\n \\n \\n DUG \\n That man there says I can take the \\n bird and I love that man there like \\n he is my master. \\n \\n \",\n \" into the room where the bird is kept in a cage. \\n \\n CARL \\n Kevin! \\n \\n \\n The bird recognizes Carl and CRIES OUT. \\n \\n CARL\",\n \" RUSSELL \\n I'm gonna help Kevin even if you \\n won't! \\n \\n \\n Russell fires up a LEAF BLOWER and steers himself off into \\n the sky. \\n \\n \\n\"\n ],\n [\n \" \\n \\n DUG \\n My master is good and smart. \\n \\n CARL \\n It's not possible. \\n \\n \\n \\n DUG \\n Oh it is, because my master is\",\n \" Dug wears a high-tech collar. The dog's thoughts come out of \\n it as words through a speaker. It can talk. Unfortunately, \\n it talks non-stop. \\n \\n \\n \\n DUG\",\n \" Dug crazily searches and sniffs, looking for the bird. \\n \\n DUG \\n Find the bird. Find the bird... \\n \\n POINT!\",\n \" \\n \\n CARL \\n I think that did the trick. \\n \\n \\n He turns. Dug. With the ball in his mouth. \\n \\n \\n \\n DUG\",\n \" Dug goes rigid like a pointer dog and \\\"points\\\" to the left. \\n \\n \\n \\n 58. \\n \\n \\n \\n \\n \\n RUSSELL\",\n \" Dug, stop bothering Kevin! \\n \\n \\n \\n DUG \\n That man there says I can take the \\n bird and I love that man there like \\n he is my master. \\n \\n \",\n \" \\n \\n DUG \\n I am warning you, once again, bird! \\n \\n RUSSELL \\n Hey! Quit it! \\n \\n \\n \\n DUG\",\n \" Dug BARKS. \\n \\n \\n \\n DUG \\n And here's howling! \\n Dug HOWLS. The bird HISSES at Dug. \\n \\n \\n\",\n \" CARL \\n Did that dog just say \\\"Hi there?\\\" \\n \\n DUG \\n Oh yes. \\n Carl JUMPS back. \\n \\n \\n \\n DUG\",\n \" Carl looks back as the bird keeps running. Dug is up on the \\n canyon wall. He caused the avalanche! \\n \\n \\n \\n DUG \\n Go on Master! I will stop the \\n dogs!\",\n \" barking and growling. Carl protects Russell with his cane. \\n \\n \\n Dug is conflicted. \\n \\n \\n Alpha walks forward and stares menacingly at Carl. \\n He turns toward Dug. \\n \\n \",\n \" CARL \\n Go get it!! \\n Carl throws the ball far away. Dug chases after it. \\n \\n \\n \\n DUG \\n Oh boy, oh boy! I will get it and\",\n \" The bird HISSES. \\n \\n \\n \\n CARL \\n I am not your master! \\n \\n \\n The bird tries to shake Dug off its leg. Dug jumps up on it. \\n\",\n \" The bird drags Dug, still clamped onto it's leg. \\n \\n \\n \\n DUG \\n Oh please oh please oh PLEASE be my \\n prisoner! \\n \\n \\n \\n RUSSELL\",\n \" Suddenly, a trap door opens. Carl GASPS... but it's Dug! \\n \\n \\n \\n CARL \\n Dug! \\n Dug jumps up on Carl, licking his face. \\n \\n \",\n \" Dug nuzzles around the sleeping bird's leg. \\n \\n \\n \\n RUSSELL \\n Mr. Fredricksen, Dug says he wants \\n to take Kevin prisoner. We have to \\n protect him!\",\n \" DUG \\n I am a great tracker. My pack sent \\n me on a special mission all by \\n myself. Have you seen a bird? I \\n want to find one and I have been on\",\n \" DUG \\n I was hiding under your porch \\n because I love you. Can I stay? \\n \\n \\n \\n CARL \\n Can you stay? Well, you're my dog\",\n \" Oh, look! There he is. \\n \\n \\n Russell points to the right. The bird is on top of Carl's \\n house. \\n Dug turns around. \\n \\n \\n \\n DUG \\n\",\n \" My name is Dug. I have just met \\n you and I love you. \\n \\n \\n Dug jumps up on to Carl. \\n \\n CARL \\n Uh..wha? \\n \\n \"\n ],\n [\n \" Muntz leaps after them. \\n But balloon strings tangle around his leg and pull him back. \\n \\n \\n Muntz hangs for a moment... It's thousands of feet from the \\n ground.... \\n He falls. \\n\",\n \" Muntz smashes his trophy collection as he swings for Carl. \\n His sword gets stuck in a mounted skeleton. \\n Carl swings his cane and hits Muntz on the head. The tennis\",\n \" Carl panics. He rushes toward the house, dropping the knife. \\n \\n \\n Muntz motions to the dogs. They swarm past Russell, knocking \\n him down and grabbing the bird in the net. \\n \\n \\n\",\n \" Muntz is a wild man now, smashing and destroying anything \\n that gets in his way. \\n \\n \\n \\n MUNTZ \\n Enough! I'm taking that bird back \\n with me alive or dead!\",\n \" Carl trips and falls to the floor. Muntz is about to deal \\n the final blow. \\n \\n \\n \\n INT. DIRIGIBLE, COCKPIT \\n \\n \\n \",\n \" Behind the door, Muntz is waiting for them. He grabs a sword \\n from the wall display and attacks. \\n Dug hears and BITES Muntz on the leg. \\n \\n \",\n \" BLAM! Muntz appears on top of the dirigible with a rifle! \\n \\n \\n A bullet blasts through Carl's balloon strings. A third of \\n them break or shoot skyward. The house plummets, crashing\",\n \" finished with you! \\n \\n MUNTZ \\n Nice talking with you. \\n \\n \\n Muntz slams the door. \\n Light emerges from the floor. Russell is on the ramp, which\",\n \" Muntz walks to the window and looks out. Atop the roof he \\n sees THE BIRD. \\n \\n MUNTZ \\n It's here. \\n He turns back to Carl... but they're gone. \\n\",\n \" Carl collects his teeth and motions for Kevin. \\n \\n \\n \\n CARL \\n Come on! \\n \\n \\n Muntz advances on Carl, who struggles to protect the bird. \\n \\n \",\n \" old man, you know what to do. \\n \\n \\n Muntz pulls the switch and walks out of the room. \\n \\n RUSSELL \\n Hey, where are you going? I'm not\",\n \" And I will not come back until I do! \\n The crowd CHEERS. \\n \\n \\n Muntz gives his thumbs up from the cockpit as the dirigible \\n lifts off. \\n\",\n \" with his cane, knocking Muntz off the ladder. Muntz catches \\n on to a rung of the ladder. \\n \\n \\n He watches Carl and the bird climb. \\n \\n \\n Muntz descends the ladder.\",\n \" pushes the bird along as he goes. \\n \\n \\n Muntz follows up. \\n \\n \\n \\n INT. DIRIGIBLE, COCKPIT \\n \\n \\n \",\n \" 98. \\n \\n \\n \\n \\n \\n \\n \\n EXT. DIRIGIBLE \\n \\n \\n \\n Muntz's dirigible ascends into the sky. Dug and all of\",\n \" Muntz breaks through the door. He lifts his rifle and sights \\n the bird... \\n Through the window, Carl yells out. \\n \\n \\n \\n \\n \\n EXT. DIRIGIBLE, TOP \\n\",\n \" Muntz's \\\"Explorer's Society\\\" badge is ceremoniously RIPPED \\n from his jacket. \\n Carl GASPS. \\n \\n \\n Muntz stands next to his dirigible at an airfield. He grimly\",\n \" Muntz kicks Dug loose and out the door. He slams it shut. \\n \\n \\n \\n INT. DIRIGIBLE, OUTSIDE OF TROPHY ROOM - CONTINUOUS \\n \\n \\n \",\n \" raises his cane over his head and his back CRACKS too. \\n \\n \\n Carl and Muntz STRUGGLE to move. Muntz CRACKS his back free \\n and kicks Carl in the chest, knocking him against a trophy.\",\n \" He has the upper hand now. He throttles him with his arm and \\n lifts his sword. \\n \\n \\n \\n MUNTZ \\n Any last words, Fredricksen? Come\"\n ],\n [\n \" (to Camp Master) \\n I'm here for him. \\n \\n CAMP MASTER STRAUCH \\n Congratulations, Russell. Sir... \\n \\n \\n The Camp Master hands Carl the badge and continues down the\",\n \" They salute each other. Russell gives Carl a hug. Carl \\n returns it. \\n Russell's mom sits in the audience with Dug. Russell proudly \\n shows her the badge. \\n \\n CAMP MASTER STRAUCH\",\n \" Russell, nose buried in his MANUAL, reads to Carl. \\n \\n RUSSELL \\n \\\"Good afternoon. My name is \\n Russell. And I am a Wilderness\",\n \" \\n Somehow energized, Russell jams his pack into Carl's hands, \\n secures his rope to a tree and tromps off into the shrubs. \\n \\n \\n He goes into the woods carrying a small shovel in one hand\",\n \" Russell is just inches above Carl, still STRUGGLING to climb. \\n He slides down onto Carl's head, exhausted. \\n \\n \\n \\n CARL \\n What? That's it?! I came all this\",\n \" LOVE, ELLIE.\\\" \\n Carl smiles. \\n \\n \\n He looks over to Ellie's empty chair. On the arm is \\n Russell's sash. Carl picks it up. \\n He looks to Ellie's chair.\",\n \" Carl steers toward the cockpit. He dons Russell's sash, then \\n hooks his cane onto his back. He's fighting for a cause. \\n He hears SCREAMING. It's Russell! Tied to his chair, he\",\n \" Russell rolls over to show Carl a badge. \\n \\n \\n \\n RUSSELL \\n Zoology. \\n \\n CARL \\n Oh, for the love of Pete. Go on into\",\n \" Russell struggles with a tent pole, trying to winch it into \\n place. \\n \\n \\n Carl can't watch. \\n An off screen SMACK! Russell walks to Carl. Miraculously, \\n he looks unscathed.\",\n \" Carl swings the door shut, but a small camping boot stops it. \\n \\n \\n \\n RUSSELL \\n Ow. \\n \\n \\n Carl opens the door. Russell stands at attention. \\n \\n \",\n \" Carl painfully gets up. He looks up at his house. It's \\n still intact. \\n \\n \\n He breathes a SIGH OF RELIEF. \\n \\n RUSSELL (O.S.)\",\n \" Carl panics. He rushes toward the house, dropping the knife. \\n \\n \\n Muntz motions to the dogs. They swarm past Russell, knocking \\n him down and grabbing the bird in the net. \\n \\n \\n\",\n \" the call of duty, I would like to \\n award you the highest honor I can \\n bestow: The Ellie Badge. \\n \\n \\n Carl pins the badge onto the missing spot on Russell's sash.\",\n \" No. \\n \\n \\n Russell falls to his knees, pleading. \\n \\n \\n \\n RUSSELL \\n But it's a talking dog! \\n \\n \\n \\n CARL\",\n \" He scans the camp. The bird is gone. \\n \\n CARL \\n Huh. Bird's gone. Maybe Russell \\n won't notice. \\n (calls out) \\n Alright, everybody up!\",\n \" Russell goes limp and lies face down in the dirt. \\n \\n RUSSELL \\n I don't want to walk anymore. Can \\n we stop? \\n \\n \\n \\n CARL\",\n \" \\n Russell points to his SASH. It is covered with badges except \\n for one glaringly empty space. \\n \\n \\n \\n RUSSELL \\n See these? These are my Wilderness\",\n \" Congratulations, Brandon. \\n (hands badge) \\n For Assisting the Elderly... \\n Russell is tanned and dirty. And alone. \\n \\n CAMP MASTER STRAUCH\",\n \" CARL \\n (calls after Russell) \\n Bring it back here when you find \\n it! \\n Carl rolls his eyes and begins to close his door. \\n \\n \\n He stops short. \\n \\n \",\n \" CARL \\n (far in the distance) \\n Russell! \\n \\n RUSSELL \\n Huh? \\n \\n \\n Carl calls for help: the WILDERNESS EXPLORER CALL.\"\n ]\n]"},"questions":{"kind":"list like","value":["What job does Carl have at the zoo?","Where does Ellie want to move her clubhouse?","Who is Alpha?","Why can Dug talk?","When Muntz sets Carl's house on fire and captures Keven, what does Carl do?","Where does Carl's house land at the end of the story?","How does Carl make his house fly?","Why do Russell and Carl initially meet?","Who was the famous explorer that Carl idolized?","Why did Muntz want to return to Paradise Falls?","Who became Carl's wife?","What type of work did Carl do for a living?","How did Carl plan to get his home to Paradise Falls?","Who was Ellie to Carl?","What was Russell's occupation?","What allowed Dug to speak?","What was Russell's final reward for helping Carl?","Who is 9 year old Carl Fredricksen's hero?","What is Charles Muntz famous for?","After Ellie miscarries what plan does she and Carl make?","What happens after Carl injures a construction worker for messing up his mailbox?","What does Carl use to make his house float?","Who is Kevin?","What is so special about Dug the golden retriever?","How does Muntz die?","What did Carl give to Russell for his final merit badge?"],"string":"[\n \"What job does Carl have at the zoo?\",\n \"Where does Ellie want to move her clubhouse?\",\n \"Who is Alpha?\",\n \"Why can Dug talk?\",\n \"When Muntz sets Carl's house on fire and captures Keven, what does Carl do?\",\n \"Where does Carl's house land at the end of the story?\",\n \"How does Carl make his house fly?\",\n \"Why do Russell and Carl initially meet?\",\n \"Who was the famous explorer that Carl idolized?\",\n \"Why did Muntz want to return to Paradise Falls?\",\n \"Who became Carl's wife?\",\n \"What type of work did Carl do for a living?\",\n \"How did Carl plan to get his home to Paradise Falls?\",\n \"Who was Ellie to Carl?\",\n \"What was Russell's occupation?\",\n \"What allowed Dug to speak?\",\n \"What was Russell's final reward for helping Carl?\",\n \"Who is 9 year old Carl Fredricksen's hero?\",\n \"What is Charles Muntz famous for?\",\n \"After Ellie miscarries what plan does she and Carl make?\",\n \"What happens after Carl injures a construction worker for messing up his mailbox?\",\n \"What does Carl use to make his house float?\",\n \"Who is Kevin?\",\n \"What is so special about Dug the golden retriever?\",\n \"How does Muntz die?\",\n \"What did Carl give to Russell for his final merit badge?\"\n]"},"answers":{"kind":"list like","value":[["He sells toy balloons.","He sells balloons "],["She wants to move it to a cliff that looks over Paradise Falls.","A cliff overlooking Paradise Falls. "],["Alpha is a doberman and the leader of a pack of dogs.","a doberman"],["He wears a special collar that lets him talk.","He has on a special collar."],["Carl chooses to save the house instead of rescuing Kevin.","Carl puts out the fire."],["The house lands on a cliff beside Paradise Falls.","The cliff next to Paradise Falls."],["He attaches thousands of helium balloons to it.","Balloons. "],["Russell is trying to earn a Wilderness Explorer badge for helping the elderly.","Russel is trying to earn his badge for helping the elderly "],["Charles Muntz","Charles Muntz"],["To catch a large exotic bird","Because he was accused of fabricating bird"],["Ellie","Ellie"],["Sold toy balloons","Sells toy balloons"],["He planned to turn his home into a flying house by attaching thousands of helium balloons","Via balloons"],["his wife","Ellie is Carl's late wife."],["a Wilderness Explorer","Wilderness Explorer"],["a special collar ","A special collar "],["a grape soda cap given to Carl by his Carl's wife, Ellie","His final badge, Ellie's grape soda cap."],["Charles Muntz, a famous explorer","Charles Muntz."],["for building a skeleton of a giant bird he was reported to have found in Paradise Falls","Fabricating a skeleton. "],["to visit Paradise Falls","To move their home to the cliff of Paradise Falls."],["a court says he has to move into a retirement home","The city says he needs to move to a nursing home, but he turns his house into an airship and goes on an adventure instead "],["thousands of helium balloons tied to the house","Balloons. "],["a colorful, flightless bird that Russell finds","A flightless bird. "],["he has a collar that allows him to talk","wears special collar allows him to speak"],["he gets his foot caught in balloon strings and falls to his death","He trips over the balloon strings and falls "],["a grape soda cap Ellie gave him when they made their promise to go to Paradise Falls","A grape soda cap that Ellie had given to Carl."]],"string":"[\n [\n \"He sells toy balloons.\",\n \"He sells balloons \"\n ],\n [\n \"She wants to move it to a cliff that looks over Paradise Falls.\",\n \"A cliff overlooking Paradise Falls. \"\n ],\n [\n \"Alpha is a doberman and the leader of a pack of dogs.\",\n \"a doberman\"\n ],\n [\n \"He wears a special collar that lets him talk.\",\n \"He has on a special collar.\"\n ],\n [\n \"Carl chooses to save the house instead of rescuing Kevin.\",\n \"Carl puts out the fire.\"\n ],\n [\n \"The house lands on a cliff beside Paradise Falls.\",\n \"The cliff next to Paradise Falls.\"\n ],\n [\n \"He attaches thousands of helium balloons to it.\",\n \"Balloons. \"\n ],\n [\n \"Russell is trying to earn a Wilderness Explorer badge for helping the elderly.\",\n \"Russel is trying to earn his badge for helping the elderly \"\n ],\n [\n \"Charles Muntz\",\n \"Charles Muntz\"\n ],\n [\n \"To catch a large exotic bird\",\n \"Because he was accused of fabricating bird\"\n ],\n [\n \"Ellie\",\n \"Ellie\"\n ],\n [\n \"Sold toy balloons\",\n \"Sells toy balloons\"\n ],\n [\n \"He planned to turn his home into a flying house by attaching thousands of helium balloons\",\n \"Via balloons\"\n ],\n [\n \"his wife\",\n \"Ellie is Carl's late wife.\"\n ],\n [\n \"a Wilderness Explorer\",\n \"Wilderness Explorer\"\n ],\n [\n \"a special collar \",\n \"A special collar \"\n ],\n [\n \"a grape soda cap given to Carl by his Carl's wife, Ellie\",\n \"His final badge, Ellie's grape soda cap.\"\n ],\n [\n \"Charles Muntz, a famous explorer\",\n \"Charles Muntz.\"\n ],\n [\n \"for building a skeleton of a giant bird he was reported to have found in Paradise Falls\",\n \"Fabricating a skeleton. \"\n ],\n [\n \"to visit Paradise Falls\",\n \"To move their home to the cliff of Paradise Falls.\"\n ],\n [\n \"a court says he has to move into a retirement home\",\n \"The city says he needs to move to a nursing home, but he turns his house into an airship and goes on an adventure instead \"\n ],\n [\n \"thousands of helium balloons tied to the house\",\n \"Balloons. \"\n ],\n [\n \"a colorful, flightless bird that Russell finds\",\n \"A flightless bird. \"\n ],\n [\n \"he has a collar that allows him to talk\",\n \"wears special collar allows him to speak\"\n ],\n [\n \"he gets his foot caught in balloon strings and falls to his death\",\n \"He trips over the balloon strings and falls \"\n ],\n [\n \"a grape soda cap Ellie gave him when they made their promise to go to Paradise Falls\",\n \"A grape soda cap that Ellie had given to Carl.\"\n ]\n]"},"document_id":{"kind":"string","value":"145200abf14baeffa646797dfbfa58861cb4b079"},"split":{"kind":"string","value":"test"}}},{"rowIdx":77,"cells":{"text":{"kind":"list like","value":[["refuse to discover the contents, Melinda shall tell me. [_Going._ \n \n _Bal._ Hold, sir; the contents I have told you already; only with this \n circumstance--that her intimacy with Mr. Worthy had drawn the secret \n from him.","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n","I would marry her. \n \n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \n marry you--but my Melinda coquets it with every fellow she sees--I'll","Men are scarce, and as times go it is not impossible for a woman to die \n a maid. \n \n \n _Enter_ WORTHY. \n \n _Mel._ No matter. \n","Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \n \n _Wor._ Death and fire! this is not to be borne! \n \n \n _Enter_ PLUME. \n","never do thoroughly without half a hundred friendships, and as many \n amours. But now I think on't, how stands your affair with Mr. Worthy? \n \n _Mel._ He's my aversion. \n \n _Syl._ Vapours!","me the whole history of my life. He told me of a lover I had in this \n country, and described Worthy exactly, but in nothing so well as in his \n present indifference--I fled to him for refuge here to-day; he never so","_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \n Worthy; and be assured 'tis the last and only favour you must expect at","_Wor._ You see, sir, how little he values your daughter's disdain. \n \n _Bal._ I like him the better: I was just such another fellow at his age: \n But how goes your affair with Melinda? \n","_Syl._ Oh, Madam! you never saw him, perhaps, since you were mistress of \n twenty thousand pounds: you only knew him when you were capitulating \n with Worthy for a settlement, which perhaps might encourage him to be a","_Plume._ Melinda! why she began to capitulate this time twelvemonth, and \n offered to surrender upon honourable terms: and I advised you to propose \n a settlement of five hundred pounds a year to her, before I went last \n abroad. \n","_Mel. and Wor._ How! \n \n _Syl._ Do you think it strange, cousin, that a woman should change; but \n I hope you'll excuse a change that has proceeded from constancy: I","_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \n of this fellow, I think she ought to give you cause to be so. \n \n _Wor._ I don't think she encourages him so much for gaining herself a","_Plume._ Whip and spur, Worthy, or you won't mount. \n \n _Wor._ But I shall; Melinda and I are agreed; she's gone to visit","_Mel._ Has any of them been bartering with you, Mrs. Pert, that you talk \n so like a trader? \n \n _Lucy._ One would imagine, madam, by your concern for Worthy's absence,","_Mel._ How is that possible, doctor? \n \n _Kite._ Because, madam--because it is so--A woman's reason is the best \n for a man's being a fool. \n \n _Mel._ Ten o'clock, you say?","_Mel._ What means this insolence? \n \n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \n"," _Enter_ MELINDA _and_ LUCY. \n \n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \n","morning, so beautiful, so inviting; I presently locked the door--but I'm \n a man of honour--but I believe I shall marry her nevertheless--her \n twenty thousand pounds, you know, will be a pretty conveniency. I had an","woman, were she worth twelve thousand a-year; and I ha'n't the vanity to \n believe I shall gain a lady worth twelve hundred. The generous, \n goodnatured Sylvia, in her smock, I admire; but the haughty and scornful"],["Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \n \n _Wor._ Death and fire! this is not to be borne! \n \n \n _Enter_ PLUME. \n","refuse to discover the contents, Melinda shall tell me. [_Going._ \n \n _Bal._ Hold, sir; the contents I have told you already; only with this \n circumstance--that her intimacy with Mr. Worthy had drawn the secret \n from him.","_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \n Worthy; and be assured 'tis the last and only favour you must expect at","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n","never do thoroughly without half a hundred friendships, and as many \n amours. But now I think on't, how stands your affair with Mr. Worthy? \n \n _Mel._ He's my aversion. \n \n _Syl._ Vapours!","_Mel._ What means this insolence? \n \n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \n","lover, as to set up a rival. Were there any credit to be given to his \n words, I should believe Melinda had made him this assignation. I must go \n see, sir, you'll pardon me. [_Exit._ \n"," _Enter_ MELINDA _and_ LUCY. \n \n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \n","_Wor._ Certainly--'tis no more like Melinda's character, than black is \n to white. \n \n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a","_Plume._ Have a little patience, and I'll go with you. \n \n _Brazen._ No, no, I see a gentleman coming this way that may be \n inquisitive; 'tis Worthy, do you know him? \n","_Plume._ Whip and spur, Worthy, or you won't mount. \n \n _Wor._ But I shall; Melinda and I are agreed; she's gone to visit","Men are scarce, and as times go it is not impossible for a woman to die \n a maid. \n \n \n _Enter_ WORTHY. \n \n _Mel._ No matter. \n","Come, madam, we'll place you between us, and now the longest sword \n carries her. [_Draws._ \n \n Mel. [_Shrieking._] \n \n \n _Enter_ WORTHY. \n","_Kite._ Tycho, wait on the ladies down stairs. \n \n [_Exeunt_ MELINDA _and_ LUCY. \n \n \n _Enter_ WORTHY _and_ PLUME. \n","_Mel._ Oh, Lucy! I can hold my secret no longer. You must know, that \n hearing of a famous fortune-teller in town, I went disguised to satisfy \n a curiosity which has cost me dear. The fellow is certainly the devil,","_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \n of this fellow, I think she ought to give you cause to be so. \n \n _Wor._ I don't think she encourages him so much for gaining herself a","_Wor._ You see, sir, how little he values your daughter's disdain. \n \n _Bal._ I like him the better: I was just such another fellow at his age: \n But how goes your affair with Melinda? \n","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n","me the whole history of my life. He told me of a lover I had in this \n country, and described Worthy exactly, but in nothing so well as in his \n present indifference--I fled to him for refuge here to-day; he never so"," [_Exeunt_ PLUME _and_ WORTHY.--SERVANT _opens the Door_. \n \n \n _Enter_ MELINDA _and_ LUCY. \n \n _Kite._ Tycho, chairs for the ladies."],["MELINDA _and_ SYLVIA _meeting_. \n \n \n _Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you your","_Syl._ Psha! what care I for his thoughts; I should not like a man with \n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \n think a petticoat a mighty simple thing, and I am heartily tired of my"," _Enter_ MELINDA. \n \n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \n \n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \n","Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","creature could change. Poor Sylvia! \n \n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \n be yours.","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n","_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \n I can assure you that to a lady the least nice in her constitution--no \n air can be good above half a year. Change of air I take to be the most","the Letter._] The aspersion, sir, was nothing but malice; the effect of \n a little quarrel between her and Mrs. Sylvia. \n \n _Bal._ Are you sure of that, sir? \n","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","_Mel._ The sooner, therefore, you make an end of this, the better. \n \n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \n your humble servant. [_Exit._ \n","_Mel._ Better it had, madam; for methinks you are too plain. \n \n _Syl._ If you mean the plainness of my person, I think your ladyship's \n as plain as me to the full. \n","never do thoroughly without half a hundred friendships, and as many \n amours. But now I think on't, how stands your affair with Mr. Worthy? \n \n _Mel._ He's my aversion. \n \n _Syl._ Vapours!","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","_Mel._ How is that possible, doctor? \n \n _Kite._ Because, madam--because it is so--A woman's reason is the best \n for a man's being a fool. \n \n _Mel._ Ten o'clock, you say?","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n"],["_Plume._ Have a little patience, and I'll go with you. \n \n _Brazen._ No, no, I see a gentleman coming this way that may be \n inquisitive; 'tis Worthy, do you know him? \n","_Brazen._ No, sir, you are my man. \n \n _Plume._ I don't like the wages; I won't be your man. \n \n _Brazen._ Then you're not worth my sword. \n","_Brazen._ Hold! where's the man? \n \n _Plume._ Gone. \n \n _Brazen._ Then what do we fight for? [_Puts up._] Now let's embrace, my \n dear! \n","_Brazen._ Nay, for that matter, madam, there are women of very good \n quality of the name of Brazen. \n \n \n _Enter_ WORTHY. \n","_Mel._ What means this insolence? \n \n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \n"," _Enter_ BRAZEN. \n \n _Brazen._ Mr. Worthy, I'm your servant, and so forth--Harkye, my dear! \n","_Plume._ By sight only. \n \n _Brazen._ Have a care, the very eyes discover secrets. [_Exit._ \n \n \n _Enter_ WORTHY. \n \n _Wor._ To boot and saddle, captain, you must mount.","_Kite._ Away to your ambuscade. [_Exeunt_ WORTHY _and_ PLUME. \n \n \n _Enter_ BRAZEN. \n \n _Brazen._ Your servant, my dear? \n","_Mel._ So, between the fool and the rake, I shall bring a fine spot of \n work upon my hands! \n \n _Brazen._ Will you fight for the lady, sir? \n","_Wor._ Withdraw! Oons! sir, what d'ye mean by withdraw? \n \n _Brazen._ I'll show you. [_Exit._ \n"," [_Draws, and makes up to_ BRAZEN. \n \n _Brazen._ Hold, hold; did not you refuse to fight for the lady? \n [_Retiring._ \n","my hands----captain, I ask your pardon. [_Exit with_ LUCY. \n \n _Brazen._ I grant it----You see, Mr. Worthy, 'twas only a random-shot;","_Brazen._ Who's that, madam? \n \n _Mel._ A brother officer of yours, I suppose, sir. \n \n _Brazen._ Ay--my dear! [_To_ PLUME. \n","_Brazen._ How dare you contend for any thing, and not dare to draw your \n sword? But you are a young fellow, and have not been much abroad; I","_Wor._ Certainly--'tis no more like Melinda's character, than black is \n to white. \n \n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a","Oh, Mr. Worthy! save me from these madmen! \n \n \n [_Exit with_ WORTHY. \n \n _Plume._ Ha! ha! ha! why don't you follow, sir, and fight the bold \n ravisher?","_Wor._ But what could be the meaning of Brazen's familiarity with her? \n \n _Plume._ You are no logician, if you pretend to draw consequences from","_Wor._ Already! do you know more than I? \n \n _Plume._ Yes, I saw it under her hand--Brazen and she are to meet half \n a mile hence, at the waterside, there to take boat, I suppose, to be","_Brazen._ No, no; I'm struck blind--Worthy! odso! well turned--My \n mistress has wit at her fingers' ends--Madam, I ask your pardon; 'tis","_Brazen._ Oons, sir! not fight for her? \n \n _Plume._ Pr'ythee be quiet--I shall be out-- \n \n _Behold, how humbly does the Severn glide,_"],["_Plume._ Have a little patience, and I'll go with you. \n \n _Brazen._ No, no, I see a gentleman coming this way that may be \n inquisitive; 'tis Worthy, do you know him? \n","Oh, Mr. Worthy! save me from these madmen! \n \n \n [_Exit with_ WORTHY. \n \n _Plume._ Ha! ha! ha! why don't you follow, sir, and fight the bold \n ravisher?","_Brazen._ Nay, for that matter, madam, there are women of very good \n quality of the name of Brazen. \n \n \n _Enter_ WORTHY. \n","_Kite._ Away to your ambuscade. [_Exeunt_ WORTHY _and_ PLUME. \n \n \n _Enter_ BRAZEN. \n \n _Brazen._ Your servant, my dear? \n"," _Enter_ BRAZEN. \n \n _Brazen._ Mr. Worthy, I'm your servant, and so forth--Harkye, my dear! \n"," [_Draws, and makes up to_ BRAZEN. \n \n _Brazen._ Hold, hold; did not you refuse to fight for the lady? \n [_Retiring._ \n","_Mel._ What means this insolence? \n \n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \n","_Plume._ By sight only. \n \n _Brazen._ Have a care, the very eyes discover secrets. [_Exit._ \n \n \n _Enter_ WORTHY. \n \n _Wor._ To boot and saddle, captain, you must mount.","_Brazen._ Hold! where's the man? \n \n _Plume._ Gone. \n \n _Brazen._ Then what do we fight for? [_Puts up._] Now let's embrace, my \n dear! \n","_Brazen._ No, sir, you are my man. \n \n _Plume._ I don't like the wages; I won't be your man. \n \n _Brazen._ Then you're not worth my sword. \n","_Brazen._ Never mind him, child; I'll end the dispute presently. Harkye, \n my dear! \n \n [_Takes_ PLUME _to one Side of the Stage, and entertains him \n in dumb Show_. \n","my hands----captain, I ask your pardon. [_Exit with_ LUCY. \n \n _Brazen._ I grant it----You see, Mr. Worthy, 'twas only a random-shot;","Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \n \n _Wor._ Death and fire! this is not to be borne! \n \n \n _Enter_ PLUME. \n","_Wor._ Withdraw! Oons! sir, what d'ye mean by withdraw? \n \n _Brazen._ I'll show you. [_Exit._ \n","_Mel._ So, between the fool and the rake, I shall bring a fine spot of \n work upon my hands! \n \n _Brazen._ Will you fight for the lady, sir? \n","Come, madam, we'll place you between us, and now the longest sword \n carries her. [_Draws._ \n \n Mel. [_Shrieking._] \n \n \n _Enter_ WORTHY. \n","Worthy--Has your honour any further commands? \n \n _Plume._ None at present. [_Exit_ KITE.] 'Tis indeed, the picture of \n Worthy, but the life is departed. \n \n"," _Enter_ WORTHY. \n \n What, arms across, Worthy! methinks you should hold them open when a \n friend's so near--The man has got the vapours in his ears, I believe. I","_Brazen._ No, no; I'm struck blind--Worthy! odso! well turned--My \n mistress has wit at her fingers' ends--Madam, I ask your pardon; 'tis","_Kite._ You shall be better acquainted with them, honest Bullock, or I \n shall miss of my aim. \n \n \n _Enter_ WORTHY. \n \n _Wor._ Why thou art the most useful fellow in nature to your captain,"],["_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before"," Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \n her off the Stage_. \n","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n","creature could change. Poor Sylvia! \n \n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \n be yours.","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n","_Bal._ Still upon Sylvia! for shame, captain! you are engaged \n already--wedded to the war: victory is your mistress, and 'tis below a \n soldier to think of any other. \n","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n"," _Enter_ SYLVIA, _in Man's Apparel_. \n \n _Syl._ Save ye, save ye! gentlemen. \n \n _Brazen._ My dear, I'm yours. \n","_Syl._ No, Mr. Goosecap, she seduced me. \n \n _Bul._ So she did, I'll swear--for she proposed marriage first. \n \n _Bal._ What, then you are married, child? [_To_ ROSE. \n","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been","Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","Syl. _Mrs. Sylvia Balance._ [_Opens the Will, and reads._] Well, \n captain, this is a handsome and substantial compliment; but I can assure \n you I am much better pleased with the bare knowledge of your intention,","The disguise of Sylvia in boy's clothes, is an improbable, and romantic \n occurrence; yet it is one of those dramatic events, which were considered \n as perfectly natural in former times; although neither history, nor","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","commanded us to beat the French, and we did so; and, if he pleases but \n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \n","_Bal._ Then, Sylvia, I must beg that once in your life you would grant \n me a favour. \n \n _Syl._ Why should you question it, sir? \n","_Bal._ Here, constable, bring in my man.[_Exit_ CONSTABLE.] Now, \n captain, I'll fit you with a man such as you never listed in your life. \n \n \n _Enter_ CONSTABLE _and_ SYLVIA.","_Kite._ Nay, sir, I must whisper that--Mrs. Sylvia. \n \n _Plume._ Sylvia! generous creature! \n \n _Wor._ Sylvia! impossible! \n"],["_Brazen._ Who's that, madam? \n \n _Mel._ A brother officer of yours, I suppose, sir. \n \n _Brazen._ Ay--my dear! [_To_ PLUME. \n","_Plume._ Melinda! and by this light her own hand! Once more, if you \n please, my dear--Her hand exactly--Just now, you say? \n \n _Brazen._ This minute; I must be gone. \n","_Brazen._ Hold! where's the man? \n \n _Plume._ Gone. \n \n _Brazen._ Then what do we fight for? [_Puts up._] Now let's embrace, my \n dear! \n","_Brazen._ Never mind him, child; I'll end the dispute presently. Harkye, \n my dear! \n \n [_Takes_ PLUME _to one Side of the Stage, and entertains him \n in dumb Show_. \n","_Plume._ With all my heart, my dear! [_Putting up._] I suppose Kite has \n listed him by this time. [_Embraces._ \n \n _Brazen._ You are a brave fellow: I always fight with a man before I","_Mel._ What do you say, madam? \n \n _Syl._ I say, that you should not use that honest fellow so inhumanly: \n he's a gentleman of parts and fortune, and besides that, he's my Plume's","_Brazen._ No, sir, you are my man. \n \n _Plume._ I don't like the wages; I won't be your man. \n \n _Brazen._ Then you're not worth my sword. \n","_Wor._ Certainly--'tis no more like Melinda's character, than black is \n to white. \n \n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a","_Plume._ So! now must I look as sober and demure as a whore at a \n christening. \n \n \n _Enter_ BRAZEN _and_ MELINDA. \n","_Plume._ But I tell you, she's gone this minute to the waterside. \n \n \n _Enter a_ SERVANT. \n \n _Serv._ Madam Melinda has sent word that you need not trouble yourself","_Plume._ No; pray what did it cost? \n \n _Brazen._ It cost me twenty pistoles in France, and my enemies thousands \n of lives in Flanders. \n \n _Plume._ Then they had a dear bargain. \n \n","_Plume._ I always do, but for a man I'll fight knee-deep; so you lie \n again. \n \n [PLUME _and_ BRAZEN _fight a traverse or two about the","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","_Brazen._ Not a stick, my dear! \n \n _Plume._ Probably I shall furnish you, my dear! instead of the twenty \n thousand pounds you talked of, you shall have the twenty brave recruits"," _Enter_ MELINDA. \n \n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \n \n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \n","_Mel._ Oh, are you there, gentleman?--Come, captain, we'll walk this \n way. Give me your hand. \n \n _Brazen._ My hand, heart's blood, and guts, are at your service. Mr."," _Enter_ BRAZEN, _reading a Letter_. \n \n _Brazen._ Um, um, um, the canonical hour----Um, um, very well--My dear \n Plume! give me a buss. \n","_Plume._ Have a little patience, and I'll go with you. \n \n _Brazen._ No, no, I see a gentleman coming this way that may be \n inquisitive; 'tis Worthy, do you know him? \n","_Plume._ Pretensions! \n \n _Brazen._ That is, sir, have you ever served abroad? \n \n _Plume._ I have served at home, sir, for ages served this cruel fair, \n and that will serve the turn, sir. \n"],["I would marry her. \n \n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \n marry you--but my Melinda coquets it with every fellow she sees--I'll","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n","_Mel._ The sooner, therefore, you make an end of this, the better. \n \n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \n your humble servant. [_Exit._ \n","_Mel._ You! why I passed for you. \n \n _Lucy._ So 'tis I that am to die a maid--But the devil was a liar from \n the beginning; he can't make me die a maid--I've put it out of his power","_Wor._ You see, sir, how little he values your daughter's disdain. \n \n _Bal._ I like him the better: I was just such another fellow at his age: \n But how goes your affair with Melinda? \n","_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \n of this fellow, I think she ought to give you cause to be so. \n \n _Wor._ I don't think she encourages him so much for gaining herself a","ferried over to the Elysian Fields, if there be any such thing in \n matrimony. \n \n _Wor._ I parted with Melinda just now; she assured me she hated Brazen,","_Plume._ But I tell you, she's gone this minute to the waterside. \n \n \n _Enter a_ SERVANT. \n \n _Serv._ Madam Melinda has sent word that you need not trouble yourself","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n","creature could change. Poor Sylvia! \n \n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \n be yours.","lover, as to set up a rival. Were there any credit to be given to his \n words, I should believe Melinda had made him this assignation. I must go \n see, sir, you'll pardon me. [_Exit._ \n","_Plume._ Come, leave it to the girl's own choice. Will you belong to me \n or to that gentleman? \n \n _Rose._ Let me consider; you're both very handsome. \n","_Plume._ Melinda! and by this light her own hand! Once more, if you \n please, my dear--Her hand exactly--Just now, you say? \n \n _Brazen._ This minute; I must be gone. \n","_Mel._ How is that possible, doctor? \n \n _Kite._ Because, madam--because it is so--A woman's reason is the best \n for a man's being a fool. \n \n _Mel._ Ten o'clock, you say?","husband--But are you sure 'tis not Melinda's hand? \n \n _Wor._ You shall see; where's the bit of paper I gave you just now that \n the devil wrote Melinda upon? \n \n _Kite._ Here, sir. \n","_Syl._ Psha! what care I for his thoughts; I should not like a man with \n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \n think a petticoat a mighty simple thing, and I am heartily tired of my","_Rose._ And I too. [_Exit._ \n \n \n SCENE II. \n \n _The Walk by the Severn Side._ \n \n _Enter_ MELINDA _and her Maid_ LUCY. \n \n"," _Sir, your humble servant_, \n \n MELINDA. \n \n Why, the devil's in the young fellows of this age; they are ten times","Men are scarce, and as times go it is not impossible for a woman to die \n a maid. \n \n \n _Enter_ WORTHY. \n \n _Mel._ No matter. \n","_Wor._ Certainly--'tis no more like Melinda's character, than black is \n to white. \n \n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a"],["_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","creature could change. Poor Sylvia! \n \n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \n be yours."," Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \n her off the Stage_. \n","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n"," _Enter_ SYLVIA, _in Man's Apparel_. \n \n _Syl._ Save ye, save ye! gentlemen. \n \n _Brazen._ My dear, I'm yours. \n","Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","_Bal._ Still upon Sylvia! for shame, captain! you are engaged \n already--wedded to the war: victory is your mistress, and 'tis below a \n soldier to think of any other. \n","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","prejudice, without resenting it as much as you should. \n \n _Bal._ This letter, sir, which I tear in pieces, to conceal the person \n that sent it, informs me that Plume has a design upon Sylvia, and that","The disguise of Sylvia in boy's clothes, is an improbable, and romantic \n occurrence; yet it is one of those dramatic events, which were considered \n as perfectly natural in former times; although neither history, nor","Syl. _Mrs. Sylvia Balance._ [_Opens the Will, and reads._] Well, \n captain, this is a handsome and substantial compliment; but I can assure \n you I am much better pleased with the bare knowledge of your intention,","_Bal._ Here, constable, bring in my man.[_Exit_ CONSTABLE.] Now, \n captain, I'll fit you with a man such as you never listed in your life. \n \n \n _Enter_ CONSTABLE _and_ SYLVIA.","_Bal._ Then, Sylvia, I must beg that once in your life you would grant \n me a favour. \n \n _Syl._ Why should you question it, sir? \n","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA."," _Enter_ PLUME. \n \n _Plume._ What, Mr. Wilful so close with my market woman! \n \n _Syl._ I'll try if he loves her. [_Aside._] Close, sir, ay, and closer","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been"],[" _Enter_ MELINDA. \n \n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \n \n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \n","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n"," notice of it. The captain has dishonourable designs upon my \n cousin Sylvia. Evils of this nature are more easily \n prevented than amended; and that you would immediately send \n my cousin into the country, is the advice of_,","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","MELINDA _and_ SYLVIA _meeting_. \n \n \n _Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you your"," _Enter_ SYLVIA, _in Man's Apparel_. \n \n _Syl._ Save ye, save ye! gentlemen. \n \n _Brazen._ My dear, I'm yours. \n","creature could change. Poor Sylvia! \n \n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \n be yours.","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","prejudice, without resenting it as much as you should. \n \n _Bal._ This letter, sir, which I tear in pieces, to conceal the person \n that sent it, informs me that Plume has a design upon Sylvia, and that","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n","_Bal._ Still upon Sylvia! for shame, captain! you are engaged \n already--wedded to the war: victory is your mistress, and 'tis below a \n soldier to think of any other. \n","_Rose._ No, no; though your worship be a handsome man, there be others \n as fine as you. My brother is engaged to Captain Plume. \n \n _Syl._ Plume! do you know Captain Plume? \n","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","yourself, and, in plain terms, think no more of Captain Plume. \n \n _Syl._ You have often commended the gentleman, sir. \n \n _Bal._ And I do so still; he's a very pretty fellow; but though I liked","_Syl._ There are some letters, sir, come by the post from London; I left \n them upon the table in your closet. \n \n _Bal._ And here is a gentleman from Germany.--[_Presents_ PLUME _to"],["_Plume._ Just now, I tell you, half a mile hence, at the waterside. \n \n _Wor._ Up or down the water? \n \n _Plume._ That I don't know. \n","me the whole history of my life. He told me of a lover I had in this \n country, and described Worthy exactly, but in nothing so well as in his \n present indifference--I fled to him for refuge here to-day; he never so","_Kite._ Yes, yes, sir; and my fame's all about the country for the most \n faithful fortune-teller that ever told a lie--I was obliged to let my \n landlord into the secret, for the convenience of keeping it so; but he","_Wor._ Sir, I'm your humble servant. [_Exeunt apart._ \n \n \n SCENE III. \n \n _The Street._ \n","_Wor._ Her maid gave me the history of part of the battle just now, as \n she overheard it: but I hope, sir, your daughter has suffered nothing \n upon the account. \n","_Plume._ Do you live in the country, sir? \n \n _Syl._ Yes, sir, I live where I stand; I have neither home, house, or \n habitation, beyond this spot of ground. \n","_Plume._ And yours? \n \n _Cost._ Costar Pearmain. \n \n _Plume._ Well said, Costar! Born where? \n \n _Tho._ Both in Herefordshire. \n","_Plume._ Who? \n \n _Kite._ One that you beat up for the last time you were in the country. \n You remember your old friend Molly, at the Castle? \n \n _Plume._ She's not with child, I hope? \n","_Wor._ My rival, in the first place, and the most unaccountable \n fellow--but I'll tell you more as we go. [_Exeunt._ \n \n \n SCENE II. \n \n _An Apartment._ \n","while I go write. [_Exeunt._ \n \n \n \n \n ACT THE SECOND. \n \n \n SCENE I. \n \n _An Apartment._ \n","THE END. \n \n \n \n \n TRANSCRIBER'S NOTE \n \n \n A number of obvious misspellings have been corrected and missing \n punctuation has been silently added. Contemporary spellings have","tails; they snort, kick up their heels, and away they run. \n \n _Plume._ And leave us here to mourn upon the shore--a couple of poor \n melancholy monsters. What shall we do? \n","_Wor._ My Lady Richly, her aunt in Flintshire, dies, and leaves her, at \n this critical time, twenty thousand pounds. \n \n _Plume._ Oh, the devil! what a delicate woman was there spoiled! But, by","twenty miles in thirty hours is pretty smart riding, but nothing to the \n fatigue of recruiting. \n \n \n _Enter_ KITE. \n \n _Kite._ Welcome to Shrewsbury, noble captain! from the banks of the","occasion a woman. Your fortune and his are like the bullet and the \n barrel, one runs plump into the other--In short, if the gentleman \n travels, he will die abroad, and if he does you will die before he comes \n home. \n","any servants have too little wages, or any husband too much wife, let \n them repair to the noble Serjeant Kite, at the sign of the Raven, in \n this good town of Shrewsbury, and they shall receive present relief and","_Wor._ Already! do you know more than I? \n \n _Plume._ Yes, I saw it under her hand--Brazen and she are to meet half \n a mile hence, at the waterside, there to take boat, I suppose, to be","introduced--meaning those most excellently drawn characters of Rose, her \n brother, and the two recruits,--under the shade of that beforementioned \n hill near Shrewsbury, the Wrekin; and it may be well supposed, that he","_Bal._ He lies with you, I presume? \n \n _Plume._ No, 'faith; the young rogue fell in love with Rose, and has \n lain with her, I think, since she came to town. \n","_Bal._ Hold, gentlemen. Harkye, friend, how do you maintain your wife \n and five children? \n \n _Plume._ They live upon wild-fowl and venison, sir; the husband keeps a"],["refuse to discover the contents, Melinda shall tell me. [_Going._ \n \n _Bal._ Hold, sir; the contents I have told you already; only with this \n circumstance--that her intimacy with Mr. Worthy had drawn the secret \n from him.","Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \n \n _Wor._ Death and fire! this is not to be borne! \n \n \n _Enter_ PLUME. \n","_Mel._ What means this insolence? \n \n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \n","_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \n Worthy; and be assured 'tis the last and only favour you must expect at","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n","never do thoroughly without half a hundred friendships, and as many \n amours. But now I think on't, how stands your affair with Mr. Worthy? \n \n _Mel._ He's my aversion. \n \n _Syl._ Vapours!","_Mel._ Has any of them been bartering with you, Mrs. Pert, that you talk \n so like a trader? \n \n _Lucy._ One would imagine, madam, by your concern for Worthy's absence,","_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \n of this fellow, I think she ought to give you cause to be so. \n \n _Wor._ I don't think she encourages him so much for gaining herself a","Men are scarce, and as times go it is not impossible for a woman to die \n a maid. \n \n \n _Enter_ WORTHY. \n \n _Mel._ No matter. \n","lover, as to set up a rival. Were there any credit to be given to his \n words, I should believe Melinda had made him this assignation. I must go \n see, sir, you'll pardon me. [_Exit._ \n","_Mel._ And you have a quantity of impudence, to appear before me, that \n you so lately have affronted. \n \n _Wor._ I had no design to affront you, nor appear before you either,","_Wor._ You see, sir, how little he values your daughter's disdain. \n \n _Bal._ I like him the better: I was just such another fellow at his age: \n But how goes your affair with Melinda? \n","I would marry her. \n \n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \n marry you--but my Melinda coquets it with every fellow she sees--I'll"," _Enter_ MELINDA _and_ LUCY. \n \n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \n","me the whole history of my life. He told me of a lover I had in this \n country, and described Worthy exactly, but in nothing so well as in his \n present indifference--I fled to him for refuge here to-day; he never so"," _Enter_ WORTHY. \n \n What, arms across, Worthy! methinks you should hold them open when a \n friend's so near--The man has got the vapours in his ears, I believe. I","_Plume._ Whip and spur, Worthy, or you won't mount. \n \n _Wor._ But I shall; Melinda and I are agreed; she's gone to visit","_Plume._ Have a little patience, and I'll go with you. \n \n _Brazen._ No, no, I see a gentleman coming this way that may be \n inquisitive; 'tis Worthy, do you know him? \n","our way abroad--Mr. Worthy, you're the happy man. \n \n _Wor._ I don't envy your happiness very much, if the lady can afford no \n other sort of favours but what she has bestowed upon you. \n","earnest--But, to be plain with you, I like Worthy the worse for being so \n intimate with your captain; for I take him to be a loose, idle, \n unmannerly coxcomb. \n"],["Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","commanded us to beat the French, and we did so; and, if he pleases but \n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \n","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n","ungrateful, because she has been unfashionably kind; and use her worse \n than you would any body else, because you can't use her so well as she \n deserves. \n \n _Plume._ And are you, Sylvia, in good earnest? \n","_Syl._ Psha! what care I for his thoughts; I should not like a man with \n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \n think a petticoat a mighty simple thing, and I am heartily tired of my","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","_Bal._ Then, Sylvia, I must beg that once in your life you would grant \n me a favour. \n \n _Syl._ Why should you question it, sir? \n","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \n I can assure you that to a lady the least nice in her constitution--no \n air can be good above half a year. Change of air I take to be the most","prejudice, without resenting it as much as you should. \n \n _Bal._ This letter, sir, which I tear in pieces, to conceal the person \n that sent it, informs me that Plume has a design upon Sylvia, and that","the Letter._] The aspersion, sir, was nothing but malice; the effect of \n a little quarrel between her and Mrs. Sylvia. \n \n _Bal._ Are you sure of that, sir? \n","_Kite._ Nay, sir, I must whisper that--Mrs. Sylvia. \n \n _Plume._ Sylvia! generous creature! \n \n _Wor._ Sylvia! impossible! \n","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been","_Bal._ Still upon Sylvia! for shame, captain! you are engaged \n already--wedded to the war: victory is your mistress, and 'tis below a \n soldier to think of any other. \n","woman, were she worth twelve thousand a-year; and I ha'n't the vanity to \n believe I shall gain a lady worth twelve hundred. The generous, \n goodnatured Sylvia, in her smock, I admire; but the haughty and scornful","endanger either. [_Exeunt severally._ \n \n \n SCENE II. \n \n _Another Apartment._ \n \n _Enter_ BALANCE _and_ SYLVIA. \n \n"],["_Lucy._ Die a maid! come into the world for nothing!--Dear madam! if you \n should believe him, it might come to pass; for the bare thought on't \n might kill one in four and twenty hours--And did you ask him any \n questions about me?","_Lucy._ An answer to this letter, I hope, madam? [_Presents a Letter._ \n \n _Mel._ Who sent it? \n \n _Lucy._ Your captain, madam. \n","_Wor._ How! then I'll travel in good earnest--By all my hopes, 'tis \n Lucy's hand. \n \n _Plume._ Lucy's! \n","and that she resolved to discard Lucy for daring to write letters to him \n in her name. \n \n _Plume._ Nay, nay, there's nothing of Lucy in this--I tell ye, I saw"," _Enter_ MELINDA _and_ LUCY. \n \n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \n","_Mel._ You! why I passed for you. \n \n _Lucy._ So 'tis I that am to die a maid--But the devil was a liar from \n the beginning; he can't make me die a maid--I've put it out of his power","or one of his bosom-favourites: he has told me the most surprising \n things of my past life. \n \n _Lucy._ Things past, madam, can hardly be reckoned surprising, because","_Rose._ And I too. [_Exit._ \n \n \n SCENE II. \n \n _The Walk by the Severn Side._ \n \n _Enter_ MELINDA _and her Maid_ LUCY. \n \n","arrival of her fellow? \n \n _Lucy._ Her fellow has not been long enough arrived, to occasion any \n great swelling, madam; I don't believe she has seen him yet. \n","_Wor._ Certainly--'tis no more like Melinda's character, than black is \n to white. \n \n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a","_Mel._ Oh, Lucy! I can hold my secret no longer. You must know, that \n hearing of a famous fortune-teller in town, I went disguised to satisfy \n a curiosity which has cost me dear. The fellow is certainly the devil,","_Lucy._ Let me see it, madam; 'tis the same--the very same--But I'll \n secure one copy for my own affairs. [_Aside._ \n \n _Mel._ This is demonstration. \n","_Lucy._ If he should speak o' th' assignation I should be ruined! \n [_Aside._ \n \n \n _Enter_ BRAZEN. \n","_Lucy._ I fetch it! the devil fetch me if I do. \n \n _Mel._ My name, in my own hand-writing! that would be convincing indeed! \n","_Mel._ He's a fool, and I'm tired of him: send it back unopened. \n \n _Lucy._ The messenger's gone, madam. \n \n _Mel._ Then how should I send an answer? Call him back immediately,","_Lucy._ Indeed, madam, the last bribe I had from the captain, was only a \n small piece of Flanders' lace, for a cap. \n \n _Mel._ Ay, Flanders' lace is a constant present from officers to their","_Kite._ Ten--about the hour of tea-drinking throughout the kingdom. \n \n _Mel._ Here, doctor. [_Gives Money._] Lucy, have you any questions to \n ask? \n \n _Lucy._ Oh, madam! a thousand.","_Mel._ Saucy thing! \n \n \n _Enter_ LUCY. \n \n _Lucy._ What's the matter, madam? \n \n _Mel._ Did not you see the proud nothing, how she swelled upon the","walked off--'Sdeath! I could have stabbed him or myself, 'twas the same \n thing--Yonder he comes--I will so use him! \n \n _Lucy._ Don't exasperate him; consider what the fortune-teller told you.","her father of his treasure, and make her escape with me; but I don't \n know how, my time was not come: hanging and marriage, you know, go by \n destiny: Fate has reserved me for a Shropshire lady, worth twenty"],["Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \n expect no pardon. \n \n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been"," Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \n her off the Stage_. \n","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \n I can assure you that to a lady the least nice in her constitution--no \n air can be good above half a year. Change of air I take to be the most","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","your quality--but now you are at liberty, I have discharged you. \n \n _Syl._ Discharged me! \n \n _Bal._ Yes, sir, and you must once more go home to your father. \n","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,"," notice of it. The captain has dishonourable designs upon my \n cousin Sylvia. Evils of this nature are more easily \n prevented than amended; and that you would immediately send \n my cousin into the country, is the advice of_,","endanger either. [_Exeunt severally._ \n \n \n SCENE II. \n \n _Another Apartment._ \n \n _Enter_ BALANCE _and_ SYLVIA. \n \n","her father of his treasure, and make her escape with me; but I don't \n know how, my time was not come: hanging and marriage, you know, go by \n destiny: Fate has reserved me for a Shropshire lady, worth twenty","commanded us to beat the French, and we did so; and, if he pleases but \n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \n","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n","_Bal._ Then, Sylvia, I must beg that once in your life you would grant \n me a favour. \n \n _Syl._ Why should you question it, sir? \n","The disguise of Sylvia in boy's clothes, is an improbable, and romantic \n occurrence; yet it is one of those dramatic events, which were considered \n as perfectly natural in former times; although neither history, nor"],["_Mel._ Oh, Lucy! I can hold my secret no longer. You must know, that \n hearing of a famous fortune-teller in town, I went disguised to satisfy \n a curiosity which has cost me dear. The fellow is certainly the devil,","all those scenes, whereon it has any influence. Fortune-tellers are now \n a set of personages, in whom, and in whose skill or fraud, no rational \n person takes interest; and though such people still exist by their","_Kite._ Yes, yes, sir; and my fame's all about the country for the most \n faithful fortune-teller that ever told a lie--I was obliged to let my \n landlord into the secret, for the convenience of keeping it so; but he","_Wor._ I have a trick for mine; the letter, you know, and the \n fortune-teller. \n \n _Plume._ And I have a trick for mine. \n \n _Wor._ What is't? \n","_Kite._ I shall, sir. \n \n _Plume._ But hold, have you made any use of your fortune-teller's habit \n since you arrived? \n","walked off--'Sdeath! I could have stabbed him or myself, 'twas the same \n thing--Yonder he comes--I will so use him! \n \n _Lucy._ Don't exasperate him; consider what the fortune-teller told you.","occasion a woman. Your fortune and his are like the bullet and the \n barrel, one runs plump into the other--In short, if the gentleman \n travels, he will die abroad, and if he does you will die before he comes \n home. \n","_Kite._ 'Tis so, madam--the word demonstration comes from Dæmon, the \n father of lies. \n \n _Mel._ Well, doctor, I'm convinced: and now, pray, what account can you \n give of my future fortune?","_Kite._ Before the sun has made one course round this earthly globe, \n your fortune will be fixed for happiness or misery. \n \n _Mel._ What! so near the crisis of my fate? \n","_Bal._ I could not refuse her, she was so pressing; the coach went from \n the door the minute before you came. \n \n _Wor._ So pressing to be gone, sir?--I find her fortune will give her","_Kite._ Lookye, fair lady! the devil is a very modest person, he seeks \n nobody unless they seek him first; he's chained up, like a mastiff, and \n can't stir unless he be let loose--You come to me to have your fortune","her father of his treasure, and make her escape with me; but I don't \n know how, my time was not come: hanging and marriage, you know, go by \n destiny: Fate has reserved me for a Shropshire lady, worth twenty","two ladies, they meet us half way, and just as we were upon the point \n of leaping into their arms, fortune drops in their laps, pride possesses \n their hearts, a maggot fills their heads, madness takes them by the","_Mel._ How is that possible, doctor? \n \n _Kite._ Because, madam--because it is so--A woman's reason is the best \n for a man's being a fool. \n \n _Mel._ Ten o'clock, you say?","_Kite._ You must know, sir, I was born a gipsy, and bred among that \n crew till I was ten years old; there I learned canting and lying: I was \n bought from my mother Cleopatra by a certain nobleman for three","ordered me to tell you, that Justice Balance, her father, who is just \n come out of the country, would be glad to see you. \n \n _Plume._ There's a girl for you, Worthy!--Is there any thing of woman in","_Kite._ With both; when I have the destinies of men in search, I consult \n the stars; when the affairs of women come under my hands, I advise with \n my t'other friend. \n \n _Mel._ And have you raised the devil upon my account?","Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","_Kite._ Stand off, I have my familiar already. \n \n _Brazen._ Are you bewitched, my dear? \n \n _Kite._ Yes, my dear! but mine is a peaceable spirit, and hates","Now, sir, if you please to let me consult my books for a minute, I'll \n send this letter enclosed to you with the determination of the stars \n upon it to your lodgings. \n"],["Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \n \n _Wor._ Death and fire! this is not to be borne! \n \n \n _Enter_ PLUME. \n","Oh, Mr. Worthy! save me from these madmen! \n \n \n [_Exit with_ WORTHY. \n \n _Plume._ Ha! ha! ha! why don't you follow, sir, and fight the bold \n ravisher?","_Plume._ That injury, madam, was done to me, and the reparation I \n expect, shall be made to my friend: make Mr. Worthy happy, and I shall \n be satisfied. \n","_Plume._ Have a little patience, and I'll go with you. \n \n _Brazen._ No, no, I see a gentleman coming this way that may be \n inquisitive; 'tis Worthy, do you know him? \n","Worthy--Has your honour any further commands? \n \n _Plume._ None at present. [_Exit_ KITE.] 'Tis indeed, the picture of \n Worthy, but the life is departed. \n \n","_Kite._ Away to your ambuscade. [_Exeunt_ WORTHY _and_ PLUME. \n \n \n _Enter_ BRAZEN. \n \n _Brazen._ Your servant, my dear? \n"," _Enter_ WORTHY. \n \n _Wor._ I am sorry to hear, Mr. Balance, that your daughter is lost. \n \n _Bal._ So am not I, sir, since an honest gentleman has found her. \n \n","_Wor._ My letters say he's dead, sir. \n \n _Bal._ He's happy, and I am satisfied: the stroke of Heaven I can bear; \n but injuries from men, Mr. Worthy, are not so easily supported. \n","refuse to discover the contents, Melinda shall tell me. [_Going._ \n \n _Bal._ Hold, sir; the contents I have told you already; only with this \n circumstance--that her intimacy with Mr. Worthy had drawn the secret \n from him."," _Enter_ WORTHY. \n \n What, arms across, Worthy! methinks you should hold them open when a \n friend's so near--The man has got the vapours in his ears, I believe. I","me the whole history of my life. He told me of a lover I had in this \n country, and described Worthy exactly, but in nothing so well as in his \n present indifference--I fled to him for refuge here to-day; he never so","_Kite._ You shall be better acquainted with them, honest Bullock, or I \n shall miss of my aim. \n \n \n _Enter_ WORTHY. \n \n _Wor._ Why thou art the most useful fellow in nature to your captain,","_Kite._ Mr. Worthy, you were pleased to wish me joy to-day; I hope to be \n able to return the compliment to-morrow. \n \n _Wor._ I'll make it the best compliment to you that ever I made in my","_Plume._ Now, Worthy, to show you how much I'm in love--here she comes. \n But, Kite, what is that great country fellow with her? \n \n _Kite._ I can't tell, sir. \n \n","_Mel._ What means this insolence? \n \n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \n","_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \n Worthy; and be assured 'tis the last and only favour you must expect at","of Worthy's friends, you must give me leave to wear my mask till after \n the ceremony which will make me for ever yours._--Lookye there, my dear \n dog! \n \n [_Shows the Bottom of the Letter to_ PLUME.","ordered me to tell you, that Justice Balance, her father, who is just \n come out of the country, would be glad to see you. \n \n _Plume._ There's a girl for you, Worthy!--Is there any thing of woman in","my hands----captain, I ask your pardon. [_Exit with_ LUCY. \n \n _Brazen._ I grant it----You see, Mr. Worthy, 'twas only a random-shot;","Men are scarce, and as times go it is not impossible for a woman to die \n a maid. \n \n \n _Enter_ WORTHY. \n \n _Mel._ No matter. \n"],["_Wor._ Hold, Kite--have you seen the other recruiting captain? \n \n _Kite._ No, sir; I'd have you to know I don't keep such company. \n \n _Plume._ Another! who is he? \n","_Kite._ I've been here a week, and I've recruited five. \n \n _Plume._ Five! pray what are they? \n \n _Kite._ I have listed the strong man of Kent, the king of the gipsies, a","_Plume._ 'Sdeath! child, are you mad?--Mr. Balance, I am so full of \n business about my recruits, that I ha'n't a moment's time to----I have \n just now three or four people to---- \n","neat--but his poor boy Jack was the most comical bastard--Ha! ha! ha! \n ha! ha! a pickled dog, I shall never forget him. \n \n _Plume._ Have you got your recruits, my dear? \n","_Kite._ A couple of honest brave fellows that are willing to serve the \n king: I have entertained them just now as volunteers, under your \n honour's command. \n \n _Plume._ And good entertainment they shall have: volunteers are the men","_Plume._ I desire no man to go with me but as I went myself; I went a \n volunteer, as you or you may do; for a little time carried a musket, and \n now I command a company. \n","_Plume._ Gentlemen, I thank you. \n \n _Scrup._ Come, honest captain, sit by me. [PLUME _ascends, and sits upon \n the Bench_.]--Now, produce your prisoners----Here, that fellow there,","_Plume._ Very well. Courage, my lads. Now we'll \n \n Sings. _Over the hills, and far away._ \n _Courage, boys, it's one to ten_ \n _But we return all gentlemen;_","your recruiting airs, put on the man of honour, and tell me plainly what \n usage I must expect when I am under your command? \n \n _Plume._ Your usage will chiefly depend upon your behaviour; only this","_Plume._ What's the matter, serjeant? I'm afraid you are too rough with \n these gentlemen. \n \n _Kite._ I'm too mild, sir; they disobey command, sir; and one of them","_Plume._ With all my heart, my dear! [_Putting up._] I suppose Kite has \n listed him by this time. [_Embraces._ \n \n _Brazen._ You are a brave fellow: I always fight with a man before I","_Brazen._ Not a stick, my dear! \n \n _Plume._ Probably I shall furnish you, my dear! instead of the twenty \n thousand pounds you talked of, you shall have the twenty brave recruits","_Plume._ He's at my quarters, I suppose, with the rest of my men. \n \n _Bal._ Does he keep company with the common soldiers? \n \n _Plume._ No, he's generally with me. \n"," [_Exeunt, shouting.--Drum beating the Grenadier's March._ \n \n \n _Enter_ PLUME, _in a Riding Habit_. \n","_Plume._ Because I will have nobody in my company that can write; a \n fellow that can write, can draw petitions--I say this minute discharge \n him. \n \n _Kite._ And what shall I do with the parson? \n","_Plume._ Pho, pho, pho! I'll do more than all this; I'll make you a \n corporal, and give you a brevet for serjeant. \n \n _Brazen._ Can you read and write, sir? \n"," _Enter_ KITE. \n \n _Kite._ Sir, if you please---- [_Goes to whisper_ PLUME. \n \n _Plume._ No, no, there's your captain. Captain Plume, your serjeant has","than we two have been, I'll say no more. \n \n _Plume._ Here, my lad. [_Gives him Money._] Now, your name? \n \n _Tho._ Tummas Appletree. \n","_Plume._ I forbid the bans. Lookye, friend, you shall list with Captain \n Brazen. \n \n _Syl._ I will see Captain Brazen hanged first; I will list will Captain","_Plume._ Lookye, rascal, you villain! If I find that you have imposed \n upon these two honest fellows, I'll trample you to death, you dog--Come, \n how was't? \n"],["_Kite._ Sir, he in the plain coat is Captain Plume; I am his serjeant, \n and will take my oath on't. \n \n _Syl._ What! you are serjeant Kite? \n"," _Enter_ KITE. \n \n _Kite._ Sir, if you please---- [_Goes to whisper_ PLUME. \n \n _Plume._ No, no, there's your captain. Captain Plume, your serjeant has","discovered Serjeant Kite in his own Regiment, and Captain Plume in his \n own person. Certainly those characters have every appearance of being \n copied from life--and probably, many other of his Salopian acquaintance \n have here had their portraits drawn to perfection.","_Wor._ Hold, Kite--have you seen the other recruiting captain? \n \n _Kite._ No, sir; I'd have you to know I don't keep such company. \n \n _Plume._ Another! who is he? \n","_Plume._ What's the matter, serjeant? I'm afraid you are too rough with \n these gentlemen. \n \n _Kite._ I'm too mild, sir; they disobey command, sir; and one of them","_Kite._ A couple of honest brave fellows that are willing to serve the \n king: I have entertained them just now as volunteers, under your \n honour's command. \n \n _Plume._ And good entertainment they shall have: volunteers are the men"," [CAPTAIN _and_ SERJEANT _whisper the while._ \n \n _Plume._ 'Twill never do, Kite--your damned tricks will ruin me at","_Kite._ I've been here a week, and I've recruited five. \n \n _Plume._ Five! pray what are they? \n \n _Kite._ I have listed the strong man of Kent, the king of the gipsies, a","_Kite._ Sir, the mob are so pleased with your honour, and the justices \n and better sort of people, are so delighted with me, that we shall soon \n do your business----But, sir, you have got a recruit here, that you \n little think of. \n","_Tho._ And I'se scarcely d'off mine for any captain in England. My \n vether's a freeholder. \n \n _Plume._ Who are those jolly lads, serjeant? \n","_Bal._ Come, Mr. Scale, we'll manage the spark presently. [_Exeunt._ \n \n \n SCENE II. \n \n _The Market Place._ \n \n _Enter_ PLUME _and_ KITE. \n","_Kite._ Captain, captain! a word in your ear. \n \n _Plume._ You may speak out, here are none but friends. \n \n _Kite._ You know, sir, that you sent me to comfort the good woman in the","any servants have too little wages, or any husband too much wife, let \n them repair to the noble Serjeant Kite, at the sign of the Raven, in \n this good town of Shrewsbury, and they shall receive present relief and","_Plume._ With all my heart, my dear! [_Putting up._] I suppose Kite has \n listed him by this time. [_Embraces._ \n \n _Brazen._ You are a brave fellow: I always fight with a man before I","_Syl._ Now, serjeant, I shall see who is your captain, by your knocking \n down the other. \n \n _Kite._ My captain scorns assistance, sir. \n","Danube to the Severn side, noble captain! you're welcome. \n \n _Plume._ A very elegant reception, indeed, Mr. Kite. I find you are \n fairly entered into your recruiting strain--Pray what success? \n","_Kite._ May it please your worship, this man has no visible means of a \n livelihood, for he works underground. \n \n _Plume._ Well said, Kite; besides, the army wants miners. \n","twenty miles in thirty hours is pretty smart riding, but nothing to the \n fatigue of recruiting. \n \n \n _Enter_ KITE. \n \n _Kite._ Welcome to Shrewsbury, noble captain! from the banks of the"," _Enter_ PLUME _and_ WORTHY. \n \n _Plume._ Well, what success? \n \n _Kite._ I have sent away a shoemaker and a tailor already; one's to be a","_Plume._ Now, Worthy, to show you how much I'm in love--here she comes. \n But, Kite, what is that great country fellow with her? \n \n _Kite._ I can't tell, sir. \n \n"],["_Plume._ Now, Worthy, to show you how much I'm in love--here she comes. \n But, Kite, what is that great country fellow with her? \n \n _Kite._ I can't tell, sir. \n \n","_Plume._ Come, leave it to the girl's own choice. Will you belong to me \n or to that gentleman? \n \n _Rose._ Let me consider; you're both very handsome. \n"," _Enter_ PLUME. \n \n _Plume._ Ha! ha! ha! a battle royal! Don't frown so, man; she's your \n own, I'll tell you: I saw the fury of her love in the extremity of her","_Bal._ He lies with you, I presume? \n \n _Plume._ No, 'faith; the young rogue fell in love with Rose, and has \n lain with her, I think, since she came to town. \n"," _Enter_ PLUME. \n \n _Plume._ What, Mr. Wilful so close with my market woman! \n \n _Syl._ I'll try if he loves her. [_Aside._] Close, sir, ay, and closer","yourself, and, in plain terms, think no more of Captain Plume. \n \n _Syl._ You have often commended the gentleman, sir. \n \n _Bal._ And I do so still; he's a very pretty fellow; but though I liked","_Plume._ Let me see; young and tender, you say. [_Chucks her under the \n Chin._ \n \n _Rose._ As ever you tasted in your life, sir. \n","_Plume._ That's home. [_Aside._] My little boy! lack-a-day, madam! \n that alone may convince you 'twas none of mine: why, the girl, madam,","_Wor._ She's lost, irrecoverably lost, and Plume's advice has ruined me. \n 'Sdeath! why should I, that knew her haughty spirit, be ruled by a man \n that's a stranger to her pride? \n \n","_Plume._ With all my heart, my dear! [_Putting up._] I suppose Kite has \n listed him by this time. [_Embraces._ \n \n _Brazen._ You are a brave fellow: I always fight with a man before I","_Plume._ Do you know the gentleman? \n \n _Brazen._ No, but I will presently--Your name, my dear? \n \n _Syl._ Wilful, Jack Wilful, at your service. \n","_Plume._ I'll never think of her again. \n \n _Wor._ No! \n \n _Plume._ No; I think myself above administering to the pride of any","_Plume._ Pho! let me see it. [_Opening the Letter._] If she be a \n jilt--Damn her, she is one--there's her name at the bottom on't. \n","_Plume._ Then you are married, surely? \n \n _Wor._ No. \n \n _Plume._ Then you are mad, or turning quaker? \n","_Plume._ Who? \n \n _Kite._ One that you beat up for the last time you were in the country. \n You remember your old friend Molly, at the Castle? \n \n _Plume._ She's not with child, I hope? \n","_Plume._ Kite! [_Tips him the wink, he returns it._] Pretty Mrs. \n Rose--you have--let me see--how many? \n \n _Rose._ A dozen, sir, and they are richly worth a crown. \n","_Rose._ No, no; though your worship be a handsome man, there be others \n as fine as you. My brother is engaged to Captain Plume. \n \n _Syl._ Plume! do you know Captain Plume? \n","_Plume._ A jilt! pho! is she as great a whore? \n \n _Wor._ No, no. \n \n _Plume._ 'Tis ten thousand pities!--But who is she?--do I know her? \n","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n","_Wor._ For whom? \n \n _Plume._ For a regiment--but for a woman! 'Sdeath! I have been constant \n to fifteen at a time, but never melancholy for one: and can the love of"],[" _Enter_ MELINDA. \n \n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \n \n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \n","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n","MELINDA _and_ SYLVIA _meeting_. \n \n \n _Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you your","creature could change. Poor Sylvia! \n \n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \n be yours.","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n","lover, as to set up a rival. Were there any credit to be given to his \n words, I should believe Melinda had made him this assignation. I must go \n see, sir, you'll pardon me. [_Exit._ \n","_Wor._ You see, sir, how little he values your daughter's disdain. \n \n _Bal._ I like him the better: I was just such another fellow at his age: \n But how goes your affair with Melinda? \n","_Syl._ Psha! what care I for his thoughts; I should not like a man with \n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \n think a petticoat a mighty simple thing, and I am heartily tired of my","_Mel._ The sooner, therefore, you make an end of this, the better. \n \n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \n your humble servant. [_Exit._ \n","never do thoroughly without half a hundred friendships, and as many \n amours. But now I think on't, how stands your affair with Mr. Worthy? \n \n _Mel._ He's my aversion. \n \n _Syl._ Vapours!"," notice of it. The captain has dishonourable designs upon my \n cousin Sylvia. Evils of this nature are more easily \n prevented than amended; and that you would immediately send \n my cousin into the country, is the advice of_,","I would marry her. \n \n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \n marry you--but my Melinda coquets it with every fellow she sees--I'll","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n","_Mel._ What do you say, madam? \n \n _Syl._ I say, that you should not use that honest fellow so inhumanly: \n he's a gentleman of parts and fortune, and besides that, he's my Plume's","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \n of this fellow, I think she ought to give you cause to be so. \n \n _Wor._ I don't think she encourages him so much for gaining herself a","_Wor._ Certainly--'tis no more like Melinda's character, than black is \n to white. \n \n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a","_Plume._ But I tell you, she's gone this minute to the waterside. \n \n \n _Enter a_ SERVANT. \n \n _Serv._ Madam Melinda has sent word that you need not trouble yourself","_Mel. and Wor._ How! \n \n _Syl._ Do you think it strange, cousin, that a woman should change; but \n I hope you'll excuse a change that has proceeded from constancy: I","_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \n I can assure you that to a lady the least nice in her constitution--no \n air can be good above half a year. Change of air I take to be the most"],["refuse to discover the contents, Melinda shall tell me. [_Going._ \n \n _Bal._ Hold, sir; the contents I have told you already; only with this \n circumstance--that her intimacy with Mr. Worthy had drawn the secret \n from him.","Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \n \n _Wor._ Death and fire! this is not to be borne! \n \n \n _Enter_ PLUME. \n","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n","I would marry her. \n \n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \n marry you--but my Melinda coquets it with every fellow she sees--I'll","lover, as to set up a rival. Were there any credit to be given to his \n words, I should believe Melinda had made him this assignation. I must go \n see, sir, you'll pardon me. [_Exit._ \n","_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \n Worthy; and be assured 'tis the last and only favour you must expect at","never do thoroughly without half a hundred friendships, and as many \n amours. But now I think on't, how stands your affair with Mr. Worthy? \n \n _Mel._ He's my aversion. \n \n _Syl._ Vapours!","_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \n of this fellow, I think she ought to give you cause to be so. \n \n _Wor._ I don't think she encourages him so much for gaining herself a","_Mel._ What means this insolence? \n \n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \n"," _Enter_ MELINDA _and_ LUCY. \n \n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \n","_Plume._ Melinda! why she began to capitulate this time twelvemonth, and \n offered to surrender upon honourable terms: and I advised you to propose \n a settlement of five hundred pounds a year to her, before I went last \n abroad. \n","_Plume._ Whip and spur, Worthy, or you won't mount. \n \n _Wor._ But I shall; Melinda and I are agreed; she's gone to visit","_Mel._ Has any of them been bartering with you, Mrs. Pert, that you talk \n so like a trader? \n \n _Lucy._ One would imagine, madam, by your concern for Worthy's absence,","_Wor._ You see, sir, how little he values your daughter's disdain. \n \n _Bal._ I like him the better: I was just such another fellow at his age: \n But how goes your affair with Melinda? \n","_Wor._ Certainly--'tis no more like Melinda's character, than black is \n to white. \n \n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a","Men are scarce, and as times go it is not impossible for a woman to die \n a maid. \n \n \n _Enter_ WORTHY. \n \n _Mel._ No matter. \n","_Syl._ Psha! what care I for his thoughts; I should not like a man with \n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \n think a petticoat a mighty simple thing, and I am heartily tired of my","me the whole history of my life. He told me of a lover I had in this \n country, and described Worthy exactly, but in nothing so well as in his \n present indifference--I fled to him for refuge here to-day; he never so","ordered me to tell you, that Justice Balance, her father, who is just \n come out of the country, would be glad to see you. \n \n _Plume._ There's a girl for you, Worthy!--Is there any thing of woman in","_Mel._ The sooner, therefore, you make an end of this, the better. \n \n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \n your humble servant. [_Exit._ \n"],["_Wor._ Certainly--'tis no more like Melinda's character, than black is \n to white. \n \n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a","_Brazen._ Who's that, madam? \n \n _Mel._ A brother officer of yours, I suppose, sir. \n \n _Brazen._ Ay--my dear! [_To_ PLUME. \n","_Mel._ A good example, sir, will go a great way--When my cousin is \n pleased to surrender, 'tis probable I shan't hold out much longer. \n \n \n _Enter_ BRAZEN. \n","_Plume._ Melinda! and by this light her own hand! Once more, if you \n please, my dear--Her hand exactly--Just now, you say? \n \n _Brazen._ This minute; I must be gone. \n","_Mel._ You! why I passed for you. \n \n _Lucy._ So 'tis I that am to die a maid--But the devil was a liar from \n the beginning; he can't make me die a maid--I've put it out of his power","_Brazen._ So am I, my dear! I am going to be married--I have had two \n letters from a lady of fortune, that loves me to madness, fits, cholic,","ferried over to the Elysian Fields, if there be any such thing in \n matrimony. \n \n _Wor._ I parted with Melinda just now; she assured me she hated Brazen,","I would marry her. \n \n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \n marry you--but my Melinda coquets it with every fellow she sees--I'll","thousand pounds. Do you know any such person, madam? \n \n _Mel._ Extravagant coxcomb! [_Aside._] To be sure, a great many ladies \n of that fortune would be proud of the name of Mrs. Brazen. \n","_Plume._ So! now must I look as sober and demure as a whore at a \n christening. \n \n \n _Enter_ BRAZEN _and_ MELINDA. \n","_Mel._ Oh, are you there, gentleman?--Come, captain, we'll walk this \n way. Give me your hand. \n \n _Brazen._ My hand, heart's blood, and guts, are at your service. Mr.","_Wor._ Very well. \n \n _Plume._ That's impossible----I know no woman that will hold out a ten \n years' siege. \n \n _Wor._ What think you of Melinda? \n"," _Enter_ SYLVIA, _in Man's Apparel_. \n \n _Syl._ Save ye, save ye! gentlemen. \n \n _Brazen._ My dear, I'm yours. \n","lover, as to set up a rival. Were there any credit to be given to his \n words, I should believe Melinda had made him this assignation. I must go \n see, sir, you'll pardon me. [_Exit._ \n","_Mel._ So, between the fool and the rake, I shall bring a fine spot of \n work upon my hands! \n \n _Brazen._ Will you fight for the lady, sir? \n","_Brazen._ Gentlemen, I am yours--Madam, I am not yours. \n \n _Mel._ I'm glad on't, sir. \n","_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \n of this fellow, I think she ought to give you cause to be so. \n \n _Wor._ I don't think she encourages him so much for gaining herself a","_Brazen._ True to the touch, 'faith! [_Aside._] Madam, I am your humble \n servant, and all that, madam. A fine river, this same Severn--Do you \n love fishing, madam? \n","_Brazen._ Some of us, madam; but there are brutes among us too, very sad \n brutes; for my own part, I have always had the good luck to prove \n agreeable. I have had very considerable offers, madam--I might have","_Lucy._ If he should speak o' th' assignation I should be ruined! \n [_Aside._ \n \n \n _Enter_ BRAZEN. \n"],["Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been","_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \n expect no pardon. \n \n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \n I can assure you that to a lady the least nice in her constitution--no \n air can be good above half a year. Change of air I take to be the most","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before"," Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \n her off the Stage_. \n","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n","your quality--but now you are at liberty, I have discharged you. \n \n _Syl._ Discharged me! \n \n _Bal._ Yes, sir, and you must once more go home to your father. \n","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","her father of his treasure, and make her escape with me; but I don't \n know how, my time was not come: hanging and marriage, you know, go by \n destiny: Fate has reserved me for a Shropshire lady, worth twenty"," notice of it. The captain has dishonourable designs upon my \n cousin Sylvia. Evils of this nature are more easily \n prevented than amended; and that you would immediately send \n my cousin into the country, is the advice of_,","_Bal._ Then, Sylvia, I must beg that once in your life you would grant \n me a favour. \n \n _Syl._ Why should you question it, sir? \n","_Syl._ Psha! what care I for his thoughts; I should not like a man with \n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \n think a petticoat a mighty simple thing, and I am heartily tired of my","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n","endanger either. [_Exeunt severally._ \n \n \n SCENE II. \n \n _Another Apartment._ \n \n _Enter_ BALANCE _and_ SYLVIA. \n \n","_Mel._ The sooner, therefore, you make an end of this, the better. \n \n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \n your humble servant. [_Exit._ \n"],["_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \n expect no pardon. \n \n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","_Bal._ Then, Sylvia, I must beg that once in your life you would grant \n me a favour. \n \n _Syl._ Why should you question it, sir? \n","Syl. _Mrs. Sylvia Balance._ [_Opens the Will, and reads._] Well, \n captain, this is a handsome and substantial compliment; but I can assure \n you I am much better pleased with the bare knowledge of your intention,","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n","_Kite._ Nay, sir, I must whisper that--Mrs. Sylvia. \n \n _Plume._ Sylvia! generous creature! \n \n _Wor._ Sylvia! impossible! \n"," Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \n her off the Stage_. \n","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","_Bal._ Here, constable, bring in my man.[_Exit_ CONSTABLE.] Now, \n captain, I'll fit you with a man such as you never listed in your life. \n \n \n _Enter_ CONSTABLE _and_ SYLVIA.","commanded us to beat the French, and we did so; and, if he pleases but \n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \n"," _Enter_ SYLVIA, _in Man's Apparel_. \n \n _Syl._ Save ye, save ye! gentlemen. \n \n _Brazen._ My dear, I'm yours. \n","_Syl._ 'Tis false! I am descended of as good a family as any in your \n county; my father is as good a man as any upon your bench, and I am heir \n to twelve hundred pounds a-year. \n","_Syl._ There are some letters, sir, come by the post from London; I left \n them upon the table in your closet. \n \n _Bal._ And here is a gentleman from Germany.--[_Presents_ PLUME _to"],["Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","commanded us to beat the French, and we did so; and, if he pleases but \n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \n","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n","_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \n expect no pardon. \n \n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,"," notice of it. The captain has dishonourable designs upon my \n cousin Sylvia. Evils of this nature are more easily \n prevented than amended; and that you would immediately send \n my cousin into the country, is the advice of_,","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n"," Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \n her off the Stage_. \n","_Bal._ Then, Sylvia, I must beg that once in your life you would grant \n me a favour. \n \n _Syl._ Why should you question it, sir? \n","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","your quality--but now you are at liberty, I have discharged you. \n \n _Syl._ Discharged me! \n \n _Bal._ Yes, sir, and you must once more go home to your father. \n","her father of his treasure, and make her escape with me; but I don't \n know how, my time was not come: hanging and marriage, you know, go by \n destiny: Fate has reserved me for a Shropshire lady, worth twenty","endanger either. [_Exeunt severally._ \n \n \n SCENE II. \n \n _Another Apartment._ \n \n _Enter_ BALANCE _and_ SYLVIA. \n \n","MELINDA _and_ SYLVIA _meeting_. \n \n \n _Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you your"],["Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n"," Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \n her off the Stage_. \n","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \n expect no pardon. \n \n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,","comfort him; and be assured that if my life and fortune can be any way \n serviceable to the father of my Sylvia, he shall freely command both. \n \n _Syl._ The necessity must be very pressing that would engage me to","_Plume._ I hope Sylvia has not heard of it. \n \n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \n poor Sylvia. \n","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","endanger either. [_Exeunt severally._ \n \n \n SCENE II. \n \n _Another Apartment._ \n \n _Enter_ BALANCE _and_ SYLVIA. \n \n","your quality--but now you are at liberty, I have discharged you. \n \n _Syl._ Discharged me! \n \n _Bal._ Yes, sir, and you must once more go home to your father. \n","commanded us to beat the French, and we did so; and, if he pleases but \n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \n","Ho, Sylvia! \n \n _Syl._ Sir. \n \n _Bal._ How old were you when your mother died? \n \n _Syl._ So young that I don't remember I ever had one; and you have been","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","_Const._ It shall be done, sir--come along, sir. \n \n [_Exeunt_ CONSTABLE, BULLOCK, _and_ SYLVIA. \n","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,","_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \n a companion. \n \n _Mel._ You are certainly mad, cousin! \n","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n","_Bal._ Then, Sylvia, I must beg that once in your life you would grant \n me a favour. \n \n _Syl._ Why should you question it, sir? \n"," _Enter_ MELINDA. \n \n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \n \n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \n","_Syl._ No, no, captain; you forget Rose; she's to be my bedfellow, you \n know. \n \n _Plume._ I had forgot: pray be kind to her. [_Exeunt severally._ \n \n"],["The disguise of Sylvia in boy's clothes, is an improbable, and romantic \n occurrence; yet it is one of those dramatic events, which were considered \n as perfectly natural in former times; although neither history, nor"," _Enter_ SYLVIA, _in Man's Apparel_. \n \n _Syl._ Save ye, save ye! gentlemen. \n \n _Brazen._ My dear, I'm yours. \n","prudence than to follow the camp: but she's at her own disposal; she has \n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \n \n \n _Enter_ SYLVIA. \n"," ROSE _Mrs. Gibbs._ \n LUCY _Mrs. Litchfield._ \n SYLVIA _Mrs. Johnson._ \n \n _SCENE--Shrewsbury._ \n \n \n","_Bal._ Here, constable, bring in my man.[_Exit_ CONSTABLE.] Now, \n captain, I'll fit you with a man such as you never listed in your life. \n \n \n _Enter_ CONSTABLE _and_ SYLVIA."," Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \n her off the Stage_. \n","Sylvia, with her fortune, I despise.--What! sneak out of town, and not \n so much as a word, a line, a compliment!--'Sdeath! how far off does she \n live? I'll go and break her windows. \n","_Bul._ Nay, sister, why did not you keep that place for me? you know I \n have always loved to be a drumming, if it were but on a table, or on a \n quart pot. \n \n \n _Enter_ SYLVIA.","the materials for this play on the very spot where he has placed his \n scene--Shrewsbury. He has dedicated the piece \"to all friends round the \n Wrekin,\" and has thanked the inhabitants of the town for that cheerful","creature could change. Poor Sylvia! \n \n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \n be yours.","woman, were she worth twelve thousand a-year; and I ha'n't the vanity to \n believe I shall gain a lady worth twelve hundred. The generous, \n goodnatured Sylvia, in her smock, I admire; but the haughty and scornful","_Syl._ I promise. \n \n _Bal._ Very well; and to be even with you, I promise I never will \n dispose of you without your own consent: and so, Sylvia, the coach is","Sylvia, we are to mount and follow; and could we carry a parson with us, \n who knows what might be done for us both? \n \n _Plume._ Don't trouble your head; Melinda has secured a parson already. \n"," _Enter_ SYLVIA. \n \n _Syl._ I think, captain, you might have used me better, than to leave me \n yonder among your swearing drunken crew; and you, Mr. Justice, might","dishonourable thought of Sylvia, it deserves to be burnt to the \n ground--I love Sylvia, I admire her frank, generous disposition--there's \n something in that girl more than woman--In short, were I once a general,"," _Enter_ SYLVIA, BULLOCK, ROSE, PRISONERS, _and_ CONSTABLE. \n \n _Const._ May it please your worships, we took them in the very act, _re","_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \n Sylvia and I had once agreed to go to bed together, could we have \n adjusted preliminaries; but she would have the wedding before","_Syl._ What, gentlemen, rob me of my freedom and my wife at once! 'tis \n the first time they ever went together. \n \n _Bal._ Harkye, constable. [_Whispers him._ \n","_Const._ It shall be done, sir--come along, sir. \n \n [_Exeunt_ CONSTABLE, BULLOCK, _and_ SYLVIA. \n","_Syl._ Psha! what care I for his thoughts; I should not like a man with \n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \n think a petticoat a mighty simple thing, and I am heartily tired of my"]],"string":"[\n [\n \"refuse to discover the contents, Melinda shall tell me. [_Going._ \\n \\n _Bal._ Hold, sir; the contents I have told you already; only with this \\n circumstance--that her intimacy with Mr. Worthy had drawn the secret \\n from him.\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \"I would marry her. \\n \\n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \\n marry you--but my Melinda coquets it with every fellow she sees--I'll\",\n \"Men are scarce, and as times go it is not impossible for a woman to die \\n a maid. \\n \\n \\n _Enter_ WORTHY. \\n \\n _Mel._ No matter. \\n\",\n \"Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \\n \\n _Wor._ Death and fire! this is not to be borne! \\n \\n \\n _Enter_ PLUME. \\n\",\n \"never do thoroughly without half a hundred friendships, and as many \\n amours. But now I think on't, how stands your affair with Mr. Worthy? \\n \\n _Mel._ He's my aversion. \\n \\n _Syl._ Vapours!\",\n \"me the whole history of my life. He told me of a lover I had in this \\n country, and described Worthy exactly, but in nothing so well as in his \\n present indifference--I fled to him for refuge here to-day; he never so\",\n \"_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \\n Worthy; and be assured 'tis the last and only favour you must expect at\",\n \"_Wor._ You see, sir, how little he values your daughter's disdain. \\n \\n _Bal._ I like him the better: I was just such another fellow at his age: \\n But how goes your affair with Melinda? \\n\",\n \"_Syl._ Oh, Madam! you never saw him, perhaps, since you were mistress of \\n twenty thousand pounds: you only knew him when you were capitulating \\n with Worthy for a settlement, which perhaps might encourage him to be a\",\n \"_Plume._ Melinda! why she began to capitulate this time twelvemonth, and \\n offered to surrender upon honourable terms: and I advised you to propose \\n a settlement of five hundred pounds a year to her, before I went last \\n abroad. \\n\",\n \"_Mel. and Wor._ How! \\n \\n _Syl._ Do you think it strange, cousin, that a woman should change; but \\n I hope you'll excuse a change that has proceeded from constancy: I\",\n \"_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \\n of this fellow, I think she ought to give you cause to be so. \\n \\n _Wor._ I don't think she encourages him so much for gaining herself a\",\n \"_Plume._ Whip and spur, Worthy, or you won't mount. \\n \\n _Wor._ But I shall; Melinda and I are agreed; she's gone to visit\",\n \"_Mel._ Has any of them been bartering with you, Mrs. Pert, that you talk \\n so like a trader? \\n \\n _Lucy._ One would imagine, madam, by your concern for Worthy's absence,\",\n \"_Mel._ How is that possible, doctor? \\n \\n _Kite._ Because, madam--because it is so--A woman's reason is the best \\n for a man's being a fool. \\n \\n _Mel._ Ten o'clock, you say?\",\n \"_Mel._ What means this insolence? \\n \\n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \\n\",\n \" _Enter_ MELINDA _and_ LUCY. \\n \\n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \\n\",\n \"morning, so beautiful, so inviting; I presently locked the door--but I'm \\n a man of honour--but I believe I shall marry her nevertheless--her \\n twenty thousand pounds, you know, will be a pretty conveniency. I had an\",\n \"woman, were she worth twelve thousand a-year; and I ha'n't the vanity to \\n believe I shall gain a lady worth twelve hundred. The generous, \\n goodnatured Sylvia, in her smock, I admire; but the haughty and scornful\"\n ],\n [\n \"Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \\n \\n _Wor._ Death and fire! this is not to be borne! \\n \\n \\n _Enter_ PLUME. \\n\",\n \"refuse to discover the contents, Melinda shall tell me. [_Going._ \\n \\n _Bal._ Hold, sir; the contents I have told you already; only with this \\n circumstance--that her intimacy with Mr. Worthy had drawn the secret \\n from him.\",\n \"_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \\n Worthy; and be assured 'tis the last and only favour you must expect at\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \"never do thoroughly without half a hundred friendships, and as many \\n amours. But now I think on't, how stands your affair with Mr. Worthy? \\n \\n _Mel._ He's my aversion. \\n \\n _Syl._ Vapours!\",\n \"_Mel._ What means this insolence? \\n \\n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \\n\",\n \"lover, as to set up a rival. Were there any credit to be given to his \\n words, I should believe Melinda had made him this assignation. I must go \\n see, sir, you'll pardon me. [_Exit._ \\n\",\n \" _Enter_ MELINDA _and_ LUCY. \\n \\n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \\n\",\n \"_Wor._ Certainly--'tis no more like Melinda's character, than black is \\n to white. \\n \\n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a\",\n \"_Plume._ Have a little patience, and I'll go with you. \\n \\n _Brazen._ No, no, I see a gentleman coming this way that may be \\n inquisitive; 'tis Worthy, do you know him? \\n\",\n \"_Plume._ Whip and spur, Worthy, or you won't mount. \\n \\n _Wor._ But I shall; Melinda and I are agreed; she's gone to visit\",\n \"Men are scarce, and as times go it is not impossible for a woman to die \\n a maid. \\n \\n \\n _Enter_ WORTHY. \\n \\n _Mel._ No matter. \\n\",\n \"Come, madam, we'll place you between us, and now the longest sword \\n carries her. [_Draws._ \\n \\n Mel. [_Shrieking._] \\n \\n \\n _Enter_ WORTHY. \\n\",\n \"_Kite._ Tycho, wait on the ladies down stairs. \\n \\n [_Exeunt_ MELINDA _and_ LUCY. \\n \\n \\n _Enter_ WORTHY _and_ PLUME. \\n\",\n \"_Mel._ Oh, Lucy! I can hold my secret no longer. You must know, that \\n hearing of a famous fortune-teller in town, I went disguised to satisfy \\n a curiosity which has cost me dear. The fellow is certainly the devil,\",\n \"_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \\n of this fellow, I think she ought to give you cause to be so. \\n \\n _Wor._ I don't think she encourages him so much for gaining herself a\",\n \"_Wor._ You see, sir, how little he values your daughter's disdain. \\n \\n _Bal._ I like him the better: I was just such another fellow at his age: \\n But how goes your affair with Melinda? \\n\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \"me the whole history of my life. He told me of a lover I had in this \\n country, and described Worthy exactly, but in nothing so well as in his \\n present indifference--I fled to him for refuge here to-day; he never so\",\n \" [_Exeunt_ PLUME _and_ WORTHY.--SERVANT _opens the Door_. \\n \\n \\n _Enter_ MELINDA _and_ LUCY. \\n \\n _Kite._ Tycho, chairs for the ladies.\"\n ],\n [\n \"MELINDA _and_ SYLVIA _meeting_. \\n \\n \\n _Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you your\",\n \"_Syl._ Psha! what care I for his thoughts; I should not like a man with \\n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \\n think a petticoat a mighty simple thing, and I am heartily tired of my\",\n \" _Enter_ MELINDA. \\n \\n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \\n \\n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \\n\",\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"creature could change. Poor Sylvia! \\n \\n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \\n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \\n be yours.\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \"_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \\n I can assure you that to a lady the least nice in her constitution--no \\n air can be good above half a year. Change of air I take to be the most\",\n \"the Letter._] The aspersion, sir, was nothing but malice; the effect of \\n a little quarrel between her and Mrs. Sylvia. \\n \\n _Bal._ Are you sure of that, sir? \\n\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"_Mel._ The sooner, therefore, you make an end of this, the better. \\n \\n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \\n your humble servant. [_Exit._ \\n\",\n \"_Mel._ Better it had, madam; for methinks you are too plain. \\n \\n _Syl._ If you mean the plainness of my person, I think your ladyship's \\n as plain as me to the full. \\n\",\n \"never do thoroughly without half a hundred friendships, and as many \\n amours. But now I think on't, how stands your affair with Mr. Worthy? \\n \\n _Mel._ He's my aversion. \\n \\n _Syl._ Vapours!\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"_Mel._ How is that possible, doctor? \\n \\n _Kite._ Because, madam--because it is so--A woman's reason is the best \\n for a man's being a fool. \\n \\n _Mel._ Ten o'clock, you say?\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\"\n ],\n [\n \"_Plume._ Have a little patience, and I'll go with you. \\n \\n _Brazen._ No, no, I see a gentleman coming this way that may be \\n inquisitive; 'tis Worthy, do you know him? \\n\",\n \"_Brazen._ No, sir, you are my man. \\n \\n _Plume._ I don't like the wages; I won't be your man. \\n \\n _Brazen._ Then you're not worth my sword. \\n\",\n \"_Brazen._ Hold! where's the man? \\n \\n _Plume._ Gone. \\n \\n _Brazen._ Then what do we fight for? [_Puts up._] Now let's embrace, my \\n dear! \\n\",\n \"_Brazen._ Nay, for that matter, madam, there are women of very good \\n quality of the name of Brazen. \\n \\n \\n _Enter_ WORTHY. \\n\",\n \"_Mel._ What means this insolence? \\n \\n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \\n\",\n \" _Enter_ BRAZEN. \\n \\n _Brazen._ Mr. Worthy, I'm your servant, and so forth--Harkye, my dear! \\n\",\n \"_Plume._ By sight only. \\n \\n _Brazen._ Have a care, the very eyes discover secrets. [_Exit._ \\n \\n \\n _Enter_ WORTHY. \\n \\n _Wor._ To boot and saddle, captain, you must mount.\",\n \"_Kite._ Away to your ambuscade. [_Exeunt_ WORTHY _and_ PLUME. \\n \\n \\n _Enter_ BRAZEN. \\n \\n _Brazen._ Your servant, my dear? \\n\",\n \"_Mel._ So, between the fool and the rake, I shall bring a fine spot of \\n work upon my hands! \\n \\n _Brazen._ Will you fight for the lady, sir? \\n\",\n \"_Wor._ Withdraw! Oons! sir, what d'ye mean by withdraw? \\n \\n _Brazen._ I'll show you. [_Exit._ \\n\",\n \" [_Draws, and makes up to_ BRAZEN. \\n \\n _Brazen._ Hold, hold; did not you refuse to fight for the lady? \\n [_Retiring._ \\n\",\n \"my hands----captain, I ask your pardon. [_Exit with_ LUCY. \\n \\n _Brazen._ I grant it----You see, Mr. Worthy, 'twas only a random-shot;\",\n \"_Brazen._ Who's that, madam? \\n \\n _Mel._ A brother officer of yours, I suppose, sir. \\n \\n _Brazen._ Ay--my dear! [_To_ PLUME. \\n\",\n \"_Brazen._ How dare you contend for any thing, and not dare to draw your \\n sword? But you are a young fellow, and have not been much abroad; I\",\n \"_Wor._ Certainly--'tis no more like Melinda's character, than black is \\n to white. \\n \\n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a\",\n \"Oh, Mr. Worthy! save me from these madmen! \\n \\n \\n [_Exit with_ WORTHY. \\n \\n _Plume._ Ha! ha! ha! why don't you follow, sir, and fight the bold \\n ravisher?\",\n \"_Wor._ But what could be the meaning of Brazen's familiarity with her? \\n \\n _Plume._ You are no logician, if you pretend to draw consequences from\",\n \"_Wor._ Already! do you know more than I? \\n \\n _Plume._ Yes, I saw it under her hand--Brazen and she are to meet half \\n a mile hence, at the waterside, there to take boat, I suppose, to be\",\n \"_Brazen._ No, no; I'm struck blind--Worthy! odso! well turned--My \\n mistress has wit at her fingers' ends--Madam, I ask your pardon; 'tis\",\n \"_Brazen._ Oons, sir! not fight for her? \\n \\n _Plume._ Pr'ythee be quiet--I shall be out-- \\n \\n _Behold, how humbly does the Severn glide,_\"\n ],\n [\n \"_Plume._ Have a little patience, and I'll go with you. \\n \\n _Brazen._ No, no, I see a gentleman coming this way that may be \\n inquisitive; 'tis Worthy, do you know him? \\n\",\n \"Oh, Mr. Worthy! save me from these madmen! \\n \\n \\n [_Exit with_ WORTHY. \\n \\n _Plume._ Ha! ha! ha! why don't you follow, sir, and fight the bold \\n ravisher?\",\n \"_Brazen._ Nay, for that matter, madam, there are women of very good \\n quality of the name of Brazen. \\n \\n \\n _Enter_ WORTHY. \\n\",\n \"_Kite._ Away to your ambuscade. [_Exeunt_ WORTHY _and_ PLUME. \\n \\n \\n _Enter_ BRAZEN. \\n \\n _Brazen._ Your servant, my dear? \\n\",\n \" _Enter_ BRAZEN. \\n \\n _Brazen._ Mr. Worthy, I'm your servant, and so forth--Harkye, my dear! \\n\",\n \" [_Draws, and makes up to_ BRAZEN. \\n \\n _Brazen._ Hold, hold; did not you refuse to fight for the lady? \\n [_Retiring._ \\n\",\n \"_Mel._ What means this insolence? \\n \\n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \\n\",\n \"_Plume._ By sight only. \\n \\n _Brazen._ Have a care, the very eyes discover secrets. [_Exit._ \\n \\n \\n _Enter_ WORTHY. \\n \\n _Wor._ To boot and saddle, captain, you must mount.\",\n \"_Brazen._ Hold! where's the man? \\n \\n _Plume._ Gone. \\n \\n _Brazen._ Then what do we fight for? [_Puts up._] Now let's embrace, my \\n dear! \\n\",\n \"_Brazen._ No, sir, you are my man. \\n \\n _Plume._ I don't like the wages; I won't be your man. \\n \\n _Brazen._ Then you're not worth my sword. \\n\",\n \"_Brazen._ Never mind him, child; I'll end the dispute presently. Harkye, \\n my dear! \\n \\n [_Takes_ PLUME _to one Side of the Stage, and entertains him \\n in dumb Show_. \\n\",\n \"my hands----captain, I ask your pardon. [_Exit with_ LUCY. \\n \\n _Brazen._ I grant it----You see, Mr. Worthy, 'twas only a random-shot;\",\n \"Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \\n \\n _Wor._ Death and fire! this is not to be borne! \\n \\n \\n _Enter_ PLUME. \\n\",\n \"_Wor._ Withdraw! Oons! sir, what d'ye mean by withdraw? \\n \\n _Brazen._ I'll show you. [_Exit._ \\n\",\n \"_Mel._ So, between the fool and the rake, I shall bring a fine spot of \\n work upon my hands! \\n \\n _Brazen._ Will you fight for the lady, sir? \\n\",\n \"Come, madam, we'll place you between us, and now the longest sword \\n carries her. [_Draws._ \\n \\n Mel. [_Shrieking._] \\n \\n \\n _Enter_ WORTHY. \\n\",\n \"Worthy--Has your honour any further commands? \\n \\n _Plume._ None at present. [_Exit_ KITE.] 'Tis indeed, the picture of \\n Worthy, but the life is departed. \\n \\n\",\n \" _Enter_ WORTHY. \\n \\n What, arms across, Worthy! methinks you should hold them open when a \\n friend's so near--The man has got the vapours in his ears, I believe. I\",\n \"_Brazen._ No, no; I'm struck blind--Worthy! odso! well turned--My \\n mistress has wit at her fingers' ends--Madam, I ask your pardon; 'tis\",\n \"_Kite._ You shall be better acquainted with them, honest Bullock, or I \\n shall miss of my aim. \\n \\n \\n _Enter_ WORTHY. \\n \\n _Wor._ Why thou art the most useful fellow in nature to your captain,\"\n ],\n [\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \" Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \\n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \\n her off the Stage_. \\n\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \"creature could change. Poor Sylvia! \\n \\n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \\n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \\n be yours.\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \"_Bal._ Still upon Sylvia! for shame, captain! you are engaged \\n already--wedded to the war: victory is your mistress, and 'tis below a \\n soldier to think of any other. \\n\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \" _Enter_ SYLVIA, _in Man's Apparel_. \\n \\n _Syl._ Save ye, save ye! gentlemen. \\n \\n _Brazen._ My dear, I'm yours. \\n\",\n \"_Syl._ No, Mr. Goosecap, she seduced me. \\n \\n _Bul._ So she did, I'll swear--for she proposed marriage first. \\n \\n _Bal._ What, then you are married, child? [_To_ ROSE. \\n\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\",\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"Syl. _Mrs. Sylvia Balance._ [_Opens the Will, and reads._] Well, \\n captain, this is a handsome and substantial compliment; but I can assure \\n you I am much better pleased with the bare knowledge of your intention,\",\n \"The disguise of Sylvia in boy's clothes, is an improbable, and romantic \\n occurrence; yet it is one of those dramatic events, which were considered \\n as perfectly natural in former times; although neither history, nor\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"commanded us to beat the French, and we did so; and, if he pleases but \\n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \\n\",\n \"_Bal._ Then, Sylvia, I must beg that once in your life you would grant \\n me a favour. \\n \\n _Syl._ Why should you question it, sir? \\n\",\n \"_Bal._ Here, constable, bring in my man.[_Exit_ CONSTABLE.] Now, \\n captain, I'll fit you with a man such as you never listed in your life. \\n \\n \\n _Enter_ CONSTABLE _and_ SYLVIA.\",\n \"_Kite._ Nay, sir, I must whisper that--Mrs. Sylvia. \\n \\n _Plume._ Sylvia! generous creature! \\n \\n _Wor._ Sylvia! impossible! \\n\"\n ],\n [\n \"_Brazen._ Who's that, madam? \\n \\n _Mel._ A brother officer of yours, I suppose, sir. \\n \\n _Brazen._ Ay--my dear! [_To_ PLUME. \\n\",\n \"_Plume._ Melinda! and by this light her own hand! Once more, if you \\n please, my dear--Her hand exactly--Just now, you say? \\n \\n _Brazen._ This minute; I must be gone. \\n\",\n \"_Brazen._ Hold! where's the man? \\n \\n _Plume._ Gone. \\n \\n _Brazen._ Then what do we fight for? [_Puts up._] Now let's embrace, my \\n dear! \\n\",\n \"_Brazen._ Never mind him, child; I'll end the dispute presently. Harkye, \\n my dear! \\n \\n [_Takes_ PLUME _to one Side of the Stage, and entertains him \\n in dumb Show_. \\n\",\n \"_Plume._ With all my heart, my dear! [_Putting up._] I suppose Kite has \\n listed him by this time. [_Embraces._ \\n \\n _Brazen._ You are a brave fellow: I always fight with a man before I\",\n \"_Mel._ What do you say, madam? \\n \\n _Syl._ I say, that you should not use that honest fellow so inhumanly: \\n he's a gentleman of parts and fortune, and besides that, he's my Plume's\",\n \"_Brazen._ No, sir, you are my man. \\n \\n _Plume._ I don't like the wages; I won't be your man. \\n \\n _Brazen._ Then you're not worth my sword. \\n\",\n \"_Wor._ Certainly--'tis no more like Melinda's character, than black is \\n to white. \\n \\n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a\",\n \"_Plume._ So! now must I look as sober and demure as a whore at a \\n christening. \\n \\n \\n _Enter_ BRAZEN _and_ MELINDA. \\n\",\n \"_Plume._ But I tell you, she's gone this minute to the waterside. \\n \\n \\n _Enter a_ SERVANT. \\n \\n _Serv._ Madam Melinda has sent word that you need not trouble yourself\",\n \"_Plume._ No; pray what did it cost? \\n \\n _Brazen._ It cost me twenty pistoles in France, and my enemies thousands \\n of lives in Flanders. \\n \\n _Plume._ Then they had a dear bargain. \\n \\n\",\n \"_Plume._ I always do, but for a man I'll fight knee-deep; so you lie \\n again. \\n \\n [PLUME _and_ BRAZEN _fight a traverse or two about the\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"_Brazen._ Not a stick, my dear! \\n \\n _Plume._ Probably I shall furnish you, my dear! instead of the twenty \\n thousand pounds you talked of, you shall have the twenty brave recruits\",\n \" _Enter_ MELINDA. \\n \\n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \\n \\n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \\n\",\n \"_Mel._ Oh, are you there, gentleman?--Come, captain, we'll walk this \\n way. Give me your hand. \\n \\n _Brazen._ My hand, heart's blood, and guts, are at your service. Mr.\",\n \" _Enter_ BRAZEN, _reading a Letter_. \\n \\n _Brazen._ Um, um, um, the canonical hour----Um, um, very well--My dear \\n Plume! give me a buss. \\n\",\n \"_Plume._ Have a little patience, and I'll go with you. \\n \\n _Brazen._ No, no, I see a gentleman coming this way that may be \\n inquisitive; 'tis Worthy, do you know him? \\n\",\n \"_Plume._ Pretensions! \\n \\n _Brazen._ That is, sir, have you ever served abroad? \\n \\n _Plume._ I have served at home, sir, for ages served this cruel fair, \\n and that will serve the turn, sir. \\n\"\n ],\n [\n \"I would marry her. \\n \\n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \\n marry you--but my Melinda coquets it with every fellow she sees--I'll\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \"_Mel._ The sooner, therefore, you make an end of this, the better. \\n \\n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \\n your humble servant. [_Exit._ \\n\",\n \"_Mel._ You! why I passed for you. \\n \\n _Lucy._ So 'tis I that am to die a maid--But the devil was a liar from \\n the beginning; he can't make me die a maid--I've put it out of his power\",\n \"_Wor._ You see, sir, how little he values your daughter's disdain. \\n \\n _Bal._ I like him the better: I was just such another fellow at his age: \\n But how goes your affair with Melinda? \\n\",\n \"_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \\n of this fellow, I think she ought to give you cause to be so. \\n \\n _Wor._ I don't think she encourages him so much for gaining herself a\",\n \"ferried over to the Elysian Fields, if there be any such thing in \\n matrimony. \\n \\n _Wor._ I parted with Melinda just now; she assured me she hated Brazen,\",\n \"_Plume._ But I tell you, she's gone this minute to the waterside. \\n \\n \\n _Enter a_ SERVANT. \\n \\n _Serv._ Madam Melinda has sent word that you need not trouble yourself\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \"creature could change. Poor Sylvia! \\n \\n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \\n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \\n be yours.\",\n \"lover, as to set up a rival. Were there any credit to be given to his \\n words, I should believe Melinda had made him this assignation. I must go \\n see, sir, you'll pardon me. [_Exit._ \\n\",\n \"_Plume._ Come, leave it to the girl's own choice. Will you belong to me \\n or to that gentleman? \\n \\n _Rose._ Let me consider; you're both very handsome. \\n\",\n \"_Plume._ Melinda! and by this light her own hand! Once more, if you \\n please, my dear--Her hand exactly--Just now, you say? \\n \\n _Brazen._ This minute; I must be gone. \\n\",\n \"_Mel._ How is that possible, doctor? \\n \\n _Kite._ Because, madam--because it is so--A woman's reason is the best \\n for a man's being a fool. \\n \\n _Mel._ Ten o'clock, you say?\",\n \"husband--But are you sure 'tis not Melinda's hand? \\n \\n _Wor._ You shall see; where's the bit of paper I gave you just now that \\n the devil wrote Melinda upon? \\n \\n _Kite._ Here, sir. \\n\",\n \"_Syl._ Psha! what care I for his thoughts; I should not like a man with \\n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \\n think a petticoat a mighty simple thing, and I am heartily tired of my\",\n \"_Rose._ And I too. [_Exit._ \\n \\n \\n SCENE II. \\n \\n _The Walk by the Severn Side._ \\n \\n _Enter_ MELINDA _and her Maid_ LUCY. \\n \\n\",\n \" _Sir, your humble servant_, \\n \\n MELINDA. \\n \\n Why, the devil's in the young fellows of this age; they are ten times\",\n \"Men are scarce, and as times go it is not impossible for a woman to die \\n a maid. \\n \\n \\n _Enter_ WORTHY. \\n \\n _Mel._ No matter. \\n\",\n \"_Wor._ Certainly--'tis no more like Melinda's character, than black is \\n to white. \\n \\n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a\"\n ],\n [\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"creature could change. Poor Sylvia! \\n \\n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \\n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \\n be yours.\",\n \" Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \\n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \\n her off the Stage_. \\n\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \" _Enter_ SYLVIA, _in Man's Apparel_. \\n \\n _Syl._ Save ye, save ye! gentlemen. \\n \\n _Brazen._ My dear, I'm yours. \\n\",\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"_Bal._ Still upon Sylvia! for shame, captain! you are engaged \\n already--wedded to the war: victory is your mistress, and 'tis below a \\n soldier to think of any other. \\n\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"prejudice, without resenting it as much as you should. \\n \\n _Bal._ This letter, sir, which I tear in pieces, to conceal the person \\n that sent it, informs me that Plume has a design upon Sylvia, and that\",\n \"The disguise of Sylvia in boy's clothes, is an improbable, and romantic \\n occurrence; yet it is one of those dramatic events, which were considered \\n as perfectly natural in former times; although neither history, nor\",\n \"Syl. _Mrs. Sylvia Balance._ [_Opens the Will, and reads._] Well, \\n captain, this is a handsome and substantial compliment; but I can assure \\n you I am much better pleased with the bare knowledge of your intention,\",\n \"_Bal._ Here, constable, bring in my man.[_Exit_ CONSTABLE.] Now, \\n captain, I'll fit you with a man such as you never listed in your life. \\n \\n \\n _Enter_ CONSTABLE _and_ SYLVIA.\",\n \"_Bal._ Then, Sylvia, I must beg that once in your life you would grant \\n me a favour. \\n \\n _Syl._ Why should you question it, sir? \\n\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \" _Enter_ PLUME. \\n \\n _Plume._ What, Mr. Wilful so close with my market woman! \\n \\n _Syl._ I'll try if he loves her. [_Aside._] Close, sir, ay, and closer\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\"\n ],\n [\n \" _Enter_ MELINDA. \\n \\n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \\n \\n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \\n\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \" notice of it. The captain has dishonourable designs upon my \\n cousin Sylvia. Evils of this nature are more easily \\n prevented than amended; and that you would immediately send \\n my cousin into the country, is the advice of_,\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"MELINDA _and_ SYLVIA _meeting_. \\n \\n \\n _Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you your\",\n \" _Enter_ SYLVIA, _in Man's Apparel_. \\n \\n _Syl._ Save ye, save ye! gentlemen. \\n \\n _Brazen._ My dear, I'm yours. \\n\",\n \"creature could change. Poor Sylvia! \\n \\n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \\n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \\n be yours.\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"prejudice, without resenting it as much as you should. \\n \\n _Bal._ This letter, sir, which I tear in pieces, to conceal the person \\n that sent it, informs me that Plume has a design upon Sylvia, and that\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \"_Bal._ Still upon Sylvia! for shame, captain! you are engaged \\n already--wedded to the war: victory is your mistress, and 'tis below a \\n soldier to think of any other. \\n\",\n \"_Rose._ No, no; though your worship be a handsome man, there be others \\n as fine as you. My brother is engaged to Captain Plume. \\n \\n _Syl._ Plume! do you know Captain Plume? \\n\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"yourself, and, in plain terms, think no more of Captain Plume. \\n \\n _Syl._ You have often commended the gentleman, sir. \\n \\n _Bal._ And I do so still; he's a very pretty fellow; but though I liked\",\n \"_Syl._ There are some letters, sir, come by the post from London; I left \\n them upon the table in your closet. \\n \\n _Bal._ And here is a gentleman from Germany.--[_Presents_ PLUME _to\"\n ],\n [\n \"_Plume._ Just now, I tell you, half a mile hence, at the waterside. \\n \\n _Wor._ Up or down the water? \\n \\n _Plume._ That I don't know. \\n\",\n \"me the whole history of my life. He told me of a lover I had in this \\n country, and described Worthy exactly, but in nothing so well as in his \\n present indifference--I fled to him for refuge here to-day; he never so\",\n \"_Kite._ Yes, yes, sir; and my fame's all about the country for the most \\n faithful fortune-teller that ever told a lie--I was obliged to let my \\n landlord into the secret, for the convenience of keeping it so; but he\",\n \"_Wor._ Sir, I'm your humble servant. [_Exeunt apart._ \\n \\n \\n SCENE III. \\n \\n _The Street._ \\n\",\n \"_Wor._ Her maid gave me the history of part of the battle just now, as \\n she overheard it: but I hope, sir, your daughter has suffered nothing \\n upon the account. \\n\",\n \"_Plume._ Do you live in the country, sir? \\n \\n _Syl._ Yes, sir, I live where I stand; I have neither home, house, or \\n habitation, beyond this spot of ground. \\n\",\n \"_Plume._ And yours? \\n \\n _Cost._ Costar Pearmain. \\n \\n _Plume._ Well said, Costar! Born where? \\n \\n _Tho._ Both in Herefordshire. \\n\",\n \"_Plume._ Who? \\n \\n _Kite._ One that you beat up for the last time you were in the country. \\n You remember your old friend Molly, at the Castle? \\n \\n _Plume._ She's not with child, I hope? \\n\",\n \"_Wor._ My rival, in the first place, and the most unaccountable \\n fellow--but I'll tell you more as we go. [_Exeunt._ \\n \\n \\n SCENE II. \\n \\n _An Apartment._ \\n\",\n \"while I go write. [_Exeunt._ \\n \\n \\n \\n \\n ACT THE SECOND. \\n \\n \\n SCENE I. \\n \\n _An Apartment._ \\n\",\n \"THE END. \\n \\n \\n \\n \\n TRANSCRIBER'S NOTE \\n \\n \\n A number of obvious misspellings have been corrected and missing \\n punctuation has been silently added. Contemporary spellings have\",\n \"tails; they snort, kick up their heels, and away they run. \\n \\n _Plume._ And leave us here to mourn upon the shore--a couple of poor \\n melancholy monsters. What shall we do? \\n\",\n \"_Wor._ My Lady Richly, her aunt in Flintshire, dies, and leaves her, at \\n this critical time, twenty thousand pounds. \\n \\n _Plume._ Oh, the devil! what a delicate woman was there spoiled! But, by\",\n \"twenty miles in thirty hours is pretty smart riding, but nothing to the \\n fatigue of recruiting. \\n \\n \\n _Enter_ KITE. \\n \\n _Kite._ Welcome to Shrewsbury, noble captain! from the banks of the\",\n \"occasion a woman. Your fortune and his are like the bullet and the \\n barrel, one runs plump into the other--In short, if the gentleman \\n travels, he will die abroad, and if he does you will die before he comes \\n home. \\n\",\n \"any servants have too little wages, or any husband too much wife, let \\n them repair to the noble Serjeant Kite, at the sign of the Raven, in \\n this good town of Shrewsbury, and they shall receive present relief and\",\n \"_Wor._ Already! do you know more than I? \\n \\n _Plume._ Yes, I saw it under her hand--Brazen and she are to meet half \\n a mile hence, at the waterside, there to take boat, I suppose, to be\",\n \"introduced--meaning those most excellently drawn characters of Rose, her \\n brother, and the two recruits,--under the shade of that beforementioned \\n hill near Shrewsbury, the Wrekin; and it may be well supposed, that he\",\n \"_Bal._ He lies with you, I presume? \\n \\n _Plume._ No, 'faith; the young rogue fell in love with Rose, and has \\n lain with her, I think, since she came to town. \\n\",\n \"_Bal._ Hold, gentlemen. Harkye, friend, how do you maintain your wife \\n and five children? \\n \\n _Plume._ They live upon wild-fowl and venison, sir; the husband keeps a\"\n ],\n [\n \"refuse to discover the contents, Melinda shall tell me. [_Going._ \\n \\n _Bal._ Hold, sir; the contents I have told you already; only with this \\n circumstance--that her intimacy with Mr. Worthy had drawn the secret \\n from him.\",\n \"Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \\n \\n _Wor._ Death and fire! this is not to be borne! \\n \\n \\n _Enter_ PLUME. \\n\",\n \"_Mel._ What means this insolence? \\n \\n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \\n\",\n \"_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \\n Worthy; and be assured 'tis the last and only favour you must expect at\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \"never do thoroughly without half a hundred friendships, and as many \\n amours. But now I think on't, how stands your affair with Mr. Worthy? \\n \\n _Mel._ He's my aversion. \\n \\n _Syl._ Vapours!\",\n \"_Mel._ Has any of them been bartering with you, Mrs. Pert, that you talk \\n so like a trader? \\n \\n _Lucy._ One would imagine, madam, by your concern for Worthy's absence,\",\n \"_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \\n of this fellow, I think she ought to give you cause to be so. \\n \\n _Wor._ I don't think she encourages him so much for gaining herself a\",\n \"Men are scarce, and as times go it is not impossible for a woman to die \\n a maid. \\n \\n \\n _Enter_ WORTHY. \\n \\n _Mel._ No matter. \\n\",\n \"lover, as to set up a rival. Were there any credit to be given to his \\n words, I should believe Melinda had made him this assignation. I must go \\n see, sir, you'll pardon me. [_Exit._ \\n\",\n \"_Mel._ And you have a quantity of impudence, to appear before me, that \\n you so lately have affronted. \\n \\n _Wor._ I had no design to affront you, nor appear before you either,\",\n \"_Wor._ You see, sir, how little he values your daughter's disdain. \\n \\n _Bal._ I like him the better: I was just such another fellow at his age: \\n But how goes your affair with Melinda? \\n\",\n \"I would marry her. \\n \\n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \\n marry you--but my Melinda coquets it with every fellow she sees--I'll\",\n \" _Enter_ MELINDA _and_ LUCY. \\n \\n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \\n\",\n \"me the whole history of my life. He told me of a lover I had in this \\n country, and described Worthy exactly, but in nothing so well as in his \\n present indifference--I fled to him for refuge here to-day; he never so\",\n \" _Enter_ WORTHY. \\n \\n What, arms across, Worthy! methinks you should hold them open when a \\n friend's so near--The man has got the vapours in his ears, I believe. I\",\n \"_Plume._ Whip and spur, Worthy, or you won't mount. \\n \\n _Wor._ But I shall; Melinda and I are agreed; she's gone to visit\",\n \"_Plume._ Have a little patience, and I'll go with you. \\n \\n _Brazen._ No, no, I see a gentleman coming this way that may be \\n inquisitive; 'tis Worthy, do you know him? \\n\",\n \"our way abroad--Mr. Worthy, you're the happy man. \\n \\n _Wor._ I don't envy your happiness very much, if the lady can afford no \\n other sort of favours but what she has bestowed upon you. \\n\",\n \"earnest--But, to be plain with you, I like Worthy the worse for being so \\n intimate with your captain; for I take him to be a loose, idle, \\n unmannerly coxcomb. \\n\"\n ],\n [\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"commanded us to beat the French, and we did so; and, if he pleases but \\n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \\n\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \"ungrateful, because she has been unfashionably kind; and use her worse \\n than you would any body else, because you can't use her so well as she \\n deserves. \\n \\n _Plume._ And are you, Sylvia, in good earnest? \\n\",\n \"_Syl._ Psha! what care I for his thoughts; I should not like a man with \\n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \\n think a petticoat a mighty simple thing, and I am heartily tired of my\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"_Bal._ Then, Sylvia, I must beg that once in your life you would grant \\n me a favour. \\n \\n _Syl._ Why should you question it, sir? \\n\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \\n I can assure you that to a lady the least nice in her constitution--no \\n air can be good above half a year. Change of air I take to be the most\",\n \"prejudice, without resenting it as much as you should. \\n \\n _Bal._ This letter, sir, which I tear in pieces, to conceal the person \\n that sent it, informs me that Plume has a design upon Sylvia, and that\",\n \"the Letter._] The aspersion, sir, was nothing but malice; the effect of \\n a little quarrel between her and Mrs. Sylvia. \\n \\n _Bal._ Are you sure of that, sir? \\n\",\n \"_Kite._ Nay, sir, I must whisper that--Mrs. Sylvia. \\n \\n _Plume._ Sylvia! generous creature! \\n \\n _Wor._ Sylvia! impossible! \\n\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\",\n \"_Bal._ Still upon Sylvia! for shame, captain! you are engaged \\n already--wedded to the war: victory is your mistress, and 'tis below a \\n soldier to think of any other. \\n\",\n \"woman, were she worth twelve thousand a-year; and I ha'n't the vanity to \\n believe I shall gain a lady worth twelve hundred. The generous, \\n goodnatured Sylvia, in her smock, I admire; but the haughty and scornful\",\n \"endanger either. [_Exeunt severally._ \\n \\n \\n SCENE II. \\n \\n _Another Apartment._ \\n \\n _Enter_ BALANCE _and_ SYLVIA. \\n \\n\"\n ],\n [\n \"_Lucy._ Die a maid! come into the world for nothing!--Dear madam! if you \\n should believe him, it might come to pass; for the bare thought on't \\n might kill one in four and twenty hours--And did you ask him any \\n questions about me?\",\n \"_Lucy._ An answer to this letter, I hope, madam? [_Presents a Letter._ \\n \\n _Mel._ Who sent it? \\n \\n _Lucy._ Your captain, madam. \\n\",\n \"_Wor._ How! then I'll travel in good earnest--By all my hopes, 'tis \\n Lucy's hand. \\n \\n _Plume._ Lucy's! \\n\",\n \"and that she resolved to discard Lucy for daring to write letters to him \\n in her name. \\n \\n _Plume._ Nay, nay, there's nothing of Lucy in this--I tell ye, I saw\",\n \" _Enter_ MELINDA _and_ LUCY. \\n \\n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \\n\",\n \"_Mel._ You! why I passed for you. \\n \\n _Lucy._ So 'tis I that am to die a maid--But the devil was a liar from \\n the beginning; he can't make me die a maid--I've put it out of his power\",\n \"or one of his bosom-favourites: he has told me the most surprising \\n things of my past life. \\n \\n _Lucy._ Things past, madam, can hardly be reckoned surprising, because\",\n \"_Rose._ And I too. [_Exit._ \\n \\n \\n SCENE II. \\n \\n _The Walk by the Severn Side._ \\n \\n _Enter_ MELINDA _and her Maid_ LUCY. \\n \\n\",\n \"arrival of her fellow? \\n \\n _Lucy._ Her fellow has not been long enough arrived, to occasion any \\n great swelling, madam; I don't believe she has seen him yet. \\n\",\n \"_Wor._ Certainly--'tis no more like Melinda's character, than black is \\n to white. \\n \\n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a\",\n \"_Mel._ Oh, Lucy! I can hold my secret no longer. You must know, that \\n hearing of a famous fortune-teller in town, I went disguised to satisfy \\n a curiosity which has cost me dear. The fellow is certainly the devil,\",\n \"_Lucy._ Let me see it, madam; 'tis the same--the very same--But I'll \\n secure one copy for my own affairs. [_Aside._ \\n \\n _Mel._ This is demonstration. \\n\",\n \"_Lucy._ If he should speak o' th' assignation I should be ruined! \\n [_Aside._ \\n \\n \\n _Enter_ BRAZEN. \\n\",\n \"_Lucy._ I fetch it! the devil fetch me if I do. \\n \\n _Mel._ My name, in my own hand-writing! that would be convincing indeed! \\n\",\n \"_Mel._ He's a fool, and I'm tired of him: send it back unopened. \\n \\n _Lucy._ The messenger's gone, madam. \\n \\n _Mel._ Then how should I send an answer? Call him back immediately,\",\n \"_Lucy._ Indeed, madam, the last bribe I had from the captain, was only a \\n small piece of Flanders' lace, for a cap. \\n \\n _Mel._ Ay, Flanders' lace is a constant present from officers to their\",\n \"_Kite._ Ten--about the hour of tea-drinking throughout the kingdom. \\n \\n _Mel._ Here, doctor. [_Gives Money._] Lucy, have you any questions to \\n ask? \\n \\n _Lucy._ Oh, madam! a thousand.\",\n \"_Mel._ Saucy thing! \\n \\n \\n _Enter_ LUCY. \\n \\n _Lucy._ What's the matter, madam? \\n \\n _Mel._ Did not you see the proud nothing, how she swelled upon the\",\n \"walked off--'Sdeath! I could have stabbed him or myself, 'twas the same \\n thing--Yonder he comes--I will so use him! \\n \\n _Lucy._ Don't exasperate him; consider what the fortune-teller told you.\",\n \"her father of his treasure, and make her escape with me; but I don't \\n know how, my time was not come: hanging and marriage, you know, go by \\n destiny: Fate has reserved me for a Shropshire lady, worth twenty\"\n ],\n [\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \\n expect no pardon. \\n \\n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\",\n \" Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \\n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \\n her off the Stage_. \\n\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \\n I can assure you that to a lady the least nice in her constitution--no \\n air can be good above half a year. Change of air I take to be the most\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"your quality--but now you are at liberty, I have discharged you. \\n \\n _Syl._ Discharged me! \\n \\n _Bal._ Yes, sir, and you must once more go home to your father. \\n\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \" notice of it. The captain has dishonourable designs upon my \\n cousin Sylvia. Evils of this nature are more easily \\n prevented than amended; and that you would immediately send \\n my cousin into the country, is the advice of_,\",\n \"endanger either. [_Exeunt severally._ \\n \\n \\n SCENE II. \\n \\n _Another Apartment._ \\n \\n _Enter_ BALANCE _and_ SYLVIA. \\n \\n\",\n \"her father of his treasure, and make her escape with me; but I don't \\n know how, my time was not come: hanging and marriage, you know, go by \\n destiny: Fate has reserved me for a Shropshire lady, worth twenty\",\n \"commanded us to beat the French, and we did so; and, if he pleases but \\n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \\n\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \"_Bal._ Then, Sylvia, I must beg that once in your life you would grant \\n me a favour. \\n \\n _Syl._ Why should you question it, sir? \\n\",\n \"The disguise of Sylvia in boy's clothes, is an improbable, and romantic \\n occurrence; yet it is one of those dramatic events, which were considered \\n as perfectly natural in former times; although neither history, nor\"\n ],\n [\n \"_Mel._ Oh, Lucy! I can hold my secret no longer. You must know, that \\n hearing of a famous fortune-teller in town, I went disguised to satisfy \\n a curiosity which has cost me dear. The fellow is certainly the devil,\",\n \"all those scenes, whereon it has any influence. Fortune-tellers are now \\n a set of personages, in whom, and in whose skill or fraud, no rational \\n person takes interest; and though such people still exist by their\",\n \"_Kite._ Yes, yes, sir; and my fame's all about the country for the most \\n faithful fortune-teller that ever told a lie--I was obliged to let my \\n landlord into the secret, for the convenience of keeping it so; but he\",\n \"_Wor._ I have a trick for mine; the letter, you know, and the \\n fortune-teller. \\n \\n _Plume._ And I have a trick for mine. \\n \\n _Wor._ What is't? \\n\",\n \"_Kite._ I shall, sir. \\n \\n _Plume._ But hold, have you made any use of your fortune-teller's habit \\n since you arrived? \\n\",\n \"walked off--'Sdeath! I could have stabbed him or myself, 'twas the same \\n thing--Yonder he comes--I will so use him! \\n \\n _Lucy._ Don't exasperate him; consider what the fortune-teller told you.\",\n \"occasion a woman. Your fortune and his are like the bullet and the \\n barrel, one runs plump into the other--In short, if the gentleman \\n travels, he will die abroad, and if he does you will die before he comes \\n home. \\n\",\n \"_Kite._ 'Tis so, madam--the word demonstration comes from Dæmon, the \\n father of lies. \\n \\n _Mel._ Well, doctor, I'm convinced: and now, pray, what account can you \\n give of my future fortune?\",\n \"_Kite._ Before the sun has made one course round this earthly globe, \\n your fortune will be fixed for happiness or misery. \\n \\n _Mel._ What! so near the crisis of my fate? \\n\",\n \"_Bal._ I could not refuse her, she was so pressing; the coach went from \\n the door the minute before you came. \\n \\n _Wor._ So pressing to be gone, sir?--I find her fortune will give her\",\n \"_Kite._ Lookye, fair lady! the devil is a very modest person, he seeks \\n nobody unless they seek him first; he's chained up, like a mastiff, and \\n can't stir unless he be let loose--You come to me to have your fortune\",\n \"her father of his treasure, and make her escape with me; but I don't \\n know how, my time was not come: hanging and marriage, you know, go by \\n destiny: Fate has reserved me for a Shropshire lady, worth twenty\",\n \"two ladies, they meet us half way, and just as we were upon the point \\n of leaping into their arms, fortune drops in their laps, pride possesses \\n their hearts, a maggot fills their heads, madness takes them by the\",\n \"_Mel._ How is that possible, doctor? \\n \\n _Kite._ Because, madam--because it is so--A woman's reason is the best \\n for a man's being a fool. \\n \\n _Mel._ Ten o'clock, you say?\",\n \"_Kite._ You must know, sir, I was born a gipsy, and bred among that \\n crew till I was ten years old; there I learned canting and lying: I was \\n bought from my mother Cleopatra by a certain nobleman for three\",\n \"ordered me to tell you, that Justice Balance, her father, who is just \\n come out of the country, would be glad to see you. \\n \\n _Plume._ There's a girl for you, Worthy!--Is there any thing of woman in\",\n \"_Kite._ With both; when I have the destinies of men in search, I consult \\n the stars; when the affairs of women come under my hands, I advise with \\n my t'other friend. \\n \\n _Mel._ And have you raised the devil upon my account?\",\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"_Kite._ Stand off, I have my familiar already. \\n \\n _Brazen._ Are you bewitched, my dear? \\n \\n _Kite._ Yes, my dear! but mine is a peaceable spirit, and hates\",\n \"Now, sir, if you please to let me consult my books for a minute, I'll \\n send this letter enclosed to you with the determination of the stars \\n upon it to your lodgings. \\n\"\n ],\n [\n \"Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \\n \\n _Wor._ Death and fire! this is not to be borne! \\n \\n \\n _Enter_ PLUME. \\n\",\n \"Oh, Mr. Worthy! save me from these madmen! \\n \\n \\n [_Exit with_ WORTHY. \\n \\n _Plume._ Ha! ha! ha! why don't you follow, sir, and fight the bold \\n ravisher?\",\n \"_Plume._ That injury, madam, was done to me, and the reparation I \\n expect, shall be made to my friend: make Mr. Worthy happy, and I shall \\n be satisfied. \\n\",\n \"_Plume._ Have a little patience, and I'll go with you. \\n \\n _Brazen._ No, no, I see a gentleman coming this way that may be \\n inquisitive; 'tis Worthy, do you know him? \\n\",\n \"Worthy--Has your honour any further commands? \\n \\n _Plume._ None at present. [_Exit_ KITE.] 'Tis indeed, the picture of \\n Worthy, but the life is departed. \\n \\n\",\n \"_Kite._ Away to your ambuscade. [_Exeunt_ WORTHY _and_ PLUME. \\n \\n \\n _Enter_ BRAZEN. \\n \\n _Brazen._ Your servant, my dear? \\n\",\n \" _Enter_ WORTHY. \\n \\n _Wor._ I am sorry to hear, Mr. Balance, that your daughter is lost. \\n \\n _Bal._ So am not I, sir, since an honest gentleman has found her. \\n \\n\",\n \"_Wor._ My letters say he's dead, sir. \\n \\n _Bal._ He's happy, and I am satisfied: the stroke of Heaven I can bear; \\n but injuries from men, Mr. Worthy, are not so easily supported. \\n\",\n \"refuse to discover the contents, Melinda shall tell me. [_Going._ \\n \\n _Bal._ Hold, sir; the contents I have told you already; only with this \\n circumstance--that her intimacy with Mr. Worthy had drawn the secret \\n from him.\",\n \" _Enter_ WORTHY. \\n \\n What, arms across, Worthy! methinks you should hold them open when a \\n friend's so near--The man has got the vapours in his ears, I believe. I\",\n \"me the whole history of my life. He told me of a lover I had in this \\n country, and described Worthy exactly, but in nothing so well as in his \\n present indifference--I fled to him for refuge here to-day; he never so\",\n \"_Kite._ You shall be better acquainted with them, honest Bullock, or I \\n shall miss of my aim. \\n \\n \\n _Enter_ WORTHY. \\n \\n _Wor._ Why thou art the most useful fellow in nature to your captain,\",\n \"_Kite._ Mr. Worthy, you were pleased to wish me joy to-day; I hope to be \\n able to return the compliment to-morrow. \\n \\n _Wor._ I'll make it the best compliment to you that ever I made in my\",\n \"_Plume._ Now, Worthy, to show you how much I'm in love--here she comes. \\n But, Kite, what is that great country fellow with her? \\n \\n _Kite._ I can't tell, sir. \\n \\n\",\n \"_Mel._ What means this insolence? \\n \\n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \\n\",\n \"_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \\n Worthy; and be assured 'tis the last and only favour you must expect at\",\n \"of Worthy's friends, you must give me leave to wear my mask till after \\n the ceremony which will make me for ever yours._--Lookye there, my dear \\n dog! \\n \\n [_Shows the Bottom of the Letter to_ PLUME.\",\n \"ordered me to tell you, that Justice Balance, her father, who is just \\n come out of the country, would be glad to see you. \\n \\n _Plume._ There's a girl for you, Worthy!--Is there any thing of woman in\",\n \"my hands----captain, I ask your pardon. [_Exit with_ LUCY. \\n \\n _Brazen._ I grant it----You see, Mr. Worthy, 'twas only a random-shot;\",\n \"Men are scarce, and as times go it is not impossible for a woman to die \\n a maid. \\n \\n \\n _Enter_ WORTHY. \\n \\n _Mel._ No matter. \\n\"\n ],\n [\n \"_Wor._ Hold, Kite--have you seen the other recruiting captain? \\n \\n _Kite._ No, sir; I'd have you to know I don't keep such company. \\n \\n _Plume._ Another! who is he? \\n\",\n \"_Kite._ I've been here a week, and I've recruited five. \\n \\n _Plume._ Five! pray what are they? \\n \\n _Kite._ I have listed the strong man of Kent, the king of the gipsies, a\",\n \"_Plume._ 'Sdeath! child, are you mad?--Mr. Balance, I am so full of \\n business about my recruits, that I ha'n't a moment's time to----I have \\n just now three or four people to---- \\n\",\n \"neat--but his poor boy Jack was the most comical bastard--Ha! ha! ha! \\n ha! ha! a pickled dog, I shall never forget him. \\n \\n _Plume._ Have you got your recruits, my dear? \\n\",\n \"_Kite._ A couple of honest brave fellows that are willing to serve the \\n king: I have entertained them just now as volunteers, under your \\n honour's command. \\n \\n _Plume._ And good entertainment they shall have: volunteers are the men\",\n \"_Plume._ I desire no man to go with me but as I went myself; I went a \\n volunteer, as you or you may do; for a little time carried a musket, and \\n now I command a company. \\n\",\n \"_Plume._ Gentlemen, I thank you. \\n \\n _Scrup._ Come, honest captain, sit by me. [PLUME _ascends, and sits upon \\n the Bench_.]--Now, produce your prisoners----Here, that fellow there,\",\n \"_Plume._ Very well. Courage, my lads. Now we'll \\n \\n Sings. _Over the hills, and far away._ \\n _Courage, boys, it's one to ten_ \\n _But we return all gentlemen;_\",\n \"your recruiting airs, put on the man of honour, and tell me plainly what \\n usage I must expect when I am under your command? \\n \\n _Plume._ Your usage will chiefly depend upon your behaviour; only this\",\n \"_Plume._ What's the matter, serjeant? I'm afraid you are too rough with \\n these gentlemen. \\n \\n _Kite._ I'm too mild, sir; they disobey command, sir; and one of them\",\n \"_Plume._ With all my heart, my dear! [_Putting up._] I suppose Kite has \\n listed him by this time. [_Embraces._ \\n \\n _Brazen._ You are a brave fellow: I always fight with a man before I\",\n \"_Brazen._ Not a stick, my dear! \\n \\n _Plume._ Probably I shall furnish you, my dear! instead of the twenty \\n thousand pounds you talked of, you shall have the twenty brave recruits\",\n \"_Plume._ He's at my quarters, I suppose, with the rest of my men. \\n \\n _Bal._ Does he keep company with the common soldiers? \\n \\n _Plume._ No, he's generally with me. \\n\",\n \" [_Exeunt, shouting.--Drum beating the Grenadier's March._ \\n \\n \\n _Enter_ PLUME, _in a Riding Habit_. \\n\",\n \"_Plume._ Because I will have nobody in my company that can write; a \\n fellow that can write, can draw petitions--I say this minute discharge \\n him. \\n \\n _Kite._ And what shall I do with the parson? \\n\",\n \"_Plume._ Pho, pho, pho! I'll do more than all this; I'll make you a \\n corporal, and give you a brevet for serjeant. \\n \\n _Brazen._ Can you read and write, sir? \\n\",\n \" _Enter_ KITE. \\n \\n _Kite._ Sir, if you please---- [_Goes to whisper_ PLUME. \\n \\n _Plume._ No, no, there's your captain. Captain Plume, your serjeant has\",\n \"than we two have been, I'll say no more. \\n \\n _Plume._ Here, my lad. [_Gives him Money._] Now, your name? \\n \\n _Tho._ Tummas Appletree. \\n\",\n \"_Plume._ I forbid the bans. Lookye, friend, you shall list with Captain \\n Brazen. \\n \\n _Syl._ I will see Captain Brazen hanged first; I will list will Captain\",\n \"_Plume._ Lookye, rascal, you villain! If I find that you have imposed \\n upon these two honest fellows, I'll trample you to death, you dog--Come, \\n how was't? \\n\"\n ],\n [\n \"_Kite._ Sir, he in the plain coat is Captain Plume; I am his serjeant, \\n and will take my oath on't. \\n \\n _Syl._ What! you are serjeant Kite? \\n\",\n \" _Enter_ KITE. \\n \\n _Kite._ Sir, if you please---- [_Goes to whisper_ PLUME. \\n \\n _Plume._ No, no, there's your captain. Captain Plume, your serjeant has\",\n \"discovered Serjeant Kite in his own Regiment, and Captain Plume in his \\n own person. Certainly those characters have every appearance of being \\n copied from life--and probably, many other of his Salopian acquaintance \\n have here had their portraits drawn to perfection.\",\n \"_Wor._ Hold, Kite--have you seen the other recruiting captain? \\n \\n _Kite._ No, sir; I'd have you to know I don't keep such company. \\n \\n _Plume._ Another! who is he? \\n\",\n \"_Plume._ What's the matter, serjeant? I'm afraid you are too rough with \\n these gentlemen. \\n \\n _Kite._ I'm too mild, sir; they disobey command, sir; and one of them\",\n \"_Kite._ A couple of honest brave fellows that are willing to serve the \\n king: I have entertained them just now as volunteers, under your \\n honour's command. \\n \\n _Plume._ And good entertainment they shall have: volunteers are the men\",\n \" [CAPTAIN _and_ SERJEANT _whisper the while._ \\n \\n _Plume._ 'Twill never do, Kite--your damned tricks will ruin me at\",\n \"_Kite._ I've been here a week, and I've recruited five. \\n \\n _Plume._ Five! pray what are they? \\n \\n _Kite._ I have listed the strong man of Kent, the king of the gipsies, a\",\n \"_Kite._ Sir, the mob are so pleased with your honour, and the justices \\n and better sort of people, are so delighted with me, that we shall soon \\n do your business----But, sir, you have got a recruit here, that you \\n little think of. \\n\",\n \"_Tho._ And I'se scarcely d'off mine for any captain in England. My \\n vether's a freeholder. \\n \\n _Plume._ Who are those jolly lads, serjeant? \\n\",\n \"_Bal._ Come, Mr. Scale, we'll manage the spark presently. [_Exeunt._ \\n \\n \\n SCENE II. \\n \\n _The Market Place._ \\n \\n _Enter_ PLUME _and_ KITE. \\n\",\n \"_Kite._ Captain, captain! a word in your ear. \\n \\n _Plume._ You may speak out, here are none but friends. \\n \\n _Kite._ You know, sir, that you sent me to comfort the good woman in the\",\n \"any servants have too little wages, or any husband too much wife, let \\n them repair to the noble Serjeant Kite, at the sign of the Raven, in \\n this good town of Shrewsbury, and they shall receive present relief and\",\n \"_Plume._ With all my heart, my dear! [_Putting up._] I suppose Kite has \\n listed him by this time. [_Embraces._ \\n \\n _Brazen._ You are a brave fellow: I always fight with a man before I\",\n \"_Syl._ Now, serjeant, I shall see who is your captain, by your knocking \\n down the other. \\n \\n _Kite._ My captain scorns assistance, sir. \\n\",\n \"Danube to the Severn side, noble captain! you're welcome. \\n \\n _Plume._ A very elegant reception, indeed, Mr. Kite. I find you are \\n fairly entered into your recruiting strain--Pray what success? \\n\",\n \"_Kite._ May it please your worship, this man has no visible means of a \\n livelihood, for he works underground. \\n \\n _Plume._ Well said, Kite; besides, the army wants miners. \\n\",\n \"twenty miles in thirty hours is pretty smart riding, but nothing to the \\n fatigue of recruiting. \\n \\n \\n _Enter_ KITE. \\n \\n _Kite._ Welcome to Shrewsbury, noble captain! from the banks of the\",\n \" _Enter_ PLUME _and_ WORTHY. \\n \\n _Plume._ Well, what success? \\n \\n _Kite._ I have sent away a shoemaker and a tailor already; one's to be a\",\n \"_Plume._ Now, Worthy, to show you how much I'm in love--here she comes. \\n But, Kite, what is that great country fellow with her? \\n \\n _Kite._ I can't tell, sir. \\n \\n\"\n ],\n [\n \"_Plume._ Now, Worthy, to show you how much I'm in love--here she comes. \\n But, Kite, what is that great country fellow with her? \\n \\n _Kite._ I can't tell, sir. \\n \\n\",\n \"_Plume._ Come, leave it to the girl's own choice. Will you belong to me \\n or to that gentleman? \\n \\n _Rose._ Let me consider; you're both very handsome. \\n\",\n \" _Enter_ PLUME. \\n \\n _Plume._ Ha! ha! ha! a battle royal! Don't frown so, man; she's your \\n own, I'll tell you: I saw the fury of her love in the extremity of her\",\n \"_Bal._ He lies with you, I presume? \\n \\n _Plume._ No, 'faith; the young rogue fell in love with Rose, and has \\n lain with her, I think, since she came to town. \\n\",\n \" _Enter_ PLUME. \\n \\n _Plume._ What, Mr. Wilful so close with my market woman! \\n \\n _Syl._ I'll try if he loves her. [_Aside._] Close, sir, ay, and closer\",\n \"yourself, and, in plain terms, think no more of Captain Plume. \\n \\n _Syl._ You have often commended the gentleman, sir. \\n \\n _Bal._ And I do so still; he's a very pretty fellow; but though I liked\",\n \"_Plume._ Let me see; young and tender, you say. [_Chucks her under the \\n Chin._ \\n \\n _Rose._ As ever you tasted in your life, sir. \\n\",\n \"_Plume._ That's home. [_Aside._] My little boy! lack-a-day, madam! \\n that alone may convince you 'twas none of mine: why, the girl, madam,\",\n \"_Wor._ She's lost, irrecoverably lost, and Plume's advice has ruined me. \\n 'Sdeath! why should I, that knew her haughty spirit, be ruled by a man \\n that's a stranger to her pride? \\n \\n\",\n \"_Plume._ With all my heart, my dear! [_Putting up._] I suppose Kite has \\n listed him by this time. [_Embraces._ \\n \\n _Brazen._ You are a brave fellow: I always fight with a man before I\",\n \"_Plume._ Do you know the gentleman? \\n \\n _Brazen._ No, but I will presently--Your name, my dear? \\n \\n _Syl._ Wilful, Jack Wilful, at your service. \\n\",\n \"_Plume._ I'll never think of her again. \\n \\n _Wor._ No! \\n \\n _Plume._ No; I think myself above administering to the pride of any\",\n \"_Plume._ Pho! let me see it. [_Opening the Letter._] If she be a \\n jilt--Damn her, she is one--there's her name at the bottom on't. \\n\",\n \"_Plume._ Then you are married, surely? \\n \\n _Wor._ No. \\n \\n _Plume._ Then you are mad, or turning quaker? \\n\",\n \"_Plume._ Who? \\n \\n _Kite._ One that you beat up for the last time you were in the country. \\n You remember your old friend Molly, at the Castle? \\n \\n _Plume._ She's not with child, I hope? \\n\",\n \"_Plume._ Kite! [_Tips him the wink, he returns it._] Pretty Mrs. \\n Rose--you have--let me see--how many? \\n \\n _Rose._ A dozen, sir, and they are richly worth a crown. \\n\",\n \"_Rose._ No, no; though your worship be a handsome man, there be others \\n as fine as you. My brother is engaged to Captain Plume. \\n \\n _Syl._ Plume! do you know Captain Plume? \\n\",\n \"_Plume._ A jilt! pho! is she as great a whore? \\n \\n _Wor._ No, no. \\n \\n _Plume._ 'Tis ten thousand pities!--But who is she?--do I know her? \\n\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \"_Wor._ For whom? \\n \\n _Plume._ For a regiment--but for a woman! 'Sdeath! I have been constant \\n to fifteen at a time, but never melancholy for one: and can the love of\"\n ],\n [\n \" _Enter_ MELINDA. \\n \\n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \\n \\n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \\n\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \"MELINDA _and_ SYLVIA _meeting_. \\n \\n \\n _Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you your\",\n \"creature could change. Poor Sylvia! \\n \\n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \\n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \\n be yours.\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \"lover, as to set up a rival. Were there any credit to be given to his \\n words, I should believe Melinda had made him this assignation. I must go \\n see, sir, you'll pardon me. [_Exit._ \\n\",\n \"_Wor._ You see, sir, how little he values your daughter's disdain. \\n \\n _Bal._ I like him the better: I was just such another fellow at his age: \\n But how goes your affair with Melinda? \\n\",\n \"_Syl._ Psha! what care I for his thoughts; I should not like a man with \\n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \\n think a petticoat a mighty simple thing, and I am heartily tired of my\",\n \"_Mel._ The sooner, therefore, you make an end of this, the better. \\n \\n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \\n your humble servant. [_Exit._ \\n\",\n \"never do thoroughly without half a hundred friendships, and as many \\n amours. But now I think on't, how stands your affair with Mr. Worthy? \\n \\n _Mel._ He's my aversion. \\n \\n _Syl._ Vapours!\",\n \" notice of it. The captain has dishonourable designs upon my \\n cousin Sylvia. Evils of this nature are more easily \\n prevented than amended; and that you would immediately send \\n my cousin into the country, is the advice of_,\",\n \"I would marry her. \\n \\n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \\n marry you--but my Melinda coquets it with every fellow she sees--I'll\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \"_Mel._ What do you say, madam? \\n \\n _Syl._ I say, that you should not use that honest fellow so inhumanly: \\n he's a gentleman of parts and fortune, and besides that, he's my Plume's\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \\n of this fellow, I think she ought to give you cause to be so. \\n \\n _Wor._ I don't think she encourages him so much for gaining herself a\",\n \"_Wor._ Certainly--'tis no more like Melinda's character, than black is \\n to white. \\n \\n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a\",\n \"_Plume._ But I tell you, she's gone this minute to the waterside. \\n \\n \\n _Enter a_ SERVANT. \\n \\n _Serv._ Madam Melinda has sent word that you need not trouble yourself\",\n \"_Mel. and Wor._ How! \\n \\n _Syl._ Do you think it strange, cousin, that a woman should change; but \\n I hope you'll excuse a change that has proceeded from constancy: I\",\n \"_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \\n I can assure you that to a lady the least nice in her constitution--no \\n air can be good above half a year. Change of air I take to be the most\"\n ],\n [\n \"refuse to discover the contents, Melinda shall tell me. [_Going._ \\n \\n _Bal._ Hold, sir; the contents I have told you already; only with this \\n circumstance--that her intimacy with Mr. Worthy had drawn the secret \\n from him.\",\n \"Worthy, your servant, my dear! [_Exit, leading_ MELINDA. \\n \\n _Wor._ Death and fire! this is not to be borne! \\n \\n \\n _Enter_ PLUME. \\n\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \"I would marry her. \\n \\n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \\n marry you--but my Melinda coquets it with every fellow she sees--I'll\",\n \"lover, as to set up a rival. Were there any credit to be given to his \\n words, I should believe Melinda had made him this assignation. I must go \\n see, sir, you'll pardon me. [_Exit._ \\n\",\n \"_Mel._ I'm sorry the favour miscarried, for it was designed for you, Mr. \\n Worthy; and be assured 'tis the last and only favour you must expect at\",\n \"never do thoroughly without half a hundred friendships, and as many \\n amours. But now I think on't, how stands your affair with Mr. Worthy? \\n \\n _Mel._ He's my aversion. \\n \\n _Syl._ Vapours!\",\n \"_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \\n of this fellow, I think she ought to give you cause to be so. \\n \\n _Wor._ I don't think she encourages him so much for gaining herself a\",\n \"_Mel._ What means this insolence? \\n \\n _Lucy._ Are you mad? don't you see Mr. Worthy? [_To_ BRAZEN. \\n\",\n \" _Enter_ MELINDA _and_ LUCY. \\n \\n _Lucy._ You are thoughtful, madam, am not I worthy to know the cause? \\n\",\n \"_Plume._ Melinda! why she began to capitulate this time twelvemonth, and \\n offered to surrender upon honourable terms: and I advised you to propose \\n a settlement of five hundred pounds a year to her, before I went last \\n abroad. \\n\",\n \"_Plume._ Whip and spur, Worthy, or you won't mount. \\n \\n _Wor._ But I shall; Melinda and I are agreed; she's gone to visit\",\n \"_Mel._ Has any of them been bartering with you, Mrs. Pert, that you talk \\n so like a trader? \\n \\n _Lucy._ One would imagine, madam, by your concern for Worthy's absence,\",\n \"_Wor._ You see, sir, how little he values your daughter's disdain. \\n \\n _Bal._ I like him the better: I was just such another fellow at his age: \\n But how goes your affair with Melinda? \\n\",\n \"_Wor._ Certainly--'tis no more like Melinda's character, than black is \\n to white. \\n \\n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a\",\n \"Men are scarce, and as times go it is not impossible for a woman to die \\n a maid. \\n \\n \\n _Enter_ WORTHY. \\n \\n _Mel._ No matter. \\n\",\n \"_Syl._ Psha! what care I for his thoughts; I should not like a man with \\n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \\n think a petticoat a mighty simple thing, and I am heartily tired of my\",\n \"me the whole history of my life. He told me of a lover I had in this \\n country, and described Worthy exactly, but in nothing so well as in his \\n present indifference--I fled to him for refuge here to-day; he never so\",\n \"ordered me to tell you, that Justice Balance, her father, who is just \\n come out of the country, would be glad to see you. \\n \\n _Plume._ There's a girl for you, Worthy!--Is there any thing of woman in\",\n \"_Mel._ The sooner, therefore, you make an end of this, the better. \\n \\n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \\n your humble servant. [_Exit._ \\n\"\n ],\n [\n \"_Wor._ Certainly--'tis no more like Melinda's character, than black is \\n to white. \\n \\n _Plume._ Then 'tis certainly Lucy's contrivance to draw in Brazen for a\",\n \"_Brazen._ Who's that, madam? \\n \\n _Mel._ A brother officer of yours, I suppose, sir. \\n \\n _Brazen._ Ay--my dear! [_To_ PLUME. \\n\",\n \"_Mel._ A good example, sir, will go a great way--When my cousin is \\n pleased to surrender, 'tis probable I shan't hold out much longer. \\n \\n \\n _Enter_ BRAZEN. \\n\",\n \"_Plume._ Melinda! and by this light her own hand! Once more, if you \\n please, my dear--Her hand exactly--Just now, you say? \\n \\n _Brazen._ This minute; I must be gone. \\n\",\n \"_Mel._ You! why I passed for you. \\n \\n _Lucy._ So 'tis I that am to die a maid--But the devil was a liar from \\n the beginning; he can't make me die a maid--I've put it out of his power\",\n \"_Brazen._ So am I, my dear! I am going to be married--I have had two \\n letters from a lady of fortune, that loves me to madness, fits, cholic,\",\n \"ferried over to the Elysian Fields, if there be any such thing in \\n matrimony. \\n \\n _Wor._ I parted with Melinda just now; she assured me she hated Brazen,\",\n \"I would marry her. \\n \\n _Wor._ 'Faith, you have reason--for were you but a corporal, she would \\n marry you--but my Melinda coquets it with every fellow she sees--I'll\",\n \"thousand pounds. Do you know any such person, madam? \\n \\n _Mel._ Extravagant coxcomb! [_Aside._] To be sure, a great many ladies \\n of that fortune would be proud of the name of Mrs. Brazen. \\n\",\n \"_Plume._ So! now must I look as sober and demure as a whore at a \\n christening. \\n \\n \\n _Enter_ BRAZEN _and_ MELINDA. \\n\",\n \"_Mel._ Oh, are you there, gentleman?--Come, captain, we'll walk this \\n way. Give me your hand. \\n \\n _Brazen._ My hand, heart's blood, and guts, are at your service. Mr.\",\n \"_Wor._ Very well. \\n \\n _Plume._ That's impossible----I know no woman that will hold out a ten \\n years' siege. \\n \\n _Wor._ What think you of Melinda? \\n\",\n \" _Enter_ SYLVIA, _in Man's Apparel_. \\n \\n _Syl._ Save ye, save ye! gentlemen. \\n \\n _Brazen._ My dear, I'm yours. \\n\",\n \"lover, as to set up a rival. Were there any credit to be given to his \\n words, I should believe Melinda had made him this assignation. I must go \\n see, sir, you'll pardon me. [_Exit._ \\n\",\n \"_Mel._ So, between the fool and the rake, I shall bring a fine spot of \\n work upon my hands! \\n \\n _Brazen._ Will you fight for the lady, sir? \\n\",\n \"_Brazen._ Gentlemen, I am yours--Madam, I am not yours. \\n \\n _Mel._ I'm glad on't, sir. \\n\",\n \"_Bal._ If you can have so mean an opinion of Melinda, as to be jealous \\n of this fellow, I think she ought to give you cause to be so. \\n \\n _Wor._ I don't think she encourages him so much for gaining herself a\",\n \"_Brazen._ True to the touch, 'faith! [_Aside._] Madam, I am your humble \\n servant, and all that, madam. A fine river, this same Severn--Do you \\n love fishing, madam? \\n\",\n \"_Brazen._ Some of us, madam; but there are brutes among us too, very sad \\n brutes; for my own part, I have always had the good luck to prove \\n agreeable. I have had very considerable offers, madam--I might have\",\n \"_Lucy._ If he should speak o' th' assignation I should be ruined! \\n [_Aside._ \\n \\n \\n _Enter_ BRAZEN. \\n\"\n ],\n [\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\",\n \"_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \\n expect no pardon. \\n \\n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"_Mel._ But you don't consider, Sylvia, how long I have lived in it; for \\n I can assure you that to a lady the least nice in her constitution--no \\n air can be good above half a year. Change of air I take to be the most\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \" Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \\n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \\n her off the Stage_. \\n\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \"your quality--but now you are at liberty, I have discharged you. \\n \\n _Syl._ Discharged me! \\n \\n _Bal._ Yes, sir, and you must once more go home to your father. \\n\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"her father of his treasure, and make her escape with me; but I don't \\n know how, my time was not come: hanging and marriage, you know, go by \\n destiny: Fate has reserved me for a Shropshire lady, worth twenty\",\n \" notice of it. The captain has dishonourable designs upon my \\n cousin Sylvia. Evils of this nature are more easily \\n prevented than amended; and that you would immediately send \\n my cousin into the country, is the advice of_,\",\n \"_Bal._ Then, Sylvia, I must beg that once in your life you would grant \\n me a favour. \\n \\n _Syl._ Why should you question it, sir? \\n\",\n \"_Syl._ Psha! what care I for his thoughts; I should not like a man with \\n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \\n think a petticoat a mighty simple thing, and I am heartily tired of my\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \"endanger either. [_Exeunt severally._ \\n \\n \\n SCENE II. \\n \\n _Another Apartment._ \\n \\n _Enter_ BALANCE _and_ SYLVIA. \\n \\n\",\n \"_Mel._ The sooner, therefore, you make an end of this, the better. \\n \\n _Syl._ I am easily persuaded to follow my inclinations; and so, madam, \\n your humble servant. [_Exit._ \\n\"\n ],\n [\n \"_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \\n expect no pardon. \\n \\n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"_Bal._ Then, Sylvia, I must beg that once in your life you would grant \\n me a favour. \\n \\n _Syl._ Why should you question it, sir? \\n\",\n \"Syl. _Mrs. Sylvia Balance._ [_Opens the Will, and reads._] Well, \\n captain, this is a handsome and substantial compliment; but I can assure \\n you I am much better pleased with the bare knowledge of your intention,\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \"_Kite._ Nay, sir, I must whisper that--Mrs. Sylvia. \\n \\n _Plume._ Sylvia! generous creature! \\n \\n _Wor._ Sylvia! impossible! \\n\",\n \" Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \\n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \\n her off the Stage_. \\n\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"_Bal._ Here, constable, bring in my man.[_Exit_ CONSTABLE.] Now, \\n captain, I'll fit you with a man such as you never listed in your life. \\n \\n \\n _Enter_ CONSTABLE _and_ SYLVIA.\",\n \"commanded us to beat the French, and we did so; and, if he pleases but \\n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \\n\",\n \" _Enter_ SYLVIA, _in Man's Apparel_. \\n \\n _Syl._ Save ye, save ye! gentlemen. \\n \\n _Brazen._ My dear, I'm yours. \\n\",\n \"_Syl._ 'Tis false! I am descended of as good a family as any in your \\n county; my father is as good a man as any upon your bench, and I am heir \\n to twelve hundred pounds a-year. \\n\",\n \"_Syl._ There are some letters, sir, come by the post from London; I left \\n them upon the table in your closet. \\n \\n _Bal._ And here is a gentleman from Germany.--[_Presents_ PLUME _to\"\n ],\n [\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"commanded us to beat the French, and we did so; and, if he pleases but \\n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \\n\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \"_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \\n expect no pardon. \\n \\n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,\",\n \" notice of it. The captain has dishonourable designs upon my \\n cousin Sylvia. Evils of this nature are more easily \\n prevented than amended; and that you would immediately send \\n my cousin into the country, is the advice of_,\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \" Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \\n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \\n her off the Stage_. \\n\",\n \"_Bal._ Then, Sylvia, I must beg that once in your life you would grant \\n me a favour. \\n \\n _Syl._ Why should you question it, sir? \\n\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"your quality--but now you are at liberty, I have discharged you. \\n \\n _Syl._ Discharged me! \\n \\n _Bal._ Yes, sir, and you must once more go home to your father. \\n\",\n \"her father of his treasure, and make her escape with me; but I don't \\n know how, my time was not come: hanging and marriage, you know, go by \\n destiny: Fate has reserved me for a Shropshire lady, worth twenty\",\n \"endanger either. [_Exeunt severally._ \\n \\n \\n SCENE II. \\n \\n _Another Apartment._ \\n \\n _Enter_ BALANCE _and_ SYLVIA. \\n \\n\",\n \"MELINDA _and_ SYLVIA _meeting_. \\n \\n \\n _Mel._ Welcome to town, cousin Sylvia. [_Salute._] I envied you your\"\n ],\n [\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \" Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \\n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \\n her off the Stage_. \\n\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"_Syl._ My father! then I am discovered----Oh, sir! [_Kneeling._] I \\n expect no pardon. \\n \\n _Bal._ Pardon! no, no, child; your crime shall be your punishment: here,\",\n \"comfort him; and be assured that if my life and fortune can be any way \\n serviceable to the father of my Sylvia, he shall freely command both. \\n \\n _Syl._ The necessity must be very pressing that would engage me to\",\n \"_Plume._ I hope Sylvia has not heard of it. \\n \\n _Wor._ Oh, sir, have you thought of her? I began to fancy you had forgot \\n poor Sylvia. \\n\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"endanger either. [_Exeunt severally._ \\n \\n \\n SCENE II. \\n \\n _Another Apartment._ \\n \\n _Enter_ BALANCE _and_ SYLVIA. \\n \\n\",\n \"your quality--but now you are at liberty, I have discharged you. \\n \\n _Syl._ Discharged me! \\n \\n _Bal._ Yes, sir, and you must once more go home to your father. \\n\",\n \"commanded us to beat the French, and we did so; and, if he pleases but \\n to say the word, we'll do it again. But pray, sir, how does Mrs. Sylvia? \\n\",\n \"Ho, Sylvia! \\n \\n _Syl._ Sir. \\n \\n _Bal._ How old were you when your mother died? \\n \\n _Syl._ So young that I don't remember I ever had one; and you have been\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"_Const._ It shall be done, sir--come along, sir. \\n \\n [_Exeunt_ CONSTABLE, BULLOCK, _and_ SYLVIA. \\n\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \"_Syl._ Ay, Melinda, he is come, and I'll take care he shan't go without \\n a companion. \\n \\n _Mel._ You are certainly mad, cousin! \\n\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \"_Bal._ Then, Sylvia, I must beg that once in your life you would grant \\n me a favour. \\n \\n _Syl._ Why should you question it, sir? \\n\",\n \" _Enter_ MELINDA. \\n \\n _Mel._ Pray, Mr. Balance, what's become of my cousin Sylvia? \\n \\n _Bal._ Your cousin Sylvia is talking yonder with your cousin Plume. \\n\",\n \"_Syl._ No, no, captain; you forget Rose; she's to be my bedfellow, you \\n know. \\n \\n _Plume._ I had forgot: pray be kind to her. [_Exeunt severally._ \\n \\n\"\n ],\n [\n \"The disguise of Sylvia in boy's clothes, is an improbable, and romantic \\n occurrence; yet it is one of those dramatic events, which were considered \\n as perfectly natural in former times; although neither history, nor\",\n \" _Enter_ SYLVIA, _in Man's Apparel_. \\n \\n _Syl._ Save ye, save ye! gentlemen. \\n \\n _Brazen._ My dear, I'm yours. \\n\",\n \"prudence than to follow the camp: but she's at her own disposal; she has \\n five thousand pounds in her pocket, and so--Sylvia, Sylvia! [_Calls._ \\n \\n \\n _Enter_ SYLVIA. \\n\",\n \" ROSE _Mrs. Gibbs._ \\n LUCY _Mrs. Litchfield._ \\n SYLVIA _Mrs. Johnson._ \\n \\n _SCENE--Shrewsbury._ \\n \\n \\n\",\n \"_Bal._ Here, constable, bring in my man.[_Exit_ CONSTABLE.] Now, \\n captain, I'll fit you with a man such as you never listed in your life. \\n \\n \\n _Enter_ CONSTABLE _and_ SYLVIA.\",\n \" Stage_, SYLVIA _draws, and is held by_ KITE, _who sounds to \\n Arms with his Mouth, takes_ SYLVIA _in his Arms, and carries \\n her off the Stage_. \\n\",\n \"Sylvia, with her fortune, I despise.--What! sneak out of town, and not \\n so much as a word, a line, a compliment!--'Sdeath! how far off does she \\n live? I'll go and break her windows. \\n\",\n \"_Bul._ Nay, sister, why did not you keep that place for me? you know I \\n have always loved to be a drumming, if it were but on a table, or on a \\n quart pot. \\n \\n \\n _Enter_ SYLVIA.\",\n \"the materials for this play on the very spot where he has placed his \\n scene--Shrewsbury. He has dedicated the piece \\\"to all friends round the \\n Wrekin,\\\" and has thanked the inhabitants of the town for that cheerful\",\n \"creature could change. Poor Sylvia! \\n \\n _Wor._ Rich Sylvia, you mean, and poor captain; ha! ha! ha!--Come, come, \\n friend, Melinda is true, and shall be mine; Sylvia is constant, and may \\n be yours.\",\n \"woman, were she worth twelve thousand a-year; and I ha'n't the vanity to \\n believe I shall gain a lady worth twelve hundred. The generous, \\n goodnatured Sylvia, in her smock, I admire; but the haughty and scornful\",\n \"_Syl._ I promise. \\n \\n _Bal._ Very well; and to be even with you, I promise I never will \\n dispose of you without your own consent: and so, Sylvia, the coach is\",\n \"Sylvia, we are to mount and follow; and could we carry a parson with us, \\n who knows what might be done for us both? \\n \\n _Plume._ Don't trouble your head; Melinda has secured a parson already. \\n\",\n \" _Enter_ SYLVIA. \\n \\n _Syl._ I think, captain, you might have used me better, than to leave me \\n yonder among your swearing drunken crew; and you, Mr. Justice, might\",\n \"dishonourable thought of Sylvia, it deserves to be burnt to the \\n ground--I love Sylvia, I admire her frank, generous disposition--there's \\n something in that girl more than woman--In short, were I once a general,\",\n \" _Enter_ SYLVIA, BULLOCK, ROSE, PRISONERS, _and_ CONSTABLE. \\n \\n _Const._ May it please your worships, we took them in the very act, _re\",\n \"_Plume._ Your affairs had quite put mine out of my head. 'Tis true, \\n Sylvia and I had once agreed to go to bed together, could we have \\n adjusted preliminaries; but she would have the wedding before\",\n \"_Syl._ What, gentlemen, rob me of my freedom and my wife at once! 'tis \\n the first time they ever went together. \\n \\n _Bal._ Harkye, constable. [_Whispers him._ \\n\",\n \"_Const._ It shall be done, sir--come along, sir. \\n \\n [_Exeunt_ CONSTABLE, BULLOCK, _and_ SYLVIA. \\n\",\n \"_Syl._ Psha! what care I for his thoughts; I should not like a man with \\n confined thoughts; it shows a narrowness of soul. In short, Melinda, I \\n think a petticoat a mighty simple thing, and I am heartily tired of my\"\n ]\n]"},"questions":{"kind":"list like","value":["Why did Worthy now think Melinda was adequate to marry after refusing to a year before? ","Who ruins Melinda's plans to annoy Worthy?","Why do Sylvia and Melinda fight?","Why do Worth and Brazen duel?","How is the duel between Worthy and Brazen prevented?","Who does Sylvia marry?","What does Plume give to Brazen to compensate from missing out on wedding Melinda?","Who does Melinda end up choosing for marriage?","Who is in love with Sylvia?","Who is in love with Sylvia's cousin?","Where is this story located?","What offer from Worthy was Melinda offended by?","What infurriates Sylvia?","Who does Lucy hope to Mary?","Why does Sylvia leave the house of her father?","Who is the fortune teller?","Who does Worthy challenge to a duel at the end of the story?","Who does Plume give his recruits?","Where is Captain Plume's Sergeant Kite recruiting?","Who is Plume in love with?","Who is in love with Sylvia's cousin Melinda?","Who did Melinda accept an offer from to annoy Worthy?","Who pretends to be Melinda hoping to marry Brazen?","Why does Sylvia leave her father's house?","What is Sylvia's father's name?","Where does Sylvia tell her father she is going?","Where does Sylvia really go after speaking to her father?","Who does Sylvia dress as in Shrewsbury?"],"string":"[\n \"Why did Worthy now think Melinda was adequate to marry after refusing to a year before? \",\n \"Who ruins Melinda's plans to annoy Worthy?\",\n \"Why do Sylvia and Melinda fight?\",\n \"Why do Worth and Brazen duel?\",\n \"How is the duel between Worthy and Brazen prevented?\",\n \"Who does Sylvia marry?\",\n \"What does Plume give to Brazen to compensate from missing out on wedding Melinda?\",\n \"Who does Melinda end up choosing for marriage?\",\n \"Who is in love with Sylvia?\",\n \"Who is in love with Sylvia's cousin?\",\n \"Where is this story located?\",\n \"What offer from Worthy was Melinda offended by?\",\n \"What infurriates Sylvia?\",\n \"Who does Lucy hope to Mary?\",\n \"Why does Sylvia leave the house of her father?\",\n \"Who is the fortune teller?\",\n \"Who does Worthy challenge to a duel at the end of the story?\",\n \"Who does Plume give his recruits?\",\n \"Where is Captain Plume's Sergeant Kite recruiting?\",\n \"Who is Plume in love with?\",\n \"Who is in love with Sylvia's cousin Melinda?\",\n \"Who did Melinda accept an offer from to annoy Worthy?\",\n \"Who pretends to be Melinda hoping to marry Brazen?\",\n \"Why does Sylvia leave her father's house?\",\n \"What is Sylvia's father's name?\",\n \"Where does Sylvia tell her father she is going?\",\n \"Where does Sylvia really go after speaking to her father?\",\n \"Who does Sylvia dress as in Shrewsbury?\"\n]"},"answers":{"kind":"list like","value":[["She inherited money.","She inherited money"],["Her maid Lucy.","Lucy, her maid"],["Melinda says that her inheritance makes her more desirable.","Melinda says that she is more attractive now that she has a lot of money."],["Worthy is jealous that Melina is falling for Brazen.","For the hand of Melinda in marriage"],["Lucy reveals herself as the others think it's Melinda?","Lucy drops her disguise."],["Plume.","Plume"],["Plume gives Brazen twenty of his recruits.","20 recruits"],["Worthy. ","Worthy"],["Plume","Plume"],["Worthy","Worthy"],["Shrewsbury","Shrewsbury"],["For her to be his mistress ","To become his mistress"],["Melinda's haughty behaviour","Melinda's now acting like a snob."],["Brazen","Brazen"],["To grieve for her brother","To mourn her brother Owen's death"],["Kite","Sergant Kite"],["Brazen","Brazen"],["To Brazen","Brazen"],["Shrewsbury","Shrewsburry"],["Sylvia","Sylvia"],["Worthy","Worthy."],["Captain Brazen","Captain Brazen"],["Lucy","Lucy"],["To mourn her brother Owen's death","Mourn her brother Owen's death"],["Balance","Balance"],["to the Welsh countryside","Welsh countryside"],["Shrewsbury","Shrewsbury."],["Jack Wilful","Jack Witful"]],"string":"[\n [\n \"She inherited money.\",\n \"She inherited money\"\n ],\n [\n \"Her maid Lucy.\",\n \"Lucy, her maid\"\n ],\n [\n \"Melinda says that her inheritance makes her more desirable.\",\n \"Melinda says that she is more attractive now that she has a lot of money.\"\n ],\n [\n \"Worthy is jealous that Melina is falling for Brazen.\",\n \"For the hand of Melinda in marriage\"\n ],\n [\n \"Lucy reveals herself as the others think it's Melinda?\",\n \"Lucy drops her disguise.\"\n ],\n [\n \"Plume.\",\n \"Plume\"\n ],\n [\n \"Plume gives Brazen twenty of his recruits.\",\n \"20 recruits\"\n ],\n [\n \"Worthy. \",\n \"Worthy\"\n ],\n [\n \"Plume\",\n \"Plume\"\n ],\n [\n \"Worthy\",\n \"Worthy\"\n ],\n [\n \"Shrewsbury\",\n \"Shrewsbury\"\n ],\n [\n \"For her to be his mistress \",\n \"To become his mistress\"\n ],\n [\n \"Melinda's haughty behaviour\",\n \"Melinda's now acting like a snob.\"\n ],\n [\n \"Brazen\",\n \"Brazen\"\n ],\n [\n \"To grieve for her brother\",\n \"To mourn her brother Owen's death\"\n ],\n [\n \"Kite\",\n \"Sergant Kite\"\n ],\n [\n \"Brazen\",\n \"Brazen\"\n ],\n [\n \"To Brazen\",\n \"Brazen\"\n ],\n [\n \"Shrewsbury\",\n \"Shrewsburry\"\n ],\n [\n \"Sylvia\",\n \"Sylvia\"\n ],\n [\n \"Worthy\",\n \"Worthy.\"\n ],\n [\n \"Captain Brazen\",\n \"Captain Brazen\"\n ],\n [\n \"Lucy\",\n \"Lucy\"\n ],\n [\n \"To mourn her brother Owen's death\",\n \"Mourn her brother Owen's death\"\n ],\n [\n \"Balance\",\n \"Balance\"\n ],\n [\n \"to the Welsh countryside\",\n \"Welsh countryside\"\n ],\n [\n \"Shrewsbury\",\n \"Shrewsbury.\"\n ],\n [\n \"Jack Wilful\",\n \"Jack Witful\"\n ]\n]"},"document_id":{"kind":"string","value":"1b82b15048e60b850bcaa1a8c719cf4008d0fbb8"},"split":{"kind":"string","value":"test"}}},{"rowIdx":78,"cells":{"text":{"kind":"list like","value":[["Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","Amidst thy desert walks the lapwing flies, \n \n And tires their echoes with unvaried cries. \n \n \n [Illustration: 0025] \n \n \n Sunk are thy bowers in shapeless ruin all,","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n \n Tumultuous grandeur crowds the blazing square, \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd;","{036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n","No more thy glassy brook reflects the day, \n \n But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012}","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n"],["But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","He drives his flock to pick the scanty blade, \n \n Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n","Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n","Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied; \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n","The rich man's joys increase, the poor's decay, \n \n 'Tis yours to judge how wide the limits stand \n \n Between a splendid and a happy land. \n \n \n [Illustration: 0067] \n","Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n","Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","{036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n"],["Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","Her modest looks the cottage might adorn, \n \n Sweet as the primrose peeps beneath the thorn; \n \n {039} \n \n Now lost to all; her friends, her virtue fled, \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n \n The sad historian of the pensive plain. \n \n {021} \n","And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n","A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n","The mingling notes came soften'd from below; \n \n The swain responsive as the milk-maid sung, \n \n The sober herd that low'd to meet their young; \n","To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n"],["These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Those poisonous fields with rank luxuriance crown'd, \n \n Where the dark scorpion gathers death around; \n \n Where at each step the stranger fears to wake \n \n The rattling terrors of the vengeful snake; \n \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","[Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","{009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","How often have I loiter'd o'er thy green, \n \n Where humble happiness endear'd each scene! \n \n How often have I paused on every charm, \n \n The shelter'd cot, the cultivated farm, \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","No more thy glassy brook reflects the day, \n \n But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012}","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep. \n","[Illustration: 0035] \n \n \n Sweet was the sound, when oft, at evening's close, \n \n Up yonder hill the village murmur rose: \n \n There, as I pass'd with careless steps and slow,"],["She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","While many a pastime circled in the shade, \n \n The young contending as the old survey'd; \n \n And many a gambol frolick'd o'er the ground, \n \n And sleights of art and feats of strength went round;","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","The service past, around the pious man, \n \n With ready zeal each honest rustic ran: \n \n {026} \n \n E'en children follow'd with endearing wile, \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd;","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n \n Amazed the gazing rustics ranged around; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n"],["Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n","While self-dependent power can time defy, \n \n As rocks resist the billows and the sky. \n \n \n [Illustration: 0091] \n \n \n \n \n \n \n","Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","And piety, with wishes placed above, \n \n And steady loyalty, and faithful love. \n \n {045} \n \n And thou, sweet Poetry, thou loveliest maid, \n \n Still first to fly where sensual joys invade,","And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","The hawthorn bush, with seats beneath the shade, \n \n For talking age and whispering lovers made! \n \n How often have I blest the coming day, \n \n When toil remitting lent its turn to play, \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n"],["Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied; \n","Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n","Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","But the long pomp, the midnight masquerade, \n \n With all the freaks of wanton wealth array'd, \n \n In these, ere triflers half their wish obtain, \n \n The toilsome pleasure sickens into pain; \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","The rich man's joys increase, the poor's decay, \n \n 'Tis yours to judge how wide the limits stand \n \n Between a splendid and a happy land. \n \n \n [Illustration: 0067] \n","At every draught more large and large they grow, \n \n A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n","Sinks to the grave with unperceived decay, \n \n While resignation gently slopes the way; \n \n {018} \n \n And, all his prospects brightening to the last, \n \n His heaven commences ere the world be past. \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","{036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe. \n \n \n [Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade,"],["Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","And since 'tis hard to combat, learns to fly! \n \n For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034]","Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied; \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","Thou source of all my bliss, and all my woe, \n \n That found'st me poor at first, and keep'st me so; \n \n \n [Illustration: 0090] \n \n","Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n","No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n","Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n","Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","The rich man's joys increase, the poor's decay, \n \n 'Tis yours to judge how wide the limits stand \n \n Between a splendid and a happy land. \n \n \n [Illustration: 0067] \n","And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","Nor the coy maid, half willing to be prest, \n \n Shall kiss the cup to pass it to the rest. \n \n {033} \n \n Yes! let the rich deride, the proud disdain, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","By doctrines fashion'd to the varying hour; \n \n Far other aims his heart had learn'd to prize, \n \n More bent to raise the wretched than to rise. \n \n {023} \n","And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n","To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe. \n \n \n [Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade,","He drives his flock to pick the scanty blade, \n \n Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n"],["Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","To tempt its new-fledged offspring to the skies, \n \n He tried each art, reproved each dull delay, \n \n Allured to brighter worlds, and led the way. \n \n Beside the bed where parting life was laid, \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","How blest is he who crowns, in shades like these, \n \n A youth of labour with an age of ease; \n \n {017} \n \n Who quits a world where strong temptations try, \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","Sinks to the grave with unperceived decay, \n \n While resignation gently slopes the way; \n \n {018} \n \n And, all his prospects brightening to the last, \n \n His heaven commences ere the world be past. \n","Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","[Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","And since 'tis hard to combat, learns to fly! \n \n For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034]","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n"],["She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n"," Sweet Auburn! loveliest milage of the plain...T. Creswick, R.A....007 \n \n The never-failing brook, the busy mill........T. Creswick, R.A....008 \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n","His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","{009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n"],["She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd;","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n","[Illustration: 0079] \n \n \n Where crouching tigers wait their hapless prey, \n \n And savage men more murderous still than they; \n \n While oft in whirls the mad tornado flies,","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n"],["Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","At every draught more large and large they grow, \n \n A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd;","Whose beard descending swept his aged breast; \n \n The ruin'd spendthrift, now no longer proud, \n \n Claim'd kindred there, and had his claims allow'd; \n \n {024} \n","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n","To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe. \n \n \n [Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade,","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n"],["These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last,","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","While many a pastime circled in the shade, \n \n The young contending as the old survey'd; \n \n And many a gambol frolick'd o'er the ground, \n \n And sleights of art and feats of strength went round;","And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n","And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","No more thy glassy brook reflects the day, \n \n But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012}","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","I see the rural virtues leave the land. \n \n Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n"],["These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last,","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n \n Through torrid tracts with fainting steps they go, \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","I see the rural virtues leave the land. \n \n Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n","If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n \n {040} \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n"],["Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied; \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","He drives his flock to pick the scanty blade, \n \n Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n","Shoulder'd his crutch, and show'd how fields were won. \n \n Pleased with his guests, the good man learn'd to glow, \n \n And quite forgot their vices in their woe; \n","Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray.","If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd;","Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n","For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n \n Amazed the gazing rustics ranged around; \n","{029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n \n 'Twas certain he could write and cipher too:"],["{009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","Lands he could measure, terms and tides presage, \n \n And e'en the story ran that he could gauge: \n \n \n [Illustration: 0058] \n \n \n In arguing too the parson own'd his skill,","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","All but yon widow'd solitary thing, \n \n That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n","Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep. \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n"],["Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last,","I see the rural virtues leave the land. \n \n Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n","Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n","At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n \n Through torrid tracts with fainting steps they go, \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n"],["She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last,","No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n","And sorrow, guilt, and pain, by turns dismay'd, \n \n The reverend champion stood. At his control, \n \n Despair and anguish fled the struggling soul; \n \n {025} \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n","At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n \n Through torrid tracts with fainting steps they go, \n","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n","And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","And since 'tis hard to combat, learns to fly! \n \n For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034]","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","Shoulder'd his crutch, and show'd how fields were won. \n \n Pleased with his guests, the good man learn'd to glow, \n \n And quite forgot their vices in their woe; \n","Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n"],["But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n","Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied; \n","{009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","And since 'tis hard to combat, learns to fly! \n \n For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034]","There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n"],["The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","{029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n \n 'Twas certain he could write and cipher too:","[Illustration: 0035] \n \n \n Sweet was the sound, when oft, at evening's close, \n \n Up yonder hill the village murmur rose: \n \n There, as I pass'd with careless steps and slow,","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed,","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","{010} \n \n And all the village train, from labour free, \n \n Led up their sports beneath the spreading tree; \n \n \n [Illustration: 0021] \n \n","{009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n"," Where village statesmen with looks profound...F. Tayler...........031 \n \n But the long pomp, the midnight masquerade....J. C. Horsley.......033 \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n"],["And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","[Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","While many a pastime circled in the shade, \n \n The young contending as the old survey'd; \n \n And many a gambol frolick'd o'er the ground, \n \n And sleights of art and feats of strength went round;","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","The noisy geese that gabbled o'er the pool, \n \n The playful children just let loose from school; \n \n {019} \n \n The watch-dog's voice that bay'd the whispering wind, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","The mingling notes came soften'd from below; \n \n The swain responsive as the milk-maid sung, \n \n The sober herd that low'd to meet their young; \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd;","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","Shoulder'd his crutch, and show'd how fields were won. \n \n Pleased with his guests, the good man learn'd to glow, \n \n And quite forgot their vices in their woe; \n","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n"],["[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n","[Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","{009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n \n Tumultuous grandeur crowds the blazing square, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","Those poisonous fields with rank luxuriance crown'd, \n \n Where the dark scorpion gathers death around; \n \n Where at each step the stranger fears to wake \n \n The rattling terrors of the vengeful snake; \n \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n","[Illustration: 0079] \n \n \n Where crouching tigers wait their hapless prey, \n \n And savage men more murderous still than they; \n \n While oft in whirls the mad tornado flies,"],["These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n","No more thy glassy brook reflects the day, \n \n But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012}","The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed,","{029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n \n 'Twas certain he could write and cipher too:"," Where village statesmen with looks profound...F. Tayler...........031 \n \n But the long pomp, the midnight masquerade....J. C. Horsley.......033 \n","{009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","{010} \n \n And all the village train, from labour free, \n \n Led up their sports beneath the spreading tree; \n \n \n [Illustration: 0021] \n \n","I see the rural virtues leave the land. \n \n Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n"],["But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth;","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","He drives his flock to pick the scanty blade, \n \n Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n","Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n","Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied; \n","{036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n \n Through torrid tracts with fainting steps they go, \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest; \n \n That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n","All but yon widow'd solitary thing, \n \n That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n","Shoulder'd his crutch, and show'd how fields were won. \n \n Pleased with his guests, the good man learn'd to glow, \n \n And quite forgot their vices in their woe; \n"],["Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n \n [Illustration: 0075] \n \n"," Where the poor houseless female lies..........J. C. Horsley.......037 \n \n She left her wheel and robes of brown.........J. C. Horsley.......038 \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","Her modest looks the cottage might adorn, \n \n Sweet as the primrose peeps beneath the thorn; \n \n {039} \n \n Now lost to all; her friends, her virtue fled, \n","All but yon widow'd solitary thing, \n \n That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n \n The sad historian of the pensive plain. \n \n {021} \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n","And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n","I see the rural virtues leave the land. \n \n Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n"],["Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n","And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep. \n","Those poisonous fields with rank luxuriance crown'd, \n \n Where the dark scorpion gathers death around; \n \n Where at each step the stranger fears to wake \n \n The rattling terrors of the vengeful snake; \n \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n \n When idly first, ambitious of the town, \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n","At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n \n Through torrid tracts with fainting steps they go, \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd;","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n","And sorrow, guilt, and pain, by turns dismay'd, \n \n The reverend champion stood. At his control, \n \n Despair and anguish fled the struggling soul; \n \n {025} \n","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n \n {040} \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","All but yon widow'd solitary thing, \n \n That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n"],["These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","{009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n","Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose,","[Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n","[Illustration: 0079] \n \n \n Where crouching tigers wait their hapless prey, \n \n And savage men more murderous still than they; \n \n While oft in whirls the mad tornado flies,","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","All but yon widow'd solitary thing, \n \n That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n","No more thy glassy brook reflects the day, \n \n But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012}","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n"],["These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year; \n \n {022} \n \n Remote from towns he ran his godly race, \n","{010} \n \n And all the village train, from labour free, \n \n Led up their sports beneath the spreading tree; \n \n \n [Illustration: 0021] \n \n","I see the rural virtues leave the land. \n \n Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n","The service past, around the pious man, \n \n With ready zeal each honest rustic ran: \n \n {026} \n \n E'en children follow'd with endearing wile, \n","Silent went next, neglectful of her charms, \n \n And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n","And the loud laugh that spoke the vacant mind; \n \n \n [Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","{029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n \n 'Twas certain he could write and cipher too:","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","While many a pastime circled in the shade, \n \n The young contending as the old survey'd; \n \n And many a gambol frolick'd o'er the ground, \n \n And sleights of art and feats of strength went round;","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n","To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n \n The sad historian of the pensive plain. \n \n {021} \n","The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed,"],["Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n","Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n","Thy glades forlorn confess the tyrant's power. \n \n Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n","Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n","Those poisonous fields with rank luxuriance crown'd, \n \n Where the dark scorpion gathers death around; \n \n Where at each step the stranger fears to wake \n \n The rattling terrors of the vengeful snake; \n \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n","Their welfare pleased him, and their cares distress'd \n \n To them his heart, his love, his griefs, were given, \n \n But all his serious thoughts had rest in heaven. \n \n As some tall cliff, that lifts its awful form, \n","But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n","Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign,","The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n","These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n","[Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","And since 'tis hard to combat, learns to fly! \n \n For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034]","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n"]],"string":"[\n [\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"Amidst thy desert walks the lapwing flies, \\n \\n And tires their echoes with unvaried cries. \\n \\n \\n [Illustration: 0025] \\n \\n \\n Sunk are thy bowers in shapeless ruin all,\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n \\n Tumultuous grandeur crowds the blazing square, \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd;\",\n \"{036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n\",\n \"No more thy glassy brook reflects the day, \\n \\n But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012}\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\"\n ],\n [\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"He drives his flock to pick the scanty blade, \\n \\n Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n\",\n \"Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n\",\n \"Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied; \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n\",\n \"The rich man's joys increase, the poor's decay, \\n \\n 'Tis yours to judge how wide the limits stand \\n \\n Between a splendid and a happy land. \\n \\n \\n [Illustration: 0067] \\n\",\n \"Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"{036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\"\n ],\n [\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"Her modest looks the cottage might adorn, \\n \\n Sweet as the primrose peeps beneath the thorn; \\n \\n {039} \\n \\n Now lost to all; her friends, her virtue fled, \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n \\n The sad historian of the pensive plain. \\n \\n {021} \\n\",\n \"And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n\",\n \"A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n\",\n \"The mingling notes came soften'd from below; \\n \\n The swain responsive as the milk-maid sung, \\n \\n The sober herd that low'd to meet their young; \\n\",\n \"To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\"\n ],\n [\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Those poisonous fields with rank luxuriance crown'd, \\n \\n Where the dark scorpion gathers death around; \\n \\n Where at each step the stranger fears to wake \\n \\n The rattling terrors of the vengeful snake; \\n \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"[Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"{009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"How often have I loiter'd o'er thy green, \\n \\n Where humble happiness endear'd each scene! \\n \\n How often have I paused on every charm, \\n \\n The shelter'd cot, the cultivated farm, \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"No more thy glassy brook reflects the day, \\n \\n But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012}\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep. \\n\",\n \"[Illustration: 0035] \\n \\n \\n Sweet was the sound, when oft, at evening's close, \\n \\n Up yonder hill the village murmur rose: \\n \\n There, as I pass'd with careless steps and slow,\"\n ],\n [\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"While many a pastime circled in the shade, \\n \\n The young contending as the old survey'd; \\n \\n And many a gambol frolick'd o'er the ground, \\n \\n And sleights of art and feats of strength went round;\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran: \\n \\n {026} \\n \\n E'en children follow'd with endearing wile, \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd;\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n \\n Amazed the gazing rustics ranged around; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\"\n ],\n [\n \"Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n\",\n \"While self-dependent power can time defy, \\n \\n As rocks resist the billows and the sky. \\n \\n \\n [Illustration: 0091] \\n \\n \\n \\n \\n \\n \\n\",\n \"Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"And piety, with wishes placed above, \\n \\n And steady loyalty, and faithful love. \\n \\n {045} \\n \\n And thou, sweet Poetry, thou loveliest maid, \\n \\n Still first to fly where sensual joys invade,\",\n \"And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"The hawthorn bush, with seats beneath the shade, \\n \\n For talking age and whispering lovers made! \\n \\n How often have I blest the coming day, \\n \\n When toil remitting lent its turn to play, \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n\"\n ],\n [\n \"Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied; \\n\",\n \"Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n\",\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"But the long pomp, the midnight masquerade, \\n \\n With all the freaks of wanton wealth array'd, \\n \\n In these, ere triflers half their wish obtain, \\n \\n The toilsome pleasure sickens into pain; \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"The rich man's joys increase, the poor's decay, \\n \\n 'Tis yours to judge how wide the limits stand \\n \\n Between a splendid and a happy land. \\n \\n \\n [Illustration: 0067] \\n\",\n \"At every draught more large and large they grow, \\n \\n A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n\",\n \"Sinks to the grave with unperceived decay, \\n \\n While resignation gently slopes the way; \\n \\n {018} \\n \\n And, all his prospects brightening to the last, \\n \\n His heaven commences ere the world be past. \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"{036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe. \\n \\n \\n [Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade,\"\n ],\n [\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"And since 'tis hard to combat, learns to fly! \\n \\n For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034]\",\n \"Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied; \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"Thou source of all my bliss, and all my woe, \\n \\n That found'st me poor at first, and keep'st me so; \\n \\n \\n [Illustration: 0090] \\n \\n\",\n \"Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \"No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n\",\n \"Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n\",\n \"Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"The rich man's joys increase, the poor's decay, \\n \\n 'Tis yours to judge how wide the limits stand \\n \\n Between a splendid and a happy land. \\n \\n \\n [Illustration: 0067] \\n\",\n \"And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"Nor the coy maid, half willing to be prest, \\n \\n Shall kiss the cup to pass it to the rest. \\n \\n {033} \\n \\n Yes! let the rich deride, the proud disdain, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"By doctrines fashion'd to the varying hour; \\n \\n Far other aims his heart had learn'd to prize, \\n \\n More bent to raise the wretched than to rise. \\n \\n {023} \\n\",\n \"And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n\",\n \"To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe. \\n \\n \\n [Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade,\",\n \"He drives his flock to pick the scanty blade, \\n \\n Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n\"\n ],\n [\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"To tempt its new-fledged offspring to the skies, \\n \\n He tried each art, reproved each dull delay, \\n \\n Allured to brighter worlds, and led the way. \\n \\n Beside the bed where parting life was laid, \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"How blest is he who crowns, in shades like these, \\n \\n A youth of labour with an age of ease; \\n \\n {017} \\n \\n Who quits a world where strong temptations try, \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"Sinks to the grave with unperceived decay, \\n \\n While resignation gently slopes the way; \\n \\n {018} \\n \\n And, all his prospects brightening to the last, \\n \\n His heaven commences ere the world be past. \\n\",\n \"Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"[Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"And since 'tis hard to combat, learns to fly! \\n \\n For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034]\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\"\n ],\n [\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \" Sweet Auburn! loveliest milage of the plain...T. Creswick, R.A....007 \\n \\n The never-failing brook, the busy mill........T. Creswick, R.A....008 \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n\",\n \"His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"{009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\"\n ],\n [\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd;\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n\",\n \"[Illustration: 0079] \\n \\n \\n Where crouching tigers wait their hapless prey, \\n \\n And savage men more murderous still than they; \\n \\n While oft in whirls the mad tornado flies,\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\"\n ],\n [\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"At every draught more large and large they grow, \\n \\n A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd;\",\n \"Whose beard descending swept his aged breast; \\n \\n The ruin'd spendthrift, now no longer proud, \\n \\n Claim'd kindred there, and had his claims allow'd; \\n \\n {024} \\n\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\",\n \"To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe. \\n \\n \\n [Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade,\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\"\n ],\n [\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last,\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"While many a pastime circled in the shade, \\n \\n The young contending as the old survey'd; \\n \\n And many a gambol frolick'd o'er the ground, \\n \\n And sleights of art and feats of strength went round;\",\n \"And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n\",\n \"And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"No more thy glassy brook reflects the day, \\n \\n But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012}\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"I see the rural virtues leave the land. \\n \\n Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n\"\n ],\n [\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last,\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n \\n Through torrid tracts with fainting steps they go, \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"I see the rural virtues leave the land. \\n \\n Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n\",\n \"If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n \\n {040} \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n\"\n ],\n [\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied; \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"He drives his flock to pick the scanty blade, \\n \\n Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n\",\n \"Shoulder'd his crutch, and show'd how fields were won. \\n \\n Pleased with his guests, the good man learn'd to glow, \\n \\n And quite forgot their vices in their woe; \\n\",\n \"Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray.\",\n \"If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd;\",\n \"Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n\",\n \"For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n \\n Amazed the gazing rustics ranged around; \\n\",\n \"{029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n \\n 'Twas certain he could write and cipher too:\"\n ],\n [\n \"{009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"Lands he could measure, terms and tides presage, \\n \\n And e'en the story ran that he could gauge: \\n \\n \\n [Illustration: 0058] \\n \\n \\n In arguing too the parson own'd his skill,\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"All but yon widow'd solitary thing, \\n \\n That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \"Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep. \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\"\n ],\n [\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last,\",\n \"I see the rural virtues leave the land. \\n \\n Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n\",\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n\",\n \"At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n \\n Through torrid tracts with fainting steps they go, \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\"\n ],\n [\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last,\",\n \"No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n\",\n \"And sorrow, guilt, and pain, by turns dismay'd, \\n \\n The reverend champion stood. At his control, \\n \\n Despair and anguish fled the struggling soul; \\n \\n {025} \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n\",\n \"At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n \\n Through torrid tracts with fainting steps they go, \\n\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\",\n \"And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"And since 'tis hard to combat, learns to fly! \\n \\n For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034]\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"Shoulder'd his crutch, and show'd how fields were won. \\n \\n Pleased with his guests, the good man learn'd to glow, \\n \\n And quite forgot their vices in their woe; \\n\",\n \"Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n\"\n ],\n [\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n\",\n \"Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied; \\n\",\n \"{009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"And since 'tis hard to combat, learns to fly! \\n \\n For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034]\",\n \"There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n\"\n ],\n [\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"{029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n \\n 'Twas certain he could write and cipher too:\",\n \"[Illustration: 0035] \\n \\n \\n Sweet was the sound, when oft, at evening's close, \\n \\n Up yonder hill the village murmur rose: \\n \\n There, as I pass'd with careless steps and slow,\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed,\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"{010} \\n \\n And all the village train, from labour free, \\n \\n Led up their sports beneath the spreading tree; \\n \\n \\n [Illustration: 0021] \\n \\n\",\n \"{009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \" Where village statesmen with looks profound...F. Tayler...........031 \\n \\n But the long pomp, the midnight masquerade....J. C. Horsley.......033 \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n\"\n ],\n [\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"[Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"While many a pastime circled in the shade, \\n \\n The young contending as the old survey'd; \\n \\n And many a gambol frolick'd o'er the ground, \\n \\n And sleights of art and feats of strength went round;\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"The noisy geese that gabbled o'er the pool, \\n \\n The playful children just let loose from school; \\n \\n {019} \\n \\n The watch-dog's voice that bay'd the whispering wind, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"The mingling notes came soften'd from below; \\n \\n The swain responsive as the milk-maid sung, \\n \\n The sober herd that low'd to meet their young; \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd;\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"Shoulder'd his crutch, and show'd how fields were won. \\n \\n Pleased with his guests, the good man learn'd to glow, \\n \\n And quite forgot their vices in their woe; \\n\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\"\n ],\n [\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n\",\n \"[Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"{009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n \\n Tumultuous grandeur crowds the blazing square, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"Those poisonous fields with rank luxuriance crown'd, \\n \\n Where the dark scorpion gathers death around; \\n \\n Where at each step the stranger fears to wake \\n \\n The rattling terrors of the vengeful snake; \\n \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n\",\n \"[Illustration: 0079] \\n \\n \\n Where crouching tigers wait their hapless prey, \\n \\n And savage men more murderous still than they; \\n \\n While oft in whirls the mad tornado flies,\"\n ],\n [\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n\",\n \"No more thy glassy brook reflects the day, \\n \\n But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012}\",\n \"The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed,\",\n \"{029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n \\n 'Twas certain he could write and cipher too:\",\n \" Where village statesmen with looks profound...F. Tayler...........031 \\n \\n But the long pomp, the midnight masquerade....J. C. Horsley.......033 \\n\",\n \"{009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"{010} \\n \\n And all the village train, from labour free, \\n \\n Led up their sports beneath the spreading tree; \\n \\n \\n [Illustration: 0021] \\n \\n\",\n \"I see the rural virtues leave the land. \\n \\n Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\"\n ],\n [\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth;\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"He drives his flock to pick the scanty blade, \\n \\n Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n\",\n \"Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n\",\n \"Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied; \\n\",\n \"{036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n \\n Through torrid tracts with fainting steps they go, \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest; \\n \\n That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n\",\n \"All but yon widow'd solitary thing, \\n \\n That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n\",\n \"Shoulder'd his crutch, and show'd how fields were won. \\n \\n Pleased with his guests, the good man learn'd to glow, \\n \\n And quite forgot their vices in their woe; \\n\"\n ],\n [\n \"Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n \\n [Illustration: 0075] \\n \\n\",\n \" Where the poor houseless female lies..........J. C. Horsley.......037 \\n \\n She left her wheel and robes of brown.........J. C. Horsley.......038 \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"Her modest looks the cottage might adorn, \\n \\n Sweet as the primrose peeps beneath the thorn; \\n \\n {039} \\n \\n Now lost to all; her friends, her virtue fled, \\n\",\n \"All but yon widow'd solitary thing, \\n \\n That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n \\n The sad historian of the pensive plain. \\n \\n {021} \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n\",\n \"And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n\",\n \"I see the rural virtues leave the land. \\n \\n Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n\"\n ],\n [\n \"Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n\",\n \"And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep. \\n\",\n \"Those poisonous fields with rank luxuriance crown'd, \\n \\n Where the dark scorpion gathers death around; \\n \\n Where at each step the stranger fears to wake \\n \\n The rattling terrors of the vengeful snake; \\n \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n \\n When idly first, ambitious of the town, \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n\",\n \"At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n \\n Through torrid tracts with fainting steps they go, \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd;\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\",\n \"And sorrow, guilt, and pain, by turns dismay'd, \\n \\n The reverend champion stood. At his control, \\n \\n Despair and anguish fled the struggling soul; \\n \\n {025} \\n\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n \\n {040} \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"All but yon widow'd solitary thing, \\n \\n That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\"\n ],\n [\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"{009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n\",\n \"Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose,\",\n \"[Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n\",\n \"[Illustration: 0079] \\n \\n \\n Where crouching tigers wait their hapless prey, \\n \\n And savage men more murderous still than they; \\n \\n While oft in whirls the mad tornado flies,\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"All but yon widow'd solitary thing, \\n \\n That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n\",\n \"No more thy glassy brook reflects the day, \\n \\n But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012}\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\"\n ],\n [\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year; \\n \\n {022} \\n \\n Remote from towns he ran his godly race, \\n\",\n \"{010} \\n \\n And all the village train, from labour free, \\n \\n Led up their sports beneath the spreading tree; \\n \\n \\n [Illustration: 0021] \\n \\n\",\n \"I see the rural virtues leave the land. \\n \\n Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n\",\n \"The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran: \\n \\n {026} \\n \\n E'en children follow'd with endearing wile, \\n\",\n \"Silent went next, neglectful of her charms, \\n \\n And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n\",\n \"And the loud laugh that spoke the vacant mind; \\n \\n \\n [Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"{029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n \\n 'Twas certain he could write and cipher too:\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"While many a pastime circled in the shade, \\n \\n The young contending as the old survey'd; \\n \\n And many a gambol frolick'd o'er the ground, \\n \\n And sleights of art and feats of strength went round;\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n\",\n \"To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n \\n The sad historian of the pensive plain. \\n \\n {021} \\n\",\n \"The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed,\"\n ],\n [\n \"Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n\",\n \"Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n\",\n \"Thy glades forlorn confess the tyrant's power. \\n \\n Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n\",\n \"Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n\",\n \"Those poisonous fields with rank luxuriance crown'd, \\n \\n Where the dark scorpion gathers death around; \\n \\n Where at each step the stranger fears to wake \\n \\n The rattling terrors of the vengeful snake; \\n \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n\",\n \"Their welfare pleased him, and their cares distress'd \\n \\n To them his heart, his love, his griefs, were given, \\n \\n But all his serious thoughts had rest in heaven. \\n \\n As some tall cliff, that lifts its awful form, \\n\",\n \"But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n\",\n \"Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign,\",\n \"The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n\",\n \"These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n\",\n \"[Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"And since 'tis hard to combat, learns to fly! \\n \\n For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034]\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n\"\n ]\n]"},"questions":{"kind":"list like","value":["What is the current state of the city's buildings?","Who has been taking over the land of the poor?","Where did the country girl \"lay her head\"?","Which river in Georgia was described in the poem?","Where did some residents of Auburn head to?","What can defy time according to the poem?","In the poem, while wealth accumulates, who decays?","Though very poor, one can still become what according to the poem?","What sweeps the labored mole away?","What is Auburn in the story?","What is the condition of Auburn?","What kinds of people are responsible for Auburn's ruination?","Where did the former residents of Auburn go?","What is wrong with the countries the former residents of Auburn moved to?","Why did the wealthy man take over Auburn?","What river does the story mention?","What, besides people, is suggested to have moved to foreign countries?","What can help the exiles from Auburn?","What industry is the story against?","What is the name of the village?","When did Spring arrive?","What is on top of the wall?","What is the current state of the village?","What has happened to the land that \"many poor supplied\"?","Where did the \"houseless\" country female go?","What is the \"horrid shore\"?","What Georgia river is mentioned?","Where did the occupants of the village go?","What is the general theme of this poem?"],"string":"[\n \"What is the current state of the city's buildings?\",\n \"Who has been taking over the land of the poor?\",\n \"Where did the country girl \\\"lay her head\\\"?\",\n \"Which river in Georgia was described in the poem?\",\n \"Where did some residents of Auburn head to?\",\n \"What can defy time according to the poem?\",\n \"In the poem, while wealth accumulates, who decays?\",\n \"Though very poor, one can still become what according to the poem?\",\n \"What sweeps the labored mole away?\",\n \"What is Auburn in the story?\",\n \"What is the condition of Auburn?\",\n \"What kinds of people are responsible for Auburn's ruination?\",\n \"Where did the former residents of Auburn go?\",\n \"What is wrong with the countries the former residents of Auburn moved to?\",\n \"Why did the wealthy man take over Auburn?\",\n \"What river does the story mention?\",\n \"What, besides people, is suggested to have moved to foreign countries?\",\n \"What can help the exiles from Auburn?\",\n \"What industry is the story against?\",\n \"What is the name of the village?\",\n \"When did Spring arrive?\",\n \"What is on top of the wall?\",\n \"What is the current state of the village?\",\n \"What has happened to the land that \\\"many poor supplied\\\"?\",\n \"Where did the \\\"houseless\\\" country female go?\",\n \"What is the \\\"horrid shore\\\"?\",\n \"What Georgia river is mentioned?\",\n \"Where did the occupants of the village go?\",\n \"What is the general theme of this poem?\"\n]"},"answers":{"kind":"list like","value":[["They are being left to ruin.","abandoned"],["The wealthy","The wealthy."],["Near her betrayer's door","Near her betrayer's door"],["Wild Altama","wild altama"],["Overseas or foreign lands","Overseas."],["self-dependent power","Self-dependent power."],["Men","Men"],["Very blest (blessed)","They can be blessed."],["The ocean","the ocean"],["A village","a village"],["It is abandoned and in disrepair","Abandoned."],["Rich city-dwellers","The wealthy"],["They moved out of the country","They have emigrated overseas."],["It is too hot and sunny","there are terrors there and a the climate is very hot"],["To have more space for his luxuries","Space for his wealth and possessions."],["The wild Atama","Altama."],["Poetry","The land"],["Poetry","poetry"],["Trade","trade"],["Sweet Auburn.","Auburn"],["Early.","earlier than anywhere else"],["Grass.","Grass overtops"],["It has been abandoned.","Abandoned by the residents."],["A wealthy man took it.","The man of wealth and pride"],["To the city.","The city."],["Immigration to a foreign land.","Blazing sun that dart a downway"],["The Altama (Altamaha).","Altama"],["They immigrated to America.","Emigrated oversea"],["A lament for the passing of a way of life.","Rural values versus luxury and corruption of the city."]],"string":"[\n [\n \"They are being left to ruin.\",\n \"abandoned\"\n ],\n [\n \"The wealthy\",\n \"The wealthy.\"\n ],\n [\n \"Near her betrayer's door\",\n \"Near her betrayer's door\"\n ],\n [\n \"Wild Altama\",\n \"wild altama\"\n ],\n [\n \"Overseas or foreign lands\",\n \"Overseas.\"\n ],\n [\n \"self-dependent power\",\n \"Self-dependent power.\"\n ],\n [\n \"Men\",\n \"Men\"\n ],\n [\n \"Very blest (blessed)\",\n \"They can be blessed.\"\n ],\n [\n \"The ocean\",\n \"the ocean\"\n ],\n [\n \"A village\",\n \"a village\"\n ],\n [\n \"It is abandoned and in disrepair\",\n \"Abandoned.\"\n ],\n [\n \"Rich city-dwellers\",\n \"The wealthy\"\n ],\n [\n \"They moved out of the country\",\n \"They have emigrated overseas.\"\n ],\n [\n \"It is too hot and sunny\",\n \"there are terrors there and a the climate is very hot\"\n ],\n [\n \"To have more space for his luxuries\",\n \"Space for his wealth and possessions.\"\n ],\n [\n \"The wild Atama\",\n \"Altama.\"\n ],\n [\n \"Poetry\",\n \"The land\"\n ],\n [\n \"Poetry\",\n \"poetry\"\n ],\n [\n \"Trade\",\n \"trade\"\n ],\n [\n \"Sweet Auburn.\",\n \"Auburn\"\n ],\n [\n \"Early.\",\n \"earlier than anywhere else\"\n ],\n [\n \"Grass.\",\n \"Grass overtops\"\n ],\n [\n \"It has been abandoned.\",\n \"Abandoned by the residents.\"\n ],\n [\n \"A wealthy man took it.\",\n \"The man of wealth and pride\"\n ],\n [\n \"To the city.\",\n \"The city.\"\n ],\n [\n \"Immigration to a foreign land.\",\n \"Blazing sun that dart a downway\"\n ],\n [\n \"The Altama (Altamaha).\",\n \"Altama\"\n ],\n [\n \"They immigrated to America.\",\n \"Emigrated oversea\"\n ],\n [\n \"A lament for the passing of a way of life.\",\n \"Rural values versus luxury and corruption of the city.\"\n ]\n]"},"document_id":{"kind":"string","value":"292febcd5a6d8b827564d5fa11ed81f2e82b3607"},"split":{"kind":"string","value":"test"}}},{"rowIdx":79,"cells":{"text":{"kind":"list like","value":[["\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\t\tMr. Joe Black. Mr. Joe who? Joe \n \t\tBlack. He attends our Board meet- \n \t\tint, he sleeps at Bill's house, re- \n \t\tsides in his office. Never leaves","\t\t\t JOE \n \t\tYes, Bill. \n \n \t\t\t PARRISH \n \t\tHow about giving a guy a break? \n \n \t\t\t JOE \n \t\tMake an exception? \n","\t\t\t ALLISON \n \t\tWhew, at last. Nice to meet you, \n \t\tMr. Black. \n \n \t\t\t QUINCE \n \t\t'Joe Black'. Won fifteen and lost","\t\t\t PARRISH (cont'd) \n \t\tI thought we had a deal. \n \n \t\t\t JOE \n \t\tI'm sorry, Bill -- \n \n \t\t\t PARRISH","\t\tYou think so? How do you know? \n \n \t\t\t JOE \n \t\tBecause that's the kind of man Bill \n \t\tParrish is. \n \n \tA moment. \n","\t\t\t JOE \n \t\tHello. I'm Joe Black. Nice to meet \n \t\tyou. \n \n \t\t\t COYLE \n \t\tYes sir, Mr. Black, a pleasure. \n","\tDrew regards Joe. \n \n \t\t\t DREW (cont'd) \n \t\tWho is Joe Black? \n \n \tParrish stares stoically into the middle distance as","\t\tThese things have a way of working \n \t\tout. \n \n \tJoe regards Parrish, waits until he has a sense that Parrish \n \thas accepted what Joe has said, then Joe continues: \n","\t\tHow long have I got? \n \n \t\t\t JOE \n \t\tYou're putting me on the spot, Bill. \n \n \tA moment. \n \n \t\t\t JOE (cont'd)","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\t\tMoreover, Agent Joe Black here -- \n \t\tof course that's not his real name \n \t\t-- smelled out your involvement, \n \t\tDrew. He developed evidence you \n \t\twere working both sides of the","\t\tAnd I won't tell anyone who you are. \n \n \t\t\t JOE \n \t\tSounds fair enough. \n \n \t\t\t PARRISH \n \t\tIt is a deal? \n","\t\t\t PARRISH (cont'd) \n \t\tIt's hard to let go, isn't it? \n \n \t\t\t JOE \n \t\tYes. \n \n \t\t\t PARRISH","\t\t\t JOE \n \t\tNo thank you, Bill. I can manage. \n \n \tJoe goes. \n \n \tINT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY \n","\t\there for? \n \n \tParrish suddenly looks very anxious, Joe stops. \n \n \t\t\t JOE (cont'd) \n \t\tYou seem uncomfortable, Bill. \n \n \t\t\t PARRISH","\t\tAnd - uh - I guess, 'goodnight'. \n \n \t\t\t JOE \n \t\tGood night to you, Bill. \n \n \tParrish gently closes the door. \n","\tBut Joe doesn't move. \n \n \t\t\t PARRISH \n \t\t\t(prompting) \n \t\tNow I'd like to be alone. \n \n \t\t\t JOE","\t\t\t(to the Board) \n \t\tWho I am, and my relationship to \n \t\tBill, will be divulged in our own \n \t\tgood time. \n \n \tJoe follows Parrish out of the room. \n","\t\tYou fill the bill, Bill. \n \n \t\t\t PARRISH \n \t\tI do? \n \t\t\t(a moment) \n \t\tHow long will you be staying? \n"],["\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \n \n \tThe place has cleared out now, the counterman busy bussing \n \ttables laden with dishes and cups, Susan and the Young Man","\t\t\t SUSAN (cont'd) \n \t\tWell, you've found one, Joe. \n \n \t\t\t JOE \n \t\tThe 'coffee shop' -- \n \n \t\t\t SUSAN","\tEXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY \n \n \tThe Young Man holds the door for Susan as they step out \n \tonto the street. \n","\tHis hand politely touches her elbow, courteously lending her \n \tsupport. \n \n \t\t\t SUSAN \n \t\tThe coffee shop -- \n \n \tThe Young Man nods, pleased with her recognition. \n","\t\t\t YOUNG MAN \n \t\tHow 'bout another cup of coffee? \n \n \t\t\t SUSAN \n \t\tI've got patients coming in -- \n \n \t\t\t YOUNG MAN","\t\tknew her. The man she met in the \n \t\tcoffee shop this morning. I - uh - \n \t\ttook him. \n \n \t\t\t PARRISH","\ton with her coat, she turns around, they kiss. The kiss \n \tlingers, Susan breaks away, reaches for the door, looks back \n \tlongingly at Joe and then she is gone, Joe closing the door \n \tsoftly after her. \n","\tSusan reaches out for Joe, they kiss, he is awkward but his \n \tvery awkwardness endearing. Susan pulls him closer, they \n \tlinger now, mouths on each other's, then separate. \n","\tHe looks back at Susan as the distance between them widens, \n \tnow he turns and walks on. \n \n \tON SUSAN \n \n \tShe looks around once more but the Young Man is still headed","\tSusan is staring at him now, he smiles, all open and \n \tvulnerable. \n \n \t\t\t SUSAN \n \t\tI've got to go -- \n \n \t\t\t YOUNG MAN","\tcounterman refills his cup and the Young Man ties into the \n \tbreakfast, eating it with such relish that Susan can't take \n \ther eyes off him. He senses her eyes, glances over, his","\t\t-- That was the place... and you were \n \t\tthe guy. \n \n \tJoe seems resigned now, the air gone out of him. \n \n \t\t\t SUSAN (cont'd)","\tParrish watches as Susan turns, disappears out the door. \n \n \tEXT. THIRD AVENUE, NEW YORK CITY - TWILIGHT \n \n \tJoe walking disconcertedly up the street, bumping shoulders","\tin the opposite direction, his back to her. She turns the \n \tcorner and continues on. \n \n \tON THE YOUNG MAN \n \n \tApproaching the corner, he looks back for Susan yet again,","\t\tin this big bad city and I not only \n \t\tfind a doctor, a beautiful woman as \n \t\twell. \n \n \tSusan looks into her coffee. \n","\t\t\t SUSAN \n \t\tWhat are your intentions? To make \n \t\tlittle dreams in coffee shops, turn \n \t\ta woman's head, and I don't mind","\t\tYes. Well...thank you, Joe. \n \n \tSusan turns to go, hesitates. \n \n \t\t\t JOE \n \t\tGood-bye, Susan. \n","\tSusan waves softly to him, heads down the hall, glances back \n \tonce to see Joe has not moved, is watching her depart. \n \n \tINT. PARRISH'S OFFICE - AFTERNOON \n","\t\tyou. Now sit and relax, get some- \n \t\tthing in that flat tummy of yours -- \n \n \tBut Parrish only pours coffee. \n \n \t\t\t SUSAN (cont'd)","\tin front of her, loose, smiling, disoriented and yet so \n \tappealing. They are riveted on each other, uneasy and yet \n \tclose. \n \n \t\t\t SUSAN (cont'd)"],["\theard something, he looks around, but no one is there. He \n \tcan't finish peeing, turns back to his bedroom. All beweild- \n \tered, Parrish looks around once more, climbs back into bed,","\tthe discomfort seems momentarily to have subsided. \n \n \tHe rises now, crosses to the bathroom. As he pees, a breeze \n \toutside the window, the wind again, but then the Voice comes \n \tup: \n","\t\tBill. Come on. The question. The \n \t\tquestion you've been asking yourself \n \t\twith increased regularity, at odd \n \t\tmoments, panting through the extra","\t\there for? \n \n \tParrish suddenly looks very anxious, Joe stops. \n \n \t\t\t JOE (cont'd) \n \t\tYou seem uncomfortable, Bill. \n \n \t\t\t PARRISH","\tthe fever of the celebration lost on him, within himself. \n \n \tJoe enters, Parrish looks up. \n \n \t\t\t JOE \n \t\t...We should think about getting \n \t\tstarted, Bill. \n","\tshould he not, what is happening? He looks out: absolute \n \tstillness and silence, CRICKETS chirp down by the river, a \n \tlight FLICKERS from a shadboat, Parrish closes his eyes but","\tclutches at his shoulder and arm, the pain has violently \n \tseized the upper part of his body. He breaks out in a sweat, \n \this pallor now waxen as the Voice repeats itself: \n","\tyet surrounds him. Suddenly Parrish's symptoms sharply \n \tintensify, he is sinking to the floor but somehow grabs a \n \tcorner of the desk, holds on with one hand, with the other","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\thallucination but which he is certain is not. Parrish is \n \tpossessed. He angles his face in every direction, arbi- \n \ttrarily chooses one and now embarrassedly, unconsciously,","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\talone now, eyes on each other's. \n \n \t\t\t JOE \n \t\tHello, Bill. \n \n \t\t\t PARRISH \n \t\t\t(carefully)","\tman of maturity yet who exudes a glow of enthusiasm. \n \n \tAlthough asleep, there is an uncommon restlessness to him. \n \tParrish grips his upper arm as if in pain. Now the severity","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\tParrish is shocked, stunned, terrified at the word, by what \n \the has comprehended. He surveys the Young Man who, at this \n \tmoment, actually seems bewildered by his effect. \n","\tof him, his knuckles white as Parrish regards Drew, but still \n \tdoes not answer. \n \n \t\t\t DREW (cont'd) \n \t\tThe lack of response, Bill, is not","\tof the pain wakes him, he squeezes his arm. The wind comes \n \tup, through the wind a VOICE is heard distantly, or is it the \n \twind itself: \n","\tDown below, Susan, in a pained reflex, again turns and looks \n \tup towards the hill. There is nobody there. She hesitates, \n \tnow glides away from the party, her step quickens as she","\t\tfeeling in my knees -- \n \n \t\t\t SUSAN \n \t\tAnd is your heart beating strangely? \n \n \t\t\t JOE \n \t\tFaster. And I want the scent from","\tpowering feeling that compels her to turn and see, at a \n \tdistance, Parrish and Joe walking away up the meadow. Some- \n \tthing about the sight saddens and at the same time frightens"],["\tAllison bursts into tears. \n \n \t\t\t ALLISON (cont'd) \n \t\t\t(to Quince) \n \t\tDid you hear that? \n","\tShe bursts into tears all over again. \n \n \t\t\t QUINCE \n \t\tBut he does give a shit. Don't you, \n \t\tBill? \n \n \t\t\t PARRISH","\t\tInside. And I was the fool who made \n \t\tit all happen. Oh God, what do I do? \n \n \tJoe regards Quince. \n \n \t\t\t JOE","\t\tcompany, but that you are relying on \n \t\thim to make them for you. \n \n \tQuince flinches at these words, his hands clasped in front","\tQuince falls silent, aquiver with this reality. \n \n \t\t\t QUINCE \n \t\tI'm going to put a stop to this! \n \n \t\t\t DREW","\tAfter a moment. \n \n \t\t\t PARRISH \n \t\tCome in. \n \n \tQuince appears, flushed with excitement. \n \n \t\t\t QUINCE","\tcornered Drew, out of earshot of the others. \n \n \t\t\t QUINCE \n \t\tWhat have you done? You've gotten \n \t\tthe old man fired! \n","\tQuince's head sinks into his hands. \n \n \t\t\t DREW (cont'd) \n \t\t\t(to the Board) \n \t\tA motion has been brought before","\t\t\t QUINCE \n \t\tWhat do you do that for? \n \n \t\t\t AMBROSE \n \t\tWell sir, it's 9:30 in the morning. \n","\t\t\t QUINCE \n \t\tThat's what he said. \n \n \tQuince, having dispensed his information, looks proudly \n \taround at the Board members. They are stunned, Sloane in","\tAn awkward pause. Quince chooses to fill the silence. \n \n \t\t\t QUINCE \n \t\tI love little girls -- \n \n \tAllison elbows him. \n \n \t\t\t PARRISH","\t\tI know. Gum up the works. \n \n \tParrish is about to make some reassuring comment to Quince \n \twhen the Voice suddenly intrudes: \n \n \t\t\t VOICE (V.O.)","\t\t\t DREW \n \t\tHe said that? \n \n \t\t\t QUINCE \n \t\tWell, you've got him by the short- \n \t\thairs. \n","\tQuince comes running up now. \n \n \t\t\t QUINCE \n \t\tHi, Bill -- \n \n \t\t\t PARRISH \n \t\tGood morning, Quince. \n","\t\t\t QUINCE \n \t\tHe was interested. \n \n \t\t\t DREW \n \t\t\t(prompting) \n \t\t-- But he was concerned about the \n \t\ttiming? \n","\t\t\t(to Quince) \n \t\tWake up and smell the thorns. \n \n \tDrew joins the employee as Quince slumps against the wall. \n","\tINT. HALLWAY, PARRISH COMMUNICATIONS - DAY \n \n \tThe Board meeting has broken up, clusters of members have \n \tlingered, exchanging post-mortems. And enraged Quince has","\tJoe watches as Quince dabs at Allison's tears with a napkin. \n \n \t\t\t QUINCE (cont'd) \n \t\tFeel better? \n \n \t\t\t ALLISON","\tQuince puts a reassuring arm around Allison, she seems to \n \trelax now, Joe has been a keen observer of what has trans- \n \tpired between husband and wife, between man and woman, a","\t\tConfused, huh? About what? \n \n \t\t\t JOE \n \t\tLove. \n \n \t\t\t QUINCE \n \t\t'Love'? Oh, man, I've got troubles"],["\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \n \n \tThe place has cleared out now, the counterman busy bussing \n \ttables laden with dishes and cups, Susan and the Young Man","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\t\tAnd I want to get into my apartment \n \t\tand go to work. Please, what do you \n \t\tsay, another cup of coffee? \n \n \tTwo pots are warming behind the counter, he reaches over and","\tvealing himself to be the Young Man seen previously in the \n \tcoffee shop, but there is a change; he seems odd, off- \n \tcenter, not handsome but terrifyingly beautiful. \n \n \t\t\t YOUNG MAN","\tJoe watches her, now his eyes close. Easter exhales \n \traspingly, falls still. The monitors flatline. A beeping \n \talarm sound somewhere down the hall. \n","\tThe busy medical community at 68th Street and New York Avenue. \n \n \tINT. CORINTH COFFEE SHOP, NEW YORK AVENUE - DAY \n","\t\t-- That was the place... and you were \n \t\tthe guy. \n \n \tJoe seems resigned now, the air gone out of him. \n \n \t\t\t SUSAN (cont'd)","\t\tMr. Joe Black. Mr. Joe who? Joe \n \t\tBlack. He attends our Board meet- \n \t\tint, he sleeps at Bill's house, re- \n \t\tsides in his office. Never leaves","\t\t\t JOE \n \t\tNo thank you, Bill. I can manage. \n \n \tJoe goes. \n \n \tINT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY \n","\tincluding Quince. Everyone sits when Parrish does but Joe, \n \tright at home, spots a tray of refreshments: coffee, pas- \n \ttries, he heads for them. \n \n \t\t\t PARRISH","\t\tknew her. The man she met in the \n \t\tcoffee shop this morning. I - uh - \n \t\ttook him. \n \n \t\t\t PARRISH","\tcounterman refills his cup and the Young Man ties into the \n \tbreakfast, eating it with such relish that Susan can't take \n \ther eyes off him. He senses her eyes, glances over, his","\t\tcream. Me, too... \n \n \tThey smile at each other, fix up their coffee. \n \n \tEXT. PARRISH COMMUNICATIONS, NEW YORK CITY - DAY \n","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\t\t\t SUSAN (cont'd) \n \t\tWell, you've found one, Joe. \n \n \t\t\t JOE \n \t\tThe 'coffee shop' -- \n \n \t\t\t SUSAN","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\talone now, eyes on each other's. \n \n \t\t\t JOE \n \t\tHello, Bill. \n \n \t\t\t PARRISH \n \t\t\t(carefully)","\tShe does, her pained grimace melts into a peaceful smile. \n \n \t\t\t JOE (cont'd) \n \t\tSoon. \n \n \tHe takes his hand away, and the Orderly wheels Easter off. \n","\this body arcs through the air. \n \n \tAnother sickening THUD as it lands, the Young Man lies \n \tcrumpled, still. \n \n \t\t\t\t\t\tCUT TO: \n","\t\t\t PARRISH (cont'd) \n \t\tIt's... it's... over. \n \n \tA long silence. Parrish and the Young Man take each other in,"],["\t\tHappy Birthday, Bill. \n \n \t\t\t PARRISH \n \t\tThank you. \n \n \tThey watch the guests gathering to view the fireworks. \n \tJoe's gaze lingers. \n","\tDrew enters with Quince, Quince nods, excusing himself, and \n \tcloses the door behind him. \n \n \t\t\t DREW \n \t\tHi, Bill, happy birthday -- \n \n \tA moment.","\tthe fever of the celebration lost on him, within himself. \n \n \tJoe enters, Parrish looks up. \n \n \t\t\t JOE \n \t\t...We should think about getting \n \t\tstarted, Bill. \n","\tThe preparations are building to a climax, all the elaborate \n \tplans coming to fruition. \n \n \t\t\t PARRISH \n \t\tYou know, darling, this is going to \n \t\tbe a wonderful party.","\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\tout the window again, the party preparations in full swing, \n \tcolored lights are tested, they flicker on and off. \n \n \tEXT. LAWNS, COUNTRY ESTATE - AFTERNOON \n","\tDown below, Susan, in a pained reflex, again turns and looks \n \tup towards the hill. There is nobody there. She hesitates, \n \tnow glides away from the party, her step quickens as she","\ther, she turns back to the party, dazed, tracing on the \n \tfireworks. \n \n \tANOTHER ANGLE \n \n \tUp the hill Parrish's step slows, Joe slowing with him. \n","\tJoe makes his way down the path from Parrish's study, a \n \tweight on his shoulders, his step measured, within himself \n \tuntil he is hit by the lights and laughter and MUSIC of the","\tthen they flutter open, he glances up at the ceiling and \n \tfinally, exhausted, falls back asleep. \n \n \tEXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING \n","\tThe door flies open, an anxious Allison appears. \n \n \t\t\t ALLISON \n \t\tDaddy! We've been looking all over \n \t\tfor you - this is your party - what","\t\tBontecou Day. Going to close \n \t\twith Big John -- Look at you, Bill, \n \t\tall cool as a cat and over at \n \t\tBontecou's, I'll bet he's shitting","\t\t\t(to the Board) \n \t\tWho I am, and my relationship to \n \t\tBill, will be divulged in our own \n \t\tgood time. \n \n \tJoe follows Parrish out of the room. \n","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\tShe bursts into tears all over again. \n \n \t\t\t QUINCE \n \t\tBut he does give a shit. Don't you, \n \t\tBill? \n \n \t\t\t PARRISH","\tParrish gazes at the going-on outside which are increasing \n \tin intensity. \n \n \t\t\t PARRISH \n \t\t\t(unconsciously) \n \t\tI hate parties -- \n","\tQuince comes running up now. \n \n \t\t\t QUINCE \n \t\tHi, Bill -- \n \n \t\t\t PARRISH \n \t\tGood morning, Quince. \n","\tHe turns back into the foyer, looks up, Parrish is on the \n \tbalcony, it is clear he has observed Joe and Susan. \n \n \t\t\t JOE \n \t\tHello, Bill. \n","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\tfidgets. Drew milks the moment. \n \n \t\t\t DREW (cont'D) \n \t\tIt's no surprise if I suggest to you \n \t\tthat the Bill Parrish we know is not"],["\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tYou're the poison, Drew. You've \n \t\toperated behind-the-scenes to suborn \n \t\tthe trust of a man who has stamped \n \t\tyou with his imprimatur of class and","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\tDrew is provoked by the response, but remains polite: \n \n \t\t\t DREW \n \t\tYou and Bill old friends? \n \n \tParrish jumps in: \n \n \t\t\t PARRISH","\tDrew indicates to the Board's Stenographer to arrange Joe's \n \trefreshments. \n \n \t\t\t PARRISH \n \t\t\t(quietly, indicating a \n \t\t\t chair)","\t\tYes, you are to understand that, and \n \t\tnow may I ask you a question? \n \n \t\t\t DREW \n \t\tCertainly, Bill. \n \n \t\t\t PARRISH","\t\tI told Drew and the Board that Bill \n \t\tdepended on you. Drew led me on, \n \t\tbut I had no business telling him \n \t\tin the first place. He was setting","\tfidgets. Drew milks the moment. \n \n \t\t\t DREW (cont'D) \n \t\tIt's no surprise if I suggest to you \n \t\tthat the Bill Parrish we know is not","\t\tnow, Drew. Resignation accepted. \n \t\tMoreover, I propose a motion to re- \n \t\tconfirm William Parrish as Chairman \n \t\tof the Board of Parrish Communica-","\t\tit. As your chairman, I urge you to \n \t\tagree this company is not for sale. \n \n \tA silence, everybody shifts, the Board is in shock, Drew is \n \ttrying to maintain his balance. \n","\tDrew opens a door, a conference room, a circle of top exec- \n \tutives, now stepping out from the group is a huge, white- \n \thaired man, JOHN BONTECOU, 55. \n","\t\t\t DREW (cont'd) \n \t\tThe feeling of the Board is this: we \n \t\tfear Mr. Black is not only influenc- \n \t\ting your decisions in regard to this","\t\tMoreover, Agent Joe Black here -- \n \t\tof course that's not his real name \n \t\t-- smelled out your involvement, \n \t\tDrew. He developed evidence you \n \t\twere working both sides of the","\t\tnow because the guy who reports to \n \t\tme is threatening me. \n \n \t\t\t DREW \n \t\tI'm just giving you the truth. There \n \t\twas a time when William Parrish liked","\t\the's his house guest. And you know \n \t\thow he hates house guests. What is \n \t\tgoing on? \n \n \tDrew, whose eyes have also been on Joe across the room, turns \n \tback.","\tINT. EXECUTIVE OFFICES, PARRISH COMMUNICATIONS - DAY \n \n \tParrish, Drew beside him, proceeds through a high tech, but","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\t\tto Bill Parrish? And most important, \n \t\twhat is behind his influence on our \n \t\tChairman? \n \n \t\t\t SLOANE \n \t\tYou're building this thing up too","\t\tWho is this man? He's giving \n \t\tubiquitous a bad name. \n \n \tA moment. \n \n \t\t\t PARRISH \n \t\tYou're competitive soul, Drew.","\t\t\t(to the Board) \n \t\tSorry. I know it looks like I'm \n \t\treversing my field. \n \n \t\t\t DREW \n \t\tThat's your privilege, Bill. But"],["\t\t\t PARRISH (cont'd) \n \t\tYou're Death? \n \n \t\t\t YOUNG MAN \n \t\tYes. \n \n \t\t\t PARRISH \n \t\tDeath!","\t\t\t YOUNG MAN (cont'd) \n \t\t\t(gently) \n \t\tWho am I? \n \n \t\t\t PARRISH \n \t\t...Death. \n","\t\t\t YOUNG MAN \n \t\tThat's me. \n \n \t\t\t PARRISH \n \t\tYou're not Death. You're just a kid \n \t\tin a jacket and a pair of pants.","\t\tYou're looking at a man who tonight \n \t\tis not about to walk through the \n \t\tValley of the Shadow of Death, he's \n \t\tgalloping into it. And the same time,","\t\tMr. Joe Black. Mr. Joe who? Joe \n \t\tBlack. He attends our Board meet- \n \t\tint, he sleeps at Bill's house, re- \n \t\tsides in his office. Never leaves","\this body arcs through the air. \n \n \tAnother sickening THUD as it lands, the Young Man lies \n \tcrumpled, still. \n \n \t\t\t\t\t\tCUT TO: \n","\t\tSusan went, in whatever way she did, \n \t\tfor that poor sonofabitch whose body \n \t\tyou took, and everything else since \n \t\thas been aftermath. You say you love","\tclutches at his shoulder and arm, the pain has violently \n \tseized the upper part of his body. He breaks out in a sweat, \n \this pallor now waxen as the Voice repeats itself: \n","\t\t\t ALLISON \n \t\tWhew, at last. Nice to meet you, \n \t\tMr. Black. \n \n \t\t\t QUINCE \n \t\t'Joe Black'. Won fifteen and lost","\thallucination but which he is certain is not. Parrish is \n \tpossessed. He angles his face in every direction, arbi- \n \ttrarily chooses one and now embarrassedly, unconsciously,","\tthe discomfort seems momentarily to have subsided. \n \n \tHe rises now, crosses to the bathroom. As he pees, a breeze \n \toutside the window, the wind again, but then the Voice comes \n \tup: \n","\tJoe watches her, now his eyes close. Easter exhales \n \traspingly, falls still. The monitors flatline. A beeping \n \talarm sound somewhere down the hall. \n","\tHe is heading straight for her, she tries to make him out, \n \tseems to recognize him, starts to walk towards him as if \n \tpulled by a magnet. Now she stops again. It is a man, he","\t\tforgot, my daughter's fallen in \n \t\tlove with Death. \n \n \tAnother moment. \n \n \t\t\t JOE \n \t\t-- And I'm in love with your \n \t\tdaughter.","\t\t\t PARRISH \n \t\t...Am I going to die? \n \n \tThe figure who is the Voice takes a step forward now, no \n \tlonger obscured by the glass he comes into the light, re-","\tman of maturity yet who exudes a glow of enthusiasm. \n \n \tAlthough asleep, there is an uncommon restlessness to him. \n \tParrish grips his upper arm as if in pain. Now the severity","\tDown below, Susan, in a pained reflex, again turns and looks \n \tup towards the hill. There is nobody there. She hesitates, \n \tnow glides away from the party, her step quickens as she","\t\tBut you're not. You're somewhere \n \t\telse. \n \t\t\t(a moment) \n \t\tYou're someone else -- \n \n \tJoe is struggling with a response, finally, inevitably, he","\tof the pain wakes him, he squeezes his arm. The wind comes \n \tup, through the wind a VOICE is heard distantly, or is it the \n \twind itself: \n","\tDrew regards Joe. \n \n \t\t\t DREW (cont'd) \n \t\tWho is Joe Black? \n \n \tParrish stares stoically into the middle distance as"],["\tSusan reaches out for Joe, they kiss, he is awkward but his \n \tvery awkwardness endearing. Susan pulls him closer, they \n \tlinger now, mouths on each other's, then separate. \n","\tSusan builds. Joe has found himself in an unexplored land \n \tof feeling and passion, he loves what is happening and yet \n \tat the same time, is terrified by it. He feels himself being","\tAt the kiss's conclusion Susan suddenly notices Joe is \n \tpresent and has been watching. She is shocked, embarrassed, \n \tpleased, conflicted, an instant and wide spectrum of emotions. \n","\tJoe is locked on Susan, it is as if there is nobody else in the \n \troom. \n \n \t\t\t JOE \n \t\tYes... \n \n \t\t\t SUSAN","\t\tYes. Well...thank you, Joe. \n \n \tSusan turns to go, hesitates. \n \n \t\t\t JOE \n \t\tGood-bye, Susan. \n","\t\tto me. Ever since Joe showed. It's \n \t\tlike he dropped from the clouds... \n \n \tDrew enters. He nuzzles Susan's neck, out of the corner of","\t\t\t JOE (cont'd) \n \t\tAnd you don't even have to say a \n \t\tword. \n \n \tTheir faces inches from each other's. \n \n \t\t\t SUSAN","\t\t\t SUSAN \n \t\tThen why are you here, Joe? \n \n \t\t\t JOE \n \t\tI came to see you. \n \n \t\t\t SUSAN","\tNow Susan, close to Joe, leans closer, her nose in Joe's \n \tneck. Joe holds himself very still. \n \n \t\t\t SUSAN (cont'd) \n \t\tI like your smell, too. \n","\t\t\t SUSAN \n \t\tIt gets worse. \n \n \t\t\t JOE \n \t\tNo worse than it gets for me. I'm \n \t\tin love with a woman whom I don't","\t\t\t JOE (cont'd) \n \t\tMay I take your coat? \n \n \tShe doesn't answer, starts to take off the coat herself, Joe \n \tcomes around her to help, Susan senses him breathing in the","\t\t\t SUSAN \n \t\tThat felt like a goodbye. \n \n \tJoe's silence is heavy. \n \n \t\t\t SUSAN (cont'd)","\tShe gets up, closes the door, sits back down again next to \n \tJoe. A warm, awkward silence, they move closer to each \n \tother, now they fall into a foreplay which Susan recognizes","\ton with her coat, she turns around, they kiss. The kiss \n \tlingers, Susan breaks away, reaches for the door, looks back \n \tlongingly at Joe and then she is gone, Joe closing the door \n \tsoftly after her. \n","\t\tJoe, I'm with Drew. \n \n \t\t\t JOE \n \t\t\t(sincerely) \n \t\tNot now. \n \n \tSusan smiles gently. \n","\t\ttell you -- that with Joe, you are \n \t\ton very, very dangerous ground. \n \n \tSusan doesn't answer for a moment. \n \n \t\t\t SUSAN \n \t\tI love him.","\tHer question makes Joe, almost involuntarily, smile. Susan \n \ttakes the opportunity to step back from him. The SOUND of \n \tsomeone at the door, it is Parrish, Susan turns, comprehends","\tHe holds on tight to her. They are desperately entwined \n \tuntil finally she releases him. \n \n \t\t\t JOE \n \t\tSusan -- \n \n \t\t\t SUSAN","\t\tJoe? \n \n \tThe apprehensive expression on Joe's face fades away. \n \n \t\t\t JOE \n \t\tYes? \n \n \t\t\t SUSAN","\tJoe is silent for a moment, cogitating. \n \n \t\t\t JOE \n \t\tSusan wants to come. She says she's \n \t\tin love with me. \n"],["\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tthe business he built with his own \n \t\thands and his own head is being \n \t\tcommandeered by a couple of cheap \n \t\tpirates. And, oh yes, I almost","\t\t\t(to the Board) \n \t\tWho I am, and my relationship to \n \t\tBill, will be divulged in our own \n \t\tgood time. \n \n \tJoe follows Parrish out of the room. \n","\t\tcompany, but that you are relying on \n \t\thim to make them for you. \n \n \tQuince flinches at these words, his hands clasped in front","\t\tsave face. Tell him Bill wants it \n \t\tunderstood in the business community \n \t\the has merely moved upstairs in his \n \t\town company, and the executive \n \t\tcontinuity is unbroken. Tonight's","\t\tYou think so? How do you know? \n \n \t\t\t JOE \n \t\tBecause that's the kind of man Bill \n \t\tParrish is. \n \n \tA moment. \n","\t\tYes, you are to understand that, and \n \t\tnow may I ask you a question? \n \n \t\t\t DREW \n \t\tCertainly, Bill. \n \n \t\t\t PARRISH","\t\tI told Drew and the Board that Bill \n \t\tdepended on you. Drew led me on, \n \t\tbut I had no business telling him \n \t\tin the first place. He was setting","\t\tThis is damn big of Bill, I also \n \t\tthink it's smart. \n \n \t\t\t QUINCE \n \t\tHe had no choice. You're a \n \t\tformidable adversary. \n","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\t\t\t PARRISH (cont'd) \n \t\tI thought we had a deal. \n \n \t\t\t JOE \n \t\tI'm sorry, Bill -- \n \n \t\t\t PARRISH","\t\tJohn Bontecou all along. We had \n \t\ta game plan -- acquire Parrish \n \t\tCommunications then break it apart \n \t\tand peddle it piece-by-piece to the","\t\tHow did this all come about? Crisis \n \t\t-- Bill Parrish, crisis -- his com- \n \t\tpany, crisis for us. I came about \n \t\twith the arrival on the scene of --","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\t\ttions as well as a rejection of the \n \t\tmerger with Bontecou International. \n \t\tHow say you, Board? \n \n \tA chorus of thunderous \"Yes\"es resounds through the","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\t\tWhy yes, Bill, I was saying to \n \t\tQuince -- \n \n \t\t\t PARRISH \n \t\tNo no, not you. \n \n \t\t\t SUSAN","\tQuince comes running up now. \n \n \t\t\t QUINCE \n \t\tHi, Bill -- \n \n \t\t\t PARRISH \n \t\tGood morning, Quince. \n","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\t\tI am talking about. \n \n \t\t\t JOE \n \t\tThose were my words, Bill. \n \n \t\t\t PARRISH \n \t\tWell, they're mine now. \n"],["\t\t\t YOUNG MAN \n \t\t\t(to Allison) \n \t\t'...How nice to meet you.' \n \n \t\t\t PARRISH \n \t\tOh, I'm sorry. This is my daughter,","\t\tWhy yes, Bill, I was saying to \n \t\tQuince -- \n \n \t\t\t PARRISH \n \t\tNo no, not you. \n \n \t\t\t SUSAN","\t\teat dinner with us. \n \n \t\t\t YOUNG MAN \n \t\tBill, I am eating dinner with you. \n \t\tAnd your family. And that's what","\tShe bursts into tears all over again. \n \n \t\t\t QUINCE \n \t\tBut he does give a shit. Don't you, \n \t\tBill? \n \n \t\t\t PARRISH","\t\tMaybe it's because you found out \n \t\tI'm Bill Parrish's daughter. \n \n \t\t\t PARRISH \n \t\tCut it out, Susan. \n \t\t\t(to Joe)","\tdinner being noted, and the guest himself carefully survey- \n \ted. Finally, Allison breaks the ice: \n \n \t\t\t ALLISON (cont'd) \n \t\t\t(to the Young Man)","\t\t\t YOUNG MAN \n \t\tDamn right. Looking for her right \n \t\tnow. Who knows? You might be her. \n \n \tSusan laughs. \n","\t\tHappy Birthday, Bill. \n \n \t\t\t PARRISH \n \t\tThank you. \n \n \tThey watch the guests gathering to view the fireworks. \n \tJoe's gaze lingers. \n","\tHe looks back at Susan as the distance between them widens, \n \tnow he turns and walks on. \n \n \tON SUSAN \n \n \tShe looks around once more but the Young Man is still headed","\tQuince comes running up now. \n \n \t\t\t QUINCE \n \t\tHi, Bill -- \n \n \t\t\t PARRISH \n \t\tGood morning, Quince. \n","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\tLuisa. The Young Man interjects: \n \n \t\t\t YOUNG MAN \n \t\t\t(to Luisa) \n \t\tYes. \n \t\t\t(a polite afterthought)","\tParrish ignores her at first, finally he looks at Luisa then \n \tat the Young Man, then once more at both of them as if to \n \tverify the Young Man's presence has been acknowledged by","\t\t\t YOUNG MAN (cont'd) \n \t\tI'm sorry, you mind my saying that? \n \n \t\t\t SUSAN \n \t\tNot at all. \n","\tSusan slowly realizes this is the Young Man. She is shaken, \n \ta sudden intake of breath. \n \n \t\t\t YOUNG MAN \n \t\tHey, you all right? \n","\t\t\t SUSAN \n \t\tYou and 'Honey'? \n \n \t\t\t YOUNG MAN \n \t\tMy kid sister. She just broke up \n \t\twith her boyfriend and she's","\t\t\t SUSAN \n \t\tI could be her. \n \n \t\t\t YOUNG MAN \n \t\t'Her'. \n \n \tA moment. \n \n \t\t\t SUSAN","\tShe falls silent now, overcome by the last moments' \n \trevelations. The Young Man senses her discomfort which \n \tis on the edge of pain. \n \n \t\t\t YOUNG MAN","\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tBut we've got time. \n \n \tShe searches the Young Man's eyes, his face is open, \n \tcompletely vulnerable, waiting for her response. A long \n \tsilence, the words come out haltingly:"],["\t\t\t PARRISH (cont'd) \n \t\tYou're Death? \n \n \t\t\t YOUNG MAN \n \t\tYes. \n \n \t\t\t PARRISH \n \t\tDeath!","\tMOVE THROUGH the doorway to reveal a master bedroom furnish- \n \ted with exquisite simplicity, revelatory of its sleeping \n \toccupant, WILLIAM PARRISH, 64, a warm but commanding face, a","\t\tMr. Joe Black. Mr. Joe who? Joe \n \t\tBlack. He attends our Board meet- \n \t\tint, he sleeps at Bill's house, re- \n \t\tsides in his office. Never leaves","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\tThe silence is broken by a KNOCK on the door. Parrish, out \n \tof politeness to Joe, does not respond. \n \n \t\t\t QUINCE (O.S.) \n \t\tBill --? \n","\tQuince comes running up now. \n \n \t\t\t QUINCE \n \t\tHi, Bill -- \n \n \t\t\t PARRISH \n \t\tGood morning, Quince. \n","\t\tIt will come to us. \n \n \tINT. FOYER, PARRISH TOWNHOUSE (LATER) - DAY \n \n \tJoe and Susan are at the front door, he has helped her","\t\tYou're looking at a man who tonight \n \t\tis not about to walk through the \n \t\tValley of the Shadow of Death, he's \n \t\tgalloping into it. And the same time,","\t\t\t YOUNG MAN (cont'd) \n \t\t\t(gently) \n \t\tWho am I? \n \n \t\t\t PARRISH \n \t\t...Death. \n","\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tBill. Come on. The question. The \n \t\tquestion you've been asking yourself \n \t\twith increased regularity, at odd \n \t\tmoments, panting through the extra","\t\there for? \n \n \tParrish suddenly looks very anxious, Joe stops. \n \n \t\t\t JOE (cont'd) \n \t\tYou seem uncomfortable, Bill. \n \n \t\t\t PARRISH","\theard something, he looks around, but no one is there. He \n \tcan't finish peeing, turns back to his bedroom. All beweild- \n \tered, Parrish looks around once more, climbs back into bed,","\tDrew enters with Quince, Quince nods, excusing himself, and \n \tcloses the door behind him. \n \n \t\t\t DREW \n \t\tHi, Bill, happy birthday -- \n \n \tA moment.","\tthe fever of the celebration lost on him, within himself. \n \n \tJoe enters, Parrish looks up. \n \n \t\t\t JOE \n \t\t...We should think about getting \n \t\tstarted, Bill. \n","\tHe starts to step out. \n \n \t\t\t QUINCE \n \t\tCome in, Joe -- I want to thank you \n \t\t-- okay, Bill? \n \n \t\t\t PARRISH","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\t\t\t ALLISON \n \t\tWhew, at last. Nice to meet you, \n \t\tMr. Black. \n \n \t\t\t QUINCE \n \t\t'Joe Black'. Won fifteen and lost","\tAfter a moment. \n \n \t\t\t PARRISH \n \t\tCome in. \n \n \tQuince appears, flushed with excitement. \n \n \t\t\t QUINCE"],["\t\t\t PARRISH (cont'd) \n \t\tYou're Death? \n \n \t\t\t YOUNG MAN \n \t\tYes. \n \n \t\t\t PARRISH \n \t\tDeath!","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\t\t\t YOUNG MAN (cont'd) \n \t\t\t(gently) \n \t\tWho am I? \n \n \t\t\t PARRISH \n \t\t...Death. \n","\t\tMr. Joe Black. Mr. Joe who? Joe \n \t\tBlack. He attends our Board meet- \n \t\tint, he sleeps at Bill's house, re- \n \t\tsides in his office. Never leaves","\tDrew enters with Quince, Quince nods, excusing himself, and \n \tcloses the door behind him. \n \n \t\t\t DREW \n \t\tHi, Bill, happy birthday -- \n \n \tA moment.","\t\tWhy yes, Bill, I was saying to \n \t\tQuince -- \n \n \t\t\t PARRISH \n \t\tNo no, not you. \n \n \t\t\t SUSAN","\t\t\t(to the Board) \n \t\tWho I am, and my relationship to \n \t\tBill, will be divulged in our own \n \t\tgood time. \n \n \tJoe follows Parrish out of the room. \n","\tThe silence is broken by a KNOCK on the door. Parrish, out \n \tof politeness to Joe, does not respond. \n \n \t\t\t QUINCE (O.S.) \n \t\tBill --? \n","\t\t\t ALLISON \n \t\tWhew, at last. Nice to meet you, \n \t\tMr. Black. \n \n \t\t\t QUINCE \n \t\t'Joe Black'. Won fifteen and lost","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\tQuince comes running up now. \n \n \t\t\t QUINCE \n \t\tHi, Bill -- \n \n \t\t\t PARRISH \n \t\tGood morning, Quince. \n","\tthe fever of the celebration lost on him, within himself. \n \n \tJoe enters, Parrish looks up. \n \n \t\t\t JOE \n \t\t...We should think about getting \n \t\tstarted, Bill. \n","\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\t\there for? \n \n \tParrish suddenly looks very anxious, Joe stops. \n \n \t\t\t JOE (cont'd) \n \t\tYou seem uncomfortable, Bill. \n \n \t\t\t PARRISH","\tMOVE THROUGH the doorway to reveal a master bedroom furnish- \n \ted with exquisite simplicity, revelatory of its sleeping \n \toccupant, WILLIAM PARRISH, 64, a warm but commanding face, a","\t\tYou're looking at a man who tonight \n \t\tis not about to walk through the \n \t\tValley of the Shadow of Death, he's \n \t\tgalloping into it. And the same time,","\t\tYes, you are to understand that, and \n \t\tnow may I ask you a question? \n \n \t\t\t DREW \n \t\tCertainly, Bill. \n \n \t\t\t PARRISH","\tof him, his knuckles white as Parrish regards Drew, but still \n \tdoes not answer. \n \n \t\t\t DREW (cont'd) \n \t\tThe lack of response, Bill, is not","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n"],["\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tYou think so? How do you know? \n \n \t\t\t JOE \n \t\tBecause that's the kind of man Bill \n \t\tParrish is. \n \n \tA moment. \n","\t\tThis is damn big of Bill, I also \n \t\tthink it's smart. \n \n \t\t\t QUINCE \n \t\tHe had no choice. You're a \n \t\tformidable adversary. \n","\t\tYou fill the bill, Bill. \n \n \t\t\t PARRISH \n \t\tI do? \n \t\t\t(a moment) \n \t\tHow long will you be staying? \n","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\t\tthat this was a contest and he's \n \t\tlost. The race is to the swift, \n \t\tbut could Drew summon a modicum \n \t\tof understanding and allow Bill to","\t\t\t PARRISH (cont'd) \n \t\tI thought we had a deal. \n \n \t\t\t JOE \n \t\tI'm sorry, Bill -- \n \n \t\t\t PARRISH","\t\tBill. Come on. The question. The \n \t\tquestion you've been asking yourself \n \t\twith increased regularity, at odd \n \t\tmoments, panting through the extra","\t\tYes, you are to understand that, and \n \t\tnow may I ask you a question? \n \n \t\t\t DREW \n \t\tCertainly, Bill. \n \n \t\t\t PARRISH","\t\tGo to Bill Parrish and tell him \n \t\teverything. He'll forgive you. \n \n \tQuince drains one more glass of wine. \n \n \t\t\t QUINCE","\t\t\t(to the Board) \n \t\tWho I am, and my relationship to \n \t\tBill, will be divulged in our own \n \t\tgood time. \n \n \tJoe follows Parrish out of the room. \n","\tShe bursts into tears all over again. \n \n \t\t\t QUINCE \n \t\tBut he does give a shit. Don't you, \n \t\tBill? \n \n \t\t\t PARRISH","\t\tnow because the guy who reports to \n \t\tme is threatening me. \n \n \t\t\t DREW \n \t\tI'm just giving you the truth. There \n \t\twas a time when William Parrish liked","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\t\there for? \n \n \tParrish suddenly looks very anxious, Joe stops. \n \n \t\t\t JOE (cont'd) \n \t\tYou seem uncomfortable, Bill. \n \n \t\t\t PARRISH","\t\tis me. So watch it...Bill. \n \n \t\t\t PARRISH \n \t\tCut the 'Bill' crap out -- you \n \t\tsonofabitch. \n \n \t\t\t JOE","\t\tsave face. Tell him Bill wants it \n \t\tunderstood in the business community \n \t\the has merely moved upstairs in his \n \t\town company, and the executive \n \t\tcontinuity is unbroken. Tonight's","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\t\t\t PARRISH \n \t\tThe 'question' -- \n \n \t\t\t VOICE \n \t\t\t(urging) \n \t\tYes, Bill. The question. \n \n \tAfter a moment.","\t\tWhy yes, Bill, I was saying to \n \t\tQuince -- \n \n \t\t\t PARRISH \n \t\tNo no, not you. \n \n \t\t\t SUSAN"],["\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\t\t(to the Board) \n \t\tWho I am, and my relationship to \n \t\tBill, will be divulged in our own \n \t\tgood time. \n \n \tJoe follows Parrish out of the room. \n","\t\tto Bill Parrish? And most important, \n \t\twhat is behind his influence on our \n \t\tChairman? \n \n \t\t\t SLOANE \n \t\tYou're building this thing up too","\t\tit. As your chairman, I urge you to \n \t\tagree this company is not for sale. \n \n \tA silence, everybody shifts, the Board is in shock, Drew is \n \ttrying to maintain his balance. \n","\t\tnow, Drew. Resignation accepted. \n \t\tMoreover, I propose a motion to re- \n \t\tconfirm William Parrish as Chairman \n \t\tof the Board of Parrish Communica-","\t\tnow because the guy who reports to \n \t\tme is threatening me. \n \n \t\t\t DREW \n \t\tI'm just giving you the truth. There \n \t\twas a time when William Parrish liked","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\t\tAt which time, the Chairman will be \n \t\tnamed Emeritus, he will be welcome \n \t\tto attend all meetings, and will \n \t\tserve as International Spokesman for \n \t\tthe corporation plus, of course, a","\t\tParrish how you betrayed him at \n \t\ta secret Board meeting. And tell \n \t\tAllison how you got her father \n \t\tfired -- and he lost his company. \n \n \tQuince goes ashen.","\t\tsave face. Tell him Bill wants it \n \t\tunderstood in the business community \n \t\the has merely moved upstairs in his \n \t\town company, and the executive \n \t\tcontinuity is unbroken. Tonight's","\t\tI told Drew and the Board that Bill \n \t\tdepended on you. Drew led me on, \n \t\tbut I had no business telling him \n \t\tin the first place. He was setting","\t\t\t PARRISH (cont'd) \n \t\tI thought we had a deal. \n \n \t\t\t JOE \n \t\tI'm sorry, Bill -- \n \n \t\t\t PARRISH","\t\tis me. So watch it...Bill. \n \n \t\t\t PARRISH \n \t\tCut the 'Bill' crap out -- you \n \t\tsonofabitch. \n \n \t\t\t JOE","\t\tWhy yes, Bill, I was saying to \n \t\tQuince -- \n \n \t\t\t PARRISH \n \t\tNo no, not you. \n \n \t\t\t SUSAN","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\t\tThe motion is passed. We will of \n \t\tcourse delay the announcement, out \n \t\tof respect for our former Chairman, \n \t\tuntil after the celebration of his \n \t\tbirthday this weekend. \n","\t\tYou think so? How do you know? \n \n \t\t\t JOE \n \t\tBecause that's the kind of man Bill \n \t\tParrish is. \n \n \tA moment. \n","\t\tMandatory retirement upon our \n \t\tChairman's sixty-fifth birthday. \n \n \tParrish is expressionless. \n \n \t\t\t DREW (cont'd)","\t\tCommunications, we must do so with- \n \t\tout its Chairman. \n \t\t\t(another moment) \n \t\tOh yes, there is one additional \n \t\telement: Bontecou is so anxious to","\t\ttions as well as a rejection of the \n \t\tmerger with Bontecou International. \n \t\tHow say you, Board? \n \n \tA chorus of thunderous \"Yes\"es resounds through the"],["\t\tSusan went, in whatever way she did, \n \t\tfor that poor sonofabitch whose body \n \t\tyou took, and everything else since \n \t\thas been aftermath. You say you love","\tThe powerful contradiction is transmitted to Susan, and in \n \tthe end there is the knowledge they have together made a \n \tjourney, they both have been swept away in a stream of events","\t\tSusan is my daughter, she has a \n \t\twonderful life ahead of her and \n \t\tyou're going to deprive her of \n \t\tit and you're telling me you're","\tDown below, Susan, in a pained reflex, again turns and looks \n \tup towards the hill. There is nobody there. She hesitates, \n \tnow glides away from the party, her step quickens as she","\tShe takes Susan's arm and marches her off, Joe, in thrall, \n \twatches them go as the MUSIC erupts behind them, as 'up'","\t\tAlmost. \n \n \t\t\t SUSAN \n \t\t\t(to Drew) \n \t\tI said get out. \n \n \tNow Drew wheels, heads right for the front door and exits with","\tHe looks back at Susan as the distance between them widens, \n \tnow he turns and walks on. \n \n \tON SUSAN \n \n \tShe looks around once more but the Young Man is still headed","\t\t\t SUSAN \n \t\tThat felt like a goodbye. \n \n \tJoe's silence is heavy. \n \n \t\t\t SUSAN (cont'd)","\tSusan is in pain now, she can't summon an answer. \n \n \t\t\t PARRISH (cont'd) \n \t\tAnd I want you to feel that way, \n \t\ttoo. \n","\t\tAnd so do you. \n \n \t\t\t SUSAN \n \t\tDrew, you're out of line. \n \n \t\t\t DREW \n \t\tThat may be. But I don't like the","\t\tShe's in a great deal of pain. \n \n \t\t\t SUSAN \n \t\tYes. \n \n \tSusan regards Joe, puzzled. \n \n \t\t\t SUSAN (cont'd)","\t\tGoodnight to you, Susan. \n \n \tSusan steps towards a door, Joe takes a step in the wrong \n \tdirection, they almost walk into each other. Now she takes","\tin front of her, loose, smiling, disoriented and yet so \n \tappealing. They are riveted on each other, uneasy and yet \n \tclose. \n \n \t\t\t SUSAN (cont'd)","\t\t\t SUSAN \n \t\tThen why are you here, Joe? \n \n \t\t\t JOE \n \t\tI came to see you. \n \n \t\t\t SUSAN","\tsearches Susan's face, now takes her hand -- and together \n \tthey start back towards the party. \n \n \tTHE END \n \n","\tSusan builds. Joe has found himself in an unexplored land \n \tof feeling and passion, he loves what is happening and yet \n \tat the same time, is terrified by it. He feels himself being","\tParrish, followed by Drew, steps into a waiting limousine, \n \tQuince looks longingly after them. Susan, blowing a kiss \n \tgoodbye to her father, steps out into the street to hustle a \n \tcab.","\t\t\t SUSAN \n \t\tI hope so. \n \n \t\t\t PARRISH \n \t\tYou like him, don't you? \n \n \t\t\t SUSAN","\t\t\t ALLISON (cont'd) \n \t\tGlad to hear it! \n \t\t\t(to Susan) \n \t\tLet's go. \n","\t\tYes. Well...thank you, Joe. \n \n \tSusan turns to go, hesitates. \n \n \t\t\t JOE \n \t\tGood-bye, Susan. \n"],["\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tGo to Bill Parrish and tell him \n \t\teverything. He'll forgive you. \n \n \tQuince drains one more glass of wine. \n \n \t\t\t QUINCE","\t\tAnd - uh - I guess, 'goodnight'. \n \n \t\t\t JOE \n \t\tGood night to you, Bill. \n \n \tParrish gently closes the door. \n","\t\tYou think so? How do you know? \n \n \t\t\t JOE \n \t\tBecause that's the kind of man Bill \n \t\tParrish is. \n \n \tA moment. \n","\tShe bursts into tears all over again. \n \n \t\t\t QUINCE \n \t\tBut he does give a shit. Don't you, \n \t\tBill? \n \n \t\t\t PARRISH","\t\tHow long have I got? \n \n \t\t\t JOE \n \t\tYou're putting me on the spot, Bill. \n \n \tA moment. \n \n \t\t\t JOE (cont'd)","\t\t\t PARRISH (cont'd) \n \t\tI thought we had a deal. \n \n \t\t\t JOE \n \t\tI'm sorry, Bill -- \n \n \t\t\t PARRISH","\t\tthat this was a contest and he's \n \t\tlost. The race is to the swift, \n \t\tbut could Drew summon a modicum \n \t\tof understanding and allow Bill to","\t\tBill. Come on. The question. The \n \t\tquestion you've been asking yourself \n \t\twith increased regularity, at odd \n \t\tmoments, panting through the extra","\tMOVE THROUGH the doorway to reveal a master bedroom furnish- \n \ted with exquisite simplicity, revelatory of its sleeping \n \toccupant, WILLIAM PARRISH, 64, a warm but commanding face, a","\t\tBontecou Day. Going to close \n \t\twith Big John -- Look at you, Bill, \n \t\tall cool as a cat and over at \n \t\tBontecou's, I'll bet he's shitting","\tthe fever of the celebration lost on him, within himself. \n \n \tJoe enters, Parrish looks up. \n \n \t\t\t JOE \n \t\t...We should think about getting \n \t\tstarted, Bill. \n","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\t\tYou fill the bill, Bill. \n \n \t\t\t PARRISH \n \t\tI do? \n \t\t\t(a moment) \n \t\tHow long will you be staying? \n","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\t\t\t PARRISH \n \t\tThe 'question' -- \n \n \t\t\t VOICE \n \t\t\t(urging) \n \t\tYes, Bill. The question. \n \n \tAfter a moment.","\t\tHappy Birthday, Bill. \n \n \t\t\t PARRISH \n \t\tThank you. \n \n \tThey watch the guests gathering to view the fireworks. \n \tJoe's gaze lingers. \n","\tshould he not, what is happening? He looks out: absolute \n \tstillness and silence, CRICKETS chirp down by the river, a \n \tlight FLICKERS from a shadboat, Parrish closes his eyes but","\tfidgets. Drew milks the moment. \n \n \t\t\t DREW (cont'D) \n \t\tIt's no surprise if I suggest to you \n \t\tthat the Bill Parrish we know is not","\t\t\t(to the Board) \n \t\tWho I am, and my relationship to \n \t\tBill, will be divulged in our own \n \t\tgood time. \n \n \tJoe follows Parrish out of the room. \n"],["\tout again, Joe right with him. In tandem they continue \n \ton and disappear over the crest of the hill. A barrage \n \tof fireworks lights up the sky. \n \n \tANOTHER ANGLE \n","\t\tHappy Birthday, Bill. \n \n \t\t\t PARRISH \n \t\tThank you. \n \n \tThey watch the guests gathering to view the fireworks. \n \tJoe's gaze lingers. \n","\t\tThe fireworks are about to start. \n \n \tParrish looks up, sees Joe up on the terrace, waiting. \n \n \t\t\t SUSAN (cont'd) \n \t\t\t(to Parrish)","\tfireworks. When Parrish senses she is on her way, he turns \n \tand heads up towards Joe. \n \n \tJoe rises to meet Parrish as he approaches. \n \n \t\t\t JOE","\ther, she turns back to the party, dazed, tracing on the \n \tfireworks. \n \n \tANOTHER ANGLE \n \n \tUp the hill Parrish's step slows, Joe slowing with him. \n","\tthe fever of the celebration lost on him, within himself. \n \n \tJoe enters, Parrish looks up. \n \n \t\t\t JOE \n \t\t...We should think about getting \n \t\tstarted, Bill. \n","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\t\t\t(to the Board) \n \t\tWho I am, and my relationship to \n \t\tBill, will be divulged in our own \n \t\tgood time. \n \n \tJoe follows Parrish out of the room. \n","\tJoe disembark. Following the Butler, they make their way \n \tthrough the maelstrom: tents being raised, platforms for \n \tmusic groups, portable pools with clusters of florists","\t\t\t JOE \n \t\tAre you going to fire me, Bill? \n \n \tSilence, Parrish is at a loss. \n \n \tINT. FOYER - NIGHT \n","\t\t\t(glances at Joe) \n \t\tI was hoping we might be alone, \n \t\tBill. \n \n \t\t\t PARRISH \n \t\tJoe and I have no secrets from each \n \t\tother.","\t\there for? \n \n \tParrish suddenly looks very anxious, Joe stops. \n \n \t\t\t JOE (cont'd) \n \t\tYou seem uncomfortable, Bill. \n \n \t\t\t PARRISH","\t\t\t JOE \n \t\tYes, Bill. \n \n \t\t\t PARRISH \n \t\tHow about giving a guy a break? \n \n \t\t\t JOE \n \t\tMake an exception? \n","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\tEverybody's eyes are on Joe. \n \n \t\t\t PARRISH \n \t\tI've already introduced Mr. Black to \n \t\tyou all. \n \n \t\t\t DREW","\t\t\t YOUNG MAN \n \t\tIt will come to us. \n \n \tSusan smiles, the fireworks finale goes off, the MUSIC comes \n \tup from below, the night fills with light. The Young Man","\t\tis me. So watch it...Bill. \n \n \t\t\t PARRISH \n \t\tCut the 'Bill' crap out -- you \n \t\tsonofabitch. \n \n \t\t\t JOE","\t\t\t PARRISH (cont'd) \n \t\tI thought we had a deal. \n \n \t\t\t JOE \n \t\tI'm sorry, Bill -- \n \n \t\t\t PARRISH","\t\t\t JOE \n \t\tThank you, anyway. \n \n \tThe Waiter moves off. Joe's attention returns to Parrish and \n \tSusan, the dance number ends, a BOOM. \n"],["\tsearches Susan's face, now takes her hand -- and together \n \tthey start back towards the party. \n \n \tTHE END \n \n","\tParrish spots Allison, he wraps her in a tight embrace, they \n \thold each other close for a moment, but then are separated \n \tby a surge of guests. Parrish sees Susan, she smiles but","\tThe powerful contradiction is transmitted to Susan, and in \n \tthe end there is the knowledge they have together made a \n \tjourney, they both have been swept away in a stream of events","\tin front of her, loose, smiling, disoriented and yet so \n \tappealing. They are riveted on each other, uneasy and yet \n \tclose. \n \n \t\t\t SUSAN (cont'd)","\tDown below, Susan, in a pained reflex, again turns and looks \n \tup towards the hill. There is nobody there. She hesitates, \n \tnow glides away from the party, her step quickens as she","\t\t...But now I'm back. \n \n \tSusan regards Joe intently, searching his face for an \n \tanswer. \n \n \t\t\t SUSAN \n \t\t\t(gently)","\tHer question makes Joe, almost involuntarily, smile. Susan \n \ttakes the opportunity to step back from him. The SOUND of \n \tsomeone at the door, it is Parrish, Susan turns, comprehends","\tSusan reaches out for Joe, they kiss, he is awkward but his \n \tvery awkwardness endearing. Susan pulls him closer, they \n \tlinger now, mouths on each other's, then separate. \n","\tkeeps coming, and now that he is close and recognizes him. \n \n \t\t\t SUSAN \n \t\tJoe...? \n \n \tHe smiles quizzically, hasn't quite heard her, stands right","\tThe guests try to return to their food, Susan is the most \n \tconcerned about Parrish's lapse, she does not say anything \n \tbut Drew next to her senses her empathy and, in something of","\tHe shifts the spoon from hand to hand, starts to stick it in \n \this pocket, realizes this is inappropriate. Susan holds her \n \thand out to him, he places the spoon in it and she sets the","\t\tnow -- I got a chill. \n \n \tBut he drifts again, now she takes his hand. \n \n \t\t\t SUSAN (cont'd) \n \t\tRemember that morning in the coffee","\tHe holds on tight to her. They are desperately entwined \n \tuntil finally she releases him. \n \n \t\t\t JOE \n \t\tSusan -- \n \n \t\t\t SUSAN","\t\t\t SUSAN \n \t\tIt'll come back, Daddy. \n \n \t\t\t PARRISH \n \t\tWill it?... \n \n \tParrish looking around, searching for words he will not find. \n","\tthe edge of the silk spread, touches the pillow, then rises \n \tagain, crosses back to the sitting room. \n \n \tSusan appears in the doorway, Joe suddenly senses her, turns \n \taround. \n","\t\t-- That was the place... and you were \n \t\tthe guy. \n \n \tJoe seems resigned now, the air gone out of him. \n \n \t\t\t SUSAN (cont'd)","\t\t\t ALLISON (cont'd) \n \t\tGlad to hear it! \n \t\t\t(to Susan) \n \t\tLet's go. \n","\t\tAlmost. \n \n \t\t\t SUSAN \n \t\t\t(to Drew) \n \t\tI said get out. \n \n \tNow Drew wheels, heads right for the front door and exits with","\tSuddenly he hugs her, holds her very close. She looks at \n \thim, he smiles, nods, but doesn't release her until she \n \tsmiles back. Now she heads out with the crowd for the","\tHe looks back at Susan as the distance between them widens, \n \tnow he turns and walks on. \n \n \tON SUSAN \n \n \tShe looks around once more but the Young Man is still headed"],["\t\tMandatory retirement upon our \n \t\tChairman's sixty-fifth birthday. \n \n \tParrish is expressionless. \n \n \t\t\t DREW (cont'd)","\t\tHappy Birthday, Bill. \n \n \t\t\t PARRISH \n \t\tThank you. \n \n \tThey watch the guests gathering to view the fireworks. \n \tJoe's gaze lingers. \n","\tMOVE THROUGH the doorway to reveal a master bedroom furnish- \n \ted with exquisite simplicity, revelatory of its sleeping \n \toccupant, WILLIAM PARRISH, 64, a warm but commanding face, a","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\t\tYou think so? How do you know? \n \n \t\t\t JOE \n \t\tBecause that's the kind of man Bill \n \t\tParrish is. \n \n \tA moment. \n","\tParrish is on the edge of his seat, struggling to hide his \n \tpanic. \n \n \t\t\t VOICE (V.O., cont'd) \n \t\tI'm waiting outside. \n","\tfidgets. Drew milks the moment. \n \n \t\t\t DREW (cont'D) \n \t\tIt's no surprise if I suggest to you \n \t\tthat the Bill Parrish we know is not","\tthe fever of the celebration lost on him, within himself. \n \n \tJoe enters, Parrish looks up. \n \n \t\t\t JOE \n \t\t...We should think about getting \n \t\tstarted, Bill. \n","\tThe preparations are building to a climax, all the elaborate \n \tplans coming to fruition. \n \n \t\t\t PARRISH \n \t\tYou know, darling, this is going to \n \t\tbe a wonderful party.","\tdance tune, a lilting, catchy melody envelops them all. The \n \tcurtain has risen on William Parrish's 65th birthday party. \n","\t\t\t PARRISH (cont'd) \n \t\tIt's... it's... over. \n \n \tA long silence. Parrish and the Young Man take each other in,","\t\tYou're only six-five once. \n \n \t\t\t PARRISH \n \t\tThank God. Now could we go? Let's \n \t\tget this day started. \n","\tthen they flutter open, he glances up at the ceiling and \n \tfinally, exhausted, falls back asleep. \n \n \tEXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING \n","\tEXT. LAWNS, COUNTRY ESTATE - NIGHT \n \n \tThe guests have formed themselves into a huge audience, the \n \torchestra strikes up \"Happy Birthday\" as Parrish appears","\tParrish hesitates, waves and steps away, APPLAUSE that grows \n \tinto CHEERS, the music resumes, another dance tune. Quince \n \tgrabs him, pumps his hand and claps him on the back. Now","\tyet surrounds him. Suddenly Parrish's symptoms sharply \n \tintensify, he is sinking to the floor but somehow grabs a \n \tcorner of the desk, holds on with one hand, with the other","\tunder Parrish's withering glance. \n \n \t\t\t PARRISH (cont'd) \n \t\tThat's it? I've got a busy day \n \t\tand this meeting has already set","\t\tThese things have a way of working \n \t\tout. \n \n \tJoe regards Parrish, waits until he has a sense that Parrish \n \thas accepted what Joe has said, then Joe continues: \n","\twith Allison. An enormous cake is unveiled with one great, \n \tlit candle, Parrish beams then laughs. He pauses over the","\tshould he not, what is happening? He looks out: absolute \n \tstillness and silence, CRICKETS chirp down by the river, a \n \tlight FLICKERS from a shadboat, Parrish closes his eyes but"],["\tParrish smiles complaisantly, they continue on into a break- \n \tfast room where SUSAN, 30, Parrish's younger daughter, is \n \tgrazing at a table laden with cereals and fruits and coffee. \n","\tParrish, followed by Drew, steps into a waiting limousine, \n \tQuince looks longingly after them. Susan, blowing a kiss \n \tgoodbye to her father, steps out into the street to hustle a \n \tcab.","\t\tSusan is my daughter, she has a \n \t\twonderful life ahead of her and \n \t\tyou're going to deprive her of \n \t\tit and you're telling me you're","\t\tMaybe it's because you found out \n \t\tI'm Bill Parrish's daughter. \n \n \t\t\t PARRISH \n \t\tCut it out, Susan. \n \t\t\t(to Joe)","\tin front of her, loose, smiling, disoriented and yet so \n \tappealing. They are riveted on each other, uneasy and yet \n \tclose. \n \n \t\t\t SUSAN (cont'd)","\t\t\t SUSAN \n \t\tGood morning, Dad. \n \n \t\t\t PARRISH \n \t\tHi, honey. \n \n \t\t\t ALLISON \n \t\t\t(to Susan)","\tThe powerful contradiction is transmitted to Susan, and in \n \tthe end there is the knowledge they have together made a \n \tjourney, they both have been swept away in a stream of events","\tDown below, Susan, in a pained reflex, again turns and looks \n \tup towards the hill. There is nobody there. She hesitates, \n \tnow glides away from the party, her step quickens as she","\t\t\t YOUNG MAN \n \t\tDamn right. Looking for her right \n \t\tnow. Who knows? You might be her. \n \n \tSusan laughs. \n","\tin the opposite direction, his back to her. She turns the \n \tcorner and continues on. \n \n \tON THE YOUNG MAN \n \n \tApproaching the corner, he looks back for Susan yet again,","\tThe doors to the dining room open, Susan appears. \n \n \t\t\t SUSAN \n \t\tHi, everybody. Sorry to be late - \n \t\thad to have dinner with my depart- \n \t\tment chief -- \n","\tHe looks back at Susan as the distance between them widens, \n \tnow he turns and walks on. \n \n \tON SUSAN \n \n \tShe looks around once more but the Young Man is still headed","\t\t\t SUSAN \n \t\tYou and 'Honey'? \n \n \t\t\t YOUNG MAN \n \t\tMy kid sister. She just broke up \n \t\twith her boyfriend and she's","\t\t\t ALLISON (cont'd) \n \t\tGlad to hear it! \n \t\t\t(to Susan) \n \t\tLet's go. \n","\t\tAnd so do you. \n \n \t\t\t SUSAN \n \t\tDrew, you're out of line. \n \n \t\t\t DREW \n \t\tThat may be. But I don't like the","\t\t\t YOUNG MAN (cont'd) \n \t\tI'm sorry, you mind my saying that? \n \n \t\t\t SUSAN \n \t\tNot at all. \n","\t\tWhy yes, Bill, I was saying to \n \t\tQuince -- \n \n \t\t\t PARRISH \n \t\tNo no, not you. \n \n \t\t\t SUSAN","\tSusan is busy giving instructions to a Nurse, a patient on \n \tan examining table beside them. As she finishes, she \n \tsuddenly notices Joe down the corridor in the reception","\tParrish spots Allison, he wraps her in a tight embrace, they \n \thold each other close for a moment, but then are separated \n \tby a surge of guests. Parrish sees Susan, she smiles but","\t\tAlmost. \n \n \t\t\t SUSAN \n \t\t\t(to Drew) \n \t\tI said get out. \n \n \tNow Drew wheels, heads right for the front door and exits with"],["\t\tMaybe it's because you found out \n \t\tI'm Bill Parrish's daughter. \n \n \t\t\t PARRISH \n \t\tCut it out, Susan. \n \t\t\t(to Joe)","\tin front of her, loose, smiling, disoriented and yet so \n \tappealing. They are riveted on each other, uneasy and yet \n \tclose. \n \n \t\t\t SUSAN (cont'd)","\tSusan builds. Joe has found himself in an unexplored land \n \tof feeling and passion, he loves what is happening and yet \n \tat the same time, is terrified by it. He feels himself being","\t\t\t SUSAN \n \t\tAnd I'm your daughter and no man \n \t\twill ever be good enough for me. \n \n \t\t\t PARRISH \n \t\tWell, I wasn't going to say that --","\t\tI know it's none of my business -- \n \n \tSusan doesn't answer for a moment, then impulsively kisses her \n \tfather on the cheek. \n \n \t\t\t SUSAN","\t\tSusan is my daughter, she has a \n \t\twonderful life ahead of her and \n \t\tyou're going to deprive her of \n \t\tit and you're telling me you're","\t\t\t SUSAN \n \t\tI hope so. \n \n \t\t\t PARRISH \n \t\tYou like him, don't you? \n \n \t\t\t SUSAN","\tHe smiles. \n \n \t\t\t SUSAN (cont'd) \n \t\tDaddy told me you might be leaving? \n \n \t\t\t JOE \n \t\tYes. Your father and I, our time","\t\tTell me about yourself, Joe. Who \n \t\tyou are. What you're doing with my \n \t\tfather. \n \n \tSusan's directness has caught him by surprise, Joe blinks. \n","\tThe powerful contradiction is transmitted to Susan, and in \n \tthe end there is the knowledge they have together made a \n \tjourney, they both have been swept away in a stream of events","\t\t\t SUSAN (cont'd) \n \t\tYou're married, aren't you? \n \n \t\t\t JOE \n \t\tWhy? \n \n \t\t\t SUSAN","\tJoe is silent for a moment, cogitating. \n \n \t\t\t JOE \n \t\tSusan wants to come. She says she's \n \t\tin love with me. \n","\t\t\t SUSAN \n \t\tI love you, Daddy -- \n \n \t\t\t PARRISH \n \t\tThat's why it's okay. \n \n \tThey drift into silence. \n","\t\tYou mean like you loved Mom? \n \n \t\t\t PARRISH \n \t\tForget about me and Mom -- are you \n \t\tgoing to marry him? \n \n \t\t\t SUSAN","\tSusan is staring at him now, he smiles, all open and \n \tvulnerable. \n \n \t\t\t SUSAN \n \t\tI've got to go -- \n \n \t\t\t YOUNG MAN","\tShe gets up, closes the door, sits back down again next to \n \tJoe. A warm, awkward silence, they move closer to each \n \tother, now they fall into a foreplay which Susan recognizes","\tHer question makes Joe, almost involuntarily, smile. Susan \n \ttakes the opportunity to step back from him. The SOUND of \n \tsomeone at the door, it is Parrish, Susan turns, comprehends","\t\t\t SUSAN \n \t\tThat felt like a goodbye. \n \n \tJoe's silence is heavy. \n \n \t\t\t SUSAN (cont'd)","\t\t\t SUSAN (cont'd) \n \t\tCat got your tongue? You weren't so \n \t\tsilent this morning. \n \n \tDrew reacts to this allusion of intimacy. \n","\tA long silence, Susan smiles. \n \n \t\t\t PARRISH \n \t\tIt's a good feeling, isn't it? \n \n \tSilence again. \n \n \t\t\t SUSAN"],["\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \n \n \tThe place has cleared out now, the counterman busy bussing \n \ttables laden with dishes and cups, Susan and the Young Man","\t\t\t SUSAN (cont'd) \n \t\tWell, you've found one, Joe. \n \n \t\t\t JOE \n \t\tThe 'coffee shop' -- \n \n \t\t\t SUSAN","\tEXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY \n \n \tThe Young Man holds the door for Susan as they step out \n \tonto the street. \n","\tHis hand politely touches her elbow, courteously lending her \n \tsupport. \n \n \t\t\t SUSAN \n \t\tThe coffee shop -- \n \n \tThe Young Man nods, pleased with her recognition. \n","\t\tknew her. The man she met in the \n \t\tcoffee shop this morning. I - uh - \n \t\ttook him. \n \n \t\t\t PARRISH","\t\t\t YOUNG MAN \n \t\tHow 'bout another cup of coffee? \n \n \t\t\t SUSAN \n \t\tI've got patients coming in -- \n \n \t\t\t YOUNG MAN","\tSusan reaches out for Joe, they kiss, he is awkward but his \n \tvery awkwardness endearing. Susan pulls him closer, they \n \tlinger now, mouths on each other's, then separate. \n","\tcounterman refills his cup and the Young Man ties into the \n \tbreakfast, eating it with such relish that Susan can't take \n \ther eyes off him. He senses her eyes, glances over, his","\ton with her coat, she turns around, they kiss. The kiss \n \tlingers, Susan breaks away, reaches for the door, looks back \n \tlongingly at Joe and then she is gone, Joe closing the door \n \tsoftly after her. \n","\tSusan is staring at him now, he smiles, all open and \n \tvulnerable. \n \n \t\t\t SUSAN \n \t\tI've got to go -- \n \n \t\t\t YOUNG MAN","\tHe looks back at Susan as the distance between them widens, \n \tnow he turns and walks on. \n \n \tON SUSAN \n \n \tShe looks around once more but the Young Man is still headed","\t\tin this big bad city and I not only \n \t\tfind a doctor, a beautiful woman as \n \t\twell. \n \n \tSusan looks into her coffee. \n","\t\t\t SUSAN \n \t\tWhat are your intentions? To make \n \t\tlittle dreams in coffee shops, turn \n \t\ta woman's head, and I don't mind","\t\t-- That was the place... and you were \n \t\tthe guy. \n \n \tJoe seems resigned now, the air gone out of him. \n \n \t\t\t SUSAN (cont'd)","\tin the opposite direction, his back to her. She turns the \n \tcorner and continues on. \n \n \tON THE YOUNG MAN \n \n \tApproaching the corner, he looks back for Susan yet again,","\tParrish watches as Susan turns, disappears out the door. \n \n \tEXT. THIRD AVENUE, NEW YORK CITY - TWILIGHT \n \n \tJoe walking disconcertedly up the street, bumping shoulders","\t\tYes. Well...thank you, Joe. \n \n \tSusan turns to go, hesitates. \n \n \t\t\t JOE \n \t\tGood-bye, Susan. \n","\tin front of her, loose, smiling, disoriented and yet so \n \tappealing. They are riveted on each other, uneasy and yet \n \tclose. \n \n \t\t\t SUSAN (cont'd)","\t\tyou. Now sit and relax, get some- \n \t\tthing in that flat tummy of yours -- \n \n \tBut Parrish only pours coffee. \n \n \t\t\t SUSAN (cont'd)","\tSusan waves softly to him, heads down the hall, glances back \n \tonce to see Joe has not moved, is watching her depart. \n \n \tINT. PARRISH'S OFFICE - AFTERNOON \n"],["\tvealing himself to be the Young Man seen previously in the \n \tcoffee shop, but there is a change; he seems odd, off- \n \tcenter, not handsome but terrifyingly beautiful. \n \n \t\t\t YOUNG MAN","\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \n \n \tThe place has cleared out now, the counterman busy bussing \n \ttables laden with dishes and cups, Susan and the Young Man","\t\t\t YOUNG MAN \n \t\tBecause I like you so much. \n \t\t\t(a moment) \n \t\tYou have coffee here every morning, \n \t\tdon't you? If I came by, could you","\tcounterman refills his cup and the Young Man ties into the \n \tbreakfast, eating it with such relish that Susan can't take \n \ther eyes off him. He senses her eyes, glances over, his","\tlem which he does not attempt to hide, only control. \n \n \t\t\t DREW \n \t\tDid you want to have a cup of coffee \n \t\tor something, Bill? \n \n \t\t\t PARRISH","\t\t\t YOUNG MAN \n \t\t \t(urging again) \n \t\t'...Yes --' \n \n \tParrish turns away. But the Young Man, spectacularly, is in \n \tfront of him again.","\tHis hand politely touches her elbow, courteously lending her \n \tsupport. \n \n \t\t\t SUSAN \n \t\tThe coffee shop -- \n \n \tThe Young Man nods, pleased with her recognition. \n","\t\t\t YOUNG MAN \n \t\tHow 'bout another cup of coffee? \n \n \t\t\t SUSAN \n \t\tI've got patients coming in -- \n \n \t\t\t YOUNG MAN","\t\tAnd I want to get into my apartment \n \t\tand go to work. Please, what do you \n \t\tsay, another cup of coffee? \n \n \tTwo pots are warming behind the counter, he reaches over and","\tParrish is shocked, stunned, terrified at the word, by what \n \the has comprehended. He surveys the Young Man who, at this \n \tmoment, actually seems bewildered by his effect. \n","\tEXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY \n \n \tThe Young Man holds the door for Susan as they step out \n \tonto the street. \n","\t\t\t YOUNG MAN (cont'd) \n \t\t\t(gently) \n \t\tWho am I? \n \n \t\t\t PARRISH \n \t\t...Death. \n","\tfrom a shaking, sweating Parrish's face, the Young Man \n \tdaring Parrish to identify him: \n \n \t\t\t PARRISH \n \t\tYou are --? \n","\tdinner being noted, and the guest himself carefully survey- \n \ted. Finally, Allison breaks the ice: \n \n \t\t\t ALLISON (cont'd) \n \t\t\t(to the Young Man)","\t\tknew her. The man she met in the \n \t\tcoffee shop this morning. I - uh - \n \t\ttook him. \n \n \t\t\t PARRISH","\this body arcs through the air. \n \n \tAnother sickening THUD as it lands, the Young Man lies \n \tcrumpled, still. \n \n \t\t\t\t\t\tCUT TO: \n","\tSusan slowly realizes this is the Young Man. She is shaken, \n \ta sudden intake of breath. \n \n \t\t\t YOUNG MAN \n \t\tHey, you all right? \n","\t\t\t YOUNG MAN (cont'd) \n \t\tGood. Now lead the way. \n \n \tParrish hesitates, then obediently leads the Young Man out","\tkeeps coming, and now that he is close and recognizes him. \n \n \t\t\t SUSAN \n \t\tJoe...? \n \n \tHe smiles quizzically, hasn't quite heard her, stands right","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship"],["\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tnow, Drew. Resignation accepted. \n \t\tMoreover, I propose a motion to re- \n \t\tconfirm William Parrish as Chairman \n \t\tof the Board of Parrish Communica-","\t\t\t(to the Board) \n \t\tSorry. I know it looks like I'm \n \t\treversing my field. \n \n \t\t\t DREW \n \t\tThat's your privilege, Bill. But","\t\tI told Drew and the Board that Bill \n \t\tdepended on you. Drew led me on, \n \t\tbut I had no business telling him \n \t\tin the first place. He was setting","\tDrew indicates to the Board's Stenographer to arrange Joe's \n \trefreshments. \n \n \t\t\t PARRISH \n \t\t\t(quietly, indicating a \n \t\t\t chair)","\t\tYes, you are to understand that, and \n \t\tnow may I ask you a question? \n \n \t\t\t DREW \n \t\tCertainly, Bill. \n \n \t\t\t PARRISH","\t\tit. As your chairman, I urge you to \n \t\tagree this company is not for sale. \n \n \tA silence, everybody shifts, the Board is in shock, Drew is \n \ttrying to maintain his balance. \n","\t\tMandatory retirement upon our \n \t\tChairman's sixty-fifth birthday. \n \n \tParrish is expressionless. \n \n \t\t\t DREW (cont'd)","\tfidgets. Drew milks the moment. \n \n \t\t\t DREW (cont'D) \n \t\tIt's no surprise if I suggest to you \n \t\tthat the Bill Parrish we know is not","\t\tthat this was a contest and he's \n \t\tlost. The race is to the swift, \n \t\tbut could Drew summon a modicum \n \t\tof understanding and allow Bill to","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\tQuince's head sinks into his hands. \n \n \t\t\t DREW (cont'd) \n \t\t\t(to the Board) \n \t\tA motion has been brought before","\tDrew is provoked by the response, but remains polite: \n \n \t\t\t DREW \n \t\tYou and Bill old friends? \n \n \tParrish jumps in: \n \n \t\t\t PARRISH","\tSilence, the Board clocking Drew's argument. \n \n \t\t\t DREW (cont'D) \n \t\tIt's not pleasant to say the follow- \n \t\ting, but I would be remiss, in this","\t\t\t DREW \n \t\t\t(to the Board) \n \t\tThe Board of Parrish Communications - \n \t\tis hereby called to order. Our sole \n \t\torder of business is an acceptance","\tQuince hesitates, then realizes what Drew has on his mind. \n \tHe nods confidently to Drew, then turns importantly to the \n \tBoard. \n \n \t\t\t QUINCE","\t\t\t(to Drew) \n \t\tDrew. \n \t\t\t(to Parrish) \n \t\tBill... \n \t\t\t(to the group) \n \t\tThank you. \n","\t\t\t DREW (cont'd) \n \t\tThe feeling of the Board is this: we \n \t\tfear Mr. Black is not only influenc- \n \t\ting your decisions in regard to this","\tcornered Drew, out of earshot of the others. \n \n \t\t\t QUINCE \n \t\tWhat have you done? You've gotten \n \t\tthe old man fired! \n","\t\t\t DREW \n \t\tThat we did. Thanks to you. He was \n \t\twobbling, mind you, but you stupid \n \t\tthe coup de grace. \n"],["\t\tup Bill from day one. Drew and \n \t\tBontecou are going to chop up the \n \t\tcompany and sell it off for parts. \n \t\tBontecou was outside, Drew was Mr.","\t\tnow, Drew. Resignation accepted. \n \t\tMoreover, I propose a motion to re- \n \t\tconfirm William Parrish as Chairman \n \t\tof the Board of Parrish Communica-","\t\tI told Drew and the Board that Bill \n \t\tdepended on you. Drew led me on, \n \t\tbut I had no business telling him \n \t\tin the first place. He was setting","\t\t\t(to the Board) \n \t\tSorry. I know it looks like I'm \n \t\treversing my field. \n \n \t\t\t DREW \n \t\tThat's your privilege, Bill. But","\t\tYes, you are to understand that, and \n \t\tnow may I ask you a question? \n \n \t\t\t DREW \n \t\tCertainly, Bill. \n \n \t\t\t PARRISH","\tDrew indicates to the Board's Stenographer to arrange Joe's \n \trefreshments. \n \n \t\t\t PARRISH \n \t\t\t(quietly, indicating a \n \t\t\t chair)","\t\tmuch, Drew. He's had advisors be- \n \t\tfore. Nobody tells Bill what to do. \n \n \tThe door opens and Felicia enters followed by Quince, sur-","\t\tMandatory retirement upon our \n \t\tChairman's sixty-fifth birthday. \n \n \tParrish is expressionless. \n \n \t\t\t DREW (cont'd)","\t\t\t DREW \n \t\t\t(to Parrish) \n \t\tSorry to intrude, Bill, but we've \n \t\tgot a bit of a crisis downtown -- \n \t\tit's not something we could talk","\tfidgets. Drew milks the moment. \n \n \t\t\t DREW (cont'D) \n \t\tIt's no surprise if I suggest to you \n \t\tthat the Bill Parrish we know is not","\tDrew opens a door, a conference room, a circle of top exec- \n \tutives, now stepping out from the group is a huge, white- \n \thaired man, JOHN BONTECOU, 55. \n","\tDrew is provoked by the response, but remains polite: \n \n \t\t\t DREW \n \t\tYou and Bill old friends? \n \n \tParrish jumps in: \n \n \t\t\t PARRISH","\tDrew enters with Quince, Quince nods, excusing himself, and \n \tcloses the door behind him. \n \n \t\t\t DREW \n \t\tHi, Bill, happy birthday -- \n \n \tA moment.","\t\t\t DREW \n \t\t\t(to the Board) \n \t\tThe Board of Parrish Communications - \n \t\tis hereby called to order. Our sole \n \t\torder of business is an acceptance","\tof him, his knuckles white as Parrish regards Drew, but still \n \tdoes not answer. \n \n \t\t\t DREW (cont'd) \n \t\tThe lack of response, Bill, is not","\t\t\t DREW \n \t\tBill's birthday is the day after \n \t\ttomorrow. There is a provisory by- \n \t\tlaw in our charter. Per the discre-","\t\t\t(to Drew) \n \t\tDrew. \n \t\t\t(to Parrish) \n \t\tBill... \n \t\t\t(to the group) \n \t\tThank you. \n","\t\tit. As your chairman, I urge you to \n \t\tagree this company is not for sale. \n \n \tA silence, everybody shifts, the Board is in shock, Drew is \n \ttrying to maintain his balance. \n","\tQuince's head sinks into his hands. \n \n \t\t\t DREW (cont'd) \n \t\t\t(to the Board) \n \t\tA motion has been brought before","\t\t\t DREW \n \t\tCertainly. Goodnight. \n \n \tDrew goes, everybody is in shock, Susan pursues him out into \n \tthe hallway. \n \n \t\t\t SUSAN"],["\t\tHappy Birthday, Bill. \n \n \t\t\t PARRISH \n \t\tThank you. \n \n \tThey watch the guests gathering to view the fireworks. \n \tJoe's gaze lingers. \n","\t\t\t JOE \n \t\tYes, Bill. \n \n \t\t\t PARRISH \n \t\tHow about giving a guy a break? \n \n \t\t\t JOE \n \t\tMake an exception? \n","\t\tI am talking about. \n \n \t\t\t JOE \n \t\tThose were my words, Bill. \n \n \t\t\t PARRISH \n \t\tWell, they're mine now. \n","\t\tYou think so? How do you know? \n \n \t\t\t JOE \n \t\tBecause that's the kind of man Bill \n \t\tParrish is. \n \n \tA moment. \n","\t\this side. And, in my opinion, is \n \t\talways in his ear. Telling him what \n \t\tto do and Bill is listening. Who is \n \t\tJoe Black? What is his relationship","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\tthe fever of the celebration lost on him, within himself. \n \n \tJoe enters, Parrish looks up. \n \n \t\t\t JOE \n \t\t...We should think about getting \n \t\tstarted, Bill. \n","\t\tThese things have a way of working \n \t\tout. \n \n \tJoe regards Parrish, waits until he has a sense that Parrish \n \thas accepted what Joe has said, then Joe continues: \n","\t\tlived until he was ninety-one. \n \n \tAfter a moment. \n \n \t\t\t QUINCE \n \t\tYou're an original, Joe. A little \n \t\thard to figure, maybe...","\tsaid, but to tell her more, even the truth about himself. \n \tHe weighs, then resists, the impulse. \n \n \t\t\t JOE \n \t\tThank you. \n","\t\tAnd - uh - I guess, 'goodnight'. \n \n \t\t\t JOE \n \t\tGood night to you, Bill. \n \n \tParrish gently closes the door. \n","\t\t\t PARRISH (cont'd) \n \t\tI thought we had a deal. \n \n \t\t\t JOE \n \t\tI'm sorry, Bill -- \n \n \t\t\t PARRISH","\t\t\t PARRISH \n \t\tNo -- \n \n \t\t\t JOE \n \t\tI hope you realize, Bill...in your \n \t\toffice this morning, that was your \n \t\ttime. \n","\t\tAnd he wants it left behind the way \n \t\the made it. And he wants it to be \n \t\trun the way he run it -- with a sense \n \t\tof honor, of dedication, of truth. \n \t\tOkay?","\t\tThat's life. What can I tell you? \n \n \tA silence, an understanding there is another more to say. \n \tJoe looks inquiringly at Parrish as if to say \"Shall we?\",","\t\tWhat way would you put it? \n \n \t\t\t JOE \n \t\tYou tell me, Bill. \n \n \t\t\t PARRISH \n \t\tHow about you telling me? When I","\t\tOh, I wouldn't tell them anything, \n \t\tBill. You'll ruin the good start we \n \t\thad last night. I felt as if I were \n \t\tbeing treated like a person. 'Joe'","\t\there for? \n \n \tParrish suddenly looks very anxious, Joe stops. \n \n \t\t\t JOE (cont'd) \n \t\tYou seem uncomfortable, Bill. \n \n \t\t\t PARRISH","\t\tas she spoke of you -- It was always \n \t\twhat I wanted for her -- but what \n \t\thappens to her now? \n \n \t\t\t JOE \n \t\tI wouldn't worry about it, Bill.","\tJoe has received what Parrish has said. \n \n \t\t\t PARRISH (cont'd) \n \t\tOkay? -- I've given it my best shot. \n \t\tI wish I could tell you to sleep on"],["\t\tYou think so? How do you know? \n \n \t\t\t JOE \n \t\tBecause that's the kind of man Bill \n \t\tParrish is. \n \n \tA moment. \n","\tsaid, but to tell her more, even the truth about himself. \n \tHe weighs, then resists, the impulse. \n \n \t\t\t JOE \n \t\tThank you. \n","\t\tyou. It's like making love to some- \n \t\tone who has never made love before. \n \n \tJoe senses an opportunity not only to admit to what she has","\t\tThese things have a way of working \n \t\tout. \n \n \tJoe regards Parrish, waits until he has a sense that Parrish \n \thas accepted what Joe has said, then Joe continues: \n","\tStrange territory for Joe, not to be 'in control' and exert- \n \ting his power, but his inventions and responses in lovemak- \n \ting are so real that an emotional exchange between he and","\t\t-- Yes? \n \n \t\t\t JOE \n \t\tThank you for loving me. \n \n \tShe smiles wanly, Joe leaves her. \n","\t\t\t JOE \n \t\tYes, Bill. \n \n \t\t\t PARRISH \n \t\tHow about giving a guy a break? \n \n \t\t\t JOE \n \t\tMake an exception? \n","\tParrish is stunned. \n \n \t\t\t PARRISH \n \t\tYou're what? \n \n \t\t\t JOE \n \t\tI think you heard me, Bill. \n","\t\tJoe knew the whole story. I told \n \t\thim. It was his idea that I come \n \t\tclean. I mean I wanted to come \n \t\tclean but he gave me a pair of","\t\tsorry? Well, I'm sorry, apology \n \t\tnot accepted. \n \n \t\t\t JOE \n \t\tI love her, Bill. She is all that","\t\t\t(glances at Joe) \n \t\tI was hoping we might be alone, \n \t\tBill. \n \n \t\t\t PARRISH \n \t\tJoe and I have no secrets from each \n \t\tother.","\t\tAnd - uh - I guess, 'goodnight'. \n \n \t\t\t JOE \n \t\tGood night to you, Bill. \n \n \tParrish gently closes the door. \n","\t\tI am talking about. \n \n \t\t\t JOE \n \t\tThose were my words, Bill. \n \n \t\t\t PARRISH \n \t\tWell, they're mine now. \n","\t\tIt comforts you, doesn't it? \n \n \t\t\t JOE \n \t\t\t(captivated) \n \t\tYes...I've found that it does. \n \n \t\t\t DREW","\t\ttell you -- that with Joe, you are \n \t\ton very, very dangerous ground. \n \n \tSusan doesn't answer for a moment. \n \n \t\t\t SUSAN \n \t\tI love him.","\tSusan builds. Joe has found himself in an unexplored land \n \tof feeling and passion, he loves what is happening and yet \n \tat the same time, is terrified by it. He feels himself being","\t\t\t JOE \n \t\tI mean I appreciate that. \n \n \t\t\t SUSAN \n \t\tAnd I appreciate you, too. \n \n \tA moment between them. \n \n \t\t\t JOE","\tQuince puts a reassuring arm around Allison, she seems to \n \trelax now, Joe has been a keen observer of what has trans- \n \tpired between husband and wife, between man and woman, a","\t\tConfused, huh? About what? \n \n \t\t\t JOE \n \t\tLove. \n \n \t\t\t QUINCE \n \t\t'Love'? Oh, man, I've got troubles","\t\t\t JOE \n \t\tNo thank you, Bill. I can manage. \n \n \tJoe goes. \n \n \tINT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY \n"],["\theightened interest in Susan, and Susan's reciprocation. \n \n \tCoyle enters carrying two imposing stemmed silver trays with \n \tcakes on them, Luisa follows with one other. They set them","\tHer question makes Joe, almost involuntarily, smile. Susan \n \ttakes the opportunity to step back from him. The SOUND of \n \tsomeone at the door, it is Parrish, Susan turns, comprehends","\tprearranged but which they intuit. Susan slants through the \n \tguests, stopping here and there, excited greetings and cha- \n \ttter float on the wind, \"He, Susie!\", \"What a party\", \"You","\t\t\t SUSAN (cont'd) \n \t\tWell, you've found one, Joe. \n \n \t\t\t JOE \n \t\tThe 'coffee shop' -- \n \n \t\t\t SUSAN","\t\tto me. Ever since Joe showed. It's \n \t\tlike he dropped from the clouds... \n \n \tDrew enters. He nuzzles Susan's neck, out of the corner of","\tDown below, Susan, in a pained reflex, again turns and looks \n \tup towards the hill. There is nobody there. She hesitates, \n \tnow glides away from the party, her step quickens as she","\tthe edge of the silk spread, touches the pillow, then rises \n \tagain, crosses back to the sitting room. \n \n \tSusan appears in the doorway, Joe suddenly senses her, turns \n \taround. \n","\tsearches Susan's face, now takes her hand -- and together \n \tthey start back towards the party. \n \n \tTHE END \n \n","\tin front of her, loose, smiling, disoriented and yet so \n \tappealing. They are riveted on each other, uneasy and yet \n \tclose. \n \n \t\t\t SUSAN (cont'd)","\tHe turns back into the foyer, looks up, Parrish is on the \n \tbalcony, it is clear he has observed Joe and Susan. \n \n \t\t\t JOE \n \t\tHello, Bill. \n","\ton with her coat, she turns around, they kiss. The kiss \n \tlingers, Susan breaks away, reaches for the door, looks back \n \tlongingly at Joe and then she is gone, Joe closing the door \n \tsoftly after her. \n","\tSusan reaches out for Joe, they kiss, he is awkward but his \n \tvery awkwardness endearing. Susan pulls him closer, they \n \tlinger now, mouths on each other's, then separate. \n","\t\t\t YOUNG MAN \n \t\tHow 'bout another cup of coffee? \n \n \t\t\t SUSAN \n \t\tI've got patients coming in -- \n \n \t\t\t YOUNG MAN","\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \n \n \tThe place has cleared out now, the counterman busy bussing \n \ttables laden with dishes and cups, Susan and the Young Man","\tparty. He drifts into the center and runs right into Susan, \n \tcouples swirl about them, the eye of a storm of gaiety. \n \n \t\t\t SUSAN","\t\tyou. Now sit and relax, get some- \n \t\tthing in that flat tummy of yours -- \n \n \tBut Parrish only pours coffee. \n \n \t\t\t SUSAN (cont'd)","\tAllison and Susan together by a piano; Parrish, Quince and a \n \tdistracted Joe are gathered near the terrace. Joe's eyes \n \tare on Susan across the room. Her eyes flicker towards him,","\tSusan waves softly to him, heads down the hall, glances back \n \tonce to see Joe has not moved, is watching her depart. \n \n \tINT. PARRISH'S OFFICE - AFTERNOON \n","\tkeeps coming, and now that he is close and recognizes him. \n \n \t\t\t SUSAN \n \t\tJoe...? \n \n \tHe smiles quizzically, hasn't quite heard her, stands right","\tShe gets up, closes the door, sits back down again next to \n \tJoe. A warm, awkward silence, they move closer to each \n \tother, now they fall into a foreplay which Susan recognizes"]],"string":"[\n [\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\t\\tMr. Joe Black. Mr. Joe who? Joe \\n \\t\\tBlack. He attends our Board meet- \\n \\t\\tint, he sleeps at Bill's house, re- \\n \\t\\tsides in his office. Never leaves\",\n \"\\t\\t\\t JOE \\n \\t\\tYes, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tHow about giving a guy a break? \\n \\n \\t\\t\\t JOE \\n \\t\\tMake an exception? \\n\",\n \"\\t\\t\\t ALLISON \\n \\t\\tWhew, at last. Nice to meet you, \\n \\t\\tMr. Black. \\n \\n \\t\\t\\t QUINCE \\n \\t\\t'Joe Black'. Won fifteen and lost\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tI thought we had a deal. \\n \\n \\t\\t\\t JOE \\n \\t\\tI'm sorry, Bill -- \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tYou think so? How do you know? \\n \\n \\t\\t\\t JOE \\n \\t\\tBecause that's the kind of man Bill \\n \\t\\tParrish is. \\n \\n \\tA moment. \\n\",\n \"\\t\\t\\t JOE \\n \\t\\tHello. I'm Joe Black. Nice to meet \\n \\t\\tyou. \\n \\n \\t\\t\\t COYLE \\n \\t\\tYes sir, Mr. Black, a pleasure. \\n\",\n \"\\tDrew regards Joe. \\n \\n \\t\\t\\t DREW (cont'd) \\n \\t\\tWho is Joe Black? \\n \\n \\tParrish stares stoically into the middle distance as\",\n \"\\t\\tThese things have a way of working \\n \\t\\tout. \\n \\n \\tJoe regards Parrish, waits until he has a sense that Parrish \\n \\thas accepted what Joe has said, then Joe continues: \\n\",\n \"\\t\\tHow long have I got? \\n \\n \\t\\t\\t JOE \\n \\t\\tYou're putting me on the spot, Bill. \\n \\n \\tA moment. \\n \\n \\t\\t\\t JOE (cont'd)\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\t\\tMoreover, Agent Joe Black here -- \\n \\t\\tof course that's not his real name \\n \\t\\t-- smelled out your involvement, \\n \\t\\tDrew. He developed evidence you \\n \\t\\twere working both sides of the\",\n \"\\t\\tAnd I won't tell anyone who you are. \\n \\n \\t\\t\\t JOE \\n \\t\\tSounds fair enough. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tIt is a deal? \\n\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tIt's hard to let go, isn't it? \\n \\n \\t\\t\\t JOE \\n \\t\\tYes. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t JOE \\n \\t\\tNo thank you, Bill. I can manage. \\n \\n \\tJoe goes. \\n \\n \\tINT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY \\n\",\n \"\\t\\there for? \\n \\n \\tParrish suddenly looks very anxious, Joe stops. \\n \\n \\t\\t\\t JOE (cont'd) \\n \\t\\tYou seem uncomfortable, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tAnd - uh - I guess, 'goodnight'. \\n \\n \\t\\t\\t JOE \\n \\t\\tGood night to you, Bill. \\n \\n \\tParrish gently closes the door. \\n\",\n \"\\tBut Joe doesn't move. \\n \\n \\t\\t\\t PARRISH \\n \\t\\t\\t(prompting) \\n \\t\\tNow I'd like to be alone. \\n \\n \\t\\t\\t JOE\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tWho I am, and my relationship to \\n \\t\\tBill, will be divulged in our own \\n \\t\\tgood time. \\n \\n \\tJoe follows Parrish out of the room. \\n\",\n \"\\t\\tYou fill the bill, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tI do? \\n \\t\\t\\t(a moment) \\n \\t\\tHow long will you be staying? \\n\"\n ],\n [\n \"\\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \\n \\n \\tThe place has cleared out now, the counterman busy bussing \\n \\ttables laden with dishes and cups, Susan and the Young Man\",\n \"\\t\\t\\t SUSAN (cont'd) \\n \\t\\tWell, you've found one, Joe. \\n \\n \\t\\t\\t JOE \\n \\t\\tThe 'coffee shop' -- \\n \\n \\t\\t\\t SUSAN\",\n \"\\tEXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY \\n \\n \\tThe Young Man holds the door for Susan as they step out \\n \\tonto the street. \\n\",\n \"\\tHis hand politely touches her elbow, courteously lending her \\n \\tsupport. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tThe coffee shop -- \\n \\n \\tThe Young Man nods, pleased with her recognition. \\n\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tHow 'bout another cup of coffee? \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI've got patients coming in -- \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\t\\tknew her. The man she met in the \\n \\t\\tcoffee shop this morning. I - uh - \\n \\t\\ttook him. \\n \\n \\t\\t\\t PARRISH\",\n \"\\ton with her coat, she turns around, they kiss. The kiss \\n \\tlingers, Susan breaks away, reaches for the door, looks back \\n \\tlongingly at Joe and then she is gone, Joe closing the door \\n \\tsoftly after her. \\n\",\n \"\\tSusan reaches out for Joe, they kiss, he is awkward but his \\n \\tvery awkwardness endearing. Susan pulls him closer, they \\n \\tlinger now, mouths on each other's, then separate. \\n\",\n \"\\tHe looks back at Susan as the distance between them widens, \\n \\tnow he turns and walks on. \\n \\n \\tON SUSAN \\n \\n \\tShe looks around once more but the Young Man is still headed\",\n \"\\tSusan is staring at him now, he smiles, all open and \\n \\tvulnerable. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI've got to go -- \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\tcounterman refills his cup and the Young Man ties into the \\n \\tbreakfast, eating it with such relish that Susan can't take \\n \\ther eyes off him. He senses her eyes, glances over, his\",\n \"\\t\\t-- That was the place... and you were \\n \\t\\tthe guy. \\n \\n \\tJoe seems resigned now, the air gone out of him. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tParrish watches as Susan turns, disappears out the door. \\n \\n \\tEXT. THIRD AVENUE, NEW YORK CITY - TWILIGHT \\n \\n \\tJoe walking disconcertedly up the street, bumping shoulders\",\n \"\\tin the opposite direction, his back to her. She turns the \\n \\tcorner and continues on. \\n \\n \\tON THE YOUNG MAN \\n \\n \\tApproaching the corner, he looks back for Susan yet again,\",\n \"\\t\\tin this big bad city and I not only \\n \\t\\tfind a doctor, a beautiful woman as \\n \\t\\twell. \\n \\n \\tSusan looks into her coffee. \\n\",\n \"\\t\\t\\t SUSAN \\n \\t\\tWhat are your intentions? To make \\n \\t\\tlittle dreams in coffee shops, turn \\n \\t\\ta woman's head, and I don't mind\",\n \"\\t\\tYes. Well...thank you, Joe. \\n \\n \\tSusan turns to go, hesitates. \\n \\n \\t\\t\\t JOE \\n \\t\\tGood-bye, Susan. \\n\",\n \"\\tSusan waves softly to him, heads down the hall, glances back \\n \\tonce to see Joe has not moved, is watching her depart. \\n \\n \\tINT. PARRISH'S OFFICE - AFTERNOON \\n\",\n \"\\t\\tyou. Now sit and relax, get some- \\n \\t\\tthing in that flat tummy of yours -- \\n \\n \\tBut Parrish only pours coffee. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tin front of her, loose, smiling, disoriented and yet so \\n \\tappealing. They are riveted on each other, uneasy and yet \\n \\tclose. \\n \\n \\t\\t\\t SUSAN (cont'd)\"\n ],\n [\n \"\\theard something, he looks around, but no one is there. He \\n \\tcan't finish peeing, turns back to his bedroom. All beweild- \\n \\tered, Parrish looks around once more, climbs back into bed,\",\n \"\\tthe discomfort seems momentarily to have subsided. \\n \\n \\tHe rises now, crosses to the bathroom. As he pees, a breeze \\n \\toutside the window, the wind again, but then the Voice comes \\n \\tup: \\n\",\n \"\\t\\tBill. Come on. The question. The \\n \\t\\tquestion you've been asking yourself \\n \\t\\twith increased regularity, at odd \\n \\t\\tmoments, panting through the extra\",\n \"\\t\\there for? \\n \\n \\tParrish suddenly looks very anxious, Joe stops. \\n \\n \\t\\t\\t JOE (cont'd) \\n \\t\\tYou seem uncomfortable, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\tthe fever of the celebration lost on him, within himself. \\n \\n \\tJoe enters, Parrish looks up. \\n \\n \\t\\t\\t JOE \\n \\t\\t...We should think about getting \\n \\t\\tstarted, Bill. \\n\",\n \"\\tshould he not, what is happening? He looks out: absolute \\n \\tstillness and silence, CRICKETS chirp down by the river, a \\n \\tlight FLICKERS from a shadboat, Parrish closes his eyes but\",\n \"\\tclutches at his shoulder and arm, the pain has violently \\n \\tseized the upper part of his body. He breaks out in a sweat, \\n \\this pallor now waxen as the Voice repeats itself: \\n\",\n \"\\tyet surrounds him. Suddenly Parrish's symptoms sharply \\n \\tintensify, he is sinking to the floor but somehow grabs a \\n \\tcorner of the desk, holds on with one hand, with the other\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\thallucination but which he is certain is not. Parrish is \\n \\tpossessed. He angles his face in every direction, arbi- \\n \\ttrarily chooses one and now embarrassedly, unconsciously,\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\talone now, eyes on each other's. \\n \\n \\t\\t\\t JOE \\n \\t\\tHello, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\t\\t(carefully)\",\n \"\\tman of maturity yet who exudes a glow of enthusiasm. \\n \\n \\tAlthough asleep, there is an uncommon restlessness to him. \\n \\tParrish grips his upper arm as if in pain. Now the severity\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\tParrish is shocked, stunned, terrified at the word, by what \\n \\the has comprehended. He surveys the Young Man who, at this \\n \\tmoment, actually seems bewildered by his effect. \\n\",\n \"\\tof him, his knuckles white as Parrish regards Drew, but still \\n \\tdoes not answer. \\n \\n \\t\\t\\t DREW (cont'd) \\n \\t\\tThe lack of response, Bill, is not\",\n \"\\tof the pain wakes him, he squeezes his arm. The wind comes \\n \\tup, through the wind a VOICE is heard distantly, or is it the \\n \\twind itself: \\n\",\n \"\\tDown below, Susan, in a pained reflex, again turns and looks \\n \\tup towards the hill. There is nobody there. She hesitates, \\n \\tnow glides away from the party, her step quickens as she\",\n \"\\t\\tfeeling in my knees -- \\n \\n \\t\\t\\t SUSAN \\n \\t\\tAnd is your heart beating strangely? \\n \\n \\t\\t\\t JOE \\n \\t\\tFaster. And I want the scent from\",\n \"\\tpowering feeling that compels her to turn and see, at a \\n \\tdistance, Parrish and Joe walking away up the meadow. Some- \\n \\tthing about the sight saddens and at the same time frightens\"\n ],\n [\n \"\\tAllison bursts into tears. \\n \\n \\t\\t\\t ALLISON (cont'd) \\n \\t\\t\\t(to Quince) \\n \\t\\tDid you hear that? \\n\",\n \"\\tShe bursts into tears all over again. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tBut he does give a shit. Don't you, \\n \\t\\tBill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tInside. And I was the fool who made \\n \\t\\tit all happen. Oh God, what do I do? \\n \\n \\tJoe regards Quince. \\n \\n \\t\\t\\t JOE\",\n \"\\t\\tcompany, but that you are relying on \\n \\t\\thim to make them for you. \\n \\n \\tQuince flinches at these words, his hands clasped in front\",\n \"\\tQuince falls silent, aquiver with this reality. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tI'm going to put a stop to this! \\n \\n \\t\\t\\t DREW\",\n \"\\tAfter a moment. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tCome in. \\n \\n \\tQuince appears, flushed with excitement. \\n \\n \\t\\t\\t QUINCE\",\n \"\\tcornered Drew, out of earshot of the others. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tWhat have you done? You've gotten \\n \\t\\tthe old man fired! \\n\",\n \"\\tQuince's head sinks into his hands. \\n \\n \\t\\t\\t DREW (cont'd) \\n \\t\\t\\t(to the Board) \\n \\t\\tA motion has been brought before\",\n \"\\t\\t\\t QUINCE \\n \\t\\tWhat do you do that for? \\n \\n \\t\\t\\t AMBROSE \\n \\t\\tWell sir, it's 9:30 in the morning. \\n\",\n \"\\t\\t\\t QUINCE \\n \\t\\tThat's what he said. \\n \\n \\tQuince, having dispensed his information, looks proudly \\n \\taround at the Board members. They are stunned, Sloane in\",\n \"\\tAn awkward pause. Quince chooses to fill the silence. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tI love little girls -- \\n \\n \\tAllison elbows him. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tI know. Gum up the works. \\n \\n \\tParrish is about to make some reassuring comment to Quince \\n \\twhen the Voice suddenly intrudes: \\n \\n \\t\\t\\t VOICE (V.O.)\",\n \"\\t\\t\\t DREW \\n \\t\\tHe said that? \\n \\n \\t\\t\\t QUINCE \\n \\t\\tWell, you've got him by the short- \\n \\t\\thairs. \\n\",\n \"\\tQuince comes running up now. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tHi, Bill -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tGood morning, Quince. \\n\",\n \"\\t\\t\\t QUINCE \\n \\t\\tHe was interested. \\n \\n \\t\\t\\t DREW \\n \\t\\t\\t(prompting) \\n \\t\\t-- But he was concerned about the \\n \\t\\ttiming? \\n\",\n \"\\t\\t\\t(to Quince) \\n \\t\\tWake up and smell the thorns. \\n \\n \\tDrew joins the employee as Quince slumps against the wall. \\n\",\n \"\\tINT. HALLWAY, PARRISH COMMUNICATIONS - DAY \\n \\n \\tThe Board meeting has broken up, clusters of members have \\n \\tlingered, exchanging post-mortems. And enraged Quince has\",\n \"\\tJoe watches as Quince dabs at Allison's tears with a napkin. \\n \\n \\t\\t\\t QUINCE (cont'd) \\n \\t\\tFeel better? \\n \\n \\t\\t\\t ALLISON\",\n \"\\tQuince puts a reassuring arm around Allison, she seems to \\n \\trelax now, Joe has been a keen observer of what has trans- \\n \\tpired between husband and wife, between man and woman, a\",\n \"\\t\\tConfused, huh? About what? \\n \\n \\t\\t\\t JOE \\n \\t\\tLove. \\n \\n \\t\\t\\t QUINCE \\n \\t\\t'Love'? Oh, man, I've got troubles\"\n ],\n [\n \"\\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \\n \\n \\tThe place has cleared out now, the counterman busy bussing \\n \\ttables laden with dishes and cups, Susan and the Young Man\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tAnd I want to get into my apartment \\n \\t\\tand go to work. Please, what do you \\n \\t\\tsay, another cup of coffee? \\n \\n \\tTwo pots are warming behind the counter, he reaches over and\",\n \"\\tvealing himself to be the Young Man seen previously in the \\n \\tcoffee shop, but there is a change; he seems odd, off- \\n \\tcenter, not handsome but terrifyingly beautiful. \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\tJoe watches her, now his eyes close. Easter exhales \\n \\traspingly, falls still. The monitors flatline. A beeping \\n \\talarm sound somewhere down the hall. \\n\",\n \"\\tThe busy medical community at 68th Street and New York Avenue. \\n \\n \\tINT. CORINTH COFFEE SHOP, NEW YORK AVENUE - DAY \\n\",\n \"\\t\\t-- That was the place... and you were \\n \\t\\tthe guy. \\n \\n \\tJoe seems resigned now, the air gone out of him. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\t\\tMr. Joe Black. Mr. Joe who? Joe \\n \\t\\tBlack. He attends our Board meet- \\n \\t\\tint, he sleeps at Bill's house, re- \\n \\t\\tsides in his office. Never leaves\",\n \"\\t\\t\\t JOE \\n \\t\\tNo thank you, Bill. I can manage. \\n \\n \\tJoe goes. \\n \\n \\tINT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY \\n\",\n \"\\tincluding Quince. Everyone sits when Parrish does but Joe, \\n \\tright at home, spots a tray of refreshments: coffee, pas- \\n \\ttries, he heads for them. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tknew her. The man she met in the \\n \\t\\tcoffee shop this morning. I - uh - \\n \\t\\ttook him. \\n \\n \\t\\t\\t PARRISH\",\n \"\\tcounterman refills his cup and the Young Man ties into the \\n \\tbreakfast, eating it with such relish that Susan can't take \\n \\ther eyes off him. He senses her eyes, glances over, his\",\n \"\\t\\tcream. Me, too... \\n \\n \\tThey smile at each other, fix up their coffee. \\n \\n \\tEXT. PARRISH COMMUNICATIONS, NEW YORK CITY - DAY \\n\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\t\\t\\t SUSAN (cont'd) \\n \\t\\tWell, you've found one, Joe. \\n \\n \\t\\t\\t JOE \\n \\t\\tThe 'coffee shop' -- \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\talone now, eyes on each other's. \\n \\n \\t\\t\\t JOE \\n \\t\\tHello, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\t\\t(carefully)\",\n \"\\tShe does, her pained grimace melts into a peaceful smile. \\n \\n \\t\\t\\t JOE (cont'd) \\n \\t\\tSoon. \\n \\n \\tHe takes his hand away, and the Orderly wheels Easter off. \\n\",\n \"\\this body arcs through the air. \\n \\n \\tAnother sickening THUD as it lands, the Young Man lies \\n \\tcrumpled, still. \\n \\n \\t\\t\\t\\t\\t\\tCUT TO: \\n\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tIt's... it's... over. \\n \\n \\tA long silence. Parrish and the Young Man take each other in,\"\n ],\n [\n \"\\t\\tHappy Birthday, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tThank you. \\n \\n \\tThey watch the guests gathering to view the fireworks. \\n \\tJoe's gaze lingers. \\n\",\n \"\\tDrew enters with Quince, Quince nods, excusing himself, and \\n \\tcloses the door behind him. \\n \\n \\t\\t\\t DREW \\n \\t\\tHi, Bill, happy birthday -- \\n \\n \\tA moment.\",\n \"\\tthe fever of the celebration lost on him, within himself. \\n \\n \\tJoe enters, Parrish looks up. \\n \\n \\t\\t\\t JOE \\n \\t\\t...We should think about getting \\n \\t\\tstarted, Bill. \\n\",\n \"\\tThe preparations are building to a climax, all the elaborate \\n \\tplans coming to fruition. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou know, darling, this is going to \\n \\t\\tbe a wonderful party.\",\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\tout the window again, the party preparations in full swing, \\n \\tcolored lights are tested, they flicker on and off. \\n \\n \\tEXT. LAWNS, COUNTRY ESTATE - AFTERNOON \\n\",\n \"\\tDown below, Susan, in a pained reflex, again turns and looks \\n \\tup towards the hill. There is nobody there. She hesitates, \\n \\tnow glides away from the party, her step quickens as she\",\n \"\\ther, she turns back to the party, dazed, tracing on the \\n \\tfireworks. \\n \\n \\tANOTHER ANGLE \\n \\n \\tUp the hill Parrish's step slows, Joe slowing with him. \\n\",\n \"\\tJoe makes his way down the path from Parrish's study, a \\n \\tweight on his shoulders, his step measured, within himself \\n \\tuntil he is hit by the lights and laughter and MUSIC of the\",\n \"\\tthen they flutter open, he glances up at the ceiling and \\n \\tfinally, exhausted, falls back asleep. \\n \\n \\tEXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING \\n\",\n \"\\tThe door flies open, an anxious Allison appears. \\n \\n \\t\\t\\t ALLISON \\n \\t\\tDaddy! We've been looking all over \\n \\t\\tfor you - this is your party - what\",\n \"\\t\\tBontecou Day. Going to close \\n \\t\\twith Big John -- Look at you, Bill, \\n \\t\\tall cool as a cat and over at \\n \\t\\tBontecou's, I'll bet he's shitting\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tWho I am, and my relationship to \\n \\t\\tBill, will be divulged in our own \\n \\t\\tgood time. \\n \\n \\tJoe follows Parrish out of the room. \\n\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\tShe bursts into tears all over again. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tBut he does give a shit. Don't you, \\n \\t\\tBill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\tParrish gazes at the going-on outside which are increasing \\n \\tin intensity. \\n \\n \\t\\t\\t PARRISH \\n \\t\\t\\t(unconsciously) \\n \\t\\tI hate parties -- \\n\",\n \"\\tQuince comes running up now. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tHi, Bill -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tGood morning, Quince. \\n\",\n \"\\tHe turns back into the foyer, looks up, Parrish is on the \\n \\tbalcony, it is clear he has observed Joe and Susan. \\n \\n \\t\\t\\t JOE \\n \\t\\tHello, Bill. \\n\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\tfidgets. Drew milks the moment. \\n \\n \\t\\t\\t DREW (cont'D) \\n \\t\\tIt's no surprise if I suggest to you \\n \\t\\tthat the Bill Parrish we know is not\"\n ],\n [\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tYou're the poison, Drew. You've \\n \\t\\toperated behind-the-scenes to suborn \\n \\t\\tthe trust of a man who has stamped \\n \\t\\tyou with his imprimatur of class and\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\tDrew is provoked by the response, but remains polite: \\n \\n \\t\\t\\t DREW \\n \\t\\tYou and Bill old friends? \\n \\n \\tParrish jumps in: \\n \\n \\t\\t\\t PARRISH\",\n \"\\tDrew indicates to the Board's Stenographer to arrange Joe's \\n \\trefreshments. \\n \\n \\t\\t\\t PARRISH \\n \\t\\t\\t(quietly, indicating a \\n \\t\\t\\t chair)\",\n \"\\t\\tYes, you are to understand that, and \\n \\t\\tnow may I ask you a question? \\n \\n \\t\\t\\t DREW \\n \\t\\tCertainly, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tI told Drew and the Board that Bill \\n \\t\\tdepended on you. Drew led me on, \\n \\t\\tbut I had no business telling him \\n \\t\\tin the first place. He was setting\",\n \"\\tfidgets. Drew milks the moment. \\n \\n \\t\\t\\t DREW (cont'D) \\n \\t\\tIt's no surprise if I suggest to you \\n \\t\\tthat the Bill Parrish we know is not\",\n \"\\t\\tnow, Drew. Resignation accepted. \\n \\t\\tMoreover, I propose a motion to re- \\n \\t\\tconfirm William Parrish as Chairman \\n \\t\\tof the Board of Parrish Communica-\",\n \"\\t\\tit. As your chairman, I urge you to \\n \\t\\tagree this company is not for sale. \\n \\n \\tA silence, everybody shifts, the Board is in shock, Drew is \\n \\ttrying to maintain his balance. \\n\",\n \"\\tDrew opens a door, a conference room, a circle of top exec- \\n \\tutives, now stepping out from the group is a huge, white- \\n \\thaired man, JOHN BONTECOU, 55. \\n\",\n \"\\t\\t\\t DREW (cont'd) \\n \\t\\tThe feeling of the Board is this: we \\n \\t\\tfear Mr. Black is not only influenc- \\n \\t\\ting your decisions in regard to this\",\n \"\\t\\tMoreover, Agent Joe Black here -- \\n \\t\\tof course that's not his real name \\n \\t\\t-- smelled out your involvement, \\n \\t\\tDrew. He developed evidence you \\n \\t\\twere working both sides of the\",\n \"\\t\\tnow because the guy who reports to \\n \\t\\tme is threatening me. \\n \\n \\t\\t\\t DREW \\n \\t\\tI'm just giving you the truth. There \\n \\t\\twas a time when William Parrish liked\",\n \"\\t\\the's his house guest. And you know \\n \\t\\thow he hates house guests. What is \\n \\t\\tgoing on? \\n \\n \\tDrew, whose eyes have also been on Joe across the room, turns \\n \\tback.\",\n \"\\tINT. EXECUTIVE OFFICES, PARRISH COMMUNICATIONS - DAY \\n \\n \\tParrish, Drew beside him, proceeds through a high tech, but\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tto Bill Parrish? And most important, \\n \\t\\twhat is behind his influence on our \\n \\t\\tChairman? \\n \\n \\t\\t\\t SLOANE \\n \\t\\tYou're building this thing up too\",\n \"\\t\\tWho is this man? He's giving \\n \\t\\tubiquitous a bad name. \\n \\n \\tA moment. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're competitive soul, Drew.\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tSorry. I know it looks like I'm \\n \\t\\treversing my field. \\n \\n \\t\\t\\t DREW \\n \\t\\tThat's your privilege, Bill. But\"\n ],\n [\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tYou're Death? \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\tYes. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tDeath!\",\n \"\\t\\t\\t YOUNG MAN (cont'd) \\n \\t\\t\\t(gently) \\n \\t\\tWho am I? \\n \\n \\t\\t\\t PARRISH \\n \\t\\t...Death. \\n\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tThat's me. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're not Death. You're just a kid \\n \\t\\tin a jacket and a pair of pants.\",\n \"\\t\\tYou're looking at a man who tonight \\n \\t\\tis not about to walk through the \\n \\t\\tValley of the Shadow of Death, he's \\n \\t\\tgalloping into it. And the same time,\",\n \"\\t\\tMr. Joe Black. Mr. Joe who? Joe \\n \\t\\tBlack. He attends our Board meet- \\n \\t\\tint, he sleeps at Bill's house, re- \\n \\t\\tsides in his office. Never leaves\",\n \"\\this body arcs through the air. \\n \\n \\tAnother sickening THUD as it lands, the Young Man lies \\n \\tcrumpled, still. \\n \\n \\t\\t\\t\\t\\t\\tCUT TO: \\n\",\n \"\\t\\tSusan went, in whatever way she did, \\n \\t\\tfor that poor sonofabitch whose body \\n \\t\\tyou took, and everything else since \\n \\t\\thas been aftermath. You say you love\",\n \"\\tclutches at his shoulder and arm, the pain has violently \\n \\tseized the upper part of his body. He breaks out in a sweat, \\n \\this pallor now waxen as the Voice repeats itself: \\n\",\n \"\\t\\t\\t ALLISON \\n \\t\\tWhew, at last. Nice to meet you, \\n \\t\\tMr. Black. \\n \\n \\t\\t\\t QUINCE \\n \\t\\t'Joe Black'. Won fifteen and lost\",\n \"\\thallucination but which he is certain is not. Parrish is \\n \\tpossessed. He angles his face in every direction, arbi- \\n \\ttrarily chooses one and now embarrassedly, unconsciously,\",\n \"\\tthe discomfort seems momentarily to have subsided. \\n \\n \\tHe rises now, crosses to the bathroom. As he pees, a breeze \\n \\toutside the window, the wind again, but then the Voice comes \\n \\tup: \\n\",\n \"\\tJoe watches her, now his eyes close. Easter exhales \\n \\traspingly, falls still. The monitors flatline. A beeping \\n \\talarm sound somewhere down the hall. \\n\",\n \"\\tHe is heading straight for her, she tries to make him out, \\n \\tseems to recognize him, starts to walk towards him as if \\n \\tpulled by a magnet. Now she stops again. It is a man, he\",\n \"\\t\\tforgot, my daughter's fallen in \\n \\t\\tlove with Death. \\n \\n \\tAnother moment. \\n \\n \\t\\t\\t JOE \\n \\t\\t-- And I'm in love with your \\n \\t\\tdaughter.\",\n \"\\t\\t\\t PARRISH \\n \\t\\t...Am I going to die? \\n \\n \\tThe figure who is the Voice takes a step forward now, no \\n \\tlonger obscured by the glass he comes into the light, re-\",\n \"\\tman of maturity yet who exudes a glow of enthusiasm. \\n \\n \\tAlthough asleep, there is an uncommon restlessness to him. \\n \\tParrish grips his upper arm as if in pain. Now the severity\",\n \"\\tDown below, Susan, in a pained reflex, again turns and looks \\n \\tup towards the hill. There is nobody there. She hesitates, \\n \\tnow glides away from the party, her step quickens as she\",\n \"\\t\\tBut you're not. You're somewhere \\n \\t\\telse. \\n \\t\\t\\t(a moment) \\n \\t\\tYou're someone else -- \\n \\n \\tJoe is struggling with a response, finally, inevitably, he\",\n \"\\tof the pain wakes him, he squeezes his arm. The wind comes \\n \\tup, through the wind a VOICE is heard distantly, or is it the \\n \\twind itself: \\n\",\n \"\\tDrew regards Joe. \\n \\n \\t\\t\\t DREW (cont'd) \\n \\t\\tWho is Joe Black? \\n \\n \\tParrish stares stoically into the middle distance as\"\n ],\n [\n \"\\tSusan reaches out for Joe, they kiss, he is awkward but his \\n \\tvery awkwardness endearing. Susan pulls him closer, they \\n \\tlinger now, mouths on each other's, then separate. \\n\",\n \"\\tSusan builds. Joe has found himself in an unexplored land \\n \\tof feeling and passion, he loves what is happening and yet \\n \\tat the same time, is terrified by it. He feels himself being\",\n \"\\tAt the kiss's conclusion Susan suddenly notices Joe is \\n \\tpresent and has been watching. She is shocked, embarrassed, \\n \\tpleased, conflicted, an instant and wide spectrum of emotions. \\n\",\n \"\\tJoe is locked on Susan, it is as if there is nobody else in the \\n \\troom. \\n \\n \\t\\t\\t JOE \\n \\t\\tYes... \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\tYes. Well...thank you, Joe. \\n \\n \\tSusan turns to go, hesitates. \\n \\n \\t\\t\\t JOE \\n \\t\\tGood-bye, Susan. \\n\",\n \"\\t\\tto me. Ever since Joe showed. It's \\n \\t\\tlike he dropped from the clouds... \\n \\n \\tDrew enters. He nuzzles Susan's neck, out of the corner of\",\n \"\\t\\t\\t JOE (cont'd) \\n \\t\\tAnd you don't even have to say a \\n \\t\\tword. \\n \\n \\tTheir faces inches from each other's. \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\t\\t SUSAN \\n \\t\\tThen why are you here, Joe? \\n \\n \\t\\t\\t JOE \\n \\t\\tI came to see you. \\n \\n \\t\\t\\t SUSAN\",\n \"\\tNow Susan, close to Joe, leans closer, her nose in Joe's \\n \\tneck. Joe holds himself very still. \\n \\n \\t\\t\\t SUSAN (cont'd) \\n \\t\\tI like your smell, too. \\n\",\n \"\\t\\t\\t SUSAN \\n \\t\\tIt gets worse. \\n \\n \\t\\t\\t JOE \\n \\t\\tNo worse than it gets for me. I'm \\n \\t\\tin love with a woman whom I don't\",\n \"\\t\\t\\t JOE (cont'd) \\n \\t\\tMay I take your coat? \\n \\n \\tShe doesn't answer, starts to take off the coat herself, Joe \\n \\tcomes around her to help, Susan senses him breathing in the\",\n \"\\t\\t\\t SUSAN \\n \\t\\tThat felt like a goodbye. \\n \\n \\tJoe's silence is heavy. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tShe gets up, closes the door, sits back down again next to \\n \\tJoe. A warm, awkward silence, they move closer to each \\n \\tother, now they fall into a foreplay which Susan recognizes\",\n \"\\ton with her coat, she turns around, they kiss. The kiss \\n \\tlingers, Susan breaks away, reaches for the door, looks back \\n \\tlongingly at Joe and then she is gone, Joe closing the door \\n \\tsoftly after her. \\n\",\n \"\\t\\tJoe, I'm with Drew. \\n \\n \\t\\t\\t JOE \\n \\t\\t\\t(sincerely) \\n \\t\\tNot now. \\n \\n \\tSusan smiles gently. \\n\",\n \"\\t\\ttell you -- that with Joe, you are \\n \\t\\ton very, very dangerous ground. \\n \\n \\tSusan doesn't answer for a moment. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI love him.\",\n \"\\tHer question makes Joe, almost involuntarily, smile. Susan \\n \\ttakes the opportunity to step back from him. The SOUND of \\n \\tsomeone at the door, it is Parrish, Susan turns, comprehends\",\n \"\\tHe holds on tight to her. They are desperately entwined \\n \\tuntil finally she releases him. \\n \\n \\t\\t\\t JOE \\n \\t\\tSusan -- \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\tJoe? \\n \\n \\tThe apprehensive expression on Joe's face fades away. \\n \\n \\t\\t\\t JOE \\n \\t\\tYes? \\n \\n \\t\\t\\t SUSAN\",\n \"\\tJoe is silent for a moment, cogitating. \\n \\n \\t\\t\\t JOE \\n \\t\\tSusan wants to come. She says she's \\n \\t\\tin love with me. \\n\"\n ],\n [\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tthe business he built with his own \\n \\t\\thands and his own head is being \\n \\t\\tcommandeered by a couple of cheap \\n \\t\\tpirates. And, oh yes, I almost\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tWho I am, and my relationship to \\n \\t\\tBill, will be divulged in our own \\n \\t\\tgood time. \\n \\n \\tJoe follows Parrish out of the room. \\n\",\n \"\\t\\tcompany, but that you are relying on \\n \\t\\thim to make them for you. \\n \\n \\tQuince flinches at these words, his hands clasped in front\",\n \"\\t\\tsave face. Tell him Bill wants it \\n \\t\\tunderstood in the business community \\n \\t\\the has merely moved upstairs in his \\n \\t\\town company, and the executive \\n \\t\\tcontinuity is unbroken. Tonight's\",\n \"\\t\\tYou think so? How do you know? \\n \\n \\t\\t\\t JOE \\n \\t\\tBecause that's the kind of man Bill \\n \\t\\tParrish is. \\n \\n \\tA moment. \\n\",\n \"\\t\\tYes, you are to understand that, and \\n \\t\\tnow may I ask you a question? \\n \\n \\t\\t\\t DREW \\n \\t\\tCertainly, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tI told Drew and the Board that Bill \\n \\t\\tdepended on you. Drew led me on, \\n \\t\\tbut I had no business telling him \\n \\t\\tin the first place. He was setting\",\n \"\\t\\tThis is damn big of Bill, I also \\n \\t\\tthink it's smart. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tHe had no choice. You're a \\n \\t\\tformidable adversary. \\n\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tI thought we had a deal. \\n \\n \\t\\t\\t JOE \\n \\t\\tI'm sorry, Bill -- \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tJohn Bontecou all along. We had \\n \\t\\ta game plan -- acquire Parrish \\n \\t\\tCommunications then break it apart \\n \\t\\tand peddle it piece-by-piece to the\",\n \"\\t\\tHow did this all come about? Crisis \\n \\t\\t-- Bill Parrish, crisis -- his com- \\n \\t\\tpany, crisis for us. I came about \\n \\t\\twith the arrival on the scene of --\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\t\\ttions as well as a rejection of the \\n \\t\\tmerger with Bontecou International. \\n \\t\\tHow say you, Board? \\n \\n \\tA chorus of thunderous \\\"Yes\\\"es resounds through the\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\t\\tWhy yes, Bill, I was saying to \\n \\t\\tQuince -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tNo no, not you. \\n \\n \\t\\t\\t SUSAN\",\n \"\\tQuince comes running up now. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tHi, Bill -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tGood morning, Quince. \\n\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tI am talking about. \\n \\n \\t\\t\\t JOE \\n \\t\\tThose were my words, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tWell, they're mine now. \\n\"\n ],\n [\n \"\\t\\t\\t YOUNG MAN \\n \\t\\t\\t(to Allison) \\n \\t\\t'...How nice to meet you.' \\n \\n \\t\\t\\t PARRISH \\n \\t\\tOh, I'm sorry. This is my daughter,\",\n \"\\t\\tWhy yes, Bill, I was saying to \\n \\t\\tQuince -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tNo no, not you. \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\teat dinner with us. \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\tBill, I am eating dinner with you. \\n \\t\\tAnd your family. And that's what\",\n \"\\tShe bursts into tears all over again. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tBut he does give a shit. Don't you, \\n \\t\\tBill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tMaybe it's because you found out \\n \\t\\tI'm Bill Parrish's daughter. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tCut it out, Susan. \\n \\t\\t\\t(to Joe)\",\n \"\\tdinner being noted, and the guest himself carefully survey- \\n \\ted. Finally, Allison breaks the ice: \\n \\n \\t\\t\\t ALLISON (cont'd) \\n \\t\\t\\t(to the Young Man)\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tDamn right. Looking for her right \\n \\t\\tnow. Who knows? You might be her. \\n \\n \\tSusan laughs. \\n\",\n \"\\t\\tHappy Birthday, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tThank you. \\n \\n \\tThey watch the guests gathering to view the fireworks. \\n \\tJoe's gaze lingers. \\n\",\n \"\\tHe looks back at Susan as the distance between them widens, \\n \\tnow he turns and walks on. \\n \\n \\tON SUSAN \\n \\n \\tShe looks around once more but the Young Man is still headed\",\n \"\\tQuince comes running up now. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tHi, Bill -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tGood morning, Quince. \\n\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\tLuisa. The Young Man interjects: \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\t\\t(to Luisa) \\n \\t\\tYes. \\n \\t\\t\\t(a polite afterthought)\",\n \"\\tParrish ignores her at first, finally he looks at Luisa then \\n \\tat the Young Man, then once more at both of them as if to \\n \\tverify the Young Man's presence has been acknowledged by\",\n \"\\t\\t\\t YOUNG MAN (cont'd) \\n \\t\\tI'm sorry, you mind my saying that? \\n \\n \\t\\t\\t SUSAN \\n \\t\\tNot at all. \\n\",\n \"\\tSusan slowly realizes this is the Young Man. She is shaken, \\n \\ta sudden intake of breath. \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\tHey, you all right? \\n\",\n \"\\t\\t\\t SUSAN \\n \\t\\tYou and 'Honey'? \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\tMy kid sister. She just broke up \\n \\t\\twith her boyfriend and she's\",\n \"\\t\\t\\t SUSAN \\n \\t\\tI could be her. \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\t'Her'. \\n \\n \\tA moment. \\n \\n \\t\\t\\t SUSAN\",\n \"\\tShe falls silent now, overcome by the last moments' \\n \\trevelations. The Young Man senses her discomfort which \\n \\tis on the edge of pain. \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tBut we've got time. \\n \\n \\tShe searches the Young Man's eyes, his face is open, \\n \\tcompletely vulnerable, waiting for her response. A long \\n \\tsilence, the words come out haltingly:\"\n ],\n [\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tYou're Death? \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\tYes. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tDeath!\",\n \"\\tMOVE THROUGH the doorway to reveal a master bedroom furnish- \\n \\ted with exquisite simplicity, revelatory of its sleeping \\n \\toccupant, WILLIAM PARRISH, 64, a warm but commanding face, a\",\n \"\\t\\tMr. Joe Black. Mr. Joe who? Joe \\n \\t\\tBlack. He attends our Board meet- \\n \\t\\tint, he sleeps at Bill's house, re- \\n \\t\\tsides in his office. Never leaves\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\tThe silence is broken by a KNOCK on the door. Parrish, out \\n \\tof politeness to Joe, does not respond. \\n \\n \\t\\t\\t QUINCE (O.S.) \\n \\t\\tBill --? \\n\",\n \"\\tQuince comes running up now. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tHi, Bill -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tGood morning, Quince. \\n\",\n \"\\t\\tIt will come to us. \\n \\n \\tINT. FOYER, PARRISH TOWNHOUSE (LATER) - DAY \\n \\n \\tJoe and Susan are at the front door, he has helped her\",\n \"\\t\\tYou're looking at a man who tonight \\n \\t\\tis not about to walk through the \\n \\t\\tValley of the Shadow of Death, he's \\n \\t\\tgalloping into it. And the same time,\",\n \"\\t\\t\\t YOUNG MAN (cont'd) \\n \\t\\t\\t(gently) \\n \\t\\tWho am I? \\n \\n \\t\\t\\t PARRISH \\n \\t\\t...Death. \\n\",\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tBill. Come on. The question. The \\n \\t\\tquestion you've been asking yourself \\n \\t\\twith increased regularity, at odd \\n \\t\\tmoments, panting through the extra\",\n \"\\t\\there for? \\n \\n \\tParrish suddenly looks very anxious, Joe stops. \\n \\n \\t\\t\\t JOE (cont'd) \\n \\t\\tYou seem uncomfortable, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\theard something, he looks around, but no one is there. He \\n \\tcan't finish peeing, turns back to his bedroom. All beweild- \\n \\tered, Parrish looks around once more, climbs back into bed,\",\n \"\\tDrew enters with Quince, Quince nods, excusing himself, and \\n \\tcloses the door behind him. \\n \\n \\t\\t\\t DREW \\n \\t\\tHi, Bill, happy birthday -- \\n \\n \\tA moment.\",\n \"\\tthe fever of the celebration lost on him, within himself. \\n \\n \\tJoe enters, Parrish looks up. \\n \\n \\t\\t\\t JOE \\n \\t\\t...We should think about getting \\n \\t\\tstarted, Bill. \\n\",\n \"\\tHe starts to step out. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tCome in, Joe -- I want to thank you \\n \\t\\t-- okay, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t ALLISON \\n \\t\\tWhew, at last. Nice to meet you, \\n \\t\\tMr. Black. \\n \\n \\t\\t\\t QUINCE \\n \\t\\t'Joe Black'. Won fifteen and lost\",\n \"\\tAfter a moment. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tCome in. \\n \\n \\tQuince appears, flushed with excitement. \\n \\n \\t\\t\\t QUINCE\"\n ],\n [\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tYou're Death? \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\tYes. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tDeath!\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\t\\t\\t YOUNG MAN (cont'd) \\n \\t\\t\\t(gently) \\n \\t\\tWho am I? \\n \\n \\t\\t\\t PARRISH \\n \\t\\t...Death. \\n\",\n \"\\t\\tMr. Joe Black. Mr. Joe who? Joe \\n \\t\\tBlack. He attends our Board meet- \\n \\t\\tint, he sleeps at Bill's house, re- \\n \\t\\tsides in his office. Never leaves\",\n \"\\tDrew enters with Quince, Quince nods, excusing himself, and \\n \\tcloses the door behind him. \\n \\n \\t\\t\\t DREW \\n \\t\\tHi, Bill, happy birthday -- \\n \\n \\tA moment.\",\n \"\\t\\tWhy yes, Bill, I was saying to \\n \\t\\tQuince -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tNo no, not you. \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tWho I am, and my relationship to \\n \\t\\tBill, will be divulged in our own \\n \\t\\tgood time. \\n \\n \\tJoe follows Parrish out of the room. \\n\",\n \"\\tThe silence is broken by a KNOCK on the door. Parrish, out \\n \\tof politeness to Joe, does not respond. \\n \\n \\t\\t\\t QUINCE (O.S.) \\n \\t\\tBill --? \\n\",\n \"\\t\\t\\t ALLISON \\n \\t\\tWhew, at last. Nice to meet you, \\n \\t\\tMr. Black. \\n \\n \\t\\t\\t QUINCE \\n \\t\\t'Joe Black'. Won fifteen and lost\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\tQuince comes running up now. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tHi, Bill -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tGood morning, Quince. \\n\",\n \"\\tthe fever of the celebration lost on him, within himself. \\n \\n \\tJoe enters, Parrish looks up. \\n \\n \\t\\t\\t JOE \\n \\t\\t...We should think about getting \\n \\t\\tstarted, Bill. \\n\",\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\t\\there for? \\n \\n \\tParrish suddenly looks very anxious, Joe stops. \\n \\n \\t\\t\\t JOE (cont'd) \\n \\t\\tYou seem uncomfortable, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\tMOVE THROUGH the doorway to reveal a master bedroom furnish- \\n \\ted with exquisite simplicity, revelatory of its sleeping \\n \\toccupant, WILLIAM PARRISH, 64, a warm but commanding face, a\",\n \"\\t\\tYou're looking at a man who tonight \\n \\t\\tis not about to walk through the \\n \\t\\tValley of the Shadow of Death, he's \\n \\t\\tgalloping into it. And the same time,\",\n \"\\t\\tYes, you are to understand that, and \\n \\t\\tnow may I ask you a question? \\n \\n \\t\\t\\t DREW \\n \\t\\tCertainly, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\tof him, his knuckles white as Parrish regards Drew, but still \\n \\tdoes not answer. \\n \\n \\t\\t\\t DREW (cont'd) \\n \\t\\tThe lack of response, Bill, is not\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\"\n ],\n [\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tYou think so? How do you know? \\n \\n \\t\\t\\t JOE \\n \\t\\tBecause that's the kind of man Bill \\n \\t\\tParrish is. \\n \\n \\tA moment. \\n\",\n \"\\t\\tThis is damn big of Bill, I also \\n \\t\\tthink it's smart. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tHe had no choice. You're a \\n \\t\\tformidable adversary. \\n\",\n \"\\t\\tYou fill the bill, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tI do? \\n \\t\\t\\t(a moment) \\n \\t\\tHow long will you be staying? \\n\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\t\\tthat this was a contest and he's \\n \\t\\tlost. The race is to the swift, \\n \\t\\tbut could Drew summon a modicum \\n \\t\\tof understanding and allow Bill to\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tI thought we had a deal. \\n \\n \\t\\t\\t JOE \\n \\t\\tI'm sorry, Bill -- \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tBill. Come on. The question. The \\n \\t\\tquestion you've been asking yourself \\n \\t\\twith increased regularity, at odd \\n \\t\\tmoments, panting through the extra\",\n \"\\t\\tYes, you are to understand that, and \\n \\t\\tnow may I ask you a question? \\n \\n \\t\\t\\t DREW \\n \\t\\tCertainly, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tGo to Bill Parrish and tell him \\n \\t\\teverything. He'll forgive you. \\n \\n \\tQuince drains one more glass of wine. \\n \\n \\t\\t\\t QUINCE\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tWho I am, and my relationship to \\n \\t\\tBill, will be divulged in our own \\n \\t\\tgood time. \\n \\n \\tJoe follows Parrish out of the room. \\n\",\n \"\\tShe bursts into tears all over again. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tBut he does give a shit. Don't you, \\n \\t\\tBill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tnow because the guy who reports to \\n \\t\\tme is threatening me. \\n \\n \\t\\t\\t DREW \\n \\t\\tI'm just giving you the truth. There \\n \\t\\twas a time when William Parrish liked\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\t\\there for? \\n \\n \\tParrish suddenly looks very anxious, Joe stops. \\n \\n \\t\\t\\t JOE (cont'd) \\n \\t\\tYou seem uncomfortable, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tis me. So watch it...Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tCut the 'Bill' crap out -- you \\n \\t\\tsonofabitch. \\n \\n \\t\\t\\t JOE\",\n \"\\t\\tsave face. Tell him Bill wants it \\n \\t\\tunderstood in the business community \\n \\t\\the has merely moved upstairs in his \\n \\t\\town company, and the executive \\n \\t\\tcontinuity is unbroken. Tonight's\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t PARRISH \\n \\t\\tThe 'question' -- \\n \\n \\t\\t\\t VOICE \\n \\t\\t\\t(urging) \\n \\t\\tYes, Bill. The question. \\n \\n \\tAfter a moment.\",\n \"\\t\\tWhy yes, Bill, I was saying to \\n \\t\\tQuince -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tNo no, not you. \\n \\n \\t\\t\\t SUSAN\"\n ],\n [\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tWho I am, and my relationship to \\n \\t\\tBill, will be divulged in our own \\n \\t\\tgood time. \\n \\n \\tJoe follows Parrish out of the room. \\n\",\n \"\\t\\tto Bill Parrish? And most important, \\n \\t\\twhat is behind his influence on our \\n \\t\\tChairman? \\n \\n \\t\\t\\t SLOANE \\n \\t\\tYou're building this thing up too\",\n \"\\t\\tit. As your chairman, I urge you to \\n \\t\\tagree this company is not for sale. \\n \\n \\tA silence, everybody shifts, the Board is in shock, Drew is \\n \\ttrying to maintain his balance. \\n\",\n \"\\t\\tnow, Drew. Resignation accepted. \\n \\t\\tMoreover, I propose a motion to re- \\n \\t\\tconfirm William Parrish as Chairman \\n \\t\\tof the Board of Parrish Communica-\",\n \"\\t\\tnow because the guy who reports to \\n \\t\\tme is threatening me. \\n \\n \\t\\t\\t DREW \\n \\t\\tI'm just giving you the truth. There \\n \\t\\twas a time when William Parrish liked\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\t\\tAt which time, the Chairman will be \\n \\t\\tnamed Emeritus, he will be welcome \\n \\t\\tto attend all meetings, and will \\n \\t\\tserve as International Spokesman for \\n \\t\\tthe corporation plus, of course, a\",\n \"\\t\\tParrish how you betrayed him at \\n \\t\\ta secret Board meeting. And tell \\n \\t\\tAllison how you got her father \\n \\t\\tfired -- and he lost his company. \\n \\n \\tQuince goes ashen.\",\n \"\\t\\tsave face. Tell him Bill wants it \\n \\t\\tunderstood in the business community \\n \\t\\the has merely moved upstairs in his \\n \\t\\town company, and the executive \\n \\t\\tcontinuity is unbroken. Tonight's\",\n \"\\t\\tI told Drew and the Board that Bill \\n \\t\\tdepended on you. Drew led me on, \\n \\t\\tbut I had no business telling him \\n \\t\\tin the first place. He was setting\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tI thought we had a deal. \\n \\n \\t\\t\\t JOE \\n \\t\\tI'm sorry, Bill -- \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tis me. So watch it...Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tCut the 'Bill' crap out -- you \\n \\t\\tsonofabitch. \\n \\n \\t\\t\\t JOE\",\n \"\\t\\tWhy yes, Bill, I was saying to \\n \\t\\tQuince -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tNo no, not you. \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\t\\tThe motion is passed. We will of \\n \\t\\tcourse delay the announcement, out \\n \\t\\tof respect for our former Chairman, \\n \\t\\tuntil after the celebration of his \\n \\t\\tbirthday this weekend. \\n\",\n \"\\t\\tYou think so? How do you know? \\n \\n \\t\\t\\t JOE \\n \\t\\tBecause that's the kind of man Bill \\n \\t\\tParrish is. \\n \\n \\tA moment. \\n\",\n \"\\t\\tMandatory retirement upon our \\n \\t\\tChairman's sixty-fifth birthday. \\n \\n \\tParrish is expressionless. \\n \\n \\t\\t\\t DREW (cont'd)\",\n \"\\t\\tCommunications, we must do so with- \\n \\t\\tout its Chairman. \\n \\t\\t\\t(another moment) \\n \\t\\tOh yes, there is one additional \\n \\t\\telement: Bontecou is so anxious to\",\n \"\\t\\ttions as well as a rejection of the \\n \\t\\tmerger with Bontecou International. \\n \\t\\tHow say you, Board? \\n \\n \\tA chorus of thunderous \\\"Yes\\\"es resounds through the\"\n ],\n [\n \"\\t\\tSusan went, in whatever way she did, \\n \\t\\tfor that poor sonofabitch whose body \\n \\t\\tyou took, and everything else since \\n \\t\\thas been aftermath. You say you love\",\n \"\\tThe powerful contradiction is transmitted to Susan, and in \\n \\tthe end there is the knowledge they have together made a \\n \\tjourney, they both have been swept away in a stream of events\",\n \"\\t\\tSusan is my daughter, she has a \\n \\t\\twonderful life ahead of her and \\n \\t\\tyou're going to deprive her of \\n \\t\\tit and you're telling me you're\",\n \"\\tDown below, Susan, in a pained reflex, again turns and looks \\n \\tup towards the hill. There is nobody there. She hesitates, \\n \\tnow glides away from the party, her step quickens as she\",\n \"\\tShe takes Susan's arm and marches her off, Joe, in thrall, \\n \\twatches them go as the MUSIC erupts behind them, as 'up'\",\n \"\\t\\tAlmost. \\n \\n \\t\\t\\t SUSAN \\n \\t\\t\\t(to Drew) \\n \\t\\tI said get out. \\n \\n \\tNow Drew wheels, heads right for the front door and exits with\",\n \"\\tHe looks back at Susan as the distance between them widens, \\n \\tnow he turns and walks on. \\n \\n \\tON SUSAN \\n \\n \\tShe looks around once more but the Young Man is still headed\",\n \"\\t\\t\\t SUSAN \\n \\t\\tThat felt like a goodbye. \\n \\n \\tJoe's silence is heavy. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tSusan is in pain now, she can't summon an answer. \\n \\n \\t\\t\\t PARRISH (cont'd) \\n \\t\\tAnd I want you to feel that way, \\n \\t\\ttoo. \\n\",\n \"\\t\\tAnd so do you. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tDrew, you're out of line. \\n \\n \\t\\t\\t DREW \\n \\t\\tThat may be. But I don't like the\",\n \"\\t\\tShe's in a great deal of pain. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tYes. \\n \\n \\tSusan regards Joe, puzzled. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\t\\tGoodnight to you, Susan. \\n \\n \\tSusan steps towards a door, Joe takes a step in the wrong \\n \\tdirection, they almost walk into each other. Now she takes\",\n \"\\tin front of her, loose, smiling, disoriented and yet so \\n \\tappealing. They are riveted on each other, uneasy and yet \\n \\tclose. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\t\\t\\t SUSAN \\n \\t\\tThen why are you here, Joe? \\n \\n \\t\\t\\t JOE \\n \\t\\tI came to see you. \\n \\n \\t\\t\\t SUSAN\",\n \"\\tsearches Susan's face, now takes her hand -- and together \\n \\tthey start back towards the party. \\n \\n \\tTHE END \\n \\n\",\n \"\\tSusan builds. Joe has found himself in an unexplored land \\n \\tof feeling and passion, he loves what is happening and yet \\n \\tat the same time, is terrified by it. He feels himself being\",\n \"\\tParrish, followed by Drew, steps into a waiting limousine, \\n \\tQuince looks longingly after them. Susan, blowing a kiss \\n \\tgoodbye to her father, steps out into the street to hustle a \\n \\tcab.\",\n \"\\t\\t\\t SUSAN \\n \\t\\tI hope so. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou like him, don't you? \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\t\\t ALLISON (cont'd) \\n \\t\\tGlad to hear it! \\n \\t\\t\\t(to Susan) \\n \\t\\tLet's go. \\n\",\n \"\\t\\tYes. Well...thank you, Joe. \\n \\n \\tSusan turns to go, hesitates. \\n \\n \\t\\t\\t JOE \\n \\t\\tGood-bye, Susan. \\n\"\n ],\n [\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tGo to Bill Parrish and tell him \\n \\t\\teverything. He'll forgive you. \\n \\n \\tQuince drains one more glass of wine. \\n \\n \\t\\t\\t QUINCE\",\n \"\\t\\tAnd - uh - I guess, 'goodnight'. \\n \\n \\t\\t\\t JOE \\n \\t\\tGood night to you, Bill. \\n \\n \\tParrish gently closes the door. \\n\",\n \"\\t\\tYou think so? How do you know? \\n \\n \\t\\t\\t JOE \\n \\t\\tBecause that's the kind of man Bill \\n \\t\\tParrish is. \\n \\n \\tA moment. \\n\",\n \"\\tShe bursts into tears all over again. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tBut he does give a shit. Don't you, \\n \\t\\tBill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tHow long have I got? \\n \\n \\t\\t\\t JOE \\n \\t\\tYou're putting me on the spot, Bill. \\n \\n \\tA moment. \\n \\n \\t\\t\\t JOE (cont'd)\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tI thought we had a deal. \\n \\n \\t\\t\\t JOE \\n \\t\\tI'm sorry, Bill -- \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tthat this was a contest and he's \\n \\t\\tlost. The race is to the swift, \\n \\t\\tbut could Drew summon a modicum \\n \\t\\tof understanding and allow Bill to\",\n \"\\t\\tBill. Come on. The question. The \\n \\t\\tquestion you've been asking yourself \\n \\t\\twith increased regularity, at odd \\n \\t\\tmoments, panting through the extra\",\n \"\\tMOVE THROUGH the doorway to reveal a master bedroom furnish- \\n \\ted with exquisite simplicity, revelatory of its sleeping \\n \\toccupant, WILLIAM PARRISH, 64, a warm but commanding face, a\",\n \"\\t\\tBontecou Day. Going to close \\n \\t\\twith Big John -- Look at you, Bill, \\n \\t\\tall cool as a cat and over at \\n \\t\\tBontecou's, I'll bet he's shitting\",\n \"\\tthe fever of the celebration lost on him, within himself. \\n \\n \\tJoe enters, Parrish looks up. \\n \\n \\t\\t\\t JOE \\n \\t\\t...We should think about getting \\n \\t\\tstarted, Bill. \\n\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\t\\tYou fill the bill, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tI do? \\n \\t\\t\\t(a moment) \\n \\t\\tHow long will you be staying? \\n\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t PARRISH \\n \\t\\tThe 'question' -- \\n \\n \\t\\t\\t VOICE \\n \\t\\t\\t(urging) \\n \\t\\tYes, Bill. The question. \\n \\n \\tAfter a moment.\",\n \"\\t\\tHappy Birthday, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tThank you. \\n \\n \\tThey watch the guests gathering to view the fireworks. \\n \\tJoe's gaze lingers. \\n\",\n \"\\tshould he not, what is happening? He looks out: absolute \\n \\tstillness and silence, CRICKETS chirp down by the river, a \\n \\tlight FLICKERS from a shadboat, Parrish closes his eyes but\",\n \"\\tfidgets. Drew milks the moment. \\n \\n \\t\\t\\t DREW (cont'D) \\n \\t\\tIt's no surprise if I suggest to you \\n \\t\\tthat the Bill Parrish we know is not\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tWho I am, and my relationship to \\n \\t\\tBill, will be divulged in our own \\n \\t\\tgood time. \\n \\n \\tJoe follows Parrish out of the room. \\n\"\n ],\n [\n \"\\tout again, Joe right with him. In tandem they continue \\n \\ton and disappear over the crest of the hill. A barrage \\n \\tof fireworks lights up the sky. \\n \\n \\tANOTHER ANGLE \\n\",\n \"\\t\\tHappy Birthday, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tThank you. \\n \\n \\tThey watch the guests gathering to view the fireworks. \\n \\tJoe's gaze lingers. \\n\",\n \"\\t\\tThe fireworks are about to start. \\n \\n \\tParrish looks up, sees Joe up on the terrace, waiting. \\n \\n \\t\\t\\t SUSAN (cont'd) \\n \\t\\t\\t(to Parrish)\",\n \"\\tfireworks. When Parrish senses she is on her way, he turns \\n \\tand heads up towards Joe. \\n \\n \\tJoe rises to meet Parrish as he approaches. \\n \\n \\t\\t\\t JOE\",\n \"\\ther, she turns back to the party, dazed, tracing on the \\n \\tfireworks. \\n \\n \\tANOTHER ANGLE \\n \\n \\tUp the hill Parrish's step slows, Joe slowing with him. \\n\",\n \"\\tthe fever of the celebration lost on him, within himself. \\n \\n \\tJoe enters, Parrish looks up. \\n \\n \\t\\t\\t JOE \\n \\t\\t...We should think about getting \\n \\t\\tstarted, Bill. \\n\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tWho I am, and my relationship to \\n \\t\\tBill, will be divulged in our own \\n \\t\\tgood time. \\n \\n \\tJoe follows Parrish out of the room. \\n\",\n \"\\tJoe disembark. Following the Butler, they make their way \\n \\tthrough the maelstrom: tents being raised, platforms for \\n \\tmusic groups, portable pools with clusters of florists\",\n \"\\t\\t\\t JOE \\n \\t\\tAre you going to fire me, Bill? \\n \\n \\tSilence, Parrish is at a loss. \\n \\n \\tINT. FOYER - NIGHT \\n\",\n \"\\t\\t\\t(glances at Joe) \\n \\t\\tI was hoping we might be alone, \\n \\t\\tBill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tJoe and I have no secrets from each \\n \\t\\tother.\",\n \"\\t\\there for? \\n \\n \\tParrish suddenly looks very anxious, Joe stops. \\n \\n \\t\\t\\t JOE (cont'd) \\n \\t\\tYou seem uncomfortable, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t JOE \\n \\t\\tYes, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tHow about giving a guy a break? \\n \\n \\t\\t\\t JOE \\n \\t\\tMake an exception? \\n\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\tEverybody's eyes are on Joe. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tI've already introduced Mr. Black to \\n \\t\\tyou all. \\n \\n \\t\\t\\t DREW\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tIt will come to us. \\n \\n \\tSusan smiles, the fireworks finale goes off, the MUSIC comes \\n \\tup from below, the night fills with light. The Young Man\",\n \"\\t\\tis me. So watch it...Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tCut the 'Bill' crap out -- you \\n \\t\\tsonofabitch. \\n \\n \\t\\t\\t JOE\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tI thought we had a deal. \\n \\n \\t\\t\\t JOE \\n \\t\\tI'm sorry, Bill -- \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t JOE \\n \\t\\tThank you, anyway. \\n \\n \\tThe Waiter moves off. Joe's attention returns to Parrish and \\n \\tSusan, the dance number ends, a BOOM. \\n\"\n ],\n [\n \"\\tsearches Susan's face, now takes her hand -- and together \\n \\tthey start back towards the party. \\n \\n \\tTHE END \\n \\n\",\n \"\\tParrish spots Allison, he wraps her in a tight embrace, they \\n \\thold each other close for a moment, but then are separated \\n \\tby a surge of guests. Parrish sees Susan, she smiles but\",\n \"\\tThe powerful contradiction is transmitted to Susan, and in \\n \\tthe end there is the knowledge they have together made a \\n \\tjourney, they both have been swept away in a stream of events\",\n \"\\tin front of her, loose, smiling, disoriented and yet so \\n \\tappealing. They are riveted on each other, uneasy and yet \\n \\tclose. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tDown below, Susan, in a pained reflex, again turns and looks \\n \\tup towards the hill. There is nobody there. She hesitates, \\n \\tnow glides away from the party, her step quickens as she\",\n \"\\t\\t...But now I'm back. \\n \\n \\tSusan regards Joe intently, searching his face for an \\n \\tanswer. \\n \\n \\t\\t\\t SUSAN \\n \\t\\t\\t(gently)\",\n \"\\tHer question makes Joe, almost involuntarily, smile. Susan \\n \\ttakes the opportunity to step back from him. The SOUND of \\n \\tsomeone at the door, it is Parrish, Susan turns, comprehends\",\n \"\\tSusan reaches out for Joe, they kiss, he is awkward but his \\n \\tvery awkwardness endearing. Susan pulls him closer, they \\n \\tlinger now, mouths on each other's, then separate. \\n\",\n \"\\tkeeps coming, and now that he is close and recognizes him. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tJoe...? \\n \\n \\tHe smiles quizzically, hasn't quite heard her, stands right\",\n \"\\tThe guests try to return to their food, Susan is the most \\n \\tconcerned about Parrish's lapse, she does not say anything \\n \\tbut Drew next to her senses her empathy and, in something of\",\n \"\\tHe shifts the spoon from hand to hand, starts to stick it in \\n \\this pocket, realizes this is inappropriate. Susan holds her \\n \\thand out to him, he places the spoon in it and she sets the\",\n \"\\t\\tnow -- I got a chill. \\n \\n \\tBut he drifts again, now she takes his hand. \\n \\n \\t\\t\\t SUSAN (cont'd) \\n \\t\\tRemember that morning in the coffee\",\n \"\\tHe holds on tight to her. They are desperately entwined \\n \\tuntil finally she releases him. \\n \\n \\t\\t\\t JOE \\n \\t\\tSusan -- \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\t\\t SUSAN \\n \\t\\tIt'll come back, Daddy. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tWill it?... \\n \\n \\tParrish looking around, searching for words he will not find. \\n\",\n \"\\tthe edge of the silk spread, touches the pillow, then rises \\n \\tagain, crosses back to the sitting room. \\n \\n \\tSusan appears in the doorway, Joe suddenly senses her, turns \\n \\taround. \\n\",\n \"\\t\\t-- That was the place... and you were \\n \\t\\tthe guy. \\n \\n \\tJoe seems resigned now, the air gone out of him. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\t\\t\\t ALLISON (cont'd) \\n \\t\\tGlad to hear it! \\n \\t\\t\\t(to Susan) \\n \\t\\tLet's go. \\n\",\n \"\\t\\tAlmost. \\n \\n \\t\\t\\t SUSAN \\n \\t\\t\\t(to Drew) \\n \\t\\tI said get out. \\n \\n \\tNow Drew wheels, heads right for the front door and exits with\",\n \"\\tSuddenly he hugs her, holds her very close. She looks at \\n \\thim, he smiles, nods, but doesn't release her until she \\n \\tsmiles back. Now she heads out with the crowd for the\",\n \"\\tHe looks back at Susan as the distance between them widens, \\n \\tnow he turns and walks on. \\n \\n \\tON SUSAN \\n \\n \\tShe looks around once more but the Young Man is still headed\"\n ],\n [\n \"\\t\\tMandatory retirement upon our \\n \\t\\tChairman's sixty-fifth birthday. \\n \\n \\tParrish is expressionless. \\n \\n \\t\\t\\t DREW (cont'd)\",\n \"\\t\\tHappy Birthday, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tThank you. \\n \\n \\tThey watch the guests gathering to view the fireworks. \\n \\tJoe's gaze lingers. \\n\",\n \"\\tMOVE THROUGH the doorway to reveal a master bedroom furnish- \\n \\ted with exquisite simplicity, revelatory of its sleeping \\n \\toccupant, WILLIAM PARRISH, 64, a warm but commanding face, a\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\t\\tYou think so? How do you know? \\n \\n \\t\\t\\t JOE \\n \\t\\tBecause that's the kind of man Bill \\n \\t\\tParrish is. \\n \\n \\tA moment. \\n\",\n \"\\tParrish is on the edge of his seat, struggling to hide his \\n \\tpanic. \\n \\n \\t\\t\\t VOICE (V.O., cont'd) \\n \\t\\tI'm waiting outside. \\n\",\n \"\\tfidgets. Drew milks the moment. \\n \\n \\t\\t\\t DREW (cont'D) \\n \\t\\tIt's no surprise if I suggest to you \\n \\t\\tthat the Bill Parrish we know is not\",\n \"\\tthe fever of the celebration lost on him, within himself. \\n \\n \\tJoe enters, Parrish looks up. \\n \\n \\t\\t\\t JOE \\n \\t\\t...We should think about getting \\n \\t\\tstarted, Bill. \\n\",\n \"\\tThe preparations are building to a climax, all the elaborate \\n \\tplans coming to fruition. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou know, darling, this is going to \\n \\t\\tbe a wonderful party.\",\n \"\\tdance tune, a lilting, catchy melody envelops them all. The \\n \\tcurtain has risen on William Parrish's 65th birthday party. \\n\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tIt's... it's... over. \\n \\n \\tA long silence. Parrish and the Young Man take each other in,\",\n \"\\t\\tYou're only six-five once. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tThank God. Now could we go? Let's \\n \\t\\tget this day started. \\n\",\n \"\\tthen they flutter open, he glances up at the ceiling and \\n \\tfinally, exhausted, falls back asleep. \\n \\n \\tEXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING \\n\",\n \"\\tEXT. LAWNS, COUNTRY ESTATE - NIGHT \\n \\n \\tThe guests have formed themselves into a huge audience, the \\n \\torchestra strikes up \\\"Happy Birthday\\\" as Parrish appears\",\n \"\\tParrish hesitates, waves and steps away, APPLAUSE that grows \\n \\tinto CHEERS, the music resumes, another dance tune. Quince \\n \\tgrabs him, pumps his hand and claps him on the back. Now\",\n \"\\tyet surrounds him. Suddenly Parrish's symptoms sharply \\n \\tintensify, he is sinking to the floor but somehow grabs a \\n \\tcorner of the desk, holds on with one hand, with the other\",\n \"\\tunder Parrish's withering glance. \\n \\n \\t\\t\\t PARRISH (cont'd) \\n \\t\\tThat's it? I've got a busy day \\n \\t\\tand this meeting has already set\",\n \"\\t\\tThese things have a way of working \\n \\t\\tout. \\n \\n \\tJoe regards Parrish, waits until he has a sense that Parrish \\n \\thas accepted what Joe has said, then Joe continues: \\n\",\n \"\\twith Allison. An enormous cake is unveiled with one great, \\n \\tlit candle, Parrish beams then laughs. He pauses over the\",\n \"\\tshould he not, what is happening? He looks out: absolute \\n \\tstillness and silence, CRICKETS chirp down by the river, a \\n \\tlight FLICKERS from a shadboat, Parrish closes his eyes but\"\n ],\n [\n \"\\tParrish smiles complaisantly, they continue on into a break- \\n \\tfast room where SUSAN, 30, Parrish's younger daughter, is \\n \\tgrazing at a table laden with cereals and fruits and coffee. \\n\",\n \"\\tParrish, followed by Drew, steps into a waiting limousine, \\n \\tQuince looks longingly after them. Susan, blowing a kiss \\n \\tgoodbye to her father, steps out into the street to hustle a \\n \\tcab.\",\n \"\\t\\tSusan is my daughter, she has a \\n \\t\\twonderful life ahead of her and \\n \\t\\tyou're going to deprive her of \\n \\t\\tit and you're telling me you're\",\n \"\\t\\tMaybe it's because you found out \\n \\t\\tI'm Bill Parrish's daughter. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tCut it out, Susan. \\n \\t\\t\\t(to Joe)\",\n \"\\tin front of her, loose, smiling, disoriented and yet so \\n \\tappealing. They are riveted on each other, uneasy and yet \\n \\tclose. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\t\\t\\t SUSAN \\n \\t\\tGood morning, Dad. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tHi, honey. \\n \\n \\t\\t\\t ALLISON \\n \\t\\t\\t(to Susan)\",\n \"\\tThe powerful contradiction is transmitted to Susan, and in \\n \\tthe end there is the knowledge they have together made a \\n \\tjourney, they both have been swept away in a stream of events\",\n \"\\tDown below, Susan, in a pained reflex, again turns and looks \\n \\tup towards the hill. There is nobody there. She hesitates, \\n \\tnow glides away from the party, her step quickens as she\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tDamn right. Looking for her right \\n \\t\\tnow. Who knows? You might be her. \\n \\n \\tSusan laughs. \\n\",\n \"\\tin the opposite direction, his back to her. She turns the \\n \\tcorner and continues on. \\n \\n \\tON THE YOUNG MAN \\n \\n \\tApproaching the corner, he looks back for Susan yet again,\",\n \"\\tThe doors to the dining room open, Susan appears. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tHi, everybody. Sorry to be late - \\n \\t\\thad to have dinner with my depart- \\n \\t\\tment chief -- \\n\",\n \"\\tHe looks back at Susan as the distance between them widens, \\n \\tnow he turns and walks on. \\n \\n \\tON SUSAN \\n \\n \\tShe looks around once more but the Young Man is still headed\",\n \"\\t\\t\\t SUSAN \\n \\t\\tYou and 'Honey'? \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\tMy kid sister. She just broke up \\n \\t\\twith her boyfriend and she's\",\n \"\\t\\t\\t ALLISON (cont'd) \\n \\t\\tGlad to hear it! \\n \\t\\t\\t(to Susan) \\n \\t\\tLet's go. \\n\",\n \"\\t\\tAnd so do you. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tDrew, you're out of line. \\n \\n \\t\\t\\t DREW \\n \\t\\tThat may be. But I don't like the\",\n \"\\t\\t\\t YOUNG MAN (cont'd) \\n \\t\\tI'm sorry, you mind my saying that? \\n \\n \\t\\t\\t SUSAN \\n \\t\\tNot at all. \\n\",\n \"\\t\\tWhy yes, Bill, I was saying to \\n \\t\\tQuince -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tNo no, not you. \\n \\n \\t\\t\\t SUSAN\",\n \"\\tSusan is busy giving instructions to a Nurse, a patient on \\n \\tan examining table beside them. As she finishes, she \\n \\tsuddenly notices Joe down the corridor in the reception\",\n \"\\tParrish spots Allison, he wraps her in a tight embrace, they \\n \\thold each other close for a moment, but then are separated \\n \\tby a surge of guests. Parrish sees Susan, she smiles but\",\n \"\\t\\tAlmost. \\n \\n \\t\\t\\t SUSAN \\n \\t\\t\\t(to Drew) \\n \\t\\tI said get out. \\n \\n \\tNow Drew wheels, heads right for the front door and exits with\"\n ],\n [\n \"\\t\\tMaybe it's because you found out \\n \\t\\tI'm Bill Parrish's daughter. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tCut it out, Susan. \\n \\t\\t\\t(to Joe)\",\n \"\\tin front of her, loose, smiling, disoriented and yet so \\n \\tappealing. They are riveted on each other, uneasy and yet \\n \\tclose. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tSusan builds. Joe has found himself in an unexplored land \\n \\tof feeling and passion, he loves what is happening and yet \\n \\tat the same time, is terrified by it. He feels himself being\",\n \"\\t\\t\\t SUSAN \\n \\t\\tAnd I'm your daughter and no man \\n \\t\\twill ever be good enough for me. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tWell, I wasn't going to say that --\",\n \"\\t\\tI know it's none of my business -- \\n \\n \\tSusan doesn't answer for a moment, then impulsively kisses her \\n \\tfather on the cheek. \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\tSusan is my daughter, she has a \\n \\t\\twonderful life ahead of her and \\n \\t\\tyou're going to deprive her of \\n \\t\\tit and you're telling me you're\",\n \"\\t\\t\\t SUSAN \\n \\t\\tI hope so. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou like him, don't you? \\n \\n \\t\\t\\t SUSAN\",\n \"\\tHe smiles. \\n \\n \\t\\t\\t SUSAN (cont'd) \\n \\t\\tDaddy told me you might be leaving? \\n \\n \\t\\t\\t JOE \\n \\t\\tYes. Your father and I, our time\",\n \"\\t\\tTell me about yourself, Joe. Who \\n \\t\\tyou are. What you're doing with my \\n \\t\\tfather. \\n \\n \\tSusan's directness has caught him by surprise, Joe blinks. \\n\",\n \"\\tThe powerful contradiction is transmitted to Susan, and in \\n \\tthe end there is the knowledge they have together made a \\n \\tjourney, they both have been swept away in a stream of events\",\n \"\\t\\t\\t SUSAN (cont'd) \\n \\t\\tYou're married, aren't you? \\n \\n \\t\\t\\t JOE \\n \\t\\tWhy? \\n \\n \\t\\t\\t SUSAN\",\n \"\\tJoe is silent for a moment, cogitating. \\n \\n \\t\\t\\t JOE \\n \\t\\tSusan wants to come. She says she's \\n \\t\\tin love with me. \\n\",\n \"\\t\\t\\t SUSAN \\n \\t\\tI love you, Daddy -- \\n \\n \\t\\t\\t PARRISH \\n \\t\\tThat's why it's okay. \\n \\n \\tThey drift into silence. \\n\",\n \"\\t\\tYou mean like you loved Mom? \\n \\n \\t\\t\\t PARRISH \\n \\t\\tForget about me and Mom -- are you \\n \\t\\tgoing to marry him? \\n \\n \\t\\t\\t SUSAN\",\n \"\\tSusan is staring at him now, he smiles, all open and \\n \\tvulnerable. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI've got to go -- \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\tShe gets up, closes the door, sits back down again next to \\n \\tJoe. A warm, awkward silence, they move closer to each \\n \\tother, now they fall into a foreplay which Susan recognizes\",\n \"\\tHer question makes Joe, almost involuntarily, smile. Susan \\n \\ttakes the opportunity to step back from him. The SOUND of \\n \\tsomeone at the door, it is Parrish, Susan turns, comprehends\",\n \"\\t\\t\\t SUSAN \\n \\t\\tThat felt like a goodbye. \\n \\n \\tJoe's silence is heavy. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\t\\t\\t SUSAN (cont'd) \\n \\t\\tCat got your tongue? You weren't so \\n \\t\\tsilent this morning. \\n \\n \\tDrew reacts to this allusion of intimacy. \\n\",\n \"\\tA long silence, Susan smiles. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tIt's a good feeling, isn't it? \\n \\n \\tSilence again. \\n \\n \\t\\t\\t SUSAN\"\n ],\n [\n \"\\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \\n \\n \\tThe place has cleared out now, the counterman busy bussing \\n \\ttables laden with dishes and cups, Susan and the Young Man\",\n \"\\t\\t\\t SUSAN (cont'd) \\n \\t\\tWell, you've found one, Joe. \\n \\n \\t\\t\\t JOE \\n \\t\\tThe 'coffee shop' -- \\n \\n \\t\\t\\t SUSAN\",\n \"\\tEXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY \\n \\n \\tThe Young Man holds the door for Susan as they step out \\n \\tonto the street. \\n\",\n \"\\tHis hand politely touches her elbow, courteously lending her \\n \\tsupport. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tThe coffee shop -- \\n \\n \\tThe Young Man nods, pleased with her recognition. \\n\",\n \"\\t\\tknew her. The man she met in the \\n \\t\\tcoffee shop this morning. I - uh - \\n \\t\\ttook him. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tHow 'bout another cup of coffee? \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI've got patients coming in -- \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\tSusan reaches out for Joe, they kiss, he is awkward but his \\n \\tvery awkwardness endearing. Susan pulls him closer, they \\n \\tlinger now, mouths on each other's, then separate. \\n\",\n \"\\tcounterman refills his cup and the Young Man ties into the \\n \\tbreakfast, eating it with such relish that Susan can't take \\n \\ther eyes off him. He senses her eyes, glances over, his\",\n \"\\ton with her coat, she turns around, they kiss. The kiss \\n \\tlingers, Susan breaks away, reaches for the door, looks back \\n \\tlongingly at Joe and then she is gone, Joe closing the door \\n \\tsoftly after her. \\n\",\n \"\\tSusan is staring at him now, he smiles, all open and \\n \\tvulnerable. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI've got to go -- \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\tHe looks back at Susan as the distance between them widens, \\n \\tnow he turns and walks on. \\n \\n \\tON SUSAN \\n \\n \\tShe looks around once more but the Young Man is still headed\",\n \"\\t\\tin this big bad city and I not only \\n \\t\\tfind a doctor, a beautiful woman as \\n \\t\\twell. \\n \\n \\tSusan looks into her coffee. \\n\",\n \"\\t\\t\\t SUSAN \\n \\t\\tWhat are your intentions? To make \\n \\t\\tlittle dreams in coffee shops, turn \\n \\t\\ta woman's head, and I don't mind\",\n \"\\t\\t-- That was the place... and you were \\n \\t\\tthe guy. \\n \\n \\tJoe seems resigned now, the air gone out of him. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tin the opposite direction, his back to her. She turns the \\n \\tcorner and continues on. \\n \\n \\tON THE YOUNG MAN \\n \\n \\tApproaching the corner, he looks back for Susan yet again,\",\n \"\\tParrish watches as Susan turns, disappears out the door. \\n \\n \\tEXT. THIRD AVENUE, NEW YORK CITY - TWILIGHT \\n \\n \\tJoe walking disconcertedly up the street, bumping shoulders\",\n \"\\t\\tYes. Well...thank you, Joe. \\n \\n \\tSusan turns to go, hesitates. \\n \\n \\t\\t\\t JOE \\n \\t\\tGood-bye, Susan. \\n\",\n \"\\tin front of her, loose, smiling, disoriented and yet so \\n \\tappealing. They are riveted on each other, uneasy and yet \\n \\tclose. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\t\\tyou. Now sit and relax, get some- \\n \\t\\tthing in that flat tummy of yours -- \\n \\n \\tBut Parrish only pours coffee. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tSusan waves softly to him, heads down the hall, glances back \\n \\tonce to see Joe has not moved, is watching her depart. \\n \\n \\tINT. PARRISH'S OFFICE - AFTERNOON \\n\"\n ],\n [\n \"\\tvealing himself to be the Young Man seen previously in the \\n \\tcoffee shop, but there is a change; he seems odd, off- \\n \\tcenter, not handsome but terrifyingly beautiful. \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \\n \\n \\tThe place has cleared out now, the counterman busy bussing \\n \\ttables laden with dishes and cups, Susan and the Young Man\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tBecause I like you so much. \\n \\t\\t\\t(a moment) \\n \\t\\tYou have coffee here every morning, \\n \\t\\tdon't you? If I came by, could you\",\n \"\\tcounterman refills his cup and the Young Man ties into the \\n \\tbreakfast, eating it with such relish that Susan can't take \\n \\ther eyes off him. He senses her eyes, glances over, his\",\n \"\\tlem which he does not attempt to hide, only control. \\n \\n \\t\\t\\t DREW \\n \\t\\tDid you want to have a cup of coffee \\n \\t\\tor something, Bill? \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\t \\t(urging again) \\n \\t\\t'...Yes --' \\n \\n \\tParrish turns away. But the Young Man, spectacularly, is in \\n \\tfront of him again.\",\n \"\\tHis hand politely touches her elbow, courteously lending her \\n \\tsupport. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tThe coffee shop -- \\n \\n \\tThe Young Man nods, pleased with her recognition. \\n\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tHow 'bout another cup of coffee? \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI've got patients coming in -- \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\t\\tAnd I want to get into my apartment \\n \\t\\tand go to work. Please, what do you \\n \\t\\tsay, another cup of coffee? \\n \\n \\tTwo pots are warming behind the counter, he reaches over and\",\n \"\\tParrish is shocked, stunned, terrified at the word, by what \\n \\the has comprehended. He surveys the Young Man who, at this \\n \\tmoment, actually seems bewildered by his effect. \\n\",\n \"\\tEXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY \\n \\n \\tThe Young Man holds the door for Susan as they step out \\n \\tonto the street. \\n\",\n \"\\t\\t\\t YOUNG MAN (cont'd) \\n \\t\\t\\t(gently) \\n \\t\\tWho am I? \\n \\n \\t\\t\\t PARRISH \\n \\t\\t...Death. \\n\",\n \"\\tfrom a shaking, sweating Parrish's face, the Young Man \\n \\tdaring Parrish to identify him: \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou are --? \\n\",\n \"\\tdinner being noted, and the guest himself carefully survey- \\n \\ted. Finally, Allison breaks the ice: \\n \\n \\t\\t\\t ALLISON (cont'd) \\n \\t\\t\\t(to the Young Man)\",\n \"\\t\\tknew her. The man she met in the \\n \\t\\tcoffee shop this morning. I - uh - \\n \\t\\ttook him. \\n \\n \\t\\t\\t PARRISH\",\n \"\\this body arcs through the air. \\n \\n \\tAnother sickening THUD as it lands, the Young Man lies \\n \\tcrumpled, still. \\n \\n \\t\\t\\t\\t\\t\\tCUT TO: \\n\",\n \"\\tSusan slowly realizes this is the Young Man. She is shaken, \\n \\ta sudden intake of breath. \\n \\n \\t\\t\\t YOUNG MAN \\n \\t\\tHey, you all right? \\n\",\n \"\\t\\t\\t YOUNG MAN (cont'd) \\n \\t\\tGood. Now lead the way. \\n \\n \\tParrish hesitates, then obediently leads the Young Man out\",\n \"\\tkeeps coming, and now that he is close and recognizes him. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tJoe...? \\n \\n \\tHe smiles quizzically, hasn't quite heard her, stands right\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\"\n ],\n [\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tnow, Drew. Resignation accepted. \\n \\t\\tMoreover, I propose a motion to re- \\n \\t\\tconfirm William Parrish as Chairman \\n \\t\\tof the Board of Parrish Communica-\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tSorry. I know it looks like I'm \\n \\t\\treversing my field. \\n \\n \\t\\t\\t DREW \\n \\t\\tThat's your privilege, Bill. But\",\n \"\\t\\tI told Drew and the Board that Bill \\n \\t\\tdepended on you. Drew led me on, \\n \\t\\tbut I had no business telling him \\n \\t\\tin the first place. He was setting\",\n \"\\tDrew indicates to the Board's Stenographer to arrange Joe's \\n \\trefreshments. \\n \\n \\t\\t\\t PARRISH \\n \\t\\t\\t(quietly, indicating a \\n \\t\\t\\t chair)\",\n \"\\t\\tYes, you are to understand that, and \\n \\t\\tnow may I ask you a question? \\n \\n \\t\\t\\t DREW \\n \\t\\tCertainly, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tit. As your chairman, I urge you to \\n \\t\\tagree this company is not for sale. \\n \\n \\tA silence, everybody shifts, the Board is in shock, Drew is \\n \\ttrying to maintain his balance. \\n\",\n \"\\t\\tMandatory retirement upon our \\n \\t\\tChairman's sixty-fifth birthday. \\n \\n \\tParrish is expressionless. \\n \\n \\t\\t\\t DREW (cont'd)\",\n \"\\tfidgets. Drew milks the moment. \\n \\n \\t\\t\\t DREW (cont'D) \\n \\t\\tIt's no surprise if I suggest to you \\n \\t\\tthat the Bill Parrish we know is not\",\n \"\\t\\tthat this was a contest and he's \\n \\t\\tlost. The race is to the swift, \\n \\t\\tbut could Drew summon a modicum \\n \\t\\tof understanding and allow Bill to\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\tQuince's head sinks into his hands. \\n \\n \\t\\t\\t DREW (cont'd) \\n \\t\\t\\t(to the Board) \\n \\t\\tA motion has been brought before\",\n \"\\tDrew is provoked by the response, but remains polite: \\n \\n \\t\\t\\t DREW \\n \\t\\tYou and Bill old friends? \\n \\n \\tParrish jumps in: \\n \\n \\t\\t\\t PARRISH\",\n \"\\tSilence, the Board clocking Drew's argument. \\n \\n \\t\\t\\t DREW (cont'D) \\n \\t\\tIt's not pleasant to say the follow- \\n \\t\\ting, but I would be remiss, in this\",\n \"\\t\\t\\t DREW \\n \\t\\t\\t(to the Board) \\n \\t\\tThe Board of Parrish Communications - \\n \\t\\tis hereby called to order. Our sole \\n \\t\\torder of business is an acceptance\",\n \"\\tQuince hesitates, then realizes what Drew has on his mind. \\n \\tHe nods confidently to Drew, then turns importantly to the \\n \\tBoard. \\n \\n \\t\\t\\t QUINCE\",\n \"\\t\\t\\t(to Drew) \\n \\t\\tDrew. \\n \\t\\t\\t(to Parrish) \\n \\t\\tBill... \\n \\t\\t\\t(to the group) \\n \\t\\tThank you. \\n\",\n \"\\t\\t\\t DREW (cont'd) \\n \\t\\tThe feeling of the Board is this: we \\n \\t\\tfear Mr. Black is not only influenc- \\n \\t\\ting your decisions in regard to this\",\n \"\\tcornered Drew, out of earshot of the others. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tWhat have you done? You've gotten \\n \\t\\tthe old man fired! \\n\",\n \"\\t\\t\\t DREW \\n \\t\\tThat we did. Thanks to you. He was \\n \\t\\twobbling, mind you, but you stupid \\n \\t\\tthe coup de grace. \\n\"\n ],\n [\n \"\\t\\tup Bill from day one. Drew and \\n \\t\\tBontecou are going to chop up the \\n \\t\\tcompany and sell it off for parts. \\n \\t\\tBontecou was outside, Drew was Mr.\",\n \"\\t\\tnow, Drew. Resignation accepted. \\n \\t\\tMoreover, I propose a motion to re- \\n \\t\\tconfirm William Parrish as Chairman \\n \\t\\tof the Board of Parrish Communica-\",\n \"\\t\\tI told Drew and the Board that Bill \\n \\t\\tdepended on you. Drew led me on, \\n \\t\\tbut I had no business telling him \\n \\t\\tin the first place. He was setting\",\n \"\\t\\t\\t(to the Board) \\n \\t\\tSorry. I know it looks like I'm \\n \\t\\treversing my field. \\n \\n \\t\\t\\t DREW \\n \\t\\tThat's your privilege, Bill. But\",\n \"\\t\\tYes, you are to understand that, and \\n \\t\\tnow may I ask you a question? \\n \\n \\t\\t\\t DREW \\n \\t\\tCertainly, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\tDrew indicates to the Board's Stenographer to arrange Joe's \\n \\trefreshments. \\n \\n \\t\\t\\t PARRISH \\n \\t\\t\\t(quietly, indicating a \\n \\t\\t\\t chair)\",\n \"\\t\\tmuch, Drew. He's had advisors be- \\n \\t\\tfore. Nobody tells Bill what to do. \\n \\n \\tThe door opens and Felicia enters followed by Quince, sur-\",\n \"\\t\\tMandatory retirement upon our \\n \\t\\tChairman's sixty-fifth birthday. \\n \\n \\tParrish is expressionless. \\n \\n \\t\\t\\t DREW (cont'd)\",\n \"\\t\\t\\t DREW \\n \\t\\t\\t(to Parrish) \\n \\t\\tSorry to intrude, Bill, but we've \\n \\t\\tgot a bit of a crisis downtown -- \\n \\t\\tit's not something we could talk\",\n \"\\tfidgets. Drew milks the moment. \\n \\n \\t\\t\\t DREW (cont'D) \\n \\t\\tIt's no surprise if I suggest to you \\n \\t\\tthat the Bill Parrish we know is not\",\n \"\\tDrew opens a door, a conference room, a circle of top exec- \\n \\tutives, now stepping out from the group is a huge, white- \\n \\thaired man, JOHN BONTECOU, 55. \\n\",\n \"\\tDrew is provoked by the response, but remains polite: \\n \\n \\t\\t\\t DREW \\n \\t\\tYou and Bill old friends? \\n \\n \\tParrish jumps in: \\n \\n \\t\\t\\t PARRISH\",\n \"\\tDrew enters with Quince, Quince nods, excusing himself, and \\n \\tcloses the door behind him. \\n \\n \\t\\t\\t DREW \\n \\t\\tHi, Bill, happy birthday -- \\n \\n \\tA moment.\",\n \"\\t\\t\\t DREW \\n \\t\\t\\t(to the Board) \\n \\t\\tThe Board of Parrish Communications - \\n \\t\\tis hereby called to order. Our sole \\n \\t\\torder of business is an acceptance\",\n \"\\tof him, his knuckles white as Parrish regards Drew, but still \\n \\tdoes not answer. \\n \\n \\t\\t\\t DREW (cont'd) \\n \\t\\tThe lack of response, Bill, is not\",\n \"\\t\\t\\t DREW \\n \\t\\tBill's birthday is the day after \\n \\t\\ttomorrow. There is a provisory by- \\n \\t\\tlaw in our charter. Per the discre-\",\n \"\\t\\t\\t(to Drew) \\n \\t\\tDrew. \\n \\t\\t\\t(to Parrish) \\n \\t\\tBill... \\n \\t\\t\\t(to the group) \\n \\t\\tThank you. \\n\",\n \"\\t\\tit. As your chairman, I urge you to \\n \\t\\tagree this company is not for sale. \\n \\n \\tA silence, everybody shifts, the Board is in shock, Drew is \\n \\ttrying to maintain his balance. \\n\",\n \"\\tQuince's head sinks into his hands. \\n \\n \\t\\t\\t DREW (cont'd) \\n \\t\\t\\t(to the Board) \\n \\t\\tA motion has been brought before\",\n \"\\t\\t\\t DREW \\n \\t\\tCertainly. Goodnight. \\n \\n \\tDrew goes, everybody is in shock, Susan pursues him out into \\n \\tthe hallway. \\n \\n \\t\\t\\t SUSAN\"\n ],\n [\n \"\\t\\tHappy Birthday, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tThank you. \\n \\n \\tThey watch the guests gathering to view the fireworks. \\n \\tJoe's gaze lingers. \\n\",\n \"\\t\\t\\t JOE \\n \\t\\tYes, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tHow about giving a guy a break? \\n \\n \\t\\t\\t JOE \\n \\t\\tMake an exception? \\n\",\n \"\\t\\tI am talking about. \\n \\n \\t\\t\\t JOE \\n \\t\\tThose were my words, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tWell, they're mine now. \\n\",\n \"\\t\\tYou think so? How do you know? \\n \\n \\t\\t\\t JOE \\n \\t\\tBecause that's the kind of man Bill \\n \\t\\tParrish is. \\n \\n \\tA moment. \\n\",\n \"\\t\\this side. And, in my opinion, is \\n \\t\\talways in his ear. Telling him what \\n \\t\\tto do and Bill is listening. Who is \\n \\t\\tJoe Black? What is his relationship\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\tthe fever of the celebration lost on him, within himself. \\n \\n \\tJoe enters, Parrish looks up. \\n \\n \\t\\t\\t JOE \\n \\t\\t...We should think about getting \\n \\t\\tstarted, Bill. \\n\",\n \"\\t\\tThese things have a way of working \\n \\t\\tout. \\n \\n \\tJoe regards Parrish, waits until he has a sense that Parrish \\n \\thas accepted what Joe has said, then Joe continues: \\n\",\n \"\\t\\tlived until he was ninety-one. \\n \\n \\tAfter a moment. \\n \\n \\t\\t\\t QUINCE \\n \\t\\tYou're an original, Joe. A little \\n \\t\\thard to figure, maybe...\",\n \"\\tsaid, but to tell her more, even the truth about himself. \\n \\tHe weighs, then resists, the impulse. \\n \\n \\t\\t\\t JOE \\n \\t\\tThank you. \\n\",\n \"\\t\\tAnd - uh - I guess, 'goodnight'. \\n \\n \\t\\t\\t JOE \\n \\t\\tGood night to you, Bill. \\n \\n \\tParrish gently closes the door. \\n\",\n \"\\t\\t\\t PARRISH (cont'd) \\n \\t\\tI thought we had a deal. \\n \\n \\t\\t\\t JOE \\n \\t\\tI'm sorry, Bill -- \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\t\\t PARRISH \\n \\t\\tNo -- \\n \\n \\t\\t\\t JOE \\n \\t\\tI hope you realize, Bill...in your \\n \\t\\toffice this morning, that was your \\n \\t\\ttime. \\n\",\n \"\\t\\tAnd he wants it left behind the way \\n \\t\\the made it. And he wants it to be \\n \\t\\trun the way he run it -- with a sense \\n \\t\\tof honor, of dedication, of truth. \\n \\t\\tOkay?\",\n \"\\t\\tThat's life. What can I tell you? \\n \\n \\tA silence, an understanding there is another more to say. \\n \\tJoe looks inquiringly at Parrish as if to say \\\"Shall we?\\\",\",\n \"\\t\\tWhat way would you put it? \\n \\n \\t\\t\\t JOE \\n \\t\\tYou tell me, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tHow about you telling me? When I\",\n \"\\t\\tOh, I wouldn't tell them anything, \\n \\t\\tBill. You'll ruin the good start we \\n \\t\\thad last night. I felt as if I were \\n \\t\\tbeing treated like a person. 'Joe'\",\n \"\\t\\there for? \\n \\n \\tParrish suddenly looks very anxious, Joe stops. \\n \\n \\t\\t\\t JOE (cont'd) \\n \\t\\tYou seem uncomfortable, Bill. \\n \\n \\t\\t\\t PARRISH\",\n \"\\t\\tas she spoke of you -- It was always \\n \\t\\twhat I wanted for her -- but what \\n \\t\\thappens to her now? \\n \\n \\t\\t\\t JOE \\n \\t\\tI wouldn't worry about it, Bill.\",\n \"\\tJoe has received what Parrish has said. \\n \\n \\t\\t\\t PARRISH (cont'd) \\n \\t\\tOkay? -- I've given it my best shot. \\n \\t\\tI wish I could tell you to sleep on\"\n ],\n [\n \"\\t\\tYou think so? How do you know? \\n \\n \\t\\t\\t JOE \\n \\t\\tBecause that's the kind of man Bill \\n \\t\\tParrish is. \\n \\n \\tA moment. \\n\",\n \"\\tsaid, but to tell her more, even the truth about himself. \\n \\tHe weighs, then resists, the impulse. \\n \\n \\t\\t\\t JOE \\n \\t\\tThank you. \\n\",\n \"\\t\\tyou. It's like making love to some- \\n \\t\\tone who has never made love before. \\n \\n \\tJoe senses an opportunity not only to admit to what she has\",\n \"\\t\\tThese things have a way of working \\n \\t\\tout. \\n \\n \\tJoe regards Parrish, waits until he has a sense that Parrish \\n \\thas accepted what Joe has said, then Joe continues: \\n\",\n \"\\tStrange territory for Joe, not to be 'in control' and exert- \\n \\ting his power, but his inventions and responses in lovemak- \\n \\ting are so real that an emotional exchange between he and\",\n \"\\t\\t-- Yes? \\n \\n \\t\\t\\t JOE \\n \\t\\tThank you for loving me. \\n \\n \\tShe smiles wanly, Joe leaves her. \\n\",\n \"\\t\\t\\t JOE \\n \\t\\tYes, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tHow about giving a guy a break? \\n \\n \\t\\t\\t JOE \\n \\t\\tMake an exception? \\n\",\n \"\\tParrish is stunned. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tYou're what? \\n \\n \\t\\t\\t JOE \\n \\t\\tI think you heard me, Bill. \\n\",\n \"\\t\\tJoe knew the whole story. I told \\n \\t\\thim. It was his idea that I come \\n \\t\\tclean. I mean I wanted to come \\n \\t\\tclean but he gave me a pair of\",\n \"\\t\\tsorry? Well, I'm sorry, apology \\n \\t\\tnot accepted. \\n \\n \\t\\t\\t JOE \\n \\t\\tI love her, Bill. She is all that\",\n \"\\t\\t\\t(glances at Joe) \\n \\t\\tI was hoping we might be alone, \\n \\t\\tBill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tJoe and I have no secrets from each \\n \\t\\tother.\",\n \"\\t\\tAnd - uh - I guess, 'goodnight'. \\n \\n \\t\\t\\t JOE \\n \\t\\tGood night to you, Bill. \\n \\n \\tParrish gently closes the door. \\n\",\n \"\\t\\tI am talking about. \\n \\n \\t\\t\\t JOE \\n \\t\\tThose were my words, Bill. \\n \\n \\t\\t\\t PARRISH \\n \\t\\tWell, they're mine now. \\n\",\n \"\\t\\tIt comforts you, doesn't it? \\n \\n \\t\\t\\t JOE \\n \\t\\t\\t(captivated) \\n \\t\\tYes...I've found that it does. \\n \\n \\t\\t\\t DREW\",\n \"\\t\\ttell you -- that with Joe, you are \\n \\t\\ton very, very dangerous ground. \\n \\n \\tSusan doesn't answer for a moment. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI love him.\",\n \"\\tSusan builds. Joe has found himself in an unexplored land \\n \\tof feeling and passion, he loves what is happening and yet \\n \\tat the same time, is terrified by it. He feels himself being\",\n \"\\t\\t\\t JOE \\n \\t\\tI mean I appreciate that. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tAnd I appreciate you, too. \\n \\n \\tA moment between them. \\n \\n \\t\\t\\t JOE\",\n \"\\tQuince puts a reassuring arm around Allison, she seems to \\n \\trelax now, Joe has been a keen observer of what has trans- \\n \\tpired between husband and wife, between man and woman, a\",\n \"\\t\\tConfused, huh? About what? \\n \\n \\t\\t\\t JOE \\n \\t\\tLove. \\n \\n \\t\\t\\t QUINCE \\n \\t\\t'Love'? Oh, man, I've got troubles\",\n \"\\t\\t\\t JOE \\n \\t\\tNo thank you, Bill. I can manage. \\n \\n \\tJoe goes. \\n \\n \\tINT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY \\n\"\n ],\n [\n \"\\theightened interest in Susan, and Susan's reciprocation. \\n \\n \\tCoyle enters carrying two imposing stemmed silver trays with \\n \\tcakes on them, Luisa follows with one other. They set them\",\n \"\\tHer question makes Joe, almost involuntarily, smile. Susan \\n \\ttakes the opportunity to step back from him. The SOUND of \\n \\tsomeone at the door, it is Parrish, Susan turns, comprehends\",\n \"\\tprearranged but which they intuit. Susan slants through the \\n \\tguests, stopping here and there, excited greetings and cha- \\n \\ttter float on the wind, \\\"He, Susie!\\\", \\\"What a party\\\", \\\"You\",\n \"\\t\\t\\t SUSAN (cont'd) \\n \\t\\tWell, you've found one, Joe. \\n \\n \\t\\t\\t JOE \\n \\t\\tThe 'coffee shop' -- \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\tto me. Ever since Joe showed. It's \\n \\t\\tlike he dropped from the clouds... \\n \\n \\tDrew enters. He nuzzles Susan's neck, out of the corner of\",\n \"\\tDown below, Susan, in a pained reflex, again turns and looks \\n \\tup towards the hill. There is nobody there. She hesitates, \\n \\tnow glides away from the party, her step quickens as she\",\n \"\\tthe edge of the silk spread, touches the pillow, then rises \\n \\tagain, crosses back to the sitting room. \\n \\n \\tSusan appears in the doorway, Joe suddenly senses her, turns \\n \\taround. \\n\",\n \"\\tsearches Susan's face, now takes her hand -- and together \\n \\tthey start back towards the party. \\n \\n \\tTHE END \\n \\n\",\n \"\\tin front of her, loose, smiling, disoriented and yet so \\n \\tappealing. They are riveted on each other, uneasy and yet \\n \\tclose. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tHe turns back into the foyer, looks up, Parrish is on the \\n \\tbalcony, it is clear he has observed Joe and Susan. \\n \\n \\t\\t\\t JOE \\n \\t\\tHello, Bill. \\n\",\n \"\\ton with her coat, she turns around, they kiss. The kiss \\n \\tlingers, Susan breaks away, reaches for the door, looks back \\n \\tlongingly at Joe and then she is gone, Joe closing the door \\n \\tsoftly after her. \\n\",\n \"\\tSusan reaches out for Joe, they kiss, he is awkward but his \\n \\tvery awkwardness endearing. Susan pulls him closer, they \\n \\tlinger now, mouths on each other's, then separate. \\n\",\n \"\\t\\t\\t YOUNG MAN \\n \\t\\tHow 'bout another cup of coffee? \\n \\n \\t\\t\\t SUSAN \\n \\t\\tI've got patients coming in -- \\n \\n \\t\\t\\t YOUNG MAN\",\n \"\\tINT. CORINTH COFFEE SHOP, YORK AVENUE, DAY \\n \\n \\tThe place has cleared out now, the counterman busy bussing \\n \\ttables laden with dishes and cups, Susan and the Young Man\",\n \"\\tparty. He drifts into the center and runs right into Susan, \\n \\tcouples swirl about them, the eye of a storm of gaiety. \\n \\n \\t\\t\\t SUSAN\",\n \"\\t\\tyou. Now sit and relax, get some- \\n \\t\\tthing in that flat tummy of yours -- \\n \\n \\tBut Parrish only pours coffee. \\n \\n \\t\\t\\t SUSAN (cont'd)\",\n \"\\tAllison and Susan together by a piano; Parrish, Quince and a \\n \\tdistracted Joe are gathered near the terrace. Joe's eyes \\n \\tare on Susan across the room. Her eyes flicker towards him,\",\n \"\\tSusan waves softly to him, heads down the hall, glances back \\n \\tonce to see Joe has not moved, is watching her depart. \\n \\n \\tINT. PARRISH'S OFFICE - AFTERNOON \\n\",\n \"\\tkeeps coming, and now that he is close and recognizes him. \\n \\n \\t\\t\\t SUSAN \\n \\t\\tJoe...? \\n \\n \\tHe smiles quizzically, hasn't quite heard her, stands right\",\n \"\\tShe gets up, closes the door, sits back down again next to \\n \\tJoe. A warm, awkward silence, they move closer to each \\n \\tother, now they fall into a foreplay which Susan recognizes\"\n ]\n]"},"questions":{"kind":"list like","value":["What is the one condition that Joe Black gives Bill to stay on Earth?","What happens to the man Susan meets at the coffee shop?","In the beginning of the story, what strange phenomenon is happening to Bill?","Why is Quince upset?","What happens to the man at the coffee shop after Bill \"dies\"?","What happens before Bill goes to his birthday party?","Who is the man who is instigating with Drew to take down Bill as chairman bidding for?","Whose body does Death inhabit?","What happens to Joe Black when Susan shows feeling for him?","What was William Bill plan for his company?","What is the name of William Bill young daughter?","How did Death came to Willam Bill home?","How did William Bill introduced Death to his family?","What did William Bill has to do to stay alive?","Who wanted William Bill to be voted out as a chairman of his company?","Why did Death wanted to take Susan away with him?","What did William Bill did with his remaning hours of his life?","What did William Bill and Joe Black did during firework?","Who came back to hold hand with Susan?","What is Bil Parrish planning as his 65th birthday approaches?","What is Bills youngest daughter Susan's career choice?","How does Bill feel about his daughter Susan's relationship and marriage contemplation?","What happens to the man that Susan meets in the coffee shop?","How does the young man from the coffee shop manifest himself to Bill following his accident?","How does Drew get Bill voted out as chairman?","With Bill out as Chairman, what does Drew do?","When his last birthday arrives what does Bill try to impart to Joe?","What does Joe do for Bill following their converstation about true love thta helps Bill?","How does Susan's interest from the coffee shop arrive at Bills party?"],"string":"[\n \"What is the one condition that Joe Black gives Bill to stay on Earth?\",\n \"What happens to the man Susan meets at the coffee shop?\",\n \"In the beginning of the story, what strange phenomenon is happening to Bill?\",\n \"Why is Quince upset?\",\n \"What happens to the man at the coffee shop after Bill \\\"dies\\\"?\",\n \"What happens before Bill goes to his birthday party?\",\n \"Who is the man who is instigating with Drew to take down Bill as chairman bidding for?\",\n \"Whose body does Death inhabit?\",\n \"What happens to Joe Black when Susan shows feeling for him?\",\n \"What was William Bill plan for his company?\",\n \"What is the name of William Bill young daughter?\",\n \"How did Death came to Willam Bill home?\",\n \"How did William Bill introduced Death to his family?\",\n \"What did William Bill has to do to stay alive?\",\n \"Who wanted William Bill to be voted out as a chairman of his company?\",\n \"Why did Death wanted to take Susan away with him?\",\n \"What did William Bill did with his remaning hours of his life?\",\n \"What did William Bill and Joe Black did during firework?\",\n \"Who came back to hold hand with Susan?\",\n \"What is Bil Parrish planning as his 65th birthday approaches?\",\n \"What is Bills youngest daughter Susan's career choice?\",\n \"How does Bill feel about his daughter Susan's relationship and marriage contemplation?\",\n \"What happens to the man that Susan meets in the coffee shop?\",\n \"How does the young man from the coffee shop manifest himself to Bill following his accident?\",\n \"How does Drew get Bill voted out as chairman?\",\n \"With Bill out as Chairman, what does Drew do?\",\n \"When his last birthday arrives what does Bill try to impart to Joe?\",\n \"What does Joe do for Bill following their converstation about true love thta helps Bill?\",\n \"How does Susan's interest from the coffee shop arrive at Bills party?\"\n]"},"answers":{"kind":"list like","value":[["If Bill is his guide.","bill has to be his guide while on earth"],["He gets hit in a multi car accident.","he disappeared to her but came as Death to her father"],["He is hearing voices.","he starts to hear voices"],["Drew used information from him to push him out as Board President.","Quince accidentally gave Drew information that would help him vote Bill out of the board."],["He comes back and falls in love with Susan.","Death leaves Joe's body and he finds himself alive at the party with Susan."],["He exposes Drew as an member of the IRS.","He regains control of his company with Joe's help "],["Parrish Communications.","Parrish Communications "],["The man at the coffee shop.","A man who died in a car accident."],["Joe falls in love with her.","he becomes attracted to her"],["William Bill wanted to merge his company with another media company.","merger"],["Susan","susan"],["Dealh came to bill home in body of a young man","they walked away from the party together"],["He intoduced Death as Joe Black","Joe Black"],["William Bill became Joe Black guide.","He has to be Death's guide on earth."],["Drew","drew"],["Because Death was in love with Susan.","Death is in love with Susan."],["He devoted his time to his daughter Susan.","He spends them with his daughters at the party "],["They walked away ","They walk out of view where they disappear, i.e., die."],["Joe","Death/Joe"],["He is planning to merge his company with another media giant. ","a party"],["Susan is an internal medicine resident.","Internal Medicine "],["Bill feels that she is not truly in love and should keep her options open as another opportunity could strike. ","he's not convinced"],["When he leaves the shop he is struck by multiple cars. ","is killed in multiple car accident"],["He appears to Bill as \"Death\", says he can remain on earth as long as Bill guides him, and Bill calls him Joe Black. ","As death "],["He uses Bills strange behavior and reliance on Joe Black to sway the votes to go his way. ","By convincing the rest of the board members that Bill is incompetent."],["He pushes through the merger that Bill had decided to oppose after all to the dismay of Quince.","Drew votes Bill out of the board as Chairman."],["He wants him to recognize what true love is and all that that encompasses. ","The meaning of true love and all it entails, especially honesty and sacrifice."],["He helps Bill to regain control of his company.","helps him regain his company"],["As he was Joe Black and walks Bill to his great beyond, he appears once Bill leaves not knowing how he got there. ","he just appears "]],"string":"[\n [\n \"If Bill is his guide.\",\n \"bill has to be his guide while on earth\"\n ],\n [\n \"He gets hit in a multi car accident.\",\n \"he disappeared to her but came as Death to her father\"\n ],\n [\n \"He is hearing voices.\",\n \"he starts to hear voices\"\n ],\n [\n \"Drew used information from him to push him out as Board President.\",\n \"Quince accidentally gave Drew information that would help him vote Bill out of the board.\"\n ],\n [\n \"He comes back and falls in love with Susan.\",\n \"Death leaves Joe's body and he finds himself alive at the party with Susan.\"\n ],\n [\n \"He exposes Drew as an member of the IRS.\",\n \"He regains control of his company with Joe's help \"\n ],\n [\n \"Parrish Communications.\",\n \"Parrish Communications \"\n ],\n [\n \"The man at the coffee shop.\",\n \"A man who died in a car accident.\"\n ],\n [\n \"Joe falls in love with her.\",\n \"he becomes attracted to her\"\n ],\n [\n \"William Bill wanted to merge his company with another media company.\",\n \"merger\"\n ],\n [\n \"Susan\",\n \"susan\"\n ],\n [\n \"Dealh came to bill home in body of a young man\",\n \"they walked away from the party together\"\n ],\n [\n \"He intoduced Death as Joe Black\",\n \"Joe Black\"\n ],\n [\n \"William Bill became Joe Black guide.\",\n \"He has to be Death's guide on earth.\"\n ],\n [\n \"Drew\",\n \"drew\"\n ],\n [\n \"Because Death was in love with Susan.\",\n \"Death is in love with Susan.\"\n ],\n [\n \"He devoted his time to his daughter Susan.\",\n \"He spends them with his daughters at the party \"\n ],\n [\n \"They walked away \",\n \"They walk out of view where they disappear, i.e., die.\"\n ],\n [\n \"Joe\",\n \"Death/Joe\"\n ],\n [\n \"He is planning to merge his company with another media giant. \",\n \"a party\"\n ],\n [\n \"Susan is an internal medicine resident.\",\n \"Internal Medicine \"\n ],\n [\n \"Bill feels that she is not truly in love and should keep her options open as another opportunity could strike. \",\n \"he's not convinced\"\n ],\n [\n \"When he leaves the shop he is struck by multiple cars. \",\n \"is killed in multiple car accident\"\n ],\n [\n \"He appears to Bill as \\\"Death\\\", says he can remain on earth as long as Bill guides him, and Bill calls him Joe Black. \",\n \"As death \"\n ],\n [\n \"He uses Bills strange behavior and reliance on Joe Black to sway the votes to go his way. \",\n \"By convincing the rest of the board members that Bill is incompetent.\"\n ],\n [\n \"He pushes through the merger that Bill had decided to oppose after all to the dismay of Quince.\",\n \"Drew votes Bill out of the board as Chairman.\"\n ],\n [\n \"He wants him to recognize what true love is and all that that encompasses. \",\n \"The meaning of true love and all it entails, especially honesty and sacrifice.\"\n ],\n [\n \"He helps Bill to regain control of his company.\",\n \"helps him regain his company\"\n ],\n [\n \"As he was Joe Black and walks Bill to his great beyond, he appears once Bill leaves not knowing how he got there. \",\n \"he just appears \"\n ]\n]"},"document_id":{"kind":"string","value":"341bfd64f674b6410af0efd4fe9ab0c5c728d82d"},"split":{"kind":"string","value":"test"}}},{"rowIdx":80,"cells":{"text":{"kind":"list like","value":[[" CUT TO: \n \n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n A huge, bustling, vibrant nightclub, very `80's. Decadent,"," INT. EL CARIBE NIGHTCLUB - NIGHT \n \n A number of PEOPLE are HERE. It's PACKED. We are on the"," INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n A LARGE NEON SUN is lowered from the top of the theater."," ANGLE on BOBBY as we GO TO: \n \n INT. EL CARIBE NIGHTCLUB - NIGHT \n \n A SHOW is about to go on. The place has a darker quality"," He's dealing H, cocaine, angel \n dust... Operates out of that club \n you manage. The El Caribe. \n \n Bobby's sense of humor disappears now. \n "," EXT. EL CARIBE NIGHTCLUB \n \n Mob scene. Bobby and Rosario and Louis and the gang enter. \n \n 22. \n \n \n "," INT. EL CARIBE - CLUB ENTRANCE \n \n Bobby gleefully shakes hands upon entering, then splits \n from the group. Rosario joins several girls as they fix \n themselves up in front of large lobby mirrors..."," Still fervid, she is silent. CLUB MUSIC up... \n \n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n Bobby enters the place, determined. He has A BAG tucked"," MARAT BUZHAYEV \n Good evening. My name is Marat \n Buzhayev, and I'm the owner of the \n El Caribe. We have a special"," that. How `bout tomorrow night? \n \n BOBBY GREEN \n Sounds good. \n \n PAVEL LUBYARSKY \n Arright. We'll meet at El Caribe,"," Louis nods, understanding. \n \n EXT. OUTSIDE THE EL CARIBE \n \n Rosario leads Bobby back toward the ESCORT CAR. He leans \n forward, grabs her arm. Sotto but intense:"," INT. CAFE CAPPUCCINO - BRIGHTON AVENUE - NIGHT \n \n Across from the El Caribe. It's like a scene out of Balm"," mock punches Louis' stomach too. To the gang, with CHEER: \n \n BOBBY GREEN (CONT'D) \n Everybody, I gotta be at El Caribe \n in an hour, so get ready!"," An ornate, gaudy place. The walls are covered by mirrors \n with that cheesy brown marble pattern print all over them. \n Plush couches, clutter. Bobby walks in. \n "," Bobby, and Bobby starts walking to him. \n \n INT. BACK OF THE CLUB \n \n Bobby approaches a table, reserved for Pavel and the rest \n of the gang. Bobby joins them, with his bag. \n "," in Gilead here--raucous clubgoers are eating burgers and \n drinking coffee after their nights on the town. Bobby and \n Rosario and Louis sit at one of the tables. Bobby kisses"," The DOORS at the club's entrance have burst open. LOUD, \n like a gunshot. COPS enter. Plainclothes and uniformed \n both. JOSEPH comes in, holds up his badge, which hangs"," SINGING, having a GREAT TIME. The decor is late `70's, \n though not exaggeratedly so. DRUGS are EVERYWHERE. We \n MOVE PAST THIS TO: \n "," (CONTINUED) \n \n 31. \n CONTINUED: \n \n \n As Bobby gags, JOSEPH walks through the club with"," up and down the block. They are all armed, with shotguns \n and machine guns slung over their shoulders. A GARBAGE CAN \n IS ON FIRE a few yards away. The men get out of the car. \n They pull Bobby out: \n "],[" \n BOBBY GREEN \n You know my father is dead because \n of you? \n \n Louis begins to sob quietly, shivering. He brings his hand \n to his mouth. Bobby takes a threatening step forward:"," Bobby contemplates this; we SEE that he tacitly accepts his \n father's words. Then: \n \n BOBBY GREEN \n Well, why's he goin' back to work"," Bobby is startled at this, his mouth momentarily drooping \n open. He CAN SEE: \n \n HIS FATHER, FIRING his WEAPON out the window at the OLDS."," BURT GRUSINSKY \n I'm working. \n \n BOBBY GREEN \n It's important--I got information. \n \n Bobby pulls his father aside, looks around to be sure the"," gentlemen, Bobby Green, who used to \n be our manager here... \n \n MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands"," \n BOBBY GREEN \n That's bullshit--she's clean. You \n fuckin' keep away from her. \n \n Bobby realizes that NO ONE WANTS HIM HERE. He looks"," Bobby shakes his head. He is wired, out of it, but he \n pulls himself together. His jaw clenches. With fire, an \n edge of defiance: \n \n BOBBY GREEN"," \n ROSARIO DIAZ \n BOBBY-- \n \n BOBBY GREEN \n Don't argue. \n \n Bobby moves to Louis: \n "," SMASH CUT TO: \n \n CLOSE ON: BOBBY GREEN, thirty. He is passionate and vital \n and handsome, a real physical presence. His CLOTHES are"," The toddler runs to Bobby. Bobby lifts the youngster onto \n his knee; as he bounces the child on his knee, he turns \n back to Marat: \n \n BOBBY GREEN"," (CONTINUED) \n \n 97. \n CONTINUED: \n \n \n Bobby eyes his father, spent, crestfallen--but not"," BOBBY GREEN \n Joseph? \n \n Joseph eyes him, seems heartened by the sight of his \n brother. But he is out of it, emotionally bludgeoned: \n "," BOBBY GREEN \n Course... \n \n Joseph grows more emotional, adjusts his sunglasses. Leans \n to Bobby, clears his throat. Sotto: \n "," 36. \n CONTINUED: \n \n \n BOBBY GREEN \n You don't mind my saying, I think \n that's probably the right thing to"," Bobby touches his father's arm, and Burt spins around: \n \n BURT GRUSINSKY \n What do you want? You stayed out \n of it--you got what you wanted."," BOBBY GREEN \n I know. But I'm workin' on it, I \n am. \n (looks around; then) \n Soon as the trial's over and I get"," NEXT TO JOSEPH: BURT GRUSINSKY, sixty. Bobby's father, we \n will soon learn. Tough as nails. Unsentimental, ex- \n military, rough-edged, vital. In this world, he is a king."," at his son, who finally speaks: \n \n BOBBY GREEN \n I'll be all right, Pop. \n \n BURT GRUSINSKY \n (shakes head; then:)"," \n BURT emerges from the hallway. He sees Bobby, at first \n comforted by the sight of his son. But quickly he darkens, \n and starts to walk right past him. Sotto: \n \n BOBBY GREEN"," 112. \n CONTINUED: (3) \n BOBBY GREEN (CONT'D) \n That's all in the past. \n (kisses him)"],[" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \n \n EXT. POLICE SERVICE AREA NUMBER TWO \n \n It's a huge municipal structure. Bobby bolts inside."," trepidatious; he and the man eye each other for a moment, \n then Bobby holds out the beeper. The man takes it. \n \n MAN #1 takes out A KEL DEVICE LISTENING UNIT and its"," BOBBY stands inside an abandoned parking kiosk. (He's been \n watching from afar.) Jack and Mike approach their parked \n car. He tries to obscure himself partially inside the \n kiosk. They see him. \n "," As Michael says the following dialog, a UNIFORMED OFFICER \n comes up to Bobby. Sotto, in his ear, he speaks to him: \n \n UNIFORMED OFFICER"," Bobby looks at Michael, points to his earpiece. Michael \n nods, and as we HEAR Mike's words into his radio (\"Our \n guys, outta the brush!\") Bobby starts to back up, toward \n the clearing... \n "," the door. He's witnessed the whole thing... We HEAR: \n \n COP'S VOICE (O.S.) \n We got your boy Eli completely \n covered, Bobby. \n "," son when Bobby is not looking, lowering it to no avail. \n \n INT. BASEMENT \n \n The music is off now. Bobby comes down, Burt follows. \n Joseph is getting something whispered in his ear by another"," Bobby gets up, into a crouch, amidst the gunfire. Dodging \n the bullets. \n \n An ESU Police Officer does not recognize Bobby as an ally, \n and he trains his assault rifle on Bobby. Bobby screams,"," \n INT. POLICE STATION - HALLWAY - NIGHT \n \n Bobby and Rosario, outside an office. Armed cops are up \n and down the hall. We HEAR conversation through the walls."," INT. POLICE STATION - MUSTER ROOM \n \n Many cops, mug shots and files strewn all over. A \n discussion, in media res. Many cops approach Bobby, all of"," head clean off, spattering Bobby's face with brain \n particulate. Bobby is forced to get out from under... We \n HEAR POLICE SIRENS. RADIOS ON-- \n \n RADIOS"," Bobby turns to him, winks. The PHONE IS RINGING. A LOT. \n ROSARIO gets up, walks over to the phone near the sofa and \n picks up with a soft \"hello\". Meanwhile, Bobby puts a"," Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and \n his BADGE. Over this, we STILL HEAR: \n \n BOBBY GREEN \n \"--that I will support and defend"," all undercover. \n \n Bobby laughs happily, knowing this is bullshit. Hazel \n shakes her head, joins the gals. Louis starts emptying his \n pockets. Out comes a pharmacy. DRUGS SPILL all over a"," Bobby knows it; so he dodges the Officer; the Officer \n begins to unload his weapon, getting CLOSER to BOBBY. \n \n AND CLOSER. \n \n AND CLOSER. Bobby is about to be killed when:"," Meanwhile: MICHAEL takes Bobby's arm, walks him into: \n \n INT. SMALL PHONE ROOM \n \n A small room with payphones. There's a window through"," He stumbles. They pick him up, lead him to a door. \n \n INT. TENEMENT - APARTMENT - FRONT ROOM \n \n Someone pulls the hood off him. Bobby looks around. The"," CONTINUED: \n \n Bobby is somewhat edgy, with Pavel behind him. The car \n pulls away from the curb. Then: Pavel throws a small towel"," (CONTINUED) \n \n 128. \n CONTINUED: \n \n \n All the officers back up--all of them except Bobby. Who"," the LIGHTER, the LISTENING DEVICE. He fires it--it works. \n Looks at his watch. In rummaging through his pockets for a \n smoke, he finds a little slip of paper with a phone number"],[" Bobby is startled at this, his mouth momentarily drooping \n open. He CAN SEE: \n \n HIS FATHER, FIRING his WEAPON out the window at the OLDS."," (CONTINUED) \n \n 97. \n CONTINUED: \n \n \n Bobby eyes his father, spent, crestfallen--but not"," WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \n LYING ON THE STREET. Bobby bends down, turning his father \n over. His father's blood is all over his hands now."," \n BOBBY GREEN \n You know my father is dead because \n of you? \n \n Louis begins to sob quietly, shivering. He brings his hand \n to his mouth. Bobby takes a threatening step forward:"," up and down the block. They are all armed, with shotguns \n and machine guns slung over their shoulders. A GARBAGE CAN \n IS ON FIRE a few yards away. The men get out of the car. \n They pull Bobby out: \n "," Bobby knows it; so he dodges the Officer; the Officer \n begins to unload his weapon, getting CLOSER to BOBBY. \n \n AND CLOSER. \n \n AND CLOSER. Bobby is about to be killed when:"," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," \n Burt is dead. \n \n Other cops surround them. Bobby looks up at all of them, \n they at him. Broken, he pushes the others away. As water \n drips off his face: \n "," CUT back to his OWN SHOOTING... He cannot bear reliving \n the terror of his moment... \n \n As the COPS move in: Bobby spins around to look for his \n brother. He finds him still on the ground. Joseph seems"," \n Bobby tries to charge past them. The Guards all restrain \n him delicately (\"C'mon, calm down\"), but Bobby is in no \n mood and instead starts a melee. He is a tour de force of"," BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT. \n He loses control of the automobile... Bobby freezes, IN"," \n Chaos begins. All of the men inside the small building \n have aimed their guns into the WEEDS. But instead of \n stopping because of the shooting, Bobby progresses \n inexorably toward the structure, his shotgun poised to"," Bobby gets up, into a crouch, amidst the gunfire. Dodging \n the bullets. \n \n An ESU Police Officer does not recognize Bobby as an ally, \n and he trains his assault rifle on Bobby. Bobby screams,"," Bobby tears up, his voice breaking too; he shakes his head: \n \n BOBBY GREEN \n No.... I did it to hurt him... I \n disappointed him... \n "," Rosario knows something is wrong, approaches him. \n \n ROSARIO DIAZ \n Bobby? \n \n BOBBY GREEN \n My brother was shot...they're"," WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY. \n \n VADIM NEZHINSKI, POISED TO SHOOT. \n \n Within what seems like a split second, Bobby raises his"," He's taking it very hard. \n (BEAT) \n They had to sedate him. \n \n These words hit Bobby. His eyes close, forcing tears down \n his cheeks. \n "," Bobby touches his father's arm, and Burt spins around: \n \n BURT GRUSINSKY \n What do you want? You stayed out \n of it--you got what you wanted."," \n Bobby nods. \n \n ROSARIO DIAZ (CONT'D) \n Me and my mother, we said a prayer \n for him. \n \n Something seems to dawn on Bobby: \n "," BOBBY stands inside an abandoned parking kiosk. (He's been \n watching from afar.) Jack and Mike approach their parked \n car. He tries to obscure himself partially inside the \n kiosk. They see him. \n "],[" Bobby gets up, into a crouch, amidst the gunfire. Dodging \n the bullets. \n \n An ESU Police Officer does not recognize Bobby as an ally, \n and he trains his assault rifle on Bobby. Bobby screams,"," (CONTINUED) \n \n 128. \n CONTINUED: \n \n \n All the officers back up--all of them except Bobby. Who"," that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \n \n EXT. POLICE SERVICE AREA NUMBER TWO \n \n It's a huge municipal structure. Bobby bolts inside."," Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and \n his BADGE. Over this, we STILL HEAR: \n \n BOBBY GREEN \n \"--that I will support and defend"," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," \n BOBBY GREEN (CONT'D) \n You know I'm on the Force now? And \n I could do anything to you? \n \n Louis' eyes widen. He holds out his hands defensively."," Troubled, she nonetheless puts a handful of pills in his \n palm. Bobby quickly SWALLOWS them. A UNIFORMED COP \n approaches Bobby: \n \n UNIFORMED COP"," INT. POLICE STATION - MUSTER ROOM \n \n Many cops, mug shots and files strewn all over. A \n discussion, in media res. Many cops approach Bobby, all of"," We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward, \n in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped"," Rosario, listen--I had to do it. \n \n Bobby pulls her to him, holds her tight. In her ear: \n \n BOBBY GREEN (CONT'D) \n I had to do it..."," Bobby--you'll always be welcome \n back here. \n \n Bobby is moved. The two embrace. \n \n INT. VADIM'S COP CAR \n "," She turns. He starts to take off his tie. \n \n BOBBY GREEN (CONT'D) \n I'm thinking of...maybe joining the \n Force. \n "," and BOBBY. The bell stops. The SEA of BLUE, the POLICE, \n genuflect. Our characters do not. Instead, BOBBY STARES \n at JOSEPH AND BURT across the crowded room. They return"," Bobby knows it; so he dodges the Officer; the Officer \n begins to unload his weapon, getting CLOSER to BOBBY. \n \n AND CLOSER. \n \n AND CLOSER. Bobby is about to be killed when:"," BOBBY GREEN \n (back to reality) \n Love you too, Joe. \n \n Police line up on the stage. Everyone's seated, Bobby and"," subdued \"hellos.\" She is not exactly, well, PROPER- \n LOOKING. And she isn't white. She picks up on this, tries \n to act as though she doesn't care. Burt turns to Bobby: \n "," him, then touches Bobby's cheek, a truly loving gesture: \n \n BURT GRUSINSKY \n (almost to himself) \n Okay... \n (to an officer)"," Bobby walks toward the entrance. Stops. Sandra seems to \n read his mind, speaks: \n \n \n (CONTINUED) \n \n 48."," A moment, then she turns to walk toward the bedroom. \n \n BOBBY GREEN \n Hey--where you goin'-- \n \n Bobby grabs her. \n \n ROSARIO DIAZ"," \n INT. POLICE STATION - HALLWAY - NIGHT \n \n Bobby and Rosario, outside an office. Armed cops are up \n and down the hall. We HEAR conversation through the walls."],[" Joseph's bed is in the back of the large space. His face \n is blocked by hospital curtains. Bobby steps forward. \n \n Slowly, he walks to his brother's bed. He peels away the"," CURTAIN. Looks at JOSEPH'S FACE. Joseph's visage is \n completely RAVAGED on the left side, covered with bandages \n that are soaked with blood. A TERRIBLE IMAGE. The emotion"," Joseph is unresponsive but conscious. All of a sudden: \n \n NURSE \n Sir...? \n \n Joseph's hand closes around Bobby's fingers. The"," The Guards stop him, and a messy struggle ensues. \n \n All of a sudden, Joseph's wife SANDRA emerges from the \n ward. She looks devastated. The struggle stops. All fall"," The men all turn around. Joseph stands there, wounded but \n COMMITTED: \n \n JOSEPH GRUSINSKY (CONT'D) \n I'll be ready to come back and head"," \n 39. \n \n \n \n EXT. JOSEPH'S HOUSE - NIGHT \n \n Joseph drives up to the house, a working-class part of"," BOBBY GREEN \n Joseph? \n \n Joseph eyes him, seems heartened by the sight of his \n brother. But he is out of it, emotionally bludgeoned: \n "," Sitting on the couch is Joseph. He is trying to be stoic, \n but appears wan and tired. Alone. We HEAR the crowd in \n the house, but they are in the living room. A KNOCK: Bobby \n enters. \n "," his eyes. He's pointing a GUN RIGHT AT JOSEPH. Joseph's \n eyes pop, and he lets out a quick gasp--but he has no real \n time to react. The man pulls the trigger."," POLICE CHAPLAIN \n It's Joseph. He's at St. John's \n Hospital. \n (BEAT) \n It don't look good right now. \n "," watch him with awe and respect. They back away from him. \n He proceeds on toward the cars. \n \n HE SEES: Joseph inside one of them, still. Staring at him."," been five months since his shooting. He is GOING HOME... \n \n EXT. JOSEPH'S BLOCK - SUNNY DAY \n \n Several POLICE CARS line the block. There are ARMED"," Hello? \n \n INT. ST. JOHN'S HOSPITAL - INTERCUT \n \n JOSEPH on the phone, in bed. Nearby, Sandra is folding his \n blanket around him. \n "," A THUNDERCLAP slaps the silence in the neighborhood: THE \n GUN HAS FIRED. A FLASH OF LIGHT. \n \n A MIST OF BLOOD plumes around Joseph's head. The bullet"," hits Joseph in the face, through the CHEEK. HE snaps back \n spasmodically. \n \n AN AUTOMOBILE, a MONTE CARLO, pulls up to the scene of the"," operating on him now. \n \n Rosario sees how remote he is, what a blow it is. She \n pulls him to her: \n \n ROSARIO DIAZ"," They did good. On his face. \n \n JACK SHAPIRO \n Shut your fuckin' mouth. \n \n INT. JOSEPH'S CAR \n "," \n Joseph is deeply troubled by the prospect. \n \n MICHAEL SOLO (CONT'D) \n What's it gonna be? \n \n ANGLE ON JOSEPH. \n "," slightly. Joseph's eyes open just a bit but don't look at \n Bobby. Bobby slowly lifts his fingers, touches Joe's arm \n gently. His fingers move down to his brother's hand."," obvious, but he's already seen him dead. This is new \n territory for Joseph, who though he does not break down, \n seems overwhelmed. Both young men nod in acknowledgement, \n and the Undertaker closes the coffin. \n "],[" This is the fuckin' guy right here. \n Practically owns the place. \n \n MUMBLED AGREEMENT. The men surrounding Vadim are \"yes\""," Vadim turns around. Joseph starts to search him. He pulls \n a WAD OF MONEY from Vadim's pocket: \n \n JOSEPH GRUSINSKY (CONT'D) \n What is this?"," VADIM slides down to the BACK ROOM in the APARTMENT BELOW. \n Panicked, he cocks his gun, searches for an escape route. \n \n INT. BEDROOM \n "," FACE.) Vadim mutters, aloud but sotto, in Russian: \n \n VADIM NEZHINSKI (SUBTITLE) \n He is a dead man... \n \n OFFICERS"," Moving with tremendous speed, he begins to light the FURS \n on FIRE... SMOKE... Vadim BEGINS TO COUGH, taking a \n suitcase of money with him. He backs out of the STRUCTURE. \n "," As Joseph looks back at Vadim's vehicle, behind him: \n \n JOSEPH GRUSINSKY \n He makes a deal today, maybe my \n brother don't gotta take the"," got a lot more comin' in--a LOT \n more. In a way nobody could ever \n trace. \n \n Vadim steps away from the narcotics and towards Bobby: \n "," for a moment in the back of the vehicle; he watches through \n the window as his father walks to his car. Bobby sinks to \n the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in \n HANDCUFFS..."," surrounded by his gang: VADIM NEZHINSKI. Thirty-five, acne- \n scarred, huge black pompadour, big gut. One of his men,"," CONTINUED: (2) \n \n \n VADIM NEZHINSKI \n (SHRUGS) \n He does what he gotta do, I do what"," \n Vadim Nezhinski is being led, in handcuffs, into an \n unmarked Chevy. Both JOSEPH and Jack are here. Joseph and \n Vadim exchange looks as Vadim is placed into the back seat."," Vadim walks over to a stack of green packages: \n \n VADIM NEZHINSKI (CONT'D) \n All the shit I get here is at least \n eighty-six percent pure. And we"," Vadim violently pulls out Bobby's pockets. Out falls: a \n WALLET, SOME CHANGE, KEYS, A CIGARETTE LIGHTER, MATCHES. \n He sifts through the items, lighting the lighter. It"," (nods; then, coolly:) \n Things're goin' good. \n \n VADIM NEZHINSKI \n That's real good... `Cause you"," (BEAT) \n Want me to double your money? Huh? \n \n Vadim doesn't answer. Joseph takes out a HUGE SWISS ARMY"," the street. He pulls the hood off, over his head. It is \n VADIM NEZHINSKI. In Russian: \n \n VADIM NEZHINSKI (SUBTITLE)"," Bobby inches ever closer to the rusted LETTER OPENER that \n the Brown-Haired Man had used to open a package of cocaine. \n Vadim puts down the lighter. And it occurs to him: \n "," 28. \n CONTINUED: (2) \n \n \n VADIM NEZHINSKI \n You know Bobby, my uncle upstairs,"," still very much alive. His eyes are popping, and he throws \n his hands around Bobby's THROAT. VADIM CHARGES INTO: \n \n INT. BACK ROOM \n "," Vadim leans back in his chair. Bobby's eyes widen. Vadim \n makes a \"POP\" sound. Bobby tries to hide his shock. Vadim \n grabs Bobby's arm, squeezes it. \n "],[" Bobby is startled at this, his mouth momentarily drooping \n open. He CAN SEE: \n \n HIS FATHER, FIRING his WEAPON out the window at the OLDS."," (CONTINUED) \n \n 97. \n CONTINUED: \n \n \n Bobby eyes his father, spent, crestfallen--but not"," WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \n LYING ON THE STREET. Bobby bends down, turning his father \n over. His father's blood is all over his hands now."," \n Burt is dead. \n \n Other cops surround them. Bobby looks up at all of them, \n they at him. Broken, he pushes the others away. As water \n drips off his face: \n "," \n BOBBY GREEN \n You know my father is dead because \n of you? \n \n Louis begins to sob quietly, shivering. He brings his hand \n to his mouth. Bobby takes a threatening step forward:"," He's taking it very hard. \n (BEAT) \n They had to sedate him. \n \n These words hit Bobby. His eyes close, forcing tears down \n his cheeks. \n "," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT. \n He loses control of the automobile... Bobby freezes, IN"," BOBBY GREEN \n Joseph? \n \n Joseph eyes him, seems heartened by the sight of his \n brother. But he is out of it, emotionally bludgeoned: \n "," distraught. He breaks down. Bobby is there to catch him \n and does. \n (CONTINUED) \n \n 102. \n CONTINUED: (2) \n "," Joseph is unresponsive but conscious. All of a sudden: \n \n NURSE \n Sir...? \n \n Joseph's hand closes around Bobby's fingers. The"," \n Bobby nods. \n \n ROSARIO DIAZ (CONT'D) \n Me and my mother, we said a prayer \n for him. \n \n Something seems to dawn on Bobby: \n "," CUT back to his OWN SHOOTING... He cannot bear reliving \n the terror of his moment... \n \n As the COPS move in: Bobby spins around to look for his \n brother. He finds him still on the ground. Joseph seems"," Bobby sees: JOSEPH, STANDING nearby with his hand on his \n child's shoulder, the rest of his FAMILY SURROUNDING HIM. \n The brothers embrace. Then: \n "," up and down the block. They are all armed, with shotguns \n and machine guns slung over their shoulders. A GARBAGE CAN \n IS ON FIRE a few yards away. The men get out of the car. \n They pull Bobby out: \n "," INT. PAN AMERICAN MOTOR INN - SUITE - LIVING ROOM - DAY \n \n Bobby is still in his funeral suit, standing near the sofa. \n Smoking a cigarette, holding a drink in his hand. An ARMED"," Bobby acknowledges that with a single nod of his head. The \n man departs. Bobby grasps the lighter tight, looks at the \n man as he virtually disappears back into the fog... \n \n INT. CHURCH - EARLY EVENING"," Bobby again eyes Joseph, who stands over the grave wiping \n his eyes with a handkerchief. He WALKS OVER to him, puts \n his arm around him. Into his ear: \n \n BOBBY GREEN"," separate, REVEALING NEZHINSKI, with a look on his face that \n registers a kind of shock, a shock that he's been hit. \n Nezhinski sees Bobby standing over him. With all the \n energy he has in the world:"," He waits a beat. The Nurse gently pulls his shoulder. He \n backs away, his eyes reddened. The camera MOVES INTO a \n CLOSE SHOT on BOBBY as we GO TO: \n "],[" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \n \n EXT. POLICE SERVICE AREA NUMBER TWO \n \n It's a huge municipal structure. Bobby bolts inside."," to Vadim. The Young Man is TERRIFIED. Bobby, too, is \n hauled out like a common criminal. Cuffed... \n \n INT. POLICE SERVICE AREA NUMBER TWO - HOLDING CELLS \n "," Bobby--you'll always be welcome \n back here. \n \n Bobby is moved. The two embrace. \n \n INT. VADIM'S COP CAR \n "," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," \n Burt is dead. \n \n Other cops surround them. Bobby looks up at all of them, \n they at him. Broken, he pushes the others away. As water \n drips off his face: \n "," (CONTINUED) \n \n 128. \n CONTINUED: \n \n \n All the officers back up--all of them except Bobby. Who"," up and down the block. They are all armed, with shotguns \n and machine guns slung over their shoulders. A GARBAGE CAN \n IS ON FIRE a few yards away. The men get out of the car. \n They pull Bobby out: \n "," Bobby gets up, into a crouch, amidst the gunfire. Dodging \n the bullets. \n \n An ESU Police Officer does not recognize Bobby as an ally, \n and he trains his assault rifle on Bobby. Bobby screams,"," Meanwhile: MICHAEL takes Bobby's arm, walks him into: \n \n INT. SMALL PHONE ROOM \n \n A small room with payphones. There's a window through"," \n INT. POLICE STATION - HALLWAY - NIGHT \n \n Bobby and Rosario, outside an office. Armed cops are up \n and down the hall. We HEAR conversation through the walls."," Bobby is startled at this, his mouth momentarily drooping \n open. He CAN SEE: \n \n HIS FATHER, FIRING his WEAPON out the window at the OLDS."," INT. POLICE STATION - MUSTER ROOM \n \n Many cops, mug shots and files strewn all over. A \n discussion, in media res. Many cops approach Bobby, all of"," (CONTINUED) \n \n 97. \n CONTINUED: \n \n \n Bobby eyes his father, spent, crestfallen--but not"," He stumbles. They pick him up, lead him to a door. \n \n INT. TENEMENT - APARTMENT - FRONT ROOM \n \n Someone pulls the hood off him. Bobby looks around. The"," Bobby knows it; so he dodges the Officer; the Officer \n begins to unload his weapon, getting CLOSER to BOBBY. \n \n AND CLOSER. \n \n AND CLOSER. Bobby is about to be killed when:"," \n BOBBY GREEN \n You know my father is dead because \n of you? \n \n Louis begins to sob quietly, shivering. He brings his hand \n to his mouth. Bobby takes a threatening step forward:"," WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \n LYING ON THE STREET. Bobby bends down, turning his father \n over. His father's blood is all over his hands now."," As the Undertaker leads Joseph away, Bobby enters an: \n \n INT. ANTECHAMBER \n \n Where waiting are Jack and Michael. Bobby gives a fiery \n stare to the two cops. He approaches them. Sotto but"," Bobby gets up, out of the weeds, SHOTGUN aimed: \n \n BOBBY GREEN \n You're surrounded by the police! \n Come out now, with your hands on \n your heads! \n "," for a moment in the back of the vehicle; he watches through \n the window as his father walks to his car. Bobby sinks to \n the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in \n HANDCUFFS..."],[" He's dealing H, cocaine, angel \n dust... Operates out of that club \n you manage. The El Caribe. \n \n Bobby's sense of humor disappears now. \n "," gentlemen, Bobby Green, who used to \n be our manager here... \n \n MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands"," ANGLE on BOBBY as we GO TO: \n \n INT. EL CARIBE NIGHTCLUB - NIGHT \n \n A SHOW is about to go on. The place has a darker quality"," Bobby, and Bobby starts walking to him. \n \n INT. BACK OF THE CLUB \n \n Bobby approaches a table, reserved for Pavel and the rest \n of the gang. Bobby joins them, with his bag. \n "," Still fervid, she is silent. CLUB MUSIC up... \n \n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n Bobby enters the place, determined. He has A BAG tucked"," packed every night, everybody wins. \n \n Bobby does not respond, instead nodding to some patrons who \n shout out hellos. Vadim shakes Bobby's shoulder with \n affection. Intimate: \n "," Bobby enters the PULSING, VITAL HEART of the place. As he \n appears, everyone approaches, happily shouting out his \n name. He is having a blast. \n \n Bobby is the master of this domain. An `80's version of"," (CONTINUED) \n \n 31. \n CONTINUED: \n \n \n As Bobby gags, JOSEPH walks through the club with"," pure New York. BOBBY emerges from the back room area, \n straightening out his outfit. ROSARIO is behind him, \n fixing herself and walking toward the front of the club."," BOBBY GREEN \n What the fuck's goin' on in here? \n \n Bobby moves RIGHT IN. Grabs a struggling and drunk PATRON,"," Bobby laughs heartily. Just then, Vadim sees him. Pavel \n HOLDS UP HIS DRINK in acknowledgement and WAVES HIM OVER. \n \n BOBBY GREEN"," \n BOBBY GREEN \n That's bullshit--she's clean. You \n fuckin' keep away from her. \n \n Bobby realizes that NO ONE WANTS HIM HERE. He looks"," EXT. EL CARIBE NIGHTCLUB \n \n Mob scene. Bobby and Rosario and Louis and the gang enter. \n \n 22. \n \n \n "," INT. EL CARIBE - CLUB ENTRANCE \n \n Bobby gleefully shakes hands upon entering, then splits \n from the group. Rosario joins several girls as they fix \n themselves up in front of large lobby mirrors..."," CUT TO: \n \n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n A huge, bustling, vibrant nightclub, very `80's. Decadent,"," SMASH CUT TO: \n \n CLOSE ON: BOBBY GREEN, thirty. He is passionate and vital \n and handsome, a real physical presence. His CLOTHES are"," that. How `bout tomorrow night? \n \n BOBBY GREEN \n Sounds good. \n \n PAVEL LUBYARSKY \n Arright. We'll meet at El Caribe,"," approaches him. \n \n ROSARIO DIAZ \n Bobby, I'm gonna go back to the \n motel. \n \n BOBBY GREEN"," to it now, and many patrons are wearing HALLOWEEN MASKS. \n BOBBY ENTERS, approaches a table in the back, where seated \n are Louis and Louis' girlfriend, HAZEL. Lou is armed with"," INT. SHOOTING GALLERY \n \n In the darkness, among the addicts: BOBBY GREEN. His face \n illuminated only by the sliver of light from the crack in"],[" MARAT BUZHAYEV (pronounced BOO-SHY'-EV). He is old, \n kindly, weakened by age; sits next to his babushka wife,"," MARAT BUZHAYEV \n (warm, gentle) \n Yes, good. You take care of things \n good for us... \n \n Marat smiles. Then, as Bobby stands: \n "," MARAT BUZHAYEV (CONT'D) \n We also have an old friend who's \n come back to us--I want him to \n stand--Bobby? Ladies and"," Yeah, sure. I'll come. \n \n MARAT BUZHAYEV \n Good--we talk more, at the dinner. \n \n The two hug. Bobby is being shown out by Kalina, and is"," him, to MARAT, who steps forward. In Russian: \n \n MARAT BUZHAYEV (SUBTITLE) \n This's what we've been planning for \n for so long. My nephew has stayed"," MARAT BUZHAYEV (CONT'D) \n Next week, you come by--we talk. \n Okay? We talk about plans for you. \n "," about to depart when Buzhayev calls to his wife in Russian: \n \n MARAT BUZHAYEV (CONT'D) \n Give him, for tonight! \n "," JUST THEN, THE HOUSE LIGHTS DIM. A SPOTLIGHT on the STAGE. \n \n MARAT BUZHAYEV ambles up to the microphone with some \n difficulty. \n "," NEZHINSKI. MARAT BUZHAYEV and ELI follow him in. Many \n other men pour into the structure, BRIEFCASES in hand. \n \n MICHAEL SOLO"," Bobby and Marat Buzhayev, inside the living room. Bobby \n sits down, on the couch's armrest; Marat is in an easy \n chair, his lunch being served on a T.V. tray in front of"," KALINA. Buzhayev watches a Russian musical program with \n the sound off, listening to his small transistor radio. \n \n MARAT BUZHAYEV \n Bobby! Come here! \n "," him, the child hides behind Marat's leg. Marat lets out a \n laugh at this; to the child: \n \n MARAT BUZHAYEV \n No no--it's okay. Say hello..."," \n INT. DINING ROOM \n \n Bobby enters. Sitting at the large table is MARAT, playing \n with one of his grandchildren. Bobby knocks on the \n doorframe to announce his entrance. When Buzhayev spots"," EMERGING: MARAT BUZHAYEV. Stepping up behind him, Eli, \n helping King Marat. MARAT and VADIM greet each other."," MARAT BUZHAYEV \n Good evening. My name is Marat \n Buzhayev, and I'm the owner of the \n El Caribe. We have a special"," from elsewhere in the film but don't know by name. One of \n the people to emerge from a Town Car is MARAT BUZHAYEV and \n his ever-present BABUSHKA WIFE, KALINA. \n "," I know. I don't worry about any of \n that. \n \n He puts his arm around Bobby's shoulder. \n \n MARAT BUZHAYEV (CONT'D)"," but... Anyway, I'm sorry. \n \n MARAT BUZHAYEV \n It's not your fault... \n \n Marat darkens considerably. More interior tone, almost as"," You wanted to talk to me? \n \n Marat nods, waves to Kalina for drinks. \n \n MARAT BUZHAYEV \n You know, maybe we open another"," MARAT BUZHAYEV \n Bobby--I, I didn't know it would be \n your family-- \n \n BOBBY TAKES A THREATENING STEP FORWARD. Bobby's expression"],[" Bobby senses the pressure being placed upon his brother, \n and he moves Jack away from Joseph: \n \n BOBBY GREEN \n All right, c'mon. Enough... \n "," Bobby LUNGES forward, grabbing his brother. Joseph leaps \n up out of the chair. A FIGHT. Awkward punches are thrown. \n Messy. Jack and Mike leap in, trying to pull the two"," BOBBY GREEN \n Joseph? \n \n Joseph eyes him, seems heartened by the sight of his \n brother. But he is out of it, emotionally bludgeoned: \n "," class for once. \n \n Bobby takes another confrontational step forward. Raging: \n \n BOBBY GREEN \n You piece of shit... \n \n JOSEPH GRUSINSKY"," Never, swear to God! \n \n Bobby stares at him for a moment, then his teeth grit. He \n tries to calm himself but cannot. With a ferocity, he \n unleashes a brutal punch across Louis' face with the brunt"," I'm trying to tell you. \n \n Bobby eyes Joseph, who looks deeply troubled. Bobby sits. \n \n BOBBY GREEN (CONT'D) \n Joe, what's wrong? Come on, you"," slightly. Joseph's eyes open just a bit but don't look at \n Bobby. Bobby slowly lifts his fingers, touches Joe's arm \n gently. His fingers move down to his brother's hand."," \n Bobby tries to charge past them. The Guards all restrain \n him delicately (\"C'mon, calm down\"), but Bobby is in no \n mood and instead starts a melee. He is a tour de force of"," (no response, so:) \n That why you got me up here? [To] \n tell me my hair's too long? \n \n Joseph speaks up, diverting Bobby's attention: \n "," Sitting on the couch is Joseph. He is trying to be stoic, \n but appears wan and tired. Alone. We HEAR the crowd in \n the house, but they are in the living room. A KNOCK: Bobby \n enters. \n "," \n Bobby looks at Jack--who leans in, to Joseph's ear: \n \n JACK SHAPIRO \n You know, they're laughin' at us, \n out there on the street. Now when"," Joseph is unresponsive but conscious. All of a sudden: \n \n NURSE \n Sir...? \n \n Joseph's hand closes around Bobby's fingers. The"," The camera DOLLIES INTO a CLOSE SHOT of Bobby and we GO TO: \n \n 98. \n \n \n \n INT. JOSEPH'S HOUSE - DEN \n "," JOSEPH GRUSINSKY \n You know, I was...I was jealous of \n you, [for a] long time. \n \n Bobby is surprised to hear this admission, and is taken"," BOBBY GREEN \n Course... \n \n Joseph grows more emotional, adjusts his sunglasses. Leans \n to Bobby, clears his throat. Sotto: \n "," Bobby brightens, begins to stand with only a little \n difficulty as he anticipates Joseph's entrance. As this \n happens, Rosario slips out from under his grasp: \n \n ROSARIO DIAZ"," Hey, Bobby... \n \n Without a word, Bobby nods, moves to his brother. As Burt \n looks on, pleased, Bobby takes his hand and grips the back \n of Joseph's neck. Joseph pulls his brother to him by his"," Joseph's bed is in the back of the large space. His face \n is blocked by hospital curtains. Bobby steps forward. \n \n Slowly, he walks to his brother's bed. He peels away the"," The two brothers make eye contact. The crowd quiets a bit. \n Bobby smiles at the sight of his brother. Joseph gets \n emotional, too: \n \n JOSEPH GRUSINSKY (CONT'D)"," Bobby sees: JOSEPH, STANDING nearby with his hand on his \n child's shoulder, the rest of his FAMILY SURROUNDING HIM. \n The brothers embrace. Then: \n "],[" Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and \n his BADGE. Over this, we STILL HEAR: \n \n BOBBY GREEN \n \"--that I will support and defend"," Bobby gets up, into a crouch, amidst the gunfire. Dodging \n the bullets. \n \n An ESU Police Officer does not recognize Bobby as an ally, \n and he trains his assault rifle on Bobby. Bobby screams,"," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \n \n EXT. POLICE SERVICE AREA NUMBER TWO \n \n It's a huge municipal structure. Bobby bolts inside."," INT. POLICE STATION - MUSTER ROOM \n \n Many cops, mug shots and files strewn all over. A \n discussion, in media res. Many cops approach Bobby, all of"," Bobby knows it; so he dodges the Officer; the Officer \n begins to unload his weapon, getting CLOSER to BOBBY. \n \n AND CLOSER. \n \n AND CLOSER. Bobby is about to be killed when:"," We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward, \n in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped"," (CONTINUED) \n \n 128. \n CONTINUED: \n \n \n All the officers back up--all of them except Bobby. Who"," Bobby--you'll always be welcome \n back here. \n \n Bobby is moved. The two embrace. \n \n INT. VADIM'S COP CAR \n "," \n BOBBY GREEN (CONT'D) \n You know I'm on the Force now? And \n I could do anything to you? \n \n Louis' eyes widen. He holds out his hands defensively."," Bobby gets up, out of the weeds, SHOTGUN aimed: \n \n BOBBY GREEN \n You're surrounded by the police! \n Come out now, with your hands on \n your heads! \n "," \n Burt is dead. \n \n Other cops surround them. Bobby looks up at all of them, \n they at him. Broken, he pushes the others away. As water \n drips off his face: \n "," \n INT. POLICE SERVICE AREA TWO - ENTRANCE \n \n The place is hopping, with police everywhere. Almost like \n a fraternity house. BOBBY CHARGES IN, looks around."," Joseph in front. The POLICE BAND begins to play the drums. \n Bobby straightens up, raises his hand--along with the sea \n of blue--in a SALUTE as the flag is carried to the front. \n \n"," BOBBY GREEN \n (back to reality) \n Love you too, Joe. \n \n Police line up on the stage. Everyone's seated, Bobby and"," He appears almost in tears... Finally, sotto: \n \n BOBBY GREEN \n I--I'm gonna inform. For the \n police. \n (BEAT)"," \n BACK TO THE POLICE STATION HALLWAY \n \n CLOSE SHOT on BOBBY, PAUSING right before he enters the \n MUSTER ROOM. HE takes a breath and ENTERS: \n "," CUT back to his OWN SHOOTING... He cannot bear reliving \n the terror of his moment... \n \n As the COPS move in: Bobby spins around to look for his \n brother. He finds him still on the ground. Joseph seems"," Bobby--your brother, I think he \n probably feels a little guilty, \n with everything you did, with you \n in protection now... But he \n appreciates what you've done--I \n know he does."," him, then touches Bobby's cheek, a truly loving gesture: \n \n BURT GRUSINSKY \n (almost to himself) \n Okay... \n (to an officer)"],[" VADIM slides down to the BACK ROOM in the APARTMENT BELOW. \n Panicked, he cocks his gun, searches for an escape route. \n \n INT. BEDROOM \n "," to Vadim. The Young Man is TERRIFIED. Bobby, too, is \n hauled out like a common criminal. Cuffed... \n \n INT. POLICE SERVICE AREA NUMBER TWO - HOLDING CELLS \n "," ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \n immediately pins Joseph and the other two police inside the \n vehicle. \n \n INT. VADIM'S COP CAR"," for a moment in the back of the vehicle; he watches through \n the window as his father walks to his car. Bobby sinks to \n the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in \n HANDCUFFS..."," Moving with tremendous speed, he begins to light the FURS \n on FIRE... SMOKE... Vadim BEGINS TO COUGH, taking a \n suitcase of money with him. He backs out of the STRUCTURE. \n "," cover. He opens his door to slink out. \n \n VADIM HITS THE FLOOR. \n \n The other two officers are immediately riddled with \n GUNFIRE. \n "," \n Vadim Nezhinski is being led, in handcuffs, into an \n unmarked Chevy. Both JOSEPH and Jack are here. Joseph and \n Vadim exchange looks as Vadim is placed into the back seat."," Bobby--you'll always be welcome \n back here. \n \n Bobby is moved. The two embrace. \n \n INT. VADIM'S COP CAR \n "," Two of the men PULL VADIM toward them. The third man in a \n ski mask is hit by Jack's fire, but has just enough \n adrenaline to get into the SECOND CAR. \n \n IT SPEEDS AWAY."," quickly ushered out along with tens of others. Marat \n watches, as does Rosario. Louis and Rosario are left \n behind, not having been arrested. Neither has VADIM."," The car is moving. Jack is driving. Another cop is in the \n front passenger seat. Two other cops straddle Vadim. \n Silence, then, motioning toward Joseph's car: \n \n VADIM NEZHINSKI"," FACE.) Vadim mutters, aloud but sotto, in Russian: \n \n VADIM NEZHINSKI (SUBTITLE) \n He is a dead man... \n \n OFFICERS"," Officers pour in, among them BURT. Cops forcefully push \n Vadim to the ground. Start to cuff him. Burt pulls Jack \n ASIDE: \n \n BURT GRUSINSKY"," Vadim violently pulls out Bobby's pockets. Out falls: a \n WALLET, SOME CHANGE, KEYS, A CIGARETTE LIGHTER, MATCHES. \n He sifts through the items, lighting the lighter. It"," still very much alive. His eyes are popping, and he throws \n his hands around Bobby's THROAT. VADIM CHARGES INTO: \n \n INT. BACK ROOM \n "," back on Vadim, walks through the fires around him. As \n Vadim calls after him (\"BOBBY! \n (CONTINUED) \n \n 129. \n CONTINUED:"," VADIM IS GONE. \n \n INT. BURT'S HOUSE - KITCHEN \n \n Burt, dressed in his v-neck undershirt, is reaching into a"," elsewhere. Vadim pulls up a chair. Sits down. Intimate: \n \n VADIM NEZHINSKI \n Bobby, those cops--they, they ain't \n no problem. \n "," that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \n \n EXT. POLICE SERVICE AREA NUMBER TWO \n \n It's a huge municipal structure. Bobby bolts inside."," INT. DOWNSTAIRS BEDROOM \n \n Nezhinski opens the window, about to go out onto the fire \n escape. A WARRANT UNIT OFFICER is below. Looks up: \n "],[" \n Burt is dead. \n \n Other cops surround them. Bobby looks up at all of them, \n they at him. Broken, he pushes the others away. As water \n drips off his face: \n "," He's gonna be okay, Chief. \n (to others) \n Clear out! \n \n Burt eases when he hears this. They move Bobby toward the \n ambulance. Burt turns to Michael. Sotto:"," before it does, but: Burt does not. THE TRUCK CLIPS Burt's \n car on the driver's side. He sneaks through, recovering \n and keeping up the pursuit. \n "," BURT'S EYES ARE RED, filling with blood. His JAW is open. \n He gasps for air, a vacant stare on his face. His body"," Burt's car stops slowly. He gets out of the car, his face \n a mess. He stumbles for a few feet in the rain. BOBBY'S \n CAR ARRIVES on the SCENE... \n "," BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT. \n He loses control of the automobile... Bobby freezes, IN"," Everyone, let's, let's move inside-- \n there's plenty to eat! \n \n Soft laughter. Small talk begins. The group dissipates, \n moves to eat, etc. Burt moves to Joseph: \n "," VADIM IS GONE. \n \n INT. BURT'S HOUSE - KITCHEN \n \n Burt, dressed in his v-neck undershirt, is reaching into a"," BURT GRUSINSKY \n Which kid is it? \n \n The cops turn to each other. Burt tries to prep himself, \n but it's impossible; we SEE the cracks in his sangfroid: \n "," BURT, who's waiting for him. Bobby ignores him: \n \n BURT GRUSINSKY \n Where you going? I was the one who \n got you outta there! \n \n "," histrionic. The CAMERA TILTS DOWN. The BLOOD from BURT'S \n BODY flows into the street, along the curb,into the gutter. \n \n DISSOLVE TO:"," care of it--I'm gonna go get your \n brother. \n \n Burt hangs up, grabs his jacket--which had been draped over \n the kitchen chair. Burt bolts out of the house... \n "," Into the radio: \n \n BOBBY GREEN (CONT'D) \n Pop, lay back! \n \n But Burt does not. Burt has a clear shot at the hooded man"," Burt is getting emotional, aware of how close his son came \n to death. Trying not to show it--and failing. \n \n BURT GRUSINSKY \n I'll get them to take care of that."," son when Bobby is not looking, lowering it to no avail. \n \n INT. BASEMENT \n \n The music is off now. Bobby comes down, Burt follows. \n Joseph is getting something whispered in his ear by another"," CONTINUED: (3) \n \n \n A beat. Bobby is still there, fixated. \n \n BURT GRUSINSKY (CONT'D) \n Goodbye! \n "," With that, Bobby leaves with his bodyguard. Burt stands \n there for a moment, frustrated. TEDDY, his grandson, runs \n past him. Naked. Sandra follows the boy. Burt turns to"," [You] Fuckin' broadsided me... \n Everything's about the goddamned \n job with you. \n \n Burt remains stoic. (Though silent so far, he should be a"," Bobby is about to leave. Burt stops him: \n \n BURT GRUSINSKY (CONT'D) \n Hey, c'mere. \n (Bobby returns)"," (to Burt, needling) \n (MORE) \n (CONTINUED) \n \n 12. \n CONTINUED: (2)"],[" As the man speaks, Bobby SCANS the room. HE SEES ROSARIO, \n standing in the crowd behind the seated audience. Her face \n is partially obscured. BOBBY CANNOT BELIEVE THE FLOOD OF"," BOBBY DOESN'T SEE HIM YET. BUT WE CAN. THE CAMERA ZOOMS \n INTO BOBBY, WITH THE FIGURE BEHIND HIM. BOBBY SEES THE"," BOBBY GREEN (CONT'D) \n They're getting started--we should \n probably go in now. \n \n INT. AUDITORIUM \n "," LOUIS FALSETTI. \n \n At that moment, BOBBY SEES his old friend, and the two make \n EYE CONTACT. Bobby is greatly moved by his appearance, and"," \n 56. \n CONTINUED: (2) \n \n \n JACK SHAPIRO \n (pointing to Bobby; \n with some ridicule)"," behind his father. Bobby sees Jack and Michael, now seated \n several rows back. BEAT, then: \n \n MICHAEL SOLO (CONT'D) \n Hello, Bobby. Nice suit you got on. \n "," SEES his family, though they don't see him yet. To \n Rosario, quiet: \n \n BOBBY GREEN \n That's them there. In the corner."," CROWD surrounds someone. Then, as the CAMERA DOLLIES \n CLOSER, people move away to reveal: BOBBY, seated in a \n chair against the wall. His leg is bandaged. AD-LIB"," ALL OF A SUDDEN: COMING THROUGH THE CROWD: BOBBY. When \n Louis sees his friend, he lights up. Bobby's furious \n inside, but strangely calm outside: \n "," gentlemen, Bobby Green, who used to \n be our manager here... \n \n MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands"," He stumbles. They pick him up, lead him to a door. \n \n INT. TENEMENT - APARTMENT - FRONT ROOM \n \n Someone pulls the hood off him. Bobby looks around. The"," Bobby walks toward the entrance. Stops. Sandra seems to \n read his mind, speaks: \n \n \n (CONTINUED) \n \n 48."," BOBBY GREEN \n (back to reality) \n Love you too, Joe. \n \n Police line up on the stage. Everyone's seated, Bobby and"," BOBBY stands inside an abandoned parking kiosk. (He's been \n watching from afar.) Jack and Mike approach their parked \n car. He tries to obscure himself partially inside the \n kiosk. They see him. \n "," The brazenness of the comment shocks Bobby. He looks up, \n begins to focus. Incredulous. Softly, as the camera ZOOMS \n INTO a CLOSE ANGLE on BOBBY: \n "," briefly, sheepishly. Marat waves to him, Bobby nods, sits. \n The SPOTLIGHT swings back to Marat who finishes up his \n introduction (\"Enjoy the show! \n \n (CONTINUED)"," The camera DOLLIES INTO a CLOSE SHOT of Bobby and we GO TO: \n \n 98. \n \n \n \n INT. JOSEPH'S HOUSE - DEN \n "," The ceremony is getting underway. As Bobby and Joseph move \n past the seated crowd toward their chairs in front: \n \n JOSEPH GRUSINSKY \n You know, I think Pop would be real"," (CONTINUED) \n \n 3. \n CONTINUED: \n \n \n A MAN waves to BOBBY. Bobby SEES: seated at a table,"," are HERE. White gloves and all. Milling about in a white \n plaster walled room. Upbeat chatter. Then: Bobby emerges \n through the DOORS in his DRESS BLUES. Upon seeing him, the"],[" Joseph ponders for a beat, then comes out with it: \n \n JOSEPH GRUSINSKY \n It's not that. It's just... You \n give up what you wanted to do to be"," POLICE CHAPLAIN \n It's Joseph. He's at St. John's \n Hospital. \n (BEAT) \n It don't look good right now. \n "," Do me a favor, don't get involved. \n (BEAT) \n We'll pick this up tomorrow. I'm \n gonna go home. \n \n Michael is quieted as Joseph packs his briefcase..."," \n 39. \n \n \n \n EXT. JOSEPH'S HOUSE - NIGHT \n \n Joseph drives up to the house, a working-class part of"," Joseph eyes his father with trepidation, then begins: \n \n JOSEPH GRUSINSKY \n Well... I'm gonna be heading up a \n new narcotics team, starting this"," \n Joseph is deeply troubled by the prospect. \n \n MICHAEL SOLO (CONT'D) \n What's it gonna be? \n \n ANGLE ON JOSEPH. \n "," 37. \n \n \n \n INT. POLICE SERVICE AREA NUMBER TWO - UPSTAIRS OFFICE \n \n Present: Joseph, Michael, Jack. Joe's seated at the head"," no way you change your mind? \n \n JOSEPH GRUSINSKY \n (shakes head; then:) \n It's the right thing. It's over \n for me--I'm out."," Joseph in front. The POLICE BAND begins to play the drums. \n Bobby straightens up, raises his hand--along with the sea \n of blue--in a SALUTE as the flag is carried to the front. \n \n"," INT. BASEMENT \n \n A wiry YOUNG POLICE REPORTER, in uniform, moves to Joseph. \n Burt stands nearby, proud: \n \n YOUNG POLICE REPORTER"," his eyes. He's pointing a GUN RIGHT AT JOSEPH. Joseph's \n eyes pop, and he lets out a quick gasp--but he has no real \n time to react. The man pulls the trigger."," BURT GRUSINSKY \n Joseph! \n \n Joseph lingers, leaves. Father and son. ALONE. Then, \n staring straight ahead as he takes a drag of his cigarette: \n "," at the cops. EVERYONE OPENS FIRE. \n \n ALL OF A SUDDEN: A COP, that TOUGH-LOOKING COP we saw at \n Joseph's house but a few moments earlier, is HIT by the"," watch him with awe and respect. They back away from him. \n He proceeds on toward the cars. \n \n HE SEES: Joseph inside one of them, still. Staring at him."," back at him. He's GOING TO HAVE TO TELL HER HIS DECISION. \n A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES \n into the AIR. FIVE SHOTS... \n "," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \n immediately pins Joseph and the other two police inside the \n vehicle. \n \n INT. VADIM'S COP CAR"," \n This gets Mike's attention. Joseph signals something to \n him, he nods, moves to the back. Joseph walks over to \n LOUIS, pokes his gut: \n "," been five months since his shooting. He is GOING HOME... \n \n EXT. JOSEPH'S BLOCK - SUNNY DAY \n \n Several POLICE CARS line the block. There are ARMED"," Bobby senses the pressure being placed upon his brother, \n and he moves Jack away from Joseph: \n \n BOBBY GREEN \n All right, c'mon. Enough... \n "],[" POLICE CHAPLAIN \n Ladies and gentlemen: we shall \n begin today's ceremony with the \n traditional invocation, moving then \n to the valedictorian address to be"," INT. ONE POLICE PLAZA - FOYER - OUTSIDE THE AUDITORIUM \n \n HUNDREDS OF POLICE OFFICERS, all dressed up to the nines,"," INT. POLICE STATION - MUSTER ROOM \n \n Many cops, mug shots and files strewn all over. A \n discussion, in media res. Many cops approach Bobby, all of"," father, Deputy Chief Burt \n Grusinsky, for many years, and I \n know he wants to say a little \n something. Chief? \n \n APPLAUSE for Burt, who waves, steps up: \n "," cop. A squat man with a bad toupee starts to speak: NYPD \n Deputy Commissioner SPIRO GIAVANNIS. \n \n SPIRO GIAVANNIS \n Everyone? Everyone! \n "," Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and \n his BADGE. Over this, we STILL HEAR: \n \n BOBBY GREEN \n \"--that I will support and defend"," INT. POLICE SERVICE AREA NUMBER TWO - MUSTER ROOM \n \n A large room, lit by fluorescents. Mostly empty of \n furniture in the center, with vending machines against the"," The walk begins, with everyone saluting Bobby and Joseph. \n \n Behind them, the Mayor, the Commissioner, all the rank and \n file of the Force. The turnout is enormous. Rosario is"," Thank you for coming. \n \n MAYOR \n Chief Grusinsky, an attack on an \n officer is an attack on society. \n Whoever did this, in a clean \n neighborhood like that--they gotta"," We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward, \n in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped"," others smile, CHEER. People touch him, shake his hand. \n Eye him with respect. AD-LIB GREETINGS. \n \n RANDOM OFFICERS \n Bobby! Hey! Lookit you--six"," He walks down the hall, with his back to us. \n \n BOBBY GREEN \n \"...I will faithfully discharge my \n duties in the rank of rider in the \n New York City Police Department."," SERGEANT PROVENZANO, forties, rings a SILVER BELL, which is \n engraved with the words, \"Homicide Bell.\" The room quiets \n down. Provenzano holds up his hands. Grinning:"," INT. POLICE ATHLETIC LEAGUE BOXING GYM - NIGHT \n \n The PAL gym, filled with off-duty cops boxing, jumping \n rope. BURT hits a large bag that swings from the ceiling."," As Michael says the following dialog, a UNIFORMED OFFICER \n comes up to Bobby. Sotto, in his ear, he speaks to him: \n \n UNIFORMED OFFICER"," \n Then he SEES, in a LARGE MIRROR: TWO UNIFORMED COPS and the \n POLICE CHAPLAIN EDWIN O'CONNOR, standing near the doorway. \n He stops his exercise. They approach him."," other faces we can recognize from around the precinct stand \n back, all smiles. AD-LIB HELLOS. An elderly NEIGHBOR \n comes forward, giddy: \n \n NEIGHBOR"," As he hammers away, he is involved in some CHEERFUL BANTER \n with fellow cops: \n \n BURT GRUSINSKY \n You gotta keep your hands up! Keep \n your hands up!"," Joseph in front. The POLICE BAND begins to play the drums. \n Bobby straightens up, raises his hand--along with the sea \n of blue--in a SALUTE as the flag is carried to the front. \n \n"," back at him. He's GOING TO HAVE TO TELL HER HIS DECISION. \n A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES \n into the AIR. FIVE SHOTS... \n "],[" his eyes. He's pointing a GUN RIGHT AT JOSEPH. Joseph's \n eyes pop, and he lets out a quick gasp--but he has no real \n time to react. The man pulls the trigger."," CUT back to his OWN SHOOTING... He cannot bear reliving \n the terror of his moment... \n \n As the COPS move in: Bobby spins around to look for his \n brother. He finds him still on the ground. Joseph seems"," Armed Guard's fire. HIT IN THE FACE, he falls down near \n Joseph and Bobby. DEAD, his visage a bloodied pulp. \n \n CLOSE SHOT ON JOSEPH. HE FREEZES. We momentarily FLASH"," A THUNDERCLAP slaps the silence in the neighborhood: THE \n GUN HAS FIRED. A FLASH OF LIGHT. \n \n A MIST OF BLOOD plumes around Joseph's head. The bullet"," at the cops. EVERYONE OPENS FIRE. \n \n ALL OF A SUDDEN: A COP, that TOUGH-LOOKING COP we saw at \n Joseph's house but a few moments earlier, is HIT by the"," WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY. \n \n VADIM NEZHINSKI, POISED TO SHOOT. \n \n Within what seems like a split second, Bobby raises his"," They did good. On his face. \n \n JACK SHAPIRO \n Shut your fuckin' mouth. \n \n INT. JOSEPH'S CAR \n "," The men all turn around. Joseph stands there, wounded but \n COMMITTED: \n \n JOSEPH GRUSINSKY (CONT'D) \n I'll be ready to come back and head"," The Guards stop him, and a messy struggle ensues. \n \n All of a sudden, Joseph's wife SANDRA emerges from the \n ward. She looks devastated. The struggle stops. All fall"," \n This gets Mike's attention. Joseph signals something to \n him, he nods, moves to the back. Joseph walks over to \n LOUIS, pokes his gut: \n "," Joseph is unresponsive but conscious. All of a sudden: \n \n NURSE \n Sir...? \n \n Joseph's hand closes around Bobby's fingers. The"," \n Chaos begins. All of the men inside the small building \n have aimed their guns into the WEEDS. But instead of \n stopping because of the shooting, Bobby progresses \n inexorably toward the structure, his shotgun poised to"," (CONTINUED) \n \n 125. \n CONTINUED: \n \n \n An ARMED GUARD, standing outside the shack, begins to fire"," The line of police and relatives now heap dirt onto the \n coffin, which is in the ground. BOBBY and JOSEPH silently \n lead the line, shoveling dirt and moving on. Rosario moves"," ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \n immediately pins Joseph and the other two police inside the \n vehicle. \n \n INT. VADIM'S COP CAR"," watch him with awe and respect. They back away from him. \n He proceeds on toward the cars. \n \n HE SEES: Joseph inside one of them, still. Staring at him."," \n Joseph is deeply troubled by the prospect. \n \n MICHAEL SOLO (CONT'D) \n What's it gonna be? \n \n ANGLE ON JOSEPH. \n "," BOBBY GREEN \n Joseph? \n \n Joseph eyes him, seems heartened by the sight of his \n brother. But he is out of it, emotionally bludgeoned: \n "," unable to move, holding onto his shotgun for dear life: \n \n BOBBY GREEN \n Joe?! \n \n Joseph looks at his brother, shakes his head. Completely"," versa. CLOSE SHOT on JOSEPH. He sobers, his brashness \n muted. Joe walks toward Vadim and his party. Vadim has \n his face to the wall. Joseph kicks his legs further apart."],[" He's dealing H, cocaine, angel \n dust... Operates out of that club \n you manage. The El Caribe. \n \n Bobby's sense of humor disappears now. \n "," CUT TO: \n \n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n A huge, bustling, vibrant nightclub, very `80's. Decadent,"," INT. EL CARIBE NIGHTCLUB - NIGHT \n \n A number of PEOPLE are HERE. It's PACKED. We are on the"," INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n A LARGE NEON SUN is lowered from the top of the theater."," MARAT BUZHAYEV \n Good evening. My name is Marat \n Buzhayev, and I'm the owner of the \n El Caribe. We have a special"," ANGLE on BOBBY as we GO TO: \n \n INT. EL CARIBE NIGHTCLUB - NIGHT \n \n A SHOW is about to go on. The place has a darker quality"," EXT. EL CARIBE NIGHTCLUB \n \n Mob scene. Bobby and Rosario and Louis and the gang enter. \n \n 22. \n \n \n "," INT. EL CARIBE - CLUB ENTRANCE \n \n Bobby gleefully shakes hands upon entering, then splits \n from the group. Rosario joins several girls as they fix \n themselves up in front of large lobby mirrors..."," Still fervid, she is silent. CLUB MUSIC up... \n \n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n Bobby enters the place, determined. He has A BAG tucked"," Louis nods, understanding. \n \n EXT. OUTSIDE THE EL CARIBE \n \n Rosario leads Bobby back toward the ESCORT CAR. He leans \n forward, grabs her arm. Sotto but intense:"," that. How `bout tomorrow night? \n \n BOBBY GREEN \n Sounds good. \n \n PAVEL LUBYARSKY \n Arright. We'll meet at El Caribe,"," INT. CAFE CAPPUCCINO - BRIGHTON AVENUE - NIGHT \n \n Across from the El Caribe. It's like a scene out of Balm"," pretty girl kisses him (the women love him). Moves with a \n swagger, a DANCE. As he sways, he re-buttons his shirt, \n claps his hands. He is the CLUB MANAGER, and HE LOVES"," The DOORS at the club's entrance have burst open. LOUD, \n like a gunshot. COPS enter. Plainclothes and uniformed \n both. JOSEPH comes in, holds up his badge, which hangs"," mock punches Louis' stomach too. To the gang, with CHEER: \n \n BOBBY GREEN (CONT'D) \n Everybody, I gotta be at El Caribe \n in an hour, so get ready!"," Bobby, and Bobby starts walking to him. \n \n INT. BACK OF THE CLUB \n \n Bobby approaches a table, reserved for Pavel and the rest \n of the gang. Bobby joins them, with his bag. \n "," and SECURITY GUYS are in the melee. Girls SCREAM. ROSARIO \n moves past all this, to the front door. LOUIS FALSETTI, \n forty, backs off from the multiple struggles all around"," As the man speaks, Bobby SCANS the room. HE SEES ROSARIO, \n standing in the crowd behind the seated audience. Her face \n is partially obscured. BOBBY CANNOT BELIEVE THE FLOOD OF"," This is the fuckin' guy right here. \n Practically owns the place. \n \n MUMBLED AGREEMENT. The men surrounding Vadim are \"yes\""," (CONTINUED) \n \n 31. \n CONTINUED: \n \n \n As Bobby gags, JOSEPH walks through the club with"],[" \n BOBBY GREEN \n That's bullshit--she's clean. You \n fuckin' keep away from her. \n \n Bobby realizes that NO ONE WANTS HIM HERE. He looks"," \n 56. \n CONTINUED: (2) \n \n \n JACK SHAPIRO \n (pointing to Bobby; \n with some ridicule)"," Bobby senses the pressure being placed upon his brother, \n and he moves Jack away from Joseph: \n \n BOBBY GREEN \n All right, c'mon. Enough... \n "," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," Then Bobby decides against it, bolts. On BURT as we GO TO: \n \n INT. MARAT'S APARTMENT - DAY \n \n BOBBY ENTERS. Packed with people. A family get-together"," Bobby is startled at this, his mouth momentarily drooping \n open. He CAN SEE: \n \n HIS FATHER, FIRING his WEAPON out the window at the OLDS."," Bobby gets up, into a crouch, amidst the gunfire. Dodging \n the bullets. \n \n An ESU Police Officer does not recognize Bobby as an ally, \n and he trains his assault rifle on Bobby. Bobby screams,"," up and down the block. They are all armed, with shotguns \n and machine guns slung over their shoulders. A GARBAGE CAN \n IS ON FIRE a few yards away. The men get out of the car. \n They pull Bobby out: \n "," Bobby knows it; so he dodges the Officer; the Officer \n begins to unload his weapon, getting CLOSER to BOBBY. \n \n AND CLOSER. \n \n AND CLOSER. Bobby is about to be killed when:"," a \"thank you.\" Spiro pats him on the shoulder, leaves. \n Bobby turns to Rosario, knowing she's somewhat out of place \n here. Children run by, having fun. Bobby eyes them, then"," Bobby shakes his head. He is wired, out of it, but he \n pulls himself together. His jaw clenches. With fire, an \n edge of defiance: \n \n BOBBY GREEN"," (CONTINUED) \n \n 97. \n CONTINUED: \n \n \n Bobby eyes his father, spent, crestfallen--but not"," distraught. He breaks down. Bobby is there to catch him \n and does. \n (CONTINUED) \n \n 102. \n CONTINUED: (2) \n "," (CONTINUED) \n \n 128. \n CONTINUED: \n \n \n All the officers back up--all of them except Bobby. Who"," Bobby emerges from the elevator, emotionally distraught. \n He SEES, in one far corner of the hall, two young Latino \n teens smoking CRACK. \n "," subdued \"hellos.\" She is not exactly, well, PROPER- \n LOOKING. And she isn't white. She picks up on this, tries \n to act as though she doesn't care. Burt turns to Bobby: \n "," He's taking it very hard. \n (BEAT) \n They had to sedate him. \n \n These words hit Bobby. His eyes close, forcing tears down \n his cheeks. \n "," Bobby nods to them. Vadim watches them walk away. Then: \n \n VADIM NEZHINSKI \n You know-- \n (moves closer; \n WHISPERED:)"," (CONTINUED) \n \n 33. \n CONTINUED: (3) \n \n \n A HUMILIATED BOBBY, who eyes him back. Bobby is then"," Bobby acknowledges that with a single nod of his head. The \n man departs. Bobby grasps the lighter tight, looks at the \n man as he virtually disappears back into the fog... \n \n INT. CHURCH - EARLY EVENING"],[" INT. EL CARIBE NIGHTCLUB - NIGHT \n \n A number of PEOPLE are HERE. It's PACKED. We are on the"," Louis nods, understanding. \n \n EXT. OUTSIDE THE EL CARIBE \n \n Rosario leads Bobby back toward the ESCORT CAR. He leans \n forward, grabs her arm. Sotto but intense:"," He's dealing H, cocaine, angel \n dust... Operates out of that club \n you manage. The El Caribe. \n \n Bobby's sense of humor disappears now. \n "," CUT TO: \n \n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n A huge, bustling, vibrant nightclub, very `80's. Decadent,"," The DOORS at the club's entrance have burst open. LOUD, \n like a gunshot. COPS enter. Plainclothes and uniformed \n both. JOSEPH comes in, holds up his badge, which hangs"," MARAT BUZHAYEV \n Good evening. My name is Marat \n Buzhayev, and I'm the owner of the \n El Caribe. We have a special"," INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n A LARGE NEON SUN is lowered from the top of the theater."," EXT. EL CARIBE NIGHTCLUB \n \n Mob scene. Bobby and Rosario and Louis and the gang enter. \n \n 22. \n \n \n "," ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \n immediately pins Joseph and the other two police inside the \n vehicle. \n \n INT. VADIM'S COP CAR"," INT. EL CARIBE - CLUB ENTRANCE \n \n Bobby gleefully shakes hands upon entering, then splits \n from the group. Rosario joins several girls as they fix \n themselves up in front of large lobby mirrors..."," Still fervid, she is silent. CLUB MUSIC up... \n \n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \n \n Bobby enters the place, determined. He has A BAG tucked"," into a crouch and move slowly toward the structure. A GROUP \n OF ESU COPS charge MARAT'S CAR, GOING FOR THE CHILDREN--who \n watch this with fear and incomprehension... \n "," No I.D. on the guys in the car. \n Probably illegals. But Mike-- \n (pulls M. closer) \n --We had that place locked up \n tight. How they knew where they"," and SECURITY GUYS are in the melee. Girls SCREAM. ROSARIO \n moves past all this, to the front door. LOUIS FALSETTI, \n forty, backs off from the multiple struggles all around"," ANGLE on BOBBY as we GO TO: \n \n INT. EL CARIBE NIGHTCLUB - NIGHT \n \n A SHOW is about to go on. The place has a darker quality"," up and down the block. They are all armed, with shotguns \n and machine guns slung over their shoulders. A GARBAGE CAN \n IS ON FIRE a few yards away. The men get out of the car. \n They pull Bobby out: \n "," \n INT. POLICE STATION - HALLWAY - NIGHT \n \n Bobby and Rosario, outside an office. Armed cops are up \n and down the hall. We HEAR conversation through the walls."," \n INT. POLICE SERVICE AREA TWO - ENTRANCE \n \n The place is hopping, with police everywhere. Almost like \n a fraternity house. BOBBY CHARGES IN, looks around."," A.D.A.'s. \n \n JACK SHAPIRO \n You got it... \n \n Joseph gets in his lead car, also an unmarked Chevy. Both"," The line of police and relatives now heap dirt onto the \n coffin, which is in the ground. BOBBY and JOSEPH silently \n lead the line, shoveling dirt and moving on. Rosario moves"],[" INT. POLICE STATION - MUSTER ROOM \n \n Many cops, mug shots and files strewn all over. A \n discussion, in media res. Many cops approach Bobby, all of"," that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \n \n EXT. POLICE SERVICE AREA NUMBER TWO \n \n It's a huge municipal structure. Bobby bolts inside."," 52. \n CONTINUED: (3) \n \n \n PAVEL LUBYARSKY \n Police are a fuckin' joke, dude--"," 37. \n \n \n \n INT. POLICE SERVICE AREA NUMBER TWO - UPSTAIRS OFFICE \n \n Present: Joseph, Michael, Jack. Joe's seated at the head"," INT. JOSEPH'S HOUSE - DINING ROOM - NIGHT \n \n The group is all together. Cops we don't know pack the \n room, standing around the table. Seated at the table:"," Bobby gets up, out of the weeds, SHOTGUN aimed: \n \n BOBBY GREEN \n You're surrounded by the police! \n Come out now, with your hands on \n your heads! \n "," ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \n immediately pins Joseph and the other two police inside the \n vehicle. \n \n INT. VADIM'S COP CAR"," They open the back, FILLED WITH FURS. They take a number \n of coats out of the BACK OF THE VAN, bring them to the \n shack... \n \n ALL THE COPS appear confused. What the hell is this?"," back at him. He's GOING TO HAVE TO TELL HER HIS DECISION. \n A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES \n into the AIR. FIVE SHOTS... \n "," The line of police and relatives now heap dirt onto the \n coffin, which is in the ground. BOBBY and JOSEPH silently \n lead the line, shoveling dirt and moving on. Rosario moves"," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," A cop got hit today. They ain't \n never gonna sit still for that. \n \n Another member of the gang speaks up: Pavel: \n \n \n \n (CONTINUED) \n "," Thank you for coming. \n \n MAYOR \n Chief Grusinsky, an attack on an \n officer is an attack on society. \n Whoever did this, in a clean \n neighborhood like that--they gotta"," BOBBY EMERGES FROM THE FIRE... HE WALKS TOWARD THE POLICE \n CARS. THE POLICE ARE ASSEMBLED around: MARAT BUZHAYEV."," A LINE of UNIFORMED POLICE OFFICERS forms. They move in \n unison. Seems like a hundred men. Bobby and Jack and some \n of his men are coming from one side, the line from another. \n "," and BOBBY. The bell stops. The SEA of BLUE, the POLICE, \n genuflect. Our characters do not. Instead, BOBBY STARES \n at JOSEPH AND BURT across the crowded room. They return"," The DOORS at the club's entrance have burst open. LOUD, \n like a gunshot. COPS enter. Plainclothes and uniformed \n both. JOSEPH comes in, holds up his badge, which hangs"," into a crouch and move slowly toward the structure. A GROUP \n OF ESU COPS charge MARAT'S CAR, GOING FOR THE CHILDREN--who \n watch this with fear and incomprehension... \n "," he's gonna have to testify, he \n should know all this. \n \n JOSEPH GRUSINSKY \n This's police business, Pop--you \n gonna make him an honorary member"," As he hammers away, he is involved in some CHEERFUL BANTER \n with fellow cops: \n \n BURT GRUSINSKY \n You gotta keep your hands up! Keep \n your hands up!"],[" FACE.) Vadim mutters, aloud but sotto, in Russian: \n \n VADIM NEZHINSKI (SUBTITLE) \n He is a dead man... \n \n OFFICERS"," VADIM slides down to the BACK ROOM in the APARTMENT BELOW. \n Panicked, he cocks his gun, searches for an escape route. \n \n INT. BEDROOM \n "," Everyone LAUGHS, Vadim most of all. He KISSES Bobby on the \n head. Bobby looks at Rosario as Vadim continues: \n \n (CONTINUED) \n "," still very much alive. His eyes are popping, and he throws \n his hands around Bobby's THROAT. VADIM CHARGES INTO: \n \n INT. BACK ROOM \n "," This is the fuckin' guy right here. \n Practically owns the place. \n \n MUMBLED AGREEMENT. The men surrounding Vadim are \"yes\""," WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY. \n \n VADIM NEZHINSKI, POISED TO SHOOT. \n \n Within what seems like a split second, Bobby raises his"," Vadim leans back in his chair. Bobby's eyes widen. Vadim \n makes a \"POP\" sound. Bobby tries to hide his shock. Vadim \n grabs Bobby's arm, squeezes it. \n "," Joseph moves close to Vadim. With arrogant brio, re: the \n Dark-Skinned White Man, in Russian, subtitled: \n \n JOSEPH GRUSINSKY (CONT'D)"," VADIM IS GONE. \n \n INT. BURT'S HOUSE - KITCHEN \n \n Burt, dressed in his v-neck undershirt, is reaching into a"," This's too dangerous. We'll all \n wind up killing each other-- \n \n BOBBY GREEN \n Vadim is in here with us. Radio \n our guys, tell `em to get into the"," back on Vadim, walks through the fires around him. As \n Vadim calls after him (\"BOBBY! \n (CONTINUED) \n \n 129. \n CONTINUED:"," Bobby nods to them. Vadim watches them walk away. Then: \n \n VADIM NEZHINSKI \n You know-- \n (moves closer; \n WHISPERED:)"," VADIM NEZHINSKI \n You got both matches and a lighter. \n \n Bobby realizes instantly that Vadim is right. Bobby \n shrugs, feigning innocence. He braces himself and decides"," versa. CLOSE SHOT on JOSEPH. He sobers, his brashness \n muted. Joe walks toward Vadim and his party. Vadim has \n his face to the wall. Joseph kicks his legs further apart."," Bobby inches ever closer to the rusted LETTER OPENER that \n the Brown-Haired Man had used to open a package of cocaine. \n Vadim puts down the lighter. And it occurs to him: \n "," Tomorrow. \n \n We CUT TO the over-the-shoulder of the man, and leaning out \n of the DARKNESS and into the LIGHT: ELI MIRICHENKO, Marat's"," As Joseph looks back at Vadim's vehicle, behind him: \n \n JOSEPH GRUSINSKY \n He makes a deal today, maybe my \n brother don't gotta take the"," AD-LIB amusement from the \"yes\" men. Vadim moves closer: \n \n VADIM NEZHINSKI (CONT'D) \n Listen uh, I come to you, I tell"," got a lot more comin' in--a LOT \n more. In a way nobody could ever \n trace. \n \n Vadim steps away from the narcotics and towards Bobby: \n "," surrounded by his gang: VADIM NEZHINSKI. Thirty-five, acne- \n scarred, huge black pompadour, big gut. One of his men,"],[" all undercover. \n \n Bobby laughs happily, knowing this is bullshit. Hazel \n shakes her head, joins the gals. Louis starts emptying his \n pockets. Out comes a pharmacy. DRUGS SPILL all over a"," INT. BASEMENT \n \n A wiry YOUNG POLICE REPORTER, in uniform, moves to Joseph. \n Burt stands nearby, proud: \n \n YOUNG POLICE REPORTER"," The DOORS at the club's entrance have burst open. LOUD, \n like a gunshot. COPS enter. Plainclothes and uniformed \n both. JOSEPH comes in, holds up his badge, which hangs"," The line of police and relatives now heap dirt onto the \n coffin, which is in the ground. BOBBY and JOSEPH silently \n lead the line, shoveling dirt and moving on. Rosario moves"," 52. \n CONTINUED: (3) \n \n \n PAVEL LUBYARSKY \n Police are a fuckin' joke, dude--"," different color from the other, and he's had reconstructive \n surgery on his jaw. There is, of course, a scar, and he's \n lost a lot of weight. \n \n Behind him, Burt waves everyone closer. Jack and Mike and"," he's gonna have to testify, he \n should know all this. \n \n JOSEPH GRUSINSKY \n This's police business, Pop--you \n gonna make him an honorary member"," INT. JOSEPH'S HOUSE - DINING ROOM - NIGHT \n \n The group is all together. Cops we don't know pack the \n room, standing around the table. Seated at the table:"," You get burnt and we gotta put you \n in protection, it's still better \n than winding up dead. An informant \n dies, they talk about you for a \n day. A week later, ain't no one"," Indeed I did, my friend! \n (quieter, to Bobby) \n See, I woulda been here sooner, \n `cept I hadda go across town, lose \n all the cops-- \n "," Several WHITE-GLOVED COPS move to help, and then, trying to \n recompose himself, he squeezes his brother's forearm for \n support. Tries to straighten: \n \n JOSEPH GRUSINSKY"," Bobby gets up, into a crouch, amidst the gunfire. Dodging \n the bullets. \n \n An ESU Police Officer does not recognize Bobby as an ally, \n and he trains his assault rifle on Bobby. Bobby screams,"," back at him. He's GOING TO HAVE TO TELL HER HIS DECISION. \n A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES \n into the AIR. FIVE SHOTS... \n "," I'm gonna help `em set up \n Nezhinski. \n \n Rosario is shocked. Almost inaudible: \n \n ROSARIO DIAZ \n What...? \n "," We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward, \n in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped"," and SECURITY GUYS are in the melee. Girls SCREAM. ROSARIO \n moves past all this, to the front door. LOUIS FALSETTI, \n forty, backs off from the multiple struggles all around"," is here, as are Jack and Michael and a whole gang of cops. \n Bustling by a set of lockers. Very businesslike. Joseph \n cleans his piece. Michael leans over to him: \n \n MICHAEL SOLO"," cover. He opens his door to slink out. \n \n VADIM HITS THE FLOOR. \n \n The other two officers are immediately riddled with \n GUNFIRE. \n "," of a long table, which is covered with coffee, deli \n sandwich remnants, and police reports, etc. They are \n working; we greet them in media res. \n \n JOSEPH GRUSINSKY"," that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \n \n EXT. POLICE SERVICE AREA NUMBER TWO \n \n It's a huge municipal structure. Bobby bolts inside."],[" Bobby is startled at this, his mouth momentarily drooping \n open. He CAN SEE: \n \n HIS FATHER, FIRING his WEAPON out the window at the OLDS."," (CONTINUED) \n \n 97. \n CONTINUED: \n \n \n Bobby eyes his father, spent, crestfallen--but not"," \n BOBBY GREEN \n You know my father is dead because \n of you? \n \n Louis begins to sob quietly, shivering. He brings his hand \n to his mouth. Bobby takes a threatening step forward:"," \n Burt is dead. \n \n Other cops surround them. Bobby looks up at all of them, \n they at him. Broken, he pushes the others away. As water \n drips off his face: \n "," Bobby touches his father's arm, and Burt spins around: \n \n BURT GRUSINSKY \n What do you want? You stayed out \n of it--you got what you wanted."," WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \n LYING ON THE STREET. Bobby bends down, turning his father \n over. His father's blood is all over his hands now."," NEXT TO JOSEPH: BURT GRUSINSKY, sixty. Bobby's father, we \n will soon learn. Tough as nails. Unsentimental, ex- \n military, rough-edged, vital. In this world, he is a king."," He's taking it very hard. \n (BEAT) \n They had to sedate him. \n \n These words hit Bobby. His eyes close, forcing tears down \n his cheeks. \n "," up and down the block. They are all armed, with shotguns \n and machine guns slung over their shoulders. A GARBAGE CAN \n IS ON FIRE a few yards away. The men get out of the car. \n They pull Bobby out: \n "," No! Now is nothing! Look at \n what's happened to your family, \n Bobby--your father, he's dead--look \n at your brother! It could all \n happen to you! \n "," Bobby knows it; so he dodges the Officer; the Officer \n begins to unload his weapon, getting CLOSER to BOBBY. \n \n AND CLOSER. \n \n AND CLOSER. Bobby is about to be killed when:"," BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT. \n He loses control of the automobile... Bobby freezes, IN"," \n Bobby nods. \n \n ROSARIO DIAZ (CONT'D) \n Me and my mother, we said a prayer \n for him. \n \n Something seems to dawn on Bobby: \n "," \n 56. \n CONTINUED: (2) \n \n \n JACK SHAPIRO \n (pointing to Bobby; \n with some ridicule)"," Bobby contemplates this; we SEE that he tacitly accepts his \n father's words. Then: \n \n BOBBY GREEN \n Well, why's he goin' back to work"," son when Bobby is not looking, lowering it to no avail. \n \n INT. BASEMENT \n \n The music is off now. Bobby comes down, Burt follows. \n Joseph is getting something whispered in his ear by another"," INT. PAN AMERICAN MOTOR INN - SUITE - LIVING ROOM - DAY \n \n Bobby is still in his funeral suit, standing near the sofa. \n Smoking a cigarette, holding a drink in his hand. An ARMED"," (CONTINUED) \n \n 128. \n CONTINUED: \n \n \n All the officers back up--all of them except Bobby. Who"," Bobby is standing, smoking a cigarette, holding back tears. \n Rosario is seated on a nearby bench--wet, shivering, \n stunned. Rosario looks to Bobby: \n \n ROSARIO DIAZ"," Rosario knows something is wrong, approaches him. \n \n ROSARIO DIAZ \n Bobby? \n \n BOBBY GREEN \n My brother was shot...they're"],[" (CONTINUED) \n \n 97. \n CONTINUED: \n \n \n Bobby eyes his father, spent, crestfallen--but not"," \n BOBBY GREEN \n You know my father is dead because \n of you? \n \n Louis begins to sob quietly, shivering. He brings his hand \n to his mouth. Bobby takes a threatening step forward:"," Bobby is startled at this, his mouth momentarily drooping \n open. He CAN SEE: \n \n HIS FATHER, FIRING his WEAPON out the window at the OLDS."," \n Burt is dead. \n \n Other cops surround them. Bobby looks up at all of them, \n they at him. Broken, he pushes the others away. As water \n drips off his face: \n "," WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \n LYING ON THE STREET. Bobby bends down, turning his father \n over. His father's blood is all over his hands now."," He's taking it very hard. \n (BEAT) \n They had to sedate him. \n \n These words hit Bobby. His eyes close, forcing tears down \n his cheeks. \n "," \n Bobby nods. \n \n ROSARIO DIAZ (CONT'D) \n Me and my mother, we said a prayer \n for him. \n \n Something seems to dawn on Bobby: \n "," Bobby contemplates this; we SEE that he tacitly accepts his \n father's words. Then: \n \n BOBBY GREEN \n Well, why's he goin' back to work"," The police see the unforgiving expression on Bobby's face \n and the reality of the old man in front of them. Bobby \n turns to the others, particularly JACK. He looks at him, \n dark-eyed. Then he turns away and starts walking, making"," Bobby touches his father's arm, and Burt spins around: \n \n BURT GRUSINSKY \n What do you want? You stayed out \n of it--you got what you wanted."," Bobby acknowledges that with a single nod of his head. The \n man departs. Bobby grasps the lighter tight, looks at the \n man as he virtually disappears back into the fog... \n \n INT. CHURCH - EARLY EVENING"," Bobby again eyes Joseph, who stands over the grave wiping \n his eyes with a handkerchief. He WALKS OVER to him, puts \n his arm around him. Into his ear: \n \n BOBBY GREEN"," No! Now is nothing! Look at \n what's happened to your family, \n Bobby--your father, he's dead--look \n at your brother! It could all \n happen to you! \n "," CUT back to his OWN SHOOTING... He cannot bear reliving \n the terror of his moment... \n \n As the COPS move in: Bobby spins around to look for his \n brother. He finds him still on the ground. Joseph seems"," Bobby knows it; so he dodges the Officer; the Officer \n begins to unload his weapon, getting CLOSER to BOBBY. \n \n AND CLOSER. \n \n AND CLOSER. Bobby is about to be killed when:"," It is as though all of the emotions in our story find their \n outlet here, in this moment. Bobby lets all the remaining \n feeling drain from him until he has nothing left. \n \n After this outburst, he is exhausted. He calms, breathing"," (CONTINUED) \n \n 128. \n CONTINUED: \n \n \n All the officers back up--all of them except Bobby. Who"," it up. I'll be ready and, and \n we'll get `em. \n (BEAT) \n After the funeral. \n \n Joseph turns and reenters the room with the coffin. Bobby"," son when Bobby is not looking, lowering it to no avail. \n \n INT. BASEMENT \n \n The music is off now. Bobby comes down, Burt follows. \n Joseph is getting something whispered in his ear by another"," Then Bobby decides against it, bolts. On BURT as we GO TO: \n \n INT. MARAT'S APARTMENT - DAY \n \n BOBBY ENTERS. Packed with people. A family get-together"],[" FACE.) Vadim mutters, aloud but sotto, in Russian: \n \n VADIM NEZHINSKI (SUBTITLE) \n He is a dead man... \n \n OFFICERS"," VADIM slides down to the BACK ROOM in the APARTMENT BELOW. \n Panicked, he cocks his gun, searches for an escape route. \n \n INT. BEDROOM \n "," still very much alive. His eyes are popping, and he throws \n his hands around Bobby's THROAT. VADIM CHARGES INTO: \n \n INT. BACK ROOM \n "," WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY. \n \n VADIM NEZHINSKI, POISED TO SHOOT. \n \n Within what seems like a split second, Bobby raises his"," cover. He opens his door to slink out. \n \n VADIM HITS THE FLOOR. \n \n The other two officers are immediately riddled with \n GUNFIRE. \n "," VADIM IS GONE. \n \n INT. BURT'S HOUSE - KITCHEN \n \n Burt, dressed in his v-neck undershirt, is reaching into a"," back on Vadim, walks through the fires around him. As \n Vadim calls after him (\"BOBBY! \n (CONTINUED) \n \n 129. \n CONTINUED:"," Everyone LAUGHS, Vadim most of all. He KISSES Bobby on the \n head. Bobby looks at Rosario as Vadim continues: \n \n (CONTINUED) \n "," Moving with tremendous speed, he begins to light the FURS \n on FIRE... SMOKE... Vadim BEGINS TO COUGH, taking a \n suitcase of money with him. He backs out of the STRUCTURE. \n "," for a moment in the back of the vehicle; he watches through \n the window as his father walks to his car. Bobby sinks to \n the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in \n HANDCUFFS..."," Two of the men PULL VADIM toward them. The third man in a \n ski mask is hit by Jack's fire, but has just enough \n adrenaline to get into the SECOND CAR. \n \n IT SPEEDS AWAY."," Vadim violently pulls out Bobby's pockets. Out falls: a \n WALLET, SOME CHANGE, KEYS, A CIGARETTE LIGHTER, MATCHES. \n He sifts through the items, lighting the lighter. It"," stands, shotgun in hand, waiting for VADIM NEZHINSKI to \n emerge from the now-burning brush. \n \n TWO OTHER MEN come out of the fire, coughing. They are"," ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \n immediately pins Joseph and the other two police inside the \n vehicle. \n \n INT. VADIM'S COP CAR"," versa. CLOSE SHOT on JOSEPH. He sobers, his brashness \n muted. Joe walks toward Vadim and his party. Vadim has \n his face to the wall. Joseph kicks his legs further apart."," \n Burt is dead. \n \n Other cops surround them. Bobby looks up at all of them, \n they at him. Broken, he pushes the others away. As water \n drips off his face: \n "," \n VADIM NEZHINSKI \n Don't...don't let me die in here... \n \n Bobby stands over him for a BEAT. Then Bobby turns his"," VADIM NEZHINSKI \n You got both matches and a lighter. \n \n Bobby realizes instantly that Vadim is right. Bobby \n shrugs, feigning innocence. He braces himself and decides"," VADIM SCURRIES INTO THE WEEDS... THE SMALL STRUCTURE \n REALLY STARTS TO BURN. It is an odd flame, BLUE and \n SILENT. \n "," Vadim leans back in his chair. Bobby's eyes widen. Vadim \n makes a \"POP\" sound. Bobby tries to hide his shock. Vadim \n grabs Bobby's arm, squeezes it. \n "],[" As the man speaks, Bobby SCANS the room. HE SEES ROSARIO, \n standing in the crowd behind the seated audience. Her face \n is partially obscured. BOBBY CANNOT BELIEVE THE FLOOD OF"," LOUIS FALSETTI. \n \n At that moment, BOBBY SEES his old friend, and the two make \n EYE CONTACT. Bobby is greatly moved by his appearance, and"," \n 56. \n CONTINUED: (2) \n \n \n JACK SHAPIRO \n (pointing to Bobby; \n with some ridicule)"," behind his father. Bobby sees Jack and Michael, now seated \n several rows back. BEAT, then: \n \n MICHAEL SOLO (CONT'D) \n Hello, Bobby. Nice suit you got on. \n "," BOBBY DOESN'T SEE HIM YET. BUT WE CAN. THE CAMERA ZOOMS \n INTO BOBBY, WITH THE FIGURE BEHIND HIM. BOBBY SEES THE"," Bobby is startled at this, his mouth momentarily drooping \n open. He CAN SEE: \n \n HIS FATHER, FIRING his WEAPON out the window at the OLDS."," BOBBY GREEN (CONT'D) \n They're getting started--we should \n probably go in now. \n \n INT. AUDITORIUM \n "," The ceremony is getting underway. As Bobby and Joseph move \n past the seated crowd toward their chairs in front: \n \n JOSEPH GRUSINSKY \n You know, I think Pop would be real"," The two brothers make eye contact. The crowd quiets a bit. \n Bobby smiles at the sight of his brother. Joseph gets \n emotional, too: \n \n JOSEPH GRUSINSKY (CONT'D)"," SEES his family, though they don't see him yet. To \n Rosario, quiet: \n \n BOBBY GREEN \n That's them there. In the corner."," looks back into the grave. \n \n BOBBY GREEN (CONT'D) \n This is where I belong... \n \n ANGLE BACK on Bobby, as he spots ROSARIO, who stares right"," ALL OF A SUDDEN: COMING THROUGH THE CROWD: BOBBY. When \n Louis sees his friend, he lights up. Bobby's furious \n inside, but strangely calm outside: \n "," behind them. Bobby SEES: BEYOND THE CEMETARY GROUNDS: \n TEENAGERS have climbed the trees. And they're LAUGHING at \n the spectacle. Michael stands next to Bobby. \n "," BOBBY stands inside an abandoned parking kiosk. (He's been \n watching from afar.) Jack and Mike approach their parked \n car. He tries to obscure himself partially inside the \n kiosk. They see him. \n "," introduce me this way. If you \n don't mind. \n \n The CHAPLAIN looks at the paper, nods. He then walks to \n the podium. Bobby sits as the Chaplain begins: \n "," gentlemen, Bobby Green, who used to \n be our manager here... \n \n MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands"," Bobby nods subtly, mouths a \"THANK YOU.\" The Guards step \n aside. He walks to the doors. Pauses. ENTERS: \n \n INT. WARD \n "," AND THEN, CLOSE SHOT ON BOBBY: THREE QUICK CUTS, CLOSER AND \n CLOSER...SILENCE... He sees, through the rain: a LONG"," are HERE. White gloves and all. Milling about in a white \n plaster walled room. Upbeat chatter. Then: Bobby emerges \n through the DOORS in his DRESS BLUES. Upon seeing him, the"," Bobby acknowledges that with a single nod of his head. The \n man departs. Bobby grasps the lighter tight, looks at the \n man as he virtually disappears back into the fog... \n \n INT. CHURCH - EARLY EVENING"]],"string":"[\n [\n \" CUT TO: \\n \\n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n A huge, bustling, vibrant nightclub, very `80's. Decadent,\",\n \" INT. EL CARIBE NIGHTCLUB - NIGHT \\n \\n A number of PEOPLE are HERE. It's PACKED. We are on the\",\n \" INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n A LARGE NEON SUN is lowered from the top of the theater.\",\n \" ANGLE on BOBBY as we GO TO: \\n \\n INT. EL CARIBE NIGHTCLUB - NIGHT \\n \\n A SHOW is about to go on. The place has a darker quality\",\n \" He's dealing H, cocaine, angel \\n dust... Operates out of that club \\n you manage. The El Caribe. \\n \\n Bobby's sense of humor disappears now. \\n \",\n \" EXT. EL CARIBE NIGHTCLUB \\n \\n Mob scene. Bobby and Rosario and Louis and the gang enter. \\n \\n 22. \\n \\n \\n \",\n \" INT. EL CARIBE - CLUB ENTRANCE \\n \\n Bobby gleefully shakes hands upon entering, then splits \\n from the group. Rosario joins several girls as they fix \\n themselves up in front of large lobby mirrors...\",\n \" Still fervid, she is silent. CLUB MUSIC up... \\n \\n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n Bobby enters the place, determined. He has A BAG tucked\",\n \" MARAT BUZHAYEV \\n Good evening. My name is Marat \\n Buzhayev, and I'm the owner of the \\n El Caribe. We have a special\",\n \" that. How `bout tomorrow night? \\n \\n BOBBY GREEN \\n Sounds good. \\n \\n PAVEL LUBYARSKY \\n Arright. We'll meet at El Caribe,\",\n \" Louis nods, understanding. \\n \\n EXT. OUTSIDE THE EL CARIBE \\n \\n Rosario leads Bobby back toward the ESCORT CAR. He leans \\n forward, grabs her arm. Sotto but intense:\",\n \" INT. CAFE CAPPUCCINO - BRIGHTON AVENUE - NIGHT \\n \\n Across from the El Caribe. It's like a scene out of Balm\",\n \" mock punches Louis' stomach too. To the gang, with CHEER: \\n \\n BOBBY GREEN (CONT'D) \\n Everybody, I gotta be at El Caribe \\n in an hour, so get ready!\",\n \" An ornate, gaudy place. The walls are covered by mirrors \\n with that cheesy brown marble pattern print all over them. \\n Plush couches, clutter. Bobby walks in. \\n \",\n \" Bobby, and Bobby starts walking to him. \\n \\n INT. BACK OF THE CLUB \\n \\n Bobby approaches a table, reserved for Pavel and the rest \\n of the gang. Bobby joins them, with his bag. \\n \",\n \" in Gilead here--raucous clubgoers are eating burgers and \\n drinking coffee after their nights on the town. Bobby and \\n Rosario and Louis sit at one of the tables. Bobby kisses\",\n \" The DOORS at the club's entrance have burst open. LOUD, \\n like a gunshot. COPS enter. Plainclothes and uniformed \\n both. JOSEPH comes in, holds up his badge, which hangs\",\n \" SINGING, having a GREAT TIME. The decor is late `70's, \\n though not exaggeratedly so. DRUGS are EVERYWHERE. We \\n MOVE PAST THIS TO: \\n \",\n \" (CONTINUED) \\n \\n 31. \\n CONTINUED: \\n \\n \\n As Bobby gags, JOSEPH walks through the club with\",\n \" up and down the block. They are all armed, with shotguns \\n and machine guns slung over their shoulders. A GARBAGE CAN \\n IS ON FIRE a few yards away. The men get out of the car. \\n They pull Bobby out: \\n \"\n ],\n [\n \" \\n BOBBY GREEN \\n You know my father is dead because \\n of you? \\n \\n Louis begins to sob quietly, shivering. He brings his hand \\n to his mouth. Bobby takes a threatening step forward:\",\n \" Bobby contemplates this; we SEE that he tacitly accepts his \\n father's words. Then: \\n \\n BOBBY GREEN \\n Well, why's he goin' back to work\",\n \" Bobby is startled at this, his mouth momentarily drooping \\n open. He CAN SEE: \\n \\n HIS FATHER, FIRING his WEAPON out the window at the OLDS.\",\n \" BURT GRUSINSKY \\n I'm working. \\n \\n BOBBY GREEN \\n It's important--I got information. \\n \\n Bobby pulls his father aside, looks around to be sure the\",\n \" gentlemen, Bobby Green, who used to \\n be our manager here... \\n \\n MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands\",\n \" \\n BOBBY GREEN \\n That's bullshit--she's clean. You \\n fuckin' keep away from her. \\n \\n Bobby realizes that NO ONE WANTS HIM HERE. He looks\",\n \" Bobby shakes his head. He is wired, out of it, but he \\n pulls himself together. His jaw clenches. With fire, an \\n edge of defiance: \\n \\n BOBBY GREEN\",\n \" \\n ROSARIO DIAZ \\n BOBBY-- \\n \\n BOBBY GREEN \\n Don't argue. \\n \\n Bobby moves to Louis: \\n \",\n \" SMASH CUT TO: \\n \\n CLOSE ON: BOBBY GREEN, thirty. He is passionate and vital \\n and handsome, a real physical presence. His CLOTHES are\",\n \" The toddler runs to Bobby. Bobby lifts the youngster onto \\n his knee; as he bounces the child on his knee, he turns \\n back to Marat: \\n \\n BOBBY GREEN\",\n \" (CONTINUED) \\n \\n 97. \\n CONTINUED: \\n \\n \\n Bobby eyes his father, spent, crestfallen--but not\",\n \" BOBBY GREEN \\n Joseph? \\n \\n Joseph eyes him, seems heartened by the sight of his \\n brother. But he is out of it, emotionally bludgeoned: \\n \",\n \" BOBBY GREEN \\n Course... \\n \\n Joseph grows more emotional, adjusts his sunglasses. Leans \\n to Bobby, clears his throat. Sotto: \\n \",\n \" 36. \\n CONTINUED: \\n \\n \\n BOBBY GREEN \\n You don't mind my saying, I think \\n that's probably the right thing to\",\n \" Bobby touches his father's arm, and Burt spins around: \\n \\n BURT GRUSINSKY \\n What do you want? You stayed out \\n of it--you got what you wanted.\",\n \" BOBBY GREEN \\n I know. But I'm workin' on it, I \\n am. \\n (looks around; then) \\n Soon as the trial's over and I get\",\n \" NEXT TO JOSEPH: BURT GRUSINSKY, sixty. Bobby's father, we \\n will soon learn. Tough as nails. Unsentimental, ex- \\n military, rough-edged, vital. In this world, he is a king.\",\n \" at his son, who finally speaks: \\n \\n BOBBY GREEN \\n I'll be all right, Pop. \\n \\n BURT GRUSINSKY \\n (shakes head; then:)\",\n \" \\n BURT emerges from the hallway. He sees Bobby, at first \\n comforted by the sight of his son. But quickly he darkens, \\n and starts to walk right past him. Sotto: \\n \\n BOBBY GREEN\",\n \" 112. \\n CONTINUED: (3) \\n BOBBY GREEN (CONT'D) \\n That's all in the past. \\n (kisses him)\"\n ],\n [\n \" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \\n \\n EXT. POLICE SERVICE AREA NUMBER TWO \\n \\n It's a huge municipal structure. Bobby bolts inside.\",\n \" trepidatious; he and the man eye each other for a moment, \\n then Bobby holds out the beeper. The man takes it. \\n \\n MAN #1 takes out A KEL DEVICE LISTENING UNIT and its\",\n \" BOBBY stands inside an abandoned parking kiosk. (He's been \\n watching from afar.) Jack and Mike approach their parked \\n car. He tries to obscure himself partially inside the \\n kiosk. They see him. \\n \",\n \" As Michael says the following dialog, a UNIFORMED OFFICER \\n comes up to Bobby. Sotto, in his ear, he speaks to him: \\n \\n UNIFORMED OFFICER\",\n \" Bobby looks at Michael, points to his earpiece. Michael \\n nods, and as we HEAR Mike's words into his radio (\\\"Our \\n guys, outta the brush!\\\") Bobby starts to back up, toward \\n the clearing... \\n \",\n \" the door. He's witnessed the whole thing... We HEAR: \\n \\n COP'S VOICE (O.S.) \\n We got your boy Eli completely \\n covered, Bobby. \\n \",\n \" son when Bobby is not looking, lowering it to no avail. \\n \\n INT. BASEMENT \\n \\n The music is off now. Bobby comes down, Burt follows. \\n Joseph is getting something whispered in his ear by another\",\n \" Bobby gets up, into a crouch, amidst the gunfire. Dodging \\n the bullets. \\n \\n An ESU Police Officer does not recognize Bobby as an ally, \\n and he trains his assault rifle on Bobby. Bobby screams,\",\n \" \\n INT. POLICE STATION - HALLWAY - NIGHT \\n \\n Bobby and Rosario, outside an office. Armed cops are up \\n and down the hall. We HEAR conversation through the walls.\",\n \" INT. POLICE STATION - MUSTER ROOM \\n \\n Many cops, mug shots and files strewn all over. A \\n discussion, in media res. Many cops approach Bobby, all of\",\n \" head clean off, spattering Bobby's face with brain \\n particulate. Bobby is forced to get out from under... We \\n HEAR POLICE SIRENS. RADIOS ON-- \\n \\n RADIOS\",\n \" Bobby turns to him, winks. The PHONE IS RINGING. A LOT. \\n ROSARIO gets up, walks over to the phone near the sofa and \\n picks up with a soft \\\"hello\\\". Meanwhile, Bobby puts a\",\n \" Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and \\n his BADGE. Over this, we STILL HEAR: \\n \\n BOBBY GREEN \\n \\\"--that I will support and defend\",\n \" all undercover. \\n \\n Bobby laughs happily, knowing this is bullshit. Hazel \\n shakes her head, joins the gals. Louis starts emptying his \\n pockets. Out comes a pharmacy. DRUGS SPILL all over a\",\n \" Bobby knows it; so he dodges the Officer; the Officer \\n begins to unload his weapon, getting CLOSER to BOBBY. \\n \\n AND CLOSER. \\n \\n AND CLOSER. Bobby is about to be killed when:\",\n \" Meanwhile: MICHAEL takes Bobby's arm, walks him into: \\n \\n INT. SMALL PHONE ROOM \\n \\n A small room with payphones. There's a window through\",\n \" He stumbles. They pick him up, lead him to a door. \\n \\n INT. TENEMENT - APARTMENT - FRONT ROOM \\n \\n Someone pulls the hood off him. Bobby looks around. The\",\n \" CONTINUED: \\n \\n Bobby is somewhat edgy, with Pavel behind him. The car \\n pulls away from the curb. Then: Pavel throws a small towel\",\n \" (CONTINUED) \\n \\n 128. \\n CONTINUED: \\n \\n \\n All the officers back up--all of them except Bobby. Who\",\n \" the LIGHTER, the LISTENING DEVICE. He fires it--it works. \\n Looks at his watch. In rummaging through his pockets for a \\n smoke, he finds a little slip of paper with a phone number\"\n ],\n [\n \" Bobby is startled at this, his mouth momentarily drooping \\n open. He CAN SEE: \\n \\n HIS FATHER, FIRING his WEAPON out the window at the OLDS.\",\n \" (CONTINUED) \\n \\n 97. \\n CONTINUED: \\n \\n \\n Bobby eyes his father, spent, crestfallen--but not\",\n \" WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \\n LYING ON THE STREET. Bobby bends down, turning his father \\n over. His father's blood is all over his hands now.\",\n \" \\n BOBBY GREEN \\n You know my father is dead because \\n of you? \\n \\n Louis begins to sob quietly, shivering. He brings his hand \\n to his mouth. Bobby takes a threatening step forward:\",\n \" up and down the block. They are all armed, with shotguns \\n and machine guns slung over their shoulders. A GARBAGE CAN \\n IS ON FIRE a few yards away. The men get out of the car. \\n They pull Bobby out: \\n \",\n \" Bobby knows it; so he dodges the Officer; the Officer \\n begins to unload his weapon, getting CLOSER to BOBBY. \\n \\n AND CLOSER. \\n \\n AND CLOSER. Bobby is about to be killed when:\",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" \\n Burt is dead. \\n \\n Other cops surround them. Bobby looks up at all of them, \\n they at him. Broken, he pushes the others away. As water \\n drips off his face: \\n \",\n \" CUT back to his OWN SHOOTING... He cannot bear reliving \\n the terror of his moment... \\n \\n As the COPS move in: Bobby spins around to look for his \\n brother. He finds him still on the ground. Joseph seems\",\n \" \\n Bobby tries to charge past them. The Guards all restrain \\n him delicately (\\\"C'mon, calm down\\\"), but Bobby is in no \\n mood and instead starts a melee. He is a tour de force of\",\n \" BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT. \\n He loses control of the automobile... Bobby freezes, IN\",\n \" \\n Chaos begins. All of the men inside the small building \\n have aimed their guns into the WEEDS. But instead of \\n stopping because of the shooting, Bobby progresses \\n inexorably toward the structure, his shotgun poised to\",\n \" Bobby gets up, into a crouch, amidst the gunfire. Dodging \\n the bullets. \\n \\n An ESU Police Officer does not recognize Bobby as an ally, \\n and he trains his assault rifle on Bobby. Bobby screams,\",\n \" Bobby tears up, his voice breaking too; he shakes his head: \\n \\n BOBBY GREEN \\n No.... I did it to hurt him... I \\n disappointed him... \\n \",\n \" Rosario knows something is wrong, approaches him. \\n \\n ROSARIO DIAZ \\n Bobby? \\n \\n BOBBY GREEN \\n My brother was shot...they're\",\n \" WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY. \\n \\n VADIM NEZHINSKI, POISED TO SHOOT. \\n \\n Within what seems like a split second, Bobby raises his\",\n \" He's taking it very hard. \\n (BEAT) \\n They had to sedate him. \\n \\n These words hit Bobby. His eyes close, forcing tears down \\n his cheeks. \\n \",\n \" Bobby touches his father's arm, and Burt spins around: \\n \\n BURT GRUSINSKY \\n What do you want? You stayed out \\n of it--you got what you wanted.\",\n \" \\n Bobby nods. \\n \\n ROSARIO DIAZ (CONT'D) \\n Me and my mother, we said a prayer \\n for him. \\n \\n Something seems to dawn on Bobby: \\n \",\n \" BOBBY stands inside an abandoned parking kiosk. (He's been \\n watching from afar.) Jack and Mike approach their parked \\n car. He tries to obscure himself partially inside the \\n kiosk. They see him. \\n \"\n ],\n [\n \" Bobby gets up, into a crouch, amidst the gunfire. Dodging \\n the bullets. \\n \\n An ESU Police Officer does not recognize Bobby as an ally, \\n and he trains his assault rifle on Bobby. Bobby screams,\",\n \" (CONTINUED) \\n \\n 128. \\n CONTINUED: \\n \\n \\n All the officers back up--all of them except Bobby. Who\",\n \" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \\n \\n EXT. POLICE SERVICE AREA NUMBER TWO \\n \\n It's a huge municipal structure. Bobby bolts inside.\",\n \" Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and \\n his BADGE. Over this, we STILL HEAR: \\n \\n BOBBY GREEN \\n \\\"--that I will support and defend\",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" \\n BOBBY GREEN (CONT'D) \\n You know I'm on the Force now? And \\n I could do anything to you? \\n \\n Louis' eyes widen. He holds out his hands defensively.\",\n \" Troubled, she nonetheless puts a handful of pills in his \\n palm. Bobby quickly SWALLOWS them. A UNIFORMED COP \\n approaches Bobby: \\n \\n UNIFORMED COP\",\n \" INT. POLICE STATION - MUSTER ROOM \\n \\n Many cops, mug shots and files strewn all over. A \\n discussion, in media res. Many cops approach Bobby, all of\",\n \" We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward, \\n in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped\",\n \" Rosario, listen--I had to do it. \\n \\n Bobby pulls her to him, holds her tight. In her ear: \\n \\n BOBBY GREEN (CONT'D) \\n I had to do it...\",\n \" Bobby--you'll always be welcome \\n back here. \\n \\n Bobby is moved. The two embrace. \\n \\n INT. VADIM'S COP CAR \\n \",\n \" She turns. He starts to take off his tie. \\n \\n BOBBY GREEN (CONT'D) \\n I'm thinking of...maybe joining the \\n Force. \\n \",\n \" and BOBBY. The bell stops. The SEA of BLUE, the POLICE, \\n genuflect. Our characters do not. Instead, BOBBY STARES \\n at JOSEPH AND BURT across the crowded room. They return\",\n \" Bobby knows it; so he dodges the Officer; the Officer \\n begins to unload his weapon, getting CLOSER to BOBBY. \\n \\n AND CLOSER. \\n \\n AND CLOSER. Bobby is about to be killed when:\",\n \" BOBBY GREEN \\n (back to reality) \\n Love you too, Joe. \\n \\n Police line up on the stage. Everyone's seated, Bobby and\",\n \" subdued \\\"hellos.\\\" She is not exactly, well, PROPER- \\n LOOKING. And she isn't white. She picks up on this, tries \\n to act as though she doesn't care. Burt turns to Bobby: \\n \",\n \" him, then touches Bobby's cheek, a truly loving gesture: \\n \\n BURT GRUSINSKY \\n (almost to himself) \\n Okay... \\n (to an officer)\",\n \" Bobby walks toward the entrance. Stops. Sandra seems to \\n read his mind, speaks: \\n \\n \\n (CONTINUED) \\n \\n 48.\",\n \" A moment, then she turns to walk toward the bedroom. \\n \\n BOBBY GREEN \\n Hey--where you goin'-- \\n \\n Bobby grabs her. \\n \\n ROSARIO DIAZ\",\n \" \\n INT. POLICE STATION - HALLWAY - NIGHT \\n \\n Bobby and Rosario, outside an office. Armed cops are up \\n and down the hall. We HEAR conversation through the walls.\"\n ],\n [\n \" Joseph's bed is in the back of the large space. His face \\n is blocked by hospital curtains. Bobby steps forward. \\n \\n Slowly, he walks to his brother's bed. He peels away the\",\n \" CURTAIN. Looks at JOSEPH'S FACE. Joseph's visage is \\n completely RAVAGED on the left side, covered with bandages \\n that are soaked with blood. A TERRIBLE IMAGE. The emotion\",\n \" Joseph is unresponsive but conscious. All of a sudden: \\n \\n NURSE \\n Sir...? \\n \\n Joseph's hand closes around Bobby's fingers. The\",\n \" The Guards stop him, and a messy struggle ensues. \\n \\n All of a sudden, Joseph's wife SANDRA emerges from the \\n ward. She looks devastated. The struggle stops. All fall\",\n \" The men all turn around. Joseph stands there, wounded but \\n COMMITTED: \\n \\n JOSEPH GRUSINSKY (CONT'D) \\n I'll be ready to come back and head\",\n \" \\n 39. \\n \\n \\n \\n EXT. JOSEPH'S HOUSE - NIGHT \\n \\n Joseph drives up to the house, a working-class part of\",\n \" BOBBY GREEN \\n Joseph? \\n \\n Joseph eyes him, seems heartened by the sight of his \\n brother. But he is out of it, emotionally bludgeoned: \\n \",\n \" Sitting on the couch is Joseph. He is trying to be stoic, \\n but appears wan and tired. Alone. We HEAR the crowd in \\n the house, but they are in the living room. A KNOCK: Bobby \\n enters. \\n \",\n \" his eyes. He's pointing a GUN RIGHT AT JOSEPH. Joseph's \\n eyes pop, and he lets out a quick gasp--but he has no real \\n time to react. The man pulls the trigger.\",\n \" POLICE CHAPLAIN \\n It's Joseph. He's at St. John's \\n Hospital. \\n (BEAT) \\n It don't look good right now. \\n \",\n \" watch him with awe and respect. They back away from him. \\n He proceeds on toward the cars. \\n \\n HE SEES: Joseph inside one of them, still. Staring at him.\",\n \" been five months since his shooting. He is GOING HOME... \\n \\n EXT. JOSEPH'S BLOCK - SUNNY DAY \\n \\n Several POLICE CARS line the block. There are ARMED\",\n \" Hello? \\n \\n INT. ST. JOHN'S HOSPITAL - INTERCUT \\n \\n JOSEPH on the phone, in bed. Nearby, Sandra is folding his \\n blanket around him. \\n \",\n \" A THUNDERCLAP slaps the silence in the neighborhood: THE \\n GUN HAS FIRED. A FLASH OF LIGHT. \\n \\n A MIST OF BLOOD plumes around Joseph's head. The bullet\",\n \" hits Joseph in the face, through the CHEEK. HE snaps back \\n spasmodically. \\n \\n AN AUTOMOBILE, a MONTE CARLO, pulls up to the scene of the\",\n \" operating on him now. \\n \\n Rosario sees how remote he is, what a blow it is. She \\n pulls him to her: \\n \\n ROSARIO DIAZ\",\n \" They did good. On his face. \\n \\n JACK SHAPIRO \\n Shut your fuckin' mouth. \\n \\n INT. JOSEPH'S CAR \\n \",\n \" \\n Joseph is deeply troubled by the prospect. \\n \\n MICHAEL SOLO (CONT'D) \\n What's it gonna be? \\n \\n ANGLE ON JOSEPH. \\n \",\n \" slightly. Joseph's eyes open just a bit but don't look at \\n Bobby. Bobby slowly lifts his fingers, touches Joe's arm \\n gently. His fingers move down to his brother's hand.\",\n \" obvious, but he's already seen him dead. This is new \\n territory for Joseph, who though he does not break down, \\n seems overwhelmed. Both young men nod in acknowledgement, \\n and the Undertaker closes the coffin. \\n \"\n ],\n [\n \" This is the fuckin' guy right here. \\n Practically owns the place. \\n \\n MUMBLED AGREEMENT. The men surrounding Vadim are \\\"yes\\\"\",\n \" Vadim turns around. Joseph starts to search him. He pulls \\n a WAD OF MONEY from Vadim's pocket: \\n \\n JOSEPH GRUSINSKY (CONT'D) \\n What is this?\",\n \" VADIM slides down to the BACK ROOM in the APARTMENT BELOW. \\n Panicked, he cocks his gun, searches for an escape route. \\n \\n INT. BEDROOM \\n \",\n \" FACE.) Vadim mutters, aloud but sotto, in Russian: \\n \\n VADIM NEZHINSKI (SUBTITLE) \\n He is a dead man... \\n \\n OFFICERS\",\n \" Moving with tremendous speed, he begins to light the FURS \\n on FIRE... SMOKE... Vadim BEGINS TO COUGH, taking a \\n suitcase of money with him. He backs out of the STRUCTURE. \\n \",\n \" As Joseph looks back at Vadim's vehicle, behind him: \\n \\n JOSEPH GRUSINSKY \\n He makes a deal today, maybe my \\n brother don't gotta take the\",\n \" got a lot more comin' in--a LOT \\n more. In a way nobody could ever \\n trace. \\n \\n Vadim steps away from the narcotics and towards Bobby: \\n \",\n \" for a moment in the back of the vehicle; he watches through \\n the window as his father walks to his car. Bobby sinks to \\n the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in \\n HANDCUFFS...\",\n \" surrounded by his gang: VADIM NEZHINSKI. Thirty-five, acne- \\n scarred, huge black pompadour, big gut. One of his men,\",\n \" CONTINUED: (2) \\n \\n \\n VADIM NEZHINSKI \\n (SHRUGS) \\n He does what he gotta do, I do what\",\n \" \\n Vadim Nezhinski is being led, in handcuffs, into an \\n unmarked Chevy. Both JOSEPH and Jack are here. Joseph and \\n Vadim exchange looks as Vadim is placed into the back seat.\",\n \" Vadim walks over to a stack of green packages: \\n \\n VADIM NEZHINSKI (CONT'D) \\n All the shit I get here is at least \\n eighty-six percent pure. And we\",\n \" Vadim violently pulls out Bobby's pockets. Out falls: a \\n WALLET, SOME CHANGE, KEYS, A CIGARETTE LIGHTER, MATCHES. \\n He sifts through the items, lighting the lighter. It\",\n \" (nods; then, coolly:) \\n Things're goin' good. \\n \\n VADIM NEZHINSKI \\n That's real good... `Cause you\",\n \" (BEAT) \\n Want me to double your money? Huh? \\n \\n Vadim doesn't answer. Joseph takes out a HUGE SWISS ARMY\",\n \" the street. He pulls the hood off, over his head. It is \\n VADIM NEZHINSKI. In Russian: \\n \\n VADIM NEZHINSKI (SUBTITLE)\",\n \" Bobby inches ever closer to the rusted LETTER OPENER that \\n the Brown-Haired Man had used to open a package of cocaine. \\n Vadim puts down the lighter. And it occurs to him: \\n \",\n \" 28. \\n CONTINUED: (2) \\n \\n \\n VADIM NEZHINSKI \\n You know Bobby, my uncle upstairs,\",\n \" still very much alive. His eyes are popping, and he throws \\n his hands around Bobby's THROAT. VADIM CHARGES INTO: \\n \\n INT. BACK ROOM \\n \",\n \" Vadim leans back in his chair. Bobby's eyes widen. Vadim \\n makes a \\\"POP\\\" sound. Bobby tries to hide his shock. Vadim \\n grabs Bobby's arm, squeezes it. \\n \"\n ],\n [\n \" Bobby is startled at this, his mouth momentarily drooping \\n open. He CAN SEE: \\n \\n HIS FATHER, FIRING his WEAPON out the window at the OLDS.\",\n \" (CONTINUED) \\n \\n 97. \\n CONTINUED: \\n \\n \\n Bobby eyes his father, spent, crestfallen--but not\",\n \" WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \\n LYING ON THE STREET. Bobby bends down, turning his father \\n over. His father's blood is all over his hands now.\",\n \" \\n Burt is dead. \\n \\n Other cops surround them. Bobby looks up at all of them, \\n they at him. Broken, he pushes the others away. As water \\n drips off his face: \\n \",\n \" \\n BOBBY GREEN \\n You know my father is dead because \\n of you? \\n \\n Louis begins to sob quietly, shivering. He brings his hand \\n to his mouth. Bobby takes a threatening step forward:\",\n \" He's taking it very hard. \\n (BEAT) \\n They had to sedate him. \\n \\n These words hit Bobby. His eyes close, forcing tears down \\n his cheeks. \\n \",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT. \\n He loses control of the automobile... Bobby freezes, IN\",\n \" BOBBY GREEN \\n Joseph? \\n \\n Joseph eyes him, seems heartened by the sight of his \\n brother. But he is out of it, emotionally bludgeoned: \\n \",\n \" distraught. He breaks down. Bobby is there to catch him \\n and does. \\n (CONTINUED) \\n \\n 102. \\n CONTINUED: (2) \\n \",\n \" Joseph is unresponsive but conscious. All of a sudden: \\n \\n NURSE \\n Sir...? \\n \\n Joseph's hand closes around Bobby's fingers. The\",\n \" \\n Bobby nods. \\n \\n ROSARIO DIAZ (CONT'D) \\n Me and my mother, we said a prayer \\n for him. \\n \\n Something seems to dawn on Bobby: \\n \",\n \" CUT back to his OWN SHOOTING... He cannot bear reliving \\n the terror of his moment... \\n \\n As the COPS move in: Bobby spins around to look for his \\n brother. He finds him still on the ground. Joseph seems\",\n \" Bobby sees: JOSEPH, STANDING nearby with his hand on his \\n child's shoulder, the rest of his FAMILY SURROUNDING HIM. \\n The brothers embrace. Then: \\n \",\n \" up and down the block. They are all armed, with shotguns \\n and machine guns slung over their shoulders. A GARBAGE CAN \\n IS ON FIRE a few yards away. The men get out of the car. \\n They pull Bobby out: \\n \",\n \" INT. PAN AMERICAN MOTOR INN - SUITE - LIVING ROOM - DAY \\n \\n Bobby is still in his funeral suit, standing near the sofa. \\n Smoking a cigarette, holding a drink in his hand. An ARMED\",\n \" Bobby acknowledges that with a single nod of his head. The \\n man departs. Bobby grasps the lighter tight, looks at the \\n man as he virtually disappears back into the fog... \\n \\n INT. CHURCH - EARLY EVENING\",\n \" Bobby again eyes Joseph, who stands over the grave wiping \\n his eyes with a handkerchief. He WALKS OVER to him, puts \\n his arm around him. Into his ear: \\n \\n BOBBY GREEN\",\n \" separate, REVEALING NEZHINSKI, with a look on his face that \\n registers a kind of shock, a shock that he's been hit. \\n Nezhinski sees Bobby standing over him. With all the \\n energy he has in the world:\",\n \" He waits a beat. The Nurse gently pulls his shoulder. He \\n backs away, his eyes reddened. The camera MOVES INTO a \\n CLOSE SHOT on BOBBY as we GO TO: \\n \"\n ],\n [\n \" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \\n \\n EXT. POLICE SERVICE AREA NUMBER TWO \\n \\n It's a huge municipal structure. Bobby bolts inside.\",\n \" to Vadim. The Young Man is TERRIFIED. Bobby, too, is \\n hauled out like a common criminal. Cuffed... \\n \\n INT. POLICE SERVICE AREA NUMBER TWO - HOLDING CELLS \\n \",\n \" Bobby--you'll always be welcome \\n back here. \\n \\n Bobby is moved. The two embrace. \\n \\n INT. VADIM'S COP CAR \\n \",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" \\n Burt is dead. \\n \\n Other cops surround them. Bobby looks up at all of them, \\n they at him. Broken, he pushes the others away. As water \\n drips off his face: \\n \",\n \" (CONTINUED) \\n \\n 128. \\n CONTINUED: \\n \\n \\n All the officers back up--all of them except Bobby. Who\",\n \" up and down the block. They are all armed, with shotguns \\n and machine guns slung over their shoulders. A GARBAGE CAN \\n IS ON FIRE a few yards away. The men get out of the car. \\n They pull Bobby out: \\n \",\n \" Bobby gets up, into a crouch, amidst the gunfire. Dodging \\n the bullets. \\n \\n An ESU Police Officer does not recognize Bobby as an ally, \\n and he trains his assault rifle on Bobby. Bobby screams,\",\n \" Meanwhile: MICHAEL takes Bobby's arm, walks him into: \\n \\n INT. SMALL PHONE ROOM \\n \\n A small room with payphones. There's a window through\",\n \" \\n INT. POLICE STATION - HALLWAY - NIGHT \\n \\n Bobby and Rosario, outside an office. Armed cops are up \\n and down the hall. We HEAR conversation through the walls.\",\n \" Bobby is startled at this, his mouth momentarily drooping \\n open. He CAN SEE: \\n \\n HIS FATHER, FIRING his WEAPON out the window at the OLDS.\",\n \" INT. POLICE STATION - MUSTER ROOM \\n \\n Many cops, mug shots and files strewn all over. A \\n discussion, in media res. Many cops approach Bobby, all of\",\n \" (CONTINUED) \\n \\n 97. \\n CONTINUED: \\n \\n \\n Bobby eyes his father, spent, crestfallen--but not\",\n \" He stumbles. They pick him up, lead him to a door. \\n \\n INT. TENEMENT - APARTMENT - FRONT ROOM \\n \\n Someone pulls the hood off him. Bobby looks around. The\",\n \" Bobby knows it; so he dodges the Officer; the Officer \\n begins to unload his weapon, getting CLOSER to BOBBY. \\n \\n AND CLOSER. \\n \\n AND CLOSER. Bobby is about to be killed when:\",\n \" \\n BOBBY GREEN \\n You know my father is dead because \\n of you? \\n \\n Louis begins to sob quietly, shivering. He brings his hand \\n to his mouth. Bobby takes a threatening step forward:\",\n \" WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \\n LYING ON THE STREET. Bobby bends down, turning his father \\n over. His father's blood is all over his hands now.\",\n \" As the Undertaker leads Joseph away, Bobby enters an: \\n \\n INT. ANTECHAMBER \\n \\n Where waiting are Jack and Michael. Bobby gives a fiery \\n stare to the two cops. He approaches them. Sotto but\",\n \" Bobby gets up, out of the weeds, SHOTGUN aimed: \\n \\n BOBBY GREEN \\n You're surrounded by the police! \\n Come out now, with your hands on \\n your heads! \\n \",\n \" for a moment in the back of the vehicle; he watches through \\n the window as his father walks to his car. Bobby sinks to \\n the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in \\n HANDCUFFS...\"\n ],\n [\n \" He's dealing H, cocaine, angel \\n dust... Operates out of that club \\n you manage. The El Caribe. \\n \\n Bobby's sense of humor disappears now. \\n \",\n \" gentlemen, Bobby Green, who used to \\n be our manager here... \\n \\n MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands\",\n \" ANGLE on BOBBY as we GO TO: \\n \\n INT. EL CARIBE NIGHTCLUB - NIGHT \\n \\n A SHOW is about to go on. The place has a darker quality\",\n \" Bobby, and Bobby starts walking to him. \\n \\n INT. BACK OF THE CLUB \\n \\n Bobby approaches a table, reserved for Pavel and the rest \\n of the gang. Bobby joins them, with his bag. \\n \",\n \" Still fervid, she is silent. CLUB MUSIC up... \\n \\n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n Bobby enters the place, determined. He has A BAG tucked\",\n \" packed every night, everybody wins. \\n \\n Bobby does not respond, instead nodding to some patrons who \\n shout out hellos. Vadim shakes Bobby's shoulder with \\n affection. Intimate: \\n \",\n \" Bobby enters the PULSING, VITAL HEART of the place. As he \\n appears, everyone approaches, happily shouting out his \\n name. He is having a blast. \\n \\n Bobby is the master of this domain. An `80's version of\",\n \" (CONTINUED) \\n \\n 31. \\n CONTINUED: \\n \\n \\n As Bobby gags, JOSEPH walks through the club with\",\n \" pure New York. BOBBY emerges from the back room area, \\n straightening out his outfit. ROSARIO is behind him, \\n fixing herself and walking toward the front of the club.\",\n \" BOBBY GREEN \\n What the fuck's goin' on in here? \\n \\n Bobby moves RIGHT IN. Grabs a struggling and drunk PATRON,\",\n \" Bobby laughs heartily. Just then, Vadim sees him. Pavel \\n HOLDS UP HIS DRINK in acknowledgement and WAVES HIM OVER. \\n \\n BOBBY GREEN\",\n \" \\n BOBBY GREEN \\n That's bullshit--she's clean. You \\n fuckin' keep away from her. \\n \\n Bobby realizes that NO ONE WANTS HIM HERE. He looks\",\n \" EXT. EL CARIBE NIGHTCLUB \\n \\n Mob scene. Bobby and Rosario and Louis and the gang enter. \\n \\n 22. \\n \\n \\n \",\n \" INT. EL CARIBE - CLUB ENTRANCE \\n \\n Bobby gleefully shakes hands upon entering, then splits \\n from the group. Rosario joins several girls as they fix \\n themselves up in front of large lobby mirrors...\",\n \" CUT TO: \\n \\n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n A huge, bustling, vibrant nightclub, very `80's. Decadent,\",\n \" SMASH CUT TO: \\n \\n CLOSE ON: BOBBY GREEN, thirty. He is passionate and vital \\n and handsome, a real physical presence. His CLOTHES are\",\n \" that. How `bout tomorrow night? \\n \\n BOBBY GREEN \\n Sounds good. \\n \\n PAVEL LUBYARSKY \\n Arright. We'll meet at El Caribe,\",\n \" approaches him. \\n \\n ROSARIO DIAZ \\n Bobby, I'm gonna go back to the \\n motel. \\n \\n BOBBY GREEN\",\n \" to it now, and many patrons are wearing HALLOWEEN MASKS. \\n BOBBY ENTERS, approaches a table in the back, where seated \\n are Louis and Louis' girlfriend, HAZEL. Lou is armed with\",\n \" INT. SHOOTING GALLERY \\n \\n In the darkness, among the addicts: BOBBY GREEN. His face \\n illuminated only by the sliver of light from the crack in\"\n ],\n [\n \" MARAT BUZHAYEV (pronounced BOO-SHY'-EV). He is old, \\n kindly, weakened by age; sits next to his babushka wife,\",\n \" MARAT BUZHAYEV \\n (warm, gentle) \\n Yes, good. You take care of things \\n good for us... \\n \\n Marat smiles. Then, as Bobby stands: \\n \",\n \" MARAT BUZHAYEV (CONT'D) \\n We also have an old friend who's \\n come back to us--I want him to \\n stand--Bobby? Ladies and\",\n \" Yeah, sure. I'll come. \\n \\n MARAT BUZHAYEV \\n Good--we talk more, at the dinner. \\n \\n The two hug. Bobby is being shown out by Kalina, and is\",\n \" him, to MARAT, who steps forward. In Russian: \\n \\n MARAT BUZHAYEV (SUBTITLE) \\n This's what we've been planning for \\n for so long. My nephew has stayed\",\n \" MARAT BUZHAYEV (CONT'D) \\n Next week, you come by--we talk. \\n Okay? We talk about plans for you. \\n \",\n \" about to depart when Buzhayev calls to his wife in Russian: \\n \\n MARAT BUZHAYEV (CONT'D) \\n Give him, for tonight! \\n \",\n \" JUST THEN, THE HOUSE LIGHTS DIM. A SPOTLIGHT on the STAGE. \\n \\n MARAT BUZHAYEV ambles up to the microphone with some \\n difficulty. \\n \",\n \" NEZHINSKI. MARAT BUZHAYEV and ELI follow him in. Many \\n other men pour into the structure, BRIEFCASES in hand. \\n \\n MICHAEL SOLO\",\n \" Bobby and Marat Buzhayev, inside the living room. Bobby \\n sits down, on the couch's armrest; Marat is in an easy \\n chair, his lunch being served on a T.V. tray in front of\",\n \" KALINA. Buzhayev watches a Russian musical program with \\n the sound off, listening to his small transistor radio. \\n \\n MARAT BUZHAYEV \\n Bobby! Come here! \\n \",\n \" him, the child hides behind Marat's leg. Marat lets out a \\n laugh at this; to the child: \\n \\n MARAT BUZHAYEV \\n No no--it's okay. Say hello...\",\n \" \\n INT. DINING ROOM \\n \\n Bobby enters. Sitting at the large table is MARAT, playing \\n with one of his grandchildren. Bobby knocks on the \\n doorframe to announce his entrance. When Buzhayev spots\",\n \" EMERGING: MARAT BUZHAYEV. Stepping up behind him, Eli, \\n helping King Marat. MARAT and VADIM greet each other.\",\n \" MARAT BUZHAYEV \\n Good evening. My name is Marat \\n Buzhayev, and I'm the owner of the \\n El Caribe. We have a special\",\n \" from elsewhere in the film but don't know by name. One of \\n the people to emerge from a Town Car is MARAT BUZHAYEV and \\n his ever-present BABUSHKA WIFE, KALINA. \\n \",\n \" I know. I don't worry about any of \\n that. \\n \\n He puts his arm around Bobby's shoulder. \\n \\n MARAT BUZHAYEV (CONT'D)\",\n \" but... Anyway, I'm sorry. \\n \\n MARAT BUZHAYEV \\n It's not your fault... \\n \\n Marat darkens considerably. More interior tone, almost as\",\n \" You wanted to talk to me? \\n \\n Marat nods, waves to Kalina for drinks. \\n \\n MARAT BUZHAYEV \\n You know, maybe we open another\",\n \" MARAT BUZHAYEV \\n Bobby--I, I didn't know it would be \\n your family-- \\n \\n BOBBY TAKES A THREATENING STEP FORWARD. Bobby's expression\"\n ],\n [\n \" Bobby senses the pressure being placed upon his brother, \\n and he moves Jack away from Joseph: \\n \\n BOBBY GREEN \\n All right, c'mon. Enough... \\n \",\n \" Bobby LUNGES forward, grabbing his brother. Joseph leaps \\n up out of the chair. A FIGHT. Awkward punches are thrown. \\n Messy. Jack and Mike leap in, trying to pull the two\",\n \" BOBBY GREEN \\n Joseph? \\n \\n Joseph eyes him, seems heartened by the sight of his \\n brother. But he is out of it, emotionally bludgeoned: \\n \",\n \" class for once. \\n \\n Bobby takes another confrontational step forward. Raging: \\n \\n BOBBY GREEN \\n You piece of shit... \\n \\n JOSEPH GRUSINSKY\",\n \" Never, swear to God! \\n \\n Bobby stares at him for a moment, then his teeth grit. He \\n tries to calm himself but cannot. With a ferocity, he \\n unleashes a brutal punch across Louis' face with the brunt\",\n \" I'm trying to tell you. \\n \\n Bobby eyes Joseph, who looks deeply troubled. Bobby sits. \\n \\n BOBBY GREEN (CONT'D) \\n Joe, what's wrong? Come on, you\",\n \" slightly. Joseph's eyes open just a bit but don't look at \\n Bobby. Bobby slowly lifts his fingers, touches Joe's arm \\n gently. His fingers move down to his brother's hand.\",\n \" \\n Bobby tries to charge past them. The Guards all restrain \\n him delicately (\\\"C'mon, calm down\\\"), but Bobby is in no \\n mood and instead starts a melee. He is a tour de force of\",\n \" (no response, so:) \\n That why you got me up here? [To] \\n tell me my hair's too long? \\n \\n Joseph speaks up, diverting Bobby's attention: \\n \",\n \" Sitting on the couch is Joseph. He is trying to be stoic, \\n but appears wan and tired. Alone. We HEAR the crowd in \\n the house, but they are in the living room. A KNOCK: Bobby \\n enters. \\n \",\n \" \\n Bobby looks at Jack--who leans in, to Joseph's ear: \\n \\n JACK SHAPIRO \\n You know, they're laughin' at us, \\n out there on the street. Now when\",\n \" Joseph is unresponsive but conscious. All of a sudden: \\n \\n NURSE \\n Sir...? \\n \\n Joseph's hand closes around Bobby's fingers. The\",\n \" The camera DOLLIES INTO a CLOSE SHOT of Bobby and we GO TO: \\n \\n 98. \\n \\n \\n \\n INT. JOSEPH'S HOUSE - DEN \\n \",\n \" JOSEPH GRUSINSKY \\n You know, I was...I was jealous of \\n you, [for a] long time. \\n \\n Bobby is surprised to hear this admission, and is taken\",\n \" BOBBY GREEN \\n Course... \\n \\n Joseph grows more emotional, adjusts his sunglasses. Leans \\n to Bobby, clears his throat. Sotto: \\n \",\n \" Bobby brightens, begins to stand with only a little \\n difficulty as he anticipates Joseph's entrance. As this \\n happens, Rosario slips out from under his grasp: \\n \\n ROSARIO DIAZ\",\n \" Hey, Bobby... \\n \\n Without a word, Bobby nods, moves to his brother. As Burt \\n looks on, pleased, Bobby takes his hand and grips the back \\n of Joseph's neck. Joseph pulls his brother to him by his\",\n \" Joseph's bed is in the back of the large space. His face \\n is blocked by hospital curtains. Bobby steps forward. \\n \\n Slowly, he walks to his brother's bed. He peels away the\",\n \" The two brothers make eye contact. The crowd quiets a bit. \\n Bobby smiles at the sight of his brother. Joseph gets \\n emotional, too: \\n \\n JOSEPH GRUSINSKY (CONT'D)\",\n \" Bobby sees: JOSEPH, STANDING nearby with his hand on his \\n child's shoulder, the rest of his FAMILY SURROUNDING HIM. \\n The brothers embrace. Then: \\n \"\n ],\n [\n \" Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and \\n his BADGE. Over this, we STILL HEAR: \\n \\n BOBBY GREEN \\n \\\"--that I will support and defend\",\n \" Bobby gets up, into a crouch, amidst the gunfire. Dodging \\n the bullets. \\n \\n An ESU Police Officer does not recognize Bobby as an ally, \\n and he trains his assault rifle on Bobby. Bobby screams,\",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \\n \\n EXT. POLICE SERVICE AREA NUMBER TWO \\n \\n It's a huge municipal structure. Bobby bolts inside.\",\n \" INT. POLICE STATION - MUSTER ROOM \\n \\n Many cops, mug shots and files strewn all over. A \\n discussion, in media res. Many cops approach Bobby, all of\",\n \" Bobby knows it; so he dodges the Officer; the Officer \\n begins to unload his weapon, getting CLOSER to BOBBY. \\n \\n AND CLOSER. \\n \\n AND CLOSER. Bobby is about to be killed when:\",\n \" We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward, \\n in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped\",\n \" (CONTINUED) \\n \\n 128. \\n CONTINUED: \\n \\n \\n All the officers back up--all of them except Bobby. Who\",\n \" Bobby--you'll always be welcome \\n back here. \\n \\n Bobby is moved. The two embrace. \\n \\n INT. VADIM'S COP CAR \\n \",\n \" \\n BOBBY GREEN (CONT'D) \\n You know I'm on the Force now? And \\n I could do anything to you? \\n \\n Louis' eyes widen. He holds out his hands defensively.\",\n \" Bobby gets up, out of the weeds, SHOTGUN aimed: \\n \\n BOBBY GREEN \\n You're surrounded by the police! \\n Come out now, with your hands on \\n your heads! \\n \",\n \" \\n Burt is dead. \\n \\n Other cops surround them. Bobby looks up at all of them, \\n they at him. Broken, he pushes the others away. As water \\n drips off his face: \\n \",\n \" \\n INT. POLICE SERVICE AREA TWO - ENTRANCE \\n \\n The place is hopping, with police everywhere. Almost like \\n a fraternity house. BOBBY CHARGES IN, looks around.\",\n \" Joseph in front. The POLICE BAND begins to play the drums. \\n Bobby straightens up, raises his hand--along with the sea \\n of blue--in a SALUTE as the flag is carried to the front. \\n \\n\",\n \" BOBBY GREEN \\n (back to reality) \\n Love you too, Joe. \\n \\n Police line up on the stage. Everyone's seated, Bobby and\",\n \" He appears almost in tears... Finally, sotto: \\n \\n BOBBY GREEN \\n I--I'm gonna inform. For the \\n police. \\n (BEAT)\",\n \" \\n BACK TO THE POLICE STATION HALLWAY \\n \\n CLOSE SHOT on BOBBY, PAUSING right before he enters the \\n MUSTER ROOM. HE takes a breath and ENTERS: \\n \",\n \" CUT back to his OWN SHOOTING... He cannot bear reliving \\n the terror of his moment... \\n \\n As the COPS move in: Bobby spins around to look for his \\n brother. He finds him still on the ground. Joseph seems\",\n \" Bobby--your brother, I think he \\n probably feels a little guilty, \\n with everything you did, with you \\n in protection now... But he \\n appreciates what you've done--I \\n know he does.\",\n \" him, then touches Bobby's cheek, a truly loving gesture: \\n \\n BURT GRUSINSKY \\n (almost to himself) \\n Okay... \\n (to an officer)\"\n ],\n [\n \" VADIM slides down to the BACK ROOM in the APARTMENT BELOW. \\n Panicked, he cocks his gun, searches for an escape route. \\n \\n INT. BEDROOM \\n \",\n \" to Vadim. The Young Man is TERRIFIED. Bobby, too, is \\n hauled out like a common criminal. Cuffed... \\n \\n INT. POLICE SERVICE AREA NUMBER TWO - HOLDING CELLS \\n \",\n \" ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \\n immediately pins Joseph and the other two police inside the \\n vehicle. \\n \\n INT. VADIM'S COP CAR\",\n \" for a moment in the back of the vehicle; he watches through \\n the window as his father walks to his car. Bobby sinks to \\n the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in \\n HANDCUFFS...\",\n \" Moving with tremendous speed, he begins to light the FURS \\n on FIRE... SMOKE... Vadim BEGINS TO COUGH, taking a \\n suitcase of money with him. He backs out of the STRUCTURE. \\n \",\n \" cover. He opens his door to slink out. \\n \\n VADIM HITS THE FLOOR. \\n \\n The other two officers are immediately riddled with \\n GUNFIRE. \\n \",\n \" \\n Vadim Nezhinski is being led, in handcuffs, into an \\n unmarked Chevy. Both JOSEPH and Jack are here. Joseph and \\n Vadim exchange looks as Vadim is placed into the back seat.\",\n \" Bobby--you'll always be welcome \\n back here. \\n \\n Bobby is moved. The two embrace. \\n \\n INT. VADIM'S COP CAR \\n \",\n \" Two of the men PULL VADIM toward them. The third man in a \\n ski mask is hit by Jack's fire, but has just enough \\n adrenaline to get into the SECOND CAR. \\n \\n IT SPEEDS AWAY.\",\n \" quickly ushered out along with tens of others. Marat \\n watches, as does Rosario. Louis and Rosario are left \\n behind, not having been arrested. Neither has VADIM.\",\n \" The car is moving. Jack is driving. Another cop is in the \\n front passenger seat. Two other cops straddle Vadim. \\n Silence, then, motioning toward Joseph's car: \\n \\n VADIM NEZHINSKI\",\n \" FACE.) Vadim mutters, aloud but sotto, in Russian: \\n \\n VADIM NEZHINSKI (SUBTITLE) \\n He is a dead man... \\n \\n OFFICERS\",\n \" Officers pour in, among them BURT. Cops forcefully push \\n Vadim to the ground. Start to cuff him. Burt pulls Jack \\n ASIDE: \\n \\n BURT GRUSINSKY\",\n \" Vadim violently pulls out Bobby's pockets. Out falls: a \\n WALLET, SOME CHANGE, KEYS, A CIGARETTE LIGHTER, MATCHES. \\n He sifts through the items, lighting the lighter. It\",\n \" still very much alive. His eyes are popping, and he throws \\n his hands around Bobby's THROAT. VADIM CHARGES INTO: \\n \\n INT. BACK ROOM \\n \",\n \" back on Vadim, walks through the fires around him. As \\n Vadim calls after him (\\\"BOBBY! \\n (CONTINUED) \\n \\n 129. \\n CONTINUED:\",\n \" VADIM IS GONE. \\n \\n INT. BURT'S HOUSE - KITCHEN \\n \\n Burt, dressed in his v-neck undershirt, is reaching into a\",\n \" elsewhere. Vadim pulls up a chair. Sits down. Intimate: \\n \\n VADIM NEZHINSKI \\n Bobby, those cops--they, they ain't \\n no problem. \\n \",\n \" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \\n \\n EXT. POLICE SERVICE AREA NUMBER TWO \\n \\n It's a huge municipal structure. Bobby bolts inside.\",\n \" INT. DOWNSTAIRS BEDROOM \\n \\n Nezhinski opens the window, about to go out onto the fire \\n escape. A WARRANT UNIT OFFICER is below. Looks up: \\n \"\n ],\n [\n \" \\n Burt is dead. \\n \\n Other cops surround them. Bobby looks up at all of them, \\n they at him. Broken, he pushes the others away. As water \\n drips off his face: \\n \",\n \" He's gonna be okay, Chief. \\n (to others) \\n Clear out! \\n \\n Burt eases when he hears this. They move Bobby toward the \\n ambulance. Burt turns to Michael. Sotto:\",\n \" before it does, but: Burt does not. THE TRUCK CLIPS Burt's \\n car on the driver's side. He sneaks through, recovering \\n and keeping up the pursuit. \\n \",\n \" BURT'S EYES ARE RED, filling with blood. His JAW is open. \\n He gasps for air, a vacant stare on his face. His body\",\n \" Burt's car stops slowly. He gets out of the car, his face \\n a mess. He stumbles for a few feet in the rain. BOBBY'S \\n CAR ARRIVES on the SCENE... \\n \",\n \" BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT. \\n He loses control of the automobile... Bobby freezes, IN\",\n \" Everyone, let's, let's move inside-- \\n there's plenty to eat! \\n \\n Soft laughter. Small talk begins. The group dissipates, \\n moves to eat, etc. Burt moves to Joseph: \\n \",\n \" VADIM IS GONE. \\n \\n INT. BURT'S HOUSE - KITCHEN \\n \\n Burt, dressed in his v-neck undershirt, is reaching into a\",\n \" BURT GRUSINSKY \\n Which kid is it? \\n \\n The cops turn to each other. Burt tries to prep himself, \\n but it's impossible; we SEE the cracks in his sangfroid: \\n \",\n \" BURT, who's waiting for him. Bobby ignores him: \\n \\n BURT GRUSINSKY \\n Where you going? I was the one who \\n got you outta there! \\n \\n \",\n \" histrionic. The CAMERA TILTS DOWN. The BLOOD from BURT'S \\n BODY flows into the street, along the curb,into the gutter. \\n \\n DISSOLVE TO:\",\n \" care of it--I'm gonna go get your \\n brother. \\n \\n Burt hangs up, grabs his jacket--which had been draped over \\n the kitchen chair. Burt bolts out of the house... \\n \",\n \" Into the radio: \\n \\n BOBBY GREEN (CONT'D) \\n Pop, lay back! \\n \\n But Burt does not. Burt has a clear shot at the hooded man\",\n \" Burt is getting emotional, aware of how close his son came \\n to death. Trying not to show it--and failing. \\n \\n BURT GRUSINSKY \\n I'll get them to take care of that.\",\n \" son when Bobby is not looking, lowering it to no avail. \\n \\n INT. BASEMENT \\n \\n The music is off now. Bobby comes down, Burt follows. \\n Joseph is getting something whispered in his ear by another\",\n \" CONTINUED: (3) \\n \\n \\n A beat. Bobby is still there, fixated. \\n \\n BURT GRUSINSKY (CONT'D) \\n Goodbye! \\n \",\n \" With that, Bobby leaves with his bodyguard. Burt stands \\n there for a moment, frustrated. TEDDY, his grandson, runs \\n past him. Naked. Sandra follows the boy. Burt turns to\",\n \" [You] Fuckin' broadsided me... \\n Everything's about the goddamned \\n job with you. \\n \\n Burt remains stoic. (Though silent so far, he should be a\",\n \" Bobby is about to leave. Burt stops him: \\n \\n BURT GRUSINSKY (CONT'D) \\n Hey, c'mere. \\n (Bobby returns)\",\n \" (to Burt, needling) \\n (MORE) \\n (CONTINUED) \\n \\n 12. \\n CONTINUED: (2)\"\n ],\n [\n \" As the man speaks, Bobby SCANS the room. HE SEES ROSARIO, \\n standing in the crowd behind the seated audience. Her face \\n is partially obscured. BOBBY CANNOT BELIEVE THE FLOOD OF\",\n \" BOBBY DOESN'T SEE HIM YET. BUT WE CAN. THE CAMERA ZOOMS \\n INTO BOBBY, WITH THE FIGURE BEHIND HIM. BOBBY SEES THE\",\n \" BOBBY GREEN (CONT'D) \\n They're getting started--we should \\n probably go in now. \\n \\n INT. AUDITORIUM \\n \",\n \" LOUIS FALSETTI. \\n \\n At that moment, BOBBY SEES his old friend, and the two make \\n EYE CONTACT. Bobby is greatly moved by his appearance, and\",\n \" \\n 56. \\n CONTINUED: (2) \\n \\n \\n JACK SHAPIRO \\n (pointing to Bobby; \\n with some ridicule)\",\n \" behind his father. Bobby sees Jack and Michael, now seated \\n several rows back. BEAT, then: \\n \\n MICHAEL SOLO (CONT'D) \\n Hello, Bobby. Nice suit you got on. \\n \",\n \" SEES his family, though they don't see him yet. To \\n Rosario, quiet: \\n \\n BOBBY GREEN \\n That's them there. In the corner.\",\n \" CROWD surrounds someone. Then, as the CAMERA DOLLIES \\n CLOSER, people move away to reveal: BOBBY, seated in a \\n chair against the wall. His leg is bandaged. AD-LIB\",\n \" ALL OF A SUDDEN: COMING THROUGH THE CROWD: BOBBY. When \\n Louis sees his friend, he lights up. Bobby's furious \\n inside, but strangely calm outside: \\n \",\n \" gentlemen, Bobby Green, who used to \\n be our manager here... \\n \\n MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands\",\n \" He stumbles. They pick him up, lead him to a door. \\n \\n INT. TENEMENT - APARTMENT - FRONT ROOM \\n \\n Someone pulls the hood off him. Bobby looks around. The\",\n \" Bobby walks toward the entrance. Stops. Sandra seems to \\n read his mind, speaks: \\n \\n \\n (CONTINUED) \\n \\n 48.\",\n \" BOBBY GREEN \\n (back to reality) \\n Love you too, Joe. \\n \\n Police line up on the stage. Everyone's seated, Bobby and\",\n \" BOBBY stands inside an abandoned parking kiosk. (He's been \\n watching from afar.) Jack and Mike approach their parked \\n car. He tries to obscure himself partially inside the \\n kiosk. They see him. \\n \",\n \" The brazenness of the comment shocks Bobby. He looks up, \\n begins to focus. Incredulous. Softly, as the camera ZOOMS \\n INTO a CLOSE ANGLE on BOBBY: \\n \",\n \" briefly, sheepishly. Marat waves to him, Bobby nods, sits. \\n The SPOTLIGHT swings back to Marat who finishes up his \\n introduction (\\\"Enjoy the show! \\n \\n (CONTINUED)\",\n \" The camera DOLLIES INTO a CLOSE SHOT of Bobby and we GO TO: \\n \\n 98. \\n \\n \\n \\n INT. JOSEPH'S HOUSE - DEN \\n \",\n \" The ceremony is getting underway. As Bobby and Joseph move \\n past the seated crowd toward their chairs in front: \\n \\n JOSEPH GRUSINSKY \\n You know, I think Pop would be real\",\n \" (CONTINUED) \\n \\n 3. \\n CONTINUED: \\n \\n \\n A MAN waves to BOBBY. Bobby SEES: seated at a table,\",\n \" are HERE. White gloves and all. Milling about in a white \\n plaster walled room. Upbeat chatter. Then: Bobby emerges \\n through the DOORS in his DRESS BLUES. Upon seeing him, the\"\n ],\n [\n \" Joseph ponders for a beat, then comes out with it: \\n \\n JOSEPH GRUSINSKY \\n It's not that. It's just... You \\n give up what you wanted to do to be\",\n \" POLICE CHAPLAIN \\n It's Joseph. He's at St. John's \\n Hospital. \\n (BEAT) \\n It don't look good right now. \\n \",\n \" Do me a favor, don't get involved. \\n (BEAT) \\n We'll pick this up tomorrow. I'm \\n gonna go home. \\n \\n Michael is quieted as Joseph packs his briefcase...\",\n \" \\n 39. \\n \\n \\n \\n EXT. JOSEPH'S HOUSE - NIGHT \\n \\n Joseph drives up to the house, a working-class part of\",\n \" Joseph eyes his father with trepidation, then begins: \\n \\n JOSEPH GRUSINSKY \\n Well... I'm gonna be heading up a \\n new narcotics team, starting this\",\n \" \\n Joseph is deeply troubled by the prospect. \\n \\n MICHAEL SOLO (CONT'D) \\n What's it gonna be? \\n \\n ANGLE ON JOSEPH. \\n \",\n \" 37. \\n \\n \\n \\n INT. POLICE SERVICE AREA NUMBER TWO - UPSTAIRS OFFICE \\n \\n Present: Joseph, Michael, Jack. Joe's seated at the head\",\n \" no way you change your mind? \\n \\n JOSEPH GRUSINSKY \\n (shakes head; then:) \\n It's the right thing. It's over \\n for me--I'm out.\",\n \" Joseph in front. The POLICE BAND begins to play the drums. \\n Bobby straightens up, raises his hand--along with the sea \\n of blue--in a SALUTE as the flag is carried to the front. \\n \\n\",\n \" INT. BASEMENT \\n \\n A wiry YOUNG POLICE REPORTER, in uniform, moves to Joseph. \\n Burt stands nearby, proud: \\n \\n YOUNG POLICE REPORTER\",\n \" his eyes. He's pointing a GUN RIGHT AT JOSEPH. Joseph's \\n eyes pop, and he lets out a quick gasp--but he has no real \\n time to react. The man pulls the trigger.\",\n \" BURT GRUSINSKY \\n Joseph! \\n \\n Joseph lingers, leaves. Father and son. ALONE. Then, \\n staring straight ahead as he takes a drag of his cigarette: \\n \",\n \" at the cops. EVERYONE OPENS FIRE. \\n \\n ALL OF A SUDDEN: A COP, that TOUGH-LOOKING COP we saw at \\n Joseph's house but a few moments earlier, is HIT by the\",\n \" watch him with awe and respect. They back away from him. \\n He proceeds on toward the cars. \\n \\n HE SEES: Joseph inside one of them, still. Staring at him.\",\n \" back at him. He's GOING TO HAVE TO TELL HER HIS DECISION. \\n A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES \\n into the AIR. FIVE SHOTS... \\n \",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \\n immediately pins Joseph and the other two police inside the \\n vehicle. \\n \\n INT. VADIM'S COP CAR\",\n \" \\n This gets Mike's attention. Joseph signals something to \\n him, he nods, moves to the back. Joseph walks over to \\n LOUIS, pokes his gut: \\n \",\n \" been five months since his shooting. He is GOING HOME... \\n \\n EXT. JOSEPH'S BLOCK - SUNNY DAY \\n \\n Several POLICE CARS line the block. There are ARMED\",\n \" Bobby senses the pressure being placed upon his brother, \\n and he moves Jack away from Joseph: \\n \\n BOBBY GREEN \\n All right, c'mon. Enough... \\n \"\n ],\n [\n \" POLICE CHAPLAIN \\n Ladies and gentlemen: we shall \\n begin today's ceremony with the \\n traditional invocation, moving then \\n to the valedictorian address to be\",\n \" INT. ONE POLICE PLAZA - FOYER - OUTSIDE THE AUDITORIUM \\n \\n HUNDREDS OF POLICE OFFICERS, all dressed up to the nines,\",\n \" INT. POLICE STATION - MUSTER ROOM \\n \\n Many cops, mug shots and files strewn all over. A \\n discussion, in media res. Many cops approach Bobby, all of\",\n \" father, Deputy Chief Burt \\n Grusinsky, for many years, and I \\n know he wants to say a little \\n something. Chief? \\n \\n APPLAUSE for Burt, who waves, steps up: \\n \",\n \" cop. A squat man with a bad toupee starts to speak: NYPD \\n Deputy Commissioner SPIRO GIAVANNIS. \\n \\n SPIRO GIAVANNIS \\n Everyone? Everyone! \\n \",\n \" Of Bobby in the POLICE ARMORY. He is RECEIVING his GUN and \\n his BADGE. Over this, we STILL HEAR: \\n \\n BOBBY GREEN \\n \\\"--that I will support and defend\",\n \" INT. POLICE SERVICE AREA NUMBER TWO - MUSTER ROOM \\n \\n A large room, lit by fluorescents. Mostly empty of \\n furniture in the center, with vending machines against the\",\n \" The walk begins, with everyone saluting Bobby and Joseph. \\n \\n Behind them, the Mayor, the Commissioner, all the rank and \\n file of the Force. The turnout is enormous. Rosario is\",\n \" Thank you for coming. \\n \\n MAYOR \\n Chief Grusinsky, an attack on an \\n officer is an attack on society. \\n Whoever did this, in a clean \\n neighborhood like that--they gotta\",\n \" We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward, \\n in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped\",\n \" others smile, CHEER. People touch him, shake his hand. \\n Eye him with respect. AD-LIB GREETINGS. \\n \\n RANDOM OFFICERS \\n Bobby! Hey! Lookit you--six\",\n \" He walks down the hall, with his back to us. \\n \\n BOBBY GREEN \\n \\\"...I will faithfully discharge my \\n duties in the rank of rider in the \\n New York City Police Department.\",\n \" SERGEANT PROVENZANO, forties, rings a SILVER BELL, which is \\n engraved with the words, \\\"Homicide Bell.\\\" The room quiets \\n down. Provenzano holds up his hands. Grinning:\",\n \" INT. POLICE ATHLETIC LEAGUE BOXING GYM - NIGHT \\n \\n The PAL gym, filled with off-duty cops boxing, jumping \\n rope. BURT hits a large bag that swings from the ceiling.\",\n \" As Michael says the following dialog, a UNIFORMED OFFICER \\n comes up to Bobby. Sotto, in his ear, he speaks to him: \\n \\n UNIFORMED OFFICER\",\n \" \\n Then he SEES, in a LARGE MIRROR: TWO UNIFORMED COPS and the \\n POLICE CHAPLAIN EDWIN O'CONNOR, standing near the doorway. \\n He stops his exercise. They approach him.\",\n \" other faces we can recognize from around the precinct stand \\n back, all smiles. AD-LIB HELLOS. An elderly NEIGHBOR \\n comes forward, giddy: \\n \\n NEIGHBOR\",\n \" As he hammers away, he is involved in some CHEERFUL BANTER \\n with fellow cops: \\n \\n BURT GRUSINSKY \\n You gotta keep your hands up! Keep \\n your hands up!\",\n \" Joseph in front. The POLICE BAND begins to play the drums. \\n Bobby straightens up, raises his hand--along with the sea \\n of blue--in a SALUTE as the flag is carried to the front. \\n \\n\",\n \" back at him. He's GOING TO HAVE TO TELL HER HIS DECISION. \\n A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES \\n into the AIR. FIVE SHOTS... \\n \"\n ],\n [\n \" his eyes. He's pointing a GUN RIGHT AT JOSEPH. Joseph's \\n eyes pop, and he lets out a quick gasp--but he has no real \\n time to react. The man pulls the trigger.\",\n \" CUT back to his OWN SHOOTING... He cannot bear reliving \\n the terror of his moment... \\n \\n As the COPS move in: Bobby spins around to look for his \\n brother. He finds him still on the ground. Joseph seems\",\n \" Armed Guard's fire. HIT IN THE FACE, he falls down near \\n Joseph and Bobby. DEAD, his visage a bloodied pulp. \\n \\n CLOSE SHOT ON JOSEPH. HE FREEZES. We momentarily FLASH\",\n \" A THUNDERCLAP slaps the silence in the neighborhood: THE \\n GUN HAS FIRED. A FLASH OF LIGHT. \\n \\n A MIST OF BLOOD plumes around Joseph's head. The bullet\",\n \" at the cops. EVERYONE OPENS FIRE. \\n \\n ALL OF A SUDDEN: A COP, that TOUGH-LOOKING COP we saw at \\n Joseph's house but a few moments earlier, is HIT by the\",\n \" WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY. \\n \\n VADIM NEZHINSKI, POISED TO SHOOT. \\n \\n Within what seems like a split second, Bobby raises his\",\n \" They did good. On his face. \\n \\n JACK SHAPIRO \\n Shut your fuckin' mouth. \\n \\n INT. JOSEPH'S CAR \\n \",\n \" The men all turn around. Joseph stands there, wounded but \\n COMMITTED: \\n \\n JOSEPH GRUSINSKY (CONT'D) \\n I'll be ready to come back and head\",\n \" The Guards stop him, and a messy struggle ensues. \\n \\n All of a sudden, Joseph's wife SANDRA emerges from the \\n ward. She looks devastated. The struggle stops. All fall\",\n \" \\n This gets Mike's attention. Joseph signals something to \\n him, he nods, moves to the back. Joseph walks over to \\n LOUIS, pokes his gut: \\n \",\n \" Joseph is unresponsive but conscious. All of a sudden: \\n \\n NURSE \\n Sir...? \\n \\n Joseph's hand closes around Bobby's fingers. The\",\n \" \\n Chaos begins. All of the men inside the small building \\n have aimed their guns into the WEEDS. But instead of \\n stopping because of the shooting, Bobby progresses \\n inexorably toward the structure, his shotgun poised to\",\n \" (CONTINUED) \\n \\n 125. \\n CONTINUED: \\n \\n \\n An ARMED GUARD, standing outside the shack, begins to fire\",\n \" The line of police and relatives now heap dirt onto the \\n coffin, which is in the ground. BOBBY and JOSEPH silently \\n lead the line, shoveling dirt and moving on. Rosario moves\",\n \" ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \\n immediately pins Joseph and the other two police inside the \\n vehicle. \\n \\n INT. VADIM'S COP CAR\",\n \" watch him with awe and respect. They back away from him. \\n He proceeds on toward the cars. \\n \\n HE SEES: Joseph inside one of them, still. Staring at him.\",\n \" \\n Joseph is deeply troubled by the prospect. \\n \\n MICHAEL SOLO (CONT'D) \\n What's it gonna be? \\n \\n ANGLE ON JOSEPH. \\n \",\n \" BOBBY GREEN \\n Joseph? \\n \\n Joseph eyes him, seems heartened by the sight of his \\n brother. But he is out of it, emotionally bludgeoned: \\n \",\n \" unable to move, holding onto his shotgun for dear life: \\n \\n BOBBY GREEN \\n Joe?! \\n \\n Joseph looks at his brother, shakes his head. Completely\",\n \" versa. CLOSE SHOT on JOSEPH. He sobers, his brashness \\n muted. Joe walks toward Vadim and his party. Vadim has \\n his face to the wall. Joseph kicks his legs further apart.\"\n ],\n [\n \" He's dealing H, cocaine, angel \\n dust... Operates out of that club \\n you manage. The El Caribe. \\n \\n Bobby's sense of humor disappears now. \\n \",\n \" CUT TO: \\n \\n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n A huge, bustling, vibrant nightclub, very `80's. Decadent,\",\n \" INT. EL CARIBE NIGHTCLUB - NIGHT \\n \\n A number of PEOPLE are HERE. It's PACKED. We are on the\",\n \" INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n A LARGE NEON SUN is lowered from the top of the theater.\",\n \" MARAT BUZHAYEV \\n Good evening. My name is Marat \\n Buzhayev, and I'm the owner of the \\n El Caribe. We have a special\",\n \" ANGLE on BOBBY as we GO TO: \\n \\n INT. EL CARIBE NIGHTCLUB - NIGHT \\n \\n A SHOW is about to go on. The place has a darker quality\",\n \" EXT. EL CARIBE NIGHTCLUB \\n \\n Mob scene. Bobby and Rosario and Louis and the gang enter. \\n \\n 22. \\n \\n \\n \",\n \" INT. EL CARIBE - CLUB ENTRANCE \\n \\n Bobby gleefully shakes hands upon entering, then splits \\n from the group. Rosario joins several girls as they fix \\n themselves up in front of large lobby mirrors...\",\n \" Still fervid, she is silent. CLUB MUSIC up... \\n \\n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n Bobby enters the place, determined. He has A BAG tucked\",\n \" Louis nods, understanding. \\n \\n EXT. OUTSIDE THE EL CARIBE \\n \\n Rosario leads Bobby back toward the ESCORT CAR. He leans \\n forward, grabs her arm. Sotto but intense:\",\n \" that. How `bout tomorrow night? \\n \\n BOBBY GREEN \\n Sounds good. \\n \\n PAVEL LUBYARSKY \\n Arright. We'll meet at El Caribe,\",\n \" INT. CAFE CAPPUCCINO - BRIGHTON AVENUE - NIGHT \\n \\n Across from the El Caribe. It's like a scene out of Balm\",\n \" pretty girl kisses him (the women love him). Moves with a \\n swagger, a DANCE. As he sways, he re-buttons his shirt, \\n claps his hands. He is the CLUB MANAGER, and HE LOVES\",\n \" The DOORS at the club's entrance have burst open. LOUD, \\n like a gunshot. COPS enter. Plainclothes and uniformed \\n both. JOSEPH comes in, holds up his badge, which hangs\",\n \" mock punches Louis' stomach too. To the gang, with CHEER: \\n \\n BOBBY GREEN (CONT'D) \\n Everybody, I gotta be at El Caribe \\n in an hour, so get ready!\",\n \" Bobby, and Bobby starts walking to him. \\n \\n INT. BACK OF THE CLUB \\n \\n Bobby approaches a table, reserved for Pavel and the rest \\n of the gang. Bobby joins them, with his bag. \\n \",\n \" and SECURITY GUYS are in the melee. Girls SCREAM. ROSARIO \\n moves past all this, to the front door. LOUIS FALSETTI, \\n forty, backs off from the multiple struggles all around\",\n \" As the man speaks, Bobby SCANS the room. HE SEES ROSARIO, \\n standing in the crowd behind the seated audience. Her face \\n is partially obscured. BOBBY CANNOT BELIEVE THE FLOOD OF\",\n \" This is the fuckin' guy right here. \\n Practically owns the place. \\n \\n MUMBLED AGREEMENT. The men surrounding Vadim are \\\"yes\\\"\",\n \" (CONTINUED) \\n \\n 31. \\n CONTINUED: \\n \\n \\n As Bobby gags, JOSEPH walks through the club with\"\n ],\n [\n \" \\n BOBBY GREEN \\n That's bullshit--she's clean. You \\n fuckin' keep away from her. \\n \\n Bobby realizes that NO ONE WANTS HIM HERE. He looks\",\n \" \\n 56. \\n CONTINUED: (2) \\n \\n \\n JACK SHAPIRO \\n (pointing to Bobby; \\n with some ridicule)\",\n \" Bobby senses the pressure being placed upon his brother, \\n and he moves Jack away from Joseph: \\n \\n BOBBY GREEN \\n All right, c'mon. Enough... \\n \",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" Then Bobby decides against it, bolts. On BURT as we GO TO: \\n \\n INT. MARAT'S APARTMENT - DAY \\n \\n BOBBY ENTERS. Packed with people. A family get-together\",\n \" Bobby is startled at this, his mouth momentarily drooping \\n open. He CAN SEE: \\n \\n HIS FATHER, FIRING his WEAPON out the window at the OLDS.\",\n \" Bobby gets up, into a crouch, amidst the gunfire. Dodging \\n the bullets. \\n \\n An ESU Police Officer does not recognize Bobby as an ally, \\n and he trains his assault rifle on Bobby. Bobby screams,\",\n \" up and down the block. They are all armed, with shotguns \\n and machine guns slung over their shoulders. A GARBAGE CAN \\n IS ON FIRE a few yards away. The men get out of the car. \\n They pull Bobby out: \\n \",\n \" Bobby knows it; so he dodges the Officer; the Officer \\n begins to unload his weapon, getting CLOSER to BOBBY. \\n \\n AND CLOSER. \\n \\n AND CLOSER. Bobby is about to be killed when:\",\n \" a \\\"thank you.\\\" Spiro pats him on the shoulder, leaves. \\n Bobby turns to Rosario, knowing she's somewhat out of place \\n here. Children run by, having fun. Bobby eyes them, then\",\n \" Bobby shakes his head. He is wired, out of it, but he \\n pulls himself together. His jaw clenches. With fire, an \\n edge of defiance: \\n \\n BOBBY GREEN\",\n \" (CONTINUED) \\n \\n 97. \\n CONTINUED: \\n \\n \\n Bobby eyes his father, spent, crestfallen--but not\",\n \" distraught. He breaks down. Bobby is there to catch him \\n and does. \\n (CONTINUED) \\n \\n 102. \\n CONTINUED: (2) \\n \",\n \" (CONTINUED) \\n \\n 128. \\n CONTINUED: \\n \\n \\n All the officers back up--all of them except Bobby. Who\",\n \" Bobby emerges from the elevator, emotionally distraught. \\n He SEES, in one far corner of the hall, two young Latino \\n teens smoking CRACK. \\n \",\n \" subdued \\\"hellos.\\\" She is not exactly, well, PROPER- \\n LOOKING. And she isn't white. She picks up on this, tries \\n to act as though she doesn't care. Burt turns to Bobby: \\n \",\n \" He's taking it very hard. \\n (BEAT) \\n They had to sedate him. \\n \\n These words hit Bobby. His eyes close, forcing tears down \\n his cheeks. \\n \",\n \" Bobby nods to them. Vadim watches them walk away. Then: \\n \\n VADIM NEZHINSKI \\n You know-- \\n (moves closer; \\n WHISPERED:)\",\n \" (CONTINUED) \\n \\n 33. \\n CONTINUED: (3) \\n \\n \\n A HUMILIATED BOBBY, who eyes him back. Bobby is then\",\n \" Bobby acknowledges that with a single nod of his head. The \\n man departs. Bobby grasps the lighter tight, looks at the \\n man as he virtually disappears back into the fog... \\n \\n INT. CHURCH - EARLY EVENING\"\n ],\n [\n \" INT. EL CARIBE NIGHTCLUB - NIGHT \\n \\n A number of PEOPLE are HERE. It's PACKED. We are on the\",\n \" Louis nods, understanding. \\n \\n EXT. OUTSIDE THE EL CARIBE \\n \\n Rosario leads Bobby back toward the ESCORT CAR. He leans \\n forward, grabs her arm. Sotto but intense:\",\n \" He's dealing H, cocaine, angel \\n dust... Operates out of that club \\n you manage. The El Caribe. \\n \\n Bobby's sense of humor disappears now. \\n \",\n \" CUT TO: \\n \\n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n A huge, bustling, vibrant nightclub, very `80's. Decadent,\",\n \" The DOORS at the club's entrance have burst open. LOUD, \\n like a gunshot. COPS enter. Plainclothes and uniformed \\n both. JOSEPH comes in, holds up his badge, which hangs\",\n \" MARAT BUZHAYEV \\n Good evening. My name is Marat \\n Buzhayev, and I'm the owner of the \\n El Caribe. We have a special\",\n \" INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n A LARGE NEON SUN is lowered from the top of the theater.\",\n \" EXT. EL CARIBE NIGHTCLUB \\n \\n Mob scene. Bobby and Rosario and Louis and the gang enter. \\n \\n 22. \\n \\n \\n \",\n \" ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \\n immediately pins Joseph and the other two police inside the \\n vehicle. \\n \\n INT. VADIM'S COP CAR\",\n \" INT. EL CARIBE - CLUB ENTRANCE \\n \\n Bobby gleefully shakes hands upon entering, then splits \\n from the group. Rosario joins several girls as they fix \\n themselves up in front of large lobby mirrors...\",\n \" Still fervid, she is silent. CLUB MUSIC up... \\n \\n INT. EL CARIBE NIGHTCLUB - MAIN ROOM \\n \\n Bobby enters the place, determined. He has A BAG tucked\",\n \" into a crouch and move slowly toward the structure. A GROUP \\n OF ESU COPS charge MARAT'S CAR, GOING FOR THE CHILDREN--who \\n watch this with fear and incomprehension... \\n \",\n \" No I.D. on the guys in the car. \\n Probably illegals. But Mike-- \\n (pulls M. closer) \\n --We had that place locked up \\n tight. How they knew where they\",\n \" and SECURITY GUYS are in the melee. Girls SCREAM. ROSARIO \\n moves past all this, to the front door. LOUIS FALSETTI, \\n forty, backs off from the multiple struggles all around\",\n \" ANGLE on BOBBY as we GO TO: \\n \\n INT. EL CARIBE NIGHTCLUB - NIGHT \\n \\n A SHOW is about to go on. The place has a darker quality\",\n \" up and down the block. They are all armed, with shotguns \\n and machine guns slung over their shoulders. A GARBAGE CAN \\n IS ON FIRE a few yards away. The men get out of the car. \\n They pull Bobby out: \\n \",\n \" \\n INT. POLICE STATION - HALLWAY - NIGHT \\n \\n Bobby and Rosario, outside an office. Armed cops are up \\n and down the hall. We HEAR conversation through the walls.\",\n \" \\n INT. POLICE SERVICE AREA TWO - ENTRANCE \\n \\n The place is hopping, with police everywhere. Almost like \\n a fraternity house. BOBBY CHARGES IN, looks around.\",\n \" A.D.A.'s. \\n \\n JACK SHAPIRO \\n You got it... \\n \\n Joseph gets in his lead car, also an unmarked Chevy. Both\",\n \" The line of police and relatives now heap dirt onto the \\n coffin, which is in the ground. BOBBY and JOSEPH silently \\n lead the line, shoveling dirt and moving on. Rosario moves\"\n ],\n [\n \" INT. POLICE STATION - MUSTER ROOM \\n \\n Many cops, mug shots and files strewn all over. A \\n discussion, in media res. Many cops approach Bobby, all of\",\n \" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \\n \\n EXT. POLICE SERVICE AREA NUMBER TWO \\n \\n It's a huge municipal structure. Bobby bolts inside.\",\n \" 52. \\n CONTINUED: (3) \\n \\n \\n PAVEL LUBYARSKY \\n Police are a fuckin' joke, dude--\",\n \" 37. \\n \\n \\n \\n INT. POLICE SERVICE AREA NUMBER TWO - UPSTAIRS OFFICE \\n \\n Present: Joseph, Michael, Jack. Joe's seated at the head\",\n \" INT. JOSEPH'S HOUSE - DINING ROOM - NIGHT \\n \\n The group is all together. Cops we don't know pack the \\n room, standing around the table. Seated at the table:\",\n \" Bobby gets up, out of the weeds, SHOTGUN aimed: \\n \\n BOBBY GREEN \\n You're surrounded by the police! \\n Come out now, with your hands on \\n your heads! \\n \",\n \" ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \\n immediately pins Joseph and the other two police inside the \\n vehicle. \\n \\n INT. VADIM'S COP CAR\",\n \" They open the back, FILLED WITH FURS. They take a number \\n of coats out of the BACK OF THE VAN, bring them to the \\n shack... \\n \\n ALL THE COPS appear confused. What the hell is this?\",\n \" back at him. He's GOING TO HAVE TO TELL HER HIS DECISION. \\n A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES \\n into the AIR. FIVE SHOTS... \\n \",\n \" The line of police and relatives now heap dirt onto the \\n coffin, which is in the ground. BOBBY and JOSEPH silently \\n lead the line, shoveling dirt and moving on. Rosario moves\",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" A cop got hit today. They ain't \\n never gonna sit still for that. \\n \\n Another member of the gang speaks up: Pavel: \\n \\n \\n \\n (CONTINUED) \\n \",\n \" Thank you for coming. \\n \\n MAYOR \\n Chief Grusinsky, an attack on an \\n officer is an attack on society. \\n Whoever did this, in a clean \\n neighborhood like that--they gotta\",\n \" BOBBY EMERGES FROM THE FIRE... HE WALKS TOWARD THE POLICE \\n CARS. THE POLICE ARE ASSEMBLED around: MARAT BUZHAYEV.\",\n \" A LINE of UNIFORMED POLICE OFFICERS forms. They move in \\n unison. Seems like a hundred men. Bobby and Jack and some \\n of his men are coming from one side, the line from another. \\n \",\n \" and BOBBY. The bell stops. The SEA of BLUE, the POLICE, \\n genuflect. Our characters do not. Instead, BOBBY STARES \\n at JOSEPH AND BURT across the crowded room. They return\",\n \" The DOORS at the club's entrance have burst open. LOUD, \\n like a gunshot. COPS enter. Plainclothes and uniformed \\n both. JOSEPH comes in, holds up his badge, which hangs\",\n \" into a crouch and move slowly toward the structure. A GROUP \\n OF ESU COPS charge MARAT'S CAR, GOING FOR THE CHILDREN--who \\n watch this with fear and incomprehension... \\n \",\n \" he's gonna have to testify, he \\n should know all this. \\n \\n JOSEPH GRUSINSKY \\n This's police business, Pop--you \\n gonna make him an honorary member\",\n \" As he hammers away, he is involved in some CHEERFUL BANTER \\n with fellow cops: \\n \\n BURT GRUSINSKY \\n You gotta keep your hands up! Keep \\n your hands up!\"\n ],\n [\n \" FACE.) Vadim mutters, aloud but sotto, in Russian: \\n \\n VADIM NEZHINSKI (SUBTITLE) \\n He is a dead man... \\n \\n OFFICERS\",\n \" VADIM slides down to the BACK ROOM in the APARTMENT BELOW. \\n Panicked, he cocks his gun, searches for an escape route. \\n \\n INT. BEDROOM \\n \",\n \" Everyone LAUGHS, Vadim most of all. He KISSES Bobby on the \\n head. Bobby looks at Rosario as Vadim continues: \\n \\n (CONTINUED) \\n \",\n \" still very much alive. His eyes are popping, and he throws \\n his hands around Bobby's THROAT. VADIM CHARGES INTO: \\n \\n INT. BACK ROOM \\n \",\n \" This is the fuckin' guy right here. \\n Practically owns the place. \\n \\n MUMBLED AGREEMENT. The men surrounding Vadim are \\\"yes\\\"\",\n \" WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY. \\n \\n VADIM NEZHINSKI, POISED TO SHOOT. \\n \\n Within what seems like a split second, Bobby raises his\",\n \" Vadim leans back in his chair. Bobby's eyes widen. Vadim \\n makes a \\\"POP\\\" sound. Bobby tries to hide his shock. Vadim \\n grabs Bobby's arm, squeezes it. \\n \",\n \" Joseph moves close to Vadim. With arrogant brio, re: the \\n Dark-Skinned White Man, in Russian, subtitled: \\n \\n JOSEPH GRUSINSKY (CONT'D)\",\n \" VADIM IS GONE. \\n \\n INT. BURT'S HOUSE - KITCHEN \\n \\n Burt, dressed in his v-neck undershirt, is reaching into a\",\n \" This's too dangerous. We'll all \\n wind up killing each other-- \\n \\n BOBBY GREEN \\n Vadim is in here with us. Radio \\n our guys, tell `em to get into the\",\n \" back on Vadim, walks through the fires around him. As \\n Vadim calls after him (\\\"BOBBY! \\n (CONTINUED) \\n \\n 129. \\n CONTINUED:\",\n \" Bobby nods to them. Vadim watches them walk away. Then: \\n \\n VADIM NEZHINSKI \\n You know-- \\n (moves closer; \\n WHISPERED:)\",\n \" VADIM NEZHINSKI \\n You got both matches and a lighter. \\n \\n Bobby realizes instantly that Vadim is right. Bobby \\n shrugs, feigning innocence. He braces himself and decides\",\n \" versa. CLOSE SHOT on JOSEPH. He sobers, his brashness \\n muted. Joe walks toward Vadim and his party. Vadim has \\n his face to the wall. Joseph kicks his legs further apart.\",\n \" Bobby inches ever closer to the rusted LETTER OPENER that \\n the Brown-Haired Man had used to open a package of cocaine. \\n Vadim puts down the lighter. And it occurs to him: \\n \",\n \" Tomorrow. \\n \\n We CUT TO the over-the-shoulder of the man, and leaning out \\n of the DARKNESS and into the LIGHT: ELI MIRICHENKO, Marat's\",\n \" As Joseph looks back at Vadim's vehicle, behind him: \\n \\n JOSEPH GRUSINSKY \\n He makes a deal today, maybe my \\n brother don't gotta take the\",\n \" AD-LIB amusement from the \\\"yes\\\" men. Vadim moves closer: \\n \\n VADIM NEZHINSKI (CONT'D) \\n Listen uh, I come to you, I tell\",\n \" got a lot more comin' in--a LOT \\n more. In a way nobody could ever \\n trace. \\n \\n Vadim steps away from the narcotics and towards Bobby: \\n \",\n \" surrounded by his gang: VADIM NEZHINSKI. Thirty-five, acne- \\n scarred, huge black pompadour, big gut. One of his men,\"\n ],\n [\n \" all undercover. \\n \\n Bobby laughs happily, knowing this is bullshit. Hazel \\n shakes her head, joins the gals. Louis starts emptying his \\n pockets. Out comes a pharmacy. DRUGS SPILL all over a\",\n \" INT. BASEMENT \\n \\n A wiry YOUNG POLICE REPORTER, in uniform, moves to Joseph. \\n Burt stands nearby, proud: \\n \\n YOUNG POLICE REPORTER\",\n \" The DOORS at the club's entrance have burst open. LOUD, \\n like a gunshot. COPS enter. Plainclothes and uniformed \\n both. JOSEPH comes in, holds up his badge, which hangs\",\n \" The line of police and relatives now heap dirt onto the \\n coffin, which is in the ground. BOBBY and JOSEPH silently \\n lead the line, shoveling dirt and moving on. Rosario moves\",\n \" 52. \\n CONTINUED: (3) \\n \\n \\n PAVEL LUBYARSKY \\n Police are a fuckin' joke, dude--\",\n \" different color from the other, and he's had reconstructive \\n surgery on his jaw. There is, of course, a scar, and he's \\n lost a lot of weight. \\n \\n Behind him, Burt waves everyone closer. Jack and Mike and\",\n \" he's gonna have to testify, he \\n should know all this. \\n \\n JOSEPH GRUSINSKY \\n This's police business, Pop--you \\n gonna make him an honorary member\",\n \" INT. JOSEPH'S HOUSE - DINING ROOM - NIGHT \\n \\n The group is all together. Cops we don't know pack the \\n room, standing around the table. Seated at the table:\",\n \" You get burnt and we gotta put you \\n in protection, it's still better \\n than winding up dead. An informant \\n dies, they talk about you for a \\n day. A week later, ain't no one\",\n \" Indeed I did, my friend! \\n (quieter, to Bobby) \\n See, I woulda been here sooner, \\n `cept I hadda go across town, lose \\n all the cops-- \\n \",\n \" Several WHITE-GLOVED COPS move to help, and then, trying to \\n recompose himself, he squeezes his brother's forearm for \\n support. Tries to straighten: \\n \\n JOSEPH GRUSINSKY\",\n \" Bobby gets up, into a crouch, amidst the gunfire. Dodging \\n the bullets. \\n \\n An ESU Police Officer does not recognize Bobby as an ally, \\n and he trains his assault rifle on Bobby. Bobby screams,\",\n \" back at him. He's GOING TO HAVE TO TELL HER HIS DECISION. \\n A LINE OF POLICEMEN in white gloves begins to FIRE RIFLES \\n into the AIR. FIVE SHOTS... \\n \",\n \" I'm gonna help `em set up \\n Nezhinski. \\n \\n Rosario is shocked. Almost inaudible: \\n \\n ROSARIO DIAZ \\n What...? \\n \",\n \" We PAN AROUND to REVEAL: BOBBY GREEN, as he steps forward, \\n in FORMAL POLICE UNIFORM. His HAIR is cut, closely-cropped\",\n \" and SECURITY GUYS are in the melee. Girls SCREAM. ROSARIO \\n moves past all this, to the front door. LOUIS FALSETTI, \\n forty, backs off from the multiple struggles all around\",\n \" is here, as are Jack and Michael and a whole gang of cops. \\n Bustling by a set of lockers. Very businesslike. Joseph \\n cleans his piece. Michael leans over to him: \\n \\n MICHAEL SOLO\",\n \" cover. He opens his door to slink out. \\n \\n VADIM HITS THE FLOOR. \\n \\n The other two officers are immediately riddled with \\n GUNFIRE. \\n \",\n \" of a long table, which is covered with coffee, deli \\n sandwich remnants, and police reports, etc. They are \\n working; we greet them in media res. \\n \\n JOSEPH GRUSINSKY\",\n \" that's just taken place. CLOSE SHOT ON BOBBY as we GO TO: \\n \\n EXT. POLICE SERVICE AREA NUMBER TWO \\n \\n It's a huge municipal structure. Bobby bolts inside.\"\n ],\n [\n \" Bobby is startled at this, his mouth momentarily drooping \\n open. He CAN SEE: \\n \\n HIS FATHER, FIRING his WEAPON out the window at the OLDS.\",\n \" (CONTINUED) \\n \\n 97. \\n CONTINUED: \\n \\n \\n Bobby eyes his father, spent, crestfallen--but not\",\n \" \\n BOBBY GREEN \\n You know my father is dead because \\n of you? \\n \\n Louis begins to sob quietly, shivering. He brings his hand \\n to his mouth. Bobby takes a threatening step forward:\",\n \" \\n Burt is dead. \\n \\n Other cops surround them. Bobby looks up at all of them, \\n they at him. Broken, he pushes the others away. As water \\n drips off his face: \\n \",\n \" Bobby touches his father's arm, and Burt spins around: \\n \\n BURT GRUSINSKY \\n What do you want? You stayed out \\n of it--you got what you wanted.\",\n \" WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \\n LYING ON THE STREET. Bobby bends down, turning his father \\n over. His father's blood is all over his hands now.\",\n \" NEXT TO JOSEPH: BURT GRUSINSKY, sixty. Bobby's father, we \\n will soon learn. Tough as nails. Unsentimental, ex- \\n military, rough-edged, vital. In this world, he is a king.\",\n \" He's taking it very hard. \\n (BEAT) \\n They had to sedate him. \\n \\n These words hit Bobby. His eyes close, forcing tears down \\n his cheeks. \\n \",\n \" up and down the block. They are all armed, with shotguns \\n and machine guns slung over their shoulders. A GARBAGE CAN \\n IS ON FIRE a few yards away. The men get out of the car. \\n They pull Bobby out: \\n \",\n \" No! Now is nothing! Look at \\n what's happened to your family, \\n Bobby--your father, he's dead--look \\n at your brother! It could all \\n happen to you! \\n \",\n \" Bobby knows it; so he dodges the Officer; the Officer \\n begins to unload his weapon, getting CLOSER to BOBBY. \\n \\n AND CLOSER. \\n \\n AND CLOSER. Bobby is about to be killed when:\",\n \" BOBBY WATCHES as BLOOD COVERS BURT'S FACE. He's been HIT. \\n He loses control of the automobile... Bobby freezes, IN\",\n \" \\n Bobby nods. \\n \\n ROSARIO DIAZ (CONT'D) \\n Me and my mother, we said a prayer \\n for him. \\n \\n Something seems to dawn on Bobby: \\n \",\n \" \\n 56. \\n CONTINUED: (2) \\n \\n \\n JACK SHAPIRO \\n (pointing to Bobby; \\n with some ridicule)\",\n \" Bobby contemplates this; we SEE that he tacitly accepts his \\n father's words. Then: \\n \\n BOBBY GREEN \\n Well, why's he goin' back to work\",\n \" son when Bobby is not looking, lowering it to no avail. \\n \\n INT. BASEMENT \\n \\n The music is off now. Bobby comes down, Burt follows. \\n Joseph is getting something whispered in his ear by another\",\n \" INT. PAN AMERICAN MOTOR INN - SUITE - LIVING ROOM - DAY \\n \\n Bobby is still in his funeral suit, standing near the sofa. \\n Smoking a cigarette, holding a drink in his hand. An ARMED\",\n \" (CONTINUED) \\n \\n 128. \\n CONTINUED: \\n \\n \\n All the officers back up--all of them except Bobby. Who\",\n \" Bobby is standing, smoking a cigarette, holding back tears. \\n Rosario is seated on a nearby bench--wet, shivering, \\n stunned. Rosario looks to Bobby: \\n \\n ROSARIO DIAZ\",\n \" Rosario knows something is wrong, approaches him. \\n \\n ROSARIO DIAZ \\n Bobby? \\n \\n BOBBY GREEN \\n My brother was shot...they're\"\n ],\n [\n \" (CONTINUED) \\n \\n 97. \\n CONTINUED: \\n \\n \\n Bobby eyes his father, spent, crestfallen--but not\",\n \" \\n BOBBY GREEN \\n You know my father is dead because \\n of you? \\n \\n Louis begins to sob quietly, shivering. He brings his hand \\n to his mouth. Bobby takes a threatening step forward:\",\n \" Bobby is startled at this, his mouth momentarily drooping \\n open. He CAN SEE: \\n \\n HIS FATHER, FIRING his WEAPON out the window at the OLDS.\",\n \" \\n Burt is dead. \\n \\n Other cops surround them. Bobby looks up at all of them, \\n they at him. Broken, he pushes the others away. As water \\n drips off his face: \\n \",\n \" WIDE SHOT of the BLOCK as BOBBY MOVES TO HIS FATHER, WHO IS \\n LYING ON THE STREET. Bobby bends down, turning his father \\n over. His father's blood is all over his hands now.\",\n \" He's taking it very hard. \\n (BEAT) \\n They had to sedate him. \\n \\n These words hit Bobby. His eyes close, forcing tears down \\n his cheeks. \\n \",\n \" \\n Bobby nods. \\n \\n ROSARIO DIAZ (CONT'D) \\n Me and my mother, we said a prayer \\n for him. \\n \\n Something seems to dawn on Bobby: \\n \",\n \" Bobby contemplates this; we SEE that he tacitly accepts his \\n father's words. Then: \\n \\n BOBBY GREEN \\n Well, why's he goin' back to work\",\n \" The police see the unforgiving expression on Bobby's face \\n and the reality of the old man in front of them. Bobby \\n turns to the others, particularly JACK. He looks at him, \\n dark-eyed. Then he turns away and starts walking, making\",\n \" Bobby touches his father's arm, and Burt spins around: \\n \\n BURT GRUSINSKY \\n What do you want? You stayed out \\n of it--you got what you wanted.\",\n \" Bobby acknowledges that with a single nod of his head. The \\n man departs. Bobby grasps the lighter tight, looks at the \\n man as he virtually disappears back into the fog... \\n \\n INT. CHURCH - EARLY EVENING\",\n \" Bobby again eyes Joseph, who stands over the grave wiping \\n his eyes with a handkerchief. He WALKS OVER to him, puts \\n his arm around him. Into his ear: \\n \\n BOBBY GREEN\",\n \" No! Now is nothing! Look at \\n what's happened to your family, \\n Bobby--your father, he's dead--look \\n at your brother! It could all \\n happen to you! \\n \",\n \" CUT back to his OWN SHOOTING... He cannot bear reliving \\n the terror of his moment... \\n \\n As the COPS move in: Bobby spins around to look for his \\n brother. He finds him still on the ground. Joseph seems\",\n \" Bobby knows it; so he dodges the Officer; the Officer \\n begins to unload his weapon, getting CLOSER to BOBBY. \\n \\n AND CLOSER. \\n \\n AND CLOSER. Bobby is about to be killed when:\",\n \" It is as though all of the emotions in our story find their \\n outlet here, in this moment. Bobby lets all the remaining \\n feeling drain from him until he has nothing left. \\n \\n After this outburst, he is exhausted. He calms, breathing\",\n \" (CONTINUED) \\n \\n 128. \\n CONTINUED: \\n \\n \\n All the officers back up--all of them except Bobby. Who\",\n \" it up. I'll be ready and, and \\n we'll get `em. \\n (BEAT) \\n After the funeral. \\n \\n Joseph turns and reenters the room with the coffin. Bobby\",\n \" son when Bobby is not looking, lowering it to no avail. \\n \\n INT. BASEMENT \\n \\n The music is off now. Bobby comes down, Burt follows. \\n Joseph is getting something whispered in his ear by another\",\n \" Then Bobby decides against it, bolts. On BURT as we GO TO: \\n \\n INT. MARAT'S APARTMENT - DAY \\n \\n BOBBY ENTERS. Packed with people. A family get-together\"\n ],\n [\n \" FACE.) Vadim mutters, aloud but sotto, in Russian: \\n \\n VADIM NEZHINSKI (SUBTITLE) \\n He is a dead man... \\n \\n OFFICERS\",\n \" VADIM slides down to the BACK ROOM in the APARTMENT BELOW. \\n Panicked, he cocks his gun, searches for an escape route. \\n \\n INT. BEDROOM \\n \",\n \" still very much alive. His eyes are popping, and he throws \\n his hands around Bobby's THROAT. VADIM CHARGES INTO: \\n \\n INT. BACK ROOM \\n \",\n \" WITH HIS ARM RAISED, POINTING, RIGHT AT BOBBY. \\n \\n VADIM NEZHINSKI, POISED TO SHOOT. \\n \\n Within what seems like a split second, Bobby raises his\",\n \" cover. He opens his door to slink out. \\n \\n VADIM HITS THE FLOOR. \\n \\n The other two officers are immediately riddled with \\n GUNFIRE. \\n \",\n \" VADIM IS GONE. \\n \\n INT. BURT'S HOUSE - KITCHEN \\n \\n Burt, dressed in his v-neck undershirt, is reaching into a\",\n \" back on Vadim, walks through the fires around him. As \\n Vadim calls after him (\\\"BOBBY! \\n (CONTINUED) \\n \\n 129. \\n CONTINUED:\",\n \" Everyone LAUGHS, Vadim most of all. He KISSES Bobby on the \\n head. Bobby looks at Rosario as Vadim continues: \\n \\n (CONTINUED) \\n \",\n \" Moving with tremendous speed, he begins to light the FURS \\n on FIRE... SMOKE... Vadim BEGINS TO COUGH, taking a \\n suitcase of money with him. He backs out of the STRUCTURE. \\n \",\n \" for a moment in the back of the vehicle; he watches through \\n the window as his father walks to his car. Bobby sinks to \\n the cot, lies down. AS VADIM NEZHINSKI is LED AWAY in \\n HANDCUFFS...\",\n \" Two of the men PULL VADIM toward them. The third man in a \\n ski mask is hit by Jack's fire, but has just enough \\n adrenaline to get into the SECOND CAR. \\n \\n IT SPEEDS AWAY.\",\n \" Vadim violently pulls out Bobby's pockets. Out falls: a \\n WALLET, SOME CHANGE, KEYS, A CIGARETTE LIGHTER, MATCHES. \\n He sifts through the items, lighting the lighter. It\",\n \" stands, shotgun in hand, waiting for VADIM NEZHINSKI to \\n emerge from the now-burning brush. \\n \\n TWO OTHER MEN come out of the fire, coughing. They are\",\n \" ANOTHER CAR PULLS IN BETWEEN THEM. AUTOMATIC WEAPONS FIRE \\n immediately pins Joseph and the other two police inside the \\n vehicle. \\n \\n INT. VADIM'S COP CAR\",\n \" versa. CLOSE SHOT on JOSEPH. He sobers, his brashness \\n muted. Joe walks toward Vadim and his party. Vadim has \\n his face to the wall. Joseph kicks his legs further apart.\",\n \" \\n Burt is dead. \\n \\n Other cops surround them. Bobby looks up at all of them, \\n they at him. Broken, he pushes the others away. As water \\n drips off his face: \\n \",\n \" \\n VADIM NEZHINSKI \\n Don't...don't let me die in here... \\n \\n Bobby stands over him for a BEAT. Then Bobby turns his\",\n \" VADIM NEZHINSKI \\n You got both matches and a lighter. \\n \\n Bobby realizes instantly that Vadim is right. Bobby \\n shrugs, feigning innocence. He braces himself and decides\",\n \" VADIM SCURRIES INTO THE WEEDS... THE SMALL STRUCTURE \\n REALLY STARTS TO BURN. It is an odd flame, BLUE and \\n SILENT. \\n \",\n \" Vadim leans back in his chair. Bobby's eyes widen. Vadim \\n makes a \\\"POP\\\" sound. Bobby tries to hide his shock. Vadim \\n grabs Bobby's arm, squeezes it. \\n \"\n ],\n [\n \" As the man speaks, Bobby SCANS the room. HE SEES ROSARIO, \\n standing in the crowd behind the seated audience. Her face \\n is partially obscured. BOBBY CANNOT BELIEVE THE FLOOD OF\",\n \" LOUIS FALSETTI. \\n \\n At that moment, BOBBY SEES his old friend, and the two make \\n EYE CONTACT. Bobby is greatly moved by his appearance, and\",\n \" \\n 56. \\n CONTINUED: (2) \\n \\n \\n JACK SHAPIRO \\n (pointing to Bobby; \\n with some ridicule)\",\n \" behind his father. Bobby sees Jack and Michael, now seated \\n several rows back. BEAT, then: \\n \\n MICHAEL SOLO (CONT'D) \\n Hello, Bobby. Nice suit you got on. \\n \",\n \" BOBBY DOESN'T SEE HIM YET. BUT WE CAN. THE CAMERA ZOOMS \\n INTO BOBBY, WITH THE FIGURE BEHIND HIM. BOBBY SEES THE\",\n \" Bobby is startled at this, his mouth momentarily drooping \\n open. He CAN SEE: \\n \\n HIS FATHER, FIRING his WEAPON out the window at the OLDS.\",\n \" BOBBY GREEN (CONT'D) \\n They're getting started--we should \\n probably go in now. \\n \\n INT. AUDITORIUM \\n \",\n \" The ceremony is getting underway. As Bobby and Joseph move \\n past the seated crowd toward their chairs in front: \\n \\n JOSEPH GRUSINSKY \\n You know, I think Pop would be real\",\n \" The two brothers make eye contact. The crowd quiets a bit. \\n Bobby smiles at the sight of his brother. Joseph gets \\n emotional, too: \\n \\n JOSEPH GRUSINSKY (CONT'D)\",\n \" SEES his family, though they don't see him yet. To \\n Rosario, quiet: \\n \\n BOBBY GREEN \\n That's them there. In the corner.\",\n \" looks back into the grave. \\n \\n BOBBY GREEN (CONT'D) \\n This is where I belong... \\n \\n ANGLE BACK on Bobby, as he spots ROSARIO, who stares right\",\n \" ALL OF A SUDDEN: COMING THROUGH THE CROWD: BOBBY. When \\n Louis sees his friend, he lights up. Bobby's furious \\n inside, but strangely calm outside: \\n \",\n \" behind them. Bobby SEES: BEYOND THE CEMETARY GROUNDS: \\n TEENAGERS have climbed the trees. And they're LAUGHING at \\n the spectacle. Michael stands next to Bobby. \\n \",\n \" BOBBY stands inside an abandoned parking kiosk. (He's been \\n watching from afar.) Jack and Mike approach their parked \\n car. He tries to obscure himself partially inside the \\n kiosk. They see him. \\n \",\n \" introduce me this way. If you \\n don't mind. \\n \\n The CHAPLAIN looks at the paper, nods. He then walks to \\n the podium. Bobby sits as the Chaplain begins: \\n \",\n \" gentlemen, Bobby Green, who used to \\n be our manager here... \\n \\n MORE APPLAUSE. THE SPOTLIGHT swings to Bobby, who stands\",\n \" Bobby nods subtly, mouths a \\\"THANK YOU.\\\" The Guards step \\n aside. He walks to the doors. Pauses. ENTERS: \\n \\n INT. WARD \\n \",\n \" AND THEN, CLOSE SHOT ON BOBBY: THREE QUICK CUTS, CLOSER AND \\n CLOSER...SILENCE... He sees, through the rain: a LONG\",\n \" are HERE. White gloves and all. Milling about in a white \\n plaster walled room. Upbeat chatter. Then: Bobby emerges \\n through the DOORS in his DRESS BLUES. Upon seeing him, the\",\n \" Bobby acknowledges that with a single nod of his head. The \\n man departs. Bobby grasps the lighter tight, looks at the \\n man as he virtually disappears back into the fog... \\n \\n INT. CHURCH - EARLY EVENING\"\n ]\n]"},"questions":{"kind":"list like","value":["Where is the El Carib nightclub located?","What is Bobby Green's father's profession?","When Bobby goes undercover, where does he hide a police listening device?","What does Bobby do to avenge his father's death?","What does Amanda do when Bobby joins the police force without her consent?","How long is Joseph hospitalized after he is wounded in an ambush?","What illegial activity is Vadim's operation engaged in? ","What does Bobby do when he sees his father's body?","After Bobby's father is killed, where do the police take Bobby and Amanda?","What is the name of the nightclub Bobby Green manages?","Who is Marat Buzhayev?","Why is it that Bobby and Joseph almost get into a physical altercation?","What it the primary purpose of Bobby joining the police force?","At what point does Vadim escape police custody?","How does Burt ultimately die?","When Bobby sees Amanda present in the audience, what is actually happening?","Why does Joseph decide to leave the police force?","Who gives the valedictorian address at the police academy graduation ceremony?","Who is directly responsible for shooting Joseph?","Who is the manager of El Caribe nightclub?","Who does Bobby distance himself from?","Who leads a police raid on El Caribe?","Who are the polce trying to make a case against?","Who does Vadim say will be the next victim?","Who goes undercover to help the police?","How does Bobby's father die?","What does Bobby decide to do after the death of his father?","How does Vadim die?","Who does Bobby think he sees in the audience at graduation?"],"string":"[\n \"Where is the El Carib nightclub located?\",\n \"What is Bobby Green's father's profession?\",\n \"When Bobby goes undercover, where does he hide a police listening device?\",\n \"What does Bobby do to avenge his father's death?\",\n \"What does Amanda do when Bobby joins the police force without her consent?\",\n \"How long is Joseph hospitalized after he is wounded in an ambush?\",\n \"What illegial activity is Vadim's operation engaged in? \",\n \"What does Bobby do when he sees his father's body?\",\n \"After Bobby's father is killed, where do the police take Bobby and Amanda?\",\n \"What is the name of the nightclub Bobby Green manages?\",\n \"Who is Marat Buzhayev?\",\n \"Why is it that Bobby and Joseph almost get into a physical altercation?\",\n \"What it the primary purpose of Bobby joining the police force?\",\n \"At what point does Vadim escape police custody?\",\n \"How does Burt ultimately die?\",\n \"When Bobby sees Amanda present in the audience, what is actually happening?\",\n \"Why does Joseph decide to leave the police force?\",\n \"Who gives the valedictorian address at the police academy graduation ceremony?\",\n \"Who is directly responsible for shooting Joseph?\",\n \"Who is the manager of El Caribe nightclub?\",\n \"Who does Bobby distance himself from?\",\n \"Who leads a police raid on El Caribe?\",\n \"Who are the polce trying to make a case against?\",\n \"Who does Vadim say will be the next victim?\",\n \"Who goes undercover to help the police?\",\n \"How does Bobby's father die?\",\n \"What does Bobby decide to do after the death of his father?\",\n \"How does Vadim die?\",\n \"Who does Bobby think he sees in the audience at graduation?\"\n]"},"answers":{"kind":"list like","value":[["Brighton Beach.","Brighton Beach. "],["He is the NYPD Deputy Chief.","he is NYPD Deputy Chief"],["The device is hidden in a cigarette lighter.","Hidden in a cigarette lighter"],["He officially joins the police force.","joins the police force"],["Amanda leaves Bobby.","She leaves him. "],["Joseph is in the hospital for four months.","four months"],["Vadim's operation is smuggling cocaine.","drugs"],["Bobby passes out in the rain.","faints"],["To a hotel near Kennedy Airport.","a hotel near Kennedy Airport"],["El Caribe","El Caribe nightclub in Brighton Beach"],["The owner of the night club.","Bobby's boss"],["Because Bobby doesn't cooperate with the raid Joseph leads on El Caribe to arrest Vadim ","Bobby refuses to cooperate"],["To be able to avenge his father","So he can avenge his father."],["When he is being transported to the hospital","while being transported to the hospital"],["He is shot following a car chase.","He is shot during a car chase."],["It is only an illusion of Amanda.","It's an illusion"],["After the shooting, he realizes he needs to spend more time with his children.","he needed to spend more time with his family"],["Bobby ","Bobby gives it. "],["Vadim","a masked assailant working for Vadim"],["Bobby Green","Bobby Green. "],["His father and his brother.","His dad and his brother."],["Bobby's brother Joseph","Joseph Grusinsky."],["Vadim","Vadim Nezhinski."],["The Chief","the Chief, Bobby's father"],["Bobby","Bobby Green"],["He is shot by Vadim's men.","He is shot and killed in a convoy operation by one of drug lord, Vadim's men"],["He joins the police force.","officially join the NYPD"],["He gets shot in the chest by Bobby.","Bobby shoots him in the chest"],["Amanda","Amanda"]],"string":"[\n [\n \"Brighton Beach.\",\n \"Brighton Beach. \"\n ],\n [\n \"He is the NYPD Deputy Chief.\",\n \"he is NYPD Deputy Chief\"\n ],\n [\n \"The device is hidden in a cigarette lighter.\",\n \"Hidden in a cigarette lighter\"\n ],\n [\n \"He officially joins the police force.\",\n \"joins the police force\"\n ],\n [\n \"Amanda leaves Bobby.\",\n \"She leaves him. \"\n ],\n [\n \"Joseph is in the hospital for four months.\",\n \"four months\"\n ],\n [\n \"Vadim's operation is smuggling cocaine.\",\n \"drugs\"\n ],\n [\n \"Bobby passes out in the rain.\",\n \"faints\"\n ],\n [\n \"To a hotel near Kennedy Airport.\",\n \"a hotel near Kennedy Airport\"\n ],\n [\n \"El Caribe\",\n \"El Caribe nightclub in Brighton Beach\"\n ],\n [\n \"The owner of the night club.\",\n \"Bobby's boss\"\n ],\n [\n \"Because Bobby doesn't cooperate with the raid Joseph leads on El Caribe to arrest Vadim \",\n \"Bobby refuses to cooperate\"\n ],\n [\n \"To be able to avenge his father\",\n \"So he can avenge his father.\"\n ],\n [\n \"When he is being transported to the hospital\",\n \"while being transported to the hospital\"\n ],\n [\n \"He is shot following a car chase.\",\n \"He is shot during a car chase.\"\n ],\n [\n \"It is only an illusion of Amanda.\",\n \"It's an illusion\"\n ],\n [\n \"After the shooting, he realizes he needs to spend more time with his children.\",\n \"he needed to spend more time with his family\"\n ],\n [\n \"Bobby \",\n \"Bobby gives it. \"\n ],\n [\n \"Vadim\",\n \"a masked assailant working for Vadim\"\n ],\n [\n \"Bobby Green\",\n \"Bobby Green. \"\n ],\n [\n \"His father and his brother.\",\n \"His dad and his brother.\"\n ],\n [\n \"Bobby's brother Joseph\",\n \"Joseph Grusinsky.\"\n ],\n [\n \"Vadim\",\n \"Vadim Nezhinski.\"\n ],\n [\n \"The Chief\",\n \"the Chief, Bobby's father\"\n ],\n [\n \"Bobby\",\n \"Bobby Green\"\n ],\n [\n \"He is shot by Vadim's men.\",\n \"He is shot and killed in a convoy operation by one of drug lord, Vadim's men\"\n ],\n [\n \"He joins the police force.\",\n \"officially join the NYPD\"\n ],\n [\n \"He gets shot in the chest by Bobby.\",\n \"Bobby shoots him in the chest\"\n ],\n [\n \"Amanda\",\n \"Amanda\"\n ]\n]"},"document_id":{"kind":"string","value":"3a82541bb17890577626925533f6549efe5cf08e"},"split":{"kind":"string","value":"test"}}},{"rowIdx":81,"cells":{"text":{"kind":"list like","value":[["Jabba's palace. \n \n HAN \n Who are you? \n \n The bounty hunter reaches up and lifts the helmet from his head, \n revealing the beautiful face of PRINCESS LEIA. \n \n LEIA","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","throws the chain that enslaves her over his head around his bulbous \n neck. Then she dives off the other side of the throne, pulling the \n chain violently in her grasp. Jabba's flaccid neck contracts beneath ","Don't be a fool! \n \n Han is dragged off, as Lando quickly moves forward and attempts to lead \n Leia away. \n \n JABBA\t (in Huttese subtitled) \n Bring her to me. \n","Han works furiously at the control panel; wires spark as he attempts to \n hotwire the door. He motions to Leia, who is blasting away at some \n stormtroopers. \n \n HAN","Leia emerges, wearing an animal-skin dress. She sees what's happening \n at the same moment the prisoners see her. \n \n HAN and LUKE \n Leia! \n","her neck is pulled tight and Jabba tugs the scantily clad princess to \n him. \n \n JABBA\t (in Huttese subtitled) \n Soon you will learn to appreciate me. \n","As the guards drag the prisoners from the throne room, a loud cheer \n rises from the crowd. Leia and Chewie exchange concerned looks, but \n Luke Skywalker, Jedi warrior, cannot suppress a smile. \n","the tightening chain. His huge eyes bulge from their sockets and his \n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \n through its death throes and then slams down into final stillness. Leia ","Oh, Princess Leia, are you all right? \n \n HAN \n Let's see. \n \n LEIA \n It's not bad. \n \n STORMTROOPER\t (OS) \n Freeze! \n \n They freeze.","comes over to her. Leia is crying, her body trembling. He realizes only \n now that she is crying. \n \n HAN \n Hey, what's goin' on? \n","Jabba chuckles as Lando and a second guard drag the beautiful young \n princess toward him. Threepio peeks from behind a monster and quickly \n turns away in disgust. \n \n LEIA \n We have powerful friends. You're gonna regret this...","Someone who loves you. \n \n HAN \n Leia! \n \n LEIA \n I gotta get you out of here. \n \n As Leia helps her weakened lover to stand up, the relative quiet is ","floor springs open and swallows her up. As the door snaps shut, a \n muffled growl is followed by a hideous scream. Jabba and his monstrous \n friends laugh hysterically and several revelers hurry over to watch her ","Leia holds back her tears as Luke slowly lets her go and moves away. He \n disappears onto the walkway that leads out of the village. Leia, bathed \n in moonlight, watches him go as Han comes out of the Chief's hut and ","JABBA\t (in Huttese subtitled) \n I'm sure. \n \n Inexorably her lovely face moves to within a few inches of Jabba's ugly \n blob of a head, and Leia turns away in disgust. \n","racing for him, firing their laser pistols. \n \n 39 INT SAIL BARGE - OBSERVATION DECK \n \n Leia is struggling against her chains in desperation as Artoo zips "],["Chewie barks his agreement. \n \n LUKE \n You should have bargained, Jabba. That's the last mistake you'll ever \n make. \n \n Jabba cackles evilly at this. \n","It takes all the guards to hurl Chewie roughly into a cell, slamming \n the door behind him. Chewie lets out a pathetic howl and bangs on the \n iron door. \n \n 13 EXT JABBA'S PALACE","Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \n that you are to be terminated immediately. \n \n HAN \n Good, I hate long waits. \n \n THREEPIO","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","Victims of the almighty Sarlacc: His Excellency hopes that you will die \n honorably. But should any of you wish to beg for mercy, the great Jabba \n the Hutt will now listen to your pleas. \n","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","JABBA\t (in Huttese subtitled) \n At last we have the mighty Chewbacca. \n \n Jabba lets out a loud, long, blood-curdling laugh and turns to ","As the guards drag the prisoners from the throne room, a loud cheer \n rises from the crowd. Leia and Chewie exchange concerned looks, but \n Luke Skywalker, Jedi warrior, cannot suppress a smile. \n","JABBA\t (cont Huttese subtitled) \n Take him away! \n \n The guards grab Han and start to lead him away. \n \n HAN \n Jabba... I'll pay you triple! You're throwing away a fortune here. ","side of the huge Sail Barge and sliding away into the pit. He screams \n as his armored body makes its last flight past Lando and directly into \n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a ","powerful, mighty Jabba, and that your anger with Solo must be equally \n powerful. I seek an audience with Your Greatness to bargain for Solo's \n life. \n (Jabba's crowd laughs) ","You weak-minded fool! He's using an old Jedi mind trick. \n \n Luke stares hard at Jabba. \n \n LUKE \n You will bring Captain Solo and the Wookiee to me. \n","no such pleasure from us. Right? \n \n Chewie growls his agreement. \n \n LUKE \n Jabba! This is your last chance. Free us or die. \n","stares at Bib; he raises his hand slightly. \n \n LUKE \n You will take me to Jabba now! \n \n Bib turns in hypnotic response to Luke's command, and Luke follows him \n into the gloom. \n","like a pet cat. Several of the guards, including Lando, bring Luke from \n the other side of the room. Boba is standing behind Jabba. \n \n Threepio steps forward and translates for the captives. \n \n THREEPIO","Boba lands on the skiff and starts to aim his laser gun at Luke, who \n has freed Han and Chewie from their bonds. But before Boba can fire, \n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty ","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","Rancor picks him up and pops him into its slavering jaws. A few \n screams, and the guard is swallowed with a gulp. The audience cheers \n and laughs at the guard's fate. \n","You will therefore be taken to the Dune Sea and cast into the pit of \n Carkoon, the nesting place of the all-powerful Sarlacc. \n \n HAN\t (to Luke) \n Doesn't sound so bad. \n","profit by this... or be destroyed! It's your choice. But I warn you not \n to underestimate my powers. \n \n Jabba's laugh is mean and loud. Threepio attempts to warn Luke about \n the pit. \n"],["You will therefore be taken to the Dune Sea and cast into the pit of \n Carkoon, the nesting place of the all-powerful Sarlacc. \n \n HAN\t (to Luke) \n Doesn't sound so bad. \n","skiff moves out directly over the center and hovers. At the bottom of \n the deep cone of sand is a repulsive, mucous-lined hole, surrounded by \n thousands of needle-sharp teeth. This is the SARLACC. A plank is ","Victims of the almighty Sarlacc: His Excellency hopes that you will die \n honorably. But should any of you wish to beg for mercy, the great Jabba \n the Hutt will now listen to your pleas. \n","begins sliding. He claws desperately as a Sarlacc tentacle grabs him \n and pulls him screaming into the viscous mouth. \n \n 32 INT SAIL BARGE \n","side of the huge Sail Barge and sliding away into the pit. He screams \n as his armored body makes its last flight past Lando and directly into \n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a ","Gently now. All... all right. Now easy, easy. Hold me, Chewie. \n \n Lando screams. One of the Sarlacc's tentacles has wrapped tightly \n around his ankle, dragging him down the side of the pit. \n","25 EXT SARLACC PIT \n \n The convoy moves up over a huge sand pit. The Sail Barge stops to one \n side of the depression, as does the escort skiff. But the prisoner's ","Artoo appears from below and zips over to the rail facing the pit. \n Below, in the skiff, Luke is prodded by a guard to the edge of the \n plank over the gaping Sarlacc. Luke looks up at Artoo, then gives a ","above the Sarlacc pit. \n \n LANDO \n Whoa! Whoa! Help! \n \n 34 EXT UPPER DECK - SAIL BARGE \n","Soon, they can make out some large vague shapes in the blowing sand. It \n is the Millennium Falcon and, parked beside it, Luke's trusty X-wing \n and a two-seated Y-wing. They must shout to be heard. \n","extended from the edge of the prisoner's skiff. Guards release Luke's \n bonds and shove him out onto the plank above the Sarlacc's mouth. \n \n 26 EXT SAIL BARGE OBSERVATION DECK \n","and Lando falls to the side of the Sarlacc pit. Luckily, Han's foot \n catches on the skiff railing and he dangles above Lando and the pit. \n The wounded Wookiee holds onto the skiff for dear life as another hit ","The monster crushes the bone in its jaws and sees Luke, who squeezes \n into a crevice in the pit wall. Luke looks past the monster to the \n holding cave beyond. On the far side of the holding cave is a utility ","flashing. Lando struggles with another guard at the back of the skiff. \n \n 31 EXT SARLACC PIT \n \n A bewildered guard lands in the soft, sandy slope of the pit, and ","The injured Chewie is reaching over the rail for the dangling Han, who \n is in turn blindly reaching down toward the desperate Lando. The Baron \n has stopped his slippage down the sandy slope of the Sarlacc pit by ","are leaned against a tree nearby. Threepio's litter/throne is gently \n placed near the pit. He watches with rapt fascination. Han, Luke, and \n Chewie are less than fascinated. \n \n HAN","Rancor picks him up and pops him into its slavering jaws. A few \n screams, and the guard is swallowed with a gulp. The audience cheers \n and laughs at the guard's fate. \n","the side of the pit starts to RUMBLE open. The guard screams in panic. \n Luke looks calmly around for a means of escape. \n \n THREEPIO \n Oh, no! The Rancor! \n","the tightening chain. His huge eyes bulge from their sockets and his \n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \n through its death throes and then slams down into final stillness. Leia ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to "],["throws the chain that enslaves her over his head around his bulbous \n neck. Then she dives off the other side of the throne, pulling the \n chain violently in her grasp. Jabba's flaccid neck contracts beneath ","side of the huge Sail Barge and sliding away into the pit. He screams \n as his armored body makes its last flight past Lando and directly into \n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a ","the tightening chain. His huge eyes bulge from their sockets and his \n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \n through its death throes and then slams down into final stillness. Leia ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","Jabba watches this and explodes in rage. He barks commands, and the \n guards around him rush off to do his bidding. The scuzzy creatures \n watching the action from the window are in an uproar. \n","He catches his breath. A shiver runs through the ancient green \n creature, and he dies. Luke stares at his dead master as he disappears \n in front of his eyes. \n","Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \n that you are to be terminated immediately. \n \n HAN \n Good, I hate long waits. \n \n THREEPIO","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","JABBA\t (in Huttese subtitled) \n At last we have the mighty Chewbacca. \n \n Jabba lets out a loud, long, blood-curdling laugh and turns to ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","Victims of the almighty Sarlacc: His Excellency hopes that you will die \n honorably. But should any of you wish to beg for mercy, the great Jabba \n the Hutt will now listen to your pleas. \n","floor springs open and swallows her up. As the door snaps shut, a \n muffled growl is followed by a hideous scream. Jabba and his monstrous \n friends laugh hysterically and several revelers hurry over to watch her ","Chewie barks his agreement. \n \n LUKE \n You should have bargained, Jabba. That's the last mistake you'll ever \n make. \n \n Jabba cackles evilly at this. \n","begins sliding. He claws desperately as a Sarlacc tentacle grabs him \n and pulls him screaming into the viscous mouth. \n \n 32 INT SAIL BARGE \n","an egg. \n \n A startled gasp is heard from the stunned court. There's consternation \n at this turn of events. Heads look to Jabba, who is actually turning ","JABBA\t (cont Huttese subtitled) \n Take him away! \n \n The guards grab Han and start to lead him away. \n \n HAN \n Jabba... I'll pay you triple! You're throwing away a fortune here. ","powerful, mighty Jabba, and that your anger with Solo must be equally \n powerful. I seek an audience with Your Greatness to bargain for Solo's \n life. \n (Jabba's crowd laughs) ","The assembled monsters rock with mocking laughter as Artoo zips \n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \n he speaks into the comlink. \n","The little skiff skips around the burning Sail Barge, which continues \n its chain of explosions. As the skiff sails off across the desert, the \n barge settles to the sand and disappears in one final conflagration. \n"],["LUKE \n Master Yoda, you can't die. \n \n YODA \n Strong am I with the Force... but not that strong! Twilight is upon me \n and soon night must fall. That is the way of things... the way of the ","He catches his breath. A shiver runs through the ancient green \n creature, and he dies. Luke stares at his dead master as he disappears \n in front of his eyes. \n","Yoda chuckles at this, coughs, and hobbles over toward his bed. \n \n YODA \n Soon will I rest. Yes, forever sleep. Earned it, I have. \n \n Yoda sits himself on his bed, with great effort. \n","Yoda, I must know. \n \n YODA \n Your father he is. \n \n Luke reacts as if cut. \n \n YODA \n Told you, did he? \n \n LUKE \n Yes. \n","creases his face. He turns painfully on his side, away from Luke. \n \n YODA \n Mmm... rest I need. Yes... rest. \n \n Luke watches him, each moment an eternity. \n \n LUKE","beneath the scars is an elderly man. His eyes do not focus. But the \n dying man smiles at the sight before him. \n \n ANAKIN\t (very weak) \n Now...go, my son. Leave me. \n \n LUKE","train him as a Jedi. I thought that I could instruct him just as well \n as Yoda. I was wrong. My pride has had terrible consequences for the \n galaxy. \n \n Luke is entranced. \n \n LUKE","Yoda opens his eyes again and studies the youth. \n \n YODA\t\t (gathering all his strength) \n No. Unfortunate that you rushed to face him... that incomplete was your \n training. Not \n ready for the burden were you. \n","Ohhh. Not yet. One thing remains: Vader. You must confront Vader. Then, \n only then, a Jedi will you be. And confront him you will. \n \n Luke is in agony. He is silent for a long moment, screwing up his ","courage. Finally he is able to ask. \n \n LUKE \n Master Yoda... is Darth Vader my father? \n \n Yoda's eyes are full of weariness and compassion. An odd, sad smile ","A new look of concern crosses Yoda's face. He closes his eyes. \n \n YODA \n Unexpected this is, and unfortunate... \n \n LUKE \n Unfortunate that I know the truth? \n","Yoda sighs, and lies back on his bed. \n \n LUKE \n Then I am a Jedi? \n \n YODA\t (shakes his head)","LUKE \n Your overconfidence is your weakness. \n \n EMPEROR \n Your faith in your friends is yours. \n \n VADER \n It is pointless to resist, my son. \n \n The Emperor turns to face Luke. \n","Your thoughts betray you, father. I feel the good in you...the \n conflict. \n \n VADER \n There is no conflict. \n \n LUKE \n You couldn't bring yourself to kill me before, and I don't believe ","Finally, Luke collapses from the strain. The explosions grow louder as \n Vader draws him closer. \n \n VADER\t (a whisper) \n Luke, help me take this mask off. \n \n LURE \n But you'll die. \n","your father can never be turned from the dark side. So will it be with \n you. \n \n LUKE \n You're wrong. Soon I'll be dead...and you with me. \n \n The Emperor laughs. \n \n EMPEROR","LUKE \n Father...I won't leave you. \n \n Darth Vader, Anakin Skywalker...Luke's father, dies. \n \n A huge explosion rocks the docking bay. Slowly, Luke rises and, half ","the last of the Jedi will you be. Luke, the Force runs strong in your \n family. Pass on what you have learned, Luke... \n (with great effort) \n There is...another...Sky...Sky...walker. \n","Yoda will always be with you. \n \n Luke looks up to see the shimmering image of BEN KENOBI. \n \n LUKE \n Obi-Wan! Why didn't you tell me? \n","Your skills are complete. Indeed, you are powerful, as the Emperor has \n foreseen. \n \n They stand for a moment, the Vader extinguishes the lightsaber. \n \n LUKE \n Come with me. \n \n VADER"],["So, you have accepted the truth. \n \n LURE \n I've accepted the truth that you were once Anakin Skywalker, my father. \n \n VADER\t (turning to face him) \n That name no longer has any meaning for me. \n","to reveal Vader. Vader enters the eerie, foreboding throne room. It \n appears to be empty. His footsteps echo as he approaches the throne. He \n waits, absolutely still. The Emperor sits with his back to the Dark \n Lord. \n","VADER \n Nothing can stop that now. Just for once... let me look on you with my \n own eyes. \n \n Slowly, hesitantly, Luke removes the mask from his father's face. There ","LUKE \n Father...I won't leave you. \n \n Darth Vader, Anakin Skywalker...Luke's father, dies. \n \n A huge explosion rocks the docking bay. Slowly, Luke rises and, half ","Anakin Skywalker \n and became Darth Vader. When that happened, the good man who was your \n father was destroyed. So what I have told you was true... from a \n certain point of view. \n","LUKE \n It is the name of your true self. You've only forgotten. I know there \n is good in you. The Emperor hasn't driven it from you fully. That is ","you. \n \n Luke looks momentarily toward the Emperor, then back to Vader, and \n realizes he is using the dark side. He steps back, turns off his \n lightsaber, and relaxes, driving the hate from his being. \n \n VADER","cautiously approaches his master. The ruler's back is to Vader. After \n several tense moments, the Emperor's chair rotates around to face him. \n \n VADER \n What is thy bidding, my Master? \n \n EMPEROR","where Vader stands watching. \n \n LUKE\t (groans) \n Father, please. Help me. \n \n Again Vader stands, watching Luke. He looks at his master, the Emperor, \n then back to Luke on the floor. \n","beneath the scars is an elderly man. His eyes do not focus. But the \n dying man smiles at the sight before him. \n \n ANAKIN\t (very weak) \n Now...go, my son. Leave me. \n \n LUKE","VADER\t (after a beat) \n My son is with them. \n \n EMPEROR\t (very cool) \n Are you sure? \n \n VADER \n I have felt him, my Master. \n \n EMPEROR","Finally, Luke collapses from the strain. The explosions grow louder as \n Vader draws him closer. \n \n VADER\t (a whisper) \n Luke, help me take this mask off. \n \n LURE \n But you'll die. \n","stump. Vader's sword clatters uselessly away, over the \n edge of the platform and into the bottomless shaft below. Luke moves \n over Vader and holds the blade of his sword to the Dark Lord's throat. ","Obi-Wan once thought as you do. \n \n Luke steps close to Vader, then stops. Vader is still. \n \n VADER \n You don't know the power of the dark side. I must obey my master. \n \n LUKE","face is shrouded and difficult to see, except for his piercing yellow \n eyes. Commander Jerjerrod and Darth Vader kneel to him. The Supreme \n Ruler of the galaxy beckons to the Dark Lord. \n","Vader extends a gloved hand toward the Emperor, revealing Luke's \n lightsaber. The Emperor takes it. \n \n EMPEROR \n Ah, yes, a Jedi's weapon. Much like your father's. By now you must know ","LEIA \n Luke, tell me. What's troubling you? \n \n LUKE \n Vader is here...now, on this moon. \n \n LEIA\t (alarmed) \n How do you know? \n \n LUKE","thoughts betray you. Your feelings for them are strong. Especially \n for... \n \n Vader stops and senses something. Luke shuts his eyes tightly, in \n anguish. \n \n VADER","presence. \n \n VADER \n You may dispense with the pleasantries, Commander. I'm here to put you \n back on \n schedule. \n \n The commander turns ashen and begins to shake. \n \n JERJERROD","watching sadly, as the flames leap higher to consume Darth Vader -- \n Anakin Skywalker. \n \n In the sky above, fireworks explode and Rebel fighters zoom above the \n forest. \n"],["Fleet spread throughout the galaxy in a vain effort to engage us, it is \n relatively unprotected. But most important of all, we've learned that \n the Emperor himself is personally overseeing the final stages of the \n construction of this Death Star. \n","Vader bows, then turns and exits the throne room as the Emperor walks \n toward the waiting council members. \n \n 58 EXT SPACE - DEATH STAR - MOON \n \n There is a great deal of Imperial traffic in the area as construction ","The data brought to us by the Bothan spies pinpoints the exact location \n of the Emperor's new battle station. We also know that the weapon \n systems of this Death Star are not yet operational. With the Imperial ","kneeling until the Supreme Ruler and Vader, followed by several \n Imperial dignitaries, pass by; only then do they join in the \n procession. \n \n VADER \n The Death Star will be completed on schedule. \n \n EMPEROR","PAN DOWN to reveal a monstrous half-completed Death Star, its massive \n superstructure curling away from the completed section like the arms of \n a giant octopus. Beyond, in benevolent contrast, floats the small, ","create a lethal perimeter. The assembled troops move to rigid attention \n with a momentous SNAP. \n \n Then, in the huge SILENCE which follows, the EMPEROR appears. He is a ","EMPEROR\t (angry) \n Everything that has transpired has done so according to my design. \n (indicates Endor) \n Your friends up there on the Sanctuary Moon... \n \n Luke reacts. The Emperor notes it. \n","off into space. \n \n 57 INT EMPEROR'S THRONE ROOM \n \n The converted control room is dimly lit, except for a pool of light at \n the far end. There the Emperor sits in an elaborate control chair ","more powerful than the first dreaded Death Star. When completed, this \n ultimate weapon will spell certain doom for the small band of Rebels \n struggling to restore freedom to the galaxy... \n","The giant Imperial Star Destroyer waits silently some distance from the \n battle. The Emperor's huge Super Star Destroyer rests in the middle of \n the fleet. \n","JERJERROD\t (aghast) \n The Emperor's coming here? \n \n VADER \n That is correct, Commander. And he is most displeased with your \n apparent lack of progress. \n \n JERJERROD","As you wish. \n \n EMPEROR \n Everything is proceeding as I have foreseen. \n \n He laughs to himself as they pass along the vast line of Imperial \n troops. \n","EMPEROR\t (cont) \n ...are walking into a trap. As is your Rebel fleet! It was I who \n allowed the Alliance to know the location of the shield generator. It \n is quite safe from your pitiful little band. An entire legion of my ","An Imperial shuttle floats down from the Death Star and lands \n gracefully on the huge platform. \n \n Now, an Imperial walker approaches the platform from the darkness of \n the forest. The whole outpost - platform, walkers, military - looks ","planned for them. We only need to keep them from escaping. \n \n 104 INT EMPEROR'S TOWER - THRONE ROOM \n \n The Emperor, Vader, and a horrified Luke watch the aerial battle ","Come, boy. See for yourself. \n \n The Emperor is sitting in his throne, with Vader standing at his side. \n Luke moves to look through a small section of the window. \n \n EMPEROR","superstructure of the half-built Death Star. The Rebel Star Cruisers \n outside continually bombard the huge station. And each direct hit is \n answered by resonating, chain-reaction explosions within the station \n itself. \n","114 INT EMPEROR'S TOWER - THRONE ROOM \n \n Out of the window and on the view screens, the Rebel fleet is being \n decimated in blinding explosions of light and debris. But in here there ","The Emperor watches with uncontrollable, pleased agitation. \n \n EMPEROR \n Good! Your hate has made you powerful. Now, fulfill your destiny and \n take your father's \n place at my side! \n","PAPLOO, hide on a ridge overlooking the massive Imperial shield \n generator. At the base of the generator is an Imperial landing \n platform. Leia studies the installation. \n \n LEIA"],["stump. Vader's sword clatters uselessly away, over the \n edge of the platform and into the bottomless shaft below. Luke moves \n over Vader and holds the blade of his sword to the Dark Lord's throat. ","Luke and Vader are engaged in a man-to-man duel of lightsabers even \n more vicious then the battle on Bespin. But the young Jedi has grown \n stronger in the interim, and now the advantage shifts to him. Vader is ","The Dark Lord is knocked to his knees, and as he raises his sword to \n block another onslaught, Luke slashes Vader's right hand off at the \n wrist, causing metal and electronic parts to fly from the mechanical ","ignites it in an instant and swings at the Emperor. Vader's lightsaber \n flashes into view, blocking Luke's blow before it can reach the \n Emperor. The two blades spark at contact. Luke turns to fight his \n father. \n","The commander extends his hand, revealing Luke's lightsaber. \n \n COMMANDER \n He was armed only with this. \n \n Vader looks at Luke, turns away and faces the commander, taking the \n lightsaber from the commander's hand.","you. \n \n Luke looks momentarily toward the Emperor, then back to Vader, and \n realizes he is using the dark side. He steps back, turns off his \n lightsaber, and relaxes, driving the hate from his being. \n \n VADER","forced back, losing his balance, and is knocked down the stairs. Luke \n stands at the top of the stairs, ready to attack. \n \n EMPEROR (laughing) \n Good. Use your aggressive feelings, boy! Let the hate flow through ","where Vader stands watching. \n \n LUKE\t (groans) \n Father, please. Help me. \n \n Again Vader stands, watching Luke. He looks at his master, the Emperor, \n then back to Luke on the floor. \n","Vader attacks, forcing Luke on the defensive. The young Jedi leaps in \n an amazing reverse flip up to the safety of the catwalk overhead. Vader \n stands below him. \n \n LUKE","fight in the cramped area. Luke's hatred forces Vader to retreat out of \n the low area and across a bridge overlooking a vast elevator shaft. \n Each stroke of Luke's sword drives his father further toward defeat. \n","Vader throws the laser sword and it cuts through the supports holding \n the catwalk, then returns to Vader's hand. Luke tumbles to the ground \n in a shower of sparks and rolls out of sight under the Emperor's ","LUKE \n Your overconfidence is your weakness. \n \n EMPEROR \n Your faith in your friends is yours. \n \n VADER \n It is pointless to resist, my son. \n \n The Emperor turns to face Luke. \n","The deck gunners have Chewie and the desperate dangling human chain in \n their gun sights when something up on deck commands their attention: \n Luke, standing before them like a pirate king, ignites his lightsaber. ","Your skills are complete. Indeed, you are powerful, as the Emperor has \n foreseen. \n \n They stand for a moment, the Vader extinguishes the lightsaber. \n \n LUKE \n Come with me. \n \n VADER","Finally, Luke collapses from the strain. The explosions grow louder as \n Vader draws him closer. \n \n VADER\t (a whisper) \n Luke, help me take this mask off. \n \n LURE \n But you'll die. \n","With samurai speed, Luke ignites it and attacks the guard who prodded \n him off the plank, sending the hapless monster screaming overboard. The \n other guards swarm toward Luke. He wades into them, lightsaber ","Obi-Wan has taught you well. \n \n LUKE \n I will not fight you, father. \n \n Vader walks back up the stairs to Luke. \n \n VADER \n You are unwise to lower your defenses. \n","explodes, creating a rush of air through the room.Vader's cape is \n whipped by the wind and he staggers, and collapses toward the \n bottomless hole. Luke crawls to his father's side and pulls him away ","A laser blast hits Luke's mechanical hand and he bends over in pain, \n but manages to swing his lightsaber upward and take out the last of the \n guards. He looks at the wounded hand, which reveals the mechanism. He ","Vader extends a gloved hand toward the Emperor, revealing Luke's \n lightsaber. The Emperor takes it. \n \n EMPEROR \n Ah, yes, a Jedi's weapon. Much like your father's. By now you must know "],["The Emperor watches with uncontrollable, pleased agitation. \n \n EMPEROR \n Good! Your hate has made you powerful. Now, fulfill your destiny and \n take your father's \n place at my side! \n","He catches his breath. A shiver runs through the ancient green \n creature, and he dies. Luke stares at his dead master as he disappears \n in front of his eyes. \n","Darth Vader hurls the Emperor's body into the bottomless shaft. \n \n The Emperor's body spins helplessly into the void, arcing as it falls \n into the abyss. Finally, when the body is far down the shaft, it ","The Emperor struggles in his embrace, his bolt-shooting hands now \n lifted high, away from Luke. Now the white lightning arcs back to \n strike at Vader. He stumbles with his load as the sparks rain off his ","create a lethal perimeter. The assembled troops move to rigid attention \n with a momentous SNAP. \n \n Then, in the huge SILENCE which follows, the EMPEROR appears. He is a ","the Emperor. I can save him. I can turn him back to the good side. I \n have to try. \n \n They hold each other close and look at each other, brother and sister. \n","forced back, losing his balance, and is knocked down the stairs. Luke \n stands at the top of the stairs, ready to attack. \n \n EMPEROR (laughing) \n Good. Use your aggressive feelings, boy! Let the hate flow through ","ignites it in an instant and swings at the Emperor. Vader's lightsaber \n flashes into view, blocking Luke's blow before it can reach the \n Emperor. The two blades spark at contact. Luke turns to fight his \n father. \n","helmet and flow down over his black cape. He holds his evil master high \n over his head and walks to the edge of the abyss at the central core of \n the throne room. With one final burst of his once awesome strength, ","screaming through the room. Luke's body writhes in pain. \n \n Vader grabs the Emperor from behind, fighting for control of the robed \n figure despite the Dark Lord's weakened body and gravely weakened arm. ","EMPEROR \n Now, young Skywalker...you will die. \n \n Although it would not have seemed possible, the outpouring of bolts \n from the Emperor's fingers actually increases in intensity, the sound ","is no sound of battle. The Emperor turns to Luke. \n \n EMPEROR \n Your fleet has lost. And your friends on the Endor moon will not \n survive. There is no escape, my young apprentice. The Alliance will ","Vader throws the laser sword and it cuts through the supports holding \n the catwalk, then returns to Vader's hand. Luke tumbles to the ground \n in a shower of sparks and rolls out of sight under the Emperor's ","VADER \n (raising his gloved hand to the two guards and choking them with the \n Force) \n The Emperor will see me, now! \n \n GUARD \n (repeating Vader's command)","The Emperor motions ever so slightly with his finger and Luke's binders \n fall away, clattering to the floor. Luke looks down at his own hands, \n free now to reach out and grab the Emperor's neck. He does nothing. \n \n EMPEROR","of the throne. The Emperor watches him and smiles, touches the \n lightsaber. \n \n EMPEROR \n You want this, don't you? The hate is swelling in you now. Take your ","The Emperor's glee turns to rage. \n \n EMPEROR \n So be it...Jedi. \n \n 123 EXT FOREST - GENERATOR BUNKER \n","As you wish. \n \n EMPEROR \n Everything is proceeding as I have foreseen. \n \n He laughs to himself as they pass along the vast line of Imperial \n troops. \n","the tightening chain. His huge eyes bulge from their sockets and his \n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \n through its death throes and then slams down into final stillness. Leia ","LUKE \n You're gravely mistaken. You won't convert me as you did my father. \n \n The Emperor gets down from his throne and walks up very close to Luke. \n The Emperor looks into his eyes and, for the first time, Luke can "],["gun blasting away at his helpless companions. Luke leaps from the \n skiff, across a chasm of air, to the sheer metallic side of the Sail \n Barge. Barely able to get a fingerhold, he begins a painful climb up ","Luke is a little shaken but remains standing as a fusillade brackets \n him. The second skiff, loaded with guards firing their weapons, moves \n in on Luke fast. Luke leaps toward the incoming second skiff. The young ","At last! Master Luke's come to rescue me. \n \n BIB \n Master. \n \n Jabba awakens with a start and Bib continues, in Huttese. \n \n BIB","Luke and the guard have dropped twenty-five feet from a chute into the \n dungeonlike cage. Luke gets to his feet as the guard yells hysterically \n for help. A crowd gathers up around the edge of the pit as the door in ","Luke has hold on one of the rigging ropes from the mast. He gathers \n Leia in his other arm and kicks the trigger of the deck gun. The gun \n explodes into the deck as Luke and Leia swing out toward the skiff. \n","Luke starts for the scuffle, followed by Leia with her laser pistol \n drawn. As they run through the bushes, Leia stops and points to where \n two more scouts are sitting on their speeder bikes, with an unoccupied \n bike parked nearby.","always told her to contact me on Tatooine, if her troubles became \n desperate. \n \n Luke is overwhelmed by the truth, and is suddenly protective of his \n sister. \n \n LUKE","Luke? Luke's crazy. He can't even take care of himself, much less \n rescue anybody. \n \n Chewie barks a reply. \n \n HAN","Leia holds back her tears as Luke slowly lets her go and moves away. He \n disappears onto the walkway that leads out of the village. Leia, bathed \n in moonlight, watches him go as Han comes out of the Chief's hut and ","With samurai speed, Luke ignites it and attacks the guard who prodded \n him off the plank, sending the hapless monster screaming overboard. The \n other guards swarm toward Luke. He wades into them, lightsaber ","attempt to rescue his friend Han Solo from the clutches of theÊvile \n gangster Jabba the Hutt. Little does Luke know that the GALACTIC EMPIRE \n has secretly begun construction on a new armored space station even ","With Leia shooting ahead, Luke suddenly slams his steering vanes into \n the braking mode. Luke's bike is a blur to the two pursuing scouts as \n they zip by him on either side. Luke slams his bike into forward and ","Luke and Han exchange a silent, grim look. Luke gets up wearily. \n \n LUKE \n Hey, we better go look for her. \n \n Han nods, and signals to a Rebel officer. \n \n HAN","a heavy barrage. Imperial troops run in all directions, confused and \n desperate to escape. \n \n In the midst of this uproar, Luke is trying to carry the enormous \n deadweight of his father's weakening body toward an Imperial shuttle. ","Luke is unresponsive. Ben studies him in silence for a moment. \n \n BEN \n I don't blame you for being angry. If I was wrong in what I did, it \n certainly wouldn't have been for the first time. You see, what happened ","Luke looks at his father's mechanical hand, then to his own mechanical, \n black-gloved hand, and realizes how much he is becoming like his \n father. He makes the decision for which he has spent a lifetime in ","LUKE \n It is the name of your true self. You've only forgotten. I know there \n is good in you. The Emperor hasn't driven it from you fully. That is ","starts firing away, having switched places with his pursuers in a \n manner of seconds. Luke's aim is good and one scout's bike is blasted \n out of control. It explodes against a tree trunk. \n","Luke is sitting in a corner of the cramped space and, indeed, his look \n has been woeful. Caught, he tries to hide it. \n \n LUKE \n No... of course not. \n","succeeds, he sees a heavy barred gate between him and safety. Beyond \n the gate two guards look up from their dinner. Luke turns to see the \n monster heading for him, and pulls with all his might on the gate. The "],["the road toward the ominous palace of Jabba the Hutt. \n \n THREEPIO \n Of course I'm worried. And you should be, too. Lando Calrissian and \n poor Chewbacca never returned from this awful place. \n","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","Jabba's palace. \n \n HAN \n Who are you? \n \n The bounty hunter reaches up and lifts the helmet from his head, \n revealing the beautiful face of PRINCESS LEIA. \n \n LEIA","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","14 INT JABBA'S THRONE ROOM - NIGHT \n \n Silence. The room is deserted, only the awful debris of the alien \n celebration giving mute witness to the activity here before. Several ","Jabba leers at the dancers and with a lustful gleam in his eye beckons \n Oola to come and sit with him. She stops dancing and backs away, \n shaking her head. Jabba gets angry and points to a spot next to him. \n","The two droids fearfully approach the massive gate to the palace. \n \n THREEPIO \n Artoo, are you sure this is the right place? I better knock, I suppose. \n \n 6 EXT JABBA'S PALACE - GATE ","It takes all the guards to hurl Chewie roughly into a cell, slamming \n the door behind him. Chewie lets out a pathetic howl and bangs on the \n iron door. \n \n 13 EXT JABBA'S PALACE","The poor work droid in the background lets out another tortured \n electronic scream. \n \n 11 INT JABBA'S THRONE ROOM \n \n The court of Jabba the Hutt is in the midst of a drunken, raucous ","pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \n \n HAN \n What's that? I know that laugh. \n \n The curtain on the far side of the alcove opens, revealing Jabba the ","Jabba watches this and explodes in rage. He barks commands, and the \n guards around him rush off to do his bidding. The scuzzy creatures \n watching the action from the window are in an uproar. \n","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","The assembled monsters rock with mocking laughter as Artoo zips \n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \n he speaks into the comlink. \n","I will not give up my favorite decoration. I like Captain Solo where he \n is. \n \n Jabba laughs hideously and looks toward an alcove beside the throne. ","room to the platform upon which rests the leader of this nauseating \n crowd: JABBA THE HUTT. The monarch of the galactic underworld is a \n repulsive blob of bloated fat with a maniacal grin. Chained to the ","23 EXT TATOOINE SEA - SKIFF \n \n Jabba's huge SAIL BARGE moves above the desert surface accompanied by \n two smaller Skiffs. One of the skiffs glides close, revealing Luke, ","ever conceived in the universe. Artoo and Threepio seem very small as \n they pause in the doorway to the dimly lit chamber. Light shafts \n partially illuminate the drunken courtiers as Bib Fortuna crosses the ","Jabba and Leia are now by the rail, watching. Threepio leans forward \n and the slobbering villain mumbles something to him. As Threepio steps ","I'm all right, pal. I'm all right. \n \n 16 INT MAIN GATE AND HALL - JABBA'S PALACE \n \n Noisily, the main gate lifts to flood the blackness with blinding LIGHT ","Oh, Artoo! Artoo, wait for me! \n \n 7 INT JABBA'S PALACE - HALLWAY \n \n The door slams shut with a loud crash that echoes throughout the dark "],["Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \n that you are to be terminated immediately. \n \n HAN \n Good, I hate long waits. \n \n THREEPIO","Chewie barks his agreement. \n \n LUKE \n You should have bargained, Jabba. That's the last mistake you'll ever \n make. \n \n Jabba cackles evilly at this. \n","It takes all the guards to hurl Chewie roughly into a cell, slamming \n the door behind him. Chewie lets out a pathetic howl and bangs on the \n iron door. \n \n 13 EXT JABBA'S PALACE","JABBA\t (cont Huttese subtitled) \n Take him away! \n \n The guards grab Han and start to lead him away. \n \n HAN \n Jabba... I'll pay you triple! You're throwing away a fortune here. ","powerful, mighty Jabba, and that your anger with Solo must be equally \n powerful. I seek an audience with Your Greatness to bargain for Solo's \n life. \n (Jabba's crowd laughs) ","JABBA\t (in Huttese subtitled) \n At last we have the mighty Chewbacca. \n \n Jabba lets out a loud, long, blood-curdling laugh and turns to ","no such pleasure from us. Right? \n \n Chewie growls his agreement. \n \n LUKE \n Jabba! This is your last chance. Free us or die. \n","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","stares at Bib; he raises his hand slightly. \n \n LUKE \n You will take me to Jabba now! \n \n Bib turns in hypnotic response to Luke's command, and Luke follows him \n into the gloom. \n","JABBA\t (in Huttese subtitled) \n Your mind powers will not work on me, boy. \n \n LUKE \n Nevertheless, I'm taking Captain Solo and his friends. You can either ","...Luke Skywalker, Jedi Knight. \n \n JABBA\t (in Huttese subtitled) \n I told you not to admit him. \n \n LUKE \n I must be allowed to speak. \n","As the guards drag the prisoners from the throne room, a loud cheer \n rises from the crowd. Leia and Chewie exchange concerned looks, but \n Luke Skywalker, Jedi warrior, cannot suppress a smile. \n","Don't be a fool! \n \n Han is dragged off, as Lando quickly moves forward and attempts to lead \n Leia away. \n \n JABBA\t (in Huttese subtitled) \n Bring her to me. \n","You weak-minded fool! He's using an old Jedi mind trick. \n \n Luke stares hard at Jabba. \n \n LUKE \n You will bring Captain Solo and the Wookiee to me. \n","Jabba watches this and explodes in rage. He barks commands, and the \n guards around him rush off to do his bidding. The scuzzy creatures \n watching the action from the window are in an uproar. \n","like a pet cat. Several of the guards, including Lando, bring Luke from \n the other side of the room. Boba is standing behind Jabba. \n \n Threepio steps forward and translates for the captives. \n \n THREEPIO","Victims of the almighty Sarlacc: His Excellency hopes that you will die \n honorably. But should any of you wish to beg for mercy, the great Jabba \n the Hutt will now listen to your pleas. \n","Boba lands on the skiff and starts to aim his laser gun at Luke, who \n has freed Han and Chewie from their bonds. But before Boba can fire, \n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty ","You will therefore be taken to the Dune Sea and cast into the pit of \n Carkoon, the nesting place of the all-powerful Sarlacc. \n \n HAN\t (to Luke) \n Doesn't sound so bad. \n"],["throws the chain that enslaves her over his head around his bulbous \n neck. Then she dives off the other side of the throne, pulling the \n chain violently in her grasp. Jabba's flaccid neck contracts beneath ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","Boba lands on the skiff and starts to aim his laser gun at Luke, who \n has freed Han and Chewie from their bonds. But before Boba can fire, \n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty ","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \n that you are to be terminated immediately. \n \n HAN \n Good, I hate long waits. \n \n THREEPIO","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","the tightening chain. His huge eyes bulge from their sockets and his \n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \n through its death throes and then slams down into final stillness. Leia ","Jabba watches this and explodes in rage. He barks commands, and the \n guards around him rush off to do his bidding. The scuzzy creatures \n watching the action from the window are in an uproar. \n","side of the huge Sail Barge and sliding away into the pit. He screams \n as his armored body makes its last flight past Lando and directly into \n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a ","JABBA\t (in Huttese subtitled) \n At last we have the mighty Chewbacca. \n \n Jabba lets out a loud, long, blood-curdling laugh and turns to ","Luke reaches out, and a pistol jumps out of a guard's holster and flies \n into Luke's hand. The bewildered guard grabs for it as Jabba raises his \n hand. \n \n JABBA \n Bascka! \n","Chewie barks his agreement. \n \n LUKE \n You should have bargained, Jabba. That's the last mistake you'll ever \n make. \n \n Jabba cackles evilly at this. \n","powerful, mighty Jabba, and that your anger with Solo must be equally \n powerful. I seek an audience with Your Greatness to bargain for Solo's \n life. \n (Jabba's crowd laughs) ","Boba Fett, badly shaken, rises from the deck. He looks over at the \n other skiff, where Luke is whipping a mass of guards. Boba raises his \n arm, and aims his lethal appendage. \n","pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \n \n HAN \n What's that? I know that laugh. \n \n The curtain on the far side of the alcove opens, revealing Jabba the ","Jabba's palace. \n \n HAN \n Who are you? \n \n The bounty hunter reaches up and lifts the helmet from his head, \n revealing the beautiful face of PRINCESS LEIA. \n \n LEIA","At last! Master Luke's come to rescue me. \n \n BIB \n Master. \n \n Jabba awakens with a start and Bib continues, in Huttese. \n \n BIB","The assembled monsters rock with mocking laughter as Artoo zips \n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \n he speaks into the comlink. \n","stares at Bib; he raises his hand slightly. \n \n LUKE \n You will take me to Jabba now! \n \n Bib turns in hypnotic response to Luke's command, and Luke follows him \n into the gloom. \n"],["Yoda, I must know. \n \n YODA \n Your father he is. \n \n Luke reacts as if cut. \n \n YODA \n Told you, did he? \n \n LUKE \n Yes. \n","LUKE \n Father...I won't leave you. \n \n Darth Vader, Anakin Skywalker...Luke's father, dies. \n \n A huge explosion rocks the docking bay. Slowly, Luke rises and, half ","Luke looks at his father's mechanical hand, then to his own mechanical, \n black-gloved hand, and realizes how much he is becoming like his \n father. He makes the decision for which he has spent a lifetime in ","to your father was my fault. \n \n Ben pauses sadly. \n \n BEN \n Anakin was a good friend. \n \n Luke turns with interest at this. As Ben speaks, Luke settles on a ","(beat) \n I have to face him. \n \n Leia is distraught, confused. \n \n LEIA \n Why? \n \n Luke moves close and his manner is gentle. And very calm. \n \n LUKE","VADER \n Nothing can stop that now. Just for once... let me look on you with my \n own eyes. \n \n Slowly, hesitantly, Luke removes the mask from his father's face. There ","He's my father. \n \n LEIA \n Your father? \n \n LUKE \n There's more. It won't be easy for you to hear it, but you must. If I ","LUKE \n You're gravely mistaken. You won't convert me as you did my father. \n \n The Emperor gets down from his throne and walks up very close to Luke. \n The Emperor looks into his eyes and, for the first time, Luke can ","LUKE \n But I have no sister. \n \n BEN \n Hmm. To protect you both from the Emperor, you were hidden from your \n father when you were born. The Emperor knew, as I did, if Anakin were ","Luke is unresponsive. Ben studies him in silence for a moment. \n \n BEN \n I don't blame you for being angry. If I was wrong in what I did, it \n certainly wouldn't have been for the first time. You see, what happened ","Did you tell Luke? Is that who you could tell? \n \n LEIA \n I... \n \n HAN \n Ahhh... \n \n He starts to walk away, exasperated, then stops and walks back to her. \n \n HAN","to have any offspring, they would be a threat to him. That is the \n reason why your sister remains safely anonymous. \n \n LUKE \n Leia! Leia's my sister. \n \n BEN","LUKE \n It is the name of your true self. You've only forgotten. I know there \n is good in you. The Emperor hasn't driven it from you fully. That is ","Vader signals to some distant stormtroopers. He and Luke stand staring \n at one another for a long moment. \n \n LUKE \n Then my father is truly dead. \n","courage. Finally he is able to ask. \n \n LUKE \n Master Yoda... is Darth Vader my father? \n \n Yoda's eyes are full of weariness and compassion. An odd, sad smile ","Luke and Vader are engaged in a man-to-man duel of lightsabers even \n more vicious then the battle on Bespin. But the young Jedi has grown \n stronger in the interim, and now the advantage shifts to him. Vader is ","forced back, losing his balance, and is knocked down the stairs. Luke \n stands at the top of the stairs, ready to attack. \n \n EMPEROR (laughing) \n Good. Use your aggressive feelings, boy! Let the hate flow through ","ignites it in an instant and swings at the Emperor. Vader's lightsaber \n flashes into view, blocking Luke's blow before it can reach the \n Emperor. The two blades spark at contact. Luke turns to fight his \n father. \n","Luke is a little shaken but remains standing as a fusillade brackets \n him. The second skiff, loaded with guards firing their weapons, moves \n in on Luke fast. Luke leaps toward the incoming second skiff. The young ","Luke, what's wrong? \n \n Luke turns and looks at her a long moment. \n \n LUKE \n Leia... do you remember your mother? Your real mother? \n \n LEIA \n Just a little bit. She died when I was very young."],["LUKE \n Well, I'm sorry. \n \n YODA \n Remember, a Jedi's strength flows from the Force. But beware. Anger, \n fear, aggression.","To be a Jedi, Luke, you must confront and then go beyond the dark side \n - the side your father couldn't get past. Impatience is the easiest \n door - for you, like your father. Only, your father was seduced by what ","you. \n \n Luke looks momentarily toward the Emperor, then back to Vader, and \n realizes he is using the dark side. He steps back, turns off his \n lightsaber, and relaxes, driving the hate from his being. \n \n VADER","die...as will your friends. \n \n Luke's eyes are full of rage. Vader watches him. \n \n EMPEROR \n Good. I can feel your anger. I am defenseless. Take your weapon! ","Jedi weapon. Use it. I am unarmed. Strike me down with it. Give in to \n your anger. With each passing moment, you make yourself more my \n servant. \n \n Vader watches Luke in his agony. \n \n LUKE","train him as a Jedi. I thought that I could instruct him just as well \n as Yoda. I was wrong. My pride has had terrible consequences for the \n galaxy. \n \n Luke is entranced. \n \n LUKE","Yoda opens his eyes again and studies the youth. \n \n YODA\t\t (gathering all his strength) \n No. Unfortunate that you rushed to face him... that incomplete was your \n training. Not \n ready for the burden were you. \n","forced back, losing his balance, and is knocked down the stairs. Luke \n stands at the top of the stairs, ready to attack. \n \n EMPEROR (laughing) \n Good. Use your aggressive feelings, boy! Let the hate flow through ","Yoda, I must know. \n \n YODA \n Your father he is. \n \n Luke reacts as if cut. \n \n YODA \n Told you, did he? \n \n LUKE \n Yes. \n","He catches his breath. A shiver runs through the ancient green \n creature, and he dies. Luke stares at his dead master as he disappears \n in front of his eyes. \n","Vader humbled you when first you met him, Luke... but that experience \n was part of your training. It taught you, among other things, the value \n of patience. Had you not been so impatient to defeat Vader then, you ","Force. \n \n LUKE \n But I need your help. I've come back to complete the training. \n \n YODA \n No more training do you require. Already know you that which you need. \n","LUKE \n Master Yoda, you can't die. \n \n YODA \n Strong am I with the Force... but not that strong! Twilight is upon me \n and soon night must fall. That is the way of things... the way of the ","Then you know why I have to face him. \n \n LEIA \n No! Luke, run away, far away. If he can feel your presence, then leave \n this place. I wish I could go with you. \n \n LUKE","Obi-Wan once thought as you do. \n \n Luke steps close to Vader, then stops. Vader is still. \n \n VADER \n You don't know the power of the dark side. I must obey my master. \n \n LUKE","Obi-Wan has taught you well. \n \n LUKE \n I will not fight you, father. \n \n Vader walks back up the stairs to Luke. \n \n VADER \n You are unwise to lower your defenses. \n","of the throne. The Emperor watches him and smiles, touches the \n lightsaber. \n \n EMPEROR \n You want this, don't you? The hate is swelling in you now. Take your ","Ohhh. Not yet. One thing remains: Vader. You must confront Vader. Then, \n only then, a Jedi will you be. And confront him you will. \n \n Luke is in agony. He is silent for a long moment, screwing up his ","A new look of concern crosses Yoda's face. He closes his eyes. \n \n YODA \n Unexpected this is, and unfortunate... \n \n LUKE \n Unfortunate that I know the truth? \n","LUKE \n Your overconfidence is your weakness. \n \n EMPEROR \n Your faith in your friends is yours. \n \n VADER \n It is pointless to resist, my son. \n \n The Emperor turns to face Luke. \n"],["(beat) \n I have to face him. \n \n Leia is distraught, confused. \n \n LEIA \n Why? \n \n Luke moves close and his manner is gentle. And very calm. \n \n LUKE","Did you tell Luke? Is that who you could tell? \n \n LEIA \n I... \n \n HAN \n Ahhh... \n \n He starts to walk away, exasperated, then stops and walks back to her. \n \n HAN","LEIA \n Luke, tell me. What's troubling you? \n \n LUKE \n Vader is here...now, on this moon. \n \n LEIA\t (alarmed) \n How do you know? \n \n LUKE","Luke, what's wrong? \n \n Luke turns and looks at her a long moment. \n \n LUKE \n Leia... do you remember your mother? Your real mother? \n \n LEIA \n Just a little bit. She died when I was very young.","always told her to contact me on Tatooine, if her troubles became \n desperate. \n \n Luke is overwhelmed by the truth, and is suddenly protective of his \n sister. \n \n LUKE","Leia moves to Luke and embraces him warmly. She senses a change in him \n and looks into his eyes questioningly. \n \n LEIA \n What is it? \n \n LUKE\t (hesitant) \n Ask me again sometime. \n","way. \n \n She realizes his misunderstanding. \n \n LEIA \n Oh. No, it's not like that at all. He's my brother. \n \n Han is stunned by this news. She smiles, and they embrace. \n","LUKE \n What do you remember? \n \n LEIA \n Just...images, really. Feelings. \n \n LUKE \n Tell me. \n \n LEIA \n (a little surprised at his insistence)","With Leia shooting ahead, Luke suddenly slams his steering vanes into \n the braking mode. Luke's bike is a blur to the two pursuing scouts as \n they zip by him on either side. Luke slams his bike into forward and ","doesn't draw away. She begins to understand. \n \n LUKE \n Yes. It's you Leia. \n \n LEIA \n I know. Somehow...I've always known. \n \n LUKE","Luke turns, and settles near Ben to hear the tale. \n \n BEN\t (attempting to give solace with his words) \n The Organa household was high-born and politically quite powerful in ","Yoda, I must know. \n \n YODA \n Your father he is. \n \n Luke reacts as if cut. \n \n YODA \n Told you, did he? \n \n LUKE \n Yes. \n","He's my father. \n \n LEIA \n Your father? \n \n LUKE \n There's more. It won't be easy for you to hear it, but you must. If I ","use it as I have. The Force is strong in my family. My father has \n it...I have it...and...my sister has it. \n \n Leia stares into his eyes. What she sees there frightens her. But she ","Leia holds back her tears as Luke slowly lets her go and moves away. He \n disappears onto the walkway that leads out of the village. Leia, bathed \n in moonlight, watches him go as Han comes out of the Chief's hut and ","Nothing? Come on, tell me. What's goin' on? \n \n She looks up at him, struggling to control herself. \n \n LEIA \n I...I can't tell you. \n \n HAN\t (loses his temper)","to have any offspring, they would be a threat to him. That is the \n reason why your sister remains safely anonymous. \n \n LUKE \n Leia! Leia's my sister. \n \n BEN","starts it up and takes off as Luke jumps on the bike behind her. \n \n LUKE\t (pointing to the controls) \n Quick! Jam their comlink. Center switch! \n \n Luke and Leia speed into the dense foliage in hot pursuit, barely ","Leia continues to look at the sky as though listening for a silent \n voice. \n \n HAN \n I'm sure Luke wasn't on that thing when it blew. \n \n LEIA \n He wasn't. I can feel it. \n","Then you know why I have to face him. \n \n LEIA \n No! Luke, run away, far away. If he can feel your presence, then leave \n this place. I wish I could go with you. \n \n LUKE"],["Obi-Wan once thought as you do. \n \n Luke steps close to Vader, then stops. Vader is still. \n \n VADER \n You don't know the power of the dark side. I must obey my master. \n \n LUKE","you. \n \n Luke looks momentarily toward the Emperor, then back to Vader, and \n realizes he is using the dark side. He steps back, turns off his \n lightsaber, and relaxes, driving the hate from his being. \n \n VADER","forced back, losing his balance, and is knocked down the stairs. Luke \n stands at the top of the stairs, ready to attack. \n \n EMPEROR (laughing) \n Good. Use your aggressive feelings, boy! Let the hate flow through ","To be a Jedi, Luke, you must confront and then go beyond the dark side \n - the side your father couldn't get past. Impatience is the easiest \n door - for you, like your father. Only, your father was seduced by what ","Strike me down with all your hatred, and your journey towards the dark \n side will be complete. \n \n Luke can resist no longer. The lightsaber flies into his hand. He ","The ghost of Ben Kenobi approaches him through the swamp. \n \n LUKE \n You told me Vader betrayed and murdered my father. \n \n BEN \n You father was seduced by the dark side of the Force. He ceased to be ","LUKE \n You're gravely mistaken. You won't convert me as you did my father. \n \n The Emperor gets down from his throne and walks up very close to Luke. \n The Emperor looks into his eyes and, for the first time, Luke can ","LUKE \n Your overconfidence is your weakness. \n \n EMPEROR \n Your faith in your friends is yours. \n \n VADER \n It is pointless to resist, my son. \n \n The Emperor turns to face Luke. \n","VADER \n You cannot hide forever, Luke. \n \n LUKE \n I will not fight you. \n \n VADER \n Give yourself to the dark side. It is the only way you can save your \n friends. Yes, your","The dark side are they. Once you start down the dark path, forever \n will it dominate your \n destiny. \n \n He beckons the young Jedi closer to him. \n \n YODA","best troops awaits them. \n \n Luke's look darts from the Emperor to Vader and, finally, to the sword \n in the Emperor's hand. \n \n EMPEROR","your father can never be turned from the dark side. So will it be with \n you. \n \n LUKE \n You're wrong. Soon I'll be dead...and you with me. \n \n The Emperor laughs. \n \n EMPEROR","where Vader stands watching. \n \n LUKE\t (groans) \n Father, please. Help me. \n \n Again Vader stands, watching Luke. He looks at his master, the Emperor, \n then back to Luke on the floor. \n","LUKE \n It is the name of your true self. You've only forgotten. I know there \n is good in you. The Emperor hasn't driven it from you fully. That is ","train him as a Jedi. I thought that I could instruct him just as well \n as Yoda. I was wrong. My pride has had terrible consequences for the \n galaxy. \n \n Luke is entranced. \n \n LUKE","Your insight serves you well. Bury your feelings deep down, Luke. They \n do you credit. \n But they could be made to serve the Emperor. \n \n Luke looks into the distance, trying to comprehend all this. \n","Luke stands still, as the Emperor reaches the bottom of thestairs. The \n Emperor's laughter has turned to anger. He raises his arms toward Luke. \n \n EMPEROR \n If you will not be turned, you will be destroyed. \n","EMPEROR \n Your feeble skills are no match for the power of the dark side. You \n have paid the price for \n your lack of vision. \n \n Luke writhes on the floor in unbearable pain, reaching weakly up toward ","Patience, my friend. In time he will seek you out. And when he does, \n you must bring him \n before me. He has grown strong. Only together can we turn him to the \n dark side of the \n Force. \n \n VADER","Finally, Luke collapses from the strain. The explosions grow louder as \n Vader draws him closer. \n \n VADER\t (a whisper) \n Luke, help me take this mask off. \n \n LURE \n But you'll die. \n"],["The Emperor watches with uncontrollable, pleased agitation. \n \n EMPEROR \n Good! Your hate has made you powerful. Now, fulfill your destiny and \n take your father's \n place at my side! \n","the Emperor. I can save him. I can turn him back to the good side. I \n have to try. \n \n They hold each other close and look at each other, brother and sister. \n","ignites it in an instant and swings at the Emperor. Vader's lightsaber \n flashes into view, blocking Luke's blow before it can reach the \n Emperor. The two blades spark at contact. Luke turns to fight his \n father. \n","forced back, losing his balance, and is knocked down the stairs. Luke \n stands at the top of the stairs, ready to attack. \n \n EMPEROR (laughing) \n Good. Use your aggressive feelings, boy! Let the hate flow through ","The Emperor struggles in his embrace, his bolt-shooting hands now \n lifted high, away from Luke. Now the white lightning arcs back to \n strike at Vader. He stumbles with his load as the sparks rain off his ","Darth Vader hurls the Emperor's body into the bottomless shaft. \n \n The Emperor's body spins helplessly into the void, arcing as it falls \n into the abyss. Finally, when the body is far down the shaft, it ","He catches his breath. A shiver runs through the ancient green \n creature, and he dies. Luke stares at his dead master as he disappears \n in front of his eyes. \n","of the throne. The Emperor watches him and smiles, touches the \n lightsaber. \n \n EMPEROR \n You want this, don't you? The hate is swelling in you now. Take your ","The Emperor's glee turns to rage. \n \n EMPEROR \n So be it...Jedi. \n \n 123 EXT FOREST - GENERATOR BUNKER \n","The Emperor motions ever so slightly with his finger and Luke's binders \n fall away, clattering to the floor. Luke looks down at his own hands, \n free now to reach out and grab the Emperor's neck. He does nothing. \n \n EMPEROR","is no sound of battle. The Emperor turns to Luke. \n \n EMPEROR \n Your fleet has lost. And your friends on the Endor moon will not \n survive. There is no escape, my young apprentice. The Alliance will ","create a lethal perimeter. The assembled troops move to rigid attention \n with a momentous SNAP. \n \n Then, in the huge SILENCE which follows, the EMPEROR appears. He is a ","screaming through the room. Luke's body writhes in pain. \n \n Vader grabs the Emperor from behind, fighting for control of the robed \n figure despite the Dark Lord's weakened body and gravely weakened arm. ","No! \n \n EMPEROR \n It is unavoidable. It is your destiny. You, like your father, are now \n mine! \n \n 99 EXT FOREST - GENERATOR BUNKER \n","Vader throws the laser sword and it cuts through the supports holding \n the catwalk, then returns to Vader's hand. Luke tumbles to the ground \n in a shower of sparks and rolls out of sight under the Emperor's ","helmet and flow down over his black cape. He holds his evil master high \n over his head and walks to the edge of the abyss at the central core of \n the throne room. With one final burst of his once awesome strength, ","VADER \n (raising his gloved hand to the two guards and choking them with the \n Force) \n The Emperor will see me, now! \n \n GUARD \n (repeating Vader's command)","best troops awaits them. \n \n Luke's look darts from the Emperor to Vader and, finally, to the sword \n in the Emperor's hand. \n \n EMPEROR","Luke stands still, as the Emperor reaches the bottom of thestairs. The \n Emperor's laughter has turned to anger. He raises his arms toward Luke. \n \n EMPEROR \n If you will not be turned, you will be destroyed. \n","LUKE \n You're gravely mistaken. You won't convert me as you did my father. \n \n The Emperor gets down from his throne and walks up very close to Luke. \n The Emperor looks into his eyes and, for the first time, Luke can "],["Luke is a little shaken but remains standing as a fusillade brackets \n him. The second skiff, loaded with guards firing their weapons, moves \n in on Luke fast. Luke leaps toward the incoming second skiff. The young ","where Vader stands watching. \n \n LUKE\t (groans) \n Father, please. Help me. \n \n Again Vader stands, watching Luke. He looks at his master, the Emperor, \n then back to Luke on the floor. \n","beast. One of them breaks down and weeps. The other glares menacingly \n at Luke, who is unworried. Several guards rush into the holding tunnel \n and take Luke away. \n \n 22 INT THRONE ROOM \n","are leaned against a tree nearby. Threepio's litter/throne is gently \n placed near the pit. He watches with rapt fascination. Han, Luke, and \n Chewie are less than fascinated. \n \n HAN","gun blasting away at his helpless companions. Luke leaps from the \n skiff, across a chasm of air, to the sheer metallic side of the Sail \n Barge. Barely able to get a fingerhold, he begins a painful climb up ","A laser blast hits Luke's mechanical hand and he bends over in pain, \n but manages to swing his lightsaber upward and take out the last of the \n guards. He looks at the wounded hand, which reveals the mechanism. He ","and reveal the silhouetted figure of LUKE SKYWALKER. He is clad in a \n robe similar to Ben's and wears neither pistol nor laser sword. Luke \n strides purposefully into the hallway. Two giant guards move to block ","Luke is sitting in a corner of the cramped space and, indeed, his look \n has been woeful. Caught, he tries to hide it. \n \n LUKE \n No... of course not. \n","With samurai speed, Luke ignites it and attacks the guard who prodded \n him off the plank, sending the hapless monster screaming overboard. The \n other guards swarm toward Luke. He wades into them, lightsaber ","Luke and the guard have dropped twenty-five feet from a chute into the \n dungeonlike cage. Luke gets to his feet as the guard yells hysterically \n for help. A crowd gathers up around the edge of the pit as the door in ","He catches his breath. A shiver runs through the ancient green \n creature, and he dies. Luke stares at his dead master as he disappears \n in front of his eyes. \n","Leia holds back her tears as Luke slowly lets her go and moves away. He \n disappears onto the walkway that leads out of the village. Leia, bathed \n in moonlight, watches him go as Han comes out of the Chief's hut and ","guards move to the gate and start poking at the young Jedi with spears, \n laughing. \n \n Luke crouches (against the wall) as the monster starts to reach for \n him. Suddenly he notices a main door control panel halfway up the wall. ","Come, boy. See for yourself. \n \n The Emperor is sitting in his throne, with Vader standing at his side. \n Luke moves to look through a small section of the window. \n \n EMPEROR","Lando moves unobtrusively along the skiff as Luke shoots a quick look \n of conspiracy to him. \n \n 28 INT SAIL BARGE OBSERVATION DECK \n","forced back, losing his balance, and is knocked down the stairs. Luke \n stands at the top of the stairs, ready to attack. \n \n EMPEROR (laughing) \n Good. Use your aggressive feelings, boy! Let the hate flow through ","bridge across their path. The scout zips under. Luke goes over the top \n and crashes his bike down on the scout's. Both riders look ahead - a \n wide trunk looms directly in Luke's path, but the scout's bike beside ","Luke looks at his father's mechanical hand, then to his own mechanical, \n black-gloved hand, and realizes how much he is becoming like his \n father. He makes the decision for which he has spent a lifetime in ","starts firing away, having switched places with his pursuers in a \n manner of seconds. Luke's aim is good and one scout's bike is blasted \n out of control. It explodes against a tree trunk. \n","always told her to contact me on Tatooine, if her troubles became \n desperate. \n \n Luke is overwhelmed by the truth, and is suddenly protective of his \n sister. \n \n LUKE"],["At last! Master Luke's come to rescue me. \n \n BIB \n Master. \n \n Jabba awakens with a start and Bib continues, in Huttese. \n \n BIB","attempt to rescue his friend Han Solo from the clutches of theÊvile \n gangster Jabba the Hutt. Little does Luke know that the GALACTIC EMPIRE \n has secretly begun construction on a new armored space station even ","...Luke Skywalker, Jedi Knight. \n \n JABBA\t (in Huttese subtitled) \n I told you not to admit him. \n \n LUKE \n I must be allowed to speak. \n","gun blasting away at his helpless companions. Luke leaps from the \n skiff, across a chasm of air, to the sheer metallic side of the Sail \n Barge. Barely able to get a fingerhold, he begins a painful climb up ","powerful, mighty Jabba, and that your anger with Solo must be equally \n powerful. I seek an audience with Your Greatness to bargain for Solo's \n life. \n (Jabba's crowd laughs) ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","Jabba's palace. \n \n HAN \n Who are you? \n \n The bounty hunter reaches up and lifts the helmet from his head, \n revealing the beautiful face of PRINCESS LEIA. \n \n LEIA","stares at Bib; he raises his hand slightly. \n \n LUKE \n You will take me to Jabba now! \n \n Bib turns in hypnotic response to Luke's command, and Luke follows him \n into the gloom. \n","Boba lands on the skiff and starts to aim his laser gun at Luke, who \n has freed Han and Chewie from their bonds. But before Boba can fire, \n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","As the guards drag the prisoners from the throne room, a loud cheer \n rises from the crowd. Leia and Chewie exchange concerned looks, but \n Luke Skywalker, Jedi warrior, cannot suppress a smile. \n","Luke reaches out, and a pistol jumps out of a guard's holster and flies \n into Luke's hand. The bewildered guard grabs for it as Jabba raises his \n hand. \n \n JABBA \n Bascka! \n","JABBA\t (in Huttese subtitled) \n Your mind powers will not work on me, boy. \n \n LUKE \n Nevertheless, I'm taking Captain Solo and his friends. You can either ","Leia holds back her tears as Luke slowly lets her go and moves away. He \n disappears onto the walkway that leads out of the village. Leia, bathed \n in moonlight, watches him go as Han comes out of the Chief's hut and ","conversation. Several other guards fall in behind them in the darkness. \n \n LUKE \n I must speak with Jabba. \n \n Bib answers in Huttese, shaking his head in denial. Luke stops and ","Don't be a fool! \n \n Han is dragged off, as Lando quickly moves forward and attempts to lead \n Leia away. \n \n JABBA\t (in Huttese subtitled) \n Bring her to me. \n","like a pet cat. Several of the guards, including Lando, bring Luke from \n the other side of the room. Boba is standing behind Jabba. \n \n Threepio steps forward and translates for the captives. \n \n THREEPIO","Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \n that you are to be terminated immediately. \n \n HAN \n Good, I hate long waits. \n \n THREEPIO","Luke is a little shaken but remains standing as a fusillade brackets \n him. The second skiff, loaded with guards firing their weapons, moves \n in on Luke fast. Luke leaps toward the incoming second skiff. The young ","Jabba chuckles as Lando and a second guard drag the beautiful young \n princess toward him. Threepio peeks from behind a monster and quickly \n turns away in disgust. \n \n LEIA \n We have powerful friends. You're gonna regret this..."],["Jabba's palace. \n \n HAN \n Who are you? \n \n The bounty hunter reaches up and lifts the helmet from his head, \n revealing the beautiful face of PRINCESS LEIA. \n \n LEIA","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","throws the chain that enslaves her over his head around his bulbous \n neck. Then she dives off the other side of the throne, pulling the \n chain violently in her grasp. Jabba's flaccid neck contracts beneath ","JABBA\t (in Huttese subtitled) \n I'm sure. \n \n Inexorably her lovely face moves to within a few inches of Jabba's ugly \n blob of a head, and Leia turns away in disgust. \n","her neck is pulled tight and Jabba tugs the scantily clad princess to \n him. \n \n JABBA\t (in Huttese subtitled) \n Soon you will learn to appreciate me. \n","Jabba chuckles as Lando and a second guard drag the beautiful young \n princess toward him. Threepio peeks from behind a monster and quickly \n turns away in disgust. \n \n LEIA \n We have powerful friends. You're gonna regret this...","Leia emerges, wearing an animal-skin dress. She sees what's happening \n at the same moment the prisoners see her. \n \n HAN and LUKE \n Leia! \n","pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \n \n HAN \n What's that? I know that laugh. \n \n The curtain on the far side of the alcove opens, revealing Jabba the ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","applause as the party returns to its full noisy pitch. Chewbacca \n growls. As he is led away we spot LANDO CALRISSIAN, disguised as a \n skiff guard in a partial face mask. The band starts up and dancing ","Jabba leers at the dancers and with a lustful gleam in his eye beckons \n Oola to come and sit with him. She stops dancing and backs away, \n shaking her head. Jabba gets angry and points to a spot next to him. \n","As the guards drag the prisoners from the throne room, a loud cheer \n rises from the crowd. Leia and Chewie exchange concerned looks, but \n Luke Skywalker, Jedi warrior, cannot suppress a smile. \n","face muscles relax from their mask of horror. He appears quite dead. \n \n Boushh's ugly helmet leans close to Han's face listening for the breath \n of life. Nothing. He waits. Han's eyes pop open with a start and he ","JABBA\t (in Huttese subtitled) \n Move him into position. \n \n Jabba makes a thumbs-down gesture. Leia looks worried. \n \n 29 EXT BARGE - UPPER DECK \n","manacle/necklace at her throat to her new master, Jabba the Hutt. \n Threepio stands behind Jabba as Bib comes up to the gangster slug. \n \n THREEPIO","Jabba and Leia are now by the rail, watching. Threepio leans forward \n and the slobbering villain mumbles something to him. As Threepio steps ","Don't be a fool! \n \n Han is dragged off, as Lando quickly moves forward and attempts to lead \n Leia away. \n \n JABBA\t (in Huttese subtitled) \n Bring her to me. \n","drunk creatures lie unconscious around the room, snoring loudly. \n \n A shadowy figure moves stealthily among the columns at the perimeter of \n the room and is revealed to be Boushh, the bounty hunter. He picks his "],["the road toward the ominous palace of Jabba the Hutt. \n \n THREEPIO \n Of course I'm worried. And you should be, too. Lando Calrissian and \n poor Chewbacca never returned from this awful place. \n","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","Jabba's palace. \n \n HAN \n Who are you? \n \n The bounty hunter reaches up and lifts the helmet from his head, \n revealing the beautiful face of PRINCESS LEIA. \n \n LEIA","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","14 INT JABBA'S THRONE ROOM - NIGHT \n \n Silence. The room is deserted, only the awful debris of the alien \n celebration giving mute witness to the activity here before. Several ","Jabba leers at the dancers and with a lustful gleam in his eye beckons \n Oola to come and sit with him. She stops dancing and backs away, \n shaking her head. Jabba gets angry and points to a spot next to him. \n","The two droids fearfully approach the massive gate to the palace. \n \n THREEPIO \n Artoo, are you sure this is the right place? I better knock, I suppose. \n \n 6 EXT JABBA'S PALACE - GATE ","It takes all the guards to hurl Chewie roughly into a cell, slamming \n the door behind him. Chewie lets out a pathetic howl and bangs on the \n iron door. \n \n 13 EXT JABBA'S PALACE","The poor work droid in the background lets out another tortured \n electronic scream. \n \n 11 INT JABBA'S THRONE ROOM \n \n The court of Jabba the Hutt is in the midst of a drunken, raucous ","pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \n \n HAN \n What's that? I know that laugh. \n \n The curtain on the far side of the alcove opens, revealing Jabba the ","Jabba watches this and explodes in rage. He barks commands, and the \n guards around him rush off to do his bidding. The scuzzy creatures \n watching the action from the window are in an uproar. \n","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","The assembled monsters rock with mocking laughter as Artoo zips \n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \n he speaks into the comlink. \n","I will not give up my favorite decoration. I like Captain Solo where he \n is. \n \n Jabba laughs hideously and looks toward an alcove beside the throne. ","room to the platform upon which rests the leader of this nauseating \n crowd: JABBA THE HUTT. The monarch of the galactic underworld is a \n repulsive blob of bloated fat with a maniacal grin. Chained to the ","23 EXT TATOOINE SEA - SKIFF \n \n Jabba's huge SAIL BARGE moves above the desert surface accompanied by \n two smaller Skiffs. One of the skiffs glides close, revealing Luke, ","ever conceived in the universe. Artoo and Threepio seem very small as \n they pause in the doorway to the dimly lit chamber. Light shafts \n partially illuminate the drunken courtiers as Bib Fortuna crosses the ","Jabba and Leia are now by the rail, watching. Threepio leans forward \n and the slobbering villain mumbles something to him. As Threepio steps ","I'm all right, pal. I'm all right. \n \n 16 INT MAIN GATE AND HALL - JABBA'S PALACE \n \n Noisily, the main gate lifts to flood the blackness with blinding LIGHT ","Oh, Artoo! Artoo, wait for me! \n \n 7 INT JABBA'S PALACE - HALLWAY \n \n The door slams shut with a loud crash that echoes throughout the dark "],["As the guards drag the prisoners from the throne room, a loud cheer \n rises from the crowd. Leia and Chewie exchange concerned looks, but \n Luke Skywalker, Jedi warrior, cannot suppress a smile. \n","Leia emerges, wearing an animal-skin dress. She sees what's happening \n at the same moment the prisoners see her. \n \n HAN and LUKE \n Leia! \n","by a human guard-- Lando, recognizable behind his mask. She looks at \n him and he shakes his head \"no.\" \n \n 18 INT RANCOR PIT \n","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","Jabba's palace. \n \n HAN \n Who are you? \n \n The bounty hunter reaches up and lifts the helmet from his head, \n revealing the beautiful face of PRINCESS LEIA. \n \n LEIA","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","face muscles relax from their mask of horror. He appears quite dead. \n \n Boushh's ugly helmet leans close to Han's face listening for the breath \n of life. Nothing. He waits. Han's eyes pop open with a start and he ","applause as the party returns to its full noisy pitch. Chewbacca \n growls. As he is led away we spot LANDO CALRISSIAN, disguised as a \n skiff guard in a partial face mask. The band starts up and dancing ","Han, and Chewie -- all in bonds -- surrounded by guards, one of whom is \n Lando in disguise. \n \n HAN \n I think my eyes are getting better. Instead of a big dark blur, I see a \n big light blur. \n","starts it up and takes off as Luke jumps on the bike behind her. \n \n LUKE\t (pointing to the controls) \n Quick! Jam their comlink. Center switch! \n \n Luke and Leia speed into the dense foliage in hot pursuit, barely ","(beat) \n I have to face him. \n \n Leia is distraught, confused. \n \n LEIA \n Why? \n \n Luke moves close and his manner is gentle. And very calm. \n \n LUKE","Luke has hold on one of the rigging ropes from the mast. He gathers \n Leia in his other arm and kicks the trigger of the deck gun. The gun \n explodes into the deck as Luke and Leia swing out toward the skiff. \n","Someone who loves you. \n \n HAN \n Leia! \n \n LEIA \n I gotta get you out of here. \n \n As Leia helps her weakened lover to stand up, the relative quiet is ","down, and pulls out a handgun. Before Leia can react, the scout has \n blasted her bike, sending it out of control. Leia dives off as her bike \n explodes against a tree. The happy scout looks back at the explosion. ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","With Leia shooting ahead, Luke suddenly slams his steering vanes into \n the braking mode. Luke's bike is a blur to the two pursuing scouts as \n they zip by him on either side. Luke slams his bike into forward and ","Han works furiously at the control panel; wires spark as he attempts to \n hotwire the door. He motions to Leia, who is blasting away at some \n stormtroopers. \n \n HAN","through the death-dealing trunks. Now Leia aims her bike skyward and \n rises out of sight. \n \n The scout turns in confusion, unable to see his pursuer. Suddenly, Leia ","to Leia. \n \n LEIA \n What is it? \n \n Suddenly a laser bolt comes out of the foliage and explodes on the log \n next to Leia. Leia and Wicket both roll backwards off the log, hiding ","Get alongside that one! \n \n Leia pulls her speeder bike up so close to the scout's bike that their \n steering vanes SCRAPE noisily. Luke leaps from his bike to the back of "],["skiff moves out directly over the center and hovers. At the bottom of \n the deep cone of sand is a repulsive, mucous-lined hole, surrounded by \n thousands of needle-sharp teeth. This is the SARLACC. A plank is ","Gently now. All... all right. Now easy, easy. Hold me, Chewie. \n \n Lando screams. One of the Sarlacc's tentacles has wrapped tightly \n around his ankle, dragging him down the side of the pit. \n","Victims of the almighty Sarlacc: His Excellency hopes that you will die \n honorably. But should any of you wish to beg for mercy, the great Jabba \n the Hutt will now listen to your pleas. \n","side of the huge Sail Barge and sliding away into the pit. He screams \n as his armored body makes its last flight past Lando and directly into \n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a ","begins sliding. He claws desperately as a Sarlacc tentacle grabs him \n and pulls him screaming into the viscous mouth. \n \n 32 INT SAIL BARGE \n","You will therefore be taken to the Dune Sea and cast into the pit of \n Carkoon, the nesting place of the all-powerful Sarlacc. \n \n HAN\t (to Luke) \n Doesn't sound so bad. \n","The monster crushes the bone in its jaws and sees Luke, who squeezes \n into a crevice in the pit wall. Luke looks past the monster to the \n holding cave beyond. On the far side of the holding cave is a utility ","At the side of the pit, an iron door rumbles upward and a giant, fanged \n RANCOR emerges. The guard runs to the side of the pit and tries ","and Lando falls to the side of the Sarlacc pit. Luckily, Han's foot \n catches on the skiff railing and he dangles above Lando and the pit. \n The wounded Wookiee holds onto the skiff for dear life as another hit ","Rancor picks him up and pops him into its slavering jaws. A few \n screams, and the guard is swallowed with a gulp. The audience cheers \n and laughs at the guard's fate. \n","The monster turns and starts for Luke. The young Jedi dashes away just \n ahead of the monster's swipe at him, and picks up the long arm bone of \n an earlier victim. The monster grabs Luke and brings him up to his ","salivating mouth. At the last moment, Luke wedges the bone in the \n monster's mouth and is dropped to the floor. The monster bellows in \n rage and flails about, hitting the side of the pit, causing an \n avalanche. \n","25 EXT SARLACC PIT \n \n The convoy moves up over a huge sand pit. The Sail Barge stops to one \n side of the depression, as does the escort skiff. But the prisoner's ","above the Sarlacc pit. \n \n LANDO \n Whoa! Whoa! Help! \n \n 34 EXT UPPER DECK - SAIL BARGE \n","The injured Chewie is reaching over the rail for the dangling Han, who \n is in turn blindly reaching down toward the desperate Lando. The Baron \n has stopped his slippage down the sandy slope of the Sarlacc pit by ","the side of the pit starts to RUMBLE open. The guard screams in panic. \n Luke looks calmly around for a means of escape. \n \n THREEPIO \n Oh, no! The Rancor! \n","horrible creature is the beautiful alien female dancer named OOLA. At \n the foot of the dais sits an obnoxious birdlike creature, SALACIOUS ","Artoo appears from below and zips over to the rail facing the pit. \n Below, in the skiff, Luke is prodded by a guard to the edge of the \n plank over the gaping Sarlacc. Luke looks up at Artoo, then gives a ","the tightening chain. His huge eyes bulge from their sockets and his \n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \n through its death throes and then slams down into final stillness. Leia ","floor springs open and swallows her up. As the door snaps shut, a \n muffled growl is followed by a hideous scream. Jabba and his monstrous \n friends laugh hysterically and several revelers hurry over to watch her "],["Victims of the almighty Sarlacc: His Excellency hopes that you will die \n honorably. But should any of you wish to beg for mercy, the great Jabba \n the Hutt will now listen to your pleas. \n","You will therefore be taken to the Dune Sea and cast into the pit of \n Carkoon, the nesting place of the all-powerful Sarlacc. \n \n HAN\t (to Luke) \n Doesn't sound so bad. \n","powerful, mighty Jabba, and that your anger with Solo must be equally \n powerful. I seek an audience with Your Greatness to bargain for Solo's \n life. \n (Jabba's crowd laughs) ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","side of the huge Sail Barge and sliding away into the pit. He screams \n as his armored body makes its last flight past Lando and directly into \n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a ","Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \n that you are to be terminated immediately. \n \n HAN \n Good, I hate long waits. \n \n THREEPIO","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","JABBA\t (in Huttese subtitled) \n It's too late for that, Solo. You may have been a good smuggler, but \n now you're Bantha fodder. \n \n HAN \n Look... \n","begins sliding. He claws desperately as a Sarlacc tentacle grabs him \n and pulls him screaming into the viscous mouth. \n \n 32 INT SAIL BARGE \n","pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \n \n HAN \n What's that? I know that laugh. \n \n The curtain on the far side of the alcove opens, revealing Jabba the ","Chewie barks his agreement. \n \n LUKE \n You should have bargained, Jabba. That's the last mistake you'll ever \n make. \n \n Jabba cackles evilly at this. \n","Gently now. All... all right. Now easy, easy. Hold me, Chewie. \n \n Lando screams. One of the Sarlacc's tentacles has wrapped tightly \n around his ankle, dragging him down the side of the pit. \n","profit by this... or be destroyed! It's your choice. But I warn you not \n to underestimate my powers. \n \n Jabba's laugh is mean and loud. Threepio attempts to warn Luke about \n the pit. \n","Jabba leers at the dancers and with a lustful gleam in his eye beckons \n Oola to come and sit with him. She stops dancing and backs away, \n shaking her head. Jabba gets angry and points to a spot next to him. \n","Don't be a fool! \n \n Han is dragged off, as Lando quickly moves forward and attempts to lead \n Leia away. \n \n JABBA\t (in Huttese subtitled) \n Bring her to me. \n","JABBA\t (in Huttese subtitled) \n At last we have the mighty Chewbacca. \n \n Jabba lets out a loud, long, blood-curdling laugh and turns to ","JABBA\t (in Huttese subtitled) \n Your mind powers will not work on me, boy. \n \n LUKE \n Nevertheless, I'm taking Captain Solo and his friends. You can either ","Jabba watches this and explodes in rage. He barks commands, and the \n guards around him rush off to do his bidding. The scuzzy creatures \n watching the action from the window are in an uproar. \n"],["throws the chain that enslaves her over his head around his bulbous \n neck. Then she dives off the other side of the throne, pulling the \n chain violently in her grasp. Jabba's flaccid neck contracts beneath ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","Boba lands on the skiff and starts to aim his laser gun at Luke, who \n has freed Han and Chewie from their bonds. But before Boba can fire, \n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty ","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \n that you are to be terminated immediately. \n \n HAN \n Good, I hate long waits. \n \n THREEPIO","the tightening chain. His huge eyes bulge from their sockets and his \n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \n through its death throes and then slams down into final stillness. Leia ","side of the huge Sail Barge and sliding away into the pit. He screams \n as his armored body makes its last flight past Lando and directly into \n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a ","Chewie barks his agreement. \n \n LUKE \n You should have bargained, Jabba. That's the last mistake you'll ever \n make. \n \n Jabba cackles evilly at this. \n","JABBA\t (in Huttese subtitled) \n At last we have the mighty Chewbacca. \n \n Jabba lets out a loud, long, blood-curdling laugh and turns to ","Jabba watches this and explodes in rage. He barks commands, and the \n guards around him rush off to do his bidding. The scuzzy creatures \n watching the action from the window are in an uproar. \n","At last! Master Luke's come to rescue me. \n \n BIB \n Master. \n \n Jabba awakens with a start and Bib continues, in Huttese. \n \n BIB","Boba Fett, badly shaken, rises from the deck. He looks over at the \n other skiff, where Luke is whipping a mass of guards. Boba raises his \n arm, and aims his lethal appendage. \n","Jabba's palace. \n \n HAN \n Who are you? \n \n The bounty hunter reaches up and lifts the helmet from his head, \n revealing the beautiful face of PRINCESS LEIA. \n \n LEIA","Luke reaches out, and a pistol jumps out of a guard's holster and flies \n into Luke's hand. The bewildered guard grabs for it as Jabba raises his \n hand. \n \n JABBA \n Bascka! \n","powerful, mighty Jabba, and that your anger with Solo must be equally \n powerful. I seek an audience with Your Greatness to bargain for Solo's \n life. \n (Jabba's crowd laughs) ","stares at Bib; he raises his hand slightly. \n \n LUKE \n You will take me to Jabba now! \n \n Bib turns in hypnotic response to Luke's command, and Luke follows him \n into the gloom. \n","The assembled monsters rock with mocking laughter as Artoo zips \n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \n he speaks into the comlink. \n","Don't be a fool! \n \n Han is dragged off, as Lando quickly moves forward and attempts to lead \n Leia away. \n \n JABBA\t (in Huttese subtitled) \n Bring her to me. \n"],["throws the chain that enslaves her over his head around his bulbous \n neck. Then she dives off the other side of the throne, pulling the \n chain violently in her grasp. Jabba's flaccid neck contracts beneath ","side of the huge Sail Barge and sliding away into the pit. He screams \n as his armored body makes its last flight past Lando and directly into \n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a ","the tightening chain. His huge eyes bulge from their sockets and his \n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \n through its death throes and then slams down into final stillness. Leia ","Jabba the Hutt rides like a sultan in the massive antigravity ship. His \n entire retinue is with him, drinking, eating, and having a good time. \n Leia is watching her friends in the skiff when the chain attached to ","Jabba is furious and pulls her toward him, tugging on the chain. \n \n JABBA \n Boscka! \n \n He pushes a button and, before the dancer can flee, a trap door in the ","Jabba watches this and explodes in rage. He barks commands, and the \n guards around him rush off to do his bidding. The scuzzy creatures \n watching the action from the window are in an uproar. \n","He catches his breath. A shiver runs through the ancient green \n creature, and he dies. Luke stares at his dead master as he disappears \n in front of his eyes. \n","Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \n that you are to be terminated immediately. \n \n HAN \n Good, I hate long waits. \n \n THREEPIO","Jabba is asleep on his throne, with Leia lying in front of him. \n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \n dressed in the skimpy costume of a dancing girl; a chain runs from a ","JABBA\t (in Huttese subtitled) \n At last we have the mighty Chewbacca. \n \n Jabba lets out a loud, long, blood-curdling laugh and turns to ","The floor suddenly drops away, sending Luke and the hapless guard into \n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \n laughs and his courtiers join in. Leia starts forward but is restrained ","Victims of the almighty Sarlacc: His Excellency hopes that you will die \n honorably. But should any of you wish to beg for mercy, the great Jabba \n the Hutt will now listen to your pleas. \n","floor springs open and swallows her up. As the door snaps shut, a \n muffled growl is followed by a hideous scream. Jabba and his monstrous \n friends laugh hysterically and several revelers hurry over to watch her ","Chewie barks his agreement. \n \n LUKE \n You should have bargained, Jabba. That's the last mistake you'll ever \n make. \n \n Jabba cackles evilly at this. \n","begins sliding. He claws desperately as a Sarlacc tentacle grabs him \n and pulls him screaming into the viscous mouth. \n \n 32 INT SAIL BARGE \n","an egg. \n \n A startled gasp is heard from the stunned court. There's consternation \n at this turn of events. Heads look to Jabba, who is actually turning ","JABBA\t (cont Huttese subtitled) \n Take him away! \n \n The guards grab Han and start to lead him away. \n \n HAN \n Jabba... I'll pay you triple! You're throwing away a fortune here. ","powerful, mighty Jabba, and that your anger with Solo must be equally \n powerful. I seek an audience with Your Greatness to bargain for Solo's \n life. \n (Jabba's crowd laughs) ","The assembled monsters rock with mocking laughter as Artoo zips \n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \n he speaks into the comlink. \n","The little skiff skips around the burning Sail Barge, which continues \n its chain of explosions. As the skiff sails off across the desert, the \n barge settles to the sand and disappears in one final conflagration. \n"],["Yoda, I must know. \n \n YODA \n Your father he is. \n \n Luke reacts as if cut. \n \n YODA \n Told you, did he? \n \n LUKE \n Yes. \n","He catches his breath. A shiver runs through the ancient green \n creature, and he dies. Luke stares at his dead master as he disappears \n in front of his eyes. \n","train him as a Jedi. I thought that I could instruct him just as well \n as Yoda. I was wrong. My pride has had terrible consequences for the \n galaxy. \n \n Luke is entranced. \n \n LUKE","courage. Finally he is able to ask. \n \n LUKE \n Master Yoda... is Darth Vader my father? \n \n Yoda's eyes are full of weariness and compassion. An odd, sad smile ","A new look of concern crosses Yoda's face. He closes his eyes. \n \n YODA \n Unexpected this is, and unfortunate... \n \n LUKE \n Unfortunate that I know the truth? \n","Ohhh. Not yet. One thing remains: Vader. You must confront Vader. Then, \n only then, a Jedi will you be. And confront him you will. \n \n Luke is in agony. He is silent for a long moment, screwing up his ","LEIA \n Luke, tell me. What's troubling you? \n \n LUKE \n Vader is here...now, on this moon. \n \n LEIA\t (alarmed) \n How do you know? \n \n LUKE","Yoda sighs, and lies back on his bed. \n \n LUKE \n Then I am a Jedi? \n \n YODA\t (shakes his head)","creases his face. He turns painfully on his side, away from Luke. \n \n YODA \n Mmm... rest I need. Yes... rest. \n \n Luke watches him, each moment an eternity. \n \n LUKE","LUKE \n Master Yoda, you can't die. \n \n YODA \n Strong am I with the Force... but not that strong! Twilight is upon me \n and soon night must fall. That is the way of things... the way of the ","(beat) \n I have to face him. \n \n Leia is distraught, confused. \n \n LEIA \n Why? \n \n Luke moves close and his manner is gentle. And very calm. \n \n LUKE","you. \n \n Luke looks momentarily toward the Emperor, then back to Vader, and \n realizes he is using the dark side. He steps back, turns off his \n lightsaber, and relaxes, driving the hate from his being. \n \n VADER","And did you help them? It was they who had to save you. You achieved \n little by rushing back prematurely, I fear. \n \n LUKE\t (with sadness) \n I found out Darth Vader was my father. \n \n BEN","I can't kill my own father. \n \n BEN \n Then the Emperor has already won. You were our only hope. \n \n LUKE \n Yoda spoke of another. \n \n BEN \n The other he spoke of is your twin sister.","Yoda opens his eyes again and studies the youth. \n \n YODA\t\t (gathering all his strength) \n No. Unfortunate that you rushed to face him... that incomplete was your \n training. Not \n ready for the burden were you. \n","to your father was my fault. \n \n Ben pauses sadly. \n \n BEN \n Anakin was a good friend. \n \n Luke turns with interest at this. As Ben speaks, Luke settles on a ","He's my father. \n \n LEIA \n Your father? \n \n LUKE \n There's more. It won't be easy for you to hear it, but you must. If I ","Force. \n \n LUKE \n But I need your help. I've come back to complete the training. \n \n YODA \n No more training do you require. Already know you that which you need. \n","LUKE \n But I have no sister. \n \n BEN \n Hmm. To protect you both from the Emperor, you were hidden from your \n father when you were born. The Emperor knew, as I did, if Anakin were ","Yoda will always be with you. \n \n Luke looks up to see the shimmering image of BEN KENOBI. \n \n LUKE \n Obi-Wan! Why didn't you tell me? \n"],["Luke, what's wrong? \n \n Luke turns and looks at her a long moment. \n \n LUKE \n Leia... do you remember your mother? Your real mother? \n \n LEIA \n Just a little bit. She died when I was very young.","(beat) \n I have to face him. \n \n Leia is distraught, confused. \n \n LEIA \n Why? \n \n Luke moves close and his manner is gentle. And very calm. \n \n LUKE","always told her to contact me on Tatooine, if her troubles became \n desperate. \n \n Luke is overwhelmed by the truth, and is suddenly protective of his \n sister. \n \n LUKE","way. \n \n She realizes his misunderstanding. \n \n LEIA \n Oh. No, it's not like that at all. He's my brother. \n \n Han is stunned by this news. She smiles, and they embrace. \n","that system. Leia became a princess by virtue of lineage... no one knew \n she'd been adopted, of course. But it was a title without real power, \n since Alderaan had long been a democracy. Even so, the family ","Leia moves to Luke and embraces him warmly. She senses a change in him \n and looks into his eyes questioningly. \n \n LEIA \n What is it? \n \n LUKE\t (hesitant) \n Ask me again sometime. \n","starts it up and takes off as Luke jumps on the bike behind her. \n \n LUKE\t (pointing to the controls) \n Quick! Jam their comlink. Center switch! \n \n Luke and Leia speed into the dense foliage in hot pursuit, barely ","doesn't draw away. She begins to understand. \n \n LUKE \n Yes. It's you Leia. \n \n LEIA \n I know. Somehow...I've always known. \n \n LUKE","With Leia shooting ahead, Luke suddenly slams his steering vanes into \n the braking mode. Luke's bike is a blur to the two pursuing scouts as \n they zip by him on either side. Luke slams his bike into forward and ","to have any offspring, they would be a threat to him. That is the \n reason why your sister remains safely anonymous. \n \n LUKE \n Leia! Leia's my sister. \n \n BEN","use it as I have. The Force is strong in my family. My father has \n it...I have it...and...my sister has it. \n \n Leia stares into his eyes. What she sees there frightens her. But she ","Leia comes in from the hold and takes her seat near Luke. \n \n Chewie barks and hits some switches. Han's glance has stuck on \n something out the window: the Millennium Falcon. Leia nudges him \n gently. \n","flicker from the fires inside. The sounds of the forest fill the soft \n night air. Luke has wandered away from the Chief's hut and stands \n staring up at the Death Star. Leia finds him like that. \n \n LEIA","LUKE \n What do you remember? \n \n LEIA \n Just...images, really. Feelings. \n \n LUKE \n Tell me. \n \n LEIA \n (a little surprised at his insistence)","Did you tell Luke? Is that who you could tell? \n \n LEIA \n I... \n \n HAN \n Ahhh... \n \n He starts to walk away, exasperated, then stops and walks back to her. \n \n HAN","Get alongside that one! \n \n Leia pulls her speeder bike up so close to the scout's bike that their \n steering vanes SCRAPE noisily. Luke leaps from his bike to the back of ","Leia holds back her tears as Luke slowly lets her go and moves away. He \n disappears onto the walkway that leads out of the village. Leia, bathed \n in moonlight, watches him go as Han comes out of the Chief's hut and ","Luke, don't talk that way. You have a power I--I don't understand and \n could never have. \n \n LUKE \n You're wrong, Leia. You have that power too. In time you'll learn to ","Luke starts for the scuffle, followed by Leia with her laser pistol \n drawn. As they run through the bushes, Leia stops and points to where \n two more scouts are sitting on their speeder bikes, with an unoccupied \n bike parked nearby.","LUKE \n But I have no sister. \n \n BEN \n Hmm. To protect you both from the Emperor, you were hidden from your \n father when you were born. The Emperor knew, as I did, if Anakin were "]],"string":"[\n [\n \"Jabba's palace. \\n \\n HAN \\n Who are you? \\n \\n The bounty hunter reaches up and lifts the helmet from his head, \\n revealing the beautiful face of PRINCESS LEIA. \\n \\n LEIA\",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"throws the chain that enslaves her over his head around his bulbous \\n neck. Then she dives off the other side of the throne, pulling the \\n chain violently in her grasp. Jabba's flaccid neck contracts beneath \",\n \"Don't be a fool! \\n \\n Han is dragged off, as Lando quickly moves forward and attempts to lead \\n Leia away. \\n \\n JABBA\\t (in Huttese subtitled) \\n Bring her to me. \\n\",\n \"Han works furiously at the control panel; wires spark as he attempts to \\n hotwire the door. He motions to Leia, who is blasting away at some \\n stormtroopers. \\n \\n HAN\",\n \"Leia emerges, wearing an animal-skin dress. She sees what's happening \\n at the same moment the prisoners see her. \\n \\n HAN and LUKE \\n Leia! \\n\",\n \"her neck is pulled tight and Jabba tugs the scantily clad princess to \\n him. \\n \\n JABBA\\t (in Huttese subtitled) \\n Soon you will learn to appreciate me. \\n\",\n \"As the guards drag the prisoners from the throne room, a loud cheer \\n rises from the crowd. Leia and Chewie exchange concerned looks, but \\n Luke Skywalker, Jedi warrior, cannot suppress a smile. \\n\",\n \"the tightening chain. His huge eyes bulge from their sockets and his \\n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \\n through its death throes and then slams down into final stillness. Leia \",\n \"Oh, Princess Leia, are you all right? \\n \\n HAN \\n Let's see. \\n \\n LEIA \\n It's not bad. \\n \\n STORMTROOPER\\t (OS) \\n Freeze! \\n \\n They freeze.\",\n \"comes over to her. Leia is crying, her body trembling. He realizes only \\n now that she is crying. \\n \\n HAN \\n Hey, what's goin' on? \\n\",\n \"Jabba chuckles as Lando and a second guard drag the beautiful young \\n princess toward him. Threepio peeks from behind a monster and quickly \\n turns away in disgust. \\n \\n LEIA \\n We have powerful friends. You're gonna regret this...\",\n \"Someone who loves you. \\n \\n HAN \\n Leia! \\n \\n LEIA \\n I gotta get you out of here. \\n \\n As Leia helps her weakened lover to stand up, the relative quiet is \",\n \"floor springs open and swallows her up. As the door snaps shut, a \\n muffled growl is followed by a hideous scream. Jabba and his monstrous \\n friends laugh hysterically and several revelers hurry over to watch her \",\n \"Leia holds back her tears as Luke slowly lets her go and moves away. He \\n disappears onto the walkway that leads out of the village. Leia, bathed \\n in moonlight, watches him go as Han comes out of the Chief's hut and \",\n \"JABBA\\t (in Huttese subtitled) \\n I'm sure. \\n \\n Inexorably her lovely face moves to within a few inches of Jabba's ugly \\n blob of a head, and Leia turns away in disgust. \\n\",\n \"racing for him, firing their laser pistols. \\n \\n 39 INT SAIL BARGE - OBSERVATION DECK \\n \\n Leia is struggling against her chains in desperation as Artoo zips \"\n ],\n [\n \"Chewie barks his agreement. \\n \\n LUKE \\n You should have bargained, Jabba. That's the last mistake you'll ever \\n make. \\n \\n Jabba cackles evilly at this. \\n\",\n \"It takes all the guards to hurl Chewie roughly into a cell, slamming \\n the door behind him. Chewie lets out a pathetic howl and bangs on the \\n iron door. \\n \\n 13 EXT JABBA'S PALACE\",\n \"Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \\n that you are to be terminated immediately. \\n \\n HAN \\n Good, I hate long waits. \\n \\n THREEPIO\",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"Victims of the almighty Sarlacc: His Excellency hopes that you will die \\n honorably. But should any of you wish to beg for mercy, the great Jabba \\n the Hutt will now listen to your pleas. \\n\",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"JABBA\\t (in Huttese subtitled) \\n At last we have the mighty Chewbacca. \\n \\n Jabba lets out a loud, long, blood-curdling laugh and turns to \",\n \"As the guards drag the prisoners from the throne room, a loud cheer \\n rises from the crowd. Leia and Chewie exchange concerned looks, but \\n Luke Skywalker, Jedi warrior, cannot suppress a smile. \\n\",\n \"JABBA\\t (cont Huttese subtitled) \\n Take him away! \\n \\n The guards grab Han and start to lead him away. \\n \\n HAN \\n Jabba... I'll pay you triple! You're throwing away a fortune here. \",\n \"side of the huge Sail Barge and sliding away into the pit. He screams \\n as his armored body makes its last flight past Lando and directly into \\n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a \",\n \"powerful, mighty Jabba, and that your anger with Solo must be equally \\n powerful. I seek an audience with Your Greatness to bargain for Solo's \\n life. \\n (Jabba's crowd laughs) \",\n \"You weak-minded fool! He's using an old Jedi mind trick. \\n \\n Luke stares hard at Jabba. \\n \\n LUKE \\n You will bring Captain Solo and the Wookiee to me. \\n\",\n \"no such pleasure from us. Right? \\n \\n Chewie growls his agreement. \\n \\n LUKE \\n Jabba! This is your last chance. Free us or die. \\n\",\n \"stares at Bib; he raises his hand slightly. \\n \\n LUKE \\n You will take me to Jabba now! \\n \\n Bib turns in hypnotic response to Luke's command, and Luke follows him \\n into the gloom. \\n\",\n \"like a pet cat. Several of the guards, including Lando, bring Luke from \\n the other side of the room. Boba is standing behind Jabba. \\n \\n Threepio steps forward and translates for the captives. \\n \\n THREEPIO\",\n \"Boba lands on the skiff and starts to aim his laser gun at Luke, who \\n has freed Han and Chewie from their bonds. But before Boba can fire, \\n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty \",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"Rancor picks him up and pops him into its slavering jaws. A few \\n screams, and the guard is swallowed with a gulp. The audience cheers \\n and laughs at the guard's fate. \\n\",\n \"You will therefore be taken to the Dune Sea and cast into the pit of \\n Carkoon, the nesting place of the all-powerful Sarlacc. \\n \\n HAN\\t (to Luke) \\n Doesn't sound so bad. \\n\",\n \"profit by this... or be destroyed! It's your choice. But I warn you not \\n to underestimate my powers. \\n \\n Jabba's laugh is mean and loud. Threepio attempts to warn Luke about \\n the pit. \\n\"\n ],\n [\n \"You will therefore be taken to the Dune Sea and cast into the pit of \\n Carkoon, the nesting place of the all-powerful Sarlacc. \\n \\n HAN\\t (to Luke) \\n Doesn't sound so bad. \\n\",\n \"skiff moves out directly over the center and hovers. At the bottom of \\n the deep cone of sand is a repulsive, mucous-lined hole, surrounded by \\n thousands of needle-sharp teeth. This is the SARLACC. A plank is \",\n \"Victims of the almighty Sarlacc: His Excellency hopes that you will die \\n honorably. But should any of you wish to beg for mercy, the great Jabba \\n the Hutt will now listen to your pleas. \\n\",\n \"begins sliding. He claws desperately as a Sarlacc tentacle grabs him \\n and pulls him screaming into the viscous mouth. \\n \\n 32 INT SAIL BARGE \\n\",\n \"side of the huge Sail Barge and sliding away into the pit. He screams \\n as his armored body makes its last flight past Lando and directly into \\n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a \",\n \"Gently now. All... all right. Now easy, easy. Hold me, Chewie. \\n \\n Lando screams. One of the Sarlacc's tentacles has wrapped tightly \\n around his ankle, dragging him down the side of the pit. \\n\",\n \"25 EXT SARLACC PIT \\n \\n The convoy moves up over a huge sand pit. The Sail Barge stops to one \\n side of the depression, as does the escort skiff. But the prisoner's \",\n \"Artoo appears from below and zips over to the rail facing the pit. \\n Below, in the skiff, Luke is prodded by a guard to the edge of the \\n plank over the gaping Sarlacc. Luke looks up at Artoo, then gives a \",\n \"above the Sarlacc pit. \\n \\n LANDO \\n Whoa! Whoa! Help! \\n \\n 34 EXT UPPER DECK - SAIL BARGE \\n\",\n \"Soon, they can make out some large vague shapes in the blowing sand. It \\n is the Millennium Falcon and, parked beside it, Luke's trusty X-wing \\n and a two-seated Y-wing. They must shout to be heard. \\n\",\n \"extended from the edge of the prisoner's skiff. Guards release Luke's \\n bonds and shove him out onto the plank above the Sarlacc's mouth. \\n \\n 26 EXT SAIL BARGE OBSERVATION DECK \\n\",\n \"and Lando falls to the side of the Sarlacc pit. Luckily, Han's foot \\n catches on the skiff railing and he dangles above Lando and the pit. \\n The wounded Wookiee holds onto the skiff for dear life as another hit \",\n \"The monster crushes the bone in its jaws and sees Luke, who squeezes \\n into a crevice in the pit wall. Luke looks past the monster to the \\n holding cave beyond. On the far side of the holding cave is a utility \",\n \"flashing. Lando struggles with another guard at the back of the skiff. \\n \\n 31 EXT SARLACC PIT \\n \\n A bewildered guard lands in the soft, sandy slope of the pit, and \",\n \"The injured Chewie is reaching over the rail for the dangling Han, who \\n is in turn blindly reaching down toward the desperate Lando. The Baron \\n has stopped his slippage down the sandy slope of the Sarlacc pit by \",\n \"are leaned against a tree nearby. Threepio's litter/throne is gently \\n placed near the pit. He watches with rapt fascination. Han, Luke, and \\n Chewie are less than fascinated. \\n \\n HAN\",\n \"Rancor picks him up and pops him into its slavering jaws. A few \\n screams, and the guard is swallowed with a gulp. The audience cheers \\n and laughs at the guard's fate. \\n\",\n \"the side of the pit starts to RUMBLE open. The guard screams in panic. \\n Luke looks calmly around for a means of escape. \\n \\n THREEPIO \\n Oh, no! The Rancor! \\n\",\n \"the tightening chain. His huge eyes bulge from their sockets and his \\n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \\n through its death throes and then slams down into final stillness. Leia \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \"\n ],\n [\n \"throws the chain that enslaves her over his head around his bulbous \\n neck. Then she dives off the other side of the throne, pulling the \\n chain violently in her grasp. Jabba's flaccid neck contracts beneath \",\n \"side of the huge Sail Barge and sliding away into the pit. He screams \\n as his armored body makes its last flight past Lando and directly into \\n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a \",\n \"the tightening chain. His huge eyes bulge from their sockets and his \\n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \\n through its death throes and then slams down into final stillness. Leia \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"Jabba watches this and explodes in rage. He barks commands, and the \\n guards around him rush off to do his bidding. The scuzzy creatures \\n watching the action from the window are in an uproar. \\n\",\n \"He catches his breath. A shiver runs through the ancient green \\n creature, and he dies. Luke stares at his dead master as he disappears \\n in front of his eyes. \\n\",\n \"Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \\n that you are to be terminated immediately. \\n \\n HAN \\n Good, I hate long waits. \\n \\n THREEPIO\",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"JABBA\\t (in Huttese subtitled) \\n At last we have the mighty Chewbacca. \\n \\n Jabba lets out a loud, long, blood-curdling laugh and turns to \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"Victims of the almighty Sarlacc: His Excellency hopes that you will die \\n honorably. But should any of you wish to beg for mercy, the great Jabba \\n the Hutt will now listen to your pleas. \\n\",\n \"floor springs open and swallows her up. As the door snaps shut, a \\n muffled growl is followed by a hideous scream. Jabba and his monstrous \\n friends laugh hysterically and several revelers hurry over to watch her \",\n \"Chewie barks his agreement. \\n \\n LUKE \\n You should have bargained, Jabba. That's the last mistake you'll ever \\n make. \\n \\n Jabba cackles evilly at this. \\n\",\n \"begins sliding. He claws desperately as a Sarlacc tentacle grabs him \\n and pulls him screaming into the viscous mouth. \\n \\n 32 INT SAIL BARGE \\n\",\n \"an egg. \\n \\n A startled gasp is heard from the stunned court. There's consternation \\n at this turn of events. Heads look to Jabba, who is actually turning \",\n \"JABBA\\t (cont Huttese subtitled) \\n Take him away! \\n \\n The guards grab Han and start to lead him away. \\n \\n HAN \\n Jabba... I'll pay you triple! You're throwing away a fortune here. \",\n \"powerful, mighty Jabba, and that your anger with Solo must be equally \\n powerful. I seek an audience with Your Greatness to bargain for Solo's \\n life. \\n (Jabba's crowd laughs) \",\n \"The assembled monsters rock with mocking laughter as Artoo zips \\n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \\n he speaks into the comlink. \\n\",\n \"The little skiff skips around the burning Sail Barge, which continues \\n its chain of explosions. As the skiff sails off across the desert, the \\n barge settles to the sand and disappears in one final conflagration. \\n\"\n ],\n [\n \"LUKE \\n Master Yoda, you can't die. \\n \\n YODA \\n Strong am I with the Force... but not that strong! Twilight is upon me \\n and soon night must fall. That is the way of things... the way of the \",\n \"He catches his breath. A shiver runs through the ancient green \\n creature, and he dies. Luke stares at his dead master as he disappears \\n in front of his eyes. \\n\",\n \"Yoda chuckles at this, coughs, and hobbles over toward his bed. \\n \\n YODA \\n Soon will I rest. Yes, forever sleep. Earned it, I have. \\n \\n Yoda sits himself on his bed, with great effort. \\n\",\n \"Yoda, I must know. \\n \\n YODA \\n Your father he is. \\n \\n Luke reacts as if cut. \\n \\n YODA \\n Told you, did he? \\n \\n LUKE \\n Yes. \\n\",\n \"creases his face. He turns painfully on his side, away from Luke. \\n \\n YODA \\n Mmm... rest I need. Yes... rest. \\n \\n Luke watches him, each moment an eternity. \\n \\n LUKE\",\n \"beneath the scars is an elderly man. His eyes do not focus. But the \\n dying man smiles at the sight before him. \\n \\n ANAKIN\\t (very weak) \\n Now...go, my son. Leave me. \\n \\n LUKE\",\n \"train him as a Jedi. I thought that I could instruct him just as well \\n as Yoda. I was wrong. My pride has had terrible consequences for the \\n galaxy. \\n \\n Luke is entranced. \\n \\n LUKE\",\n \"Yoda opens his eyes again and studies the youth. \\n \\n YODA\\t\\t (gathering all his strength) \\n No. Unfortunate that you rushed to face him... that incomplete was your \\n training. Not \\n ready for the burden were you. \\n\",\n \"Ohhh. Not yet. One thing remains: Vader. You must confront Vader. Then, \\n only then, a Jedi will you be. And confront him you will. \\n \\n Luke is in agony. He is silent for a long moment, screwing up his \",\n \"courage. Finally he is able to ask. \\n \\n LUKE \\n Master Yoda... is Darth Vader my father? \\n \\n Yoda's eyes are full of weariness and compassion. An odd, sad smile \",\n \"A new look of concern crosses Yoda's face. He closes his eyes. \\n \\n YODA \\n Unexpected this is, and unfortunate... \\n \\n LUKE \\n Unfortunate that I know the truth? \\n\",\n \"Yoda sighs, and lies back on his bed. \\n \\n LUKE \\n Then I am a Jedi? \\n \\n YODA\\t (shakes his head)\",\n \"LUKE \\n Your overconfidence is your weakness. \\n \\n EMPEROR \\n Your faith in your friends is yours. \\n \\n VADER \\n It is pointless to resist, my son. \\n \\n The Emperor turns to face Luke. \\n\",\n \"Your thoughts betray you, father. I feel the good in you...the \\n conflict. \\n \\n VADER \\n There is no conflict. \\n \\n LUKE \\n You couldn't bring yourself to kill me before, and I don't believe \",\n \"Finally, Luke collapses from the strain. The explosions grow louder as \\n Vader draws him closer. \\n \\n VADER\\t (a whisper) \\n Luke, help me take this mask off. \\n \\n LURE \\n But you'll die. \\n\",\n \"your father can never be turned from the dark side. So will it be with \\n you. \\n \\n LUKE \\n You're wrong. Soon I'll be dead...and you with me. \\n \\n The Emperor laughs. \\n \\n EMPEROR\",\n \"LUKE \\n Father...I won't leave you. \\n \\n Darth Vader, Anakin Skywalker...Luke's father, dies. \\n \\n A huge explosion rocks the docking bay. Slowly, Luke rises and, half \",\n \"the last of the Jedi will you be. Luke, the Force runs strong in your \\n family. Pass on what you have learned, Luke... \\n (with great effort) \\n There is...another...Sky...Sky...walker. \\n\",\n \"Yoda will always be with you. \\n \\n Luke looks up to see the shimmering image of BEN KENOBI. \\n \\n LUKE \\n Obi-Wan! Why didn't you tell me? \\n\",\n \"Your skills are complete. Indeed, you are powerful, as the Emperor has \\n foreseen. \\n \\n They stand for a moment, the Vader extinguishes the lightsaber. \\n \\n LUKE \\n Come with me. \\n \\n VADER\"\n ],\n [\n \"So, you have accepted the truth. \\n \\n LURE \\n I've accepted the truth that you were once Anakin Skywalker, my father. \\n \\n VADER\\t (turning to face him) \\n That name no longer has any meaning for me. \\n\",\n \"to reveal Vader. Vader enters the eerie, foreboding throne room. It \\n appears to be empty. His footsteps echo as he approaches the throne. He \\n waits, absolutely still. The Emperor sits with his back to the Dark \\n Lord. \\n\",\n \"VADER \\n Nothing can stop that now. Just for once... let me look on you with my \\n own eyes. \\n \\n Slowly, hesitantly, Luke removes the mask from his father's face. There \",\n \"LUKE \\n Father...I won't leave you. \\n \\n Darth Vader, Anakin Skywalker...Luke's father, dies. \\n \\n A huge explosion rocks the docking bay. Slowly, Luke rises and, half \",\n \"Anakin Skywalker \\n and became Darth Vader. When that happened, the good man who was your \\n father was destroyed. So what I have told you was true... from a \\n certain point of view. \\n\",\n \"LUKE \\n It is the name of your true self. You've only forgotten. I know there \\n is good in you. The Emperor hasn't driven it from you fully. That is \",\n \"you. \\n \\n Luke looks momentarily toward the Emperor, then back to Vader, and \\n realizes he is using the dark side. He steps back, turns off his \\n lightsaber, and relaxes, driving the hate from his being. \\n \\n VADER\",\n \"cautiously approaches his master. The ruler's back is to Vader. After \\n several tense moments, the Emperor's chair rotates around to face him. \\n \\n VADER \\n What is thy bidding, my Master? \\n \\n EMPEROR\",\n \"where Vader stands watching. \\n \\n LUKE\\t (groans) \\n Father, please. Help me. \\n \\n Again Vader stands, watching Luke. He looks at his master, the Emperor, \\n then back to Luke on the floor. \\n\",\n \"beneath the scars is an elderly man. His eyes do not focus. But the \\n dying man smiles at the sight before him. \\n \\n ANAKIN\\t (very weak) \\n Now...go, my son. Leave me. \\n \\n LUKE\",\n \"VADER\\t (after a beat) \\n My son is with them. \\n \\n EMPEROR\\t (very cool) \\n Are you sure? \\n \\n VADER \\n I have felt him, my Master. \\n \\n EMPEROR\",\n \"Finally, Luke collapses from the strain. The explosions grow louder as \\n Vader draws him closer. \\n \\n VADER\\t (a whisper) \\n Luke, help me take this mask off. \\n \\n LURE \\n But you'll die. \\n\",\n \"stump. Vader's sword clatters uselessly away, over the \\n edge of the platform and into the bottomless shaft below. Luke moves \\n over Vader and holds the blade of his sword to the Dark Lord's throat. \",\n \"Obi-Wan once thought as you do. \\n \\n Luke steps close to Vader, then stops. Vader is still. \\n \\n VADER \\n You don't know the power of the dark side. I must obey my master. \\n \\n LUKE\",\n \"face is shrouded and difficult to see, except for his piercing yellow \\n eyes. Commander Jerjerrod and Darth Vader kneel to him. The Supreme \\n Ruler of the galaxy beckons to the Dark Lord. \\n\",\n \"Vader extends a gloved hand toward the Emperor, revealing Luke's \\n lightsaber. The Emperor takes it. \\n \\n EMPEROR \\n Ah, yes, a Jedi's weapon. Much like your father's. By now you must know \",\n \"LEIA \\n Luke, tell me. What's troubling you? \\n \\n LUKE \\n Vader is here...now, on this moon. \\n \\n LEIA\\t (alarmed) \\n How do you know? \\n \\n LUKE\",\n \"thoughts betray you. Your feelings for them are strong. Especially \\n for... \\n \\n Vader stops and senses something. Luke shuts his eyes tightly, in \\n anguish. \\n \\n VADER\",\n \"presence. \\n \\n VADER \\n You may dispense with the pleasantries, Commander. I'm here to put you \\n back on \\n schedule. \\n \\n The commander turns ashen and begins to shake. \\n \\n JERJERROD\",\n \"watching sadly, as the flames leap higher to consume Darth Vader -- \\n Anakin Skywalker. \\n \\n In the sky above, fireworks explode and Rebel fighters zoom above the \\n forest. \\n\"\n ],\n [\n \"Fleet spread throughout the galaxy in a vain effort to engage us, it is \\n relatively unprotected. But most important of all, we've learned that \\n the Emperor himself is personally overseeing the final stages of the \\n construction of this Death Star. \\n\",\n \"Vader bows, then turns and exits the throne room as the Emperor walks \\n toward the waiting council members. \\n \\n 58 EXT SPACE - DEATH STAR - MOON \\n \\n There is a great deal of Imperial traffic in the area as construction \",\n \"The data brought to us by the Bothan spies pinpoints the exact location \\n of the Emperor's new battle station. We also know that the weapon \\n systems of this Death Star are not yet operational. With the Imperial \",\n \"kneeling until the Supreme Ruler and Vader, followed by several \\n Imperial dignitaries, pass by; only then do they join in the \\n procession. \\n \\n VADER \\n The Death Star will be completed on schedule. \\n \\n EMPEROR\",\n \"PAN DOWN to reveal a monstrous half-completed Death Star, its massive \\n superstructure curling away from the completed section like the arms of \\n a giant octopus. Beyond, in benevolent contrast, floats the small, \",\n \"create a lethal perimeter. The assembled troops move to rigid attention \\n with a momentous SNAP. \\n \\n Then, in the huge SILENCE which follows, the EMPEROR appears. He is a \",\n \"EMPEROR\\t (angry) \\n Everything that has transpired has done so according to my design. \\n (indicates Endor) \\n Your friends up there on the Sanctuary Moon... \\n \\n Luke reacts. The Emperor notes it. \\n\",\n \"off into space. \\n \\n 57 INT EMPEROR'S THRONE ROOM \\n \\n The converted control room is dimly lit, except for a pool of light at \\n the far end. There the Emperor sits in an elaborate control chair \",\n \"more powerful than the first dreaded Death Star. When completed, this \\n ultimate weapon will spell certain doom for the small band of Rebels \\n struggling to restore freedom to the galaxy... \\n\",\n \"The giant Imperial Star Destroyer waits silently some distance from the \\n battle. The Emperor's huge Super Star Destroyer rests in the middle of \\n the fleet. \\n\",\n \"JERJERROD\\t (aghast) \\n The Emperor's coming here? \\n \\n VADER \\n That is correct, Commander. And he is most displeased with your \\n apparent lack of progress. \\n \\n JERJERROD\",\n \"As you wish. \\n \\n EMPEROR \\n Everything is proceeding as I have foreseen. \\n \\n He laughs to himself as they pass along the vast line of Imperial \\n troops. \\n\",\n \"EMPEROR\\t (cont) \\n ...are walking into a trap. As is your Rebel fleet! It was I who \\n allowed the Alliance to know the location of the shield generator. It \\n is quite safe from your pitiful little band. An entire legion of my \",\n \"An Imperial shuttle floats down from the Death Star and lands \\n gracefully on the huge platform. \\n \\n Now, an Imperial walker approaches the platform from the darkness of \\n the forest. The whole outpost - platform, walkers, military - looks \",\n \"planned for them. We only need to keep them from escaping. \\n \\n 104 INT EMPEROR'S TOWER - THRONE ROOM \\n \\n The Emperor, Vader, and a horrified Luke watch the aerial battle \",\n \"Come, boy. See for yourself. \\n \\n The Emperor is sitting in his throne, with Vader standing at his side. \\n Luke moves to look through a small section of the window. \\n \\n EMPEROR\",\n \"superstructure of the half-built Death Star. The Rebel Star Cruisers \\n outside continually bombard the huge station. And each direct hit is \\n answered by resonating, chain-reaction explosions within the station \\n itself. \\n\",\n \"114 INT EMPEROR'S TOWER - THRONE ROOM \\n \\n Out of the window and on the view screens, the Rebel fleet is being \\n decimated in blinding explosions of light and debris. But in here there \",\n \"The Emperor watches with uncontrollable, pleased agitation. \\n \\n EMPEROR \\n Good! Your hate has made you powerful. Now, fulfill your destiny and \\n take your father's \\n place at my side! \\n\",\n \"PAPLOO, hide on a ridge overlooking the massive Imperial shield \\n generator. At the base of the generator is an Imperial landing \\n platform. Leia studies the installation. \\n \\n LEIA\"\n ],\n [\n \"stump. Vader's sword clatters uselessly away, over the \\n edge of the platform and into the bottomless shaft below. Luke moves \\n over Vader and holds the blade of his sword to the Dark Lord's throat. \",\n \"Luke and Vader are engaged in a man-to-man duel of lightsabers even \\n more vicious then the battle on Bespin. But the young Jedi has grown \\n stronger in the interim, and now the advantage shifts to him. Vader is \",\n \"The Dark Lord is knocked to his knees, and as he raises his sword to \\n block another onslaught, Luke slashes Vader's right hand off at the \\n wrist, causing metal and electronic parts to fly from the mechanical \",\n \"ignites it in an instant and swings at the Emperor. Vader's lightsaber \\n flashes into view, blocking Luke's blow before it can reach the \\n Emperor. The two blades spark at contact. Luke turns to fight his \\n father. \\n\",\n \"The commander extends his hand, revealing Luke's lightsaber. \\n \\n COMMANDER \\n He was armed only with this. \\n \\n Vader looks at Luke, turns away and faces the commander, taking the \\n lightsaber from the commander's hand.\",\n \"you. \\n \\n Luke looks momentarily toward the Emperor, then back to Vader, and \\n realizes he is using the dark side. He steps back, turns off his \\n lightsaber, and relaxes, driving the hate from his being. \\n \\n VADER\",\n \"forced back, losing his balance, and is knocked down the stairs. Luke \\n stands at the top of the stairs, ready to attack. \\n \\n EMPEROR (laughing) \\n Good. Use your aggressive feelings, boy! Let the hate flow through \",\n \"where Vader stands watching. \\n \\n LUKE\\t (groans) \\n Father, please. Help me. \\n \\n Again Vader stands, watching Luke. He looks at his master, the Emperor, \\n then back to Luke on the floor. \\n\",\n \"Vader attacks, forcing Luke on the defensive. The young Jedi leaps in \\n an amazing reverse flip up to the safety of the catwalk overhead. Vader \\n stands below him. \\n \\n LUKE\",\n \"fight in the cramped area. Luke's hatred forces Vader to retreat out of \\n the low area and across a bridge overlooking a vast elevator shaft. \\n Each stroke of Luke's sword drives his father further toward defeat. \\n\",\n \"Vader throws the laser sword and it cuts through the supports holding \\n the catwalk, then returns to Vader's hand. Luke tumbles to the ground \\n in a shower of sparks and rolls out of sight under the Emperor's \",\n \"LUKE \\n Your overconfidence is your weakness. \\n \\n EMPEROR \\n Your faith in your friends is yours. \\n \\n VADER \\n It is pointless to resist, my son. \\n \\n The Emperor turns to face Luke. \\n\",\n \"The deck gunners have Chewie and the desperate dangling human chain in \\n their gun sights when something up on deck commands their attention: \\n Luke, standing before them like a pirate king, ignites his lightsaber. \",\n \"Your skills are complete. Indeed, you are powerful, as the Emperor has \\n foreseen. \\n \\n They stand for a moment, the Vader extinguishes the lightsaber. \\n \\n LUKE \\n Come with me. \\n \\n VADER\",\n \"Finally, Luke collapses from the strain. The explosions grow louder as \\n Vader draws him closer. \\n \\n VADER\\t (a whisper) \\n Luke, help me take this mask off. \\n \\n LURE \\n But you'll die. \\n\",\n \"With samurai speed, Luke ignites it and attacks the guard who prodded \\n him off the plank, sending the hapless monster screaming overboard. The \\n other guards swarm toward Luke. He wades into them, lightsaber \",\n \"Obi-Wan has taught you well. \\n \\n LUKE \\n I will not fight you, father. \\n \\n Vader walks back up the stairs to Luke. \\n \\n VADER \\n You are unwise to lower your defenses. \\n\",\n \"explodes, creating a rush of air through the room.Vader's cape is \\n whipped by the wind and he staggers, and collapses toward the \\n bottomless hole. Luke crawls to his father's side and pulls him away \",\n \"A laser blast hits Luke's mechanical hand and he bends over in pain, \\n but manages to swing his lightsaber upward and take out the last of the \\n guards. He looks at the wounded hand, which reveals the mechanism. He \",\n \"Vader extends a gloved hand toward the Emperor, revealing Luke's \\n lightsaber. The Emperor takes it. \\n \\n EMPEROR \\n Ah, yes, a Jedi's weapon. Much like your father's. By now you must know \"\n ],\n [\n \"The Emperor watches with uncontrollable, pleased agitation. \\n \\n EMPEROR \\n Good! Your hate has made you powerful. Now, fulfill your destiny and \\n take your father's \\n place at my side! \\n\",\n \"He catches his breath. A shiver runs through the ancient green \\n creature, and he dies. Luke stares at his dead master as he disappears \\n in front of his eyes. \\n\",\n \"Darth Vader hurls the Emperor's body into the bottomless shaft. \\n \\n The Emperor's body spins helplessly into the void, arcing as it falls \\n into the abyss. Finally, when the body is far down the shaft, it \",\n \"The Emperor struggles in his embrace, his bolt-shooting hands now \\n lifted high, away from Luke. Now the white lightning arcs back to \\n strike at Vader. He stumbles with his load as the sparks rain off his \",\n \"create a lethal perimeter. The assembled troops move to rigid attention \\n with a momentous SNAP. \\n \\n Then, in the huge SILENCE which follows, the EMPEROR appears. He is a \",\n \"the Emperor. I can save him. I can turn him back to the good side. I \\n have to try. \\n \\n They hold each other close and look at each other, brother and sister. \\n\",\n \"forced back, losing his balance, and is knocked down the stairs. Luke \\n stands at the top of the stairs, ready to attack. \\n \\n EMPEROR (laughing) \\n Good. Use your aggressive feelings, boy! Let the hate flow through \",\n \"ignites it in an instant and swings at the Emperor. Vader's lightsaber \\n flashes into view, blocking Luke's blow before it can reach the \\n Emperor. The two blades spark at contact. Luke turns to fight his \\n father. \\n\",\n \"helmet and flow down over his black cape. He holds his evil master high \\n over his head and walks to the edge of the abyss at the central core of \\n the throne room. With one final burst of his once awesome strength, \",\n \"screaming through the room. Luke's body writhes in pain. \\n \\n Vader grabs the Emperor from behind, fighting for control of the robed \\n figure despite the Dark Lord's weakened body and gravely weakened arm. \",\n \"EMPEROR \\n Now, young Skywalker...you will die. \\n \\n Although it would not have seemed possible, the outpouring of bolts \\n from the Emperor's fingers actually increases in intensity, the sound \",\n \"is no sound of battle. The Emperor turns to Luke. \\n \\n EMPEROR \\n Your fleet has lost. And your friends on the Endor moon will not \\n survive. There is no escape, my young apprentice. The Alliance will \",\n \"Vader throws the laser sword and it cuts through the supports holding \\n the catwalk, then returns to Vader's hand. Luke tumbles to the ground \\n in a shower of sparks and rolls out of sight under the Emperor's \",\n \"VADER \\n (raising his gloved hand to the two guards and choking them with the \\n Force) \\n The Emperor will see me, now! \\n \\n GUARD \\n (repeating Vader's command)\",\n \"The Emperor motions ever so slightly with his finger and Luke's binders \\n fall away, clattering to the floor. Luke looks down at his own hands, \\n free now to reach out and grab the Emperor's neck. He does nothing. \\n \\n EMPEROR\",\n \"of the throne. The Emperor watches him and smiles, touches the \\n lightsaber. \\n \\n EMPEROR \\n You want this, don't you? The hate is swelling in you now. Take your \",\n \"The Emperor's glee turns to rage. \\n \\n EMPEROR \\n So be it...Jedi. \\n \\n 123 EXT FOREST - GENERATOR BUNKER \\n\",\n \"As you wish. \\n \\n EMPEROR \\n Everything is proceeding as I have foreseen. \\n \\n He laughs to himself as they pass along the vast line of Imperial \\n troops. \\n\",\n \"the tightening chain. His huge eyes bulge from their sockets and his \\n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \\n through its death throes and then slams down into final stillness. Leia \",\n \"LUKE \\n You're gravely mistaken. You won't convert me as you did my father. \\n \\n The Emperor gets down from his throne and walks up very close to Luke. \\n The Emperor looks into his eyes and, for the first time, Luke can \"\n ],\n [\n \"gun blasting away at his helpless companions. Luke leaps from the \\n skiff, across a chasm of air, to the sheer metallic side of the Sail \\n Barge. Barely able to get a fingerhold, he begins a painful climb up \",\n \"Luke is a little shaken but remains standing as a fusillade brackets \\n him. The second skiff, loaded with guards firing their weapons, moves \\n in on Luke fast. Luke leaps toward the incoming second skiff. The young \",\n \"At last! Master Luke's come to rescue me. \\n \\n BIB \\n Master. \\n \\n Jabba awakens with a start and Bib continues, in Huttese. \\n \\n BIB\",\n \"Luke and the guard have dropped twenty-five feet from a chute into the \\n dungeonlike cage. Luke gets to his feet as the guard yells hysterically \\n for help. A crowd gathers up around the edge of the pit as the door in \",\n \"Luke has hold on one of the rigging ropes from the mast. He gathers \\n Leia in his other arm and kicks the trigger of the deck gun. The gun \\n explodes into the deck as Luke and Leia swing out toward the skiff. \\n\",\n \"Luke starts for the scuffle, followed by Leia with her laser pistol \\n drawn. As they run through the bushes, Leia stops and points to where \\n two more scouts are sitting on their speeder bikes, with an unoccupied \\n bike parked nearby.\",\n \"always told her to contact me on Tatooine, if her troubles became \\n desperate. \\n \\n Luke is overwhelmed by the truth, and is suddenly protective of his \\n sister. \\n \\n LUKE\",\n \"Luke? Luke's crazy. He can't even take care of himself, much less \\n rescue anybody. \\n \\n Chewie barks a reply. \\n \\n HAN\",\n \"Leia holds back her tears as Luke slowly lets her go and moves away. He \\n disappears onto the walkway that leads out of the village. Leia, bathed \\n in moonlight, watches him go as Han comes out of the Chief's hut and \",\n \"With samurai speed, Luke ignites it and attacks the guard who prodded \\n him off the plank, sending the hapless monster screaming overboard. The \\n other guards swarm toward Luke. He wades into them, lightsaber \",\n \"attempt to rescue his friend Han Solo from the clutches of theÊvile \\n gangster Jabba the Hutt. Little does Luke know that the GALACTIC EMPIRE \\n has secretly begun construction on a new armored space station even \",\n \"With Leia shooting ahead, Luke suddenly slams his steering vanes into \\n the braking mode. Luke's bike is a blur to the two pursuing scouts as \\n they zip by him on either side. Luke slams his bike into forward and \",\n \"Luke and Han exchange a silent, grim look. Luke gets up wearily. \\n \\n LUKE \\n Hey, we better go look for her. \\n \\n Han nods, and signals to a Rebel officer. \\n \\n HAN\",\n \"a heavy barrage. Imperial troops run in all directions, confused and \\n desperate to escape. \\n \\n In the midst of this uproar, Luke is trying to carry the enormous \\n deadweight of his father's weakening body toward an Imperial shuttle. \",\n \"Luke is unresponsive. Ben studies him in silence for a moment. \\n \\n BEN \\n I don't blame you for being angry. If I was wrong in what I did, it \\n certainly wouldn't have been for the first time. You see, what happened \",\n \"Luke looks at his father's mechanical hand, then to his own mechanical, \\n black-gloved hand, and realizes how much he is becoming like his \\n father. He makes the decision for which he has spent a lifetime in \",\n \"LUKE \\n It is the name of your true self. You've only forgotten. I know there \\n is good in you. The Emperor hasn't driven it from you fully. That is \",\n \"starts firing away, having switched places with his pursuers in a \\n manner of seconds. Luke's aim is good and one scout's bike is blasted \\n out of control. It explodes against a tree trunk. \\n\",\n \"Luke is sitting in a corner of the cramped space and, indeed, his look \\n has been woeful. Caught, he tries to hide it. \\n \\n LUKE \\n No... of course not. \\n\",\n \"succeeds, he sees a heavy barred gate between him and safety. Beyond \\n the gate two guards look up from their dinner. Luke turns to see the \\n monster heading for him, and pulls with all his might on the gate. The \"\n ],\n [\n \"the road toward the ominous palace of Jabba the Hutt. \\n \\n THREEPIO \\n Of course I'm worried. And you should be, too. Lando Calrissian and \\n poor Chewbacca never returned from this awful place. \\n\",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"Jabba's palace. \\n \\n HAN \\n Who are you? \\n \\n The bounty hunter reaches up and lifts the helmet from his head, \\n revealing the beautiful face of PRINCESS LEIA. \\n \\n LEIA\",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"14 INT JABBA'S THRONE ROOM - NIGHT \\n \\n Silence. The room is deserted, only the awful debris of the alien \\n celebration giving mute witness to the activity here before. Several \",\n \"Jabba leers at the dancers and with a lustful gleam in his eye beckons \\n Oola to come and sit with him. She stops dancing and backs away, \\n shaking her head. Jabba gets angry and points to a spot next to him. \\n\",\n \"The two droids fearfully approach the massive gate to the palace. \\n \\n THREEPIO \\n Artoo, are you sure this is the right place? I better knock, I suppose. \\n \\n 6 EXT JABBA'S PALACE - GATE \",\n \"It takes all the guards to hurl Chewie roughly into a cell, slamming \\n the door behind him. Chewie lets out a pathetic howl and bangs on the \\n iron door. \\n \\n 13 EXT JABBA'S PALACE\",\n \"The poor work droid in the background lets out another tortured \\n electronic scream. \\n \\n 11 INT JABBA'S THRONE ROOM \\n \\n The court of Jabba the Hutt is in the midst of a drunken, raucous \",\n \"pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \\n \\n HAN \\n What's that? I know that laugh. \\n \\n The curtain on the far side of the alcove opens, revealing Jabba the \",\n \"Jabba watches this and explodes in rage. He barks commands, and the \\n guards around him rush off to do his bidding. The scuzzy creatures \\n watching the action from the window are in an uproar. \\n\",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"The assembled monsters rock with mocking laughter as Artoo zips \\n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \\n he speaks into the comlink. \\n\",\n \"I will not give up my favorite decoration. I like Captain Solo where he \\n is. \\n \\n Jabba laughs hideously and looks toward an alcove beside the throne. \",\n \"room to the platform upon which rests the leader of this nauseating \\n crowd: JABBA THE HUTT. The monarch of the galactic underworld is a \\n repulsive blob of bloated fat with a maniacal grin. Chained to the \",\n \"23 EXT TATOOINE SEA - SKIFF \\n \\n Jabba's huge SAIL BARGE moves above the desert surface accompanied by \\n two smaller Skiffs. One of the skiffs glides close, revealing Luke, \",\n \"ever conceived in the universe. Artoo and Threepio seem very small as \\n they pause in the doorway to the dimly lit chamber. Light shafts \\n partially illuminate the drunken courtiers as Bib Fortuna crosses the \",\n \"Jabba and Leia are now by the rail, watching. Threepio leans forward \\n and the slobbering villain mumbles something to him. As Threepio steps \",\n \"I'm all right, pal. I'm all right. \\n \\n 16 INT MAIN GATE AND HALL - JABBA'S PALACE \\n \\n Noisily, the main gate lifts to flood the blackness with blinding LIGHT \",\n \"Oh, Artoo! Artoo, wait for me! \\n \\n 7 INT JABBA'S PALACE - HALLWAY \\n \\n The door slams shut with a loud crash that echoes throughout the dark \"\n ],\n [\n \"Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \\n that you are to be terminated immediately. \\n \\n HAN \\n Good, I hate long waits. \\n \\n THREEPIO\",\n \"Chewie barks his agreement. \\n \\n LUKE \\n You should have bargained, Jabba. That's the last mistake you'll ever \\n make. \\n \\n Jabba cackles evilly at this. \\n\",\n \"It takes all the guards to hurl Chewie roughly into a cell, slamming \\n the door behind him. Chewie lets out a pathetic howl and bangs on the \\n iron door. \\n \\n 13 EXT JABBA'S PALACE\",\n \"JABBA\\t (cont Huttese subtitled) \\n Take him away! \\n \\n The guards grab Han and start to lead him away. \\n \\n HAN \\n Jabba... I'll pay you triple! You're throwing away a fortune here. \",\n \"powerful, mighty Jabba, and that your anger with Solo must be equally \\n powerful. I seek an audience with Your Greatness to bargain for Solo's \\n life. \\n (Jabba's crowd laughs) \",\n \"JABBA\\t (in Huttese subtitled) \\n At last we have the mighty Chewbacca. \\n \\n Jabba lets out a loud, long, blood-curdling laugh and turns to \",\n \"no such pleasure from us. Right? \\n \\n Chewie growls his agreement. \\n \\n LUKE \\n Jabba! This is your last chance. Free us or die. \\n\",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"stares at Bib; he raises his hand slightly. \\n \\n LUKE \\n You will take me to Jabba now! \\n \\n Bib turns in hypnotic response to Luke's command, and Luke follows him \\n into the gloom. \\n\",\n \"JABBA\\t (in Huttese subtitled) \\n Your mind powers will not work on me, boy. \\n \\n LUKE \\n Nevertheless, I'm taking Captain Solo and his friends. You can either \",\n \"...Luke Skywalker, Jedi Knight. \\n \\n JABBA\\t (in Huttese subtitled) \\n I told you not to admit him. \\n \\n LUKE \\n I must be allowed to speak. \\n\",\n \"As the guards drag the prisoners from the throne room, a loud cheer \\n rises from the crowd. Leia and Chewie exchange concerned looks, but \\n Luke Skywalker, Jedi warrior, cannot suppress a smile. \\n\",\n \"Don't be a fool! \\n \\n Han is dragged off, as Lando quickly moves forward and attempts to lead \\n Leia away. \\n \\n JABBA\\t (in Huttese subtitled) \\n Bring her to me. \\n\",\n \"You weak-minded fool! He's using an old Jedi mind trick. \\n \\n Luke stares hard at Jabba. \\n \\n LUKE \\n You will bring Captain Solo and the Wookiee to me. \\n\",\n \"Jabba watches this and explodes in rage. He barks commands, and the \\n guards around him rush off to do his bidding. The scuzzy creatures \\n watching the action from the window are in an uproar. \\n\",\n \"like a pet cat. Several of the guards, including Lando, bring Luke from \\n the other side of the room. Boba is standing behind Jabba. \\n \\n Threepio steps forward and translates for the captives. \\n \\n THREEPIO\",\n \"Victims of the almighty Sarlacc: His Excellency hopes that you will die \\n honorably. But should any of you wish to beg for mercy, the great Jabba \\n the Hutt will now listen to your pleas. \\n\",\n \"Boba lands on the skiff and starts to aim his laser gun at Luke, who \\n has freed Han and Chewie from their bonds. But before Boba can fire, \\n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty \",\n \"You will therefore be taken to the Dune Sea and cast into the pit of \\n Carkoon, the nesting place of the all-powerful Sarlacc. \\n \\n HAN\\t (to Luke) \\n Doesn't sound so bad. \\n\"\n ],\n [\n \"throws the chain that enslaves her over his head around his bulbous \\n neck. Then she dives off the other side of the throne, pulling the \\n chain violently in her grasp. Jabba's flaccid neck contracts beneath \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"Boba lands on the skiff and starts to aim his laser gun at Luke, who \\n has freed Han and Chewie from their bonds. But before Boba can fire, \\n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty \",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \\n that you are to be terminated immediately. \\n \\n HAN \\n Good, I hate long waits. \\n \\n THREEPIO\",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"the tightening chain. His huge eyes bulge from their sockets and his \\n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \\n through its death throes and then slams down into final stillness. Leia \",\n \"Jabba watches this and explodes in rage. He barks commands, and the \\n guards around him rush off to do his bidding. The scuzzy creatures \\n watching the action from the window are in an uproar. \\n\",\n \"side of the huge Sail Barge and sliding away into the pit. He screams \\n as his armored body makes its last flight past Lando and directly into \\n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a \",\n \"JABBA\\t (in Huttese subtitled) \\n At last we have the mighty Chewbacca. \\n \\n Jabba lets out a loud, long, blood-curdling laugh and turns to \",\n \"Luke reaches out, and a pistol jumps out of a guard's holster and flies \\n into Luke's hand. The bewildered guard grabs for it as Jabba raises his \\n hand. \\n \\n JABBA \\n Bascka! \\n\",\n \"Chewie barks his agreement. \\n \\n LUKE \\n You should have bargained, Jabba. That's the last mistake you'll ever \\n make. \\n \\n Jabba cackles evilly at this. \\n\",\n \"powerful, mighty Jabba, and that your anger with Solo must be equally \\n powerful. I seek an audience with Your Greatness to bargain for Solo's \\n life. \\n (Jabba's crowd laughs) \",\n \"Boba Fett, badly shaken, rises from the deck. He looks over at the \\n other skiff, where Luke is whipping a mass of guards. Boba raises his \\n arm, and aims his lethal appendage. \\n\",\n \"pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \\n \\n HAN \\n What's that? I know that laugh. \\n \\n The curtain on the far side of the alcove opens, revealing Jabba the \",\n \"Jabba's palace. \\n \\n HAN \\n Who are you? \\n \\n The bounty hunter reaches up and lifts the helmet from his head, \\n revealing the beautiful face of PRINCESS LEIA. \\n \\n LEIA\",\n \"At last! Master Luke's come to rescue me. \\n \\n BIB \\n Master. \\n \\n Jabba awakens with a start and Bib continues, in Huttese. \\n \\n BIB\",\n \"The assembled monsters rock with mocking laughter as Artoo zips \\n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \\n he speaks into the comlink. \\n\",\n \"stares at Bib; he raises his hand slightly. \\n \\n LUKE \\n You will take me to Jabba now! \\n \\n Bib turns in hypnotic response to Luke's command, and Luke follows him \\n into the gloom. \\n\"\n ],\n [\n \"Yoda, I must know. \\n \\n YODA \\n Your father he is. \\n \\n Luke reacts as if cut. \\n \\n YODA \\n Told you, did he? \\n \\n LUKE \\n Yes. \\n\",\n \"LUKE \\n Father...I won't leave you. \\n \\n Darth Vader, Anakin Skywalker...Luke's father, dies. \\n \\n A huge explosion rocks the docking bay. Slowly, Luke rises and, half \",\n \"Luke looks at his father's mechanical hand, then to his own mechanical, \\n black-gloved hand, and realizes how much he is becoming like his \\n father. He makes the decision for which he has spent a lifetime in \",\n \"to your father was my fault. \\n \\n Ben pauses sadly. \\n \\n BEN \\n Anakin was a good friend. \\n \\n Luke turns with interest at this. As Ben speaks, Luke settles on a \",\n \"(beat) \\n I have to face him. \\n \\n Leia is distraught, confused. \\n \\n LEIA \\n Why? \\n \\n Luke moves close and his manner is gentle. And very calm. \\n \\n LUKE\",\n \"VADER \\n Nothing can stop that now. Just for once... let me look on you with my \\n own eyes. \\n \\n Slowly, hesitantly, Luke removes the mask from his father's face. There \",\n \"He's my father. \\n \\n LEIA \\n Your father? \\n \\n LUKE \\n There's more. It won't be easy for you to hear it, but you must. If I \",\n \"LUKE \\n You're gravely mistaken. You won't convert me as you did my father. \\n \\n The Emperor gets down from his throne and walks up very close to Luke. \\n The Emperor looks into his eyes and, for the first time, Luke can \",\n \"LUKE \\n But I have no sister. \\n \\n BEN \\n Hmm. To protect you both from the Emperor, you were hidden from your \\n father when you were born. The Emperor knew, as I did, if Anakin were \",\n \"Luke is unresponsive. Ben studies him in silence for a moment. \\n \\n BEN \\n I don't blame you for being angry. If I was wrong in what I did, it \\n certainly wouldn't have been for the first time. You see, what happened \",\n \"Did you tell Luke? Is that who you could tell? \\n \\n LEIA \\n I... \\n \\n HAN \\n Ahhh... \\n \\n He starts to walk away, exasperated, then stops and walks back to her. \\n \\n HAN\",\n \"to have any offspring, they would be a threat to him. That is the \\n reason why your sister remains safely anonymous. \\n \\n LUKE \\n Leia! Leia's my sister. \\n \\n BEN\",\n \"LUKE \\n It is the name of your true self. You've only forgotten. I know there \\n is good in you. The Emperor hasn't driven it from you fully. That is \",\n \"Vader signals to some distant stormtroopers. He and Luke stand staring \\n at one another for a long moment. \\n \\n LUKE \\n Then my father is truly dead. \\n\",\n \"courage. Finally he is able to ask. \\n \\n LUKE \\n Master Yoda... is Darth Vader my father? \\n \\n Yoda's eyes are full of weariness and compassion. An odd, sad smile \",\n \"Luke and Vader are engaged in a man-to-man duel of lightsabers even \\n more vicious then the battle on Bespin. But the young Jedi has grown \\n stronger in the interim, and now the advantage shifts to him. Vader is \",\n \"forced back, losing his balance, and is knocked down the stairs. Luke \\n stands at the top of the stairs, ready to attack. \\n \\n EMPEROR (laughing) \\n Good. Use your aggressive feelings, boy! Let the hate flow through \",\n \"ignites it in an instant and swings at the Emperor. Vader's lightsaber \\n flashes into view, blocking Luke's blow before it can reach the \\n Emperor. The two blades spark at contact. Luke turns to fight his \\n father. \\n\",\n \"Luke is a little shaken but remains standing as a fusillade brackets \\n him. The second skiff, loaded with guards firing their weapons, moves \\n in on Luke fast. Luke leaps toward the incoming second skiff. The young \",\n \"Luke, what's wrong? \\n \\n Luke turns and looks at her a long moment. \\n \\n LUKE \\n Leia... do you remember your mother? Your real mother? \\n \\n LEIA \\n Just a little bit. She died when I was very young.\"\n ],\n [\n \"LUKE \\n Well, I'm sorry. \\n \\n YODA \\n Remember, a Jedi's strength flows from the Force. But beware. Anger, \\n fear, aggression.\",\n \"To be a Jedi, Luke, you must confront and then go beyond the dark side \\n - the side your father couldn't get past. Impatience is the easiest \\n door - for you, like your father. Only, your father was seduced by what \",\n \"you. \\n \\n Luke looks momentarily toward the Emperor, then back to Vader, and \\n realizes he is using the dark side. He steps back, turns off his \\n lightsaber, and relaxes, driving the hate from his being. \\n \\n VADER\",\n \"die...as will your friends. \\n \\n Luke's eyes are full of rage. Vader watches him. \\n \\n EMPEROR \\n Good. I can feel your anger. I am defenseless. Take your weapon! \",\n \"Jedi weapon. Use it. I am unarmed. Strike me down with it. Give in to \\n your anger. With each passing moment, you make yourself more my \\n servant. \\n \\n Vader watches Luke in his agony. \\n \\n LUKE\",\n \"train him as a Jedi. I thought that I could instruct him just as well \\n as Yoda. I was wrong. My pride has had terrible consequences for the \\n galaxy. \\n \\n Luke is entranced. \\n \\n LUKE\",\n \"Yoda opens his eyes again and studies the youth. \\n \\n YODA\\t\\t (gathering all his strength) \\n No. Unfortunate that you rushed to face him... that incomplete was your \\n training. Not \\n ready for the burden were you. \\n\",\n \"forced back, losing his balance, and is knocked down the stairs. Luke \\n stands at the top of the stairs, ready to attack. \\n \\n EMPEROR (laughing) \\n Good. Use your aggressive feelings, boy! Let the hate flow through \",\n \"Yoda, I must know. \\n \\n YODA \\n Your father he is. \\n \\n Luke reacts as if cut. \\n \\n YODA \\n Told you, did he? \\n \\n LUKE \\n Yes. \\n\",\n \"He catches his breath. A shiver runs through the ancient green \\n creature, and he dies. Luke stares at his dead master as he disappears \\n in front of his eyes. \\n\",\n \"Vader humbled you when first you met him, Luke... but that experience \\n was part of your training. It taught you, among other things, the value \\n of patience. Had you not been so impatient to defeat Vader then, you \",\n \"Force. \\n \\n LUKE \\n But I need your help. I've come back to complete the training. \\n \\n YODA \\n No more training do you require. Already know you that which you need. \\n\",\n \"LUKE \\n Master Yoda, you can't die. \\n \\n YODA \\n Strong am I with the Force... but not that strong! Twilight is upon me \\n and soon night must fall. That is the way of things... the way of the \",\n \"Then you know why I have to face him. \\n \\n LEIA \\n No! Luke, run away, far away. If he can feel your presence, then leave \\n this place. I wish I could go with you. \\n \\n LUKE\",\n \"Obi-Wan once thought as you do. \\n \\n Luke steps close to Vader, then stops. Vader is still. \\n \\n VADER \\n You don't know the power of the dark side. I must obey my master. \\n \\n LUKE\",\n \"Obi-Wan has taught you well. \\n \\n LUKE \\n I will not fight you, father. \\n \\n Vader walks back up the stairs to Luke. \\n \\n VADER \\n You are unwise to lower your defenses. \\n\",\n \"of the throne. The Emperor watches him and smiles, touches the \\n lightsaber. \\n \\n EMPEROR \\n You want this, don't you? The hate is swelling in you now. Take your \",\n \"Ohhh. Not yet. One thing remains: Vader. You must confront Vader. Then, \\n only then, a Jedi will you be. And confront him you will. \\n \\n Luke is in agony. He is silent for a long moment, screwing up his \",\n \"A new look of concern crosses Yoda's face. He closes his eyes. \\n \\n YODA \\n Unexpected this is, and unfortunate... \\n \\n LUKE \\n Unfortunate that I know the truth? \\n\",\n \"LUKE \\n Your overconfidence is your weakness. \\n \\n EMPEROR \\n Your faith in your friends is yours. \\n \\n VADER \\n It is pointless to resist, my son. \\n \\n The Emperor turns to face Luke. \\n\"\n ],\n [\n \"(beat) \\n I have to face him. \\n \\n Leia is distraught, confused. \\n \\n LEIA \\n Why? \\n \\n Luke moves close and his manner is gentle. And very calm. \\n \\n LUKE\",\n \"Did you tell Luke? Is that who you could tell? \\n \\n LEIA \\n I... \\n \\n HAN \\n Ahhh... \\n \\n He starts to walk away, exasperated, then stops and walks back to her. \\n \\n HAN\",\n \"LEIA \\n Luke, tell me. What's troubling you? \\n \\n LUKE \\n Vader is here...now, on this moon. \\n \\n LEIA\\t (alarmed) \\n How do you know? \\n \\n LUKE\",\n \"Luke, what's wrong? \\n \\n Luke turns and looks at her a long moment. \\n \\n LUKE \\n Leia... do you remember your mother? Your real mother? \\n \\n LEIA \\n Just a little bit. She died when I was very young.\",\n \"always told her to contact me on Tatooine, if her troubles became \\n desperate. \\n \\n Luke is overwhelmed by the truth, and is suddenly protective of his \\n sister. \\n \\n LUKE\",\n \"Leia moves to Luke and embraces him warmly. She senses a change in him \\n and looks into his eyes questioningly. \\n \\n LEIA \\n What is it? \\n \\n LUKE\\t (hesitant) \\n Ask me again sometime. \\n\",\n \"way. \\n \\n She realizes his misunderstanding. \\n \\n LEIA \\n Oh. No, it's not like that at all. He's my brother. \\n \\n Han is stunned by this news. She smiles, and they embrace. \\n\",\n \"LUKE \\n What do you remember? \\n \\n LEIA \\n Just...images, really. Feelings. \\n \\n LUKE \\n Tell me. \\n \\n LEIA \\n (a little surprised at his insistence)\",\n \"With Leia shooting ahead, Luke suddenly slams his steering vanes into \\n the braking mode. Luke's bike is a blur to the two pursuing scouts as \\n they zip by him on either side. Luke slams his bike into forward and \",\n \"doesn't draw away. She begins to understand. \\n \\n LUKE \\n Yes. It's you Leia. \\n \\n LEIA \\n I know. Somehow...I've always known. \\n \\n LUKE\",\n \"Luke turns, and settles near Ben to hear the tale. \\n \\n BEN\\t (attempting to give solace with his words) \\n The Organa household was high-born and politically quite powerful in \",\n \"Yoda, I must know. \\n \\n YODA \\n Your father he is. \\n \\n Luke reacts as if cut. \\n \\n YODA \\n Told you, did he? \\n \\n LUKE \\n Yes. \\n\",\n \"He's my father. \\n \\n LEIA \\n Your father? \\n \\n LUKE \\n There's more. It won't be easy for you to hear it, but you must. If I \",\n \"use it as I have. The Force is strong in my family. My father has \\n it...I have it...and...my sister has it. \\n \\n Leia stares into his eyes. What she sees there frightens her. But she \",\n \"Leia holds back her tears as Luke slowly lets her go and moves away. He \\n disappears onto the walkway that leads out of the village. Leia, bathed \\n in moonlight, watches him go as Han comes out of the Chief's hut and \",\n \"Nothing? Come on, tell me. What's goin' on? \\n \\n She looks up at him, struggling to control herself. \\n \\n LEIA \\n I...I can't tell you. \\n \\n HAN\\t (loses his temper)\",\n \"to have any offspring, they would be a threat to him. That is the \\n reason why your sister remains safely anonymous. \\n \\n LUKE \\n Leia! Leia's my sister. \\n \\n BEN\",\n \"starts it up and takes off as Luke jumps on the bike behind her. \\n \\n LUKE\\t (pointing to the controls) \\n Quick! Jam their comlink. Center switch! \\n \\n Luke and Leia speed into the dense foliage in hot pursuit, barely \",\n \"Leia continues to look at the sky as though listening for a silent \\n voice. \\n \\n HAN \\n I'm sure Luke wasn't on that thing when it blew. \\n \\n LEIA \\n He wasn't. I can feel it. \\n\",\n \"Then you know why I have to face him. \\n \\n LEIA \\n No! Luke, run away, far away. If he can feel your presence, then leave \\n this place. I wish I could go with you. \\n \\n LUKE\"\n ],\n [\n \"Obi-Wan once thought as you do. \\n \\n Luke steps close to Vader, then stops. Vader is still. \\n \\n VADER \\n You don't know the power of the dark side. I must obey my master. \\n \\n LUKE\",\n \"you. \\n \\n Luke looks momentarily toward the Emperor, then back to Vader, and \\n realizes he is using the dark side. He steps back, turns off his \\n lightsaber, and relaxes, driving the hate from his being. \\n \\n VADER\",\n \"forced back, losing his balance, and is knocked down the stairs. Luke \\n stands at the top of the stairs, ready to attack. \\n \\n EMPEROR (laughing) \\n Good. Use your aggressive feelings, boy! Let the hate flow through \",\n \"To be a Jedi, Luke, you must confront and then go beyond the dark side \\n - the side your father couldn't get past. Impatience is the easiest \\n door - for you, like your father. Only, your father was seduced by what \",\n \"Strike me down with all your hatred, and your journey towards the dark \\n side will be complete. \\n \\n Luke can resist no longer. The lightsaber flies into his hand. He \",\n \"The ghost of Ben Kenobi approaches him through the swamp. \\n \\n LUKE \\n You told me Vader betrayed and murdered my father. \\n \\n BEN \\n You father was seduced by the dark side of the Force. He ceased to be \",\n \"LUKE \\n You're gravely mistaken. You won't convert me as you did my father. \\n \\n The Emperor gets down from his throne and walks up very close to Luke. \\n The Emperor looks into his eyes and, for the first time, Luke can \",\n \"LUKE \\n Your overconfidence is your weakness. \\n \\n EMPEROR \\n Your faith in your friends is yours. \\n \\n VADER \\n It is pointless to resist, my son. \\n \\n The Emperor turns to face Luke. \\n\",\n \"VADER \\n You cannot hide forever, Luke. \\n \\n LUKE \\n I will not fight you. \\n \\n VADER \\n Give yourself to the dark side. It is the only way you can save your \\n friends. Yes, your\",\n \"The dark side are they. Once you start down the dark path, forever \\n will it dominate your \\n destiny. \\n \\n He beckons the young Jedi closer to him. \\n \\n YODA\",\n \"best troops awaits them. \\n \\n Luke's look darts from the Emperor to Vader and, finally, to the sword \\n in the Emperor's hand. \\n \\n EMPEROR\",\n \"your father can never be turned from the dark side. So will it be with \\n you. \\n \\n LUKE \\n You're wrong. Soon I'll be dead...and you with me. \\n \\n The Emperor laughs. \\n \\n EMPEROR\",\n \"where Vader stands watching. \\n \\n LUKE\\t (groans) \\n Father, please. Help me. \\n \\n Again Vader stands, watching Luke. He looks at his master, the Emperor, \\n then back to Luke on the floor. \\n\",\n \"LUKE \\n It is the name of your true self. You've only forgotten. I know there \\n is good in you. The Emperor hasn't driven it from you fully. That is \",\n \"train him as a Jedi. I thought that I could instruct him just as well \\n as Yoda. I was wrong. My pride has had terrible consequences for the \\n galaxy. \\n \\n Luke is entranced. \\n \\n LUKE\",\n \"Your insight serves you well. Bury your feelings deep down, Luke. They \\n do you credit. \\n But they could be made to serve the Emperor. \\n \\n Luke looks into the distance, trying to comprehend all this. \\n\",\n \"Luke stands still, as the Emperor reaches the bottom of thestairs. The \\n Emperor's laughter has turned to anger. He raises his arms toward Luke. \\n \\n EMPEROR \\n If you will not be turned, you will be destroyed. \\n\",\n \"EMPEROR \\n Your feeble skills are no match for the power of the dark side. You \\n have paid the price for \\n your lack of vision. \\n \\n Luke writhes on the floor in unbearable pain, reaching weakly up toward \",\n \"Patience, my friend. In time he will seek you out. And when he does, \\n you must bring him \\n before me. He has grown strong. Only together can we turn him to the \\n dark side of the \\n Force. \\n \\n VADER\",\n \"Finally, Luke collapses from the strain. The explosions grow louder as \\n Vader draws him closer. \\n \\n VADER\\t (a whisper) \\n Luke, help me take this mask off. \\n \\n LURE \\n But you'll die. \\n\"\n ],\n [\n \"The Emperor watches with uncontrollable, pleased agitation. \\n \\n EMPEROR \\n Good! Your hate has made you powerful. Now, fulfill your destiny and \\n take your father's \\n place at my side! \\n\",\n \"the Emperor. I can save him. I can turn him back to the good side. I \\n have to try. \\n \\n They hold each other close and look at each other, brother and sister. \\n\",\n \"ignites it in an instant and swings at the Emperor. Vader's lightsaber \\n flashes into view, blocking Luke's blow before it can reach the \\n Emperor. The two blades spark at contact. Luke turns to fight his \\n father. \\n\",\n \"forced back, losing his balance, and is knocked down the stairs. Luke \\n stands at the top of the stairs, ready to attack. \\n \\n EMPEROR (laughing) \\n Good. Use your aggressive feelings, boy! Let the hate flow through \",\n \"The Emperor struggles in his embrace, his bolt-shooting hands now \\n lifted high, away from Luke. Now the white lightning arcs back to \\n strike at Vader. He stumbles with his load as the sparks rain off his \",\n \"Darth Vader hurls the Emperor's body into the bottomless shaft. \\n \\n The Emperor's body spins helplessly into the void, arcing as it falls \\n into the abyss. Finally, when the body is far down the shaft, it \",\n \"He catches his breath. A shiver runs through the ancient green \\n creature, and he dies. Luke stares at his dead master as he disappears \\n in front of his eyes. \\n\",\n \"of the throne. The Emperor watches him and smiles, touches the \\n lightsaber. \\n \\n EMPEROR \\n You want this, don't you? The hate is swelling in you now. Take your \",\n \"The Emperor's glee turns to rage. \\n \\n EMPEROR \\n So be it...Jedi. \\n \\n 123 EXT FOREST - GENERATOR BUNKER \\n\",\n \"The Emperor motions ever so slightly with his finger and Luke's binders \\n fall away, clattering to the floor. Luke looks down at his own hands, \\n free now to reach out and grab the Emperor's neck. He does nothing. \\n \\n EMPEROR\",\n \"is no sound of battle. The Emperor turns to Luke. \\n \\n EMPEROR \\n Your fleet has lost. And your friends on the Endor moon will not \\n survive. There is no escape, my young apprentice. The Alliance will \",\n \"create a lethal perimeter. The assembled troops move to rigid attention \\n with a momentous SNAP. \\n \\n Then, in the huge SILENCE which follows, the EMPEROR appears. He is a \",\n \"screaming through the room. Luke's body writhes in pain. \\n \\n Vader grabs the Emperor from behind, fighting for control of the robed \\n figure despite the Dark Lord's weakened body and gravely weakened arm. \",\n \"No! \\n \\n EMPEROR \\n It is unavoidable. It is your destiny. You, like your father, are now \\n mine! \\n \\n 99 EXT FOREST - GENERATOR BUNKER \\n\",\n \"Vader throws the laser sword and it cuts through the supports holding \\n the catwalk, then returns to Vader's hand. Luke tumbles to the ground \\n in a shower of sparks and rolls out of sight under the Emperor's \",\n \"helmet and flow down over his black cape. He holds his evil master high \\n over his head and walks to the edge of the abyss at the central core of \\n the throne room. With one final burst of his once awesome strength, \",\n \"VADER \\n (raising his gloved hand to the two guards and choking them with the \\n Force) \\n The Emperor will see me, now! \\n \\n GUARD \\n (repeating Vader's command)\",\n \"best troops awaits them. \\n \\n Luke's look darts from the Emperor to Vader and, finally, to the sword \\n in the Emperor's hand. \\n \\n EMPEROR\",\n \"Luke stands still, as the Emperor reaches the bottom of thestairs. The \\n Emperor's laughter has turned to anger. He raises his arms toward Luke. \\n \\n EMPEROR \\n If you will not be turned, you will be destroyed. \\n\",\n \"LUKE \\n You're gravely mistaken. You won't convert me as you did my father. \\n \\n The Emperor gets down from his throne and walks up very close to Luke. \\n The Emperor looks into his eyes and, for the first time, Luke can \"\n ],\n [\n \"Luke is a little shaken but remains standing as a fusillade brackets \\n him. The second skiff, loaded with guards firing their weapons, moves \\n in on Luke fast. Luke leaps toward the incoming second skiff. The young \",\n \"where Vader stands watching. \\n \\n LUKE\\t (groans) \\n Father, please. Help me. \\n \\n Again Vader stands, watching Luke. He looks at his master, the Emperor, \\n then back to Luke on the floor. \\n\",\n \"beast. One of them breaks down and weeps. The other glares menacingly \\n at Luke, who is unworried. Several guards rush into the holding tunnel \\n and take Luke away. \\n \\n 22 INT THRONE ROOM \\n\",\n \"are leaned against a tree nearby. Threepio's litter/throne is gently \\n placed near the pit. He watches with rapt fascination. Han, Luke, and \\n Chewie are less than fascinated. \\n \\n HAN\",\n \"gun blasting away at his helpless companions. Luke leaps from the \\n skiff, across a chasm of air, to the sheer metallic side of the Sail \\n Barge. Barely able to get a fingerhold, he begins a painful climb up \",\n \"A laser blast hits Luke's mechanical hand and he bends over in pain, \\n but manages to swing his lightsaber upward and take out the last of the \\n guards. He looks at the wounded hand, which reveals the mechanism. He \",\n \"and reveal the silhouetted figure of LUKE SKYWALKER. He is clad in a \\n robe similar to Ben's and wears neither pistol nor laser sword. Luke \\n strides purposefully into the hallway. Two giant guards move to block \",\n \"Luke is sitting in a corner of the cramped space and, indeed, his look \\n has been woeful. Caught, he tries to hide it. \\n \\n LUKE \\n No... of course not. \\n\",\n \"With samurai speed, Luke ignites it and attacks the guard who prodded \\n him off the plank, sending the hapless monster screaming overboard. The \\n other guards swarm toward Luke. He wades into them, lightsaber \",\n \"Luke and the guard have dropped twenty-five feet from a chute into the \\n dungeonlike cage. Luke gets to his feet as the guard yells hysterically \\n for help. A crowd gathers up around the edge of the pit as the door in \",\n \"He catches his breath. A shiver runs through the ancient green \\n creature, and he dies. Luke stares at his dead master as he disappears \\n in front of his eyes. \\n\",\n \"Leia holds back her tears as Luke slowly lets her go and moves away. He \\n disappears onto the walkway that leads out of the village. Leia, bathed \\n in moonlight, watches him go as Han comes out of the Chief's hut and \",\n \"guards move to the gate and start poking at the young Jedi with spears, \\n laughing. \\n \\n Luke crouches (against the wall) as the monster starts to reach for \\n him. Suddenly he notices a main door control panel halfway up the wall. \",\n \"Come, boy. See for yourself. \\n \\n The Emperor is sitting in his throne, with Vader standing at his side. \\n Luke moves to look through a small section of the window. \\n \\n EMPEROR\",\n \"Lando moves unobtrusively along the skiff as Luke shoots a quick look \\n of conspiracy to him. \\n \\n 28 INT SAIL BARGE OBSERVATION DECK \\n\",\n \"forced back, losing his balance, and is knocked down the stairs. Luke \\n stands at the top of the stairs, ready to attack. \\n \\n EMPEROR (laughing) \\n Good. Use your aggressive feelings, boy! Let the hate flow through \",\n \"bridge across their path. The scout zips under. Luke goes over the top \\n and crashes his bike down on the scout's. Both riders look ahead - a \\n wide trunk looms directly in Luke's path, but the scout's bike beside \",\n \"Luke looks at his father's mechanical hand, then to his own mechanical, \\n black-gloved hand, and realizes how much he is becoming like his \\n father. He makes the decision for which he has spent a lifetime in \",\n \"starts firing away, having switched places with his pursuers in a \\n manner of seconds. Luke's aim is good and one scout's bike is blasted \\n out of control. It explodes against a tree trunk. \\n\",\n \"always told her to contact me on Tatooine, if her troubles became \\n desperate. \\n \\n Luke is overwhelmed by the truth, and is suddenly protective of his \\n sister. \\n \\n LUKE\"\n ],\n [\n \"At last! Master Luke's come to rescue me. \\n \\n BIB \\n Master. \\n \\n Jabba awakens with a start and Bib continues, in Huttese. \\n \\n BIB\",\n \"attempt to rescue his friend Han Solo from the clutches of theÊvile \\n gangster Jabba the Hutt. Little does Luke know that the GALACTIC EMPIRE \\n has secretly begun construction on a new armored space station even \",\n \"...Luke Skywalker, Jedi Knight. \\n \\n JABBA\\t (in Huttese subtitled) \\n I told you not to admit him. \\n \\n LUKE \\n I must be allowed to speak. \\n\",\n \"gun blasting away at his helpless companions. Luke leaps from the \\n skiff, across a chasm of air, to the sheer metallic side of the Sail \\n Barge. Barely able to get a fingerhold, he begins a painful climb up \",\n \"powerful, mighty Jabba, and that your anger with Solo must be equally \\n powerful. I seek an audience with Your Greatness to bargain for Solo's \\n life. \\n (Jabba's crowd laughs) \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"Jabba's palace. \\n \\n HAN \\n Who are you? \\n \\n The bounty hunter reaches up and lifts the helmet from his head, \\n revealing the beautiful face of PRINCESS LEIA. \\n \\n LEIA\",\n \"stares at Bib; he raises his hand slightly. \\n \\n LUKE \\n You will take me to Jabba now! \\n \\n Bib turns in hypnotic response to Luke's command, and Luke follows him \\n into the gloom. \\n\",\n \"Boba lands on the skiff and starts to aim his laser gun at Luke, who \\n has freed Han and Chewie from their bonds. But before Boba can fire, \\n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"As the guards drag the prisoners from the throne room, a loud cheer \\n rises from the crowd. Leia and Chewie exchange concerned looks, but \\n Luke Skywalker, Jedi warrior, cannot suppress a smile. \\n\",\n \"Luke reaches out, and a pistol jumps out of a guard's holster and flies \\n into Luke's hand. The bewildered guard grabs for it as Jabba raises his \\n hand. \\n \\n JABBA \\n Bascka! \\n\",\n \"JABBA\\t (in Huttese subtitled) \\n Your mind powers will not work on me, boy. \\n \\n LUKE \\n Nevertheless, I'm taking Captain Solo and his friends. You can either \",\n \"Leia holds back her tears as Luke slowly lets her go and moves away. He \\n disappears onto the walkway that leads out of the village. Leia, bathed \\n in moonlight, watches him go as Han comes out of the Chief's hut and \",\n \"conversation. Several other guards fall in behind them in the darkness. \\n \\n LUKE \\n I must speak with Jabba. \\n \\n Bib answers in Huttese, shaking his head in denial. Luke stops and \",\n \"Don't be a fool! \\n \\n Han is dragged off, as Lando quickly moves forward and attempts to lead \\n Leia away. \\n \\n JABBA\\t (in Huttese subtitled) \\n Bring her to me. \\n\",\n \"like a pet cat. Several of the guards, including Lando, bring Luke from \\n the other side of the room. Boba is standing behind Jabba. \\n \\n Threepio steps forward and translates for the captives. \\n \\n THREEPIO\",\n \"Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \\n that you are to be terminated immediately. \\n \\n HAN \\n Good, I hate long waits. \\n \\n THREEPIO\",\n \"Luke is a little shaken but remains standing as a fusillade brackets \\n him. The second skiff, loaded with guards firing their weapons, moves \\n in on Luke fast. Luke leaps toward the incoming second skiff. The young \",\n \"Jabba chuckles as Lando and a second guard drag the beautiful young \\n princess toward him. Threepio peeks from behind a monster and quickly \\n turns away in disgust. \\n \\n LEIA \\n We have powerful friends. You're gonna regret this...\"\n ],\n [\n \"Jabba's palace. \\n \\n HAN \\n Who are you? \\n \\n The bounty hunter reaches up and lifts the helmet from his head, \\n revealing the beautiful face of PRINCESS LEIA. \\n \\n LEIA\",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"throws the chain that enslaves her over his head around his bulbous \\n neck. Then she dives off the other side of the throne, pulling the \\n chain violently in her grasp. Jabba's flaccid neck contracts beneath \",\n \"JABBA\\t (in Huttese subtitled) \\n I'm sure. \\n \\n Inexorably her lovely face moves to within a few inches of Jabba's ugly \\n blob of a head, and Leia turns away in disgust. \\n\",\n \"her neck is pulled tight and Jabba tugs the scantily clad princess to \\n him. \\n \\n JABBA\\t (in Huttese subtitled) \\n Soon you will learn to appreciate me. \\n\",\n \"Jabba chuckles as Lando and a second guard drag the beautiful young \\n princess toward him. Threepio peeks from behind a monster and quickly \\n turns away in disgust. \\n \\n LEIA \\n We have powerful friends. You're gonna regret this...\",\n \"Leia emerges, wearing an animal-skin dress. She sees what's happening \\n at the same moment the prisoners see her. \\n \\n HAN and LUKE \\n Leia! \\n\",\n \"pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \\n \\n HAN \\n What's that? I know that laugh. \\n \\n The curtain on the far side of the alcove opens, revealing Jabba the \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"applause as the party returns to its full noisy pitch. Chewbacca \\n growls. As he is led away we spot LANDO CALRISSIAN, disguised as a \\n skiff guard in a partial face mask. The band starts up and dancing \",\n \"Jabba leers at the dancers and with a lustful gleam in his eye beckons \\n Oola to come and sit with him. She stops dancing and backs away, \\n shaking her head. Jabba gets angry and points to a spot next to him. \\n\",\n \"As the guards drag the prisoners from the throne room, a loud cheer \\n rises from the crowd. Leia and Chewie exchange concerned looks, but \\n Luke Skywalker, Jedi warrior, cannot suppress a smile. \\n\",\n \"face muscles relax from their mask of horror. He appears quite dead. \\n \\n Boushh's ugly helmet leans close to Han's face listening for the breath \\n of life. Nothing. He waits. Han's eyes pop open with a start and he \",\n \"JABBA\\t (in Huttese subtitled) \\n Move him into position. \\n \\n Jabba makes a thumbs-down gesture. Leia looks worried. \\n \\n 29 EXT BARGE - UPPER DECK \\n\",\n \"manacle/necklace at her throat to her new master, Jabba the Hutt. \\n Threepio stands behind Jabba as Bib comes up to the gangster slug. \\n \\n THREEPIO\",\n \"Jabba and Leia are now by the rail, watching. Threepio leans forward \\n and the slobbering villain mumbles something to him. As Threepio steps \",\n \"Don't be a fool! \\n \\n Han is dragged off, as Lando quickly moves forward and attempts to lead \\n Leia away. \\n \\n JABBA\\t (in Huttese subtitled) \\n Bring her to me. \\n\",\n \"drunk creatures lie unconscious around the room, snoring loudly. \\n \\n A shadowy figure moves stealthily among the columns at the perimeter of \\n the room and is revealed to be Boushh, the bounty hunter. He picks his \"\n ],\n [\n \"the road toward the ominous palace of Jabba the Hutt. \\n \\n THREEPIO \\n Of course I'm worried. And you should be, too. Lando Calrissian and \\n poor Chewbacca never returned from this awful place. \\n\",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"Jabba's palace. \\n \\n HAN \\n Who are you? \\n \\n The bounty hunter reaches up and lifts the helmet from his head, \\n revealing the beautiful face of PRINCESS LEIA. \\n \\n LEIA\",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"14 INT JABBA'S THRONE ROOM - NIGHT \\n \\n Silence. The room is deserted, only the awful debris of the alien \\n celebration giving mute witness to the activity here before. Several \",\n \"Jabba leers at the dancers and with a lustful gleam in his eye beckons \\n Oola to come and sit with him. She stops dancing and backs away, \\n shaking her head. Jabba gets angry and points to a spot next to him. \\n\",\n \"The two droids fearfully approach the massive gate to the palace. \\n \\n THREEPIO \\n Artoo, are you sure this is the right place? I better knock, I suppose. \\n \\n 6 EXT JABBA'S PALACE - GATE \",\n \"It takes all the guards to hurl Chewie roughly into a cell, slamming \\n the door behind him. Chewie lets out a pathetic howl and bangs on the \\n iron door. \\n \\n 13 EXT JABBA'S PALACE\",\n \"The poor work droid in the background lets out another tortured \\n electronic scream. \\n \\n 11 INT JABBA'S THRONE ROOM \\n \\n The court of Jabba the Hutt is in the midst of a drunken, raucous \",\n \"pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \\n \\n HAN \\n What's that? I know that laugh. \\n \\n The curtain on the far side of the alcove opens, revealing Jabba the \",\n \"Jabba watches this and explodes in rage. He barks commands, and the \\n guards around him rush off to do his bidding. The scuzzy creatures \\n watching the action from the window are in an uproar. \\n\",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"The assembled monsters rock with mocking laughter as Artoo zips \\n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \\n he speaks into the comlink. \\n\",\n \"I will not give up my favorite decoration. I like Captain Solo where he \\n is. \\n \\n Jabba laughs hideously and looks toward an alcove beside the throne. \",\n \"room to the platform upon which rests the leader of this nauseating \\n crowd: JABBA THE HUTT. The monarch of the galactic underworld is a \\n repulsive blob of bloated fat with a maniacal grin. Chained to the \",\n \"23 EXT TATOOINE SEA - SKIFF \\n \\n Jabba's huge SAIL BARGE moves above the desert surface accompanied by \\n two smaller Skiffs. One of the skiffs glides close, revealing Luke, \",\n \"ever conceived in the universe. Artoo and Threepio seem very small as \\n they pause in the doorway to the dimly lit chamber. Light shafts \\n partially illuminate the drunken courtiers as Bib Fortuna crosses the \",\n \"Jabba and Leia are now by the rail, watching. Threepio leans forward \\n and the slobbering villain mumbles something to him. As Threepio steps \",\n \"I'm all right, pal. I'm all right. \\n \\n 16 INT MAIN GATE AND HALL - JABBA'S PALACE \\n \\n Noisily, the main gate lifts to flood the blackness with blinding LIGHT \",\n \"Oh, Artoo! Artoo, wait for me! \\n \\n 7 INT JABBA'S PALACE - HALLWAY \\n \\n The door slams shut with a loud crash that echoes throughout the dark \"\n ],\n [\n \"As the guards drag the prisoners from the throne room, a loud cheer \\n rises from the crowd. Leia and Chewie exchange concerned looks, but \\n Luke Skywalker, Jedi warrior, cannot suppress a smile. \\n\",\n \"Leia emerges, wearing an animal-skin dress. She sees what's happening \\n at the same moment the prisoners see her. \\n \\n HAN and LUKE \\n Leia! \\n\",\n \"by a human guard-- Lando, recognizable behind his mask. She looks at \\n him and he shakes his head \\\"no.\\\" \\n \\n 18 INT RANCOR PIT \\n\",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"Jabba's palace. \\n \\n HAN \\n Who are you? \\n \\n The bounty hunter reaches up and lifts the helmet from his head, \\n revealing the beautiful face of PRINCESS LEIA. \\n \\n LEIA\",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"face muscles relax from their mask of horror. He appears quite dead. \\n \\n Boushh's ugly helmet leans close to Han's face listening for the breath \\n of life. Nothing. He waits. Han's eyes pop open with a start and he \",\n \"applause as the party returns to its full noisy pitch. Chewbacca \\n growls. As he is led away we spot LANDO CALRISSIAN, disguised as a \\n skiff guard in a partial face mask. The band starts up and dancing \",\n \"Han, and Chewie -- all in bonds -- surrounded by guards, one of whom is \\n Lando in disguise. \\n \\n HAN \\n I think my eyes are getting better. Instead of a big dark blur, I see a \\n big light blur. \\n\",\n \"starts it up and takes off as Luke jumps on the bike behind her. \\n \\n LUKE\\t (pointing to the controls) \\n Quick! Jam their comlink. Center switch! \\n \\n Luke and Leia speed into the dense foliage in hot pursuit, barely \",\n \"(beat) \\n I have to face him. \\n \\n Leia is distraught, confused. \\n \\n LEIA \\n Why? \\n \\n Luke moves close and his manner is gentle. And very calm. \\n \\n LUKE\",\n \"Luke has hold on one of the rigging ropes from the mast. He gathers \\n Leia in his other arm and kicks the trigger of the deck gun. The gun \\n explodes into the deck as Luke and Leia swing out toward the skiff. \\n\",\n \"Someone who loves you. \\n \\n HAN \\n Leia! \\n \\n LEIA \\n I gotta get you out of here. \\n \\n As Leia helps her weakened lover to stand up, the relative quiet is \",\n \"down, and pulls out a handgun. Before Leia can react, the scout has \\n blasted her bike, sending it out of control. Leia dives off as her bike \\n explodes against a tree. The happy scout looks back at the explosion. \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"With Leia shooting ahead, Luke suddenly slams his steering vanes into \\n the braking mode. Luke's bike is a blur to the two pursuing scouts as \\n they zip by him on either side. Luke slams his bike into forward and \",\n \"Han works furiously at the control panel; wires spark as he attempts to \\n hotwire the door. He motions to Leia, who is blasting away at some \\n stormtroopers. \\n \\n HAN\",\n \"through the death-dealing trunks. Now Leia aims her bike skyward and \\n rises out of sight. \\n \\n The scout turns in confusion, unable to see his pursuer. Suddenly, Leia \",\n \"to Leia. \\n \\n LEIA \\n What is it? \\n \\n Suddenly a laser bolt comes out of the foliage and explodes on the log \\n next to Leia. Leia and Wicket both roll backwards off the log, hiding \",\n \"Get alongside that one! \\n \\n Leia pulls her speeder bike up so close to the scout's bike that their \\n steering vanes SCRAPE noisily. Luke leaps from his bike to the back of \"\n ],\n [\n \"skiff moves out directly over the center and hovers. At the bottom of \\n the deep cone of sand is a repulsive, mucous-lined hole, surrounded by \\n thousands of needle-sharp teeth. This is the SARLACC. A plank is \",\n \"Gently now. All... all right. Now easy, easy. Hold me, Chewie. \\n \\n Lando screams. One of the Sarlacc's tentacles has wrapped tightly \\n around his ankle, dragging him down the side of the pit. \\n\",\n \"Victims of the almighty Sarlacc: His Excellency hopes that you will die \\n honorably. But should any of you wish to beg for mercy, the great Jabba \\n the Hutt will now listen to your pleas. \\n\",\n \"side of the huge Sail Barge and sliding away into the pit. He screams \\n as his armored body makes its last flight past Lando and directly into \\n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a \",\n \"begins sliding. He claws desperately as a Sarlacc tentacle grabs him \\n and pulls him screaming into the viscous mouth. \\n \\n 32 INT SAIL BARGE \\n\",\n \"You will therefore be taken to the Dune Sea and cast into the pit of \\n Carkoon, the nesting place of the all-powerful Sarlacc. \\n \\n HAN\\t (to Luke) \\n Doesn't sound so bad. \\n\",\n \"The monster crushes the bone in its jaws and sees Luke, who squeezes \\n into a crevice in the pit wall. Luke looks past the monster to the \\n holding cave beyond. On the far side of the holding cave is a utility \",\n \"At the side of the pit, an iron door rumbles upward and a giant, fanged \\n RANCOR emerges. The guard runs to the side of the pit and tries \",\n \"and Lando falls to the side of the Sarlacc pit. Luckily, Han's foot \\n catches on the skiff railing and he dangles above Lando and the pit. \\n The wounded Wookiee holds onto the skiff for dear life as another hit \",\n \"Rancor picks him up and pops him into its slavering jaws. A few \\n screams, and the guard is swallowed with a gulp. The audience cheers \\n and laughs at the guard's fate. \\n\",\n \"The monster turns and starts for Luke. The young Jedi dashes away just \\n ahead of the monster's swipe at him, and picks up the long arm bone of \\n an earlier victim. The monster grabs Luke and brings him up to his \",\n \"salivating mouth. At the last moment, Luke wedges the bone in the \\n monster's mouth and is dropped to the floor. The monster bellows in \\n rage and flails about, hitting the side of the pit, causing an \\n avalanche. \\n\",\n \"25 EXT SARLACC PIT \\n \\n The convoy moves up over a huge sand pit. The Sail Barge stops to one \\n side of the depression, as does the escort skiff. But the prisoner's \",\n \"above the Sarlacc pit. \\n \\n LANDO \\n Whoa! Whoa! Help! \\n \\n 34 EXT UPPER DECK - SAIL BARGE \\n\",\n \"The injured Chewie is reaching over the rail for the dangling Han, who \\n is in turn blindly reaching down toward the desperate Lando. The Baron \\n has stopped his slippage down the sandy slope of the Sarlacc pit by \",\n \"the side of the pit starts to RUMBLE open. The guard screams in panic. \\n Luke looks calmly around for a means of escape. \\n \\n THREEPIO \\n Oh, no! The Rancor! \\n\",\n \"horrible creature is the beautiful alien female dancer named OOLA. At \\n the foot of the dais sits an obnoxious birdlike creature, SALACIOUS \",\n \"Artoo appears from below and zips over to the rail facing the pit. \\n Below, in the skiff, Luke is prodded by a guard to the edge of the \\n plank over the gaping Sarlacc. Luke looks up at Artoo, then gives a \",\n \"the tightening chain. His huge eyes bulge from their sockets and his \\n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \\n through its death throes and then slams down into final stillness. Leia \",\n \"floor springs open and swallows her up. As the door snaps shut, a \\n muffled growl is followed by a hideous scream. Jabba and his monstrous \\n friends laugh hysterically and several revelers hurry over to watch her \"\n ],\n [\n \"Victims of the almighty Sarlacc: His Excellency hopes that you will die \\n honorably. But should any of you wish to beg for mercy, the great Jabba \\n the Hutt will now listen to your pleas. \\n\",\n \"You will therefore be taken to the Dune Sea and cast into the pit of \\n Carkoon, the nesting place of the all-powerful Sarlacc. \\n \\n HAN\\t (to Luke) \\n Doesn't sound so bad. \\n\",\n \"powerful, mighty Jabba, and that your anger with Solo must be equally \\n powerful. I seek an audience with Your Greatness to bargain for Solo's \\n life. \\n (Jabba's crowd laughs) \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"side of the huge Sail Barge and sliding away into the pit. He screams \\n as his armored body makes its last flight past Lando and directly into \\n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a \",\n \"Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \\n that you are to be terminated immediately. \\n \\n HAN \\n Good, I hate long waits. \\n \\n THREEPIO\",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"JABBA\\t (in Huttese subtitled) \\n It's too late for that, Solo. You may have been a good smuggler, but \\n now you're Bantha fodder. \\n \\n HAN \\n Look... \\n\",\n \"begins sliding. He claws desperately as a Sarlacc tentacle grabs him \\n and pulls him screaming into the viscous mouth. \\n \\n 32 INT SAIL BARGE \\n\",\n \"pierced by an obscene HUTTESE CACKLE from the other side of the alcove. \\n \\n HAN \\n What's that? I know that laugh. \\n \\n The curtain on the far side of the alcove opens, revealing Jabba the \",\n \"Chewie barks his agreement. \\n \\n LUKE \\n You should have bargained, Jabba. That's the last mistake you'll ever \\n make. \\n \\n Jabba cackles evilly at this. \\n\",\n \"Gently now. All... all right. Now easy, easy. Hold me, Chewie. \\n \\n Lando screams. One of the Sarlacc's tentacles has wrapped tightly \\n around his ankle, dragging him down the side of the pit. \\n\",\n \"profit by this... or be destroyed! It's your choice. But I warn you not \\n to underestimate my powers. \\n \\n Jabba's laugh is mean and loud. Threepio attempts to warn Luke about \\n the pit. \\n\",\n \"Jabba leers at the dancers and with a lustful gleam in his eye beckons \\n Oola to come and sit with him. She stops dancing and backs away, \\n shaking her head. Jabba gets angry and points to a spot next to him. \\n\",\n \"Don't be a fool! \\n \\n Han is dragged off, as Lando quickly moves forward and attempts to lead \\n Leia away. \\n \\n JABBA\\t (in Huttese subtitled) \\n Bring her to me. \\n\",\n \"JABBA\\t (in Huttese subtitled) \\n At last we have the mighty Chewbacca. \\n \\n Jabba lets out a loud, long, blood-curdling laugh and turns to \",\n \"JABBA\\t (in Huttese subtitled) \\n Your mind powers will not work on me, boy. \\n \\n LUKE \\n Nevertheless, I'm taking Captain Solo and his friends. You can either \",\n \"Jabba watches this and explodes in rage. He barks commands, and the \\n guards around him rush off to do his bidding. The scuzzy creatures \\n watching the action from the window are in an uproar. \\n\"\n ],\n [\n \"throws the chain that enslaves her over his head around his bulbous \\n neck. Then she dives off the other side of the throne, pulling the \\n chain violently in her grasp. Jabba's flaccid neck contracts beneath \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"Boba lands on the skiff and starts to aim his laser gun at Luke, who \\n has freed Han and Chewie from their bonds. But before Boba can fire, \\n the young Jedi spins on him, lightsaber sweeping, and hacks the bounty \",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \\n that you are to be terminated immediately. \\n \\n HAN \\n Good, I hate long waits. \\n \\n THREEPIO\",\n \"the tightening chain. His huge eyes bulge from their sockets and his \\n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \\n through its death throes and then slams down into final stillness. Leia \",\n \"side of the huge Sail Barge and sliding away into the pit. He screams \\n as his armored body makes its last flight past Lando and directly into \\n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a \",\n \"Chewie barks his agreement. \\n \\n LUKE \\n You should have bargained, Jabba. That's the last mistake you'll ever \\n make. \\n \\n Jabba cackles evilly at this. \\n\",\n \"JABBA\\t (in Huttese subtitled) \\n At last we have the mighty Chewbacca. \\n \\n Jabba lets out a loud, long, blood-curdling laugh and turns to \",\n \"Jabba watches this and explodes in rage. He barks commands, and the \\n guards around him rush off to do his bidding. The scuzzy creatures \\n watching the action from the window are in an uproar. \\n\",\n \"At last! Master Luke's come to rescue me. \\n \\n BIB \\n Master. \\n \\n Jabba awakens with a start and Bib continues, in Huttese. \\n \\n BIB\",\n \"Boba Fett, badly shaken, rises from the deck. He looks over at the \\n other skiff, where Luke is whipping a mass of guards. Boba raises his \\n arm, and aims his lethal appendage. \\n\",\n \"Jabba's palace. \\n \\n HAN \\n Who are you? \\n \\n The bounty hunter reaches up and lifts the helmet from his head, \\n revealing the beautiful face of PRINCESS LEIA. \\n \\n LEIA\",\n \"Luke reaches out, and a pistol jumps out of a guard's holster and flies \\n into Luke's hand. The bewildered guard grabs for it as Jabba raises his \\n hand. \\n \\n JABBA \\n Bascka! \\n\",\n \"powerful, mighty Jabba, and that your anger with Solo must be equally \\n powerful. I seek an audience with Your Greatness to bargain for Solo's \\n life. \\n (Jabba's crowd laughs) \",\n \"stares at Bib; he raises his hand slightly. \\n \\n LUKE \\n You will take me to Jabba now! \\n \\n Bib turns in hypnotic response to Luke's command, and Luke follows him \\n into the gloom. \\n\",\n \"The assembled monsters rock with mocking laughter as Artoo zips \\n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \\n he speaks into the comlink. \\n\",\n \"Don't be a fool! \\n \\n Han is dragged off, as Lando quickly moves forward and attempts to lead \\n Leia away. \\n \\n JABBA\\t (in Huttese subtitled) \\n Bring her to me. \\n\"\n ],\n [\n \"throws the chain that enslaves her over his head around his bulbous \\n neck. Then she dives off the other side of the throne, pulling the \\n chain violently in her grasp. Jabba's flaccid neck contracts beneath \",\n \"side of the huge Sail Barge and sliding away into the pit. He screams \\n as his armored body makes its last flight past Lando and directly into \\n the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a \",\n \"the tightening chain. His huge eyes bulge from their sockets and his \\n scum-coated tongue flops out. The Exalted Hutt's huge tail spasms \\n through its death throes and then slams down into final stillness. Leia \",\n \"Jabba the Hutt rides like a sultan in the massive antigravity ship. His \\n entire retinue is with him, drinking, eating, and having a good time. \\n Leia is watching her friends in the skiff when the chain attached to \",\n \"Jabba is furious and pulls her toward him, tugging on the chain. \\n \\n JABBA \\n Boscka! \\n \\n He pushes a button and, before the dancer can flee, a trap door in the \",\n \"Jabba watches this and explodes in rage. He barks commands, and the \\n guards around him rush off to do his bidding. The scuzzy creatures \\n watching the action from the window are in an uproar. \\n\",\n \"He catches his breath. A shiver runs through the ancient green \\n creature, and he dies. Luke stares at his dead master as he disappears \\n in front of his eyes. \\n\",\n \"Oh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed \\n that you are to be terminated immediately. \\n \\n HAN \\n Good, I hate long waits. \\n \\n THREEPIO\",\n \"Jabba is asleep on his throne, with Leia lying in front of him. \\n Salacious sits by Jabba's tail, watching it wriggle. Leia is now \\n dressed in the skimpy costume of a dancing girl; a chain runs from a \",\n \"JABBA\\t (in Huttese subtitled) \\n At last we have the mighty Chewbacca. \\n \\n Jabba lets out a loud, long, blood-curdling laugh and turns to \",\n \"The floor suddenly drops away, sending Luke and the hapless guard into \\n the pit. The pistol goes off, blasting a hole in the ceiling. Jabba \\n laughs and his courtiers join in. Leia starts forward but is restrained \",\n \"Victims of the almighty Sarlacc: His Excellency hopes that you will die \\n honorably. But should any of you wish to beg for mercy, the great Jabba \\n the Hutt will now listen to your pleas. \\n\",\n \"floor springs open and swallows her up. As the door snaps shut, a \\n muffled growl is followed by a hideous scream. Jabba and his monstrous \\n friends laugh hysterically and several revelers hurry over to watch her \",\n \"Chewie barks his agreement. \\n \\n LUKE \\n You should have bargained, Jabba. That's the last mistake you'll ever \\n make. \\n \\n Jabba cackles evilly at this. \\n\",\n \"begins sliding. He claws desperately as a Sarlacc tentacle grabs him \\n and pulls him screaming into the viscous mouth. \\n \\n 32 INT SAIL BARGE \\n\",\n \"an egg. \\n \\n A startled gasp is heard from the stunned court. There's consternation \\n at this turn of events. Heads look to Jabba, who is actually turning \",\n \"JABBA\\t (cont Huttese subtitled) \\n Take him away! \\n \\n The guards grab Han and start to lead him away. \\n \\n HAN \\n Jabba... I'll pay you triple! You're throwing away a fortune here. \",\n \"powerful, mighty Jabba, and that your anger with Solo must be equally \\n powerful. I seek an audience with Your Greatness to bargain for Solo's \\n life. \\n (Jabba's crowd laughs) \",\n \"The assembled monsters rock with mocking laughter as Artoo zips \\n unnoticed up the ramp to the upper deck. Jabba's laughter subsides as \\n he speaks into the comlink. \\n\",\n \"The little skiff skips around the burning Sail Barge, which continues \\n its chain of explosions. As the skiff sails off across the desert, the \\n barge settles to the sand and disappears in one final conflagration. \\n\"\n ],\n [\n \"Yoda, I must know. \\n \\n YODA \\n Your father he is. \\n \\n Luke reacts as if cut. \\n \\n YODA \\n Told you, did he? \\n \\n LUKE \\n Yes. \\n\",\n \"He catches his breath. A shiver runs through the ancient green \\n creature, and he dies. Luke stares at his dead master as he disappears \\n in front of his eyes. \\n\",\n \"train him as a Jedi. I thought that I could instruct him just as well \\n as Yoda. I was wrong. My pride has had terrible consequences for the \\n galaxy. \\n \\n Luke is entranced. \\n \\n LUKE\",\n \"courage. Finally he is able to ask. \\n \\n LUKE \\n Master Yoda... is Darth Vader my father? \\n \\n Yoda's eyes are full of weariness and compassion. An odd, sad smile \",\n \"A new look of concern crosses Yoda's face. He closes his eyes. \\n \\n YODA \\n Unexpected this is, and unfortunate... \\n \\n LUKE \\n Unfortunate that I know the truth? \\n\",\n \"Ohhh. Not yet. One thing remains: Vader. You must confront Vader. Then, \\n only then, a Jedi will you be. And confront him you will. \\n \\n Luke is in agony. He is silent for a long moment, screwing up his \",\n \"LEIA \\n Luke, tell me. What's troubling you? \\n \\n LUKE \\n Vader is here...now, on this moon. \\n \\n LEIA\\t (alarmed) \\n How do you know? \\n \\n LUKE\",\n \"Yoda sighs, and lies back on his bed. \\n \\n LUKE \\n Then I am a Jedi? \\n \\n YODA\\t (shakes his head)\",\n \"creases his face. He turns painfully on his side, away from Luke. \\n \\n YODA \\n Mmm... rest I need. Yes... rest. \\n \\n Luke watches him, each moment an eternity. \\n \\n LUKE\",\n \"LUKE \\n Master Yoda, you can't die. \\n \\n YODA \\n Strong am I with the Force... but not that strong! Twilight is upon me \\n and soon night must fall. That is the way of things... the way of the \",\n \"(beat) \\n I have to face him. \\n \\n Leia is distraught, confused. \\n \\n LEIA \\n Why? \\n \\n Luke moves close and his manner is gentle. And very calm. \\n \\n LUKE\",\n \"you. \\n \\n Luke looks momentarily toward the Emperor, then back to Vader, and \\n realizes he is using the dark side. He steps back, turns off his \\n lightsaber, and relaxes, driving the hate from his being. \\n \\n VADER\",\n \"And did you help them? It was they who had to save you. You achieved \\n little by rushing back prematurely, I fear. \\n \\n LUKE\\t (with sadness) \\n I found out Darth Vader was my father. \\n \\n BEN\",\n \"I can't kill my own father. \\n \\n BEN \\n Then the Emperor has already won. You were our only hope. \\n \\n LUKE \\n Yoda spoke of another. \\n \\n BEN \\n The other he spoke of is your twin sister.\",\n \"Yoda opens his eyes again and studies the youth. \\n \\n YODA\\t\\t (gathering all his strength) \\n No. Unfortunate that you rushed to face him... that incomplete was your \\n training. Not \\n ready for the burden were you. \\n\",\n \"to your father was my fault. \\n \\n Ben pauses sadly. \\n \\n BEN \\n Anakin was a good friend. \\n \\n Luke turns with interest at this. As Ben speaks, Luke settles on a \",\n \"He's my father. \\n \\n LEIA \\n Your father? \\n \\n LUKE \\n There's more. It won't be easy for you to hear it, but you must. If I \",\n \"Force. \\n \\n LUKE \\n But I need your help. I've come back to complete the training. \\n \\n YODA \\n No more training do you require. Already know you that which you need. \\n\",\n \"LUKE \\n But I have no sister. \\n \\n BEN \\n Hmm. To protect you both from the Emperor, you were hidden from your \\n father when you were born. The Emperor knew, as I did, if Anakin were \",\n \"Yoda will always be with you. \\n \\n Luke looks up to see the shimmering image of BEN KENOBI. \\n \\n LUKE \\n Obi-Wan! Why didn't you tell me? \\n\"\n ],\n [\n \"Luke, what's wrong? \\n \\n Luke turns and looks at her a long moment. \\n \\n LUKE \\n Leia... do you remember your mother? Your real mother? \\n \\n LEIA \\n Just a little bit. She died when I was very young.\",\n \"(beat) \\n I have to face him. \\n \\n Leia is distraught, confused. \\n \\n LEIA \\n Why? \\n \\n Luke moves close and his manner is gentle. And very calm. \\n \\n LUKE\",\n \"always told her to contact me on Tatooine, if her troubles became \\n desperate. \\n \\n Luke is overwhelmed by the truth, and is suddenly protective of his \\n sister. \\n \\n LUKE\",\n \"way. \\n \\n She realizes his misunderstanding. \\n \\n LEIA \\n Oh. No, it's not like that at all. He's my brother. \\n \\n Han is stunned by this news. She smiles, and they embrace. \\n\",\n \"that system. Leia became a princess by virtue of lineage... no one knew \\n she'd been adopted, of course. But it was a title without real power, \\n since Alderaan had long been a democracy. Even so, the family \",\n \"Leia moves to Luke and embraces him warmly. She senses a change in him \\n and looks into his eyes questioningly. \\n \\n LEIA \\n What is it? \\n \\n LUKE\\t (hesitant) \\n Ask me again sometime. \\n\",\n \"starts it up and takes off as Luke jumps on the bike behind her. \\n \\n LUKE\\t (pointing to the controls) \\n Quick! Jam their comlink. Center switch! \\n \\n Luke and Leia speed into the dense foliage in hot pursuit, barely \",\n \"doesn't draw away. She begins to understand. \\n \\n LUKE \\n Yes. It's you Leia. \\n \\n LEIA \\n I know. Somehow...I've always known. \\n \\n LUKE\",\n \"With Leia shooting ahead, Luke suddenly slams his steering vanes into \\n the braking mode. Luke's bike is a blur to the two pursuing scouts as \\n they zip by him on either side. Luke slams his bike into forward and \",\n \"to have any offspring, they would be a threat to him. That is the \\n reason why your sister remains safely anonymous. \\n \\n LUKE \\n Leia! Leia's my sister. \\n \\n BEN\",\n \"use it as I have. The Force is strong in my family. My father has \\n it...I have it...and...my sister has it. \\n \\n Leia stares into his eyes. What she sees there frightens her. But she \",\n \"Leia comes in from the hold and takes her seat near Luke. \\n \\n Chewie barks and hits some switches. Han's glance has stuck on \\n something out the window: the Millennium Falcon. Leia nudges him \\n gently. \\n\",\n \"flicker from the fires inside. The sounds of the forest fill the soft \\n night air. Luke has wandered away from the Chief's hut and stands \\n staring up at the Death Star. Leia finds him like that. \\n \\n LEIA\",\n \"LUKE \\n What do you remember? \\n \\n LEIA \\n Just...images, really. Feelings. \\n \\n LUKE \\n Tell me. \\n \\n LEIA \\n (a little surprised at his insistence)\",\n \"Did you tell Luke? Is that who you could tell? \\n \\n LEIA \\n I... \\n \\n HAN \\n Ahhh... \\n \\n He starts to walk away, exasperated, then stops and walks back to her. \\n \\n HAN\",\n \"Get alongside that one! \\n \\n Leia pulls her speeder bike up so close to the scout's bike that their \\n steering vanes SCRAPE noisily. Luke leaps from his bike to the back of \",\n \"Leia holds back her tears as Luke slowly lets her go and moves away. He \\n disappears onto the walkway that leads out of the village. Leia, bathed \\n in moonlight, watches him go as Han comes out of the Chief's hut and \",\n \"Luke, don't talk that way. You have a power I--I don't understand and \\n could never have. \\n \\n LUKE \\n You're wrong, Leia. You have that power too. In time you'll learn to \",\n \"Luke starts for the scuffle, followed by Leia with her laser pistol \\n drawn. As they run through the bushes, Leia stops and points to where \\n two more scouts are sitting on their speeder bikes, with an unoccupied \\n bike parked nearby.\",\n \"LUKE \\n But I have no sister. \\n \\n BEN \\n Hmm. To protect you both from the Emperor, you were hidden from your \\n father when you were born. The Emperor knew, as I did, if Anakin were \"\n ]\n]"},"questions":{"kind":"list like","value":["What happens to Pricess Leia at Jabba's palace when she tries to rescue Hans Solo?","After he captures them, how does Jabba plan to put Luke, Hans, and Chewbacca to death? ","Where is Sarlacc's nesting ground?","How does Jabba die?","Right before Yoda dies, what does Yoda confirm to Luke Skywalker?","What was Darth Vader's real name?","What has the Empire, under the direction of the Emperor, been constructing?","What does Luke Skywalker do to Darth Vader after he overpowers him in a lightsaber duel on the Death Star?","How is the Emperor killed?","Who is Luke initially setting out to rescue ?","Where is Jabba's palace located?","What does Jabba sentence Luke, Han, and Chewbacca to?","Who kills Jabba?","Who is confirmed to be Lukes Father?","Why does Yoda Warn Luke to keep his anger in check?","What does Luke revel to Leia?","Who tempts Luke to the dark side?","Who kills the emperor?","Who is watching over luke?","Who does Luke Skywalker want to rescue from Jabba, the crime Lord?","What is Princess Leia disguised as to gain entry to Jabba's palace?","Where is Jabba's palace located?","Who masquerades as Leia's pretend prisoner?","What type of creature is Sarlacc?","Who does Jabba plan on feeding to Sarlacc?","Who eventually kills Jabba?","How does Jabba die?","What secret does Yoda reveal to Luke?","What is Princess Leia's relationship to Luke?"],"string":"[\n \"What happens to Pricess Leia at Jabba's palace when she tries to rescue Hans Solo?\",\n \"After he captures them, how does Jabba plan to put Luke, Hans, and Chewbacca to death? \",\n \"Where is Sarlacc's nesting ground?\",\n \"How does Jabba die?\",\n \"Right before Yoda dies, what does Yoda confirm to Luke Skywalker?\",\n \"What was Darth Vader's real name?\",\n \"What has the Empire, under the direction of the Emperor, been constructing?\",\n \"What does Luke Skywalker do to Darth Vader after he overpowers him in a lightsaber duel on the Death Star?\",\n \"How is the Emperor killed?\",\n \"Who is Luke initially setting out to rescue ?\",\n \"Where is Jabba's palace located?\",\n \"What does Jabba sentence Luke, Han, and Chewbacca to?\",\n \"Who kills Jabba?\",\n \"Who is confirmed to be Lukes Father?\",\n \"Why does Yoda Warn Luke to keep his anger in check?\",\n \"What does Luke revel to Leia?\",\n \"Who tempts Luke to the dark side?\",\n \"Who kills the emperor?\",\n \"Who is watching over luke?\",\n \"Who does Luke Skywalker want to rescue from Jabba, the crime Lord?\",\n \"What is Princess Leia disguised as to gain entry to Jabba's palace?\",\n \"Where is Jabba's palace located?\",\n \"Who masquerades as Leia's pretend prisoner?\",\n \"What type of creature is Sarlacc?\",\n \"Who does Jabba plan on feeding to Sarlacc?\",\n \"Who eventually kills Jabba?\",\n \"How does Jabba die?\",\n \"What secret does Yoda reveal to Luke?\",\n \"What is Princess Leia's relationship to Luke?\"\n]"},"answers":{"kind":"list like","value":[["She is captured and enslaved.","captured and enslaved"],["Jabba plans to feed them to the Sarlacc, a pit monster.","By feeding them to the Sarlacc."],["In the Great Pit of Carkoon.","Great Pit of Carkoon"],["Princess Leia strangles Jabba to death.","Jabba is choked to death by Leia, using the chain he has connected her to him with."],["Yoda confirms that Darth Vader is Luke's father. ","That Darth Vader is Luke's father."],["Anakin Skywalker.","Anakin Skywalker"],["A second Death Star.","A second Death Star."],["Luke severs Vader's artificial right hand.","He severs his right prosthetic arm."],["Darth Vader kills the Emperor by throwing him down the Death Star reactor shaft.","by being thrown down the rector of the Death Star"],["Han Solo","Hans Solo"],["Tattoine","Tatooine."],["Sarlacc Exeution","To death."],["Leia","Leia."],["Darth Vader","Darth Vader"],["His anger could lead him to the dark side","to keep him from turning to the dark side"],["She is his sister","brother and sister"],["Vader and Emperor","The Emperor tempts Luke to join the Dark Side, which he refuses."],["Vader","Darth Vader"],["Yoda, obi-wan, and anakin (vader)","Anakin."],["Han Solo","Han Solo."],["A bounty hunter","bounty hunter"],["Tatooine","Jabba's palace is located on Tatooine."],["Chewbacca","Chewbacca"],["a pit monster","It is known as a pit monster."],["Luke, Han and Chewbacca","Han and Chewbacca"],["Princess Leia","Leia"],["Jabba is strangled to death","Leia strangles him."],["That Darth Vadar is Luke's father","that Darth Vader is Luke's father"],["Leia is Luke's twin sister","his sister"]],"string":"[\n [\n \"She is captured and enslaved.\",\n \"captured and enslaved\"\n ],\n [\n \"Jabba plans to feed them to the Sarlacc, a pit monster.\",\n \"By feeding them to the Sarlacc.\"\n ],\n [\n \"In the Great Pit of Carkoon.\",\n \"Great Pit of Carkoon\"\n ],\n [\n \"Princess Leia strangles Jabba to death.\",\n \"Jabba is choked to death by Leia, using the chain he has connected her to him with.\"\n ],\n [\n \"Yoda confirms that Darth Vader is Luke's father. \",\n \"That Darth Vader is Luke's father.\"\n ],\n [\n \"Anakin Skywalker.\",\n \"Anakin Skywalker\"\n ],\n [\n \"A second Death Star.\",\n \"A second Death Star.\"\n ],\n [\n \"Luke severs Vader's artificial right hand.\",\n \"He severs his right prosthetic arm.\"\n ],\n [\n \"Darth Vader kills the Emperor by throwing him down the Death Star reactor shaft.\",\n \"by being thrown down the rector of the Death Star\"\n ],\n [\n \"Han Solo\",\n \"Hans Solo\"\n ],\n [\n \"Tattoine\",\n \"Tatooine.\"\n ],\n [\n \"Sarlacc Exeution\",\n \"To death.\"\n ],\n [\n \"Leia\",\n \"Leia.\"\n ],\n [\n \"Darth Vader\",\n \"Darth Vader\"\n ],\n [\n \"His anger could lead him to the dark side\",\n \"to keep him from turning to the dark side\"\n ],\n [\n \"She is his sister\",\n \"brother and sister\"\n ],\n [\n \"Vader and Emperor\",\n \"The Emperor tempts Luke to join the Dark Side, which he refuses.\"\n ],\n [\n \"Vader\",\n \"Darth Vader\"\n ],\n [\n \"Yoda, obi-wan, and anakin (vader)\",\n \"Anakin.\"\n ],\n [\n \"Han Solo\",\n \"Han Solo.\"\n ],\n [\n \"A bounty hunter\",\n \"bounty hunter\"\n ],\n [\n \"Tatooine\",\n \"Jabba's palace is located on Tatooine.\"\n ],\n [\n \"Chewbacca\",\n \"Chewbacca\"\n ],\n [\n \"a pit monster\",\n \"It is known as a pit monster.\"\n ],\n [\n \"Luke, Han and Chewbacca\",\n \"Han and Chewbacca\"\n ],\n [\n \"Princess Leia\",\n \"Leia\"\n ],\n [\n \"Jabba is strangled to death\",\n \"Leia strangles him.\"\n ],\n [\n \"That Darth Vadar is Luke's father\",\n \"that Darth Vader is Luke's father\"\n ],\n [\n \"Leia is Luke's twin sister\",\n \"his sister\"\n ]\n]"},"document_id":{"kind":"string","value":"42b6d4260bbc83d7d8343779d34e96a067dfaad4"},"split":{"kind":"string","value":"test"}}},{"rowIdx":82,"cells":{"text":{"kind":"list like","value":[[" Oh, I do. I know where he is. \n \n SHREK \n Does anyone else know where to find \n him? Anyone at all? \n \n DONKEY \n Me! Me!"," it to Fiona. Fiona catching a snake, blowing it up, fashioning \n it into a balloon animal and presenting it to Shrek. The group \n arriving at a windmill that is near DuLoc. \n "," dwarves run inside the house) No, no! \n No, no. Not there. Not there. (they \n shut the door on him) Oh! (turns to \n look at Donkey) \n "," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," SHREK \n To get... move firewood. (sighs) \n \n Donkey looks over at the large pile of firewood there already \n is. \n \n TIME LAPSE \n"," (heavy sigh) All right. Who knows where \n this Farquaad guy is? \n \n Everyone looks around at each other but no one answers. \n \n DONKEY"," right now and get you all off my land \n and back where you came from! (Pause. \n Then the crowd goes wild.) Oh! (to Donkey) \n You! You're comin' with me. \n "," Oh! \n \n Shrek gets them close to the exit and sets down Donkey and Fiona. \n \n \n SHREK \n Okay, you two, heard for the exit! I'll "," attendant runs into a wall and falls \n down. Shrek and Donkey look at him then \n continue on into DuLoc.) \n \n DULOC \n \n They look around but all is quiet. \n"," DULOC - KITCHEN \n \n A masked man is torturing the Gingerbread Man. He's continually \n dunking him in a glass of milk. Lord Farquaad walks in. \n "," Shrek and Donkey come out of the field that is right by the parking \n lot. The castle itself is about 40 stories high. \n \n DONKEY"," the ground) Hey! The sooner we get to \n DuLoc the better. \n \n DONKEY \n You're gonna love it there, Princess. \n It's beautiful! \n "," runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as \n the sun crests the sky she turns back "," DONKEY \n Who you trying to keep out? \n \n SHREK \n Everyone! Okay? \n \n DONKEY"," Oh, now what does he want? \n \n SHREK \n (to congregation as he reaches the front \n of the Church) Hi, everyone. Havin' "," to get away from Shrek.) Wait a second. \n Look, I'm not gonna eat you. I just \n - - I just - - (He sighs and then begins \n walking straight through the rows. The "," of you shall prove himself... \n \n As Shrek and Donkey walk down the tunnel to get into the arena \n Donkey is humming the DuLoc theme song. \n \n SHREK"," \n Outside \n \n SHREK \n What do you see? \n \n DONKEY \n The whole town's in there. \n \n Inside \n"," Yeah, I know. \n \n DONKEY \n So, uh, are there any donkeys up there? \n \n \n SHREK"," SHREK \n All right! Cut it out. When does this \n guy say the line? \n \n DONKEY \n We gotta check it out. \n \n INSIDE CHURCH"],[" DULOC - KITCHEN \n \n A masked man is torturing the Gingerbread Man. He's continually \n dunking him in a glass of milk. Lord Farquaad walks in. \n "," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," FARQUAAD \n That's enough. He's ready to talk. \n \n \n The Gingerbread Man is pulled out of the milk and slammed down "," (The dragon roars.) I'm a donkey on \n the edge! \n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground. \n "," in the background. Farquaad is in bed, watching as the Magic \n Mirror shows him Princess Fiona. \n \n FARQUAAD \n Again, show me again. Mirror, mirror, "," FARQUAAD \n I'll have you locked back in that tower \n for the rest of your days! I'm king! \n \n \n Shrek manages to get a hand free and he whistles."," The laughter stops as all of the guards turn their weapons on \n Shrek. \n \n HEAD GUARD \n Shall I give the order, sir? \n \n FARQUAAD"," a little something. \n \n Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only "," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," She's married to the muffin man. \n \n The door opens and the Head Guard walks in. \n \n HEAD GUARD \n My lord! We found it. \n \n FARQUAAD"," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," of Farquaad's stature are in short supply. \n (he and Donkey laugh) \n \n Shrek then proceeds to splash water onto his face to wash off \n the dust and grime. \n "," (heavy sigh) All right. Who knows where \n this Farquaad guy is? \n \n Everyone looks around at each other but no one answers. \n \n DONKEY"," FARQUAAD \n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have \n the perfect king! Captain, assemble "," You're not making my job any easier. \n \n \n FIONA \n I'm sorry, but your job is not my problem. \n You can tell Lord Farquaad that if he "," \n FIONA \n No, let go of me! Shrek! \n \n SHREK \n No! \n \n FARQUAAD"," \n FARQUAAD \n Go on. \n \n MIRROR \n (chuckles nervously) So, just sit back \n and relax, my lord, because it's time "," smiles) \n \n FARQUAAD \n Ugh! It's disgusting! Guards! Guards! \n I order you to get that out of my sight "," FARQUAAD \n (he picks up the Gingerbread Man's legs \n and plays with them) Run, run, run, \n as fast as you can. You can't catch "],[" Well, technically you're not a king. \n \n \n FARQUAAD \n Uh, Thelonius. (Thelonius holds up a \n hand mirror and smashes it with his "," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," You're not making my job any easier. \n \n \n FIONA \n I'm sorry, but your job is not my problem. \n You can tell Lord Farquaad that if he "," a little something. \n \n Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only "," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," \n FARQUAAD \n Outrageous! Fiona, don't listen to him. \n \n \n SHREK \n He's not your true love. \n"," never seen such a radiant beauty before. \n I'm Lord Farquaad. \n \n FIONA \n Lord Farquaad? Oh, no, no. (Farquaad "," FARQUAAD \n Evening. Mirror, mirror on the wall. \n Is this not the most perfect kingdom \n of them all? \n \n MIRROR"," FIONA \n Shrek! \n \n FARQUAAD \n This hocus-pocus alters nothing. This \n marriage is binding, and that makes \n me king! See? See?"," (The dragon roars.) I'm a donkey on \n the edge! \n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground. \n "," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," (turns to look at Donkey and then back \n at Farquaad) Ah, that's not very nice. \n It's just a donkey. \n \n FARQUAAD"," Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," FARQUAAD \n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have \n the perfect king! Captain, assemble "," (heavy sigh) All right. Who knows where \n this Farquaad guy is? \n \n Everyone looks around at each other but no one answers. \n \n DONKEY"," FARQUAAD \n I'll have you locked back in that tower \n for the rest of your days! I'm king! \n \n \n Shrek manages to get a hand free and he whistles."," FIONA \n Lord Farquaad, I accept. Nothing would \n make - - \n \n FARQUAAD \n (interrupting) Excellent! I'll start "," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," in the background. Farquaad is in bed, watching as the Magic \n Mirror shows him Princess Fiona. \n \n FARQUAAD \n Again, show me again. Mirror, mirror, "," PRIEST \n ...king and queen. \n \n Outside \n \n DONKEY \n Mother Fletcher! He already said it. \n \n \n SHREK"],[" out, as agreed. Take it and go before \n I change my mind. (Shrek takes the paper) \n Forgive me, Princess, for startling \n you, but you startled me, for I have "," FIONA \n Lord Farquaad, I accept. Nothing would \n make - - \n \n FARQUAAD \n (interrupting) Excellent! I'll start "," FIONA \n Shrek! \n \n FARQUAAD \n This hocus-pocus alters nothing. This \n marriage is binding, and that makes \n me king! See? See?"," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," \n \n SHREK \n And the squatters? \n \n FARQUAAD \n As good as gone. \n \n SHREK \n What kind of quest?"," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," As promised. Now hand it over. \n \n FARQUAAD \n Very well, ogre. (holds out a piece \n of paper) The deed to your swamp, cleared "," SHREK \n You're crazy. I'm just bringing her \n back to Farquaad. \n \n DONKEY \n Oh, come on, Shrek. Wake up and smell "," \n FARQUAAD \n Outrageous! Fiona, don't listen to him. \n \n \n SHREK \n He's not your true love. \n"," You're not making my job any easier. \n \n \n FIONA \n I'm sorry, but your job is not my problem. \n You can tell Lord Farquaad that if he "," You there. Ogre! \n \n SHREK \n Aye? \n \n HEAD GUARD \n By the order of Lord Farquaad I am authorized "," FARQUAAD \n I'll have you locked back in that tower \n for the rest of your days! I'm king! \n \n \n Shrek manages to get a hand free and he whistles."," I'll give you your swamp back. \n \n SHREK \n Exactly the way it was? \n \n FARQUAAD \n Down to the last slime-covered toadstool."," The laughter stops as all of the guards turn their weapons on \n Shrek. \n \n HEAD GUARD \n Shall I give the order, sir? \n \n FARQUAAD"," Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," But you can't marry him. \n \n FIONA \n And why not? \n \n SHREK \n Because- - Because he's just marring \n you so he can be king."," SHREK \n Okay! Okay! But one night only. \n \n DONKEY \n Ah! Thank you! (he runs inside the cottage) \n \n \n SHREK"," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," \n FIONA \n No, let go of me! Shrek! \n \n SHREK \n No! \n \n FARQUAAD"," Shrek, is this true? \n \n FARQUAAD \n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from "],[" Donkey just looks up at her. \n \n HEAD GUARD \n Well? \n \n OLD WOMAN \n Oh, oh, he's just...he's just a little "," good night. (goes into the cave and \n puts the bark door up behind her) \n \n \n DONKEY \n You want me to read you a bedtime story? \n I will."," FIONA \n Donkey! \n \n DONKEY \n (still aimed at her stomach) Listen, \n keep breathing! I'll get you out of \n there! \n "," dwarves run inside the house) No, no! \n No, no. Not there. Not there. (they \n shut the door on him) Oh! (turns to \n look at Donkey) \n "," A little time has passed and Fiona has calmed down. She just \n hangs there limply while Shrek carries her. \n \n DONKEY \n Okay, so here's another question. Say "," DONKEY \n Oh! And it is lovely! Just beautiful. \n You know you are quite a decorator. \n It's amazing what you've done with such "," begins walking back to his cottage. \n \n DONKEY \n Can I say something to you? Listen, \n you was really, really, really somethin' \n back here. Incredible! \n "," Donkey opens the door to the Windmill and walks in. Fiona is \n nowhere to be seen. \n \n DONKEY \n Princess? Princess Fiona? Princess, \n where are you? Princess?"," Donkey out of the way right as the dragon is about to kiss him. \n Instead the dragon kisses Shreks' butt. She opens her eyes and \n roars. Shrek lets go of the chain and the chandelier falls onto "," DONKEY \n Okay, don't look down. Don't look down. \n Don't look down. Keep on moving. Don't \n look down. (he steps through a rotting "," goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor. \n \n DONKEY"," like 3 feet tall. Donkey wakes up with a yawn as the soldiers \n march by. \n \n DONKEY \n What'd I miss? What'd I miss? (spots "," DONKEY \n I don't know. There are those who think \n little of him. (they laugh again) Fiona: \n Stop it. Stop it, both of you. You're "," What are you...? (Donkey hops up onto \n a chair.) No! No! \n \n DONKEY \n This is gonna be fun! We can stay up "," FIONA \n Oh, no. This is all my fault. I'm so \n sorry. \n \n DONKEY \n (walking up) Why? What's wrong? \n"," the ground) Hey! The sooner we get to \n DuLoc the better. \n \n DONKEY \n You're gonna love it there, Princess. \n It's beautiful! \n "," Donkey, look out! (he manages to get \n a hold of the dragons tail and holds \n on) Got ya! \n \n The dragon gets irritated at this and flicks it's tail and Shrek "," DONKEY \n (singing James Brown style) Then you \n got to, got to try a little tenderness. \n (normal) The chicks love that romantic \n crap! \n "," \n FIONA \n I'll get the firewood. \n \n DONKEY \n Hey, where you goin'? Oh, man, I can't "," Some guards are milling around. Suddenly the dragon lands with \n a boom. The guards all take off running. \n \n DONKEY \n (to Dragon) Go ahead, HAVE SOME FUN. "],[" to get my swamp back. \n \n FARQUAAD \n Your swamp? \n \n SHREK \n Yeah, my swamp! Where you dumped those "," I'll give you your swamp back. \n \n SHREK \n Exactly the way it was? \n \n FARQUAAD \n Down to the last slime-covered toadstool."," we gonna do when we get our swamp anyway? \n \n \n SHREK \n Our swamp? \n \n DONKEY \n You know, when we're through rescuing "," \n Shrek and Fiona kiss...and the kiss fades into... \n \n THE SWAMP \n \n ...their wedding kiss. Shrek and Fiona are now married. 'I'm "," men shrink back away from him. Shrek roars very loudly and long \n and his breath extinguishes all the remaining torches until the \n men are in the dark. \n \n SHREK"," Shrek steps back in shock. \n \n FIONA \n (os) My only chance to live happily \n ever after is to marry my true love. \n \n "," Shrek is getting ready for dinner. He sits himself down and lights \n a candle made out of earwax. He begins to eat when he hears a \n noise. He stands up with a huff. \n "," Shrek now has the Big Bad Wolf by the collar and is dragging \n him to the front door. \n \n SHREK \n I live in a swamp. I put up signs. I'm "," \n MAN1 \n Back! Back, beast! Back! I warn ya! \n (waves the torch at Shrek.) \n \n Shrek calmly licks his fingers and extinguishes the torch. The "," to get away from Shrek.) Wait a second. \n Look, I'm not gonna eat you. I just \n - - I just - - (He sighs and then begins \n walking straight through the rows. The "," out, as agreed. Take it and go before \n I change my mind. (Shrek takes the paper) \n Forgive me, Princess, for startling \n you, but you startled me, for I have "," take care of the dragon. \n \n Shrek grabs a sword and heads back toward the interior of the \n castle. He throws the sword down in between several overlapping "," Oh! \n \n Shrek gets them close to the exit and sets down Donkey and Fiona. \n \n \n SHREK \n Okay, you two, heard for the exit! I'll "," alone. Shrek eating dinner alone. \n \n SHREK'S HOME \n \n Shrek is eating dinner when he hears a sound outside. He goes \n outside to investigate. \n "," Oh, now what does he want? \n \n SHREK \n (to congregation as he reaches the front \n of the Church) Hi, everyone. Havin' "," of beer behind him. The beer comes rushing out drenching the \n other men and wetting the ground. It's like mud now. Shrek slides \n past the men and picks up a spear that one of the men dropped. "," runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as \n the sun crests the sky she turns back "," SHREK \n You're crazy. I'm just bringing her \n back to Farquaad. \n \n DONKEY \n Oh, come on, Shrek. Wake up and smell "," They are once again on their way. They are walking through the \n forest. Shrek belches. \n \n DONKEY \n Shrek! \n \n SHREK"," Let me get this straight. You're gonna \n go fight a dragon and rescue a princess \n just so Farquaad will give you back \n a swamp which you only don't have because "],[" The first thing I'm gonna do is build \n a ten-foot wall around my land. \n \n DONKEY \n You cut me deep, Shrek. You cut me real "," deep just now. You know what I think? \n I think this whole wall thing is just \n a way to keep somebody out. \n \n SHREK \n No, do ya think? \n"," a hill and you can see Shrek's cottage.) \n Whoa! Look at that. Who'd want to live \n in place like that? \n \n SHREK \n That would be my home."," DONKEY \n Who you trying to keep out? \n \n SHREK \n Everyone! Okay? \n \n DONKEY"," considered a freak. (pause while he \n looks at Shrek) Well, maybe you do. \n But that's why we gotta stick together. \n You gotta let me stay! Please! Please! \n \n "," Shrek is getting ready for dinner. He sits himself down and lights \n a candle made out of earwax. He begins to eat when he hears a \n noise. He stands up with a huff. \n "," alone. Shrek eating dinner alone. \n \n SHREK'S HOME \n \n Shrek is eating dinner when he hears a sound outside. He goes \n outside to investigate. \n "," house Princess Fiona. It appears to look like a giant volcano. \n \n \n DONKEY \n (sniffs) Ohh! Shrek! Did you do that? \n You gotta warn somebody before you just "," to get away from Shrek.) Wait a second. \n Look, I'm not gonna eat you. I just \n - - I just - - (He sighs and then begins \n walking straight through the rows. The "," to make. (cheers) Let the tournament \n begin! (He notices Shrek) Oh! What is \n that? It's hideous! \n \n SHREK"," runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as \n the sun crests the sky she turns back "," Shrek turns around to see who bumped into him. Donkey looks scared \n for a moment then he spots the guards coming up the path. He \n quickly hides behind Shrek. \n \n HEAD GUARD"," Shrek heaves a deep sigh. He throws the flower down and walks \n away. \n \n INSIDE \n \n FIONA \n Don't you see, Donkey? That's just how "," SHREK \n Okay! Okay! But one night only. \n \n DONKEY \n Ah! Thank you! (he runs inside the cottage) \n \n \n SHREK"," Shrek now has the Big Bad Wolf by the collar and is dragging \n him to the front door. \n \n SHREK \n I live in a swamp. I put up signs. I'm "," worriedly) (we see him up close and \n from a distance as Shrek sneaks into \n the room) I don't want to rush into \n a physical relationship. I'm not emotionally "," Shrek has found a cave that appears to be in good order. He shoves \n a stone boulder out of the way to reveal the cave. \n \n SHREK \n Hey! Over here. \n"," Shrek has built a fire and is cooking the rest of dinner while \n Fiona eats. \n \n FIONA \n Mmm. This is good. This is really good. \n What is this?"," SHREK \n Every word. \n \n FIONA \n I thought you'd understand. \n \n SHREK \n Oh, I understand. Like you said, \"Who "," Oh, now what does he want? \n \n SHREK \n (to congregation as he reaches the front \n of the Church) Hi, everyone. Havin' "],[" FIONA \n It's a spell. (sigh) When I was a little \n girl, a witch cast a spell on me. Every \n night I become this. This horrible, "," Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her. \n \n WHISPERS"," Another fight sequence begins and Fiona gives a karate yell and \n then proceeds to beat the crap out of the Merry Men. There is \n a very interesting 'Matrix' moment here when Fiona pauses in "," know before this is over, I'm gonna \n need a whole lot of serious therapy. \n Look at my eye twitchin'. \n \n Fiona comes out the door and watches him walk away. She looks "," (pause) Oh, now we're gettin' somewhere. \n (grins) \n \n At this point Fiona pulls the 'door' away from the entrance to "," seen you like this before. \n \n FIONA \n It only happens when sun goes down. \n \"By night one way, by day another. This \n shall be the norm... until you find "," here. You're afraid of the dark, aren't \n you? \n \n FIONA \n Yes! Yes, that's it. I'm terrified. "," at her image in the mirror. \n \n MORNING \n \n Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes "," goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor. \n \n DONKEY"," FIONA \n Well, eat up. We've got a big day ahead \n of us. (walks off) \n \n LATER \n"," Fiona looks at DuLoc and sighs. \n \n FIONA \n I guess I'll be dining a little differently \n tomorrow night. \n \n SHREK"," She smiles and then continues walking, singing softly. Suddenly \n from out of nowhere, a man swings down and swoops Fiona up into \n a tree. \n \n ROBIN HOOD"," FIONA \n (smiles) Mm-hmm. \n \n Shrek breaks the lock on her door and pulls her out and down \n the hallway. \n \n FIONA"," \n Suddenly Fiona falls from the railing. She gets up only she doesn't \n look like herself. She looks like an ogre and Donkey starts freaking \n out. \n \n DONKEY"," Suddenly Fiona's eyes open wide. She's consumed by the spell \n and then is slowly lowered to the ground. \n \n SHREK \n (going over to her) Fiona? Fiona. Are "," \n FIONA \n (os) I said good night! \n \n Shrek looks at Donkey for a second and then goes to move the \n boulder back in front of the entrance to the cave with Fiona "," (jumps away) Ow! Hey! Easy with the \n yankin'. \n \n As they continue to talk Fiona keeps going after the arrow and \n Shrek keeps dodging her hands. \n "," Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and \n spots a group approaching.) Ah, right \n on time. Princess, I've brought you "," awake. She is plucking petals from the sunflower. \n \n FIONA \n I tell him, I tell him not. I tell him, \n I tell him not. I tell him. (she quickly "," \n Fiona looks at Donkey from the shadows, but we can't see her. \n \n \n DONKEY \n It's very spooky in here. I ain't playing \n no games."],[" (The dragon roars.) I'm a donkey on \n the edge! \n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground. \n "," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," The laughter stops as all of the guards turn their weapons on \n Shrek. \n \n HEAD GUARD \n Shall I give the order, sir? \n \n FARQUAAD"," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," eats Farquaad) Aaaah! Aah! \n \n DONKEY \n All right. Nobody move. I got a dragon \n here, and I'm not afraid to use it. "," a little something. \n \n Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only "," GINGERBREAD MAN \n Don't tell him anything! (Farquaad picks \n him up and dumps him into a trash can \n with a lid.) No! \n "," You're not making my job any easier. \n \n \n FIONA \n I'm sorry, but your job is not my problem. \n You can tell Lord Farquaad that if he "," FIONA \n Lord Farquaad, I accept. Nothing would \n make - - \n \n FARQUAAD \n (interrupting) Excellent! I'll start "," FARQUAAD \n I'll have you locked back in that tower \n for the rest of your days! I'm king! \n \n \n Shrek manages to get a hand free and he whistles."," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," \n \n SHREK \n And the squatters? \n \n FARQUAAD \n As good as gone. \n \n SHREK \n What kind of quest?"," of beer behind him. The beer comes rushing out drenching the \n other men and wetting the ground. It's like mud now. Shrek slides \n past the men and picks up a spear that one of the men dropped. "," LITTLE PIG \n Lord Farquaad. He huffed and he puffed \n and he...signed an eviction notice. \n \n \n SHREK"," Yeah, it's getting him to shut up that's \n the trick. \n \n They all start screaming as the dragon gains on them. Shrek spots \n a descending slide and jumps on. But unfortunately there is a "," of Farquaad's stature are in short supply. \n (he and Donkey laugh) \n \n Shrek then proceeds to splash water onto his face to wash off \n the dust and grime. \n "," FARQUAAD \n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have \n the perfect king! Captain, assemble "," She's married to the muffin man. \n \n The door opens and the Head Guard walks in. \n \n HEAD GUARD \n My lord! We found it. \n \n FARQUAAD"],[" \n DONKEY \n An ogre? \n \n SHREK \n Yeah. An ogre. \n \n DONKEY \n Hey, where you goin'? \n"," (takes off his helmet) \n \n FIONA \n You- - You're a- - an ogre. \n \n SHREK \n Oh, you were expecting Prince Charming. \n "," \n SHREK \n (os) Love me? She said I was ugly, a \n hideous creature. I heard the two of \n you talking. \n \n DONKEY"," Shrek is getting ready for dinner. He sits himself down and lights \n a candle made out of earwax. He begins to eat when he hears a \n noise. He stands up with a huff. \n "," (looks all the way up at Shrek) Uh ...really \n tall? \n \n SHREK \n No! I'm an ogre! You know. \"Grab your "," \n SHREK \n Listen, little donkey. Take a look at \n me. What am I? \n \n DONKEY"," Shrek! \n \n FIONA \n This is me. \n \n Donkey looks into her eyes as she pets his muzzle, and he quiets \n down. \n "," to make. (cheers) Let the tournament \n begin! (He notices Shrek) Oh! What is \n that? It's hideous! \n \n SHREK"," DONKEY \n But, you know, um, you're kind of an \n orge, and Shrek - - well, you got a \n lot in common. \n \n FIONA"," Uh, no, not really, no. \n \n SHREK \n For your information, there's a lot \n more to ogres than people think. \n \n DONKEY"," of beer behind him. The beer comes rushing out drenching the \n other men and wetting the ground. It's like mud now. Shrek slides \n past the men and picks up a spear that one of the men dropped. "," SHREK \n Uh, Shrek. \n \n DONKEY \n Shrek? Well, you know what I like about "," FIONA \n No! \n \n DONKEY \n Shrek! Shrek! Shrek! \n \n FIONA \n Shh. \n \n DONKEY"," FIONA \n What is so funny? \n \n SHREK \n Let's just say I'm not your type, okay?Fiona: "," You there. Ogre! \n \n SHREK \n Aye? \n \n HEAD GUARD \n By the order of Lord Farquaad I am authorized "," to get away from Shrek.) Wait a second. \n Look, I'm not gonna eat you. I just \n - - I just - - (He sighs and then begins \n walking straight through the rows. The "," SHREK \n Every word. \n \n FIONA \n I thought you'd understand. \n \n SHREK \n Oh, I understand. Like you said, \"Who "," FIONA \n What kind of knight are you? \n \n SHREK \n One of a kind. (opens the door into \n the throne room) \n \n DONKEY"," SHREK \n \n Written by \n \n William Steig & Ted Elliott \n \n \n \n \n SHREK \n Once upon a time there was a lovely "," FIONA \n Shrek's hurt. \n \n DONKEY \n Shrek's hurt. Shrek's hurt? Oh, no, \n Shrek's gonna die. \n "],[" DULOC - KITCHEN \n \n A masked man is torturing the Gingerbread Man. He's continually \n dunking him in a glass of milk. Lord Farquaad walks in. \n "," FARQUAAD \n That's enough. He's ready to talk. \n \n \n The Gingerbread Man is pulled out of the milk and slammed down "," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," FARQUAAD \n I'll have you locked back in that tower \n for the rest of your days! I'm king! \n \n \n Shrek manages to get a hand free and he whistles."," (heavy sigh) All right. Who knows where \n this Farquaad guy is? \n \n Everyone looks around at each other but no one answers. \n \n DONKEY"," in the background. Farquaad is in bed, watching as the Magic \n Mirror shows him Princess Fiona. \n \n FARQUAAD \n Again, show me again. Mirror, mirror, "," The laughter stops as all of the guards turn their weapons on \n Shrek. \n \n HEAD GUARD \n Shall I give the order, sir? \n \n FARQUAAD"," (The dragon roars.) I'm a donkey on \n the edge! \n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground. \n "," She's married to the muffin man. \n \n The door opens and the Head Guard walks in. \n \n HEAD GUARD \n My lord! We found it. \n \n FARQUAAD"," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," a little something. \n \n Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only "," FARQUAAD \n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have \n the perfect king! Captain, assemble "," fairy tale creatures! \n \n FARQUAAD \n Indeed. All right, ogre. I'll make you \n a deal. Go on this quest for me, and "," \n \n SHREK \n And the squatters? \n \n FARQUAAD \n As good as gone. \n \n SHREK \n What kind of quest?"," Fairy tale creatures.\"(He sighs and \n throws the paper over his shoulder.) \n \n \n THE NEXT DAY \n \n There is a line of fairy tale creatures. The head of the guard "," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," \n MAN1 \n Back! Back, beast! Back! I warn ya! \n (waves the torch at Shrek.) \n \n Shrek calmly licks his fingers and extinguishes the torch. The "," onto a cookie sheet. Farquaad laughs as he walks over to the \n table. However when he reaches the table we see that it goes \n up to his eyes. He clears his throat and the table is lowered. \n \n "," eats Farquaad) Aaaah! Aah! \n \n DONKEY \n All right. Nobody move. I got a dragon \n here, and I'm not afraid to use it. "],[" Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," Princess, how 'bout if you don't marry \n Farquaad? \n \n FIONA \n I have to. Only my true love's kiss \n can break the spell. \n "," FIONA \n Shrek! \n \n FARQUAAD \n This hocus-pocus alters nothing. This \n marriage is binding, and that makes \n me king! See? See?"," FIONA \n Lord Farquaad, I accept. Nothing would \n make - - \n \n FARQUAAD \n (interrupting) Excellent! I'll start "," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," in the background. Farquaad is in bed, watching as the Magic \n Mirror shows him Princess Fiona. \n \n FARQUAAD \n Again, show me again. Mirror, mirror, "," FIONA \n (smiles) Mm-hmm. \n \n Shrek breaks the lock on her door and pulls her out and down \n the hallway. \n \n FIONA"," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," \n FIONA \n No, let go of me! Shrek! \n \n SHREK \n No! \n \n FARQUAAD"," She's married to the muffin man. \n \n The door opens and the Head Guard walks in. \n \n HEAD GUARD \n My lord! We found it. \n \n FARQUAAD"," FARQUAAD \n Princess Fiona, beautiful, fair, flawless \n Fiona. I ask your hand in marriage. \n Will you be the perfect bride for the \n perfect groom? \n "," But you can't marry him. \n \n FIONA \n And why not? \n \n SHREK \n Because- - Because he's just marring \n you so he can be king."," never seen such a radiant beauty before. \n I'm Lord Farquaad. \n \n FIONA \n Lord Farquaad? Oh, no, no. (Farquaad "," You're not making my job any easier. \n \n \n FIONA \n I'm sorry, but your job is not my problem. \n You can tell Lord Farquaad that if he "," FARQUAAD \n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have \n the perfect king! Captain, assemble "," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," Suddenly Fiona's eyes open wide. She's consumed by the spell \n and then is slowly lowered to the ground. \n \n SHREK \n (going over to her) Fiona? Fiona. Are "," FARQUAAD \n (hold a dagger to Fiona's throat) And \n as for you, my wife... \n \n SHREK \n Fiona! \n"],[" Shrek turns around to see who bumped into him. Donkey looks scared \n for a moment then he spots the guards coming up the path. He \n quickly hides behind Shrek. \n \n HEAD GUARD"," DONKEY \n Shrek! Shrek! Shrek! \n \n FIONA \n No, it's okay. It's okay. \n \n DONKEY"," SHREK \n It's quiet. Too quiet. Where is everybody? \n \n \n DONKEY \n Hey, look at this! \n"," They are once again on their way. They are walking through the \n forest. Shrek belches. \n \n DONKEY \n Shrek! \n \n SHREK"," then grabs Princess Fiona as he runs past her. \n \n DONKEY \n Hi, Princess! \n \n FIONA \n It talks! \n \n SHREK"," They head off. There is a montage of their journey. Walking through \n a field at sunset. Sleeping beneath a bright moon. Shrek trying \n to put the campfire out the next day and having a bit of a problem, "," Shrek! \n \n FIONA \n This is me. \n \n Donkey looks into her eyes as she pets his muzzle, and he quiets \n down. \n "," FIONA \n No! \n \n DONKEY \n Shrek! Shrek! Shrek! \n \n FIONA \n Shh. \n \n DONKEY"," SHREK \n You're crazy. I'm just bringing her \n back to Farquaad. \n \n DONKEY \n Oh, come on, Shrek. Wake up and smell "," DONKEY \n Yeah, I know. You know, Shrek thinks \n Lord Farquaad's compensating for something, \n which I think means he has a really...(Shrek "," FIONA \n Shrek's hurt. \n \n DONKEY \n Shrek's hurt. Shrek's hurt? Oh, no, \n Shrek's gonna die. \n "," DONKEY \n Really, really. \n \n SHREK \n Oh. \n \n DONKEY \n Man, I like you. What's you name? \n"," DONKEY \n Shrek, I - - I wanna go with you. \n \n SHREK \n I told you, didn't I? You're not coming "," \n DONKEY \n An ogre? \n \n SHREK \n Yeah. An ogre. \n \n DONKEY \n Hey, where you goin'? \n"," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," SHREK \n Are you talkin' to...(he turns around \n and Donkey is gone) me? (he turns back \n around and Donkey is right in front \n of him.) Whoa!"," SHREK \n Uh, Shrek. \n \n DONKEY \n Shrek? Well, you know what I like about "," SHREK \n Oh, that's great. Really. \n \n DONKEY \n Man, it's good to be free. \n \n SHREK"," \n DONKEY \n I know you're making this up. \n \n SHREK \n No, look. There he is, and there's the \n group of hunters running away from his "," \n \n SHREK \n And the squatters? \n \n FARQUAAD \n As good as gone. \n \n SHREK \n What kind of quest?"],[" I'll give you your swamp back. \n \n SHREK \n Exactly the way it was? \n \n FARQUAAD \n Down to the last slime-covered toadstool."," \n FIONA \n No, let go of me! Shrek! \n \n SHREK \n No! \n \n FARQUAAD"," to get my swamp back. \n \n FARQUAAD \n Your swamp? \n \n SHREK \n Yeah, my swamp! Where you dumped those "," As promised. Now hand it over. \n \n FARQUAAD \n Very well, ogre. (holds out a piece \n of paper) The deed to your swamp, cleared "," \n \n SHREK \n And the squatters? \n \n FARQUAAD \n As good as gone. \n \n SHREK \n What kind of quest?"," \n FARQUAAD \n Outrageous! Fiona, don't listen to him. \n \n \n SHREK \n He's not your true love. \n"," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," out, as agreed. Take it and go before \n I change my mind. (Shrek takes the paper) \n Forgive me, Princess, for startling \n you, but you startled me, for I have "," \n FIONA \n The battle is won. You may remove your \n helmet, good Sir Knight. \n \n SHREK \n Uh, no. \n \n FIONA"," Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," FIONA \n Shrek! \n \n FARQUAAD \n This hocus-pocus alters nothing. This \n marriage is binding, and that makes \n me king! See? See?"," FIONA \n I am, awaiting a knight so bold as to \n rescue me. \n \n SHREK \n Oh, that's nice. Now let's go! \n"," Shrek, is this true? \n \n FARQUAAD \n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from "," \n \n SHREK \n Good question. You should ask him that \n when we get there. \n \n FIONA \n But I have to be rescued by my true "," Let me get this straight. You're gonna \n go fight a dragon and rescue a princess \n just so Farquaad will give you back \n a swamp which you only don't have because "," FARQUAAD \n (hold a dagger to Fiona's throat) And \n as for you, my wife... \n \n SHREK \n Fiona! \n"," FIONA \n Lord Farquaad, I accept. Nothing would \n make - - \n \n FARQUAAD \n (interrupting) Excellent! I'll start "," SHREK \n Every word. \n \n FIONA \n I thought you'd understand. \n \n SHREK \n Oh, I understand. Like you said, \"Who "," \n Shrek and Fiona kiss...and the kiss fades into... \n \n THE SWAMP \n \n ...their wedding kiss. Shrek and Fiona are now married. 'I'm "," SHREK \n You're crazy. I'm just bringing her \n back to Farquaad. \n \n DONKEY \n Oh, come on, Shrek. Wake up and smell "],[" FIONA \n Well, yes. \n \n Both Donkey and Shrek burst out laughing. \n \n DONKEY \n You think Shrek is your true love! \n \n "," get burned to a crisp and eaten? \n \n FIONA \n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on "," \"Until you find true love's first kiss \n and then take love's true form. Take \n love's true form. Take love's true form.\" \n \n "," FIONA \n It's a spell. (sigh) When I was a little \n girl, a witch cast a spell on me. Every \n night I become this. This horrible, "," Shrek steps back in shock. \n \n FIONA \n (os) My only chance to live happily \n ever after is to marry my true love. \n \n "," Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her. \n \n WHISPERS"," Suddenly Fiona's eyes open wide. She's consumed by the spell \n and then is slowly lowered to the ground. \n \n SHREK \n (going over to her) Fiona? Fiona. Are "," FIONA \n And what do you know about true love? \n \n \n SHREK \n Well, I - - Uh - - I mean - - \n \n FARQUAAD"," could love a hideous, ugly beast?\" \n \n \n FIONA \n But I thought that wouldn't matter to \n you. \n \n SHREK"," true love's first kiss... and then take \n love's true form.\" \n \n DONKEY \n Ah, that's beautiful. I didn't know \n you wrote poetry. \n "," and Fiona talking. \n \n FIONA \n (os) I can't just marry whoever I want. \n Take a good look at me, Donkey. I mean, "," \n FARQUAAD \n Outrageous! Fiona, don't listen to him. \n \n \n SHREK \n He's not your true love. \n"," at her image in the mirror. \n \n MORNING \n \n Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes "," FIONA \n Donkey! \n \n DONKEY \n (still aimed at her stomach) Listen, \n keep breathing! I'll get you out of \n there! \n "," our \"happily ever after.\" Now kiss me! \n (puckers his lips and leans toward her, \n but she pulls back.) \n \n FIONA"," She backs up and as the sun sets she changes into her ogre self. \n She gives Shrek a sheepish smile. \n \n SHREK \n Well, uh, that explains a lot. (Fiona "," it has to be. It's the only way to break \n the spell. \n \n DONKEY \n You at least gotta tell Shrek the truth. \n \n \n FIONA"," seen you like this before. \n \n FIONA \n It only happens when sun goes down. \n \"By night one way, by day another. This \n shall be the norm... until you find "," Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and \n spots a group approaching.) Ah, right \n on time. Princess, I've brought you "," Shrek, is this true? \n \n FARQUAAD \n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from "],[" \n Shrek and Fiona kiss...and the kiss fades into... \n \n THE SWAMP \n \n ...their wedding kiss. Shrek and Fiona are now married. 'I'm "," FIONA \n Lord Farquaad, I accept. Nothing would \n make - - \n \n FARQUAAD \n (interrupting) Excellent! I'll start "," Princess, how 'bout if you don't marry \n Farquaad? \n \n FIONA \n I have to. Only my true love's kiss \n can break the spell. \n "," never seen such a radiant beauty before. \n I'm Lord Farquaad. \n \n FIONA \n Lord Farquaad? Oh, no, no. (Farquaad "," (running toward the alter) I object! \n \n \n FIONA \n Shrek? \n \n The whole congregation gasps as they see Shrek. \n \n FARQUAAD"," FIONA \n Shrek! \n \n FARQUAAD \n This hocus-pocus alters nothing. This \n marriage is binding, and that makes \n me king! See? See?"," Shrek, is this true? \n \n FARQUAAD \n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from "," \n FARQUAAD \n Outrageous! Fiona, don't listen to him. \n \n \n SHREK \n He's not your true love. \n"," \n FIONA \n No, let go of me! Shrek! \n \n SHREK \n No! \n \n FARQUAAD"," to the \"I do's\"? \n \n FARQUAAD \n (chuckles and then motions to the priest \n to indulge Fiona) Go on. \n \n COURTYARD"," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," But you can't marry him. \n \n FIONA \n And why not? \n \n SHREK \n Because- - Because he's just marring \n you so he can be king."," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," FARQUAAD \n (hold a dagger to Fiona's throat) And \n as for you, my wife... \n \n SHREK \n Fiona! \n"," Shrek steps back in shock. \n \n FIONA \n (os) My only chance to live happily \n ever after is to marry my true love. \n \n "," Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away. \n \n FIONA"],[" (The dragon roars.) I'm a donkey on \n the edge! \n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground. \n "," eats Farquaad) Aaaah! Aah! \n \n DONKEY \n All right. Nobody move. I got a dragon \n here, and I'm not afraid to use it. "," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," As promised. Now hand it over. \n \n FARQUAAD \n Very well, ogre. (holds out a piece \n of paper) The deed to your swamp, cleared "," She's married to the muffin man. \n \n The door opens and the Head Guard walks in. \n \n HEAD GUARD \n My lord! We found it. \n \n FARQUAAD"," FARQUAAD \n That's enough. He's ready to talk. \n \n \n The Gingerbread Man is pulled out of the milk and slammed down "," GINGERBREAD MAN \n Eat me! (He spits milk into Farquaad's \n eye.) \n \n FARQUAAD"," to her waist.) farewell. \n \n FARQUAAD \n Oh, that is so sweet. You don't have \n to waste good manners on the ogre. It's "," a little something. \n \n Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only "," FARQUAAD \n (he picks up the Gingerbread Man's legs \n and plays with them) Run, run, run, \n as fast as you can. You can't catch "," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," \n \n SHREK \n And the squatters? \n \n FARQUAAD \n As good as gone. \n \n SHREK \n What kind of quest?"," to get away from Shrek.) Wait a second. \n Look, I'm not gonna eat you. I just \n - - I just - - (He sighs and then begins \n walking straight through the rows. The "," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," Suddenly Fiona's eyes open wide. She's consumed by the spell \n and then is slowly lowered to the ground. \n \n SHREK \n (going over to her) Fiona? Fiona. Are "," GINGERBREAD MAN \n Don't tell him anything! (Farquaad picks \n him up and dumps him into a trash can \n with a lid.) No! \n "," The laughter stops as all of the guards turn their weapons on \n Shrek. \n \n HEAD GUARD \n Shall I give the order, sir? \n \n FARQUAAD"," \n MAN1 \n Back! Back, beast! Back! I warn ya! \n (waves the torch at Shrek.) \n \n Shrek calmly licks his fingers and extinguishes the torch. The "," FIONA \n It's me, in this body. \n \n DONKEY \n Oh, my God! You ate the princess. (to \n her stomach) Can you hear me? \n "],[" FIONA \n Well, yes. \n \n Both Donkey and Shrek burst out laughing. \n \n DONKEY \n You think Shrek is your true love! \n \n "," get burned to a crisp and eaten? \n \n FIONA \n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on "," FIONA \n And what do you know about true love? \n \n \n SHREK \n Well, I - - Uh - - I mean - - \n \n FARQUAAD"," \n FARQUAAD \n Outrageous! Fiona, don't listen to him. \n \n \n SHREK \n He's not your true love. \n"," know before this is over, I'm gonna \n need a whole lot of serious therapy. \n Look at my eye twitchin'. \n \n Fiona comes out the door and watches him walk away. She looks "," Shrek steps back in shock. \n \n FIONA \n (os) My only chance to live happily \n ever after is to marry my true love. \n \n "," Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and \n spots a group approaching.) Ah, right \n on time. Princess, I've brought you "," and Fiona talking. \n \n FIONA \n (os) I can't just marry whoever I want. \n Take a good look at me, Donkey. I mean, "," (chuckles) Man, isn't this romantic? \n Just look at that sunset. \n \n FIONA \n (jumps up) Sunset? Oh, no! I mean, it's "," FIONA \n It's a spell. (sigh) When I was a little \n girl, a witch cast a spell on me. Every \n night I become this. This horrible, "," our \"happily ever after.\" Now kiss me! \n (puckers his lips and leans toward her, \n but she pulls back.) \n \n FIONA"," FIONA \n Donkey! \n \n DONKEY \n (still aimed at her stomach) Listen, \n keep breathing! I'll get you out of \n there! \n "," FIONA \n (smiles) Mm-hmm. \n \n Shrek breaks the lock on her door and pulls her out and down \n the hallway. \n \n FIONA"," FIONA \n Really? \n \n SHREK \n Really, really. \n \n FIONA \n (smiles) I love you too. \n"," ROBIN HOOD \n Be still, mon cherie, for I am you savior! \n And I am rescuing you from this green...(kisses \n up her arm while Fiona pulls back in "," But you can't marry him. \n \n FIONA \n And why not? \n \n SHREK \n Because- - Because he's just marring \n you so he can be king."," FIONA \n Well, eat up. We've got a big day ahead \n of us. (walks off) \n \n LATER \n"," Another fight sequence begins and Fiona gives a karate yell and \n then proceeds to beat the crap out of the Merry Men. There is \n a very interesting 'Matrix' moment here when Fiona pauses in "," Shrek, is this true? \n \n FARQUAAD \n Who cares? It's preposterous! Fiona, \n my love, we're but a kiss away from "," Shrek heaves a deep sigh. He throws the flower down and walks \n away. \n \n INSIDE \n \n FIONA \n Don't you see, Donkey? That's just how "],[" But you can't marry him. \n \n FIONA \n And why not? \n \n SHREK \n Because- - Because he's just marring \n you so he can be king."," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," Princess, how 'bout if you don't marry \n Farquaad? \n \n FIONA \n I have to. Only my true love's kiss \n can break the spell. \n "," FARQUAAD \n Princess Fiona, beautiful, fair, flawless \n Fiona. I ask your hand in marriage. \n Will you be the perfect bride for the \n perfect groom? \n "," Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," FIONA \n Lord Farquaad, I accept. Nothing would \n make - - \n \n FARQUAAD \n (interrupting) Excellent! I'll start "," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," FIONA \n Shrek! \n \n FARQUAAD \n This hocus-pocus alters nothing. This \n marriage is binding, and that makes \n me king! See? See?"," Shrek steps back in shock. \n \n FIONA \n (os) My only chance to live happily \n ever after is to marry my true love. \n \n "," \n FARQUAAD \n Outrageous! Fiona, don't listen to him. \n \n \n SHREK \n He's not your true love. \n"," in the background. Farquaad is in bed, watching as the Magic \n Mirror shows him Princess Fiona. \n \n FARQUAAD \n Again, show me again. Mirror, mirror, "," FIONA \n And what do you know about true love? \n \n \n SHREK \n Well, I - - Uh - - I mean - - \n \n FARQUAAD"," never seen such a radiant beauty before. \n I'm Lord Farquaad. \n \n FIONA \n Lord Farquaad? Oh, no, no. (Farquaad "," You're not making my job any easier. \n \n \n FIONA \n I'm sorry, but your job is not my problem. \n You can tell Lord Farquaad that if he "," FIONA \n (smiles) I'd like that. \n \n They smiles at each other. \n \n SHREK \n Um, Princess? \n \n FIONA"," FARQUAAD \n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have \n the perfect king! Captain, assemble "," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," FIONA \n (like it's obvious) For getting rid \n of Donkey. \n \n SHREK \n Ah. \n \n FIONA"," and Fiona talking. \n \n FIONA \n (os) I can't just marry whoever I want. \n Take a good look at me, Donkey. I mean, "," FIONA \n What is so funny? \n \n SHREK \n Let's just say I'm not your type, okay?Fiona: "],[" \n Shrek and Fiona kiss...and the kiss fades into... \n \n THE SWAMP \n \n ...their wedding kiss. Shrek and Fiona are now married. 'I'm "," Shrek now has the Big Bad Wolf by the collar and is dragging \n him to the front door. \n \n SHREK \n I live in a swamp. I put up signs. I'm "," Oh! \n \n Shrek gets them close to the exit and sets down Donkey and Fiona. \n \n \n SHREK \n Okay, you two, heard for the exit! I'll "," SHREK \n What? \n \n PINOCCHIO \n We were forced to come here. \n \n SHREK \n (flabbergasted) By who? \n"," out, as agreed. Take it and go before \n I change my mind. (Shrek takes the paper) \n Forgive me, Princess, for startling \n you, but you startled me, for I have "," \n SHREK \n But you ARE beautiful. \n \n They smile at each other. \n \n DONKEY \n (chuckles) I was hoping this would be \n a happy ending."," SHREK \n \n Written by \n \n William Steig & Ted Elliott \n \n \n \n \n SHREK \n Once upon a time there was a lovely "," Shrek heaves a deep sigh. He throws the flower down and walks \n away. \n \n INSIDE \n \n FIONA \n Don't you see, Donkey? That's just how "," (takes off his helmet) \n \n FIONA \n You- - You're a- - an ogre. \n \n SHREK \n Oh, you were expecting Prince Charming. \n "," to get my swamp back. \n \n FARQUAAD \n Your swamp? \n \n SHREK \n Yeah, my swamp! Where you dumped those "," the princess. \n \n SHREK \n We? Donkey, there's no \"we\". There's \n no \"our\". There's just me and my swamp. "," SHREK \n Every word. \n \n FIONA \n I thought you'd understand. \n \n SHREK \n Oh, I understand. Like you said, \"Who "," \n \n SHREK \n Good question. You should ask him that \n when we get there. \n \n FIONA \n But I have to be rescued by my true "," They head off. There is a montage of their journey. Walking through \n a field at sunset. Sleeping beneath a bright moon. Shrek trying \n to put the campfire out the next day and having a bit of a problem, "," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," SHREK \n Okay! Okay! But one night only. \n \n DONKEY \n Ah! Thank you! (he runs inside the cottage) \n \n \n SHREK"," SHREK \n All right, get out of here. All of you, \n move it! Come on! Let's go! Hapaya! \n Hapaya! Hey! Quickly. Come on! (more "," SHREK \n What's all this about? \n \n FIONA \n You know, we kind of got off to a bad \n start yesterday. I wanted to make it "," Where are we supposed to put her? The \n bed's taken. \n \n SHREK \n Huh? \n \n Shrek marches over to the bedroom and throws back the curtain. "," \n \n SHREK \n And the squatters? \n \n FARQUAAD \n As good as gone. \n \n SHREK \n What kind of quest?"],[" DULOC - KITCHEN \n \n A masked man is torturing the Gingerbread Man. He's continually \n dunking him in a glass of milk. Lord Farquaad walks in. \n "," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," FARQUAAD \n That's enough. He's ready to talk. \n \n \n The Gingerbread Man is pulled out of the milk and slammed down "," FARQUAAD \n I'll have you locked back in that tower \n for the rest of your days! I'm king! \n \n \n Shrek manages to get a hand free and he whistles."," (heavy sigh) All right. Who knows where \n this Farquaad guy is? \n \n Everyone looks around at each other but no one answers. \n \n DONKEY"," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," The laughter stops as all of the guards turn their weapons on \n Shrek. \n \n HEAD GUARD \n Shall I give the order, sir? \n \n FARQUAAD"," in the background. Farquaad is in bed, watching as the Magic \n Mirror shows him Princess Fiona. \n \n FARQUAAD \n Again, show me again. Mirror, mirror, "," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," the soldiers) (muffled) Who said that? \n Couldn't have been the donkey. \n \n FARQUAAD \n Princess Fiona. \n \n SHREK"," (The dragon roars.) I'm a donkey on \n the edge! \n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground. \n "," Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," You're not making my job any easier. \n \n \n FIONA \n I'm sorry, but your job is not my problem. \n You can tell Lord Farquaad that if he "," a little something. \n \n Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only "," You there. Ogre! \n \n SHREK \n Aye? \n \n HEAD GUARD \n By the order of Lord Farquaad I am authorized "," FARQUAAD \n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have \n the perfect king! Captain, assemble "," She's married to the muffin man. \n \n The door opens and the Head Guard walks in. \n \n HEAD GUARD \n My lord! We found it. \n \n FARQUAAD"," sits at a table paying people for bringing the fairy tale creatures \n to him. There are cages all around. Some of the people in line \n are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto "," onto a cookie sheet. Farquaad laughs as he walks over to the \n table. However when he reaches the table we see that it goes \n up to his eyes. He clears his throat and the table is lowered. \n \n "," eats Farquaad) Aaaah! Aah! \n \n DONKEY \n All right. Nobody move. I got a dragon \n here, and I'm not afraid to use it. "],[" Well, technically you're not a king. \n \n \n FARQUAAD \n Uh, Thelonius. (Thelonius holds up a \n hand mirror and smashes it with his "," snaps his fingers) Forgive me, my lord, \n for I was just saying a short... (Watches \n as Farquaad is lifted off his horse \n and set down in front of her. He comes "," FIONA \n Shrek! \n \n FARQUAAD \n This hocus-pocus alters nothing. This \n marriage is binding, and that makes \n me king! See? See?"," FIONA \n And what of my groom-to-be? Lord Farquaad? \n What's he like? \n \n SHREK \n Let me put it this way, Princess. Men "," a little something. \n \n Farquaad has arrived with a group of his men. He looks very regal \n sitting up on his horse. You would never guess that he's only "," FIONA \n Lord Farquaad, I accept. Nothing would \n make - - \n \n FARQUAAD \n (interrupting) Excellent! I'll start "," FARQUAAD \n Silence! I will make this Princess Fiona \n my queen, and DuLoc will finally have \n the perfect king! Captain, assemble "," Princess, I was sent to rescue you by \n Lord Farquaad, okay? He is the one who \n wants to marry you. \n \n FIONA \n Then why didn't he come rescue me?"," Princess, how 'bout if you don't marry \n Farquaad? \n \n FIONA \n I have to. Only my true love's kiss \n can break the spell. \n "," You're not making my job any easier. \n \n \n FIONA \n I'm sorry, but your job is not my problem. \n You can tell Lord Farquaad that if he "," But you can't marry him. \n \n FIONA \n And why not? \n \n SHREK \n Because- - Because he's just marring \n you so he can be king."," FARQUAAD \n Ah. Perfect. \n \n Farquaad looks down at his bare chest and pulls the sheet up \n to cover himself as though Fiona could see him as he gazes sheepishly "," \n \n SHREK \n And the squatters? \n \n FARQUAAD \n As good as gone. \n \n SHREK \n What kind of quest?"," in the background. Farquaad is in bed, watching as the Magic \n Mirror shows him Princess Fiona. \n \n FARQUAAD \n Again, show me again. Mirror, mirror, "," of Farquaad's stature are in short supply. \n (he and Donkey laugh) \n \n Shrek then proceeds to splash water onto his face to wash off \n the dust and grime. \n "," (The dragon roars.) I'm a donkey on \n the edge! \n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground. \n "," FARQUAAD \n Oh, anxious, are you? You're right. \n The sooner, the better. There's so much \n to do! There's the caterer, the cake, "," (heavy sigh) All right. Who knows where \n this Farquaad guy is? \n \n Everyone looks around at each other but no one answers. \n \n DONKEY"," \n FARQUAAD \n Outrageous! Fiona, don't listen to him. \n \n \n SHREK \n He's not your true love. \n"," FARQUAAD \n I'll have you locked back in that tower \n for the rest of your days! I'm king! \n \n \n Shrek manages to get a hand free and he whistles."],[" That champion shall have the honor - \n - no, no - - the privilege to go forth \n and rescue the lovely Princess Fiona \n from the fiery keep of the dragon. If "," Indeed. Knights, new plan! The one who \n kills the ogre will be named champion! \n Have it him! \n \n MEN \n Get him! \n \n SHREK"," for any reason the winner is unsuccessful, \n the first runner-up will take his place \n and so on and so forth. Some of you \n may die, but it's a sacrifice I am willing "," They hear a trumpet fanfare and head over to the arena. \n \n FARQUAAD \n Brave knights. You are the best and \n brightest in all the land. Today one "," Shrek smashes a chair over the guys back. Finally all the men \n are down. Donkey kicks one of them in the helmet, and the ding \n sounds the end of the match. The audience goes wild. \n "," of beer behind him. The beer comes rushing out drenching the \n other men and wetting the ground. It's like mud now. Shrek slides \n past the men and picks up a spear that one of the men dropped. "," your finest men. We're going to have \n a tournament. (smiles evilly) \n \n DuLoc Parking Lot - Lancelot Section \n"," toward the dragon. He misses and he swings back again. He looks \n up and spots that the chandelier is right above the dragons head. \n He pulls on the chain and it releases and he falls down and bumps "," He hits the ground with a thud. \n \n HEAD GUARD \n Seize him! (Donkey takes of running.) \n After him! \n \n GUARDS"," to make. (cheers) Let the tournament \n begin! (He notices Shrek) Oh! What is \n that? It's hideous! \n \n SHREK"," sits at a table paying people for bringing the fairy tale creatures \n to him. There are cages all around. Some of the people in line \n are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto "," PRIEST \n ...king and queen. \n \n Outside \n \n DONKEY \n Mother Fletcher! He already said it. \n \n \n SHREK"," Then what are you waiting for? Bring \n it in. \n \n More guards enter carrying something that is covered by a sheet. \n They hang up whatever it is and remove the sheet. It is the Magic "," \n FIONA \n The battle is won. You may remove your \n helmet, good Sir Knight. \n \n SHREK \n Uh, no. \n \n FIONA"," No, it's destiny. Oh, you must know \n how it goes. A princess locked in a \n tower and beset by a dragon is rescued \n by a brave knight, and then they share "," which both Cinderella and Snow White try to catch. But they end \n up getting into a cat fight and so the dragon catches the bouquet \n instead. The Gingerbread man has been mended somewhat and now "," The prompter card guy holds up a card that says 'Revered Silence'. \n \n \n PRIEST \n People of DuLoc, we gather here today \n to bear witness to the union.... \n "," to the table. \n \n HEAD GUARD \n Next! What have you got? \n \n OLD WOMAN \n Well, I've got a talking donkey. \n"," They climb up the side of the volcano/keep and look down. There \n is a small piece of rock right in the center and that is where \n the castle is. It is surrounded by boiling lava. It looks very "," for you to meet today's eligible bachelorettes. \n And here they are! Bachelorette number \n one is a mentally abused shut-in from \n a kingdom far, far away. She likes sushi "],[" Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away. \n \n FIONA"," FIONA \n I am, awaiting a knight so bold as to \n rescue me. \n \n SHREK \n Oh, that's nice. Now let's go! \n"," FIONA \n (smiles) Mm-hmm. \n \n Shrek breaks the lock on her door and pulls her out and down \n the hallway. \n \n FIONA"," \n FIONA \n No, let go of me! Shrek! \n \n SHREK \n No! \n \n FARQUAAD"," \n \n SHREK \n Good question. You should ask him that \n when we get there. \n \n FIONA \n But I have to be rescued by my true "," FIONA \n What is so funny? \n \n SHREK \n Let's just say I'm not your type, okay?Fiona: "," FIONA \n Well, yes. \n \n Both Donkey and Shrek burst out laughing. \n \n DONKEY \n You think Shrek is your true love! \n \n "," Shrek heaves a deep sigh. He throws the flower down and walks \n away. \n \n INSIDE \n \n FIONA \n Don't you see, Donkey? That's just how "," (takes off his helmet) \n \n FIONA \n You- - You're a- - an ogre. \n \n SHREK \n Oh, you were expecting Prince Charming. \n "," Suddenly Fiona's eyes open wide. She's consumed by the spell \n and then is slowly lowered to the ground. \n \n SHREK \n (going over to her) Fiona? Fiona. Are "," Shrek steps back in shock. \n \n FIONA \n (os) My only chance to live happily \n ever after is to marry my true love. \n \n "," FIONA \n (smiles) I'd like that. \n \n They smiles at each other. \n \n SHREK \n Um, Princess? \n \n FIONA"," (jumps away) Ow! Hey! Easy with the \n yankin'. \n \n As they continue to talk Fiona keeps going after the arrow and \n Shrek keeps dodging her hands. \n "," FIONA \n Shrek's hurt. \n \n DONKEY \n Shrek's hurt. Shrek's hurt? Oh, no, \n Shrek's gonna die. \n "," But you can't marry him. \n \n FIONA \n And why not? \n \n SHREK \n Because- - Because he's just marring \n you so he can be king."," \n FIONA \n The battle is won. You may remove your \n helmet, good Sir Knight. \n \n SHREK \n Uh, no. \n \n FIONA"," FIONA \n (like it's obvious) For getting rid \n of Donkey. \n \n SHREK \n Ah. \n \n FIONA"," FIONA \n No! \n \n DONKEY \n Shrek! Shrek! Shrek! \n \n FIONA \n Shh. \n \n DONKEY"," Shrek! \n \n FIONA \n This is me. \n \n Donkey looks into her eyes as she pets his muzzle, and he quiets \n down. \n "," FIONA \n I'm sorry, but it has to come out. \n \n \n SHREK \n No, it's tender. \n \n FIONA"],[" FIONA \n It's a spell. (sigh) When I was a little \n girl, a witch cast a spell on me. Every \n night I become this. This horrible, "," Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her. \n \n WHISPERS"," it has to be. It's the only way to break \n the spell. \n \n DONKEY \n You at least gotta tell Shrek the truth. \n \n \n FIONA"," Another fight sequence begins and Fiona gives a karate yell and \n then proceeds to beat the crap out of the Merry Men. There is \n a very interesting 'Matrix' moment here when Fiona pauses in "," (pause) Oh, now we're gettin' somewhere. \n (grins) \n \n At this point Fiona pulls the 'door' away from the entrance to "," Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and \n spots a group approaching.) Ah, right \n on time. Princess, I've brought you "," FIONA \n (smiles) Mm-hmm. \n \n Shrek breaks the lock on her door and pulls her out and down \n the hallway. \n \n FIONA"," Suddenly Fiona's eyes open wide. She's consumed by the spell \n and then is slowly lowered to the ground. \n \n SHREK \n (going over to her) Fiona? Fiona. Are "," Oh, come on! That's the last thing on \n my mind. The princess here was just- \n - (Fiona pulls the arrow out) Ugh! (he \n turns to look at Fiona who holds up "," know before this is over, I'm gonna \n need a whole lot of serious therapy. \n Look at my eye twitchin'. \n \n Fiona comes out the door and watches him walk away. She looks "," our \"happily ever after.\" Now kiss me! \n (puckers his lips and leans toward her, \n but she pulls back.) \n \n FIONA"," goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor. \n \n DONKEY"," FIONA \n Donkey! \n \n DONKEY \n (still aimed at her stomach) Listen, \n keep breathing! I'll get you out of \n there! \n "," mid-air to fix her hair. Finally all of the Merry Men are down, \n and Fiona begins walking away. \n \n FIONA \n Uh, shall we? \n \n SHREK"," at her image in the mirror. \n \n MORNING \n \n Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes "," get burned to a crisp and eaten? \n \n FIONA \n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on "," (jumps away) Ow! Hey! Easy with the \n yankin'. \n \n As they continue to talk Fiona keeps going after the arrow and \n Shrek keeps dodging her hands. \n "," FIONA \n Well, eat up. We've got a big day ahead \n of us. (walks off) \n \n LATER \n"," She smiles and then continues walking, singing softly. Suddenly \n from out of nowhere, a man swings down and swoops Fiona up into \n a tree. \n \n ROBIN HOOD"," FIONA \n (like it's obvious) For getting rid \n of Donkey. \n \n SHREK \n Ah. \n \n FIONA"],[" a will, there's a way and I have a way. \n (whistles) \n \n Suddenly the dragon arrives overhead and flies low enough so \n they can climb on. \n \n SHREK"," If we need you, I'll whistle. How about \n that? (she nods and goes after the guards) \n Shrek, wait, wait! Wait a minute! You \n wanna do this right, don't you?"," Yeah, it's getting him to shut up that's \n the trick. \n \n They all start screaming as the dragon gains on them. Shrek spots \n a descending slide and jumps on. But unfortunately there is a "," FARQUAAD \n I'll have you locked back in that tower \n for the rest of your days! I'm king! \n \n \n Shrek manages to get a hand free and he whistles."," I was talkin' about the dragon, Shrek. \n \n \n INSIDE THE CASTLE \n \n DONKEY \n You afraid? \n \n SHREK"," SHREK \n Well, at least we know where the princess \n is, but where's the... \n \n DONKEY \n (os) Dragon! \n"," take care of the dragon. \n \n Shrek grabs a sword and heads back toward the interior of the \n castle. He throws the sword down in between several overlapping "," (The dragon roars.) I'm a donkey on \n the edge! \n \n The dragon belches and Farquaad's crown flies out of her mouth \n and falls to the ground. \n "," \n SHREK \n What did I say about singing? \n \n DONKEY \n Can I whistle? \n \n SHREK \n No. \n"," Donkey, look out! (he manages to get \n a hold of the dragons tail and holds \n on) Got ya! \n \n The dragon gets irritated at this and flicks it's tail and Shrek "," Donkey gasps and takes off running as the dragon roars again. \n Shrek manages to grab Donkey out of the way just as the dragon \n breathes fire. \n \n SHREK"," the cave and peaks out. Neither of the guys see her. \n \n SHREK \n Oh! For the love of Pete! (gets up and \n walks over to the edge of the cliff "," runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as \n the sun crests the sky she turns back "," SHREK \n Thanks! \n \n Suddenly they hear the dragon roar. \n \n FIONA \n (surprised)You didn't slay the dragon? \n \n "," Some guards are milling around. Suddenly the dragon lands with \n a boom. The guards all take off running. \n \n DONKEY \n (to Dragon) Go ahead, HAVE SOME FUN. "," then grabs Princess Fiona as he runs past her. \n \n DONKEY \n Hi, Princess! \n \n FIONA \n It talks! \n \n SHREK"," Donkey out of the way right as the dragon is about to kiss him. \n Instead the dragon kisses Shreks' butt. She opens her eyes and \n roars. Shrek lets go of the chain and the chandelier falls onto "," so Donkey pees on the fire to put it out. \n \n DRAGON'S KEEP \n \n Shrek and Donkey are walking up to the keep that's supposed to "," Shrek! \n \n FIONA \n This is me. \n \n Donkey looks into her eyes as she pets his muzzle, and he quiets \n down. \n "," her head, but it's too big and it goes over her head and forms \n a sort of collar for her. She roars again and Shrek and Donkey \n take off running. Very 'Matrix' style. Shrek grabs Donkey and "],[" it to Fiona. Fiona catching a snake, blowing it up, fashioning \n it into a balloon animal and presenting it to Shrek. The group \n arriving at a windmill that is near DuLoc. \n "," Oh! \n \n Shrek gets them close to the exit and sets down Donkey and Fiona. \n \n \n SHREK \n Okay, you two, heard for the exit! I'll "," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," Donkey faints. Shrek walks over and picks him up as they continue \n on their way. \n \n There is a montage of scenes as the group heads back to DuLoc. "," \n SHREK \n The wedding! We'll never make it in \n time. \n \n DONKEY \n Ha-ha-ha! Never fear, for where, there's "," DONKEY \n Shrek! Shrek! Shrek! \n \n FIONA \n No, it's okay. It's okay. \n \n DONKEY"," FIONA \n Shrek's hurt. \n \n DONKEY \n Shrek's hurt. Shrek's hurt? Oh, no, \n Shrek's gonna die. \n "," They head off. There is a montage of their journey. Walking through \n a field at sunset. Sleeping beneath a bright moon. Shrek trying \n to put the campfire out the next day and having a bit of a problem, "," then grabs Princess Fiona as he runs past her. \n \n DONKEY \n Hi, Princess! \n \n FIONA \n It talks! \n \n SHREK"," FIONA \n No! \n \n DONKEY \n Shrek! Shrek! Shrek! \n \n FIONA \n Shh. \n \n DONKEY"," FIONA \n (like it's obvious) For getting rid \n of Donkey. \n \n SHREK \n Ah. \n \n FIONA"," SHREK \n You're crazy. I'm just bringing her \n back to Farquaad. \n \n DONKEY \n Oh, come on, Shrek. Wake up and smell "," Shrek! \n \n FIONA \n This is me. \n \n Donkey looks into her eyes as she pets his muzzle, and he quiets \n down. \n "," Shrek crawling up to the top of a tree to make it fall over a \n small brook so that Fiona won't get wet. Shrek then gets up as \n Donkey is just about to cross the tree and the tree swings back "," Shrek, what are you doing? You're letting \n her get away. \n \n SHREK \n Yeah? So what? \n \n DONKEY"," SHREK \n Well, at least we know where the princess \n is, but where's the... \n \n DONKEY \n (os) Dragon! \n"," They are once again on their way. They are walking through the \n forest. Shrek belches. \n \n DONKEY \n Shrek! \n \n SHREK"," You wouldn't dare. Put me down! \n \n SHREK \n Ya comin', Donkey? \n \n DONKEY \n I'm right behind ya. \n \n FIONA"," steps on his hoof) Ow! \n \n SHREK \n Um, I, uh- - I guess we better move \n on. \n \n FIONA"," SHREK \n Oh, that's great. Really. \n \n DONKEY \n Man, it's good to be free. \n \n SHREK"],[" Suddenly the magic of the spell pulls Fiona away. She's lifted \n up into the air and she hovers there while the magic works around \n her. \n \n WHISPERS"," FIONA \n It's a spell. (sigh) When I was a little \n girl, a witch cast a spell on me. Every \n night I become this. This horrible, "," our \"happily ever after.\" Now kiss me! \n (puckers his lips and leans toward her, \n but she pulls back.) \n \n FIONA"," FIONA \n (smiles) Mm-hmm. \n \n Shrek breaks the lock on her door and pulls her out and down \n the hallway. \n \n FIONA"," (pause) Oh, now we're gettin' somewhere. \n (grins) \n \n At this point Fiona pulls the 'door' away from the entrance to "," know before this is over, I'm gonna \n need a whole lot of serious therapy. \n Look at my eye twitchin'. \n \n Fiona comes out the door and watches him walk away. She looks "," it has to be. It's the only way to break \n the spell. \n \n DONKEY \n You at least gotta tell Shrek the truth. \n \n \n FIONA"," FIONA \n Well, eat up. We've got a big day ahead \n of us. (walks off) \n \n LATER \n"," Another fight sequence begins and Fiona gives a karate yell and \n then proceeds to beat the crap out of the Merry Men. There is \n a very interesting 'Matrix' moment here when Fiona pauses in "," Suddenly Fiona's eyes open wide. She's consumed by the spell \n and then is slowly lowered to the ground. \n \n SHREK \n (going over to her) Fiona? Fiona. Are "," Oh, come on! That's the last thing on \n my mind. The princess here was just- \n - (Fiona pulls the arrow out) Ugh! (he \n turns to look at Fiona who holds up "," Yeah? Well, it does. (Fiona looks at \n him in shock. He looks past her and \n spots a group approaching.) Ah, right \n on time. Princess, I've brought you "," and Fiona talking. \n \n FIONA \n (os) I can't just marry whoever I want. \n Take a good look at me, Donkey. I mean, "," Yeah, right before they burst into flame. \n \n \n FIONA \n That's not the point. (Shrek suddenly \n stops and she runs into him.) Oh! (Shrek "," FIONA \n Donkey! \n \n DONKEY \n (still aimed at her stomach) Listen, \n keep breathing! I'll get you out of \n there! \n "," seen you like this before. \n \n FIONA \n It only happens when sun goes down. \n \"By night one way, by day another. This \n shall be the norm... until you find "," get burned to a crisp and eaten? \n \n FIONA \n You just tell her she's not your true \n love. Everyone knows what happens when \n you find your...(Shrek drops her on "," FIONA \n Well, yes. \n \n Both Donkey and Shrek burst out laughing. \n \n DONKEY \n You think Shrek is your true love! \n \n "," goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor. \n \n DONKEY"," FIONA \n (eyeing the setting sun) Um- \n \n PRIEST \n ...of our new king... \n \n FIONA \n Excuse me. Could we just skip ahead "],[" it to Fiona. Fiona catching a snake, blowing it up, fashioning \n it into a balloon animal and presenting it to Shrek. The group \n arriving at a windmill that is near DuLoc. \n "," Donkey opens the door to the Windmill and walks in. Fiona is \n nowhere to be seen. \n \n DONKEY \n Princess? Princess Fiona? Princess, \n where are you? Princess?"," WINDMILL \n \n SHREK \n There it is, Princess. Your future awaits \n you. \n \n FIONA \n That's DuLoc? \n"," (takes off his helmet) \n \n FIONA \n You- - You're a- - an ogre. \n \n SHREK \n Oh, you were expecting Prince Charming. \n "," down and spots the sunflower. She picks it up before going back \n inside the windmill. \n \n MORNING \n \n Donkey is asleep. Shrek is nowhere to be seen. Fiona is still "," She backs up and as the sun sets she changes into her ogre self. \n She gives Shrek a sheepish smile. \n \n SHREK \n Well, uh, that explains a lot. (Fiona "," at her image in the mirror. \n \n MORNING \n \n Fiona walks out of the cave. She glances at Shrek and Donkey \n who are still sleeping. She wanders off into the woods and comes "," \n Suddenly Fiona falls from the railing. She gets up only she doesn't \n look like herself. She looks like an ogre and Donkey starts freaking \n out. \n \n DONKEY"," FIONA \n (smiles) Mm-hmm. \n \n Shrek breaks the lock on her door and pulls her out and down \n the hallway. \n \n FIONA"," goes flying through the air and crashes through the roof of the \n tallest tower. Fiona wakes up with a jerk and looks at him lying \n on the floor. \n \n DONKEY"," Suddenly Fiona's eyes open wide. She's consumed by the spell \n and then is slowly lowered to the ground. \n \n SHREK \n (going over to her) Fiona? Fiona. Are "," Shrek turns and goes over to her. He looks down at Fiona for \n a moment and she puckers her lips. Shrek takes her by the shoulders \n and shakes her away. \n \n FIONA"," mid-air to fix her hair. Finally all of the Merry Men are down, \n and Fiona begins walking away. \n \n FIONA \n Uh, shall we? \n \n SHREK"," Shrek heaves a deep sigh. He throws the flower down and walks \n away. \n \n INSIDE \n \n FIONA \n Don't you see, Donkey? That's just how "," They climb aboard the dragon and she takes off for DuLoc. \n \n DULOC - CHURCH \n \n Fiona and Farquaad are getting married. The whole town is there. "," the cave and peaks out. Neither of the guys see her. \n \n SHREK \n Oh! For the love of Pete! (gets up and \n walks over to the edge of the cliff "," runs to the door and goes outside) Shrek! \n Shrek, there's something I want...(she \n looks and sees the rising sun, and as \n the sun crests the sky she turns back "," (jumps away) Ow! Hey! Easy with the \n yankin'. \n \n As they continue to talk Fiona keeps going after the arrow and \n Shrek keeps dodging her hands. \n "," Good night. \n \n Fiona goes inside the windmill and closes the door. Donkey looks \n at Shrek with a new eye. \n \n DONKEY"," \n FIONA \n Well, yes, actually. Oh, no. This is \n all wrong. You're not supposed to be \n an ogre. \n \n SHREK"]],"string":"[\n [\n \" Oh, I do. I know where he is. \\n \\n SHREK \\n Does anyone else know where to find \\n him? Anyone at all? \\n \\n DONKEY \\n Me! Me!\",\n \" it to Fiona. Fiona catching a snake, blowing it up, fashioning \\n it into a balloon animal and presenting it to Shrek. The group \\n arriving at a windmill that is near DuLoc. \\n \",\n \" dwarves run inside the house) No, no! \\n No, no. Not there. Not there. (they \\n shut the door on him) Oh! (turns to \\n look at Donkey) \\n \",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" SHREK \\n To get... move firewood. (sighs) \\n \\n Donkey looks over at the large pile of firewood there already \\n is. \\n \\n TIME LAPSE \\n\",\n \" (heavy sigh) All right. Who knows where \\n this Farquaad guy is? \\n \\n Everyone looks around at each other but no one answers. \\n \\n DONKEY\",\n \" right now and get you all off my land \\n and back where you came from! (Pause. \\n Then the crowd goes wild.) Oh! (to Donkey) \\n You! You're comin' with me. \\n \",\n \" Oh! \\n \\n Shrek gets them close to the exit and sets down Donkey and Fiona. \\n \\n \\n SHREK \\n Okay, you two, heard for the exit! I'll \",\n \" attendant runs into a wall and falls \\n down. Shrek and Donkey look at him then \\n continue on into DuLoc.) \\n \\n DULOC \\n \\n They look around but all is quiet. \\n\",\n \" DULOC - KITCHEN \\n \\n A masked man is torturing the Gingerbread Man. He's continually \\n dunking him in a glass of milk. Lord Farquaad walks in. \\n \",\n \" Shrek and Donkey come out of the field that is right by the parking \\n lot. The castle itself is about 40 stories high. \\n \\n DONKEY\",\n \" the ground) Hey! The sooner we get to \\n DuLoc the better. \\n \\n DONKEY \\n You're gonna love it there, Princess. \\n It's beautiful! \\n \",\n \" runs to the door and goes outside) Shrek! \\n Shrek, there's something I want...(she \\n looks and sees the rising sun, and as \\n the sun crests the sky she turns back \",\n \" DONKEY \\n Who you trying to keep out? \\n \\n SHREK \\n Everyone! Okay? \\n \\n DONKEY\",\n \" Oh, now what does he want? \\n \\n SHREK \\n (to congregation as he reaches the front \\n of the Church) Hi, everyone. Havin' \",\n \" to get away from Shrek.) Wait a second. \\n Look, I'm not gonna eat you. I just \\n - - I just - - (He sighs and then begins \\n walking straight through the rows. The \",\n \" of you shall prove himself... \\n \\n As Shrek and Donkey walk down the tunnel to get into the arena \\n Donkey is humming the DuLoc theme song. \\n \\n SHREK\",\n \" \\n Outside \\n \\n SHREK \\n What do you see? \\n \\n DONKEY \\n The whole town's in there. \\n \\n Inside \\n\",\n \" Yeah, I know. \\n \\n DONKEY \\n So, uh, are there any donkeys up there? \\n \\n \\n SHREK\",\n \" SHREK \\n All right! Cut it out. When does this \\n guy say the line? \\n \\n DONKEY \\n We gotta check it out. \\n \\n INSIDE CHURCH\"\n ],\n [\n \" DULOC - KITCHEN \\n \\n A masked man is torturing the Gingerbread Man. He's continually \\n dunking him in a glass of milk. Lord Farquaad walks in. \\n \",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" FARQUAAD \\n That's enough. He's ready to talk. \\n \\n \\n The Gingerbread Man is pulled out of the milk and slammed down \",\n \" (The dragon roars.) I'm a donkey on \\n the edge! \\n \\n The dragon belches and Farquaad's crown flies out of her mouth \\n and falls to the ground. \\n \",\n \" in the background. Farquaad is in bed, watching as the Magic \\n Mirror shows him Princess Fiona. \\n \\n FARQUAAD \\n Again, show me again. Mirror, mirror, \",\n \" FARQUAAD \\n I'll have you locked back in that tower \\n for the rest of your days! I'm king! \\n \\n \\n Shrek manages to get a hand free and he whistles.\",\n \" The laughter stops as all of the guards turn their weapons on \\n Shrek. \\n \\n HEAD GUARD \\n Shall I give the order, sir? \\n \\n FARQUAAD\",\n \" a little something. \\n \\n Farquaad has arrived with a group of his men. He looks very regal \\n sitting up on his horse. You would never guess that he's only \",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" She's married to the muffin man. \\n \\n The door opens and the Head Guard walks in. \\n \\n HEAD GUARD \\n My lord! We found it. \\n \\n FARQUAAD\",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" of Farquaad's stature are in short supply. \\n (he and Donkey laugh) \\n \\n Shrek then proceeds to splash water onto his face to wash off \\n the dust and grime. \\n \",\n \" (heavy sigh) All right. Who knows where \\n this Farquaad guy is? \\n \\n Everyone looks around at each other but no one answers. \\n \\n DONKEY\",\n \" FARQUAAD \\n Silence! I will make this Princess Fiona \\n my queen, and DuLoc will finally have \\n the perfect king! Captain, assemble \",\n \" You're not making my job any easier. \\n \\n \\n FIONA \\n I'm sorry, but your job is not my problem. \\n You can tell Lord Farquaad that if he \",\n \" \\n FIONA \\n No, let go of me! Shrek! \\n \\n SHREK \\n No! \\n \\n FARQUAAD\",\n \" \\n FARQUAAD \\n Go on. \\n \\n MIRROR \\n (chuckles nervously) So, just sit back \\n and relax, my lord, because it's time \",\n \" smiles) \\n \\n FARQUAAD \\n Ugh! It's disgusting! Guards! Guards! \\n I order you to get that out of my sight \",\n \" FARQUAAD \\n (he picks up the Gingerbread Man's legs \\n and plays with them) Run, run, run, \\n as fast as you can. You can't catch \"\n ],\n [\n \" Well, technically you're not a king. \\n \\n \\n FARQUAAD \\n Uh, Thelonius. (Thelonius holds up a \\n hand mirror and smashes it with his \",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" You're not making my job any easier. \\n \\n \\n FIONA \\n I'm sorry, but your job is not my problem. \\n You can tell Lord Farquaad that if he \",\n \" a little something. \\n \\n Farquaad has arrived with a group of his men. He looks very regal \\n sitting up on his horse. You would never guess that he's only \",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" \\n FARQUAAD \\n Outrageous! Fiona, don't listen to him. \\n \\n \\n SHREK \\n He's not your true love. \\n\",\n \" never seen such a radiant beauty before. \\n I'm Lord Farquaad. \\n \\n FIONA \\n Lord Farquaad? Oh, no, no. (Farquaad \",\n \" FARQUAAD \\n Evening. Mirror, mirror on the wall. \\n Is this not the most perfect kingdom \\n of them all? \\n \\n MIRROR\",\n \" FIONA \\n Shrek! \\n \\n FARQUAAD \\n This hocus-pocus alters nothing. This \\n marriage is binding, and that makes \\n me king! See? See?\",\n \" (The dragon roars.) I'm a donkey on \\n the edge! \\n \\n The dragon belches and Farquaad's crown flies out of her mouth \\n and falls to the ground. \\n \",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" (turns to look at Donkey and then back \\n at Farquaad) Ah, that's not very nice. \\n It's just a donkey. \\n \\n FARQUAAD\",\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" FARQUAAD \\n Silence! I will make this Princess Fiona \\n my queen, and DuLoc will finally have \\n the perfect king! Captain, assemble \",\n \" (heavy sigh) All right. Who knows where \\n this Farquaad guy is? \\n \\n Everyone looks around at each other but no one answers. \\n \\n DONKEY\",\n \" FARQUAAD \\n I'll have you locked back in that tower \\n for the rest of your days! I'm king! \\n \\n \\n Shrek manages to get a hand free and he whistles.\",\n \" FIONA \\n Lord Farquaad, I accept. Nothing would \\n make - - \\n \\n FARQUAAD \\n (interrupting) Excellent! I'll start \",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" in the background. Farquaad is in bed, watching as the Magic \\n Mirror shows him Princess Fiona. \\n \\n FARQUAAD \\n Again, show me again. Mirror, mirror, \",\n \" PRIEST \\n ...king and queen. \\n \\n Outside \\n \\n DONKEY \\n Mother Fletcher! He already said it. \\n \\n \\n SHREK\"\n ],\n [\n \" out, as agreed. Take it and go before \\n I change my mind. (Shrek takes the paper) \\n Forgive me, Princess, for startling \\n you, but you startled me, for I have \",\n \" FIONA \\n Lord Farquaad, I accept. Nothing would \\n make - - \\n \\n FARQUAAD \\n (interrupting) Excellent! I'll start \",\n \" FIONA \\n Shrek! \\n \\n FARQUAAD \\n This hocus-pocus alters nothing. This \\n marriage is binding, and that makes \\n me king! See? See?\",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" \\n \\n SHREK \\n And the squatters? \\n \\n FARQUAAD \\n As good as gone. \\n \\n SHREK \\n What kind of quest?\",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" As promised. Now hand it over. \\n \\n FARQUAAD \\n Very well, ogre. (holds out a piece \\n of paper) The deed to your swamp, cleared \",\n \" SHREK \\n You're crazy. I'm just bringing her \\n back to Farquaad. \\n \\n DONKEY \\n Oh, come on, Shrek. Wake up and smell \",\n \" \\n FARQUAAD \\n Outrageous! Fiona, don't listen to him. \\n \\n \\n SHREK \\n He's not your true love. \\n\",\n \" You're not making my job any easier. \\n \\n \\n FIONA \\n I'm sorry, but your job is not my problem. \\n You can tell Lord Farquaad that if he \",\n \" You there. Ogre! \\n \\n SHREK \\n Aye? \\n \\n HEAD GUARD \\n By the order of Lord Farquaad I am authorized \",\n \" FARQUAAD \\n I'll have you locked back in that tower \\n for the rest of your days! I'm king! \\n \\n \\n Shrek manages to get a hand free and he whistles.\",\n \" I'll give you your swamp back. \\n \\n SHREK \\n Exactly the way it was? \\n \\n FARQUAAD \\n Down to the last slime-covered toadstool.\",\n \" The laughter stops as all of the guards turn their weapons on \\n Shrek. \\n \\n HEAD GUARD \\n Shall I give the order, sir? \\n \\n FARQUAAD\",\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" But you can't marry him. \\n \\n FIONA \\n And why not? \\n \\n SHREK \\n Because- - Because he's just marring \\n you so he can be king.\",\n \" SHREK \\n Okay! Okay! But one night only. \\n \\n DONKEY \\n Ah! Thank you! (he runs inside the cottage) \\n \\n \\n SHREK\",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" \\n FIONA \\n No, let go of me! Shrek! \\n \\n SHREK \\n No! \\n \\n FARQUAAD\",\n \" Shrek, is this true? \\n \\n FARQUAAD \\n Who cares? It's preposterous! Fiona, \\n my love, we're but a kiss away from \"\n ],\n [\n \" Donkey just looks up at her. \\n \\n HEAD GUARD \\n Well? \\n \\n OLD WOMAN \\n Oh, oh, he's just...he's just a little \",\n \" good night. (goes into the cave and \\n puts the bark door up behind her) \\n \\n \\n DONKEY \\n You want me to read you a bedtime story? \\n I will.\",\n \" FIONA \\n Donkey! \\n \\n DONKEY \\n (still aimed at her stomach) Listen, \\n keep breathing! I'll get you out of \\n there! \\n \",\n \" dwarves run inside the house) No, no! \\n No, no. Not there. Not there. (they \\n shut the door on him) Oh! (turns to \\n look at Donkey) \\n \",\n \" A little time has passed and Fiona has calmed down. She just \\n hangs there limply while Shrek carries her. \\n \\n DONKEY \\n Okay, so here's another question. Say \",\n \" DONKEY \\n Oh! And it is lovely! Just beautiful. \\n You know you are quite a decorator. \\n It's amazing what you've done with such \",\n \" begins walking back to his cottage. \\n \\n DONKEY \\n Can I say something to you? Listen, \\n you was really, really, really somethin' \\n back here. Incredible! \\n \",\n \" Donkey opens the door to the Windmill and walks in. Fiona is \\n nowhere to be seen. \\n \\n DONKEY \\n Princess? Princess Fiona? Princess, \\n where are you? Princess?\",\n \" Donkey out of the way right as the dragon is about to kiss him. \\n Instead the dragon kisses Shreks' butt. She opens her eyes and \\n roars. Shrek lets go of the chain and the chandelier falls onto \",\n \" DONKEY \\n Okay, don't look down. Don't look down. \\n Don't look down. Keep on moving. Don't \\n look down. (he steps through a rotting \",\n \" goes flying through the air and crashes through the roof of the \\n tallest tower. Fiona wakes up with a jerk and looks at him lying \\n on the floor. \\n \\n DONKEY\",\n \" like 3 feet tall. Donkey wakes up with a yawn as the soldiers \\n march by. \\n \\n DONKEY \\n What'd I miss? What'd I miss? (spots \",\n \" DONKEY \\n I don't know. There are those who think \\n little of him. (they laugh again) Fiona: \\n Stop it. Stop it, both of you. You're \",\n \" What are you...? (Donkey hops up onto \\n a chair.) No! No! \\n \\n DONKEY \\n This is gonna be fun! We can stay up \",\n \" FIONA \\n Oh, no. This is all my fault. I'm so \\n sorry. \\n \\n DONKEY \\n (walking up) Why? What's wrong? \\n\",\n \" the ground) Hey! The sooner we get to \\n DuLoc the better. \\n \\n DONKEY \\n You're gonna love it there, Princess. \\n It's beautiful! \\n \",\n \" Donkey, look out! (he manages to get \\n a hold of the dragons tail and holds \\n on) Got ya! \\n \\n The dragon gets irritated at this and flicks it's tail and Shrek \",\n \" DONKEY \\n (singing James Brown style) Then you \\n got to, got to try a little tenderness. \\n (normal) The chicks love that romantic \\n crap! \\n \",\n \" \\n FIONA \\n I'll get the firewood. \\n \\n DONKEY \\n Hey, where you goin'? Oh, man, I can't \",\n \" Some guards are milling around. Suddenly the dragon lands with \\n a boom. The guards all take off running. \\n \\n DONKEY \\n (to Dragon) Go ahead, HAVE SOME FUN. \"\n ],\n [\n \" to get my swamp back. \\n \\n FARQUAAD \\n Your swamp? \\n \\n SHREK \\n Yeah, my swamp! Where you dumped those \",\n \" I'll give you your swamp back. \\n \\n SHREK \\n Exactly the way it was? \\n \\n FARQUAAD \\n Down to the last slime-covered toadstool.\",\n \" we gonna do when we get our swamp anyway? \\n \\n \\n SHREK \\n Our swamp? \\n \\n DONKEY \\n You know, when we're through rescuing \",\n \" \\n Shrek and Fiona kiss...and the kiss fades into... \\n \\n THE SWAMP \\n \\n ...their wedding kiss. Shrek and Fiona are now married. 'I'm \",\n \" men shrink back away from him. Shrek roars very loudly and long \\n and his breath extinguishes all the remaining torches until the \\n men are in the dark. \\n \\n SHREK\",\n \" Shrek steps back in shock. \\n \\n FIONA \\n (os) My only chance to live happily \\n ever after is to marry my true love. \\n \\n \",\n \" Shrek is getting ready for dinner. He sits himself down and lights \\n a candle made out of earwax. He begins to eat when he hears a \\n noise. He stands up with a huff. \\n \",\n \" Shrek now has the Big Bad Wolf by the collar and is dragging \\n him to the front door. \\n \\n SHREK \\n I live in a swamp. I put up signs. I'm \",\n \" \\n MAN1 \\n Back! Back, beast! Back! I warn ya! \\n (waves the torch at Shrek.) \\n \\n Shrek calmly licks his fingers and extinguishes the torch. The \",\n \" to get away from Shrek.) Wait a second. \\n Look, I'm not gonna eat you. I just \\n - - I just - - (He sighs and then begins \\n walking straight through the rows. The \",\n \" out, as agreed. Take it and go before \\n I change my mind. (Shrek takes the paper) \\n Forgive me, Princess, for startling \\n you, but you startled me, for I have \",\n \" take care of the dragon. \\n \\n Shrek grabs a sword and heads back toward the interior of the \\n castle. He throws the sword down in between several overlapping \",\n \" Oh! \\n \\n Shrek gets them close to the exit and sets down Donkey and Fiona. \\n \\n \\n SHREK \\n Okay, you two, heard for the exit! I'll \",\n \" alone. Shrek eating dinner alone. \\n \\n SHREK'S HOME \\n \\n Shrek is eating dinner when he hears a sound outside. He goes \\n outside to investigate. \\n \",\n \" Oh, now what does he want? \\n \\n SHREK \\n (to congregation as he reaches the front \\n of the Church) Hi, everyone. Havin' \",\n \" of beer behind him. The beer comes rushing out drenching the \\n other men and wetting the ground. It's like mud now. Shrek slides \\n past the men and picks up a spear that one of the men dropped. \",\n \" runs to the door and goes outside) Shrek! \\n Shrek, there's something I want...(she \\n looks and sees the rising sun, and as \\n the sun crests the sky she turns back \",\n \" SHREK \\n You're crazy. I'm just bringing her \\n back to Farquaad. \\n \\n DONKEY \\n Oh, come on, Shrek. Wake up and smell \",\n \" They are once again on their way. They are walking through the \\n forest. Shrek belches. \\n \\n DONKEY \\n Shrek! \\n \\n SHREK\",\n \" Let me get this straight. You're gonna \\n go fight a dragon and rescue a princess \\n just so Farquaad will give you back \\n a swamp which you only don't have because \"\n ],\n [\n \" The first thing I'm gonna do is build \\n a ten-foot wall around my land. \\n \\n DONKEY \\n You cut me deep, Shrek. You cut me real \",\n \" deep just now. You know what I think? \\n I think this whole wall thing is just \\n a way to keep somebody out. \\n \\n SHREK \\n No, do ya think? \\n\",\n \" a hill and you can see Shrek's cottage.) \\n Whoa! Look at that. Who'd want to live \\n in place like that? \\n \\n SHREK \\n That would be my home.\",\n \" DONKEY \\n Who you trying to keep out? \\n \\n SHREK \\n Everyone! Okay? \\n \\n DONKEY\",\n \" considered a freak. (pause while he \\n looks at Shrek) Well, maybe you do. \\n But that's why we gotta stick together. \\n You gotta let me stay! Please! Please! \\n \\n \",\n \" Shrek is getting ready for dinner. He sits himself down and lights \\n a candle made out of earwax. He begins to eat when he hears a \\n noise. He stands up with a huff. \\n \",\n \" alone. Shrek eating dinner alone. \\n \\n SHREK'S HOME \\n \\n Shrek is eating dinner when he hears a sound outside. He goes \\n outside to investigate. \\n \",\n \" house Princess Fiona. It appears to look like a giant volcano. \\n \\n \\n DONKEY \\n (sniffs) Ohh! Shrek! Did you do that? \\n You gotta warn somebody before you just \",\n \" to get away from Shrek.) Wait a second. \\n Look, I'm not gonna eat you. I just \\n - - I just - - (He sighs and then begins \\n walking straight through the rows. The \",\n \" to make. (cheers) Let the tournament \\n begin! (He notices Shrek) Oh! What is \\n that? It's hideous! \\n \\n SHREK\",\n \" runs to the door and goes outside) Shrek! \\n Shrek, there's something I want...(she \\n looks and sees the rising sun, and as \\n the sun crests the sky she turns back \",\n \" Shrek turns around to see who bumped into him. Donkey looks scared \\n for a moment then he spots the guards coming up the path. He \\n quickly hides behind Shrek. \\n \\n HEAD GUARD\",\n \" Shrek heaves a deep sigh. He throws the flower down and walks \\n away. \\n \\n INSIDE \\n \\n FIONA \\n Don't you see, Donkey? That's just how \",\n \" SHREK \\n Okay! Okay! But one night only. \\n \\n DONKEY \\n Ah! Thank you! (he runs inside the cottage) \\n \\n \\n SHREK\",\n \" Shrek now has the Big Bad Wolf by the collar and is dragging \\n him to the front door. \\n \\n SHREK \\n I live in a swamp. I put up signs. I'm \",\n \" worriedly) (we see him up close and \\n from a distance as Shrek sneaks into \\n the room) I don't want to rush into \\n a physical relationship. I'm not emotionally \",\n \" Shrek has found a cave that appears to be in good order. He shoves \\n a stone boulder out of the way to reveal the cave. \\n \\n SHREK \\n Hey! Over here. \\n\",\n \" Shrek has built a fire and is cooking the rest of dinner while \\n Fiona eats. \\n \\n FIONA \\n Mmm. This is good. This is really good. \\n What is this?\",\n \" SHREK \\n Every word. \\n \\n FIONA \\n I thought you'd understand. \\n \\n SHREK \\n Oh, I understand. Like you said, \\\"Who \",\n \" Oh, now what does he want? \\n \\n SHREK \\n (to congregation as he reaches the front \\n of the Church) Hi, everyone. Havin' \"\n ],\n [\n \" FIONA \\n It's a spell. (sigh) When I was a little \\n girl, a witch cast a spell on me. Every \\n night I become this. This horrible, \",\n \" Suddenly the magic of the spell pulls Fiona away. She's lifted \\n up into the air and she hovers there while the magic works around \\n her. \\n \\n WHISPERS\",\n \" Another fight sequence begins and Fiona gives a karate yell and \\n then proceeds to beat the crap out of the Merry Men. There is \\n a very interesting 'Matrix' moment here when Fiona pauses in \",\n \" know before this is over, I'm gonna \\n need a whole lot of serious therapy. \\n Look at my eye twitchin'. \\n \\n Fiona comes out the door and watches him walk away. She looks \",\n \" (pause) Oh, now we're gettin' somewhere. \\n (grins) \\n \\n At this point Fiona pulls the 'door' away from the entrance to \",\n \" seen you like this before. \\n \\n FIONA \\n It only happens when sun goes down. \\n \\\"By night one way, by day another. This \\n shall be the norm... until you find \",\n \" here. You're afraid of the dark, aren't \\n you? \\n \\n FIONA \\n Yes! Yes, that's it. I'm terrified. \",\n \" at her image in the mirror. \\n \\n MORNING \\n \\n Fiona walks out of the cave. She glances at Shrek and Donkey \\n who are still sleeping. She wanders off into the woods and comes \",\n \" goes flying through the air and crashes through the roof of the \\n tallest tower. Fiona wakes up with a jerk and looks at him lying \\n on the floor. \\n \\n DONKEY\",\n \" FIONA \\n Well, eat up. We've got a big day ahead \\n of us. (walks off) \\n \\n LATER \\n\",\n \" Fiona looks at DuLoc and sighs. \\n \\n FIONA \\n I guess I'll be dining a little differently \\n tomorrow night. \\n \\n SHREK\",\n \" She smiles and then continues walking, singing softly. Suddenly \\n from out of nowhere, a man swings down and swoops Fiona up into \\n a tree. \\n \\n ROBIN HOOD\",\n \" FIONA \\n (smiles) Mm-hmm. \\n \\n Shrek breaks the lock on her door and pulls her out and down \\n the hallway. \\n \\n FIONA\",\n \" \\n Suddenly Fiona falls from the railing. She gets up only she doesn't \\n look like herself. She looks like an ogre and Donkey starts freaking \\n out. \\n \\n DONKEY\",\n \" Suddenly Fiona's eyes open wide. She's consumed by the spell \\n and then is slowly lowered to the ground. \\n \\n SHREK \\n (going over to her) Fiona? Fiona. Are \",\n \" \\n FIONA \\n (os) I said good night! \\n \\n Shrek looks at Donkey for a second and then goes to move the \\n boulder back in front of the entrance to the cave with Fiona \",\n \" (jumps away) Ow! Hey! Easy with the \\n yankin'. \\n \\n As they continue to talk Fiona keeps going after the arrow and \\n Shrek keeps dodging her hands. \\n \",\n \" Yeah? Well, it does. (Fiona looks at \\n him in shock. He looks past her and \\n spots a group approaching.) Ah, right \\n on time. Princess, I've brought you \",\n \" awake. She is plucking petals from the sunflower. \\n \\n FIONA \\n I tell him, I tell him not. I tell him, \\n I tell him not. I tell him. (she quickly \",\n \" \\n Fiona looks at Donkey from the shadows, but we can't see her. \\n \\n \\n DONKEY \\n It's very spooky in here. I ain't playing \\n no games.\"\n ],\n [\n \" (The dragon roars.) I'm a donkey on \\n the edge! \\n \\n The dragon belches and Farquaad's crown flies out of her mouth \\n and falls to the ground. \\n \",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" The laughter stops as all of the guards turn their weapons on \\n Shrek. \\n \\n HEAD GUARD \\n Shall I give the order, sir? \\n \\n FARQUAAD\",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" eats Farquaad) Aaaah! Aah! \\n \\n DONKEY \\n All right. Nobody move. I got a dragon \\n here, and I'm not afraid to use it. \",\n \" a little something. \\n \\n Farquaad has arrived with a group of his men. He looks very regal \\n sitting up on his horse. You would never guess that he's only \",\n \" GINGERBREAD MAN \\n Don't tell him anything! (Farquaad picks \\n him up and dumps him into a trash can \\n with a lid.) No! \\n \",\n \" You're not making my job any easier. \\n \\n \\n FIONA \\n I'm sorry, but your job is not my problem. \\n You can tell Lord Farquaad that if he \",\n \" FIONA \\n Lord Farquaad, I accept. Nothing would \\n make - - \\n \\n FARQUAAD \\n (interrupting) Excellent! I'll start \",\n \" FARQUAAD \\n I'll have you locked back in that tower \\n for the rest of your days! I'm king! \\n \\n \\n Shrek manages to get a hand free and he whistles.\",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" \\n \\n SHREK \\n And the squatters? \\n \\n FARQUAAD \\n As good as gone. \\n \\n SHREK \\n What kind of quest?\",\n \" of beer behind him. The beer comes rushing out drenching the \\n other men and wetting the ground. It's like mud now. Shrek slides \\n past the men and picks up a spear that one of the men dropped. \",\n \" LITTLE PIG \\n Lord Farquaad. He huffed and he puffed \\n and he...signed an eviction notice. \\n \\n \\n SHREK\",\n \" Yeah, it's getting him to shut up that's \\n the trick. \\n \\n They all start screaming as the dragon gains on them. Shrek spots \\n a descending slide and jumps on. But unfortunately there is a \",\n \" of Farquaad's stature are in short supply. \\n (he and Donkey laugh) \\n \\n Shrek then proceeds to splash water onto his face to wash off \\n the dust and grime. \\n \",\n \" FARQUAAD \\n Silence! I will make this Princess Fiona \\n my queen, and DuLoc will finally have \\n the perfect king! Captain, assemble \",\n \" She's married to the muffin man. \\n \\n The door opens and the Head Guard walks in. \\n \\n HEAD GUARD \\n My lord! We found it. \\n \\n FARQUAAD\"\n ],\n [\n \" \\n DONKEY \\n An ogre? \\n \\n SHREK \\n Yeah. An ogre. \\n \\n DONKEY \\n Hey, where you goin'? \\n\",\n \" (takes off his helmet) \\n \\n FIONA \\n You- - You're a- - an ogre. \\n \\n SHREK \\n Oh, you were expecting Prince Charming. \\n \",\n \" \\n SHREK \\n (os) Love me? She said I was ugly, a \\n hideous creature. I heard the two of \\n you talking. \\n \\n DONKEY\",\n \" Shrek is getting ready for dinner. He sits himself down and lights \\n a candle made out of earwax. He begins to eat when he hears a \\n noise. He stands up with a huff. \\n \",\n \" (looks all the way up at Shrek) Uh ...really \\n tall? \\n \\n SHREK \\n No! I'm an ogre! You know. \\\"Grab your \",\n \" \\n SHREK \\n Listen, little donkey. Take a look at \\n me. What am I? \\n \\n DONKEY\",\n \" Shrek! \\n \\n FIONA \\n This is me. \\n \\n Donkey looks into her eyes as she pets his muzzle, and he quiets \\n down. \\n \",\n \" to make. (cheers) Let the tournament \\n begin! (He notices Shrek) Oh! What is \\n that? It's hideous! \\n \\n SHREK\",\n \" DONKEY \\n But, you know, um, you're kind of an \\n orge, and Shrek - - well, you got a \\n lot in common. \\n \\n FIONA\",\n \" Uh, no, not really, no. \\n \\n SHREK \\n For your information, there's a lot \\n more to ogres than people think. \\n \\n DONKEY\",\n \" of beer behind him. The beer comes rushing out drenching the \\n other men and wetting the ground. It's like mud now. Shrek slides \\n past the men and picks up a spear that one of the men dropped. \",\n \" SHREK \\n Uh, Shrek. \\n \\n DONKEY \\n Shrek? Well, you know what I like about \",\n \" FIONA \\n No! \\n \\n DONKEY \\n Shrek! Shrek! Shrek! \\n \\n FIONA \\n Shh. \\n \\n DONKEY\",\n \" FIONA \\n What is so funny? \\n \\n SHREK \\n Let's just say I'm not your type, okay?Fiona: \",\n \" You there. Ogre! \\n \\n SHREK \\n Aye? \\n \\n HEAD GUARD \\n By the order of Lord Farquaad I am authorized \",\n \" to get away from Shrek.) Wait a second. \\n Look, I'm not gonna eat you. I just \\n - - I just - - (He sighs and then begins \\n walking straight through the rows. The \",\n \" SHREK \\n Every word. \\n \\n FIONA \\n I thought you'd understand. \\n \\n SHREK \\n Oh, I understand. Like you said, \\\"Who \",\n \" FIONA \\n What kind of knight are you? \\n \\n SHREK \\n One of a kind. (opens the door into \\n the throne room) \\n \\n DONKEY\",\n \" SHREK \\n \\n Written by \\n \\n William Steig & Ted Elliott \\n \\n \\n \\n \\n SHREK \\n Once upon a time there was a lovely \",\n \" FIONA \\n Shrek's hurt. \\n \\n DONKEY \\n Shrek's hurt. Shrek's hurt? Oh, no, \\n Shrek's gonna die. \\n \"\n ],\n [\n \" DULOC - KITCHEN \\n \\n A masked man is torturing the Gingerbread Man. He's continually \\n dunking him in a glass of milk. Lord Farquaad walks in. \\n \",\n \" FARQUAAD \\n That's enough. He's ready to talk. \\n \\n \\n The Gingerbread Man is pulled out of the milk and slammed down \",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" FARQUAAD \\n I'll have you locked back in that tower \\n for the rest of your days! I'm king! \\n \\n \\n Shrek manages to get a hand free and he whistles.\",\n \" (heavy sigh) All right. Who knows where \\n this Farquaad guy is? \\n \\n Everyone looks around at each other but no one answers. \\n \\n DONKEY\",\n \" in the background. Farquaad is in bed, watching as the Magic \\n Mirror shows him Princess Fiona. \\n \\n FARQUAAD \\n Again, show me again. Mirror, mirror, \",\n \" The laughter stops as all of the guards turn their weapons on \\n Shrek. \\n \\n HEAD GUARD \\n Shall I give the order, sir? \\n \\n FARQUAAD\",\n \" (The dragon roars.) I'm a donkey on \\n the edge! \\n \\n The dragon belches and Farquaad's crown flies out of her mouth \\n and falls to the ground. \\n \",\n \" She's married to the muffin man. \\n \\n The door opens and the Head Guard walks in. \\n \\n HEAD GUARD \\n My lord! We found it. \\n \\n FARQUAAD\",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" a little something. \\n \\n Farquaad has arrived with a group of his men. He looks very regal \\n sitting up on his horse. You would never guess that he's only \",\n \" FARQUAAD \\n Silence! I will make this Princess Fiona \\n my queen, and DuLoc will finally have \\n the perfect king! Captain, assemble \",\n \" fairy tale creatures! \\n \\n FARQUAAD \\n Indeed. All right, ogre. I'll make you \\n a deal. Go on this quest for me, and \",\n \" \\n \\n SHREK \\n And the squatters? \\n \\n FARQUAAD \\n As good as gone. \\n \\n SHREK \\n What kind of quest?\",\n \" Fairy tale creatures.\\\"(He sighs and \\n throws the paper over his shoulder.) \\n \\n \\n THE NEXT DAY \\n \\n There is a line of fairy tale creatures. The head of the guard \",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" \\n MAN1 \\n Back! Back, beast! Back! I warn ya! \\n (waves the torch at Shrek.) \\n \\n Shrek calmly licks his fingers and extinguishes the torch. The \",\n \" onto a cookie sheet. Farquaad laughs as he walks over to the \\n table. However when he reaches the table we see that it goes \\n up to his eyes. He clears his throat and the table is lowered. \\n \\n \",\n \" eats Farquaad) Aaaah! Aah! \\n \\n DONKEY \\n All right. Nobody move. I got a dragon \\n here, and I'm not afraid to use it. \"\n ],\n [\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" Princess, how 'bout if you don't marry \\n Farquaad? \\n \\n FIONA \\n I have to. Only my true love's kiss \\n can break the spell. \\n \",\n \" FIONA \\n Shrek! \\n \\n FARQUAAD \\n This hocus-pocus alters nothing. This \\n marriage is binding, and that makes \\n me king! See? See?\",\n \" FIONA \\n Lord Farquaad, I accept. Nothing would \\n make - - \\n \\n FARQUAAD \\n (interrupting) Excellent! I'll start \",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" in the background. Farquaad is in bed, watching as the Magic \\n Mirror shows him Princess Fiona. \\n \\n FARQUAAD \\n Again, show me again. Mirror, mirror, \",\n \" FIONA \\n (smiles) Mm-hmm. \\n \\n Shrek breaks the lock on her door and pulls her out and down \\n the hallway. \\n \\n FIONA\",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" \\n FIONA \\n No, let go of me! Shrek! \\n \\n SHREK \\n No! \\n \\n FARQUAAD\",\n \" She's married to the muffin man. \\n \\n The door opens and the Head Guard walks in. \\n \\n HEAD GUARD \\n My lord! We found it. \\n \\n FARQUAAD\",\n \" FARQUAAD \\n Princess Fiona, beautiful, fair, flawless \\n Fiona. I ask your hand in marriage. \\n Will you be the perfect bride for the \\n perfect groom? \\n \",\n \" But you can't marry him. \\n \\n FIONA \\n And why not? \\n \\n SHREK \\n Because- - Because he's just marring \\n you so he can be king.\",\n \" never seen such a radiant beauty before. \\n I'm Lord Farquaad. \\n \\n FIONA \\n Lord Farquaad? Oh, no, no. (Farquaad \",\n \" You're not making my job any easier. \\n \\n \\n FIONA \\n I'm sorry, but your job is not my problem. \\n You can tell Lord Farquaad that if he \",\n \" FARQUAAD \\n Silence! I will make this Princess Fiona \\n my queen, and DuLoc will finally have \\n the perfect king! Captain, assemble \",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" Suddenly Fiona's eyes open wide. She's consumed by the spell \\n and then is slowly lowered to the ground. \\n \\n SHREK \\n (going over to her) Fiona? Fiona. Are \",\n \" FARQUAAD \\n (hold a dagger to Fiona's throat) And \\n as for you, my wife... \\n \\n SHREK \\n Fiona! \\n\"\n ],\n [\n \" Shrek turns around to see who bumped into him. Donkey looks scared \\n for a moment then he spots the guards coming up the path. He \\n quickly hides behind Shrek. \\n \\n HEAD GUARD\",\n \" DONKEY \\n Shrek! Shrek! Shrek! \\n \\n FIONA \\n No, it's okay. It's okay. \\n \\n DONKEY\",\n \" SHREK \\n It's quiet. Too quiet. Where is everybody? \\n \\n \\n DONKEY \\n Hey, look at this! \\n\",\n \" They are once again on their way. They are walking through the \\n forest. Shrek belches. \\n \\n DONKEY \\n Shrek! \\n \\n SHREK\",\n \" then grabs Princess Fiona as he runs past her. \\n \\n DONKEY \\n Hi, Princess! \\n \\n FIONA \\n It talks! \\n \\n SHREK\",\n \" They head off. There is a montage of their journey. Walking through \\n a field at sunset. Sleeping beneath a bright moon. Shrek trying \\n to put the campfire out the next day and having a bit of a problem, \",\n \" Shrek! \\n \\n FIONA \\n This is me. \\n \\n Donkey looks into her eyes as she pets his muzzle, and he quiets \\n down. \\n \",\n \" FIONA \\n No! \\n \\n DONKEY \\n Shrek! Shrek! Shrek! \\n \\n FIONA \\n Shh. \\n \\n DONKEY\",\n \" SHREK \\n You're crazy. I'm just bringing her \\n back to Farquaad. \\n \\n DONKEY \\n Oh, come on, Shrek. Wake up and smell \",\n \" DONKEY \\n Yeah, I know. You know, Shrek thinks \\n Lord Farquaad's compensating for something, \\n which I think means he has a really...(Shrek \",\n \" FIONA \\n Shrek's hurt. \\n \\n DONKEY \\n Shrek's hurt. Shrek's hurt? Oh, no, \\n Shrek's gonna die. \\n \",\n \" DONKEY \\n Really, really. \\n \\n SHREK \\n Oh. \\n \\n DONKEY \\n Man, I like you. What's you name? \\n\",\n \" DONKEY \\n Shrek, I - - I wanna go with you. \\n \\n SHREK \\n I told you, didn't I? You're not coming \",\n \" \\n DONKEY \\n An ogre? \\n \\n SHREK \\n Yeah. An ogre. \\n \\n DONKEY \\n Hey, where you goin'? \\n\",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" SHREK \\n Are you talkin' to...(he turns around \\n and Donkey is gone) me? (he turns back \\n around and Donkey is right in front \\n of him.) Whoa!\",\n \" SHREK \\n Uh, Shrek. \\n \\n DONKEY \\n Shrek? Well, you know what I like about \",\n \" SHREK \\n Oh, that's great. Really. \\n \\n DONKEY \\n Man, it's good to be free. \\n \\n SHREK\",\n \" \\n DONKEY \\n I know you're making this up. \\n \\n SHREK \\n No, look. There he is, and there's the \\n group of hunters running away from his \",\n \" \\n \\n SHREK \\n And the squatters? \\n \\n FARQUAAD \\n As good as gone. \\n \\n SHREK \\n What kind of quest?\"\n ],\n [\n \" I'll give you your swamp back. \\n \\n SHREK \\n Exactly the way it was? \\n \\n FARQUAAD \\n Down to the last slime-covered toadstool.\",\n \" \\n FIONA \\n No, let go of me! Shrek! \\n \\n SHREK \\n No! \\n \\n FARQUAAD\",\n \" to get my swamp back. \\n \\n FARQUAAD \\n Your swamp? \\n \\n SHREK \\n Yeah, my swamp! Where you dumped those \",\n \" As promised. Now hand it over. \\n \\n FARQUAAD \\n Very well, ogre. (holds out a piece \\n of paper) The deed to your swamp, cleared \",\n \" \\n \\n SHREK \\n And the squatters? \\n \\n FARQUAAD \\n As good as gone. \\n \\n SHREK \\n What kind of quest?\",\n \" \\n FARQUAAD \\n Outrageous! Fiona, don't listen to him. \\n \\n \\n SHREK \\n He's not your true love. \\n\",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" out, as agreed. Take it and go before \\n I change my mind. (Shrek takes the paper) \\n Forgive me, Princess, for startling \\n you, but you startled me, for I have \",\n \" \\n FIONA \\n The battle is won. You may remove your \\n helmet, good Sir Knight. \\n \\n SHREK \\n Uh, no. \\n \\n FIONA\",\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" FIONA \\n Shrek! \\n \\n FARQUAAD \\n This hocus-pocus alters nothing. This \\n marriage is binding, and that makes \\n me king! See? See?\",\n \" FIONA \\n I am, awaiting a knight so bold as to \\n rescue me. \\n \\n SHREK \\n Oh, that's nice. Now let's go! \\n\",\n \" Shrek, is this true? \\n \\n FARQUAAD \\n Who cares? It's preposterous! Fiona, \\n my love, we're but a kiss away from \",\n \" \\n \\n SHREK \\n Good question. You should ask him that \\n when we get there. \\n \\n FIONA \\n But I have to be rescued by my true \",\n \" Let me get this straight. You're gonna \\n go fight a dragon and rescue a princess \\n just so Farquaad will give you back \\n a swamp which you only don't have because \",\n \" FARQUAAD \\n (hold a dagger to Fiona's throat) And \\n as for you, my wife... \\n \\n SHREK \\n Fiona! \\n\",\n \" FIONA \\n Lord Farquaad, I accept. Nothing would \\n make - - \\n \\n FARQUAAD \\n (interrupting) Excellent! I'll start \",\n \" SHREK \\n Every word. \\n \\n FIONA \\n I thought you'd understand. \\n \\n SHREK \\n Oh, I understand. Like you said, \\\"Who \",\n \" \\n Shrek and Fiona kiss...and the kiss fades into... \\n \\n THE SWAMP \\n \\n ...their wedding kiss. Shrek and Fiona are now married. 'I'm \",\n \" SHREK \\n You're crazy. I'm just bringing her \\n back to Farquaad. \\n \\n DONKEY \\n Oh, come on, Shrek. Wake up and smell \"\n ],\n [\n \" FIONA \\n Well, yes. \\n \\n Both Donkey and Shrek burst out laughing. \\n \\n DONKEY \\n You think Shrek is your true love! \\n \\n \",\n \" get burned to a crisp and eaten? \\n \\n FIONA \\n You just tell her she's not your true \\n love. Everyone knows what happens when \\n you find your...(Shrek drops her on \",\n \" \\\"Until you find true love's first kiss \\n and then take love's true form. Take \\n love's true form. Take love's true form.\\\" \\n \\n \",\n \" FIONA \\n It's a spell. (sigh) When I was a little \\n girl, a witch cast a spell on me. Every \\n night I become this. This horrible, \",\n \" Shrek steps back in shock. \\n \\n FIONA \\n (os) My only chance to live happily \\n ever after is to marry my true love. \\n \\n \",\n \" Suddenly the magic of the spell pulls Fiona away. She's lifted \\n up into the air and she hovers there while the magic works around \\n her. \\n \\n WHISPERS\",\n \" Suddenly Fiona's eyes open wide. She's consumed by the spell \\n and then is slowly lowered to the ground. \\n \\n SHREK \\n (going over to her) Fiona? Fiona. Are \",\n \" FIONA \\n And what do you know about true love? \\n \\n \\n SHREK \\n Well, I - - Uh - - I mean - - \\n \\n FARQUAAD\",\n \" could love a hideous, ugly beast?\\\" \\n \\n \\n FIONA \\n But I thought that wouldn't matter to \\n you. \\n \\n SHREK\",\n \" true love's first kiss... and then take \\n love's true form.\\\" \\n \\n DONKEY \\n Ah, that's beautiful. I didn't know \\n you wrote poetry. \\n \",\n \" and Fiona talking. \\n \\n FIONA \\n (os) I can't just marry whoever I want. \\n Take a good look at me, Donkey. I mean, \",\n \" \\n FARQUAAD \\n Outrageous! Fiona, don't listen to him. \\n \\n \\n SHREK \\n He's not your true love. \\n\",\n \" at her image in the mirror. \\n \\n MORNING \\n \\n Fiona walks out of the cave. She glances at Shrek and Donkey \\n who are still sleeping. She wanders off into the woods and comes \",\n \" FIONA \\n Donkey! \\n \\n DONKEY \\n (still aimed at her stomach) Listen, \\n keep breathing! I'll get you out of \\n there! \\n \",\n \" our \\\"happily ever after.\\\" Now kiss me! \\n (puckers his lips and leans toward her, \\n but she pulls back.) \\n \\n FIONA\",\n \" She backs up and as the sun sets she changes into her ogre self. \\n She gives Shrek a sheepish smile. \\n \\n SHREK \\n Well, uh, that explains a lot. (Fiona \",\n \" it has to be. It's the only way to break \\n the spell. \\n \\n DONKEY \\n You at least gotta tell Shrek the truth. \\n \\n \\n FIONA\",\n \" seen you like this before. \\n \\n FIONA \\n It only happens when sun goes down. \\n \\\"By night one way, by day another. This \\n shall be the norm... until you find \",\n \" Yeah? Well, it does. (Fiona looks at \\n him in shock. He looks past her and \\n spots a group approaching.) Ah, right \\n on time. Princess, I've brought you \",\n \" Shrek, is this true? \\n \\n FARQUAAD \\n Who cares? It's preposterous! Fiona, \\n my love, we're but a kiss away from \"\n ],\n [\n \" \\n Shrek and Fiona kiss...and the kiss fades into... \\n \\n THE SWAMP \\n \\n ...their wedding kiss. Shrek and Fiona are now married. 'I'm \",\n \" FIONA \\n Lord Farquaad, I accept. Nothing would \\n make - - \\n \\n FARQUAAD \\n (interrupting) Excellent! I'll start \",\n \" Princess, how 'bout if you don't marry \\n Farquaad? \\n \\n FIONA \\n I have to. Only my true love's kiss \\n can break the spell. \\n \",\n \" never seen such a radiant beauty before. \\n I'm Lord Farquaad. \\n \\n FIONA \\n Lord Farquaad? Oh, no, no. (Farquaad \",\n \" (running toward the alter) I object! \\n \\n \\n FIONA \\n Shrek? \\n \\n The whole congregation gasps as they see Shrek. \\n \\n FARQUAAD\",\n \" FIONA \\n Shrek! \\n \\n FARQUAAD \\n This hocus-pocus alters nothing. This \\n marriage is binding, and that makes \\n me king! See? See?\",\n \" Shrek, is this true? \\n \\n FARQUAAD \\n Who cares? It's preposterous! Fiona, \\n my love, we're but a kiss away from \",\n \" \\n FARQUAAD \\n Outrageous! Fiona, don't listen to him. \\n \\n \\n SHREK \\n He's not your true love. \\n\",\n \" \\n FIONA \\n No, let go of me! Shrek! \\n \\n SHREK \\n No! \\n \\n FARQUAAD\",\n \" to the \\\"I do's\\\"? \\n \\n FARQUAAD \\n (chuckles and then motions to the priest \\n to indulge Fiona) Go on. \\n \\n COURTYARD\",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" But you can't marry him. \\n \\n FIONA \\n And why not? \\n \\n SHREK \\n Because- - Because he's just marring \\n you so he can be king.\",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" FARQUAAD \\n (hold a dagger to Fiona's throat) And \\n as for you, my wife... \\n \\n SHREK \\n Fiona! \\n\",\n \" Shrek steps back in shock. \\n \\n FIONA \\n (os) My only chance to live happily \\n ever after is to marry my true love. \\n \\n \",\n \" Shrek turns and goes over to her. He looks down at Fiona for \\n a moment and she puckers her lips. Shrek takes her by the shoulders \\n and shakes her away. \\n \\n FIONA\"\n ],\n [\n \" (The dragon roars.) I'm a donkey on \\n the edge! \\n \\n The dragon belches and Farquaad's crown flies out of her mouth \\n and falls to the ground. \\n \",\n \" eats Farquaad) Aaaah! Aah! \\n \\n DONKEY \\n All right. Nobody move. I got a dragon \\n here, and I'm not afraid to use it. \",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" As promised. Now hand it over. \\n \\n FARQUAAD \\n Very well, ogre. (holds out a piece \\n of paper) The deed to your swamp, cleared \",\n \" She's married to the muffin man. \\n \\n The door opens and the Head Guard walks in. \\n \\n HEAD GUARD \\n My lord! We found it. \\n \\n FARQUAAD\",\n \" FARQUAAD \\n That's enough. He's ready to talk. \\n \\n \\n The Gingerbread Man is pulled out of the milk and slammed down \",\n \" GINGERBREAD MAN \\n Eat me! (He spits milk into Farquaad's \\n eye.) \\n \\n FARQUAAD\",\n \" to her waist.) farewell. \\n \\n FARQUAAD \\n Oh, that is so sweet. You don't have \\n to waste good manners on the ogre. It's \",\n \" a little something. \\n \\n Farquaad has arrived with a group of his men. He looks very regal \\n sitting up on his horse. You would never guess that he's only \",\n \" FARQUAAD \\n (he picks up the Gingerbread Man's legs \\n and plays with them) Run, run, run, \\n as fast as you can. You can't catch \",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" \\n \\n SHREK \\n And the squatters? \\n \\n FARQUAAD \\n As good as gone. \\n \\n SHREK \\n What kind of quest?\",\n \" to get away from Shrek.) Wait a second. \\n Look, I'm not gonna eat you. I just \\n - - I just - - (He sighs and then begins \\n walking straight through the rows. The \",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" Suddenly Fiona's eyes open wide. She's consumed by the spell \\n and then is slowly lowered to the ground. \\n \\n SHREK \\n (going over to her) Fiona? Fiona. Are \",\n \" GINGERBREAD MAN \\n Don't tell him anything! (Farquaad picks \\n him up and dumps him into a trash can \\n with a lid.) No! \\n \",\n \" The laughter stops as all of the guards turn their weapons on \\n Shrek. \\n \\n HEAD GUARD \\n Shall I give the order, sir? \\n \\n FARQUAAD\",\n \" \\n MAN1 \\n Back! Back, beast! Back! I warn ya! \\n (waves the torch at Shrek.) \\n \\n Shrek calmly licks his fingers and extinguishes the torch. The \",\n \" FIONA \\n It's me, in this body. \\n \\n DONKEY \\n Oh, my God! You ate the princess. (to \\n her stomach) Can you hear me? \\n \"\n ],\n [\n \" FIONA \\n Well, yes. \\n \\n Both Donkey and Shrek burst out laughing. \\n \\n DONKEY \\n You think Shrek is your true love! \\n \\n \",\n \" get burned to a crisp and eaten? \\n \\n FIONA \\n You just tell her she's not your true \\n love. Everyone knows what happens when \\n you find your...(Shrek drops her on \",\n \" FIONA \\n And what do you know about true love? \\n \\n \\n SHREK \\n Well, I - - Uh - - I mean - - \\n \\n FARQUAAD\",\n \" \\n FARQUAAD \\n Outrageous! Fiona, don't listen to him. \\n \\n \\n SHREK \\n He's not your true love. \\n\",\n \" know before this is over, I'm gonna \\n need a whole lot of serious therapy. \\n Look at my eye twitchin'. \\n \\n Fiona comes out the door and watches him walk away. She looks \",\n \" Shrek steps back in shock. \\n \\n FIONA \\n (os) My only chance to live happily \\n ever after is to marry my true love. \\n \\n \",\n \" Yeah? Well, it does. (Fiona looks at \\n him in shock. He looks past her and \\n spots a group approaching.) Ah, right \\n on time. Princess, I've brought you \",\n \" and Fiona talking. \\n \\n FIONA \\n (os) I can't just marry whoever I want. \\n Take a good look at me, Donkey. I mean, \",\n \" (chuckles) Man, isn't this romantic? \\n Just look at that sunset. \\n \\n FIONA \\n (jumps up) Sunset? Oh, no! I mean, it's \",\n \" FIONA \\n It's a spell. (sigh) When I was a little \\n girl, a witch cast a spell on me. Every \\n night I become this. This horrible, \",\n \" our \\\"happily ever after.\\\" Now kiss me! \\n (puckers his lips and leans toward her, \\n but she pulls back.) \\n \\n FIONA\",\n \" FIONA \\n Donkey! \\n \\n DONKEY \\n (still aimed at her stomach) Listen, \\n keep breathing! I'll get you out of \\n there! \\n \",\n \" FIONA \\n (smiles) Mm-hmm. \\n \\n Shrek breaks the lock on her door and pulls her out and down \\n the hallway. \\n \\n FIONA\",\n \" FIONA \\n Really? \\n \\n SHREK \\n Really, really. \\n \\n FIONA \\n (smiles) I love you too. \\n\",\n \" ROBIN HOOD \\n Be still, mon cherie, for I am you savior! \\n And I am rescuing you from this green...(kisses \\n up her arm while Fiona pulls back in \",\n \" But you can't marry him. \\n \\n FIONA \\n And why not? \\n \\n SHREK \\n Because- - Because he's just marring \\n you so he can be king.\",\n \" FIONA \\n Well, eat up. We've got a big day ahead \\n of us. (walks off) \\n \\n LATER \\n\",\n \" Another fight sequence begins and Fiona gives a karate yell and \\n then proceeds to beat the crap out of the Merry Men. There is \\n a very interesting 'Matrix' moment here when Fiona pauses in \",\n \" Shrek, is this true? \\n \\n FARQUAAD \\n Who cares? It's preposterous! Fiona, \\n my love, we're but a kiss away from \",\n \" Shrek heaves a deep sigh. He throws the flower down and walks \\n away. \\n \\n INSIDE \\n \\n FIONA \\n Don't you see, Donkey? That's just how \"\n ],\n [\n \" But you can't marry him. \\n \\n FIONA \\n And why not? \\n \\n SHREK \\n Because- - Because he's just marring \\n you so he can be king.\",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" Princess, how 'bout if you don't marry \\n Farquaad? \\n \\n FIONA \\n I have to. Only my true love's kiss \\n can break the spell. \\n \",\n \" FARQUAAD \\n Princess Fiona, beautiful, fair, flawless \\n Fiona. I ask your hand in marriage. \\n Will you be the perfect bride for the \\n perfect groom? \\n \",\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" FIONA \\n Lord Farquaad, I accept. Nothing would \\n make - - \\n \\n FARQUAAD \\n (interrupting) Excellent! I'll start \",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" FIONA \\n Shrek! \\n \\n FARQUAAD \\n This hocus-pocus alters nothing. This \\n marriage is binding, and that makes \\n me king! See? See?\",\n \" Shrek steps back in shock. \\n \\n FIONA \\n (os) My only chance to live happily \\n ever after is to marry my true love. \\n \\n \",\n \" \\n FARQUAAD \\n Outrageous! Fiona, don't listen to him. \\n \\n \\n SHREK \\n He's not your true love. \\n\",\n \" in the background. Farquaad is in bed, watching as the Magic \\n Mirror shows him Princess Fiona. \\n \\n FARQUAAD \\n Again, show me again. Mirror, mirror, \",\n \" FIONA \\n And what do you know about true love? \\n \\n \\n SHREK \\n Well, I - - Uh - - I mean - - \\n \\n FARQUAAD\",\n \" never seen such a radiant beauty before. \\n I'm Lord Farquaad. \\n \\n FIONA \\n Lord Farquaad? Oh, no, no. (Farquaad \",\n \" You're not making my job any easier. \\n \\n \\n FIONA \\n I'm sorry, but your job is not my problem. \\n You can tell Lord Farquaad that if he \",\n \" FIONA \\n (smiles) I'd like that. \\n \\n They smiles at each other. \\n \\n SHREK \\n Um, Princess? \\n \\n FIONA\",\n \" FARQUAAD \\n Silence! I will make this Princess Fiona \\n my queen, and DuLoc will finally have \\n the perfect king! Captain, assemble \",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" FIONA \\n (like it's obvious) For getting rid \\n of Donkey. \\n \\n SHREK \\n Ah. \\n \\n FIONA\",\n \" and Fiona talking. \\n \\n FIONA \\n (os) I can't just marry whoever I want. \\n Take a good look at me, Donkey. I mean, \",\n \" FIONA \\n What is so funny? \\n \\n SHREK \\n Let's just say I'm not your type, okay?Fiona: \"\n ],\n [\n \" \\n Shrek and Fiona kiss...and the kiss fades into... \\n \\n THE SWAMP \\n \\n ...their wedding kiss. Shrek and Fiona are now married. 'I'm \",\n \" Shrek now has the Big Bad Wolf by the collar and is dragging \\n him to the front door. \\n \\n SHREK \\n I live in a swamp. I put up signs. I'm \",\n \" Oh! \\n \\n Shrek gets them close to the exit and sets down Donkey and Fiona. \\n \\n \\n SHREK \\n Okay, you two, heard for the exit! I'll \",\n \" SHREK \\n What? \\n \\n PINOCCHIO \\n We were forced to come here. \\n \\n SHREK \\n (flabbergasted) By who? \\n\",\n \" out, as agreed. Take it and go before \\n I change my mind. (Shrek takes the paper) \\n Forgive me, Princess, for startling \\n you, but you startled me, for I have \",\n \" \\n SHREK \\n But you ARE beautiful. \\n \\n They smile at each other. \\n \\n DONKEY \\n (chuckles) I was hoping this would be \\n a happy ending.\",\n \" SHREK \\n \\n Written by \\n \\n William Steig & Ted Elliott \\n \\n \\n \\n \\n SHREK \\n Once upon a time there was a lovely \",\n \" Shrek heaves a deep sigh. He throws the flower down and walks \\n away. \\n \\n INSIDE \\n \\n FIONA \\n Don't you see, Donkey? That's just how \",\n \" (takes off his helmet) \\n \\n FIONA \\n You- - You're a- - an ogre. \\n \\n SHREK \\n Oh, you were expecting Prince Charming. \\n \",\n \" to get my swamp back. \\n \\n FARQUAAD \\n Your swamp? \\n \\n SHREK \\n Yeah, my swamp! Where you dumped those \",\n \" the princess. \\n \\n SHREK \\n We? Donkey, there's no \\\"we\\\". There's \\n no \\\"our\\\". There's just me and my swamp. \",\n \" SHREK \\n Every word. \\n \\n FIONA \\n I thought you'd understand. \\n \\n SHREK \\n Oh, I understand. Like you said, \\\"Who \",\n \" \\n \\n SHREK \\n Good question. You should ask him that \\n when we get there. \\n \\n FIONA \\n But I have to be rescued by my true \",\n \" They head off. There is a montage of their journey. Walking through \\n a field at sunset. Sleeping beneath a bright moon. Shrek trying \\n to put the campfire out the next day and having a bit of a problem, \",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" SHREK \\n Okay! Okay! But one night only. \\n \\n DONKEY \\n Ah! Thank you! (he runs inside the cottage) \\n \\n \\n SHREK\",\n \" SHREK \\n All right, get out of here. All of you, \\n move it! Come on! Let's go! Hapaya! \\n Hapaya! Hey! Quickly. Come on! (more \",\n \" SHREK \\n What's all this about? \\n \\n FIONA \\n You know, we kind of got off to a bad \\n start yesterday. I wanted to make it \",\n \" Where are we supposed to put her? The \\n bed's taken. \\n \\n SHREK \\n Huh? \\n \\n Shrek marches over to the bedroom and throws back the curtain. \",\n \" \\n \\n SHREK \\n And the squatters? \\n \\n FARQUAAD \\n As good as gone. \\n \\n SHREK \\n What kind of quest?\"\n ],\n [\n \" DULOC - KITCHEN \\n \\n A masked man is torturing the Gingerbread Man. He's continually \\n dunking him in a glass of milk. Lord Farquaad walks in. \\n \",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" FARQUAAD \\n That's enough. He's ready to talk. \\n \\n \\n The Gingerbread Man is pulled out of the milk and slammed down \",\n \" FARQUAAD \\n I'll have you locked back in that tower \\n for the rest of your days! I'm king! \\n \\n \\n Shrek manages to get a hand free and he whistles.\",\n \" (heavy sigh) All right. Who knows where \\n this Farquaad guy is? \\n \\n Everyone looks around at each other but no one answers. \\n \\n DONKEY\",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" The laughter stops as all of the guards turn their weapons on \\n Shrek. \\n \\n HEAD GUARD \\n Shall I give the order, sir? \\n \\n FARQUAAD\",\n \" in the background. Farquaad is in bed, watching as the Magic \\n Mirror shows him Princess Fiona. \\n \\n FARQUAAD \\n Again, show me again. Mirror, mirror, \",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" the soldiers) (muffled) Who said that? \\n Couldn't have been the donkey. \\n \\n FARQUAAD \\n Princess Fiona. \\n \\n SHREK\",\n \" (The dragon roars.) I'm a donkey on \\n the edge! \\n \\n The dragon belches and Farquaad's crown flies out of her mouth \\n and falls to the ground. \\n \",\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" You're not making my job any easier. \\n \\n \\n FIONA \\n I'm sorry, but your job is not my problem. \\n You can tell Lord Farquaad that if he \",\n \" a little something. \\n \\n Farquaad has arrived with a group of his men. He looks very regal \\n sitting up on his horse. You would never guess that he's only \",\n \" You there. Ogre! \\n \\n SHREK \\n Aye? \\n \\n HEAD GUARD \\n By the order of Lord Farquaad I am authorized \",\n \" FARQUAAD \\n Silence! I will make this Princess Fiona \\n my queen, and DuLoc will finally have \\n the perfect king! Captain, assemble \",\n \" She's married to the muffin man. \\n \\n The door opens and the Head Guard walks in. \\n \\n HEAD GUARD \\n My lord! We found it. \\n \\n FARQUAAD\",\n \" sits at a table paying people for bringing the fairy tale creatures \\n to him. There are cages all around. Some of the people in line \\n are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto \",\n \" onto a cookie sheet. Farquaad laughs as he walks over to the \\n table. However when he reaches the table we see that it goes \\n up to his eyes. He clears his throat and the table is lowered. \\n \\n \",\n \" eats Farquaad) Aaaah! Aah! \\n \\n DONKEY \\n All right. Nobody move. I got a dragon \\n here, and I'm not afraid to use it. \"\n ],\n [\n \" Well, technically you're not a king. \\n \\n \\n FARQUAAD \\n Uh, Thelonius. (Thelonius holds up a \\n hand mirror and smashes it with his \",\n \" snaps his fingers) Forgive me, my lord, \\n for I was just saying a short... (Watches \\n as Farquaad is lifted off his horse \\n and set down in front of her. He comes \",\n \" FIONA \\n Shrek! \\n \\n FARQUAAD \\n This hocus-pocus alters nothing. This \\n marriage is binding, and that makes \\n me king! See? See?\",\n \" FIONA \\n And what of my groom-to-be? Lord Farquaad? \\n What's he like? \\n \\n SHREK \\n Let me put it this way, Princess. Men \",\n \" a little something. \\n \\n Farquaad has arrived with a group of his men. He looks very regal \\n sitting up on his horse. You would never guess that he's only \",\n \" FIONA \\n Lord Farquaad, I accept. Nothing would \\n make - - \\n \\n FARQUAAD \\n (interrupting) Excellent! I'll start \",\n \" FARQUAAD \\n Silence! I will make this Princess Fiona \\n my queen, and DuLoc will finally have \\n the perfect king! Captain, assemble \",\n \" Princess, I was sent to rescue you by \\n Lord Farquaad, okay? He is the one who \\n wants to marry you. \\n \\n FIONA \\n Then why didn't he come rescue me?\",\n \" Princess, how 'bout if you don't marry \\n Farquaad? \\n \\n FIONA \\n I have to. Only my true love's kiss \\n can break the spell. \\n \",\n \" You're not making my job any easier. \\n \\n \\n FIONA \\n I'm sorry, but your job is not my problem. \\n You can tell Lord Farquaad that if he \",\n \" But you can't marry him. \\n \\n FIONA \\n And why not? \\n \\n SHREK \\n Because- - Because he's just marring \\n you so he can be king.\",\n \" FARQUAAD \\n Ah. Perfect. \\n \\n Farquaad looks down at his bare chest and pulls the sheet up \\n to cover himself as though Fiona could see him as he gazes sheepishly \",\n \" \\n \\n SHREK \\n And the squatters? \\n \\n FARQUAAD \\n As good as gone. \\n \\n SHREK \\n What kind of quest?\",\n \" in the background. Farquaad is in bed, watching as the Magic \\n Mirror shows him Princess Fiona. \\n \\n FARQUAAD \\n Again, show me again. Mirror, mirror, \",\n \" of Farquaad's stature are in short supply. \\n (he and Donkey laugh) \\n \\n Shrek then proceeds to splash water onto his face to wash off \\n the dust and grime. \\n \",\n \" (The dragon roars.) I'm a donkey on \\n the edge! \\n \\n The dragon belches and Farquaad's crown flies out of her mouth \\n and falls to the ground. \\n \",\n \" FARQUAAD \\n Oh, anxious, are you? You're right. \\n The sooner, the better. There's so much \\n to do! There's the caterer, the cake, \",\n \" (heavy sigh) All right. Who knows where \\n this Farquaad guy is? \\n \\n Everyone looks around at each other but no one answers. \\n \\n DONKEY\",\n \" \\n FARQUAAD \\n Outrageous! Fiona, don't listen to him. \\n \\n \\n SHREK \\n He's not your true love. \\n\",\n \" FARQUAAD \\n I'll have you locked back in that tower \\n for the rest of your days! I'm king! \\n \\n \\n Shrek manages to get a hand free and he whistles.\"\n ],\n [\n \" That champion shall have the honor - \\n - no, no - - the privilege to go forth \\n and rescue the lovely Princess Fiona \\n from the fiery keep of the dragon. If \",\n \" Indeed. Knights, new plan! The one who \\n kills the ogre will be named champion! \\n Have it him! \\n \\n MEN \\n Get him! \\n \\n SHREK\",\n \" for any reason the winner is unsuccessful, \\n the first runner-up will take his place \\n and so on and so forth. Some of you \\n may die, but it's a sacrifice I am willing \",\n \" They hear a trumpet fanfare and head over to the arena. \\n \\n FARQUAAD \\n Brave knights. You are the best and \\n brightest in all the land. Today one \",\n \" Shrek smashes a chair over the guys back. Finally all the men \\n are down. Donkey kicks one of them in the helmet, and the ding \\n sounds the end of the match. The audience goes wild. \\n \",\n \" of beer behind him. The beer comes rushing out drenching the \\n other men and wetting the ground. It's like mud now. Shrek slides \\n past the men and picks up a spear that one of the men dropped. \",\n \" your finest men. We're going to have \\n a tournament. (smiles evilly) \\n \\n DuLoc Parking Lot - Lancelot Section \\n\",\n \" toward the dragon. He misses and he swings back again. He looks \\n up and spots that the chandelier is right above the dragons head. \\n He pulls on the chain and it releases and he falls down and bumps \",\n \" He hits the ground with a thud. \\n \\n HEAD GUARD \\n Seize him! (Donkey takes of running.) \\n After him! \\n \\n GUARDS\",\n \" to make. (cheers) Let the tournament \\n begin! (He notices Shrek) Oh! What is \\n that? It's hideous! \\n \\n SHREK\",\n \" sits at a table paying people for bringing the fairy tale creatures \\n to him. There are cages all around. Some of the people in line \\n are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto \",\n \" PRIEST \\n ...king and queen. \\n \\n Outside \\n \\n DONKEY \\n Mother Fletcher! He already said it. \\n \\n \\n SHREK\",\n \" Then what are you waiting for? Bring \\n it in. \\n \\n More guards enter carrying something that is covered by a sheet. \\n They hang up whatever it is and remove the sheet. It is the Magic \",\n \" \\n FIONA \\n The battle is won. You may remove your \\n helmet, good Sir Knight. \\n \\n SHREK \\n Uh, no. \\n \\n FIONA\",\n \" No, it's destiny. Oh, you must know \\n how it goes. A princess locked in a \\n tower and beset by a dragon is rescued \\n by a brave knight, and then they share \",\n \" which both Cinderella and Snow White try to catch. But they end \\n up getting into a cat fight and so the dragon catches the bouquet \\n instead. The Gingerbread man has been mended somewhat and now \",\n \" The prompter card guy holds up a card that says 'Revered Silence'. \\n \\n \\n PRIEST \\n People of DuLoc, we gather here today \\n to bear witness to the union.... \\n \",\n \" to the table. \\n \\n HEAD GUARD \\n Next! What have you got? \\n \\n OLD WOMAN \\n Well, I've got a talking donkey. \\n\",\n \" They climb up the side of the volcano/keep and look down. There \\n is a small piece of rock right in the center and that is where \\n the castle is. It is surrounded by boiling lava. It looks very \",\n \" for you to meet today's eligible bachelorettes. \\n And here they are! Bachelorette number \\n one is a mentally abused shut-in from \\n a kingdom far, far away. She likes sushi \"\n ],\n [\n \" Shrek turns and goes over to her. He looks down at Fiona for \\n a moment and she puckers her lips. Shrek takes her by the shoulders \\n and shakes her away. \\n \\n FIONA\",\n \" FIONA \\n I am, awaiting a knight so bold as to \\n rescue me. \\n \\n SHREK \\n Oh, that's nice. Now let's go! \\n\",\n \" FIONA \\n (smiles) Mm-hmm. \\n \\n Shrek breaks the lock on her door and pulls her out and down \\n the hallway. \\n \\n FIONA\",\n \" \\n FIONA \\n No, let go of me! Shrek! \\n \\n SHREK \\n No! \\n \\n FARQUAAD\",\n \" \\n \\n SHREK \\n Good question. You should ask him that \\n when we get there. \\n \\n FIONA \\n But I have to be rescued by my true \",\n \" FIONA \\n What is so funny? \\n \\n SHREK \\n Let's just say I'm not your type, okay?Fiona: \",\n \" FIONA \\n Well, yes. \\n \\n Both Donkey and Shrek burst out laughing. \\n \\n DONKEY \\n You think Shrek is your true love! \\n \\n \",\n \" Shrek heaves a deep sigh. He throws the flower down and walks \\n away. \\n \\n INSIDE \\n \\n FIONA \\n Don't you see, Donkey? That's just how \",\n \" (takes off his helmet) \\n \\n FIONA \\n You- - You're a- - an ogre. \\n \\n SHREK \\n Oh, you were expecting Prince Charming. \\n \",\n \" Suddenly Fiona's eyes open wide. She's consumed by the spell \\n and then is slowly lowered to the ground. \\n \\n SHREK \\n (going over to her) Fiona? Fiona. Are \",\n \" Shrek steps back in shock. \\n \\n FIONA \\n (os) My only chance to live happily \\n ever after is to marry my true love. \\n \\n \",\n \" FIONA \\n (smiles) I'd like that. \\n \\n They smiles at each other. \\n \\n SHREK \\n Um, Princess? \\n \\n FIONA\",\n \" (jumps away) Ow! Hey! Easy with the \\n yankin'. \\n \\n As they continue to talk Fiona keeps going after the arrow and \\n Shrek keeps dodging her hands. \\n \",\n \" FIONA \\n Shrek's hurt. \\n \\n DONKEY \\n Shrek's hurt. Shrek's hurt? Oh, no, \\n Shrek's gonna die. \\n \",\n \" But you can't marry him. \\n \\n FIONA \\n And why not? \\n \\n SHREK \\n Because- - Because he's just marring \\n you so he can be king.\",\n \" \\n FIONA \\n The battle is won. You may remove your \\n helmet, good Sir Knight. \\n \\n SHREK \\n Uh, no. \\n \\n FIONA\",\n \" FIONA \\n (like it's obvious) For getting rid \\n of Donkey. \\n \\n SHREK \\n Ah. \\n \\n FIONA\",\n \" FIONA \\n No! \\n \\n DONKEY \\n Shrek! Shrek! Shrek! \\n \\n FIONA \\n Shh. \\n \\n DONKEY\",\n \" Shrek! \\n \\n FIONA \\n This is me. \\n \\n Donkey looks into her eyes as she pets his muzzle, and he quiets \\n down. \\n \",\n \" FIONA \\n I'm sorry, but it has to come out. \\n \\n \\n SHREK \\n No, it's tender. \\n \\n FIONA\"\n ],\n [\n \" FIONA \\n It's a spell. (sigh) When I was a little \\n girl, a witch cast a spell on me. Every \\n night I become this. This horrible, \",\n \" Suddenly the magic of the spell pulls Fiona away. She's lifted \\n up into the air and she hovers there while the magic works around \\n her. \\n \\n WHISPERS\",\n \" it has to be. It's the only way to break \\n the spell. \\n \\n DONKEY \\n You at least gotta tell Shrek the truth. \\n \\n \\n FIONA\",\n \" Another fight sequence begins and Fiona gives a karate yell and \\n then proceeds to beat the crap out of the Merry Men. There is \\n a very interesting 'Matrix' moment here when Fiona pauses in \",\n \" (pause) Oh, now we're gettin' somewhere. \\n (grins) \\n \\n At this point Fiona pulls the 'door' away from the entrance to \",\n \" Yeah? Well, it does. (Fiona looks at \\n him in shock. He looks past her and \\n spots a group approaching.) Ah, right \\n on time. Princess, I've brought you \",\n \" FIONA \\n (smiles) Mm-hmm. \\n \\n Shrek breaks the lock on her door and pulls her out and down \\n the hallway. \\n \\n FIONA\",\n \" Suddenly Fiona's eyes open wide. She's consumed by the spell \\n and then is slowly lowered to the ground. \\n \\n SHREK \\n (going over to her) Fiona? Fiona. Are \",\n \" Oh, come on! That's the last thing on \\n my mind. The princess here was just- \\n - (Fiona pulls the arrow out) Ugh! (he \\n turns to look at Fiona who holds up \",\n \" know before this is over, I'm gonna \\n need a whole lot of serious therapy. \\n Look at my eye twitchin'. \\n \\n Fiona comes out the door and watches him walk away. She looks \",\n \" our \\\"happily ever after.\\\" Now kiss me! \\n (puckers his lips and leans toward her, \\n but she pulls back.) \\n \\n FIONA\",\n \" goes flying through the air and crashes through the roof of the \\n tallest tower. Fiona wakes up with a jerk and looks at him lying \\n on the floor. \\n \\n DONKEY\",\n \" FIONA \\n Donkey! \\n \\n DONKEY \\n (still aimed at her stomach) Listen, \\n keep breathing! I'll get you out of \\n there! \\n \",\n \" mid-air to fix her hair. Finally all of the Merry Men are down, \\n and Fiona begins walking away. \\n \\n FIONA \\n Uh, shall we? \\n \\n SHREK\",\n \" at her image in the mirror. \\n \\n MORNING \\n \\n Fiona walks out of the cave. She glances at Shrek and Donkey \\n who are still sleeping. She wanders off into the woods and comes \",\n \" get burned to a crisp and eaten? \\n \\n FIONA \\n You just tell her she's not your true \\n love. Everyone knows what happens when \\n you find your...(Shrek drops her on \",\n \" (jumps away) Ow! Hey! Easy with the \\n yankin'. \\n \\n As they continue to talk Fiona keeps going after the arrow and \\n Shrek keeps dodging her hands. \\n \",\n \" FIONA \\n Well, eat up. We've got a big day ahead \\n of us. (walks off) \\n \\n LATER \\n\",\n \" She smiles and then continues walking, singing softly. Suddenly \\n from out of nowhere, a man swings down and swoops Fiona up into \\n a tree. \\n \\n ROBIN HOOD\",\n \" FIONA \\n (like it's obvious) For getting rid \\n of Donkey. \\n \\n SHREK \\n Ah. \\n \\n FIONA\"\n ],\n [\n \" a will, there's a way and I have a way. \\n (whistles) \\n \\n Suddenly the dragon arrives overhead and flies low enough so \\n they can climb on. \\n \\n SHREK\",\n \" If we need you, I'll whistle. How about \\n that? (she nods and goes after the guards) \\n Shrek, wait, wait! Wait a minute! You \\n wanna do this right, don't you?\",\n \" Yeah, it's getting him to shut up that's \\n the trick. \\n \\n They all start screaming as the dragon gains on them. Shrek spots \\n a descending slide and jumps on. But unfortunately there is a \",\n \" FARQUAAD \\n I'll have you locked back in that tower \\n for the rest of your days! I'm king! \\n \\n \\n Shrek manages to get a hand free and he whistles.\",\n \" I was talkin' about the dragon, Shrek. \\n \\n \\n INSIDE THE CASTLE \\n \\n DONKEY \\n You afraid? \\n \\n SHREK\",\n \" SHREK \\n Well, at least we know where the princess \\n is, but where's the... \\n \\n DONKEY \\n (os) Dragon! \\n\",\n \" take care of the dragon. \\n \\n Shrek grabs a sword and heads back toward the interior of the \\n castle. He throws the sword down in between several overlapping \",\n \" (The dragon roars.) I'm a donkey on \\n the edge! \\n \\n The dragon belches and Farquaad's crown flies out of her mouth \\n and falls to the ground. \\n \",\n \" \\n SHREK \\n What did I say about singing? \\n \\n DONKEY \\n Can I whistle? \\n \\n SHREK \\n No. \\n\",\n \" Donkey, look out! (he manages to get \\n a hold of the dragons tail and holds \\n on) Got ya! \\n \\n The dragon gets irritated at this and flicks it's tail and Shrek \",\n \" Donkey gasps and takes off running as the dragon roars again. \\n Shrek manages to grab Donkey out of the way just as the dragon \\n breathes fire. \\n \\n SHREK\",\n \" the cave and peaks out. Neither of the guys see her. \\n \\n SHREK \\n Oh! For the love of Pete! (gets up and \\n walks over to the edge of the cliff \",\n \" runs to the door and goes outside) Shrek! \\n Shrek, there's something I want...(she \\n looks and sees the rising sun, and as \\n the sun crests the sky she turns back \",\n \" SHREK \\n Thanks! \\n \\n Suddenly they hear the dragon roar. \\n \\n FIONA \\n (surprised)You didn't slay the dragon? \\n \\n \",\n \" Some guards are milling around. Suddenly the dragon lands with \\n a boom. The guards all take off running. \\n \\n DONKEY \\n (to Dragon) Go ahead, HAVE SOME FUN. \",\n \" then grabs Princess Fiona as he runs past her. \\n \\n DONKEY \\n Hi, Princess! \\n \\n FIONA \\n It talks! \\n \\n SHREK\",\n \" Donkey out of the way right as the dragon is about to kiss him. \\n Instead the dragon kisses Shreks' butt. She opens her eyes and \\n roars. Shrek lets go of the chain and the chandelier falls onto \",\n \" so Donkey pees on the fire to put it out. \\n \\n DRAGON'S KEEP \\n \\n Shrek and Donkey are walking up to the keep that's supposed to \",\n \" Shrek! \\n \\n FIONA \\n This is me. \\n \\n Donkey looks into her eyes as she pets his muzzle, and he quiets \\n down. \\n \",\n \" her head, but it's too big and it goes over her head and forms \\n a sort of collar for her. She roars again and Shrek and Donkey \\n take off running. Very 'Matrix' style. Shrek grabs Donkey and \"\n ],\n [\n \" it to Fiona. Fiona catching a snake, blowing it up, fashioning \\n it into a balloon animal and presenting it to Shrek. The group \\n arriving at a windmill that is near DuLoc. \\n \",\n \" Oh! \\n \\n Shrek gets them close to the exit and sets down Donkey and Fiona. \\n \\n \\n SHREK \\n Okay, you two, heard for the exit! I'll \",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" Donkey faints. Shrek walks over and picks him up as they continue \\n on their way. \\n \\n There is a montage of scenes as the group heads back to DuLoc. \",\n \" \\n SHREK \\n The wedding! We'll never make it in \\n time. \\n \\n DONKEY \\n Ha-ha-ha! Never fear, for where, there's \",\n \" DONKEY \\n Shrek! Shrek! Shrek! \\n \\n FIONA \\n No, it's okay. It's okay. \\n \\n DONKEY\",\n \" FIONA \\n Shrek's hurt. \\n \\n DONKEY \\n Shrek's hurt. Shrek's hurt? Oh, no, \\n Shrek's gonna die. \\n \",\n \" They head off. There is a montage of their journey. Walking through \\n a field at sunset. Sleeping beneath a bright moon. Shrek trying \\n to put the campfire out the next day and having a bit of a problem, \",\n \" then grabs Princess Fiona as he runs past her. \\n \\n DONKEY \\n Hi, Princess! \\n \\n FIONA \\n It talks! \\n \\n SHREK\",\n \" FIONA \\n No! \\n \\n DONKEY \\n Shrek! Shrek! Shrek! \\n \\n FIONA \\n Shh. \\n \\n DONKEY\",\n \" FIONA \\n (like it's obvious) For getting rid \\n of Donkey. \\n \\n SHREK \\n Ah. \\n \\n FIONA\",\n \" SHREK \\n You're crazy. I'm just bringing her \\n back to Farquaad. \\n \\n DONKEY \\n Oh, come on, Shrek. Wake up and smell \",\n \" Shrek! \\n \\n FIONA \\n This is me. \\n \\n Donkey looks into her eyes as she pets his muzzle, and he quiets \\n down. \\n \",\n \" Shrek crawling up to the top of a tree to make it fall over a \\n small brook so that Fiona won't get wet. Shrek then gets up as \\n Donkey is just about to cross the tree and the tree swings back \",\n \" Shrek, what are you doing? You're letting \\n her get away. \\n \\n SHREK \\n Yeah? So what? \\n \\n DONKEY\",\n \" SHREK \\n Well, at least we know where the princess \\n is, but where's the... \\n \\n DONKEY \\n (os) Dragon! \\n\",\n \" They are once again on their way. They are walking through the \\n forest. Shrek belches. \\n \\n DONKEY \\n Shrek! \\n \\n SHREK\",\n \" You wouldn't dare. Put me down! \\n \\n SHREK \\n Ya comin', Donkey? \\n \\n DONKEY \\n I'm right behind ya. \\n \\n FIONA\",\n \" steps on his hoof) Ow! \\n \\n SHREK \\n Um, I, uh- - I guess we better move \\n on. \\n \\n FIONA\",\n \" SHREK \\n Oh, that's great. Really. \\n \\n DONKEY \\n Man, it's good to be free. \\n \\n SHREK\"\n ],\n [\n \" Suddenly the magic of the spell pulls Fiona away. She's lifted \\n up into the air and she hovers there while the magic works around \\n her. \\n \\n WHISPERS\",\n \" FIONA \\n It's a spell. (sigh) When I was a little \\n girl, a witch cast a spell on me. Every \\n night I become this. This horrible, \",\n \" our \\\"happily ever after.\\\" Now kiss me! \\n (puckers his lips and leans toward her, \\n but she pulls back.) \\n \\n FIONA\",\n \" FIONA \\n (smiles) Mm-hmm. \\n \\n Shrek breaks the lock on her door and pulls her out and down \\n the hallway. \\n \\n FIONA\",\n \" (pause) Oh, now we're gettin' somewhere. \\n (grins) \\n \\n At this point Fiona pulls the 'door' away from the entrance to \",\n \" know before this is over, I'm gonna \\n need a whole lot of serious therapy. \\n Look at my eye twitchin'. \\n \\n Fiona comes out the door and watches him walk away. She looks \",\n \" it has to be. It's the only way to break \\n the spell. \\n \\n DONKEY \\n You at least gotta tell Shrek the truth. \\n \\n \\n FIONA\",\n \" FIONA \\n Well, eat up. We've got a big day ahead \\n of us. (walks off) \\n \\n LATER \\n\",\n \" Another fight sequence begins and Fiona gives a karate yell and \\n then proceeds to beat the crap out of the Merry Men. There is \\n a very interesting 'Matrix' moment here when Fiona pauses in \",\n \" Suddenly Fiona's eyes open wide. She's consumed by the spell \\n and then is slowly lowered to the ground. \\n \\n SHREK \\n (going over to her) Fiona? Fiona. Are \",\n \" Oh, come on! That's the last thing on \\n my mind. The princess here was just- \\n - (Fiona pulls the arrow out) Ugh! (he \\n turns to look at Fiona who holds up \",\n \" Yeah? Well, it does. (Fiona looks at \\n him in shock. He looks past her and \\n spots a group approaching.) Ah, right \\n on time. Princess, I've brought you \",\n \" and Fiona talking. \\n \\n FIONA \\n (os) I can't just marry whoever I want. \\n Take a good look at me, Donkey. I mean, \",\n \" Yeah, right before they burst into flame. \\n \\n \\n FIONA \\n That's not the point. (Shrek suddenly \\n stops and she runs into him.) Oh! (Shrek \",\n \" FIONA \\n Donkey! \\n \\n DONKEY \\n (still aimed at her stomach) Listen, \\n keep breathing! I'll get you out of \\n there! \\n \",\n \" seen you like this before. \\n \\n FIONA \\n It only happens when sun goes down. \\n \\\"By night one way, by day another. This \\n shall be the norm... until you find \",\n \" get burned to a crisp and eaten? \\n \\n FIONA \\n You just tell her she's not your true \\n love. Everyone knows what happens when \\n you find your...(Shrek drops her on \",\n \" FIONA \\n Well, yes. \\n \\n Both Donkey and Shrek burst out laughing. \\n \\n DONKEY \\n You think Shrek is your true love! \\n \\n \",\n \" goes flying through the air and crashes through the roof of the \\n tallest tower. Fiona wakes up with a jerk and looks at him lying \\n on the floor. \\n \\n DONKEY\",\n \" FIONA \\n (eyeing the setting sun) Um- \\n \\n PRIEST \\n ...of our new king... \\n \\n FIONA \\n Excuse me. Could we just skip ahead \"\n ],\n [\n \" it to Fiona. Fiona catching a snake, blowing it up, fashioning \\n it into a balloon animal and presenting it to Shrek. The group \\n arriving at a windmill that is near DuLoc. \\n \",\n \" Donkey opens the door to the Windmill and walks in. Fiona is \\n nowhere to be seen. \\n \\n DONKEY \\n Princess? Princess Fiona? Princess, \\n where are you? Princess?\",\n \" WINDMILL \\n \\n SHREK \\n There it is, Princess. Your future awaits \\n you. \\n \\n FIONA \\n That's DuLoc? \\n\",\n \" (takes off his helmet) \\n \\n FIONA \\n You- - You're a- - an ogre. \\n \\n SHREK \\n Oh, you were expecting Prince Charming. \\n \",\n \" down and spots the sunflower. She picks it up before going back \\n inside the windmill. \\n \\n MORNING \\n \\n Donkey is asleep. Shrek is nowhere to be seen. Fiona is still \",\n \" She backs up and as the sun sets she changes into her ogre self. \\n She gives Shrek a sheepish smile. \\n \\n SHREK \\n Well, uh, that explains a lot. (Fiona \",\n \" at her image in the mirror. \\n \\n MORNING \\n \\n Fiona walks out of the cave. She glances at Shrek and Donkey \\n who are still sleeping. She wanders off into the woods and comes \",\n \" \\n Suddenly Fiona falls from the railing. She gets up only she doesn't \\n look like herself. She looks like an ogre and Donkey starts freaking \\n out. \\n \\n DONKEY\",\n \" FIONA \\n (smiles) Mm-hmm. \\n \\n Shrek breaks the lock on her door and pulls her out and down \\n the hallway. \\n \\n FIONA\",\n \" goes flying through the air and crashes through the roof of the \\n tallest tower. Fiona wakes up with a jerk and looks at him lying \\n on the floor. \\n \\n DONKEY\",\n \" Suddenly Fiona's eyes open wide. She's consumed by the spell \\n and then is slowly lowered to the ground. \\n \\n SHREK \\n (going over to her) Fiona? Fiona. Are \",\n \" Shrek turns and goes over to her. He looks down at Fiona for \\n a moment and she puckers her lips. Shrek takes her by the shoulders \\n and shakes her away. \\n \\n FIONA\",\n \" mid-air to fix her hair. Finally all of the Merry Men are down, \\n and Fiona begins walking away. \\n \\n FIONA \\n Uh, shall we? \\n \\n SHREK\",\n \" Shrek heaves a deep sigh. He throws the flower down and walks \\n away. \\n \\n INSIDE \\n \\n FIONA \\n Don't you see, Donkey? That's just how \",\n \" They climb aboard the dragon and she takes off for DuLoc. \\n \\n DULOC - CHURCH \\n \\n Fiona and Farquaad are getting married. The whole town is there. \",\n \" the cave and peaks out. Neither of the guys see her. \\n \\n SHREK \\n Oh! For the love of Pete! (gets up and \\n walks over to the edge of the cliff \",\n \" runs to the door and goes outside) Shrek! \\n Shrek, there's something I want...(she \\n looks and sees the rising sun, and as \\n the sun crests the sky she turns back \",\n \" (jumps away) Ow! Hey! Easy with the \\n yankin'. \\n \\n As they continue to talk Fiona keeps going after the arrow and \\n Shrek keeps dodging her hands. \\n \",\n \" Good night. \\n \\n Fiona goes inside the windmill and closes the door. Donkey looks \\n at Shrek with a new eye. \\n \\n DONKEY\",\n \" \\n FIONA \\n Well, yes, actually. Oh, no. This is \\n all wrong. You're not supposed to be \\n an ogre. \\n \\n SHREK\"\n ]\n]"},"questions":{"kind":"list like","value":["Who knows how to get to Duloc?","Who is Farquaad torturing?","Who tells Lord Farquaad that he is not a king?","What is the deal that Lord Farquaad makes with Shrek?","Who carries Donkey into her chambers?","What does Shrek plan to do once he's back in the swamp?","What makes Shrek want to build a wall around his house? ","What happens to Fiona at night? ","How is Lord Farquaad killed?","What kind of creature is Shrek?","Who did Farquaad torture to learn the location of the remaining fairytale creatures?","Where was Fiona being kept when Farquaad decided he wanted to marry her?","Who was Shrek's companion in his travels to meet Farquaard?","What did Farquaard promise to remove from the swamp if Shrek rescued Fiona?","What would turn Fiona into \"love's true form\"?","Who interrupted their wedding before Farquaad could kiss Fiona?","Who devoured Farquaad?","Who was Fiona's true love?","Why did Farquaad want to marry Fiona?","How did the fairytale characters end up in Shrek's swamp?","Who does Lord Farquaad torture to learn the location of the rest of the fairytale creatures?","What does Lord Farquaad need to do to become king?","What prize is given to the winner of the tournament?","Why is Fiona disappointed when Shrek rescues her?","How is Fiona's curse broken?","What happens when Shrek whistles for Dragon?","Who helps Shrek and Donkey travel to Duloc to stop Fiona's wedding?","What did FIona think would happen when the curse is broken?","Who goes to the windmill and discovers Fiona is an ogre?"],"string":"[\n \"Who knows how to get to Duloc?\",\n \"Who is Farquaad torturing?\",\n \"Who tells Lord Farquaad that he is not a king?\",\n \"What is the deal that Lord Farquaad makes with Shrek?\",\n \"Who carries Donkey into her chambers?\",\n \"What does Shrek plan to do once he's back in the swamp?\",\n \"What makes Shrek want to build a wall around his house? \",\n \"What happens to Fiona at night? \",\n \"How is Lord Farquaad killed?\",\n \"What kind of creature is Shrek?\",\n \"Who did Farquaad torture to learn the location of the remaining fairytale creatures?\",\n \"Where was Fiona being kept when Farquaad decided he wanted to marry her?\",\n \"Who was Shrek's companion in his travels to meet Farquaard?\",\n \"What did Farquaard promise to remove from the swamp if Shrek rescued Fiona?\",\n \"What would turn Fiona into \\\"love's true form\\\"?\",\n \"Who interrupted their wedding before Farquaad could kiss Fiona?\",\n \"Who devoured Farquaad?\",\n \"Who was Fiona's true love?\",\n \"Why did Farquaad want to marry Fiona?\",\n \"How did the fairytale characters end up in Shrek's swamp?\",\n \"Who does Lord Farquaad torture to learn the location of the rest of the fairytale creatures?\",\n \"What does Lord Farquaad need to do to become king?\",\n \"What prize is given to the winner of the tournament?\",\n \"Why is Fiona disappointed when Shrek rescues her?\",\n \"How is Fiona's curse broken?\",\n \"What happens when Shrek whistles for Dragon?\",\n \"Who helps Shrek and Donkey travel to Duloc to stop Fiona's wedding?\",\n \"What did FIona think would happen when the curse is broken?\",\n \"Who goes to the windmill and discovers Fiona is an ogre?\"\n]"},"answers":{"kind":"list like","value":[["Donkey","donkey"],["The Gingerbread Man","the Gingerbread Man"],["The magic mirror","the mirror"],["He'll remove everyone from the swap if Shrek rescues Fiona","Offers to remove fairytale creatures from the swamp if Shrek rescues Fiona"],["The Dragon","The dragon"],["He will build a wall","put up a fence"],["Because everyone judges him","to be alone because Shrek feels everyone judges him."],["She turns into an ogre","She turns into an ogre."],["He is swallowed by the dragon","donkey and dragon devours him."],["A green ogre.","an ogre"],["The Gingerbread Man","gingerbread man"],["In a locked tower.","Locked in a castle tower."],["A talking donkey.","donkey"],["The fairytale creatures.","the fairytale creatures"],["A kiss from her true love.","A true love's kiss."],["Shrek","shrek"],["Dragon","dragon"],["Shrek","shrek"],["To become king.","To become a real king"],["Lord Farquaad exiled them to the swamp.","they were exiled"],["The Gingerbread Man","gingerbread man"],["He needs to marry a princess.","Princess Fiona"],["The winner gets to rescue Fiona.","The privilege to rescue fiona."],["She finds out Shrek is an ogre.","Because he wasn't romantic about it"],["The curse is only broken by her true love's kiss.","True love's kiss with shrek"],["Dragon eats Lord Farquaad.","he bust in and eats farquaad"],["Dragon","dragon"],["She thought she would become beautiful.","she would be beautiful"],["Donkey","donkey"]],"string":"[\n [\n \"Donkey\",\n \"donkey\"\n ],\n [\n \"The Gingerbread Man\",\n \"the Gingerbread Man\"\n ],\n [\n \"The magic mirror\",\n \"the mirror\"\n ],\n [\n \"He'll remove everyone from the swap if Shrek rescues Fiona\",\n \"Offers to remove fairytale creatures from the swamp if Shrek rescues Fiona\"\n ],\n [\n \"The Dragon\",\n \"The dragon\"\n ],\n [\n \"He will build a wall\",\n \"put up a fence\"\n ],\n [\n \"Because everyone judges him\",\n \"to be alone because Shrek feels everyone judges him.\"\n ],\n [\n \"She turns into an ogre\",\n \"She turns into an ogre.\"\n ],\n [\n \"He is swallowed by the dragon\",\n \"donkey and dragon devours him.\"\n ],\n [\n \"A green ogre.\",\n \"an ogre\"\n ],\n [\n \"The Gingerbread Man\",\n \"gingerbread man\"\n ],\n [\n \"In a locked tower.\",\n \"Locked in a castle tower.\"\n ],\n [\n \"A talking donkey.\",\n \"donkey\"\n ],\n [\n \"The fairytale creatures.\",\n \"the fairytale creatures\"\n ],\n [\n \"A kiss from her true love.\",\n \"A true love's kiss.\"\n ],\n [\n \"Shrek\",\n \"shrek\"\n ],\n [\n \"Dragon\",\n \"dragon\"\n ],\n [\n \"Shrek\",\n \"shrek\"\n ],\n [\n \"To become king.\",\n \"To become a real king\"\n ],\n [\n \"Lord Farquaad exiled them to the swamp.\",\n \"they were exiled\"\n ],\n [\n \"The Gingerbread Man\",\n \"gingerbread man\"\n ],\n [\n \"He needs to marry a princess.\",\n \"Princess Fiona\"\n ],\n [\n \"The winner gets to rescue Fiona.\",\n \"The privilege to rescue fiona.\"\n ],\n [\n \"She finds out Shrek is an ogre.\",\n \"Because he wasn't romantic about it\"\n ],\n [\n \"The curse is only broken by her true love's kiss.\",\n \"True love's kiss with shrek\"\n ],\n [\n \"Dragon eats Lord Farquaad.\",\n \"he bust in and eats farquaad\"\n ],\n [\n \"Dragon\",\n \"dragon\"\n ],\n [\n \"She thought she would become beautiful.\",\n \"she would be beautiful\"\n ],\n [\n \"Donkey\",\n \"donkey\"\n ]\n]"},"document_id":{"kind":"string","value":"51dee7b41692efe1a4908527013b3aea46cb2c9a"},"split":{"kind":"string","value":"test"}}},{"rowIdx":83,"cells":{"text":{"kind":"list like","value":[["\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\twho survived can go back to the surface \n \t\tof the earth. \n \n \tRAILLY maintains a professional deadpan, says nothing as they pass","\t\tSo that...??? \n \n \t\t\t\tCOLE \n \t\tUh, so that a vaccine can be developed \n \t\tthat will, uh, allow mankind to reclaim \n \t\tthe surface of the earth. \n","\twall. One headline screams, \"VIRUS MUTATING!\" Another features \n \ta photo of an OLD MAN (DR. MASON, who we'll see again later on)","\t\tI just have to locate the virus in its \n \t\toriginal form before it mutates. So \n \t\tscientists can come back and study it \n \t\tand find a cure. So that those of us","\t\t\t(grabbing Jeffrey) \n \t\tListen, you dumb fuck! The thing mutates \n \t\tWe live underground! The world belongs \n \t\tto the fucking dogs and cats. We're","\t\tthe whole population. Of the world! \n \t\tOnly about one percent survived. \n \n \tDOCTORS exchange knowing looks. This is an old story, apparently. \n \n \t\t\t\tRESIDENT #2","\tRATS flee the blade of light, scurry across islands of rusting junk. \n \n \tThe flashlight beam settles on a ladder mounted in the wall. \n \n \tReaching the rusted ladder, COLE starts to climb awkwardly.","\tTearing at each other's clothes, they collapse on a rolled \n \ttheater curtain among stacks of ancient theater seats. \n \n \tEXT. SUBURBS - DAWN \n","\tSeedy HOTEL RESIDENTS point to Room 44, then cower back into \n \ttheir doorways. \n \n \tEXT. GLOBE HOTEL FIRE ESCAPE/ALLEY - DAY \n","\tEXT. PEST CONTROL VAN - NIGHT \n \n \tSurrounded by stripped and abandoned vehicles, the VAN, with a \n \tPEST CONTROL logo on its side, is parked on a trash-littered","\t\teverybody started dying. \n \n \tRAILLY glances around nervously. \n \n \tRAILLY'S POV: two UNIFORMED POLICEMEN, strolling through the","\tin a less elaborate, less bulky decontamination outfit draws \n \tblood from COLE'S arm with an old-fashioned hypodermic needle. \n \n \tCOLE glances toward a single, nearly opaque \"window\" of thick","\tinto a collection tube, something makes him turn. \n \n \tThere's something across the street in the dark. Something alive. \n \n \tCOLE points his flashlight and reveals...a BEAR! Startled by the","\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \n \tof many stacked four high along both sides of a long dim \n \tcorridor. He blinks in the near dark, shaken, disoriented. \n","\tstreet beside the massive pillars of a towering freeway. \n \n \tINT. PARKED PEST CONTROL VAN \n \n \tThe VAN is packed with SIX ACTIVISTS, SANDY and KWESKIN among","\tputs it into one of his specimen tubes. \n \n \tThen, he shines his light all around the once elegant store. There's \n \tnothing but aisle after aisle of moldering consumer goods. \n","\tCOLE'S eyes return to the walls. \n \n \tHeadlines: \"CLOCK TICKING! NO CURE YET!\" \n \n \t\t\t\tSCARFACE","\t\tAnd you said to me, \"Wouldn't it be \n \t\tgreat if there was a germ or a virus \n \t\tthat could wipe out mankind and leave \n \t\tthe plants and animals just as they","\t\tYou won't think I'm crazy next month. \n \t\tPeople are going to start dying. At \n \t\tfirst the papers will say it's some \n \t\tweird fever, some virus. Then they'll"],["\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\" \n \n \t\t\t\tBOTANIST (o.s.) \n \t\tThis is from a magazine printed in late","\t\tWhat virus are we talking about, Dad? \n \n \t\t\t\tDR. MASON \n \t\tYou're insane, Jeffrey. \n \n \t\t\t\tJEFFREY","\twall. One headline screams, \"VIRUS MUTATING!\" Another features \n \ta photo of an OLD MAN (DR. MASON, who we'll see again later on)","\t\tSo that...??? \n \n \t\t\t\tCOLE \n \t\tUh, so that a vaccine can be developed \n \t\tthat will, uh, allow mankind to reclaim \n \t\tthe surface of the earth. \n","\t\tTHERE HE IS! HE'S CARRYING A DEADLY \n \t\tVIRUS! STOP HIM! \n","\t\t\t\tCOLE \n \t\tJeffrey Mason said it was my idea about \n \t\tthe virus. And suddenly, I wasn't \n \t\tsure. We talked when I was in the","\t\tYou won't think I'm crazy next month. \n \t\tPeople are going to start dying. At \n \t\tfirst the papers will say it's some \n \t\tweird fever, some virus. Then they'll","\t\tAnd you said to me, \"Wouldn't it be \n \t\tgreat if there was a germ or a virus \n \t\tthat could wipe out mankind and leave \n \t\tthe plants and animals just as they","\tThe ACTIVISTS are all exchanging puzzled looks. \n \n \t\t\t\tJEFFREY \n \t\tWhat...virus? \n \n \t\t\t\tDR. MASON","\t\tI just have to locate the virus in its \n \t\toriginal form before it mutates. So \n \t\tscientists can come back and study it \n \t\tand find a cure. So that those of us","\t\tI attended a lecture once...Apocalyptic \n \t\tvisions. \n \n \tWe see Dr. Mason's ASSISTANT now. It's DR. PETERS, the red-","\t\tSpit it out... you went to the home of \n \t\ta famous virologist... \n \n \t\t\t\tCOLE \n \t\t\t(weakly) \n \t\tYou...don't...exist! You're in","\t\tout the human race? It was my idea? \n \n \t\t\t\tRAILLY \n \t\tNobody is going to wipe out the human \n \t\trace. Not you or Jeffrey or anybody","\t\tof great pestilence, men have often \n \t\tbelieved the prophecies of crazed \n \t\tfanatics, that the end of the world was \n \t\tcome.\" Obviously, this plague/doomsday","\t\t-- so they get there and they ask the guy \n \t\treal nice for some kind of i.d., and he gets \n \t\tagitated, starts screaming about viruses. \n \t\tTotally irrational, totally disoriented,","\t\tAnd he told you then his father was a \n \t\tfamous virologist. \n \n \tCOLE is absorbed in the map, his finger tracing \"Outerbridge Road\". \n \n \t\t\t\tCOLE","\t\tScientist's own kid was one a the ones did it! \n \n \tRAILLY and COLE stare at the cabbie, stunned. \n \n \t\t\t\tWOMAN CABBlE","\t\t\tATTENTION!!! POLICE ARE WATCHING! \n \t\t\tIS THERE A VIRUS? IS THIS THE \n \t\t\tSOURCE? THREE BILLION DIE? \n","\t\tinstitution, and it was all...fuzzy. \n \t\tThe drugs and stuff. \n \t\t\t(horrified) \n \t\tYou think maybe I'm the one who wiped"],["\t\tA jail? Prison? \n \n \t\t\t\tCOLE \n \t\tUnderground. \n \n \t\t\t\tRAILLY \n \t\tHiding? \n \n \t\t\t\tCOLE","\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \n \tof many stacked four high along both sides of a long dim \n \tcorridor. He blinks in the near dark, shaken, disoriented. \n","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\t\tCole! James Cole! You escaped from a \n \t\tlocked room six years ago. \n \n \t\t\t\tCOLE \n \t\t1989. Six years for you. There's the","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\tINT. CELL - ETERNAL NIGHT \n \n \tCOLE opens his eyes. Where is he? Silence as he examines the \n \ttiny cell. Bare cement walls. High ceiling. Same color and","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\tINT. SEALED CHAMBER - MINUTES LATER (ETERNAL NIGHT) \n \n \tCOLE, wearing the \"space suit\" and a helmet with a plastic visor,","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\tOn the opposite wall is another door with a huge wheel lock. \n \tCOLE turns the heavy wheel, opens the door, steps through It \n \n \tINT. ELEVATOR - SECONDS LATER (ETERNAL NIGHT) \n","\t\tWAKE UP, PRISONER! \n \n \tINT. SCIENTISTS' CHAMBER - ETERNAL NIGHT \n \n \tCOLE blinks awake. All he can see are blurry faces hovering over","\tINT. TERMINAL LOBBY \n \n \tCOLE emerges from the Men's Room, shaken, paranoid. He glances \n \taround nervously. Then, keeping his head down, he starts walking","\tCOLE steps into it. \n \n \tINT. ELEVATOR/COUNTY HOSPITAL \n \n \tThe door closes, isolating COLE in the elevator. \n","\t\tYou've been in an institution, haven't \n \t\tyou, James? A hospital? \n \n \t\t\t\tCOLE \n \t\tI have to go. \n \n \t\t\t\tRAILLY","\tCOLE is strapped on a gurney. SCIENTISTS hover near-by, \n \twhispering. The walls of the gloomy chamber are damp, sweating. \n \n \t\t\t\tGEOLOGIST","\tCOLE'S POV: spray-painted on the wall a long time ago is a stenciled \n \tlogo of twelve monkeys holding hands in a circle. Over it is \n \twritten, \"WE DID IT!\" \n","\tJOSE immediately rolls over and feigns sleep as SCARFACE, a \n \tmenacing guard with a jagged scar running down his cheek, looms \n \tclose to COLE's cage and unlocks it. \n","\tCOLE'S eyes return to the walls. \n \n \tHeadlines: \"CLOCK TICKING! NO CURE YET!\" \n \n \t\t\t\tSCARFACE","\tCOLE'S in an ascending elevator that groans and creaks. He looks \n \tdown at a crudely drawn map he holds in his gloved hand. \n \n \tThe map shows a series of tunnels and ladders. \n"],["\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\t\t\t\tCOLE \n \t\tI need to go. \n \n \t\t\t\tRAILLY \n \t\tDo you know why you're here, James. \n \n \t\t\t\tCOLE","\t\tCole! James Cole! You escaped from a \n \t\tlocked room six years ago. \n \n \t\t\t\tCOLE \n \t\t1989. Six years for you. There's the","\t\tNo, no. This is the past. This has \n \t\talready happened. Listen... \n \n \t\t\t\tRESIDENT #3 \n \t\tMr. Cole, you belong in 1995 -- that's","\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\t\the refused 'n I kept thinking, I know \n \t\tthis guy. Then, just a few minutes ago, \n \t\tit came to me. It's Cole! James Cole.","\t\tI'd like to be clear about this. That \n \t\tman and the other one were...\"severely\" \n \t\tbeating us. James Cole didn't start \n \t\tit. In fact -- he saved me! \n","\t\tAre you going to save us, Mr. Cole? \n \n \t\t\t\tCOLE \n \t\tSave you? How can I save you? It \n \t\talready happened! I can't save you. I'm","\t\tJames! We have to go back. Those men... \n \n \tToo late. While COLE turns and stares at her, uncomprehending, \n \tthe TWO THUGS are approaching. \n","\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \n \tthat tapping before -- in the future! It disorients him. \n \n \t\t\t\tDR. RAILLY","\t\tI did him a favor. Now come on. \n \n \tCOLE, pulling her again, sees more \"12 MONKEYS\" on the wall. \n \n \t\t\t\tRAILLY","\t\t\t\tCOLE \n \t\tCome an. We're running out of time. \n \t\tYou can't help him. \n \n \tAs COLE yanks her roughly away, she looks back, sees the FIRST","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\t\tSo that...??? \n \n \t\t\t\tCOLE \n \t\tUh, so that a vaccine can be developed \n \t\tthat will, uh, allow mankind to reclaim \n \t\tthe surface of the earth. \n","\t\tI have to do this, James. You're very \n \t\tconfused. \n \n \tRAILLY pushes the needle into COLE'S skin. \n","\t\tsince I got back from that... \"weird\" \n \t\twar we were in. You remember that? \n \t\t\t(pressing the pistol on Cole) \n \t\tHere, take it, man! You could still be","\t\t\t\tCOLE \n \t\tNo, sir! I just want to do my part. \n \t\tTo get us back on top...in charge of \n \t\tthe planet. And I have the experience,","\t\tthe future, James. Do you think you're \n \t\tliving in the future? \n \n \t\t\t\tCOLE \n \t\t\t(slightly confused)"],["\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\t\t\t\tRAILLY \n \t\tJames, no -- we shouldn't be here! \n \n \tCOLE ignores her, yanking her after him into the alley. \n \n \tINT. DARK ALLEY - DAY","\tJOSE, having heard this, steps back into the crowd as RAILLY \n \tgrabs COLE and pulls him toward the Security Check Points. \n \n \t\t\t\tCOLE \n \t\tI love you, Kathryn. Remember that.","\tCOLE grabs RAILLY and pulls her into the alley and down it. \n \n \t\t\t\tCOLE \n \t\tThey're keeping an eye on me. \n \n \t\t\t\tRAILLY","\t\tI have to do this, James. You're very \n \t\tconfused. \n \n \tRAILLY pushes the needle into COLE'S skin. \n","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\t\t\t\tDR. GOODINS \n \t\tHey, Kathryn, James Cole is one of \n \t\tyours, right? \n \n \tRAILLY and CASEY stare at him. \n","\t\tThis just in: Police say that the body of \n \t\ta woman found strangled in the Knutson state \n \t\tPark could be kidnap victim, Dr. Kathryn Railly. \n","\t\tYou've been in an institution, haven't \n \t\tyou, James? A hospital? \n \n \t\t\t\tCOLE \n \t\tI have to go. \n \n \t\t\t\tRAILLY","\tCOLE turns to RAILLY, beside him on the bed, frightened and \n \thelpless, her jacket arranged to restrain her like a strait-jacket. \n \n \tCOLE'S instinct is to free her at once, but he controls his","his teeth while RAILLY hurries to the window and looks out. \n \n \tHER POV: A fire escape leads down into an alley. \n \n \tRAILLY turns just in time to see COLE shove WALLACE into the","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\tCOLE and RAILLY clatter down the fire-escape, COLE in the lead. \n \tThey come to the end of the metal stairway. It's a long distance","\tINT. STORAGE ROOM/MOVIE THEATER \n \n \tRAILLY and COLE are in a dimly lit cluttered storage room. She","\t\t\t\tCOLE \n \t\tI need to go. \n \n \t\t\t\tRAILLY \n \t\tDo you know why you're here, James. \n \n \t\t\t\tCOLE","\t\tbrain's fried. Give him another shot! \n \t\tSPEAK UP, COLE. WHAT DID YOU DO NEXT? \n \n \tINT. RAILLY'S APARTMENT - EVENING \n","\t\t\t\tRAILLY \n \t\tYes, I remember. \n \t\t\t(a beat, then) \n \t\tWhy do you want to go to Philadelphia? \n \n \t\t\t\tCOLE","\t\tI did him a favor. Now come on. \n \n \tCOLE, pulling her again, sees more \"12 MONKEYS\" on the wall. \n \n \t\t\t\tRAILLY","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \n \tthat tapping before -- in the future! It disorients him. \n \n \t\t\t\tDR. RAILLY"],["\t\tYou've been in an institution, haven't \n \t\tyou, James? A hospital? \n \n \t\t\t\tCOLE \n \t\tI have to go. \n \n \t\t\t\tRAILLY","\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\tCOLE watches the ORDERLIES grab JEFFREY and haul him away. \n \n \t\t\t\tJEFFREY \n \t\tYou dumb assholes! I'm a mental patient!","\tAlone in his \"hospital\" room, COLE struggles without success to \n \tfree himself from his restraints. \n \n \t\t\t\tRASPY VOICE (o.s.) \n \t\tYou sure fucked up, Bob! \n","\t\t\t\tASTROPHYSICIST \n \t\tHim? You saw that man? \n \n \t\t\t\tCOLE \n \t\tUh, I think so. In the mental hospital. \n","\tCOLE gets the hint of menace in the message and submits to the \n \tlice inspection, only his eyes revealing his frustration. \n \n \tINT. HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY) \n","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\t\the refused 'n I kept thinking, I know \n \t\tthis guy. Then, just a few minutes ago, \n \t\tit came to me. It's Cole! James Cole.","\tINT. PSYCH WARD CONFERENCE ROOM - MINUTES LATER (DAY) \n \n \tCOLE is agitated, speaking forcefully. \n \n \t\t\t\tCOLE","\t\tworkings of...the institution. \n \n \tJust then, TJ WASHINGTON, a somber-looking African American in a \n \tbathrobe, taps COLE on the shoulder. \n","\tCOLE pauses, stares, not understanding. Then, he opens the door. \n \n \tINT. CORRIDOR/COUNTY HOSPITAL \n \n \tStepping through the door, COLE finds himself in an ante-room","\tEverything goes white! \n \n \tINT. DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT \n \n \tCOLE'S eyes blink awake, blinded by a flashlight. \n","\t\tin the County Hospital six years ago. \n \n \tCOLE is studying the map again. \n \n \t\t\t\tCOLE \n \t\tThe guy was a total fruitcake. \n \n \t\t\t\tRAILLY","\t\tCole! James Cole! You escaped from a \n \t\tlocked room six years ago. \n \n \t\t\t\tCOLE \n \t\t1989. Six years for you. There's the","\t\tJames, where did you grow up? Was it \n \t\taround here? Around Baltimore? \n \n \t\t\t\tCOLE \n \t\t\t(lost in thought) \n \t\tWhat? \n","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\tCOLE steps into it. \n \n \tINT. ELEVATOR/COUNTY HOSPITAL \n \n \tThe door closes, isolating COLE in the elevator. \n","\t\tCan you tell us the name of the prison \n \t\tyou've come from? \n \n \tCOLE doesn't answer. He's staring at the tapping pencil. \n \n \t\t\t\tDR. FLETCHER","\t\t\t(sympathetically) \n \t\tOf course you want to be well, James. \n \t\tAnd you will be...soon. \n \n \tCOLE bursts into hysterical laughter. \n"],["\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\t\"The Army of the Twelve Monkeys -- \n \t\tthey're the ones who are going to do \n \t\tit. I can't do anything more. The \n \t\tpolice are watching me.\" \n","\t\tbecame this underground...\"army\" \n \n \t\t\t\tCOLE \n \t\tThe Army of The Twelve Monkeys. \n \n \t\t\t\tBEN \n \t\tThey started planning a \"Human Hunt\". \n","\t\tArmy of the Twelve Monkeys? They paint \n \t\tthis, stencil it, on buildings, all \n \t\tover the place. \n \n \tCOLE waves a sketch of the dancing monkey logo we saw earlier. \n","\t\t\t\tCOLE \n \t\tI, uh, I'm looking for the, ah, the \n \t\tArmy of the Twelve Monkeys. \n","\t\tcondemning what they're calling the \n \t\t\"loose canon\" activities of Jeffrey \n \t\tMason and his Army of the Twelve \n \t\tMonkeys.","\t\tWALLS? \n \t\t\t(moves to Fale, jabs him with a finger) \n \t\tYou think I told her about the Army of \n \t\tthe 12 Monkeys? Impossible! Know why,","\tcounter, bigger than COLE, physically imposing, menacing. \n \n \t\t\t\tTEDDY \n \t\tWe don't know anything about any \"Army \n \t\tof the Twelve Monkeys\", so why don't","\t\tfor the Army of the Twelve Monkeys... \n \n \tLooking at her laughing face, COLE is struck with horror as he \n \trealizes the truth! He starts to recite... \n \n \t\t\t\tCOLE","\t\tsee, she knew I was going to lead the \n \t\tArmy of the Twelve Monkeys into the \n \t\tpages of history before it ever even \n \t\toccurred to me. She knows everything","\t\tdidn't do it. It was a mistake' \n \t\tSomeone else did it. The Army of The \n \t\tTwelve Monkeys are just dumb kids \n \t\tplaying revolutionaries. It was","\tstenciled graffiti...the logo of The Army of the 12 Monkeys. \n \n \t\t\t\tENGINEER \n \t\tWhat about it, Cole? \n \n \t\t\t\tZOOLOGIST","\t\tMonkeys. Twelve of them. \n \n \tJEFFREY frowns, turns, considers COLE. Then, suddenly, JEFFREY \n \trushes to COLE and embraces him. \n","\t\tyour Army-of-the-Twelve-Monkeys factor. \n \n \t\t\t\tRAILLY \n \t\tWhat? What did you say? \n \n \t\t\t\tWOMAN CABBIE","\tinsignias. We can just see TWELVE MONKEYS holding hands in a circle. \n \n \t\t\t\tCOLE \n \t\tThe Twelve Monkeys!!! They're here. \n \t\t\t(looks around)","\t\tLO AND BEHOLD, I'M FRANKENSTEIN AND THE \n \t\t\"ARMY OF THE TWELVE MONKEYS\" BECOMES \n \t\tSOME SORT OF SINISTER REVOLUTIONARY","\t\tfind out the \"big info\"?...Army of the \n \t\tTwelve Monkeys...where the virus was \n \t\tprior to mutation? \n \n \t\t\t\tCOLE","\t\t\t\tBRUNETTE/P. A. SYSTEM \n \t\tThe Freedom For Animals Headquarters \n \t\tnow boarding on Second Avenue. The \n \t\tArmy of the Twelve Monkeys... \n","\t\tyou're gonna live a long, happy life. \n \t\tBut if you other guys exist and you're \n \t\tpicking this up -- forget about the \n \t\tArmy of The Twelve Monkeys -- they","\tANGLE ON COLE, not listening, staring triumphantly! He's found \n \tanother partially obscured stencil of THE TWELVE MONKEYS! \n \n \tBut just then, a raspy VOICE startles COLE. \n"],["\tANGLE ON COLE, gun in hand, sprinting along the concourse toward \n \tDR. PETERS as frightened TRAVELERS SCREAM and dive for cover. \n","\tThe FIRST SECURITY OFFICER tries to stop COLE, but COLE knocks \n \thim aside like a rag doll. \n \n \tANGLE ON DR. PETERS, fifty yards up the concourse, glancing back. \n","\tsenses it, reaches up to touch it, catches the DETECTIVE'S look. \n \tFor half a second their eyes meet, then COLE looks away. \n \n \tANGLE ON DR. PETERS, hurrying away. \n","\tThe gun FIRES wildly as COLE staggers forward with the FIRST THUG \n \tin his arms and smashes the man into the brick wail behind him. \n \tThe FIRST THUG goes down in a heap, dropping the pistol. \n","\tANGLE ON COLE, pulling his pistol. \n \n \tANGLE ON THE SECOND SECURITY OFFICER. \n \n \t\t\t\tFIRST SECURITY OFFICER \n \t\tHE'S GOT A GUN! \n","\tYOUNG COLE who, hearing the commotion, turns just as DR. PETERS \n \thurries by. DR. PETERS bumps into YOUNG COLE and reacts by","\tCOLE is pointing a pistol at them. A TIGER SNARLS. \n \n \t\t\t\tRAILLY \n \t\tJames, no -- don't hurt them. \n \t\t\t(to the activists)","\t\tJames! We have to go back. Those men... \n \n \tToo late. While COLE turns and stares at her, uncomprehending, \n \tthe TWO THUGS are approaching. \n","\tQuickly, COLE rolls to the next car and under it. He doesn't \n \tsee...the pistol fell out of his pocket, under the Mercedes. \n \n \tINT. MASON MANSION/DINING ROOM - NIGHT","\tTHUG staggers back, bloody and dazed as RAILLY watches, amazed. \n \n \tTurning back to the FIRST THUG, COLE sees the MAN reaching for \n \tthe dropped pistol. \n","\tANGLE ON COLE, following RAILLY'S look, seeing MR. PONYTAIL, THE \n \tMAN FROM HIS DREAM! \n \n \tANGLE ON DR. PETERS, frightened, glancing back, walking faster. \n","\tpulling his Bulls bag close to his body and calling... \n \n \t\t\t\tDR. PETERS \n \t\tWATCH IT! \n \n \tANGLE ON YOUNG COLE, wide eyed, watching... \n","\tCOLE heads for the front door, but there's an AGENT there! COLE \n \tturns and limps madly toward the dining room, pushing his way \n \tthrough the crowd of amazed GUESTS. \n","\tSuddenly, COLE, catching the AGENTS by surprise, wrenches free, \n \tshoves them aside, and stumbles down the rest of the staircase. \n \n \tINT. FOYER/MASON MANSION \n","\t\tYou'd prefer that? ... James...you \n \t\tdon't really have a gun, do you. \n \n \t\t\t\tCOLE \n \t\t\t(cynical laugh)","\tCOLE pauses, stares, not understanding. Then, he opens the door. \n \n \tINT. CORRIDOR/COUNTY HOSPITAL \n \n \tStepping through the door, COLE finds himself in an ante-room","\tVery confused, COLE lets her drag him along the sidewalk, past \n \tONLOOKERS. She looks crazier than he does. \n \n \tANGLE ON THE CHEVY, making a sudden, urgent u-turn, almost","\t\tsince I got back from that... \"weird\" \n \t\twar we were in. You remember that? \n \t\t\t(pressing the pistol on Cole) \n \t\tHere, take it, man! You could still be","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\t\tJames! Your moustache! It's slipping. \n \n \tBut COLE isn't listening. He's looking around, mesmerized. \n \n \t\t\t\tCOLE"],["\tto the ground. COLE jumps down, turns, reaches up to her. \n \n \tShe lets herself down to him. Their eyes meet. He holds her in \n \this arms for a moment. Then, reluctantly, he puts her down.","\tCOLE'S eyes return to the walls. \n \n \tHeadlines: \"CLOCK TICKING! NO CURE YET!\" \n \n \t\t\t\tSCARFACE","\tCOLE and RAILLY clatter down the fire-escape, COLE in the lead. \n \tThey come to the end of the metal stairway. It's a long distance","\tCOLE gets the hint of menace in the message and submits to the \n \tlice inspection, only his eyes revealing his frustration. \n \n \tINT. HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY) \n","\tCOLE grabs RAILLY and pulls her into the alley and down it. \n \n \t\t\t\tCOLE \n \t\tThey're keeping an eye on me. \n \n \t\t\t\tRAILLY","his teeth while RAILLY hurries to the window and looks out. \n \n \tHER POV: A fire escape leads down into an alley. \n \n \tRAILLY turns just in time to see COLE shove WALLACE into the","\tJOSE, having heard this, steps back into the crowd as RAILLY \n \tgrabs COLE and pulls him toward the Security Check Points. \n \n \t\t\t\tCOLE \n \t\tI love you, Kathryn. Remember that.","\tCOLE sits on the lumpy bed in the dingy room, watching RAILLY \n \tpace back and forth like a mad woman. \n \n \t\t\t\tRAILLY \n \t\tOkay...you were standing there looking","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\tA PATIENT, close at hand, startles COLE, speaking into his ear. \n \n \t\t\t\tPATIENT \n \t\tPlace to go would be...Florida. The \n \t\tkeys are lovely this tine of year.","\tfurtively left and right, COLE on her heels. She's hidden her \n \tbruised eye behind sun glasses; he's holding a bloody \n \thandkerchief to his mouth. \n","\tCOLE hangs up the phone, looks around, catches a few stares. \n \tAverting his face, he heads for the Men's Room. \n \n \tINT. TICKET COUNTER - DAY \n","\tCOLE looks helpless, hesitant. She's in charge...for the moment. \n \n \tEXT. CLEARING/WOODS - AN HOUR LATER (AFTERNOON) \n","\tCOLE turns to his left. \n \n \tFour ORDERLIES are coming that way. \n \n \tCOLE'S trapped. A beat. He attacks the nearest man. BILLINGS. \n","\tCOLE sits up, alert, listening intently. \n \n \t\t\t\tCOMMERCIAL/RADIO (cont. o.s.) \n \t\tAre you at the end of your rope? Are \n \t\tyou dying to get away?","\tCOLE scans the walls for messages in the confusion of graffiti. \n \n \tRAILLY is considering her surroundings dubiously when, suddenly, \n \tCOLE pulls her toward the mouth of a dark and forbidding alley. \n","\tCOLE gives away nothing. He's in a box here. He has no choices. \n \tHe stares at the tapping pencil. \n \n \tINT. ART GALLERY - NIGHT \n","\tCOLE checks the grill anyway. \n \n \t\t\t\tJEFFREY \n \t\tSee? I toldja. And all the doors are \n \t\tlocked, too. They're protecting the","\tINT. STORAGE ROOM/MOVIE THEATER \n \n \tRAILLY and COLE are in a dimly lit cluttered storage room. She","\tCOLE turns to RAILLY, beside him on the bed, frightened and \n \thelpless, her jacket arranged to restrain her like a strait-jacket. \n \n \tCOLE'S instinct is to free her at once, but he controls his"],["\tThe ACTIVISTS are all exchanging puzzled looks. \n \n \t\t\t\tJEFFREY \n \t\tWhat...virus? \n \n \t\t\t\tDR. MASON","\t\t\t\tCOLE \n \t\tJeffrey Mason said it was my idea about \n \t\tthe virus. And suddenly, I wasn't \n \t\tsure. We talked when I was in the","\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\tWhat virus are we talking about, Dad? \n \n \t\t\t\tDR. MASON \n \t\tYou're insane, Jeffrey. \n \n \t\t\t\tJEFFREY","\t\tYou \"develop\" viruses and you're calling \n \t\tme insane? Typical. What does this \n \t\tvirus attack? Don't tell me, you sick \n \t\tfuck, it doesn't matter.","\t\t-- so they get there and they ask the guy \n \t\treal nice for some kind of i.d., and he gets \n \t\tagitated, starts screaming about viruses. \n \t\tTotally irrational, totally disoriented,","\t\t\tATTENTION!!! POLICE ARE WATCHING! \n \t\t\tIS THERE A VIRUS? IS THIS THE \n \t\t\tSOURCE? THREE BILLION DIE? \n","\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\" \n \n \t\t\t\tBOTANIST (o.s.) \n \t\tThis is from a magazine printed in late","\t\tdidn't do it. It was a mistake' \n \t\tSomeone else did it. The Army of The \n \t\tTwelve Monkeys are just dumb kids \n \t\tplaying revolutionaries. It was","\twall. One headline screams, \"VIRUS MUTATING!\" Another features \n \ta photo of an OLD MAN (DR. MASON, who we'll see again later on)","\t\tSeptember, 1995. The writer speculated \n \t\tthat this graffiti might be related to \n \t\tthe epidemic that by that time had \n \t\talready killed thirty million people","\t\tI just have to locate the virus in its \n \t\toriginal form before it mutates. So \n \t\tscientists can come back and study it \n \t\tand find a cure. So that those of us","\t\tmore. I don't have access to the virus. So, \n \t\tgo ahead -- torture me, but you can't extract \n \t\tanything of use to yourself. \n","\t\tScientist's own kid was one a the ones did it! \n \n \tRAILLY and COLE stare at the cabbie, stunned. \n \n \t\t\t\tWOMAN CABBlE","\t\tTHERE HE IS! HE'S CARRYING A DEADLY \n \t\tVIRUS! STOP HIM! \n","\t\tYou won't think I'm crazy next month. \n \t\tPeople are going to start dying. At \n \t\tfirst the papers will say it's some \n \t\tweird fever, some virus. Then they'll","\t\tAnd that's when I told you my father was \n \t\tthis famous virologist and you said, \"Hey, \n \t\the could make a germ and we could steal it!\" \n \n \t\t\t\tCOLE","\t\tIt's the next step. I checked out the \n \t\tBaltimore information, it was nothing. \n \t\tIt's Philadelphia, that's where they \n \t\tare, the ones who killed everyone.","\t\tGOT THAT? NOW -- WHAT FUCKING VIRUS \n \t\tHAVE YOU COME UP WITH, YOU DEMENTED \n \t\tFUCKING MANIAC? \n","\t\tworld-wide and was getting worse. He \n \t\tsays, certain people, unnamed, were \n \t\tquestioned, but what came of that is not \n \t\tknown. But it is a clue you should pursue. \n"],["\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \n \tof many stacked four high along both sides of a long dim \n \tcorridor. He blinks in the near dark, shaken, disoriented. \n","\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\t\tCole! James Cole! You escaped from a \n \t\tlocked room six years ago. \n \n \t\t\t\tCOLE \n \t\t1989. Six years for you. There's the","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\t\tJames, where did you grow up? Was it \n \t\taround here? Around Baltimore? \n \n \t\t\t\tCOLE \n \t\t\t(lost in thought) \n \t\tWhat? \n","\t\the refused 'n I kept thinking, I know \n \t\tthis guy. Then, just a few minutes ago, \n \t\tit came to me. It's Cole! James Cole.","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\t\tfreedom, sunshine, air you can breathe.\" \n \n \t\t\t\tRAILLY \n \t\t\t(smiling) \n \t\tCole. James Cole -- right? \n","\t\tYou've been in an institution, haven't \n \t\tyou, James? A hospital? \n \n \t\t\t\tCOLE \n \t\tI have to go. \n \n \t\t\t\tRAILLY","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\t\tI'd like to be clear about this. That \n \t\tman and the other one were...\"severely\" \n \t\tbeating us. James Cole didn't start \n \t\tit. In fact -- he saved me! \n","\tJOSE immediately rolls over and feigns sleep as SCARFACE, a \n \tmenacing guard with a jagged scar running down his cheek, looms \n \tclose to COLE's cage and unlocks it. \n","\tINT. CELL - ETERNAL NIGHT \n \n \tCOLE opens his eyes. Where is he? Silence as he examines the \n \ttiny cell. Bare cement walls. High ceiling. Same color and","\t\tNo, no. This is the past. This has \n \t\talready happened. Listen... \n \n \t\t\t\tRESIDENT #3 \n \t\tMr. Cole, you belong in 1995 -- that's","\tCOLE steps into it. \n \n \tINT. ELEVATOR/COUNTY HOSPITAL \n \n \tThe door closes, isolating COLE in the elevator. \n","\tCOLE gets the hint of menace in the message and submits to the \n \tlice inspection, only his eyes revealing his frustration. \n \n \tINT. HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY) \n","\tCOLE'S eyes return to the walls. \n \n \tHeadlines: \"CLOCK TICKING! NO CURE YET!\" \n \n \t\t\t\tSCARFACE","\tsteps into a tiny chamber, a kind of air lock. The heavy door \n \tclangs shut behind him. He's alone. COLE'S breath comes quicker \n \tnow as he sucks oxygen from the air tanks on his back. \n","\t\tCan you tell us the name of the prison \n \t\tyou've come from? \n \n \tCOLE doesn't answer. He's staring at the tapping pencil. \n \n \t\t\t\tDR. FLETCHER"],["\tCLOSE ON COLE, dozing fitfully, as the SOUNDS of SCREAMING BIRDS \n \tcontinue. Suddenly, he comes awake with a start...sees the movie \n \tfilling his field of vision. \n","\tANGLE ON COLE, sweating, BREATHING HEAVILY, sprawled on one side \n \tof the double bed, sound asleep. \n \n \tINT. CONCOURSE/AIRPORT - DAY (THE DREAM) \n","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\t\the refused 'n I kept thinking, I know \n \t\tthis guy. Then, just a few minutes ago, \n \t\tit came to me. It's Cole! James Cole.","\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \n \tof many stacked four high along both sides of a long dim \n \tcorridor. He blinks in the near dark, shaken, disoriented. \n","\t\t\t\tRAILLY \n \t\tWe dream about what's important in our lives. \n \t\tAnd I seem to have become pretty important \n \t\tin yours. What was the dream about? \n \n \t\t\t\tCOLE","\t\"DREAMLIKE\" THAN HIS DREAM. \n \n \tFlashlights glare. In the half-light, COLE sees spooky figures, \n \tGUARDS, moving among the locked bunk/cages. \n","\t\tDoes that disturb you, James? Thinking \n \t\tabout that little boy in the well? \n \n \t\t\t\tCOLE \n \t\tWhen I was a kid I identified with that","\tCOLE comes awake with a start. The room is dark now, except... \n \n \ta slide is being projected on a torn screen. It's a picture of a","\t\tJames! Your moustache! It's slipping. \n \n \tBut COLE isn't listening. He's looking around, mesmerized. \n \n \t\t\t\tCOLE","\t\tCole. Right now, we want to know \n \t\teverything that you saw. \n \n \tINT. ENGINEERING OFFICE - AN HOUR LATER (ETERNAL NIGHT) \n","\tEverything goes white! \n \n \tINT. DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT \n \n \tCOLE'S eyes blink awake, blinded by a flashlight. \n","\tCOLE'S eyes return to the walls. \n \n \tHeadlines: \"CLOCK TICKING! NO CURE YET!\" \n \n \t\t\t\tSCARFACE","\t\tare?\" You do remember that, don't you? \n \n \t\t\t\tCOLE \n \t\tBulishit! You're fucking with my head! \n \n \t\t\t\tJEFFREY","\t\tJames, where did you grow up? Was it \n \t\taround here? Around Baltimore? \n \n \t\t\t\tCOLE \n \t\t\t(lost in thought) \n \t\tWhat? \n","\tINT. SECURITY CHECK POINT/TERMINAL - DAY \n \n \tA young boy of nine passes through the magnetic arch grinning. \n \tYOUNG COLE! Exactly as he appears in the dream! \n","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \n \tthat tapping before -- in the future! It disorients him. \n \n \t\t\t\tDR. RAILLY","\t\tYou've been in an institution, haven't \n \t\tyou, James? A hospital? \n \n \t\t\t\tCOLE \n \t\tI have to go. \n \n \t\t\t\tRAILLY","\tTHE DREAM AGAIN! But at an earlier moment. YOUNG COLE, flanked \n \tby his PARENTS, whose faces are out of view, is watching a PLANE"],["\t\tCole! James Cole! You escaped from a \n \t\tlocked room six years ago. \n \n \t\t\t\tCOLE \n \t\t1989. Six years for you. There's the","\t\tNo, no. This is the past. This has \n \t\talready happened. Listen... \n \n \t\t\t\tRESIDENT #3 \n \t\tMr. Cole, you belong in 1995 -- that's","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\t\tNo, 1995 is the past. \n \n \t\t\t\tRAILLY \n \t\t1995 is the future, James. This is 1989. \n \n \tCOLE looks stunned. \n","\t\tthe present, is that it? \n \n \t\t\t\tCOLE \n \t\tNo, 1995 is the past, too. Look... \n \n \t\t\t\tDR. FLETCHER","\t\tJames! We have to go back. Those men... \n \n \tToo late. While COLE turns and stares at her, uncomprehending, \n \tthe TWO THUGS are approaching. \n","\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \n \tthat tapping before -- in the future! It disorients him. \n \n \t\t\t\tDR. RAILLY","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\tCOLE pauses, stares, not understanding. Then, he opens the door. \n \n \tINT. CORRIDOR/COUNTY HOSPITAL \n \n \tStepping through the door, COLE finds himself in an ante-room","\t\t\t\tCOLE \n \t\tCome an. We're running out of time. \n \t\tYou can't help him. \n \n \tAs COLE yanks her roughly away, she looks back, sees the FIRST","\t\tTwelve Monkeys, honey. Guess you folks \n \t\tdidn't turn on your radio this morning. \n \n \tCOLE and RAILLY exchange a quick look. \n \n \t\t\t\tWOMAN CABBIE","\t\tI did him a favor. Now come on. \n \n \tCOLE, pulling her again, sees more \"12 MONKEYS\" on the wall. \n \n \t\t\t\tRAILLY","\t\t\t\tFRANKI \n \t\t\t(unlocking the door) \n \t\tJames Cole. That's everything we got. None \n \t\tof the James Coles on the computer match him.","\t\the refused 'n I kept thinking, I know \n \t\tthis guy. Then, just a few minutes ago, \n \t\tit came to me. It's Cole! James Cole.","\t\tAre you going to save us, Mr. Cole? \n \n \t\t\t\tCOLE \n \t\tSave you? How can I save you? It \n \t\talready happened! I can't save you. I'm","\t\tsince I got back from that... \"weird\" \n \t\twar we were in. You remember that? \n \t\t\t(pressing the pistol on Cole) \n \t\tHere, take it, man! You could still be","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\t\tIt was supposed to be 1995. \n \n \t\t\t\tRASPY VOICE (o.s.) \n \t\tScience isn't an exact science with","\tCOLE finds the down button, is about to push it when the elevator \n \tsprings to life. The numbers on the indicator over the door \n \tstart to rise. 7...8...9. \n"],["\t\tCole! James Cole! You escaped from a \n \t\tlocked room six years ago. \n \n \t\t\t\tCOLE \n \t\t1989. Six years for you. There's the","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\t\tNo, no. This is the past. This has \n \t\talready happened. Listen... \n \n \t\t\t\tRESIDENT #3 \n \t\tMr. Cole, you belong in 1995 -- that's","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\t\tJames! We have to go back. Those men... \n \n \tToo late. While COLE turns and stares at her, uncomprehending, \n \tthe TWO THUGS are approaching. \n","\t\the refused 'n I kept thinking, I know \n \t\tthis guy. Then, just a few minutes ago, \n \t\tit came to me. It's Cole! James Cole.","\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \n \tthat tapping before -- in the future! It disorients him. \n \n \t\t\t\tDR. RAILLY","\tCOLE pauses, stares, not understanding. Then, he opens the door. \n \n \tINT. CORRIDOR/COUNTY HOSPITAL \n \n \tStepping through the door, COLE finds himself in an ante-room","\t\tthe present, is that it? \n \n \t\t\t\tCOLE \n \t\tNo, 1995 is the past, too. Look... \n \n \t\t\t\tDR. FLETCHER","\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\t\tNo, 1995 is the past. \n \n \t\t\t\tRAILLY \n \t\t1995 is the future, James. This is 1989. \n \n \tCOLE looks stunned. \n","\tCOLE sees the driveway ahead in the moonlight. Steering madly, \n \the plows through shrubs and gardens heading for the driveway. \n \n \tEXT. MASON MANSION - NIGHT \n","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\t\tsince I got back from that... \"weird\" \n \t\twar we were in. You remember that? \n \t\t\t(pressing the pistol on Cole) \n \t\tHere, take it, man! You could still be","\t\tI'd like to be clear about this. That \n \t\tman and the other one were...\"severely\" \n \t\tbeating us. James Cole didn't start \n \t\tit. In fact -- he saved me! \n","\tZipping his fly hastily, the SECOND THUG turns to deal with COLE \n \tbut COLE attacks him....rocking him again and again with savage \n \tblows that come one after another with lightning speed. The SECOND","\tThe gun FIRES wildly as COLE staggers forward with the FIRST THUG \n \tin his arms and smashes the man into the brick wail behind him. \n \tThe FIRST THUG goes down in a heap, dropping the pistol. \n","\t\t\t\tFRANKI \n \t\t\t(unlocking the door) \n \t\tJames Cole. That's everything we got. None \n \t\tof the James Coles on the computer match him.","\t\t\t\tCOLE \n \t\tCome an. We're running out of time. \n \t\tYou can't help him. \n \n \tAs COLE yanks her roughly away, she looks back, sees the FIRST","\tsteps into a tiny chamber, a kind of air lock. The heavy door \n \tclangs shut behind him. He's alone. COLE'S breath comes quicker \n \tnow as he sucks oxygen from the air tanks on his back. \n"],["\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\t\"The Army of the Twelve Monkeys -- \n \t\tthey're the ones who are going to do \n \t\tit. I can't do anything more. The \n \t\tpolice are watching me.\" \n","\t\tbecame this underground...\"army\" \n \n \t\t\t\tCOLE \n \t\tThe Army of The Twelve Monkeys. \n \n \t\t\t\tBEN \n \t\tThey started planning a \"Human Hunt\". \n","\t\tArmy of the Twelve Monkeys? They paint \n \t\tthis, stencil it, on buildings, all \n \t\tover the place. \n \n \tCOLE waves a sketch of the dancing monkey logo we saw earlier. \n","\t\t\t\tCOLE \n \t\tI, uh, I'm looking for the, ah, the \n \t\tArmy of the Twelve Monkeys. \n","\t\tcondemning what they're calling the \n \t\t\"loose canon\" activities of Jeffrey \n \t\tMason and his Army of the Twelve \n \t\tMonkeys.","\t\tWALLS? \n \t\t\t(moves to Fale, jabs him with a finger) \n \t\tYou think I told her about the Army of \n \t\tthe 12 Monkeys? Impossible! Know why,","\tcounter, bigger than COLE, physically imposing, menacing. \n \n \t\t\t\tTEDDY \n \t\tWe don't know anything about any \"Army \n \t\tof the Twelve Monkeys\", so why don't","\t\tfor the Army of the Twelve Monkeys... \n \n \tLooking at her laughing face, COLE is struck with horror as he \n \trealizes the truth! He starts to recite... \n \n \t\t\t\tCOLE","\t\tsee, she knew I was going to lead the \n \t\tArmy of the Twelve Monkeys into the \n \t\tpages of history before it ever even \n \t\toccurred to me. She knows everything","\t\tdidn't do it. It was a mistake' \n \t\tSomeone else did it. The Army of The \n \t\tTwelve Monkeys are just dumb kids \n \t\tplaying revolutionaries. It was","\tstenciled graffiti...the logo of The Army of the 12 Monkeys. \n \n \t\t\t\tENGINEER \n \t\tWhat about it, Cole? \n \n \t\t\t\tZOOLOGIST","\t\tMonkeys. Twelve of them. \n \n \tJEFFREY frowns, turns, considers COLE. Then, suddenly, JEFFREY \n \trushes to COLE and embraces him. \n","\t\tyour Army-of-the-Twelve-Monkeys factor. \n \n \t\t\t\tRAILLY \n \t\tWhat? What did you say? \n \n \t\t\t\tWOMAN CABBIE","\tinsignias. We can just see TWELVE MONKEYS holding hands in a circle. \n \n \t\t\t\tCOLE \n \t\tThe Twelve Monkeys!!! They're here. \n \t\t\t(looks around)","\t\tLO AND BEHOLD, I'M FRANKENSTEIN AND THE \n \t\t\"ARMY OF THE TWELVE MONKEYS\" BECOMES \n \t\tSOME SORT OF SINISTER REVOLUTIONARY","\t\tfind out the \"big info\"?...Army of the \n \t\tTwelve Monkeys...where the virus was \n \t\tprior to mutation? \n \n \t\t\t\tCOLE","\t\t\t\tBRUNETTE/P. A. SYSTEM \n \t\tThe Freedom For Animals Headquarters \n \t\tnow boarding on Second Avenue. The \n \t\tArmy of the Twelve Monkeys... \n","\t\tyou're gonna live a long, happy life. \n \t\tBut if you other guys exist and you're \n \t\tpicking this up -- forget about the \n \t\tArmy of The Twelve Monkeys -- they","\tANGLE ON COLE, not listening, staring triumphantly! He's found \n \tanother partially obscured stencil of THE TWELVE MONKEYS! \n \n \tBut just then, a raspy VOICE startles COLE. \n"],["\t\tout the human race? It was my idea? \n \n \t\t\t\tRAILLY \n \t\tNobody is going to wipe out the human \n \t\trace. Not you or Jeffrey or anybody","\t\tAnd you said to me, \"Wouldn't it be \n \t\tgreat if there was a germ or a virus \n \t\tthat could wipe out mankind and leave \n \t\tthe plants and animals just as they","\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\tThree other activists, GOINES, ICHIOKA, and BRUHNS, stagger out of \n \tthe darkness behind JEFFREY, lugging a huge, squirming GARBAGE BAG. \n","\t\tWho chattered? Goines? Weller? \n \n \t\t\t\tCOLE \n \t\tI just need to have access to the pure \n \t\tvirus, that's all! For the future! \n","\t\the had come from the future, that he was \n \t\tlooking for a pure germ that would \n \t\tultimately wipe mankind off the face of \n \t\tthe earth in the year... 1995! \n","\t\tthat Homo Sapiens' motto, \"Let's go \n \t\tshopping!\" is the cry of the true lunatic? \n \n \tDR. PETERS smiles self-importantly at RAILLY as an elderly","\t\t\t(indicating Jeffrey to the others) \n \t\tThis is your leader, a certifiable lunatic \n \t\twho told his former psychiatrist all his \n \t\tplans for God knows what whacko irresponsible","\t\tYou won't think I'm crazy next month. \n \t\tPeople are going to start dying. At \n \t\tfirst the papers will say it's some \n \t\tweird fever, some virus. Then they'll","\t\tdire prognostications about a pestilence \n \t\twhich he predicted would wipe out humanity \n \t\tin approximately 8OO years. Deranged and \n \t\thysterical, the man raped a young woman of the","\tserious? Is he crazy? Doesn't matter -- he's charismatic. \n \n \t\t\t\tJEFFREY (cont.) \n \t\tThen, using the computer model, they \n \t\tgenerated every thought I could possibly","\t\tSo then he goes into this incredible riff \n \t\tabout how his shrink, like, replicated \n \t\this brain while he was in the nut house. \n \t\tTurned it into a computer. \n","\t\tinstitution, and it was all...fuzzy. \n \t\tThe drugs and stuff. \n \t\t\t(horrified) \n \t\tYou think maybe I'm the one who wiped","\t\t\t\tRAILLY \n \t\tFor God sakes, Owen, listen to me -- he \n \t\tknew about the boy in Fresno and he says \n \t\tthree billion people are going to die! \n","\t\tcan sell you disinfectants and soap!\" \n \t\tNow, he's crazy, right? Hey, you \n \t\tbelieve in germs, don't you? \n \n \t\t\t\tCOLE","\t\tfor it! Maybe people deserved to be \n \t\twiped out! \n \n \t\t\t\tJEFFREY \n \t\t\t(startled, turning)","\t\tI attended a lecture once...Apocalyptic \n \t\tvisions. \n \n \tWe see Dr. Mason's ASSISTANT now. It's DR. PETERS, the red-","\t\tAnd that's when I told you my father was \n \t\tthis famous virologist and you said, \"Hey, \n \t\the could make a germ and we could steal it!\" \n \n \t\t\t\tCOLE","\t\tthat I'm one of the three billion \n \t\tpeople who are going to die...soon. \n \n \tCOLE stands, moves close to her. \n \n \t\t\t\tCOLE","\t\tOkay, that's Stage One. In Stage Two, \n \t\tMonkey Four is over here... \n \n \tA loud GROAN from the bag distracts the others. \n \n \t\t\t\tGOINES"],["\t\tDoes that disturb you, James? Thinking \n \t\tabout that little boy in the well? \n \n \t\t\t\tCOLE \n \t\tWhen I was a kid I identified with that","\tTHUG'S sightless eyes, wide open...staring blankly. \n \n \t\t\t\tRAILLY \n \t\tOh, Jesus, James! You killed him! \n \n \t\t\t\tCOLE","\tINT. SECURITY CHECK POINT/TERMINAL - DAY \n \n \tA young boy of nine passes through the magnetic arch grinning. \n \tYOUNG COLE! Exactly as he appears in the dream! \n","\tYOUNG COLE'S POV: the BLONDE MAN, shuddering, staggering, falling. \n \n \tANGLE ON YOUNG COLE, stunned, as his PARENTS try to shield him. \n","\tFADE IN: \n \n \tINT. CONCOURSE/AIRPORT TERMINAL - BAY \n \n \tCLOSE ON A FACE. A nine year old boy, YOUNG COLE, his eyes wide","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\t\tdidn't locate him and they don't know \n \t\thow much longer he can last, that's \n \t\tassuming the boy is still alive. \n \n \tA spotlight hits the car and COLE hears the sound of the","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\tYOUNG COLE'S POV: the PARAMEDICS, exchanging glances, shrugging \n \thelplessly. It's too late. The BLONDE MAN is dead. \n","\tPICTURE of the kid being carried off on the stretcher. SUDDENLY, \n \tSHOTS RING OUT. COLE goes down. Hit in the leg! \n","\tYOUNG COLE turns back toward the Security Check Point just as \n \tTRAVELERS scatter madly, some diving to the floor, others \n \trunning. A TERRIFIED TRAVELER, hitting the floor close by, looks","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\t\t\t\tCOLE \n \t\tCome an. We're running out of time. \n \t\tYou can't help him. \n \n \tAs COLE yanks her roughly away, she looks back, sees the FIRST","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\twith blood. \n \n \t\t\t\tRAILLY \n \t\tOh, my God, James. Did you kill him? \n \n \tCOLE shakes his head \"no\" as blood oozes from his mouth. \n","\tANGLE ON COLE, not listening, staring triumphantly! He's found \n \tanother partially obscured stencil of THE TWELVE MONKEYS! \n \n \tBut just then, a raspy VOICE startles COLE. \n","\t\tAnd in Fresno, California... \n \n \t\t\t\tRAILLY \n \t\t\t(glances sadly toward the TV) \n \t\tHe's dead, isn't he -- that little boy? \n","\tEven as she responds, her eyes continue to scan the concourse. \n \n \tANGLE ON YOUNG COLE, being hurried toward the lobby by his PARENTS","\tRAILLY. Even now, she continues to look around almost frantically. \n \n \tSuddenly, her gaze falls on YOUNG COLE and she reacts...she's \n \tfound what she's looking for! \n","\t\tJames! We have to go back. Those men... \n \n \tToo late. While COLE turns and stares at her, uncomprehending, \n \tthe TWO THUGS are approaching. \n"],["\t\t\t\tCOLE \n \t\tJeffrey Mason said it was my idea about \n \t\tthe virus. And suddenly, I wasn't \n \t\tsure. We talked when I was in the","\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\tWhat virus are we talking about, Dad? \n \n \t\t\t\tDR. MASON \n \t\tYou're insane, Jeffrey. \n \n \t\t\t\tJEFFREY","\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\" \n \n \t\t\t\tBOTANIST (o.s.) \n \t\tThis is from a magazine printed in late","\tThe ACTIVISTS are all exchanging puzzled looks. \n \n \t\t\t\tJEFFREY \n \t\tWhat...virus? \n \n \t\t\t\tDR. MASON","\t\tWho chattered? Goines? Weller? \n \n \t\t\t\tCOLE \n \t\tI just need to have access to the pure \n \t\tvirus, that's all! For the future! \n","\t\tYou \"develop\" viruses and you're calling \n \t\tme insane? Typical. What does this \n \t\tvirus attack? Don't tell me, you sick \n \t\tfuck, it doesn't matter.","\t\tScientist's own kid was one a the ones did it! \n \n \tRAILLY and COLE stare at the cabbie, stunned. \n \n \t\t\t\tWOMAN CABBlE","\t\tI just have to locate the virus in its \n \t\toriginal form before it mutates. So \n \t\tscientists can come back and study it \n \t\tand find a cure. So that those of us","\twall. One headline screams, \"VIRUS MUTATING!\" Another features \n \ta photo of an OLD MAN (DR. MASON, who we'll see again later on)","\t\tTHERE HE IS! HE'S CARRYING A DEADLY \n \t\tVIRUS! STOP HIM! \n","\t\tAnd that's when I told you my father was \n \t\tthis famous virologist and you said, \"Hey, \n \t\the could make a germ and we could steal it!\" \n \n \t\t\t\tCOLE","\t\tSpit it out... you went to the home of \n \t\ta famous virologist... \n \n \t\t\t\tCOLE \n \t\t\t(weakly) \n \t\tYou...don't...exist! You're in","\t\t-- so they get there and they ask the guy \n \t\treal nice for some kind of i.d., and he gets \n \t\tagitated, starts screaming about viruses. \n \t\tTotally irrational, totally disoriented,","\t\t\t\tCOLE \n \t\tThis part isn't about the virus, is it? \n \n \t\t\t\tJOSE \n \t\tHey, man... \n \n \t\t\t\tCOLE","\t\tGOT THAT? NOW -- WHAT FUCKING VIRUS \n \t\tHAVE YOU COME UP WITH, YOU DEMENTED \n \t\tFUCKING MANIAC? \n","\t\tAnd he told you then his father was a \n \t\tfamous virologist. \n \n \tCOLE is absorbed in the map, his finger tracing \"Outerbridge Road\". \n \n \t\t\t\tCOLE","\t\tdidn't do it. It was a mistake' \n \t\tSomeone else did it. The Army of The \n \t\tTwelve Monkeys are just dumb kids \n \t\tplaying revolutionaries. It was","\t\t\t(to the others) \n \t\tHave I ever \"developed\" a virus? Do I \n \t\tput helpless animals in cages and measure \n \t\ttheir reactions to electrical stimuli?","\t\tmore. I don't have access to the virus. So, \n \t\tgo ahead -- torture me, but you can't extract \n \t\tanything of use to yourself. \n"],["\t\t1989, they're probably not active yet. \n \t\tThat makes sense! Okay. Listen to me, \n \t\tthree billion people died in 1995. \n \t\tThree billion, got that? Almost","\t\the had come from the future, that he was \n \t\tlooking for a pure germ that would \n \t\tultimately wipe mankind off the face of \n \t\tthe earth in the year... 1995! \n","\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\tYou won't think I'm crazy next month. \n \t\tPeople are going to start dying. At \n \t\tfirst the papers will say it's some \n \t\tweird fever, some virus. Then they'll","\twall. One headline screams, \"VIRUS MUTATING!\" Another features \n \ta photo of an OLD MAN (DR. MASON, who we'll see again later on)","\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\" \n \n \t\t\t\tBOTANIST (o.s.) \n \t\tThis is from a magazine printed in late","\t\tdire prognostications about a pestilence \n \t\twhich he predicted would wipe out humanity \n \t\tin approximately 8OO years. Deranged and \n \t\thysterical, the man raped a young woman of the","\t\tTHERE HE IS! HE'S CARRYING A DEADLY \n \t\tVIRUS! STOP HIM! \n","\t\tthe whole population. Of the world! \n \t\tOnly about one percent survived. \n \n \tDOCTORS exchange knowing looks. This is an old story, apparently. \n \n \t\t\t\tRESIDENT #2","\t\tSo that...??? \n \n \t\t\t\tCOLE \n \t\tUh, so that a vaccine can be developed \n \t\tthat will, uh, allow mankind to reclaim \n \t\tthe surface of the earth. \n","\t\tAnd you said to me, \"Wouldn't it be \n \t\tgreat if there was a germ or a virus \n \t\tthat could wipe out mankind and leave \n \t\tthe plants and animals just as they","\t\timpotence to do anything about it. \n \n \tINT. RECEPTION ROOM - AN HOUR LATER (NIGHT) \n \n \tA stack of new books. THE DOOMSDAY SYNDROME, Apocalyptic","\t\tSeptember, 1995. The writer speculated \n \t\tthat this graffiti might be related to \n \t\tthe epidemic that by that time had \n \t\talready killed thirty million people","\t\tI just have to locate the virus in its \n \t\toriginal form before it mutates. So \n \t\tscientists can come back and study it \n \t\tand find a cure. So that those of us","\tputs it into one of his specimen tubes. \n \n \tThen, he shines his light all around the once elegant store. There's \n \tnothing but aisle after aisle of moldering consumer goods. \n","\t\teverybody started dying. \n \n \tRAILLY glances around nervously. \n \n \tRAILLY'S POV: two UNIFORMED POLICEMEN, strolling through the","\t\tWhat virus are we talking about, Dad? \n \n \t\t\t\tDR. MASON \n \t\tYou're insane, Jeffrey. \n \n \t\t\t\tJEFFREY","\t\tof great pestilence, men have often \n \t\tbelieved the prophecies of crazed \n \t\tfanatics, that the end of the world was \n \t\tcome.\" Obviously, this plague/doomsday","\tin a less elaborate, less bulky decontamination outfit draws \n \tblood from COLE'S arm with an old-fashioned hypodermic needle. \n \n \tCOLE glances toward a single, nearly opaque \"window\" of thick","\tCOLE'S eyes return to the walls. \n \n \tHeadlines: \"CLOCK TICKING! NO CURE YET!\" \n \n \t\t\t\tSCARFACE"],["\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\tWhat virus are we talking about, Dad? \n \n \t\t\t\tDR. MASON \n \t\tYou're insane, Jeffrey. \n \n \t\t\t\tJEFFREY","\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\" \n \n \t\t\t\tBOTANIST (o.s.) \n \t\tThis is from a magazine printed in late","\tThe ACTIVISTS are all exchanging puzzled looks. \n \n \t\t\t\tJEFFREY \n \t\tWhat...virus? \n \n \t\t\t\tDR. MASON","\t\t\t\tCOLE \n \t\tJeffrey Mason said it was my idea about \n \t\tthe virus. And suddenly, I wasn't \n \t\tsure. We talked when I was in the","\t\tTHERE HE IS! HE'S CARRYING A DEADLY \n \t\tVIRUS! STOP HIM! \n","\t\tI just have to locate the virus in its \n \t\toriginal form before it mutates. So \n \t\tscientists can come back and study it \n \t\tand find a cure. So that those of us","\twall. One headline screams, \"VIRUS MUTATING!\" Another features \n \ta photo of an OLD MAN (DR. MASON, who we'll see again later on)","\t\t-- so they get there and they ask the guy \n \t\treal nice for some kind of i.d., and he gets \n \t\tagitated, starts screaming about viruses. \n \t\tTotally irrational, totally disoriented,","\t\tSpit it out... you went to the home of \n \t\ta famous virologist... \n \n \t\t\t\tCOLE \n \t\t\t(weakly) \n \t\tYou...don't...exist! You're in","\t\tYou won't think I'm crazy next month. \n \t\tPeople are going to start dying. At \n \t\tfirst the papers will say it's some \n \t\tweird fever, some virus. Then they'll","\t\t\t\tCOLE \n \t\tThis part isn't about the virus, is it? \n \n \t\t\t\tJOSE \n \t\tHey, man... \n \n \t\t\t\tCOLE","\t\tSo that...??? \n \n \t\t\t\tCOLE \n \t\tUh, so that a vaccine can be developed \n \t\tthat will, uh, allow mankind to reclaim \n \t\tthe surface of the earth. \n","\t\t\tATTENTION!!! POLICE ARE WATCHING! \n \t\t\tIS THERE A VIRUS? IS THIS THE \n \t\t\tSOURCE? THREE BILLION DIE? \n","\t\tdidn't do it. It was a mistake' \n \t\tSomeone else did it. The Army of The \n \t\tTwelve Monkeys are just dumb kids \n \t\tplaying revolutionaries. It was","\t\tAnd that's when I told you my father was \n \t\tthis famous virologist and you said, \"Hey, \n \t\the could make a germ and we could steal it!\" \n \n \t\t\t\tCOLE","\t\tAnd he told you then his father was a \n \t\tfamous virologist. \n \n \tCOLE is absorbed in the map, his finger tracing \"Outerbridge Road\". \n \n \t\t\t\tCOLE","\t\tYou \"develop\" viruses and you're calling \n \t\tme insane? Typical. What does this \n \t\tvirus attack? Don't tell me, you sick \n \t\tfuck, it doesn't matter.","\t\tScientist's own kid was one a the ones did it! \n \n \tRAILLY and COLE stare at the cabbie, stunned. \n \n \t\t\t\tWOMAN CABBlE","\t\tWho chattered? Goines? Weller? \n \n \t\t\t\tCOLE \n \t\tI just need to have access to the pure \n \t\tvirus, that's all! For the future! \n"],["\t\tCole! James Cole! You escaped from a \n \t\tlocked room six years ago. \n \n \t\t\t\tCOLE \n \t\t1989. Six years for you. There's the","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\t\tNo, no. This is the past. This has \n \t\talready happened. Listen... \n \n \t\t\t\tRESIDENT #3 \n \t\tMr. Cole, you belong in 1995 -- that's","\t\tNo, 1995 is the past. \n \n \t\t\t\tRAILLY \n \t\t1995 is the future, James. This is 1989. \n \n \tCOLE looks stunned. \n","\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\t\tthe present, is that it? \n \n \t\t\t\tCOLE \n \t\tNo, 1995 is the past, too. Look... \n \n \t\t\t\tDR. FLETCHER","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\t\tthe future, James. Do you think you're \n \t\tliving in the future? \n \n \t\t\t\tCOLE \n \t\t\t(slightly confused)","\t\t\t\tCOLE \n \t\tI need to go. \n \n \t\t\t\tRAILLY \n \t\tDo you know why you're here, James. \n \n \t\t\t\tCOLE","\t\tDo you know what year it is? \n \n \t\t\t\tCOLE \n \t\tWhat year is it? \n \n \t\t\t\tRAILLY \n \t\tWhat year do you think it is? \n","\t\tJames! We have to go back. Those men... \n \n \tToo late. While COLE turns and stares at her, uncomprehending, \n \tthe TWO THUGS are approaching. \n","\t\the refused 'n I kept thinking, I know \n \t\tthis guy. Then, just a few minutes ago, \n \t\tit came to me. It's Cole! James Cole.","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \n \tof many stacked four high along both sides of a long dim \n \tcorridor. He blinks in the near dark, shaken, disoriented. \n","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \n \tthat tapping before -- in the future! It disorients him. \n \n \t\t\t\tDR. RAILLY","\t\t\t\tFRANKI \n \t\t\t(unlocking the door) \n \t\tJames Cole. That's everything we got. None \n \t\tof the James Coles on the computer match him.","\t\t\t\tCOLE \n \t\tCome an. We're running out of time. \n \t\tYou can't help him. \n \n \tAs COLE yanks her roughly away, she looks back, sees the FIRST","\tsteps into a tiny chamber, a kind of air lock. The heavy door \n \tclangs shut behind him. He's alone. COLE'S breath comes quicker \n \tnow as he sucks oxygen from the air tanks on his back. \n","\t\tAre you going to save us, Mr. Cole? \n \n \t\t\t\tCOLE \n \t\tSave you? How can I save you? It \n \t\talready happened! I can't save you. I'm"],["\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\t\t\t\tCOLE \n \t\tI need to go. \n \n \t\t\t\tRAILLY \n \t\tDo you know why you're here, James. \n \n \t\t\t\tCOLE","\t\tCole! James Cole! You escaped from a \n \t\tlocked room six years ago. \n \n \t\t\t\tCOLE \n \t\t1989. Six years for you. There's the","\t\tNo, no. This is the past. This has \n \t\talready happened. Listen... \n \n \t\t\t\tRESIDENT #3 \n \t\tMr. Cole, you belong in 1995 -- that's","\t\tAuthorities confirm that Dr. Railly has \n \t\tbeen abducted by escaped mental patient, \n \t\tJames Cole. The two are believed to be","\t\the refused 'n I kept thinking, I know \n \t\tthis guy. Then, just a few minutes ago, \n \t\tit came to me. It's Cole! James Cole.","\t\tI'd like to be clear about this. That \n \t\tman and the other one were...\"severely\" \n \t\tbeating us. James Cole didn't start \n \t\tit. In fact -- he saved me! \n","\t\tAre you going to save us, Mr. Cole? \n \n \t\t\t\tCOLE \n \t\tSave you? How can I save you? It \n \t\talready happened! I can't save you. I'm","\t\tJames! We have to go back. Those men... \n \n \tToo late. While COLE turns and stares at her, uncomprehending, \n \tthe TWO THUGS are approaching. \n","\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \n \tthat tapping before -- in the future! It disorients him. \n \n \t\t\t\tDR. RAILLY","\t\tI did him a favor. Now come on. \n \n \tCOLE, pulling her again, sees more \"12 MONKEYS\" on the wall. \n \n \t\t\t\tRAILLY","\t\t\t\tCOLE \n \t\tCome an. We're running out of time. \n \t\tYou can't help him. \n \n \tAs COLE yanks her roughly away, she looks back, sees the FIRST","\t\tJames, come on! We have to get out of here! \n \n \tCOLE looks from the wall to the can rolling on the sidewalk, \n \tthen back to the wall where RAILLY has sprayed the huge words: \n","\t\tHave you seen James Cole? The man...? \n \n \t\t\t\tLOUIE \n \t\tThey're watchin' you. Takin' pictures. \n \n \tRAILLY follows his look. \n","\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\t\tSo that...??? \n \n \t\t\t\tCOLE \n \t\tUh, so that a vaccine can be developed \n \t\tthat will, uh, allow mankind to reclaim \n \t\tthe surface of the earth. \n","\t\tI have to do this, James. You're very \n \t\tconfused. \n \n \tRAILLY pushes the needle into COLE'S skin. \n","\t\tsince I got back from that... \"weird\" \n \t\twar we were in. You remember that? \n \t\t\t(pressing the pistol on Cole) \n \t\tHere, take it, man! You could still be","\t\t\t\tCOLE \n \t\tNo, sir! I just want to do my part. \n \t\tTo get us back on top...in charge of \n \t\tthe planet. And I have the experience,","\t\tthe future, James. Do you think you're \n \t\tliving in the future? \n \n \t\t\t\tCOLE \n \t\t\t(slightly confused)"],["\tANGLE ON COLE, sweating, BREATHING HEAVILY, sprawled on one side \n \tof the double bed, sound asleep. \n \n \tINT. CONCOURSE/AIRPORT - DAY (THE DREAM) \n","\tCLOSE ON COLE, dozing fitfully, as the SOUNDS of SCREAMING BIRDS \n \tcontinue. Suddenly, he comes awake with a start...sees the movie \n \tfilling his field of vision. \n","\t\t\t\tRAILLY \n \t\tWe dream about what's important in our lives. \n \t\tAnd I seem to have become pretty important \n \t\tin yours. What was the dream about? \n \n \t\t\t\tCOLE","\tCOLE comes awake with a start. The room is dark now, except... \n \n \ta slide is being projected on a torn screen. It's a picture of a","\tTHE DREAM AGAIN! But at an earlier moment. YOUNG COLE, flanked \n \tby his PARENTS, whose faces are out of view, is watching a PLANE","\tINT. AIRPORT CONCOURSE/THE DREAM \n \n \tYOUNG COLE stares, eyes wide. \n \n \tHe sees the BRUNETTE, cradling the head of the BLONDE MAN as he","\t\"DREAMLIKE\" THAN HIS DREAM. \n \n \tFlashlights glare. In the half-light, COLE sees spooky figures, \n \tGUARDS, moving among the locked bunk/cages. \n","\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \n \tof many stacked four high along both sides of a long dim \n \tcorridor. He blinks in the near dark, shaken, disoriented. \n","\tjust as the door opens and an ORDERLY probes the dark room with \n \tthe blade of his flashlight. \n \n \tANGLE ON COLE, in bed, feigning sleep. \n","\tANGLE ON COLE, following RAILLY'S look, seeing MR. PONYTAIL, THE \n \tMAN FROM HIS DREAM! \n \n \tANGLE ON DR. PETERS, frightened, glancing back, walking faster. \n","\tINT. AIRPORT CONCOURSE - DAY (THE DREAM) \n \n \tMR. PONYTAIL races past the startled YOUNG COLE. \n \n \t\t\t\tMR. PONYTAIL","\tCOLE turns to RAILLY, beside him on the bed, frightened and \n \thelpless, her jacket arranged to restrain her like a strait-jacket. \n \n \tCOLE'S instinct is to free her at once, but he controls his","\tEverything goes white! \n \n \tINT. DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT \n \n \tCOLE'S eyes blink awake, blinded by a flashlight. \n","\t\tCole. Right now, we want to know \n \t\teverything that you saw. \n \n \tINT. ENGINEERING OFFICE - AN HOUR LATER (ETERNAL NIGHT) \n","\tStruggling to stay awake COLE sees, blurrily, the MICROBIOLOGIST \n \tstaring at COLE intently. For one moment, the face belongs to \n \tDR. FLETCHER! \n","\tStartled, COLE freezes, then ignores the RASPY VOICE and \n \tcontinues his feverish struggle. \n \n \t\t\t\tRASPY VOICE (o.s.)","\tINT. SECURITY CHECK POINT/TERMINAL - DAY \n \n \tA young boy of nine passes through the magnetic arch grinning. \n \tYOUNG COLE! Exactly as he appears in the dream! \n","\tINT. TERMINAL LOBBY \n \n \tCOLE emerges from the Men's Room, shaken, paranoid. He glances \n \taround nervously. Then, keeping his head down, he starts walking","\tSNORES, occasional MOANS. Then, COLE hears JEFFREY'S hoarse \n \twhisper, picking up right where he left off. \n \n \t\t\t\tJEFFREY","\t\t\t\tCOLE \n \t\tI mean in my dream -- I didn't realize \n \t\tit was you. Then...I woke up and I...I \n \t\tthought you were gone. \n"],["\tCOLE turns, sees... \n \n \tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \n \tthe \"underground\" time. He's being carried past COLE now on a","\tAs he steps to the sidewalk, COLE is overwhelmed by the bustling \n \tcity, the tall downtown buildings. His eyes go up. \n \n \tCOLE'S POV: a building, towering toward the sky. A building","\tBelow, on the street, COLE trudges along, passing deserted \n \tbuildings, windows broken, rusted signs dangling. \n \n \tINT. DEPARTMENT STORE - NIGHT (FIRST LIGHT) \n","\taside. COLE'S helmeted head emerges from below. \n \n \tCOLE'S POV THROUGH HIS PLASTIC-VISORED HELMET: a city in","\tCOLE hangs up the phone, looks around, catches a few stares. \n \tAverting his face, he heads for the Men's Room. \n \n \tINT. TICKET COUNTER - DAY \n","\tThe P.A. SYSTEM interrupts, startling COLE. \n \n \t\t\t\tP.A. SYSTEM (v.o.) \n \t\tJames Cole. Report to Staff. James Cole! \n","\tCOLE sees the driveway ahead in the moonlight. Steering madly, \n \the plows through shrubs and gardens heading for the driveway. \n \n \tEXT. MASON MANSION - NIGHT \n","\tCOLE finds the down button, is about to push it when the elevator \n \tsprings to life. The numbers on the indicator over the door \n \tstart to rise. 7...8...9. \n","\tANGLE ON COLE, sweating, BREATHING HEAVILY, sprawled on one side \n \tof the double bed, sound asleep. \n \n \tINT. CONCOURSE/AIRPORT - DAY (THE DREAM) \n","\tCOLE pauses, stares, not understanding. Then, he opens the door. \n \n \tINT. CORRIDOR/COUNTY HOSPITAL \n \n \tStepping through the door, COLE finds himself in an ante-room","\thim along...but COLE isn't moving. He's staring at the front of \n \tthe FAA Store with disbelief! \n \n \t\t\t\tRAILLY","\tCOLE turns to his left. \n \n \tFour ORDERLIES are coming that way. \n \n \tCOLE'S trapped. A beat. He attacks the nearest man. BILLINGS. \n","\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \n \tthat tapping before -- in the future! It disorients him. \n \n \t\t\t\tDR. RAILLY","\tsteps into a tiny chamber, a kind of air lock. The heavy door \n \tclangs shut behind him. He's alone. COLE'S breath comes quicker \n \tnow as he sucks oxygen from the air tanks on his back. \n","\tfifteen yards away. Muffled VOICES shout through gas masks... \n \tin FRENCH. COLE doesn't know it, but this is World War I! \n \tSuddenly, a SERGEANT confronts him, shouting in French.","\tThe gun FIRES wildly as COLE staggers forward with the FIRST THUG \n \tin his arms and smashes the man into the brick wail behind him. \n \tThe FIRST THUG goes down in a heap, dropping the pistol. \n","\t\tNo, no. This is the past. This has \n \t\talready happened. Listen... \n \n \t\t\t\tRESIDENT #3 \n \t\tMr. Cole, you belong in 1995 -- that's","\tCOLE stares at the picture. \n \n \tEXT. FAA STOREFRONT - DAY \n \n \tLOUD BANGING! The storefront window, completely covered with","\toverwhelms COLE, blinding him in a dazzling fury of white light. \n \n \tEXT. CITY STREET/MINI-VAN - DAY \n","\tCOLE and RAILLY clatter down the fire-escape, COLE in the lead. \n \tThey come to the end of the metal stairway. It's a long distance"],["\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\t\"The Army of the Twelve Monkeys -- \n \t\tthey're the ones who are going to do \n \t\tit. I can't do anything more. The \n \t\tpolice are watching me.\" \n","\t\tbecame this underground...\"army\" \n \n \t\t\t\tCOLE \n \t\tThe Army of The Twelve Monkeys. \n \n \t\t\t\tBEN \n \t\tThey started planning a \"Human Hunt\". \n","\t\tArmy of the Twelve Monkeys? They paint \n \t\tthis, stencil it, on buildings, all \n \t\tover the place. \n \n \tCOLE waves a sketch of the dancing monkey logo we saw earlier. \n","\t\t\t\tCOLE \n \t\tI, uh, I'm looking for the, ah, the \n \t\tArmy of the Twelve Monkeys. \n","\t\tcondemning what they're calling the \n \t\t\"loose canon\" activities of Jeffrey \n \t\tMason and his Army of the Twelve \n \t\tMonkeys.","\t\tWALLS? \n \t\t\t(moves to Fale, jabs him with a finger) \n \t\tYou think I told her about the Army of \n \t\tthe 12 Monkeys? Impossible! Know why,","\tcounter, bigger than COLE, physically imposing, menacing. \n \n \t\t\t\tTEDDY \n \t\tWe don't know anything about any \"Army \n \t\tof the Twelve Monkeys\", so why don't","\t\tfor the Army of the Twelve Monkeys... \n \n \tLooking at her laughing face, COLE is struck with horror as he \n \trealizes the truth! He starts to recite... \n \n \t\t\t\tCOLE","\t\tsee, she knew I was going to lead the \n \t\tArmy of the Twelve Monkeys into the \n \t\tpages of history before it ever even \n \t\toccurred to me. She knows everything","\t\tdidn't do it. It was a mistake' \n \t\tSomeone else did it. The Army of The \n \t\tTwelve Monkeys are just dumb kids \n \t\tplaying revolutionaries. It was","\tstenciled graffiti...the logo of The Army of the 12 Monkeys. \n \n \t\t\t\tENGINEER \n \t\tWhat about it, Cole? \n \n \t\t\t\tZOOLOGIST","\t\tMonkeys. Twelve of them. \n \n \tJEFFREY frowns, turns, considers COLE. Then, suddenly, JEFFREY \n \trushes to COLE and embraces him. \n","\t\tyour Army-of-the-Twelve-Monkeys factor. \n \n \t\t\t\tRAILLY \n \t\tWhat? What did you say? \n \n \t\t\t\tWOMAN CABBIE","\tinsignias. We can just see TWELVE MONKEYS holding hands in a circle. \n \n \t\t\t\tCOLE \n \t\tThe Twelve Monkeys!!! They're here. \n \t\t\t(looks around)","\t\tLO AND BEHOLD, I'M FRANKENSTEIN AND THE \n \t\t\"ARMY OF THE TWELVE MONKEYS\" BECOMES \n \t\tSOME SORT OF SINISTER REVOLUTIONARY","\t\tfind out the \"big info\"?...Army of the \n \t\tTwelve Monkeys...where the virus was \n \t\tprior to mutation? \n \n \t\t\t\tCOLE","\t\t\t\tBRUNETTE/P. A. SYSTEM \n \t\tThe Freedom For Animals Headquarters \n \t\tnow boarding on Second Avenue. The \n \t\tArmy of the Twelve Monkeys... \n","\t\tyou're gonna live a long, happy life. \n \t\tBut if you other guys exist and you're \n \t\tpicking this up -- forget about the \n \t\tArmy of The Twelve Monkeys -- they","\tANGLE ON COLE, not listening, staring triumphantly! He's found \n \tanother partially obscured stencil of THE TWELVE MONKEYS! \n \n \tBut just then, a raspy VOICE startles COLE. \n"],["\t\tout the human race? It was my idea? \n \n \t\t\t\tRAILLY \n \t\tNobody is going to wipe out the human \n \t\trace. Not you or Jeffrey or anybody","\t\tdidn't do it. It was a mistake' \n \t\tSomeone else did it. The Army of The \n \t\tTwelve Monkeys are just dumb kids \n \t\tplaying revolutionaries. It was","\t\tAnd you said to me, \"Wouldn't it be \n \t\tgreat if there was a germ or a virus \n \t\tthat could wipe out mankind and leave \n \t\tthe plants and animals just as they","\t\tthat Homo Sapiens' motto, \"Let's go \n \t\tshopping!\" is the cry of the true lunatic? \n \n \tDR. PETERS smiles self-importantly at RAILLY as an elderly","\t\t\t(indicating Jeffrey to the others) \n \t\tThis is your leader, a certifiable lunatic \n \t\twho told his former psychiatrist all his \n \t\tplans for God knows what whacko irresponsible","\tThree other activists, GOINES, ICHIOKA, and BRUHNS, stagger out of \n \tthe darkness behind JEFFREY, lugging a huge, squirming GARBAGE BAG. \n","\t\tfor it! Maybe people deserved to be \n \t\twiped out! \n \n \t\t\t\tJEFFREY \n \t\t\t(startled, turning)","\t\t\"The Army of the Twelve Monkeys -- \n \t\tthey're the ones who are going to do \n \t\tit. I can't do anything more. The \n \t\tpolice are watching me.\" \n","\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\tWho chattered? Goines? Weller? \n \n \t\t\t\tCOLE \n \t\tI just need to have access to the pure \n \t\tvirus, that's all! For the future! \n","\t\tinstitution, and it was all...fuzzy. \n \t\tThe drugs and stuff. \n \t\t\t(horrified) \n \t\tYou think maybe I'm the one who wiped","\t\twrong about everything...the world will be \n \t\tokay. I'll never have to live underground. \n \n \t\t\t\tRAILLY \n \t\tGive me the gun. \n \n \t\t\t\tCOLE","\t\t\t\tRAILLY \n \t\tFor God sakes, Owen, listen to me -- he \n \t\tknew about the boy in Fresno and he says \n \t\tthree billion people are going to die! \n","\t\tdire prognostications about a pestilence \n \t\twhich he predicted would wipe out humanity \n \t\tin approximately 8OO years. Deranged and \n \t\thysterical, the man raped a young woman of the","\t\the had come from the future, that he was \n \t\tlooking for a pure germ that would \n \t\tultimately wipe mankind off the face of \n \t\tthe earth in the year... 1995! \n","\t\tYou won't think I'm crazy next month. \n \t\tPeople are going to start dying. At \n \t\tfirst the papers will say it's some \n \t\tweird fever, some virus. Then they'll","\t\t\t(grabbing Jeffrey) \n \t\tListen, you dumb fuck! The thing mutates \n \t\tWe live underground! The world belongs \n \t\tto the fucking dogs and cats. We're","\t\tOkay, that's Stage One. In Stage Two, \n \t\tMonkey Four is over here... \n \n \tA loud GROAN from the bag distracts the others. \n \n \t\t\t\tGOINES","\t\tthat I'm one of the three billion \n \t\tpeople who are going to die...soon. \n \n \tCOLE stands, moves close to her. \n \n \t\t\t\tCOLE","\t\tI attended a lecture once...Apocalyptic \n \t\tvisions. \n \n \tWe see Dr. Mason's ASSISTANT now. It's DR. PETERS, the red-"],["\t\tA secret army. The Army of The Twelve \n \t\tMonkeys. I've told you about them. \n \t\tThey spread the virus. That's why we \n \t\thave to get to Philadelphia. I have to","\t\tSpit it out... you went to the home of \n \t\ta famous virologist... \n \n \t\t\t\tCOLE \n \t\t\t(weakly) \n \t\tYou...don't...exist! You're in","\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\" \n \n \t\t\t\tBOTANIST (o.s.) \n \t\tThis is from a magazine printed in late","\t\tWhat virus are we talking about, Dad? \n \n \t\t\t\tDR. MASON \n \t\tYou're insane, Jeffrey. \n \n \t\t\t\tJEFFREY","\t\tScientist's own kid was one a the ones did it! \n \n \tRAILLY and COLE stare at the cabbie, stunned. \n \n \t\t\t\tWOMAN CABBlE","\t\tTHERE HE IS! HE'S CARRYING A DEADLY \n \t\tVIRUS! STOP HIM! \n","\t\tJames! Thank God! I thought you'd \n \t\tdisappeared. Listen, I think I know \n \t\twho it is! I saw him! It's Dr. Mason's","\t\tWho chattered? Goines? Weller? \n \n \t\t\t\tCOLE \n \t\tI just need to have access to the pure \n \t\tvirus, that's all! For the future! \n","\t\tAu contraire, Doctor. No sign of your \n \t\tgood friend, the kidnapper. However, \n \t\tthe plot thickens. I have a ballistic \n \t\treport on my desk that says the bullet","\t\tAnd that's when I told you my father was \n \t\tthis famous virologist and you said, \"Hey, \n \t\the could make a germ and we could steal it!\" \n \n \t\t\t\tCOLE","\t\t\t\tCOLE \n \t\tJeffrey Mason said it was my idea about \n \t\tthe virus. And suddenly, I wasn't \n \t\tsure. We talked when I was in the","\twall. One headline screams, \"VIRUS MUTATING!\" Another features \n \ta photo of an OLD MAN (DR. MASON, who we'll see again later on)","\t\t-- so they get there and they ask the guy \n \t\treal nice for some kind of i.d., and he gets \n \t\tagitated, starts screaming about viruses. \n \t\tTotally irrational, totally disoriented,","\tThe ACTIVISTS are all exchanging puzzled looks. \n \n \t\t\t\tJEFFREY \n \t\tWhat...virus? \n \n \t\t\t\tDR. MASON","\t\tI just have to locate the virus in its \n \t\toriginal form before it mutates. So \n \t\tscientists can come back and study it \n \t\tand find a cure. So that those of us","\t\tAnd he told you then his father was a \n \t\tfamous virologist. \n \n \tCOLE is absorbed in the map, his finger tracing \"Outerbridge Road\". \n \n \t\t\t\tCOLE","\t\t\t\tFIRST AGENT \n \t\tThat kid. The one in the pipe. \n \n \t\t\t\tSECOND AGENT \n \t\tYou believe this? They're dropping a monkey","\t\tCole, did you or did you not record \n \t\tthat message? \n \n \t\t\t\tCOLE \n \t\tUh, that message...me? \n \n \t\t\t\tMICROBIOLOGIST","\t\tSo that...??? \n \n \t\t\t\tCOLE \n \t\tUh, so that a vaccine can be developed \n \t\tthat will, uh, allow mankind to reclaim \n \t\tthe surface of the earth. \n","\t\t\t\tCOLE \n \t\tThis part isn't about the virus, is it? \n \n \t\t\t\tJOSE \n \t\tHey, man... \n \n \t\t\t\tCOLE"],["\tRAILLY. Even now, she continues to look around almost frantically. \n \n \tSuddenly, her gaze falls on YOUNG COLE and she reacts...she's \n \tfound what she's looking for! \n","\tANGLE ON YOUNG COLE, reacting to the intensity of her look. \n \n \tANGLE ON RAILLY, her eyes speaking to the boy across the crowded \n \tconcourse. \n","\tFADE IN: \n \n \tINT. CONCOURSE/AIRPORT TERMINAL - BAY \n \n \tCLOSE ON A FACE. A nine year old boy, YOUNG COLE, his eyes wide","\tINT. SECURITY CHECK POINT/TERMINAL - DAY \n \n \tA young boy of nine passes through the magnetic arch grinning. \n \tYOUNG COLE! Exactly as he appears in the dream! \n","\tJOSE, having heard this, steps back into the crowd as RAILLY \n \tgrabs COLE and pulls him toward the Security Check Points. \n \n \t\t\t\tCOLE \n \t\tI love you, Kathryn. Remember that.","\tINT. TICKET COUNTER/AIRPORT TERMINAL - MORNING \n \n \tCLOSY ON copies of the mug shot of COLE and a photo of RAILLY","\tEven as she responds, her eyes continue to scan the concourse. \n \n \tANGLE ON YOUNG COLE, being hurried toward the lobby by his PARENTS","\tCOLE grabs RAILLY and pulls her into the alley and down it. \n \n \t\t\t\tCOLE \n \t\tThey're keeping an eye on me. \n \n \t\t\t\tRAILLY","\tspeaks, it comes out of him like air...a whisper. \n \n \t\t\t\tCOLE \n \t\tMore...than...anything. \n \n \tINT. RAILLY'S BEDROOM - MORNING \n","\t\t\t\tRAILLY \n \t\tIf those young men don't get loose, \n \t\tthey could die in that basement. \n \n \tCOLE glances out the window, indicates the PEOPLE in passing","\tANGLE ON RAILLY AND COLE, thirty yards away, entering the terminal. \n \n \t\t\t\tP.A. SYSTEM \n \t\t-- Flight 531 for Chicago is now ready","\t\tbrain's fried. Give him another shot! \n \t\tSPEAK UP, COLE. WHAT DID YOU DO NEXT? \n \n \tINT. RAILLY'S APARTMENT - EVENING \n","\tRAILLY puts an arm around him and helps him to his feet. A beat. \n \tThey're very close. They don't move. RAILLY looks like she can \n \tbarely breathe. \n","\tRAILLY pulls a photo from her purse, shows it to COLE. \n \n \tIt's the uncropped picture from her book, the photo of JOSE in","\tlobby, their eyes scanning the faces of TRAVELERS. \n \n \tANGLE ON RAILLY, pulling a small tube from her purse. \n \n \t\t\t\tRAILLY","\tCOLE'S POV: RAILLY, well out of earshot, speaking earnestly into \n \tthe phone. \n \n \tANGLE ON COLE, startled, as a BUSINESSMAN, mistaking him for a","\tANGLE ON COLE, wind in his hair, eyes shining, gulping air blissfully. \n \n \tINT. RAILLY'S APARTMENT - MORNING \n","\t\tAnd in Fresno, California... \n \n \t\t\t\tRAILLY \n \t\t\t(glances sadly toward the TV) \n \t\tHe's dead, isn't he -- that little boy? \n","\tCOLE looks desperately toward RAILLY, pleading eyes meeting hers. \n \n \tINT. LOW RENT APARTMENT - DAY \n \n \tFour little KIDS SCREAM and SQUABBLE while the phone CHIRPS","\tINT. AIRPORT CONCOURSE/THE DREAM \n \n \tYOUNG COLE stares, eyes wide. \n \n \tHe sees the BRUNETTE, cradling the head of the BLONDE MAN as he"]],"string":"[\n [\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\twho survived can go back to the surface \\n \\t\\tof the earth. \\n \\n \\tRAILLY maintains a professional deadpan, says nothing as they pass\",\n \"\\t\\tSo that...??? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, so that a vaccine can be developed \\n \\t\\tthat will, uh, allow mankind to reclaim \\n \\t\\tthe surface of the earth. \\n\",\n \"\\twall. One headline screams, \\\"VIRUS MUTATING!\\\" Another features \\n \\ta photo of an OLD MAN (DR. MASON, who we'll see again later on)\",\n \"\\t\\tI just have to locate the virus in its \\n \\t\\toriginal form before it mutates. So \\n \\t\\tscientists can come back and study it \\n \\t\\tand find a cure. So that those of us\",\n \"\\t\\t\\t(grabbing Jeffrey) \\n \\t\\tListen, you dumb fuck! The thing mutates \\n \\t\\tWe live underground! The world belongs \\n \\t\\tto the fucking dogs and cats. We're\",\n \"\\t\\tthe whole population. Of the world! \\n \\t\\tOnly about one percent survived. \\n \\n \\tDOCTORS exchange knowing looks. This is an old story, apparently. \\n \\n \\t\\t\\t\\tRESIDENT #2\",\n \"\\tRATS flee the blade of light, scurry across islands of rusting junk. \\n \\n \\tThe flashlight beam settles on a ladder mounted in the wall. \\n \\n \\tReaching the rusted ladder, COLE starts to climb awkwardly.\",\n \"\\tTearing at each other's clothes, they collapse on a rolled \\n \\ttheater curtain among stacks of ancient theater seats. \\n \\n \\tEXT. SUBURBS - DAWN \\n\",\n \"\\tSeedy HOTEL RESIDENTS point to Room 44, then cower back into \\n \\ttheir doorways. \\n \\n \\tEXT. GLOBE HOTEL FIRE ESCAPE/ALLEY - DAY \\n\",\n \"\\tEXT. PEST CONTROL VAN - NIGHT \\n \\n \\tSurrounded by stripped and abandoned vehicles, the VAN, with a \\n \\tPEST CONTROL logo on its side, is parked on a trash-littered\",\n \"\\t\\teverybody started dying. \\n \\n \\tRAILLY glances around nervously. \\n \\n \\tRAILLY'S POV: two UNIFORMED POLICEMEN, strolling through the\",\n \"\\tin a less elaborate, less bulky decontamination outfit draws \\n \\tblood from COLE'S arm with an old-fashioned hypodermic needle. \\n \\n \\tCOLE glances toward a single, nearly opaque \\\"window\\\" of thick\",\n \"\\tinto a collection tube, something makes him turn. \\n \\n \\tThere's something across the street in the dark. Something alive. \\n \\n \\tCOLE points his flashlight and reveals...a BEAR! Startled by the\",\n \"\\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \\n \\tof many stacked four high along both sides of a long dim \\n \\tcorridor. He blinks in the near dark, shaken, disoriented. \\n\",\n \"\\tstreet beside the massive pillars of a towering freeway. \\n \\n \\tINT. PARKED PEST CONTROL VAN \\n \\n \\tThe VAN is packed with SIX ACTIVISTS, SANDY and KWESKIN among\",\n \"\\tputs it into one of his specimen tubes. \\n \\n \\tThen, he shines his light all around the once elegant store. There's \\n \\tnothing but aisle after aisle of moldering consumer goods. \\n\",\n \"\\tCOLE'S eyes return to the walls. \\n \\n \\tHeadlines: \\\"CLOCK TICKING! NO CURE YET!\\\" \\n \\n \\t\\t\\t\\tSCARFACE\",\n \"\\t\\tAnd you said to me, \\\"Wouldn't it be \\n \\t\\tgreat if there was a germ or a virus \\n \\t\\tthat could wipe out mankind and leave \\n \\t\\tthe plants and animals just as they\",\n \"\\t\\tYou won't think I'm crazy next month. \\n \\t\\tPeople are going to start dying. At \\n \\t\\tfirst the papers will say it's some \\n \\t\\tweird fever, some virus. Then they'll\"\n ],\n [\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\\\" \\n \\n \\t\\t\\t\\tBOTANIST (o.s.) \\n \\t\\tThis is from a magazine printed in late\",\n \"\\t\\tWhat virus are we talking about, Dad? \\n \\n \\t\\t\\t\\tDR. MASON \\n \\t\\tYou're insane, Jeffrey. \\n \\n \\t\\t\\t\\tJEFFREY\",\n \"\\twall. One headline screams, \\\"VIRUS MUTATING!\\\" Another features \\n \\ta photo of an OLD MAN (DR. MASON, who we'll see again later on)\",\n \"\\t\\tSo that...??? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, so that a vaccine can be developed \\n \\t\\tthat will, uh, allow mankind to reclaim \\n \\t\\tthe surface of the earth. \\n\",\n \"\\t\\tTHERE HE IS! HE'S CARRYING A DEADLY \\n \\t\\tVIRUS! STOP HIM! \\n\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tJeffrey Mason said it was my idea about \\n \\t\\tthe virus. And suddenly, I wasn't \\n \\t\\tsure. We talked when I was in the\",\n \"\\t\\tYou won't think I'm crazy next month. \\n \\t\\tPeople are going to start dying. At \\n \\t\\tfirst the papers will say it's some \\n \\t\\tweird fever, some virus. Then they'll\",\n \"\\t\\tAnd you said to me, \\\"Wouldn't it be \\n \\t\\tgreat if there was a germ or a virus \\n \\t\\tthat could wipe out mankind and leave \\n \\t\\tthe plants and animals just as they\",\n \"\\tThe ACTIVISTS are all exchanging puzzled looks. \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\tWhat...virus? \\n \\n \\t\\t\\t\\tDR. MASON\",\n \"\\t\\tI just have to locate the virus in its \\n \\t\\toriginal form before it mutates. So \\n \\t\\tscientists can come back and study it \\n \\t\\tand find a cure. So that those of us\",\n \"\\t\\tI attended a lecture once...Apocalyptic \\n \\t\\tvisions. \\n \\n \\tWe see Dr. Mason's ASSISTANT now. It's DR. PETERS, the red-\",\n \"\\t\\tSpit it out... you went to the home of \\n \\t\\ta famous virologist... \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(weakly) \\n \\t\\tYou...don't...exist! You're in\",\n \"\\t\\tout the human race? It was my idea? \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tNobody is going to wipe out the human \\n \\t\\trace. Not you or Jeffrey or anybody\",\n \"\\t\\tof great pestilence, men have often \\n \\t\\tbelieved the prophecies of crazed \\n \\t\\tfanatics, that the end of the world was \\n \\t\\tcome.\\\" Obviously, this plague/doomsday\",\n \"\\t\\t-- so they get there and they ask the guy \\n \\t\\treal nice for some kind of i.d., and he gets \\n \\t\\tagitated, starts screaming about viruses. \\n \\t\\tTotally irrational, totally disoriented,\",\n \"\\t\\tAnd he told you then his father was a \\n \\t\\tfamous virologist. \\n \\n \\tCOLE is absorbed in the map, his finger tracing \\\"Outerbridge Road\\\". \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tScientist's own kid was one a the ones did it! \\n \\n \\tRAILLY and COLE stare at the cabbie, stunned. \\n \\n \\t\\t\\t\\tWOMAN CABBlE\",\n \"\\t\\t\\tATTENTION!!! POLICE ARE WATCHING! \\n \\t\\t\\tIS THERE A VIRUS? IS THIS THE \\n \\t\\t\\tSOURCE? THREE BILLION DIE? \\n\",\n \"\\t\\tinstitution, and it was all...fuzzy. \\n \\t\\tThe drugs and stuff. \\n \\t\\t\\t(horrified) \\n \\t\\tYou think maybe I'm the one who wiped\"\n ],\n [\n \"\\t\\tA jail? Prison? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUnderground. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tHiding? \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \\n \\tof many stacked four high along both sides of a long dim \\n \\tcorridor. He blinks in the near dark, shaken, disoriented. \\n\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\t\\tCole! James Cole! You escaped from a \\n \\t\\tlocked room six years ago. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t1989. Six years for you. There's the\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\tINT. CELL - ETERNAL NIGHT \\n \\n \\tCOLE opens his eyes. Where is he? Silence as he examines the \\n \\ttiny cell. Bare cement walls. High ceiling. Same color and\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\tINT. SEALED CHAMBER - MINUTES LATER (ETERNAL NIGHT) \\n \\n \\tCOLE, wearing the \\\"space suit\\\" and a helmet with a plastic visor,\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\tOn the opposite wall is another door with a huge wheel lock. \\n \\tCOLE turns the heavy wheel, opens the door, steps through It \\n \\n \\tINT. ELEVATOR - SECONDS LATER (ETERNAL NIGHT) \\n\",\n \"\\t\\tWAKE UP, PRISONER! \\n \\n \\tINT. SCIENTISTS' CHAMBER - ETERNAL NIGHT \\n \\n \\tCOLE blinks awake. All he can see are blurry faces hovering over\",\n \"\\tINT. TERMINAL LOBBY \\n \\n \\tCOLE emerges from the Men's Room, shaken, paranoid. He glances \\n \\taround nervously. Then, keeping his head down, he starts walking\",\n \"\\tCOLE steps into it. \\n \\n \\tINT. ELEVATOR/COUNTY HOSPITAL \\n \\n \\tThe door closes, isolating COLE in the elevator. \\n\",\n \"\\t\\tYou've been in an institution, haven't \\n \\t\\tyou, James? A hospital? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI have to go. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\tCOLE is strapped on a gurney. SCIENTISTS hover near-by, \\n \\twhispering. The walls of the gloomy chamber are damp, sweating. \\n \\n \\t\\t\\t\\tGEOLOGIST\",\n \"\\tCOLE'S POV: spray-painted on the wall a long time ago is a stenciled \\n \\tlogo of twelve monkeys holding hands in a circle. Over it is \\n \\twritten, \\\"WE DID IT!\\\" \\n\",\n \"\\tJOSE immediately rolls over and feigns sleep as SCARFACE, a \\n \\tmenacing guard with a jagged scar running down his cheek, looms \\n \\tclose to COLE's cage and unlocks it. \\n\",\n \"\\tCOLE'S eyes return to the walls. \\n \\n \\tHeadlines: \\\"CLOCK TICKING! NO CURE YET!\\\" \\n \\n \\t\\t\\t\\tSCARFACE\",\n \"\\tCOLE'S in an ascending elevator that groans and creaks. He looks \\n \\tdown at a crudely drawn map he holds in his gloved hand. \\n \\n \\tThe map shows a series of tunnels and ladders. \\n\"\n ],\n [\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tI need to go. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tDo you know why you're here, James. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tCole! James Cole! You escaped from a \\n \\t\\tlocked room six years ago. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t1989. Six years for you. There's the\",\n \"\\t\\tNo, no. This is the past. This has \\n \\t\\talready happened. Listen... \\n \\n \\t\\t\\t\\tRESIDENT #3 \\n \\t\\tMr. Cole, you belong in 1995 -- that's\",\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\t\\the refused 'n I kept thinking, I know \\n \\t\\tthis guy. Then, just a few minutes ago, \\n \\t\\tit came to me. It's Cole! James Cole.\",\n \"\\t\\tI'd like to be clear about this. That \\n \\t\\tman and the other one were...\\\"severely\\\" \\n \\t\\tbeating us. James Cole didn't start \\n \\t\\tit. In fact -- he saved me! \\n\",\n \"\\t\\tAre you going to save us, Mr. Cole? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tSave you? How can I save you? It \\n \\t\\talready happened! I can't save you. I'm\",\n \"\\t\\tJames! We have to go back. Those men... \\n \\n \\tToo late. While COLE turns and stares at her, uncomprehending, \\n \\tthe TWO THUGS are approaching. \\n\",\n \"\\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \\n \\tthat tapping before -- in the future! It disorients him. \\n \\n \\t\\t\\t\\tDR. RAILLY\",\n \"\\t\\tI did him a favor. Now come on. \\n \\n \\tCOLE, pulling her again, sees more \\\"12 MONKEYS\\\" on the wall. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tCome an. We're running out of time. \\n \\t\\tYou can't help him. \\n \\n \\tAs COLE yanks her roughly away, she looks back, sees the FIRST\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\t\\tSo that...??? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, so that a vaccine can be developed \\n \\t\\tthat will, uh, allow mankind to reclaim \\n \\t\\tthe surface of the earth. \\n\",\n \"\\t\\tI have to do this, James. You're very \\n \\t\\tconfused. \\n \\n \\tRAILLY pushes the needle into COLE'S skin. \\n\",\n \"\\t\\tsince I got back from that... \\\"weird\\\" \\n \\t\\twar we were in. You remember that? \\n \\t\\t\\t(pressing the pistol on Cole) \\n \\t\\tHere, take it, man! You could still be\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tNo, sir! I just want to do my part. \\n \\t\\tTo get us back on top...in charge of \\n \\t\\tthe planet. And I have the experience,\",\n \"\\t\\tthe future, James. Do you think you're \\n \\t\\tliving in the future? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(slightly confused)\"\n ],\n [\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\t\\t\\t\\tRAILLY \\n \\t\\tJames, no -- we shouldn't be here! \\n \\n \\tCOLE ignores her, yanking her after him into the alley. \\n \\n \\tINT. DARK ALLEY - DAY\",\n \"\\tJOSE, having heard this, steps back into the crowd as RAILLY \\n \\tgrabs COLE and pulls him toward the Security Check Points. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI love you, Kathryn. Remember that.\",\n \"\\tCOLE grabs RAILLY and pulls her into the alley and down it. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThey're keeping an eye on me. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\t\\tI have to do this, James. You're very \\n \\t\\tconfused. \\n \\n \\tRAILLY pushes the needle into COLE'S skin. \\n\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\t\\t\\t\\tDR. GOODINS \\n \\t\\tHey, Kathryn, James Cole is one of \\n \\t\\tyours, right? \\n \\n \\tRAILLY and CASEY stare at him. \\n\",\n \"\\t\\tThis just in: Police say that the body of \\n \\t\\ta woman found strangled in the Knutson state \\n \\t\\tPark could be kidnap victim, Dr. Kathryn Railly. \\n\",\n \"\\t\\tYou've been in an institution, haven't \\n \\t\\tyou, James? A hospital? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI have to go. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\tCOLE turns to RAILLY, beside him on the bed, frightened and \\n \\thelpless, her jacket arranged to restrain her like a strait-jacket. \\n \\n \\tCOLE'S instinct is to free her at once, but he controls his\",\n \"his teeth while RAILLY hurries to the window and looks out. \\n \\n \\tHER POV: A fire escape leads down into an alley. \\n \\n \\tRAILLY turns just in time to see COLE shove WALLACE into the\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\tCOLE and RAILLY clatter down the fire-escape, COLE in the lead. \\n \\tThey come to the end of the metal stairway. It's a long distance\",\n \"\\tINT. STORAGE ROOM/MOVIE THEATER \\n \\n \\tRAILLY and COLE are in a dimly lit cluttered storage room. She\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tI need to go. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tDo you know why you're here, James. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tbrain's fried. Give him another shot! \\n \\t\\tSPEAK UP, COLE. WHAT DID YOU DO NEXT? \\n \\n \\tINT. RAILLY'S APARTMENT - EVENING \\n\",\n \"\\t\\t\\t\\tRAILLY \\n \\t\\tYes, I remember. \\n \\t\\t\\t(a beat, then) \\n \\t\\tWhy do you want to go to Philadelphia? \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tI did him a favor. Now come on. \\n \\n \\tCOLE, pulling her again, sees more \\\"12 MONKEYS\\\" on the wall. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \\n \\tthat tapping before -- in the future! It disorients him. \\n \\n \\t\\t\\t\\tDR. RAILLY\"\n ],\n [\n \"\\t\\tYou've been in an institution, haven't \\n \\t\\tyou, James? A hospital? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI have to go. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\tCOLE watches the ORDERLIES grab JEFFREY and haul him away. \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\tYou dumb assholes! I'm a mental patient!\",\n \"\\tAlone in his \\\"hospital\\\" room, COLE struggles without success to \\n \\tfree himself from his restraints. \\n \\n \\t\\t\\t\\tRASPY VOICE (o.s.) \\n \\t\\tYou sure fucked up, Bob! \\n\",\n \"\\t\\t\\t\\tASTROPHYSICIST \\n \\t\\tHim? You saw that man? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, I think so. In the mental hospital. \\n\",\n \"\\tCOLE gets the hint of menace in the message and submits to the \\n \\tlice inspection, only his eyes revealing his frustration. \\n \\n \\tINT. HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY) \\n\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\t\\the refused 'n I kept thinking, I know \\n \\t\\tthis guy. Then, just a few minutes ago, \\n \\t\\tit came to me. It's Cole! James Cole.\",\n \"\\tINT. PSYCH WARD CONFERENCE ROOM - MINUTES LATER (DAY) \\n \\n \\tCOLE is agitated, speaking forcefully. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tworkings of...the institution. \\n \\n \\tJust then, TJ WASHINGTON, a somber-looking African American in a \\n \\tbathrobe, taps COLE on the shoulder. \\n\",\n \"\\tCOLE pauses, stares, not understanding. Then, he opens the door. \\n \\n \\tINT. CORRIDOR/COUNTY HOSPITAL \\n \\n \\tStepping through the door, COLE finds himself in an ante-room\",\n \"\\tEverything goes white! \\n \\n \\tINT. DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT \\n \\n \\tCOLE'S eyes blink awake, blinded by a flashlight. \\n\",\n \"\\t\\tin the County Hospital six years ago. \\n \\n \\tCOLE is studying the map again. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThe guy was a total fruitcake. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\t\\tCole! James Cole! You escaped from a \\n \\t\\tlocked room six years ago. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t1989. Six years for you. There's the\",\n \"\\t\\tJames, where did you grow up? Was it \\n \\t\\taround here? Around Baltimore? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(lost in thought) \\n \\t\\tWhat? \\n\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\tCOLE steps into it. \\n \\n \\tINT. ELEVATOR/COUNTY HOSPITAL \\n \\n \\tThe door closes, isolating COLE in the elevator. \\n\",\n \"\\t\\tCan you tell us the name of the prison \\n \\t\\tyou've come from? \\n \\n \\tCOLE doesn't answer. He's staring at the tapping pencil. \\n \\n \\t\\t\\t\\tDR. FLETCHER\",\n \"\\t\\t\\t(sympathetically) \\n \\t\\tOf course you want to be well, James. \\n \\t\\tAnd you will be...soon. \\n \\n \\tCOLE bursts into hysterical laughter. \\n\"\n ],\n [\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\t\\\"The Army of the Twelve Monkeys -- \\n \\t\\tthey're the ones who are going to do \\n \\t\\tit. I can't do anything more. The \\n \\t\\tpolice are watching me.\\\" \\n\",\n \"\\t\\tbecame this underground...\\\"army\\\" \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThe Army of The Twelve Monkeys. \\n \\n \\t\\t\\t\\tBEN \\n \\t\\tThey started planning a \\\"Human Hunt\\\". \\n\",\n \"\\t\\tArmy of the Twelve Monkeys? They paint \\n \\t\\tthis, stencil it, on buildings, all \\n \\t\\tover the place. \\n \\n \\tCOLE waves a sketch of the dancing monkey logo we saw earlier. \\n\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tI, uh, I'm looking for the, ah, the \\n \\t\\tArmy of the Twelve Monkeys. \\n\",\n \"\\t\\tcondemning what they're calling the \\n \\t\\t\\\"loose canon\\\" activities of Jeffrey \\n \\t\\tMason and his Army of the Twelve \\n \\t\\tMonkeys.\",\n \"\\t\\tWALLS? \\n \\t\\t\\t(moves to Fale, jabs him with a finger) \\n \\t\\tYou think I told her about the Army of \\n \\t\\tthe 12 Monkeys? Impossible! Know why,\",\n \"\\tcounter, bigger than COLE, physically imposing, menacing. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tWe don't know anything about any \\\"Army \\n \\t\\tof the Twelve Monkeys\\\", so why don't\",\n \"\\t\\tfor the Army of the Twelve Monkeys... \\n \\n \\tLooking at her laughing face, COLE is struck with horror as he \\n \\trealizes the truth! He starts to recite... \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tsee, she knew I was going to lead the \\n \\t\\tArmy of the Twelve Monkeys into the \\n \\t\\tpages of history before it ever even \\n \\t\\toccurred to me. She knows everything\",\n \"\\t\\tdidn't do it. It was a mistake' \\n \\t\\tSomeone else did it. The Army of The \\n \\t\\tTwelve Monkeys are just dumb kids \\n \\t\\tplaying revolutionaries. It was\",\n \"\\tstenciled graffiti...the logo of The Army of the 12 Monkeys. \\n \\n \\t\\t\\t\\tENGINEER \\n \\t\\tWhat about it, Cole? \\n \\n \\t\\t\\t\\tZOOLOGIST\",\n \"\\t\\tMonkeys. Twelve of them. \\n \\n \\tJEFFREY frowns, turns, considers COLE. Then, suddenly, JEFFREY \\n \\trushes to COLE and embraces him. \\n\",\n \"\\t\\tyour Army-of-the-Twelve-Monkeys factor. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tWhat? What did you say? \\n \\n \\t\\t\\t\\tWOMAN CABBIE\",\n \"\\tinsignias. We can just see TWELVE MONKEYS holding hands in a circle. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThe Twelve Monkeys!!! They're here. \\n \\t\\t\\t(looks around)\",\n \"\\t\\tLO AND BEHOLD, I'M FRANKENSTEIN AND THE \\n \\t\\t\\\"ARMY OF THE TWELVE MONKEYS\\\" BECOMES \\n \\t\\tSOME SORT OF SINISTER REVOLUTIONARY\",\n \"\\t\\tfind out the \\\"big info\\\"?...Army of the \\n \\t\\tTwelve Monkeys...where the virus was \\n \\t\\tprior to mutation? \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\t\\t\\tBRUNETTE/P. A. SYSTEM \\n \\t\\tThe Freedom For Animals Headquarters \\n \\t\\tnow boarding on Second Avenue. The \\n \\t\\tArmy of the Twelve Monkeys... \\n\",\n \"\\t\\tyou're gonna live a long, happy life. \\n \\t\\tBut if you other guys exist and you're \\n \\t\\tpicking this up -- forget about the \\n \\t\\tArmy of The Twelve Monkeys -- they\",\n \"\\tANGLE ON COLE, not listening, staring triumphantly! He's found \\n \\tanother partially obscured stencil of THE TWELVE MONKEYS! \\n \\n \\tBut just then, a raspy VOICE startles COLE. \\n\"\n ],\n [\n \"\\tANGLE ON COLE, gun in hand, sprinting along the concourse toward \\n \\tDR. PETERS as frightened TRAVELERS SCREAM and dive for cover. \\n\",\n \"\\tThe FIRST SECURITY OFFICER tries to stop COLE, but COLE knocks \\n \\thim aside like a rag doll. \\n \\n \\tANGLE ON DR. PETERS, fifty yards up the concourse, glancing back. \\n\",\n \"\\tsenses it, reaches up to touch it, catches the DETECTIVE'S look. \\n \\tFor half a second their eyes meet, then COLE looks away. \\n \\n \\tANGLE ON DR. PETERS, hurrying away. \\n\",\n \"\\tThe gun FIRES wildly as COLE staggers forward with the FIRST THUG \\n \\tin his arms and smashes the man into the brick wail behind him. \\n \\tThe FIRST THUG goes down in a heap, dropping the pistol. \\n\",\n \"\\tANGLE ON COLE, pulling his pistol. \\n \\n \\tANGLE ON THE SECOND SECURITY OFFICER. \\n \\n \\t\\t\\t\\tFIRST SECURITY OFFICER \\n \\t\\tHE'S GOT A GUN! \\n\",\n \"\\tYOUNG COLE who, hearing the commotion, turns just as DR. PETERS \\n \\thurries by. DR. PETERS bumps into YOUNG COLE and reacts by\",\n \"\\tCOLE is pointing a pistol at them. A TIGER SNARLS. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tJames, no -- don't hurt them. \\n \\t\\t\\t(to the activists)\",\n \"\\t\\tJames! We have to go back. Those men... \\n \\n \\tToo late. While COLE turns and stares at her, uncomprehending, \\n \\tthe TWO THUGS are approaching. \\n\",\n \"\\tQuickly, COLE rolls to the next car and under it. He doesn't \\n \\tsee...the pistol fell out of his pocket, under the Mercedes. \\n \\n \\tINT. MASON MANSION/DINING ROOM - NIGHT\",\n \"\\tTHUG staggers back, bloody and dazed as RAILLY watches, amazed. \\n \\n \\tTurning back to the FIRST THUG, COLE sees the MAN reaching for \\n \\tthe dropped pistol. \\n\",\n \"\\tANGLE ON COLE, following RAILLY'S look, seeing MR. PONYTAIL, THE \\n \\tMAN FROM HIS DREAM! \\n \\n \\tANGLE ON DR. PETERS, frightened, glancing back, walking faster. \\n\",\n \"\\tpulling his Bulls bag close to his body and calling... \\n \\n \\t\\t\\t\\tDR. PETERS \\n \\t\\tWATCH IT! \\n \\n \\tANGLE ON YOUNG COLE, wide eyed, watching... \\n\",\n \"\\tCOLE heads for the front door, but there's an AGENT there! COLE \\n \\tturns and limps madly toward the dining room, pushing his way \\n \\tthrough the crowd of amazed GUESTS. \\n\",\n \"\\tSuddenly, COLE, catching the AGENTS by surprise, wrenches free, \\n \\tshoves them aside, and stumbles down the rest of the staircase. \\n \\n \\tINT. FOYER/MASON MANSION \\n\",\n \"\\t\\tYou'd prefer that? ... James...you \\n \\t\\tdon't really have a gun, do you. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(cynical laugh)\",\n \"\\tCOLE pauses, stares, not understanding. Then, he opens the door. \\n \\n \\tINT. CORRIDOR/COUNTY HOSPITAL \\n \\n \\tStepping through the door, COLE finds himself in an ante-room\",\n \"\\tVery confused, COLE lets her drag him along the sidewalk, past \\n \\tONLOOKERS. She looks crazier than he does. \\n \\n \\tANGLE ON THE CHEVY, making a sudden, urgent u-turn, almost\",\n \"\\t\\tsince I got back from that... \\\"weird\\\" \\n \\t\\twar we were in. You remember that? \\n \\t\\t\\t(pressing the pistol on Cole) \\n \\t\\tHere, take it, man! You could still be\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\t\\tJames! Your moustache! It's slipping. \\n \\n \\tBut COLE isn't listening. He's looking around, mesmerized. \\n \\n \\t\\t\\t\\tCOLE\"\n ],\n [\n \"\\tto the ground. COLE jumps down, turns, reaches up to her. \\n \\n \\tShe lets herself down to him. Their eyes meet. He holds her in \\n \\this arms for a moment. Then, reluctantly, he puts her down.\",\n \"\\tCOLE'S eyes return to the walls. \\n \\n \\tHeadlines: \\\"CLOCK TICKING! NO CURE YET!\\\" \\n \\n \\t\\t\\t\\tSCARFACE\",\n \"\\tCOLE and RAILLY clatter down the fire-escape, COLE in the lead. \\n \\tThey come to the end of the metal stairway. It's a long distance\",\n \"\\tCOLE gets the hint of menace in the message and submits to the \\n \\tlice inspection, only his eyes revealing his frustration. \\n \\n \\tINT. HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY) \\n\",\n \"\\tCOLE grabs RAILLY and pulls her into the alley and down it. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThey're keeping an eye on me. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"his teeth while RAILLY hurries to the window and looks out. \\n \\n \\tHER POV: A fire escape leads down into an alley. \\n \\n \\tRAILLY turns just in time to see COLE shove WALLACE into the\",\n \"\\tJOSE, having heard this, steps back into the crowd as RAILLY \\n \\tgrabs COLE and pulls him toward the Security Check Points. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI love you, Kathryn. Remember that.\",\n \"\\tCOLE sits on the lumpy bed in the dingy room, watching RAILLY \\n \\tpace back and forth like a mad woman. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tOkay...you were standing there looking\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\tA PATIENT, close at hand, startles COLE, speaking into his ear. \\n \\n \\t\\t\\t\\tPATIENT \\n \\t\\tPlace to go would be...Florida. The \\n \\t\\tkeys are lovely this tine of year.\",\n \"\\tfurtively left and right, COLE on her heels. She's hidden her \\n \\tbruised eye behind sun glasses; he's holding a bloody \\n \\thandkerchief to his mouth. \\n\",\n \"\\tCOLE hangs up the phone, looks around, catches a few stares. \\n \\tAverting his face, he heads for the Men's Room. \\n \\n \\tINT. TICKET COUNTER - DAY \\n\",\n \"\\tCOLE looks helpless, hesitant. She's in charge...for the moment. \\n \\n \\tEXT. CLEARING/WOODS - AN HOUR LATER (AFTERNOON) \\n\",\n \"\\tCOLE turns to his left. \\n \\n \\tFour ORDERLIES are coming that way. \\n \\n \\tCOLE'S trapped. A beat. He attacks the nearest man. BILLINGS. \\n\",\n \"\\tCOLE sits up, alert, listening intently. \\n \\n \\t\\t\\t\\tCOMMERCIAL/RADIO (cont. o.s.) \\n \\t\\tAre you at the end of your rope? Are \\n \\t\\tyou dying to get away?\",\n \"\\tCOLE scans the walls for messages in the confusion of graffiti. \\n \\n \\tRAILLY is considering her surroundings dubiously when, suddenly, \\n \\tCOLE pulls her toward the mouth of a dark and forbidding alley. \\n\",\n \"\\tCOLE gives away nothing. He's in a box here. He has no choices. \\n \\tHe stares at the tapping pencil. \\n \\n \\tINT. ART GALLERY - NIGHT \\n\",\n \"\\tCOLE checks the grill anyway. \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\tSee? I toldja. And all the doors are \\n \\t\\tlocked, too. They're protecting the\",\n \"\\tINT. STORAGE ROOM/MOVIE THEATER \\n \\n \\tRAILLY and COLE are in a dimly lit cluttered storage room. She\",\n \"\\tCOLE turns to RAILLY, beside him on the bed, frightened and \\n \\thelpless, her jacket arranged to restrain her like a strait-jacket. \\n \\n \\tCOLE'S instinct is to free her at once, but he controls his\"\n ],\n [\n \"\\tThe ACTIVISTS are all exchanging puzzled looks. \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\tWhat...virus? \\n \\n \\t\\t\\t\\tDR. MASON\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tJeffrey Mason said it was my idea about \\n \\t\\tthe virus. And suddenly, I wasn't \\n \\t\\tsure. We talked when I was in the\",\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\tWhat virus are we talking about, Dad? \\n \\n \\t\\t\\t\\tDR. MASON \\n \\t\\tYou're insane, Jeffrey. \\n \\n \\t\\t\\t\\tJEFFREY\",\n \"\\t\\tYou \\\"develop\\\" viruses and you're calling \\n \\t\\tme insane? Typical. What does this \\n \\t\\tvirus attack? Don't tell me, you sick \\n \\t\\tfuck, it doesn't matter.\",\n \"\\t\\t-- so they get there and they ask the guy \\n \\t\\treal nice for some kind of i.d., and he gets \\n \\t\\tagitated, starts screaming about viruses. \\n \\t\\tTotally irrational, totally disoriented,\",\n \"\\t\\t\\tATTENTION!!! POLICE ARE WATCHING! \\n \\t\\t\\tIS THERE A VIRUS? IS THIS THE \\n \\t\\t\\tSOURCE? THREE BILLION DIE? \\n\",\n \"\\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\\\" \\n \\n \\t\\t\\t\\tBOTANIST (o.s.) \\n \\t\\tThis is from a magazine printed in late\",\n \"\\t\\tdidn't do it. It was a mistake' \\n \\t\\tSomeone else did it. The Army of The \\n \\t\\tTwelve Monkeys are just dumb kids \\n \\t\\tplaying revolutionaries. It was\",\n \"\\twall. One headline screams, \\\"VIRUS MUTATING!\\\" Another features \\n \\ta photo of an OLD MAN (DR. MASON, who we'll see again later on)\",\n \"\\t\\tSeptember, 1995. The writer speculated \\n \\t\\tthat this graffiti might be related to \\n \\t\\tthe epidemic that by that time had \\n \\t\\talready killed thirty million people\",\n \"\\t\\tI just have to locate the virus in its \\n \\t\\toriginal form before it mutates. So \\n \\t\\tscientists can come back and study it \\n \\t\\tand find a cure. So that those of us\",\n \"\\t\\tmore. I don't have access to the virus. So, \\n \\t\\tgo ahead -- torture me, but you can't extract \\n \\t\\tanything of use to yourself. \\n\",\n \"\\t\\tScientist's own kid was one a the ones did it! \\n \\n \\tRAILLY and COLE stare at the cabbie, stunned. \\n \\n \\t\\t\\t\\tWOMAN CABBlE\",\n \"\\t\\tTHERE HE IS! HE'S CARRYING A DEADLY \\n \\t\\tVIRUS! STOP HIM! \\n\",\n \"\\t\\tYou won't think I'm crazy next month. \\n \\t\\tPeople are going to start dying. At \\n \\t\\tfirst the papers will say it's some \\n \\t\\tweird fever, some virus. Then they'll\",\n \"\\t\\tAnd that's when I told you my father was \\n \\t\\tthis famous virologist and you said, \\\"Hey, \\n \\t\\the could make a germ and we could steal it!\\\" \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tIt's the next step. I checked out the \\n \\t\\tBaltimore information, it was nothing. \\n \\t\\tIt's Philadelphia, that's where they \\n \\t\\tare, the ones who killed everyone.\",\n \"\\t\\tGOT THAT? NOW -- WHAT FUCKING VIRUS \\n \\t\\tHAVE YOU COME UP WITH, YOU DEMENTED \\n \\t\\tFUCKING MANIAC? \\n\",\n \"\\t\\tworld-wide and was getting worse. He \\n \\t\\tsays, certain people, unnamed, were \\n \\t\\tquestioned, but what came of that is not \\n \\t\\tknown. But it is a clue you should pursue. \\n\"\n ],\n [\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \\n \\tof many stacked four high along both sides of a long dim \\n \\tcorridor. He blinks in the near dark, shaken, disoriented. \\n\",\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\t\\tCole! James Cole! You escaped from a \\n \\t\\tlocked room six years ago. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t1989. Six years for you. There's the\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\t\\tJames, where did you grow up? Was it \\n \\t\\taround here? Around Baltimore? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(lost in thought) \\n \\t\\tWhat? \\n\",\n \"\\t\\the refused 'n I kept thinking, I know \\n \\t\\tthis guy. Then, just a few minutes ago, \\n \\t\\tit came to me. It's Cole! James Cole.\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\t\\tfreedom, sunshine, air you can breathe.\\\" \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\t\\t(smiling) \\n \\t\\tCole. James Cole -- right? \\n\",\n \"\\t\\tYou've been in an institution, haven't \\n \\t\\tyou, James? A hospital? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI have to go. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\t\\tI'd like to be clear about this. That \\n \\t\\tman and the other one were...\\\"severely\\\" \\n \\t\\tbeating us. James Cole didn't start \\n \\t\\tit. In fact -- he saved me! \\n\",\n \"\\tJOSE immediately rolls over and feigns sleep as SCARFACE, a \\n \\tmenacing guard with a jagged scar running down his cheek, looms \\n \\tclose to COLE's cage and unlocks it. \\n\",\n \"\\tINT. CELL - ETERNAL NIGHT \\n \\n \\tCOLE opens his eyes. Where is he? Silence as he examines the \\n \\ttiny cell. Bare cement walls. High ceiling. Same color and\",\n \"\\t\\tNo, no. This is the past. This has \\n \\t\\talready happened. Listen... \\n \\n \\t\\t\\t\\tRESIDENT #3 \\n \\t\\tMr. Cole, you belong in 1995 -- that's\",\n \"\\tCOLE steps into it. \\n \\n \\tINT. ELEVATOR/COUNTY HOSPITAL \\n \\n \\tThe door closes, isolating COLE in the elevator. \\n\",\n \"\\tCOLE gets the hint of menace in the message and submits to the \\n \\tlice inspection, only his eyes revealing his frustration. \\n \\n \\tINT. HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY) \\n\",\n \"\\tCOLE'S eyes return to the walls. \\n \\n \\tHeadlines: \\\"CLOCK TICKING! NO CURE YET!\\\" \\n \\n \\t\\t\\t\\tSCARFACE\",\n \"\\tsteps into a tiny chamber, a kind of air lock. The heavy door \\n \\tclangs shut behind him. He's alone. COLE'S breath comes quicker \\n \\tnow as he sucks oxygen from the air tanks on his back. \\n\",\n \"\\t\\tCan you tell us the name of the prison \\n \\t\\tyou've come from? \\n \\n \\tCOLE doesn't answer. He's staring at the tapping pencil. \\n \\n \\t\\t\\t\\tDR. FLETCHER\"\n ],\n [\n \"\\tCLOSE ON COLE, dozing fitfully, as the SOUNDS of SCREAMING BIRDS \\n \\tcontinue. Suddenly, he comes awake with a start...sees the movie \\n \\tfilling his field of vision. \\n\",\n \"\\tANGLE ON COLE, sweating, BREATHING HEAVILY, sprawled on one side \\n \\tof the double bed, sound asleep. \\n \\n \\tINT. CONCOURSE/AIRPORT - DAY (THE DREAM) \\n\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\t\\the refused 'n I kept thinking, I know \\n \\t\\tthis guy. Then, just a few minutes ago, \\n \\t\\tit came to me. It's Cole! James Cole.\",\n \"\\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \\n \\tof many stacked four high along both sides of a long dim \\n \\tcorridor. He blinks in the near dark, shaken, disoriented. \\n\",\n \"\\t\\t\\t\\tRAILLY \\n \\t\\tWe dream about what's important in our lives. \\n \\t\\tAnd I seem to have become pretty important \\n \\t\\tin yours. What was the dream about? \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\\"DREAMLIKE\\\" THAN HIS DREAM. \\n \\n \\tFlashlights glare. In the half-light, COLE sees spooky figures, \\n \\tGUARDS, moving among the locked bunk/cages. \\n\",\n \"\\t\\tDoes that disturb you, James? Thinking \\n \\t\\tabout that little boy in the well? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tWhen I was a kid I identified with that\",\n \"\\tCOLE comes awake with a start. The room is dark now, except... \\n \\n \\ta slide is being projected on a torn screen. It's a picture of a\",\n \"\\t\\tJames! Your moustache! It's slipping. \\n \\n \\tBut COLE isn't listening. He's looking around, mesmerized. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tCole. Right now, we want to know \\n \\t\\teverything that you saw. \\n \\n \\tINT. ENGINEERING OFFICE - AN HOUR LATER (ETERNAL NIGHT) \\n\",\n \"\\tEverything goes white! \\n \\n \\tINT. DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT \\n \\n \\tCOLE'S eyes blink awake, blinded by a flashlight. \\n\",\n \"\\tCOLE'S eyes return to the walls. \\n \\n \\tHeadlines: \\\"CLOCK TICKING! NO CURE YET!\\\" \\n \\n \\t\\t\\t\\tSCARFACE\",\n \"\\t\\tare?\\\" You do remember that, don't you? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tBulishit! You're fucking with my head! \\n \\n \\t\\t\\t\\tJEFFREY\",\n \"\\t\\tJames, where did you grow up? Was it \\n \\t\\taround here? Around Baltimore? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(lost in thought) \\n \\t\\tWhat? \\n\",\n \"\\tINT. SECURITY CHECK POINT/TERMINAL - DAY \\n \\n \\tA young boy of nine passes through the magnetic arch grinning. \\n \\tYOUNG COLE! Exactly as he appears in the dream! \\n\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \\n \\tthat tapping before -- in the future! It disorients him. \\n \\n \\t\\t\\t\\tDR. RAILLY\",\n \"\\t\\tYou've been in an institution, haven't \\n \\t\\tyou, James? A hospital? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI have to go. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\tTHE DREAM AGAIN! But at an earlier moment. YOUNG COLE, flanked \\n \\tby his PARENTS, whose faces are out of view, is watching a PLANE\"\n ],\n [\n \"\\t\\tCole! James Cole! You escaped from a \\n \\t\\tlocked room six years ago. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t1989. Six years for you. There's the\",\n \"\\t\\tNo, no. This is the past. This has \\n \\t\\talready happened. Listen... \\n \\n \\t\\t\\t\\tRESIDENT #3 \\n \\t\\tMr. Cole, you belong in 1995 -- that's\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\t\\tNo, 1995 is the past. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\t1995 is the future, James. This is 1989. \\n \\n \\tCOLE looks stunned. \\n\",\n \"\\t\\tthe present, is that it? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tNo, 1995 is the past, too. Look... \\n \\n \\t\\t\\t\\tDR. FLETCHER\",\n \"\\t\\tJames! We have to go back. Those men... \\n \\n \\tToo late. While COLE turns and stares at her, uncomprehending, \\n \\tthe TWO THUGS are approaching. \\n\",\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \\n \\tthat tapping before -- in the future! It disorients him. \\n \\n \\t\\t\\t\\tDR. RAILLY\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\tCOLE pauses, stares, not understanding. Then, he opens the door. \\n \\n \\tINT. CORRIDOR/COUNTY HOSPITAL \\n \\n \\tStepping through the door, COLE finds himself in an ante-room\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tCome an. We're running out of time. \\n \\t\\tYou can't help him. \\n \\n \\tAs COLE yanks her roughly away, she looks back, sees the FIRST\",\n \"\\t\\tTwelve Monkeys, honey. Guess you folks \\n \\t\\tdidn't turn on your radio this morning. \\n \\n \\tCOLE and RAILLY exchange a quick look. \\n \\n \\t\\t\\t\\tWOMAN CABBIE\",\n \"\\t\\tI did him a favor. Now come on. \\n \\n \\tCOLE, pulling her again, sees more \\\"12 MONKEYS\\\" on the wall. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\t\\t\\t\\tFRANKI \\n \\t\\t\\t(unlocking the door) \\n \\t\\tJames Cole. That's everything we got. None \\n \\t\\tof the James Coles on the computer match him.\",\n \"\\t\\the refused 'n I kept thinking, I know \\n \\t\\tthis guy. Then, just a few minutes ago, \\n \\t\\tit came to me. It's Cole! James Cole.\",\n \"\\t\\tAre you going to save us, Mr. Cole? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tSave you? How can I save you? It \\n \\t\\talready happened! I can't save you. I'm\",\n \"\\t\\tsince I got back from that... \\\"weird\\\" \\n \\t\\twar we were in. You remember that? \\n \\t\\t\\t(pressing the pistol on Cole) \\n \\t\\tHere, take it, man! You could still be\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\t\\tIt was supposed to be 1995. \\n \\n \\t\\t\\t\\tRASPY VOICE (o.s.) \\n \\t\\tScience isn't an exact science with\",\n \"\\tCOLE finds the down button, is about to push it when the elevator \\n \\tsprings to life. The numbers on the indicator over the door \\n \\tstart to rise. 7...8...9. \\n\"\n ],\n [\n \"\\t\\tCole! James Cole! You escaped from a \\n \\t\\tlocked room six years ago. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t1989. Six years for you. There's the\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\t\\tNo, no. This is the past. This has \\n \\t\\talready happened. Listen... \\n \\n \\t\\t\\t\\tRESIDENT #3 \\n \\t\\tMr. Cole, you belong in 1995 -- that's\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\t\\tJames! We have to go back. Those men... \\n \\n \\tToo late. While COLE turns and stares at her, uncomprehending, \\n \\tthe TWO THUGS are approaching. \\n\",\n \"\\t\\the refused 'n I kept thinking, I know \\n \\t\\tthis guy. Then, just a few minutes ago, \\n \\t\\tit came to me. It's Cole! James Cole.\",\n \"\\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \\n \\tthat tapping before -- in the future! It disorients him. \\n \\n \\t\\t\\t\\tDR. RAILLY\",\n \"\\tCOLE pauses, stares, not understanding. Then, he opens the door. \\n \\n \\tINT. CORRIDOR/COUNTY HOSPITAL \\n \\n \\tStepping through the door, COLE finds himself in an ante-room\",\n \"\\t\\tthe present, is that it? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tNo, 1995 is the past, too. Look... \\n \\n \\t\\t\\t\\tDR. FLETCHER\",\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\t\\tNo, 1995 is the past. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\t1995 is the future, James. This is 1989. \\n \\n \\tCOLE looks stunned. \\n\",\n \"\\tCOLE sees the driveway ahead in the moonlight. Steering madly, \\n \\the plows through shrubs and gardens heading for the driveway. \\n \\n \\tEXT. MASON MANSION - NIGHT \\n\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\t\\tsince I got back from that... \\\"weird\\\" \\n \\t\\twar we were in. You remember that? \\n \\t\\t\\t(pressing the pistol on Cole) \\n \\t\\tHere, take it, man! You could still be\",\n \"\\t\\tI'd like to be clear about this. That \\n \\t\\tman and the other one were...\\\"severely\\\" \\n \\t\\tbeating us. James Cole didn't start \\n \\t\\tit. In fact -- he saved me! \\n\",\n \"\\tZipping his fly hastily, the SECOND THUG turns to deal with COLE \\n \\tbut COLE attacks him....rocking him again and again with savage \\n \\tblows that come one after another with lightning speed. The SECOND\",\n \"\\tThe gun FIRES wildly as COLE staggers forward with the FIRST THUG \\n \\tin his arms and smashes the man into the brick wail behind him. \\n \\tThe FIRST THUG goes down in a heap, dropping the pistol. \\n\",\n \"\\t\\t\\t\\tFRANKI \\n \\t\\t\\t(unlocking the door) \\n \\t\\tJames Cole. That's everything we got. None \\n \\t\\tof the James Coles on the computer match him.\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tCome an. We're running out of time. \\n \\t\\tYou can't help him. \\n \\n \\tAs COLE yanks her roughly away, she looks back, sees the FIRST\",\n \"\\tsteps into a tiny chamber, a kind of air lock. The heavy door \\n \\tclangs shut behind him. He's alone. COLE'S breath comes quicker \\n \\tnow as he sucks oxygen from the air tanks on his back. \\n\"\n ],\n [\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\t\\\"The Army of the Twelve Monkeys -- \\n \\t\\tthey're the ones who are going to do \\n \\t\\tit. I can't do anything more. The \\n \\t\\tpolice are watching me.\\\" \\n\",\n \"\\t\\tbecame this underground...\\\"army\\\" \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThe Army of The Twelve Monkeys. \\n \\n \\t\\t\\t\\tBEN \\n \\t\\tThey started planning a \\\"Human Hunt\\\". \\n\",\n \"\\t\\tArmy of the Twelve Monkeys? They paint \\n \\t\\tthis, stencil it, on buildings, all \\n \\t\\tover the place. \\n \\n \\tCOLE waves a sketch of the dancing monkey logo we saw earlier. \\n\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tI, uh, I'm looking for the, ah, the \\n \\t\\tArmy of the Twelve Monkeys. \\n\",\n \"\\t\\tcondemning what they're calling the \\n \\t\\t\\\"loose canon\\\" activities of Jeffrey \\n \\t\\tMason and his Army of the Twelve \\n \\t\\tMonkeys.\",\n \"\\t\\tWALLS? \\n \\t\\t\\t(moves to Fale, jabs him with a finger) \\n \\t\\tYou think I told her about the Army of \\n \\t\\tthe 12 Monkeys? Impossible! Know why,\",\n \"\\tcounter, bigger than COLE, physically imposing, menacing. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tWe don't know anything about any \\\"Army \\n \\t\\tof the Twelve Monkeys\\\", so why don't\",\n \"\\t\\tfor the Army of the Twelve Monkeys... \\n \\n \\tLooking at her laughing face, COLE is struck with horror as he \\n \\trealizes the truth! He starts to recite... \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tsee, she knew I was going to lead the \\n \\t\\tArmy of the Twelve Monkeys into the \\n \\t\\tpages of history before it ever even \\n \\t\\toccurred to me. She knows everything\",\n \"\\t\\tdidn't do it. It was a mistake' \\n \\t\\tSomeone else did it. The Army of The \\n \\t\\tTwelve Monkeys are just dumb kids \\n \\t\\tplaying revolutionaries. It was\",\n \"\\tstenciled graffiti...the logo of The Army of the 12 Monkeys. \\n \\n \\t\\t\\t\\tENGINEER \\n \\t\\tWhat about it, Cole? \\n \\n \\t\\t\\t\\tZOOLOGIST\",\n \"\\t\\tMonkeys. Twelve of them. \\n \\n \\tJEFFREY frowns, turns, considers COLE. Then, suddenly, JEFFREY \\n \\trushes to COLE and embraces him. \\n\",\n \"\\t\\tyour Army-of-the-Twelve-Monkeys factor. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tWhat? What did you say? \\n \\n \\t\\t\\t\\tWOMAN CABBIE\",\n \"\\tinsignias. We can just see TWELVE MONKEYS holding hands in a circle. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThe Twelve Monkeys!!! They're here. \\n \\t\\t\\t(looks around)\",\n \"\\t\\tLO AND BEHOLD, I'M FRANKENSTEIN AND THE \\n \\t\\t\\\"ARMY OF THE TWELVE MONKEYS\\\" BECOMES \\n \\t\\tSOME SORT OF SINISTER REVOLUTIONARY\",\n \"\\t\\tfind out the \\\"big info\\\"?...Army of the \\n \\t\\tTwelve Monkeys...where the virus was \\n \\t\\tprior to mutation? \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\t\\t\\tBRUNETTE/P. A. SYSTEM \\n \\t\\tThe Freedom For Animals Headquarters \\n \\t\\tnow boarding on Second Avenue. The \\n \\t\\tArmy of the Twelve Monkeys... \\n\",\n \"\\t\\tyou're gonna live a long, happy life. \\n \\t\\tBut if you other guys exist and you're \\n \\t\\tpicking this up -- forget about the \\n \\t\\tArmy of The Twelve Monkeys -- they\",\n \"\\tANGLE ON COLE, not listening, staring triumphantly! He's found \\n \\tanother partially obscured stencil of THE TWELVE MONKEYS! \\n \\n \\tBut just then, a raspy VOICE startles COLE. \\n\"\n ],\n [\n \"\\t\\tout the human race? It was my idea? \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tNobody is going to wipe out the human \\n \\t\\trace. Not you or Jeffrey or anybody\",\n \"\\t\\tAnd you said to me, \\\"Wouldn't it be \\n \\t\\tgreat if there was a germ or a virus \\n \\t\\tthat could wipe out mankind and leave \\n \\t\\tthe plants and animals just as they\",\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\tThree other activists, GOINES, ICHIOKA, and BRUHNS, stagger out of \\n \\tthe darkness behind JEFFREY, lugging a huge, squirming GARBAGE BAG. \\n\",\n \"\\t\\tWho chattered? Goines? Weller? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI just need to have access to the pure \\n \\t\\tvirus, that's all! For the future! \\n\",\n \"\\t\\the had come from the future, that he was \\n \\t\\tlooking for a pure germ that would \\n \\t\\tultimately wipe mankind off the face of \\n \\t\\tthe earth in the year... 1995! \\n\",\n \"\\t\\tthat Homo Sapiens' motto, \\\"Let's go \\n \\t\\tshopping!\\\" is the cry of the true lunatic? \\n \\n \\tDR. PETERS smiles self-importantly at RAILLY as an elderly\",\n \"\\t\\t\\t(indicating Jeffrey to the others) \\n \\t\\tThis is your leader, a certifiable lunatic \\n \\t\\twho told his former psychiatrist all his \\n \\t\\tplans for God knows what whacko irresponsible\",\n \"\\t\\tYou won't think I'm crazy next month. \\n \\t\\tPeople are going to start dying. At \\n \\t\\tfirst the papers will say it's some \\n \\t\\tweird fever, some virus. Then they'll\",\n \"\\t\\tdire prognostications about a pestilence \\n \\t\\twhich he predicted would wipe out humanity \\n \\t\\tin approximately 8OO years. Deranged and \\n \\t\\thysterical, the man raped a young woman of the\",\n \"\\tserious? Is he crazy? Doesn't matter -- he's charismatic. \\n \\n \\t\\t\\t\\tJEFFREY (cont.) \\n \\t\\tThen, using the computer model, they \\n \\t\\tgenerated every thought I could possibly\",\n \"\\t\\tSo then he goes into this incredible riff \\n \\t\\tabout how his shrink, like, replicated \\n \\t\\this brain while he was in the nut house. \\n \\t\\tTurned it into a computer. \\n\",\n \"\\t\\tinstitution, and it was all...fuzzy. \\n \\t\\tThe drugs and stuff. \\n \\t\\t\\t(horrified) \\n \\t\\tYou think maybe I'm the one who wiped\",\n \"\\t\\t\\t\\tRAILLY \\n \\t\\tFor God sakes, Owen, listen to me -- he \\n \\t\\tknew about the boy in Fresno and he says \\n \\t\\tthree billion people are going to die! \\n\",\n \"\\t\\tcan sell you disinfectants and soap!\\\" \\n \\t\\tNow, he's crazy, right? Hey, you \\n \\t\\tbelieve in germs, don't you? \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tfor it! Maybe people deserved to be \\n \\t\\twiped out! \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\t\\t(startled, turning)\",\n \"\\t\\tI attended a lecture once...Apocalyptic \\n \\t\\tvisions. \\n \\n \\tWe see Dr. Mason's ASSISTANT now. It's DR. PETERS, the red-\",\n \"\\t\\tAnd that's when I told you my father was \\n \\t\\tthis famous virologist and you said, \\\"Hey, \\n \\t\\the could make a germ and we could steal it!\\\" \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tthat I'm one of the three billion \\n \\t\\tpeople who are going to die...soon. \\n \\n \\tCOLE stands, moves close to her. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tOkay, that's Stage One. In Stage Two, \\n \\t\\tMonkey Four is over here... \\n \\n \\tA loud GROAN from the bag distracts the others. \\n \\n \\t\\t\\t\\tGOINES\"\n ],\n [\n \"\\t\\tDoes that disturb you, James? Thinking \\n \\t\\tabout that little boy in the well? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tWhen I was a kid I identified with that\",\n \"\\tTHUG'S sightless eyes, wide open...staring blankly. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tOh, Jesus, James! You killed him! \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\tINT. SECURITY CHECK POINT/TERMINAL - DAY \\n \\n \\tA young boy of nine passes through the magnetic arch grinning. \\n \\tYOUNG COLE! Exactly as he appears in the dream! \\n\",\n \"\\tYOUNG COLE'S POV: the BLONDE MAN, shuddering, staggering, falling. \\n \\n \\tANGLE ON YOUNG COLE, stunned, as his PARENTS try to shield him. \\n\",\n \"\\tFADE IN: \\n \\n \\tINT. CONCOURSE/AIRPORT TERMINAL - BAY \\n \\n \\tCLOSE ON A FACE. A nine year old boy, YOUNG COLE, his eyes wide\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\t\\tdidn't locate him and they don't know \\n \\t\\thow much longer he can last, that's \\n \\t\\tassuming the boy is still alive. \\n \\n \\tA spotlight hits the car and COLE hears the sound of the\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\tYOUNG COLE'S POV: the PARAMEDICS, exchanging glances, shrugging \\n \\thelplessly. It's too late. The BLONDE MAN is dead. \\n\",\n \"\\tPICTURE of the kid being carried off on the stretcher. SUDDENLY, \\n \\tSHOTS RING OUT. COLE goes down. Hit in the leg! \\n\",\n \"\\tYOUNG COLE turns back toward the Security Check Point just as \\n \\tTRAVELERS scatter madly, some diving to the floor, others \\n \\trunning. A TERRIFIED TRAVELER, hitting the floor close by, looks\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tCome an. We're running out of time. \\n \\t\\tYou can't help him. \\n \\n \\tAs COLE yanks her roughly away, she looks back, sees the FIRST\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\twith blood. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tOh, my God, James. Did you kill him? \\n \\n \\tCOLE shakes his head \\\"no\\\" as blood oozes from his mouth. \\n\",\n \"\\tANGLE ON COLE, not listening, staring triumphantly! He's found \\n \\tanother partially obscured stencil of THE TWELVE MONKEYS! \\n \\n \\tBut just then, a raspy VOICE startles COLE. \\n\",\n \"\\t\\tAnd in Fresno, California... \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\t\\t(glances sadly toward the TV) \\n \\t\\tHe's dead, isn't he -- that little boy? \\n\",\n \"\\tEven as she responds, her eyes continue to scan the concourse. \\n \\n \\tANGLE ON YOUNG COLE, being hurried toward the lobby by his PARENTS\",\n \"\\tRAILLY. Even now, she continues to look around almost frantically. \\n \\n \\tSuddenly, her gaze falls on YOUNG COLE and she reacts...she's \\n \\tfound what she's looking for! \\n\",\n \"\\t\\tJames! We have to go back. Those men... \\n \\n \\tToo late. While COLE turns and stares at her, uncomprehending, \\n \\tthe TWO THUGS are approaching. \\n\"\n ],\n [\n \"\\t\\t\\t\\tCOLE \\n \\t\\tJeffrey Mason said it was my idea about \\n \\t\\tthe virus. And suddenly, I wasn't \\n \\t\\tsure. We talked when I was in the\",\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\tWhat virus are we talking about, Dad? \\n \\n \\t\\t\\t\\tDR. MASON \\n \\t\\tYou're insane, Jeffrey. \\n \\n \\t\\t\\t\\tJEFFREY\",\n \"\\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\\\" \\n \\n \\t\\t\\t\\tBOTANIST (o.s.) \\n \\t\\tThis is from a magazine printed in late\",\n \"\\tThe ACTIVISTS are all exchanging puzzled looks. \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\tWhat...virus? \\n \\n \\t\\t\\t\\tDR. MASON\",\n \"\\t\\tWho chattered? Goines? Weller? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI just need to have access to the pure \\n \\t\\tvirus, that's all! For the future! \\n\",\n \"\\t\\tYou \\\"develop\\\" viruses and you're calling \\n \\t\\tme insane? Typical. What does this \\n \\t\\tvirus attack? Don't tell me, you sick \\n \\t\\tfuck, it doesn't matter.\",\n \"\\t\\tScientist's own kid was one a the ones did it! \\n \\n \\tRAILLY and COLE stare at the cabbie, stunned. \\n \\n \\t\\t\\t\\tWOMAN CABBlE\",\n \"\\t\\tI just have to locate the virus in its \\n \\t\\toriginal form before it mutates. So \\n \\t\\tscientists can come back and study it \\n \\t\\tand find a cure. So that those of us\",\n \"\\twall. One headline screams, \\\"VIRUS MUTATING!\\\" Another features \\n \\ta photo of an OLD MAN (DR. MASON, who we'll see again later on)\",\n \"\\t\\tTHERE HE IS! HE'S CARRYING A DEADLY \\n \\t\\tVIRUS! STOP HIM! \\n\",\n \"\\t\\tAnd that's when I told you my father was \\n \\t\\tthis famous virologist and you said, \\\"Hey, \\n \\t\\the could make a germ and we could steal it!\\\" \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tSpit it out... you went to the home of \\n \\t\\ta famous virologist... \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(weakly) \\n \\t\\tYou...don't...exist! You're in\",\n \"\\t\\t-- so they get there and they ask the guy \\n \\t\\treal nice for some kind of i.d., and he gets \\n \\t\\tagitated, starts screaming about viruses. \\n \\t\\tTotally irrational, totally disoriented,\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tThis part isn't about the virus, is it? \\n \\n \\t\\t\\t\\tJOSE \\n \\t\\tHey, man... \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tGOT THAT? NOW -- WHAT FUCKING VIRUS \\n \\t\\tHAVE YOU COME UP WITH, YOU DEMENTED \\n \\t\\tFUCKING MANIAC? \\n\",\n \"\\t\\tAnd he told you then his father was a \\n \\t\\tfamous virologist. \\n \\n \\tCOLE is absorbed in the map, his finger tracing \\\"Outerbridge Road\\\". \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tdidn't do it. It was a mistake' \\n \\t\\tSomeone else did it. The Army of The \\n \\t\\tTwelve Monkeys are just dumb kids \\n \\t\\tplaying revolutionaries. It was\",\n \"\\t\\t\\t(to the others) \\n \\t\\tHave I ever \\\"developed\\\" a virus? Do I \\n \\t\\tput helpless animals in cages and measure \\n \\t\\ttheir reactions to electrical stimuli?\",\n \"\\t\\tmore. I don't have access to the virus. So, \\n \\t\\tgo ahead -- torture me, but you can't extract \\n \\t\\tanything of use to yourself. \\n\"\n ],\n [\n \"\\t\\t1989, they're probably not active yet. \\n \\t\\tThat makes sense! Okay. Listen to me, \\n \\t\\tthree billion people died in 1995. \\n \\t\\tThree billion, got that? Almost\",\n \"\\t\\the had come from the future, that he was \\n \\t\\tlooking for a pure germ that would \\n \\t\\tultimately wipe mankind off the face of \\n \\t\\tthe earth in the year... 1995! \\n\",\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\tYou won't think I'm crazy next month. \\n \\t\\tPeople are going to start dying. At \\n \\t\\tfirst the papers will say it's some \\n \\t\\tweird fever, some virus. Then they'll\",\n \"\\twall. One headline screams, \\\"VIRUS MUTATING!\\\" Another features \\n \\ta photo of an OLD MAN (DR. MASON, who we'll see again later on)\",\n \"\\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\\\" \\n \\n \\t\\t\\t\\tBOTANIST (o.s.) \\n \\t\\tThis is from a magazine printed in late\",\n \"\\t\\tdire prognostications about a pestilence \\n \\t\\twhich he predicted would wipe out humanity \\n \\t\\tin approximately 8OO years. Deranged and \\n \\t\\thysterical, the man raped a young woman of the\",\n \"\\t\\tTHERE HE IS! HE'S CARRYING A DEADLY \\n \\t\\tVIRUS! STOP HIM! \\n\",\n \"\\t\\tthe whole population. Of the world! \\n \\t\\tOnly about one percent survived. \\n \\n \\tDOCTORS exchange knowing looks. This is an old story, apparently. \\n \\n \\t\\t\\t\\tRESIDENT #2\",\n \"\\t\\tSo that...??? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, so that a vaccine can be developed \\n \\t\\tthat will, uh, allow mankind to reclaim \\n \\t\\tthe surface of the earth. \\n\",\n \"\\t\\tAnd you said to me, \\\"Wouldn't it be \\n \\t\\tgreat if there was a germ or a virus \\n \\t\\tthat could wipe out mankind and leave \\n \\t\\tthe plants and animals just as they\",\n \"\\t\\timpotence to do anything about it. \\n \\n \\tINT. RECEPTION ROOM - AN HOUR LATER (NIGHT) \\n \\n \\tA stack of new books. THE DOOMSDAY SYNDROME, Apocalyptic\",\n \"\\t\\tSeptember, 1995. The writer speculated \\n \\t\\tthat this graffiti might be related to \\n \\t\\tthe epidemic that by that time had \\n \\t\\talready killed thirty million people\",\n \"\\t\\tI just have to locate the virus in its \\n \\t\\toriginal form before it mutates. So \\n \\t\\tscientists can come back and study it \\n \\t\\tand find a cure. So that those of us\",\n \"\\tputs it into one of his specimen tubes. \\n \\n \\tThen, he shines his light all around the once elegant store. There's \\n \\tnothing but aisle after aisle of moldering consumer goods. \\n\",\n \"\\t\\teverybody started dying. \\n \\n \\tRAILLY glances around nervously. \\n \\n \\tRAILLY'S POV: two UNIFORMED POLICEMEN, strolling through the\",\n \"\\t\\tWhat virus are we talking about, Dad? \\n \\n \\t\\t\\t\\tDR. MASON \\n \\t\\tYou're insane, Jeffrey. \\n \\n \\t\\t\\t\\tJEFFREY\",\n \"\\t\\tof great pestilence, men have often \\n \\t\\tbelieved the prophecies of crazed \\n \\t\\tfanatics, that the end of the world was \\n \\t\\tcome.\\\" Obviously, this plague/doomsday\",\n \"\\tin a less elaborate, less bulky decontamination outfit draws \\n \\tblood from COLE'S arm with an old-fashioned hypodermic needle. \\n \\n \\tCOLE glances toward a single, nearly opaque \\\"window\\\" of thick\",\n \"\\tCOLE'S eyes return to the walls. \\n \\n \\tHeadlines: \\\"CLOCK TICKING! NO CURE YET!\\\" \\n \\n \\t\\t\\t\\tSCARFACE\"\n ],\n [\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\tWhat virus are we talking about, Dad? \\n \\n \\t\\t\\t\\tDR. MASON \\n \\t\\tYou're insane, Jeffrey. \\n \\n \\t\\t\\t\\tJEFFREY\",\n \"\\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\\\" \\n \\n \\t\\t\\t\\tBOTANIST (o.s.) \\n \\t\\tThis is from a magazine printed in late\",\n \"\\tThe ACTIVISTS are all exchanging puzzled looks. \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\tWhat...virus? \\n \\n \\t\\t\\t\\tDR. MASON\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tJeffrey Mason said it was my idea about \\n \\t\\tthe virus. And suddenly, I wasn't \\n \\t\\tsure. We talked when I was in the\",\n \"\\t\\tTHERE HE IS! HE'S CARRYING A DEADLY \\n \\t\\tVIRUS! STOP HIM! \\n\",\n \"\\t\\tI just have to locate the virus in its \\n \\t\\toriginal form before it mutates. So \\n \\t\\tscientists can come back and study it \\n \\t\\tand find a cure. So that those of us\",\n \"\\twall. One headline screams, \\\"VIRUS MUTATING!\\\" Another features \\n \\ta photo of an OLD MAN (DR. MASON, who we'll see again later on)\",\n \"\\t\\t-- so they get there and they ask the guy \\n \\t\\treal nice for some kind of i.d., and he gets \\n \\t\\tagitated, starts screaming about viruses. \\n \\t\\tTotally irrational, totally disoriented,\",\n \"\\t\\tSpit it out... you went to the home of \\n \\t\\ta famous virologist... \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(weakly) \\n \\t\\tYou...don't...exist! You're in\",\n \"\\t\\tYou won't think I'm crazy next month. \\n \\t\\tPeople are going to start dying. At \\n \\t\\tfirst the papers will say it's some \\n \\t\\tweird fever, some virus. Then they'll\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tThis part isn't about the virus, is it? \\n \\n \\t\\t\\t\\tJOSE \\n \\t\\tHey, man... \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tSo that...??? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, so that a vaccine can be developed \\n \\t\\tthat will, uh, allow mankind to reclaim \\n \\t\\tthe surface of the earth. \\n\",\n \"\\t\\t\\tATTENTION!!! POLICE ARE WATCHING! \\n \\t\\t\\tIS THERE A VIRUS? IS THIS THE \\n \\t\\t\\tSOURCE? THREE BILLION DIE? \\n\",\n \"\\t\\tdidn't do it. It was a mistake' \\n \\t\\tSomeone else did it. The Army of The \\n \\t\\tTwelve Monkeys are just dumb kids \\n \\t\\tplaying revolutionaries. It was\",\n \"\\t\\tAnd that's when I told you my father was \\n \\t\\tthis famous virologist and you said, \\\"Hey, \\n \\t\\the could make a germ and we could steal it!\\\" \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tAnd he told you then his father was a \\n \\t\\tfamous virologist. \\n \\n \\tCOLE is absorbed in the map, his finger tracing \\\"Outerbridge Road\\\". \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tYou \\\"develop\\\" viruses and you're calling \\n \\t\\tme insane? Typical. What does this \\n \\t\\tvirus attack? Don't tell me, you sick \\n \\t\\tfuck, it doesn't matter.\",\n \"\\t\\tScientist's own kid was one a the ones did it! \\n \\n \\tRAILLY and COLE stare at the cabbie, stunned. \\n \\n \\t\\t\\t\\tWOMAN CABBlE\",\n \"\\t\\tWho chattered? Goines? Weller? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI just need to have access to the pure \\n \\t\\tvirus, that's all! For the future! \\n\"\n ],\n [\n \"\\t\\tCole! James Cole! You escaped from a \\n \\t\\tlocked room six years ago. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t1989. Six years for you. There's the\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\t\\tNo, no. This is the past. This has \\n \\t\\talready happened. Listen... \\n \\n \\t\\t\\t\\tRESIDENT #3 \\n \\t\\tMr. Cole, you belong in 1995 -- that's\",\n \"\\t\\tNo, 1995 is the past. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\t1995 is the future, James. This is 1989. \\n \\n \\tCOLE looks stunned. \\n\",\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\t\\tthe present, is that it? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tNo, 1995 is the past, too. Look... \\n \\n \\t\\t\\t\\tDR. FLETCHER\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\t\\tthe future, James. Do you think you're \\n \\t\\tliving in the future? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(slightly confused)\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tI need to go. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tDo you know why you're here, James. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tDo you know what year it is? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tWhat year is it? \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tWhat year do you think it is? \\n\",\n \"\\t\\tJames! We have to go back. Those men... \\n \\n \\tToo late. While COLE turns and stares at her, uncomprehending, \\n \\tthe TWO THUGS are approaching. \\n\",\n \"\\t\\the refused 'n I kept thinking, I know \\n \\t\\tthis guy. Then, just a few minutes ago, \\n \\t\\tit came to me. It's Cole! James Cole.\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \\n \\tof many stacked four high along both sides of a long dim \\n \\tcorridor. He blinks in the near dark, shaken, disoriented. \\n\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \\n \\tthat tapping before -- in the future! It disorients him. \\n \\n \\t\\t\\t\\tDR. RAILLY\",\n \"\\t\\t\\t\\tFRANKI \\n \\t\\t\\t(unlocking the door) \\n \\t\\tJames Cole. That's everything we got. None \\n \\t\\tof the James Coles on the computer match him.\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tCome an. We're running out of time. \\n \\t\\tYou can't help him. \\n \\n \\tAs COLE yanks her roughly away, she looks back, sees the FIRST\",\n \"\\tsteps into a tiny chamber, a kind of air lock. The heavy door \\n \\tclangs shut behind him. He's alone. COLE'S breath comes quicker \\n \\tnow as he sucks oxygen from the air tanks on his back. \\n\",\n \"\\t\\tAre you going to save us, Mr. Cole? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tSave you? How can I save you? It \\n \\t\\talready happened! I can't save you. I'm\"\n ],\n [\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tI need to go. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tDo you know why you're here, James. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tCole! James Cole! You escaped from a \\n \\t\\tlocked room six years ago. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t1989. Six years for you. There's the\",\n \"\\t\\tNo, no. This is the past. This has \\n \\t\\talready happened. Listen... \\n \\n \\t\\t\\t\\tRESIDENT #3 \\n \\t\\tMr. Cole, you belong in 1995 -- that's\",\n \"\\t\\tAuthorities confirm that Dr. Railly has \\n \\t\\tbeen abducted by escaped mental patient, \\n \\t\\tJames Cole. The two are believed to be\",\n \"\\t\\the refused 'n I kept thinking, I know \\n \\t\\tthis guy. Then, just a few minutes ago, \\n \\t\\tit came to me. It's Cole! James Cole.\",\n \"\\t\\tI'd like to be clear about this. That \\n \\t\\tman and the other one were...\\\"severely\\\" \\n \\t\\tbeating us. James Cole didn't start \\n \\t\\tit. In fact -- he saved me! \\n\",\n \"\\t\\tAre you going to save us, Mr. Cole? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tSave you? How can I save you? It \\n \\t\\talready happened! I can't save you. I'm\",\n \"\\t\\tJames! We have to go back. Those men... \\n \\n \\tToo late. While COLE turns and stares at her, uncomprehending, \\n \\tthe TWO THUGS are approaching. \\n\",\n \"\\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \\n \\tthat tapping before -- in the future! It disorients him. \\n \\n \\t\\t\\t\\tDR. RAILLY\",\n \"\\t\\tI did him a favor. Now come on. \\n \\n \\tCOLE, pulling her again, sees more \\\"12 MONKEYS\\\" on the wall. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tCome an. We're running out of time. \\n \\t\\tYou can't help him. \\n \\n \\tAs COLE yanks her roughly away, she looks back, sees the FIRST\",\n \"\\t\\tJames, come on! We have to get out of here! \\n \\n \\tCOLE looks from the wall to the can rolling on the sidewalk, \\n \\tthen back to the wall where RAILLY has sprayed the huge words: \\n\",\n \"\\t\\tHave you seen James Cole? The man...? \\n \\n \\t\\t\\t\\tLOUIE \\n \\t\\tThey're watchin' you. Takin' pictures. \\n \\n \\tRAILLY follows his look. \\n\",\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\t\\tSo that...??? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, so that a vaccine can be developed \\n \\t\\tthat will, uh, allow mankind to reclaim \\n \\t\\tthe surface of the earth. \\n\",\n \"\\t\\tI have to do this, James. You're very \\n \\t\\tconfused. \\n \\n \\tRAILLY pushes the needle into COLE'S skin. \\n\",\n \"\\t\\tsince I got back from that... \\\"weird\\\" \\n \\t\\twar we were in. You remember that? \\n \\t\\t\\t(pressing the pistol on Cole) \\n \\t\\tHere, take it, man! You could still be\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tNo, sir! I just want to do my part. \\n \\t\\tTo get us back on top...in charge of \\n \\t\\tthe planet. And I have the experience,\",\n \"\\t\\tthe future, James. Do you think you're \\n \\t\\tliving in the future? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(slightly confused)\"\n ],\n [\n \"\\tANGLE ON COLE, sweating, BREATHING HEAVILY, sprawled on one side \\n \\tof the double bed, sound asleep. \\n \\n \\tINT. CONCOURSE/AIRPORT - DAY (THE DREAM) \\n\",\n \"\\tCLOSE ON COLE, dozing fitfully, as the SOUNDS of SCREAMING BIRDS \\n \\tcontinue. Suddenly, he comes awake with a start...sees the movie \\n \\tfilling his field of vision. \\n\",\n \"\\t\\t\\t\\tRAILLY \\n \\t\\tWe dream about what's important in our lives. \\n \\t\\tAnd I seem to have become pretty important \\n \\t\\tin yours. What was the dream about? \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\tCOLE comes awake with a start. The room is dark now, except... \\n \\n \\ta slide is being projected on a torn screen. It's a picture of a\",\n \"\\tTHE DREAM AGAIN! But at an earlier moment. YOUNG COLE, flanked \\n \\tby his PARENTS, whose faces are out of view, is watching a PLANE\",\n \"\\tINT. AIRPORT CONCOURSE/THE DREAM \\n \\n \\tYOUNG COLE stares, eyes wide. \\n \\n \\tHe sees the BRUNETTE, cradling the head of the BLONDE MAN as he\",\n \"\\t\\\"DREAMLIKE\\\" THAN HIS DREAM. \\n \\n \\tFlashlights glare. In the half-light, COLE sees spooky figures, \\n \\tGUARDS, moving among the locked bunk/cages. \\n\",\n \"\\tCOLE, late thirties, dark hair, comes awake in a bunk cage, one \\n \\tof many stacked four high along both sides of a long dim \\n \\tcorridor. He blinks in the near dark, shaken, disoriented. \\n\",\n \"\\tjust as the door opens and an ORDERLY probes the dark room with \\n \\tthe blade of his flashlight. \\n \\n \\tANGLE ON COLE, in bed, feigning sleep. \\n\",\n \"\\tANGLE ON COLE, following RAILLY'S look, seeing MR. PONYTAIL, THE \\n \\tMAN FROM HIS DREAM! \\n \\n \\tANGLE ON DR. PETERS, frightened, glancing back, walking faster. \\n\",\n \"\\tINT. AIRPORT CONCOURSE - DAY (THE DREAM) \\n \\n \\tMR. PONYTAIL races past the startled YOUNG COLE. \\n \\n \\t\\t\\t\\tMR. PONYTAIL\",\n \"\\tCOLE turns to RAILLY, beside him on the bed, frightened and \\n \\thelpless, her jacket arranged to restrain her like a strait-jacket. \\n \\n \\tCOLE'S instinct is to free her at once, but he controls his\",\n \"\\tEverything goes white! \\n \\n \\tINT. DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT \\n \\n \\tCOLE'S eyes blink awake, blinded by a flashlight. \\n\",\n \"\\t\\tCole. Right now, we want to know \\n \\t\\teverything that you saw. \\n \\n \\tINT. ENGINEERING OFFICE - AN HOUR LATER (ETERNAL NIGHT) \\n\",\n \"\\tStruggling to stay awake COLE sees, blurrily, the MICROBIOLOGIST \\n \\tstaring at COLE intently. For one moment, the face belongs to \\n \\tDR. FLETCHER! \\n\",\n \"\\tStartled, COLE freezes, then ignores the RASPY VOICE and \\n \\tcontinues his feverish struggle. \\n \\n \\t\\t\\t\\tRASPY VOICE (o.s.)\",\n \"\\tINT. SECURITY CHECK POINT/TERMINAL - DAY \\n \\n \\tA young boy of nine passes through the magnetic arch grinning. \\n \\tYOUNG COLE! Exactly as he appears in the dream! \\n\",\n \"\\tINT. TERMINAL LOBBY \\n \\n \\tCOLE emerges from the Men's Room, shaken, paranoid. He glances \\n \\taround nervously. Then, keeping his head down, he starts walking\",\n \"\\tSNORES, occasional MOANS. Then, COLE hears JEFFREY'S hoarse \\n \\twhisper, picking up right where he left off. \\n \\n \\t\\t\\t\\tJEFFREY\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tI mean in my dream -- I didn't realize \\n \\t\\tit was you. Then...I woke up and I...I \\n \\t\\tthought you were gone. \\n\"\n ],\n [\n \"\\tCOLE turns, sees... \\n \\n \\tIt's his friend, JOSE, the Puerto Rican kid from the next cell in \\n \\tthe \\\"underground\\\" time. He's being carried past COLE now on a\",\n \"\\tAs he steps to the sidewalk, COLE is overwhelmed by the bustling \\n \\tcity, the tall downtown buildings. His eyes go up. \\n \\n \\tCOLE'S POV: a building, towering toward the sky. A building\",\n \"\\tBelow, on the street, COLE trudges along, passing deserted \\n \\tbuildings, windows broken, rusted signs dangling. \\n \\n \\tINT. DEPARTMENT STORE - NIGHT (FIRST LIGHT) \\n\",\n \"\\taside. COLE'S helmeted head emerges from below. \\n \\n \\tCOLE'S POV THROUGH HIS PLASTIC-VISORED HELMET: a city in\",\n \"\\tCOLE hangs up the phone, looks around, catches a few stares. \\n \\tAverting his face, he heads for the Men's Room. \\n \\n \\tINT. TICKET COUNTER - DAY \\n\",\n \"\\tThe P.A. SYSTEM interrupts, startling COLE. \\n \\n \\t\\t\\t\\tP.A. SYSTEM (v.o.) \\n \\t\\tJames Cole. Report to Staff. James Cole! \\n\",\n \"\\tCOLE sees the driveway ahead in the moonlight. Steering madly, \\n \\the plows through shrubs and gardens heading for the driveway. \\n \\n \\tEXT. MASON MANSION - NIGHT \\n\",\n \"\\tCOLE finds the down button, is about to push it when the elevator \\n \\tsprings to life. The numbers on the indicator over the door \\n \\tstart to rise. 7...8...9. \\n\",\n \"\\tANGLE ON COLE, sweating, BREATHING HEAVILY, sprawled on one side \\n \\tof the double bed, sound asleep. \\n \\n \\tINT. CONCOURSE/AIRPORT - DAY (THE DREAM) \\n\",\n \"\\tCOLE pauses, stares, not understanding. Then, he opens the door. \\n \\n \\tINT. CORRIDOR/COUNTY HOSPITAL \\n \\n \\tStepping through the door, COLE finds himself in an ante-room\",\n \"\\thim along...but COLE isn't moving. He's staring at the front of \\n \\tthe FAA Store with disbelief! \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\tCOLE turns to his left. \\n \\n \\tFour ORDERLIES are coming that way. \\n \\n \\tCOLE'S trapped. A beat. He attacks the nearest man. BILLINGS. \\n\",\n \"\\tCOLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen \\n \\tthat tapping before -- in the future! It disorients him. \\n \\n \\t\\t\\t\\tDR. RAILLY\",\n \"\\tsteps into a tiny chamber, a kind of air lock. The heavy door \\n \\tclangs shut behind him. He's alone. COLE'S breath comes quicker \\n \\tnow as he sucks oxygen from the air tanks on his back. \\n\",\n \"\\tfifteen yards away. Muffled VOICES shout through gas masks... \\n \\tin FRENCH. COLE doesn't know it, but this is World War I! \\n \\tSuddenly, a SERGEANT confronts him, shouting in French.\",\n \"\\tThe gun FIRES wildly as COLE staggers forward with the FIRST THUG \\n \\tin his arms and smashes the man into the brick wail behind him. \\n \\tThe FIRST THUG goes down in a heap, dropping the pistol. \\n\",\n \"\\t\\tNo, no. This is the past. This has \\n \\t\\talready happened. Listen... \\n \\n \\t\\t\\t\\tRESIDENT #3 \\n \\t\\tMr. Cole, you belong in 1995 -- that's\",\n \"\\tCOLE stares at the picture. \\n \\n \\tEXT. FAA STOREFRONT - DAY \\n \\n \\tLOUD BANGING! The storefront window, completely covered with\",\n \"\\toverwhelms COLE, blinding him in a dazzling fury of white light. \\n \\n \\tEXT. CITY STREET/MINI-VAN - DAY \\n\",\n \"\\tCOLE and RAILLY clatter down the fire-escape, COLE in the lead. \\n \\tThey come to the end of the metal stairway. It's a long distance\"\n ],\n [\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\t\\\"The Army of the Twelve Monkeys -- \\n \\t\\tthey're the ones who are going to do \\n \\t\\tit. I can't do anything more. The \\n \\t\\tpolice are watching me.\\\" \\n\",\n \"\\t\\tbecame this underground...\\\"army\\\" \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThe Army of The Twelve Monkeys. \\n \\n \\t\\t\\t\\tBEN \\n \\t\\tThey started planning a \\\"Human Hunt\\\". \\n\",\n \"\\t\\tArmy of the Twelve Monkeys? They paint \\n \\t\\tthis, stencil it, on buildings, all \\n \\t\\tover the place. \\n \\n \\tCOLE waves a sketch of the dancing monkey logo we saw earlier. \\n\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tI, uh, I'm looking for the, ah, the \\n \\t\\tArmy of the Twelve Monkeys. \\n\",\n \"\\t\\tcondemning what they're calling the \\n \\t\\t\\\"loose canon\\\" activities of Jeffrey \\n \\t\\tMason and his Army of the Twelve \\n \\t\\tMonkeys.\",\n \"\\t\\tWALLS? \\n \\t\\t\\t(moves to Fale, jabs him with a finger) \\n \\t\\tYou think I told her about the Army of \\n \\t\\tthe 12 Monkeys? Impossible! Know why,\",\n \"\\tcounter, bigger than COLE, physically imposing, menacing. \\n \\n \\t\\t\\t\\tTEDDY \\n \\t\\tWe don't know anything about any \\\"Army \\n \\t\\tof the Twelve Monkeys\\\", so why don't\",\n \"\\t\\tfor the Army of the Twelve Monkeys... \\n \\n \\tLooking at her laughing face, COLE is struck with horror as he \\n \\trealizes the truth! He starts to recite... \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tsee, she knew I was going to lead the \\n \\t\\tArmy of the Twelve Monkeys into the \\n \\t\\tpages of history before it ever even \\n \\t\\toccurred to me. She knows everything\",\n \"\\t\\tdidn't do it. It was a mistake' \\n \\t\\tSomeone else did it. The Army of The \\n \\t\\tTwelve Monkeys are just dumb kids \\n \\t\\tplaying revolutionaries. It was\",\n \"\\tstenciled graffiti...the logo of The Army of the 12 Monkeys. \\n \\n \\t\\t\\t\\tENGINEER \\n \\t\\tWhat about it, Cole? \\n \\n \\t\\t\\t\\tZOOLOGIST\",\n \"\\t\\tMonkeys. Twelve of them. \\n \\n \\tJEFFREY frowns, turns, considers COLE. Then, suddenly, JEFFREY \\n \\trushes to COLE and embraces him. \\n\",\n \"\\t\\tyour Army-of-the-Twelve-Monkeys factor. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tWhat? What did you say? \\n \\n \\t\\t\\t\\tWOMAN CABBIE\",\n \"\\tinsignias. We can just see TWELVE MONKEYS holding hands in a circle. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThe Twelve Monkeys!!! They're here. \\n \\t\\t\\t(looks around)\",\n \"\\t\\tLO AND BEHOLD, I'M FRANKENSTEIN AND THE \\n \\t\\t\\\"ARMY OF THE TWELVE MONKEYS\\\" BECOMES \\n \\t\\tSOME SORT OF SINISTER REVOLUTIONARY\",\n \"\\t\\tfind out the \\\"big info\\\"?...Army of the \\n \\t\\tTwelve Monkeys...where the virus was \\n \\t\\tprior to mutation? \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\t\\t\\tBRUNETTE/P. A. SYSTEM \\n \\t\\tThe Freedom For Animals Headquarters \\n \\t\\tnow boarding on Second Avenue. The \\n \\t\\tArmy of the Twelve Monkeys... \\n\",\n \"\\t\\tyou're gonna live a long, happy life. \\n \\t\\tBut if you other guys exist and you're \\n \\t\\tpicking this up -- forget about the \\n \\t\\tArmy of The Twelve Monkeys -- they\",\n \"\\tANGLE ON COLE, not listening, staring triumphantly! He's found \\n \\tanother partially obscured stencil of THE TWELVE MONKEYS! \\n \\n \\tBut just then, a raspy VOICE startles COLE. \\n\"\n ],\n [\n \"\\t\\tout the human race? It was my idea? \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tNobody is going to wipe out the human \\n \\t\\trace. Not you or Jeffrey or anybody\",\n \"\\t\\tdidn't do it. It was a mistake' \\n \\t\\tSomeone else did it. The Army of The \\n \\t\\tTwelve Monkeys are just dumb kids \\n \\t\\tplaying revolutionaries. It was\",\n \"\\t\\tAnd you said to me, \\\"Wouldn't it be \\n \\t\\tgreat if there was a germ or a virus \\n \\t\\tthat could wipe out mankind and leave \\n \\t\\tthe plants and animals just as they\",\n \"\\t\\tthat Homo Sapiens' motto, \\\"Let's go \\n \\t\\tshopping!\\\" is the cry of the true lunatic? \\n \\n \\tDR. PETERS smiles self-importantly at RAILLY as an elderly\",\n \"\\t\\t\\t(indicating Jeffrey to the others) \\n \\t\\tThis is your leader, a certifiable lunatic \\n \\t\\twho told his former psychiatrist all his \\n \\t\\tplans for God knows what whacko irresponsible\",\n \"\\tThree other activists, GOINES, ICHIOKA, and BRUHNS, stagger out of \\n \\tthe darkness behind JEFFREY, lugging a huge, squirming GARBAGE BAG. \\n\",\n \"\\t\\tfor it! Maybe people deserved to be \\n \\t\\twiped out! \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\t\\t(startled, turning)\",\n \"\\t\\t\\\"The Army of the Twelve Monkeys -- \\n \\t\\tthey're the ones who are going to do \\n \\t\\tit. I can't do anything more. The \\n \\t\\tpolice are watching me.\\\" \\n\",\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\tWho chattered? Goines? Weller? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI just need to have access to the pure \\n \\t\\tvirus, that's all! For the future! \\n\",\n \"\\t\\tinstitution, and it was all...fuzzy. \\n \\t\\tThe drugs and stuff. \\n \\t\\t\\t(horrified) \\n \\t\\tYou think maybe I'm the one who wiped\",\n \"\\t\\twrong about everything...the world will be \\n \\t\\tokay. I'll never have to live underground. \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\tGive me the gun. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\t\\t\\tRAILLY \\n \\t\\tFor God sakes, Owen, listen to me -- he \\n \\t\\tknew about the boy in Fresno and he says \\n \\t\\tthree billion people are going to die! \\n\",\n \"\\t\\tdire prognostications about a pestilence \\n \\t\\twhich he predicted would wipe out humanity \\n \\t\\tin approximately 8OO years. Deranged and \\n \\t\\thysterical, the man raped a young woman of the\",\n \"\\t\\the had come from the future, that he was \\n \\t\\tlooking for a pure germ that would \\n \\t\\tultimately wipe mankind off the face of \\n \\t\\tthe earth in the year... 1995! \\n\",\n \"\\t\\tYou won't think I'm crazy next month. \\n \\t\\tPeople are going to start dying. At \\n \\t\\tfirst the papers will say it's some \\n \\t\\tweird fever, some virus. Then they'll\",\n \"\\t\\t\\t(grabbing Jeffrey) \\n \\t\\tListen, you dumb fuck! The thing mutates \\n \\t\\tWe live underground! The world belongs \\n \\t\\tto the fucking dogs and cats. We're\",\n \"\\t\\tOkay, that's Stage One. In Stage Two, \\n \\t\\tMonkey Four is over here... \\n \\n \\tA loud GROAN from the bag distracts the others. \\n \\n \\t\\t\\t\\tGOINES\",\n \"\\t\\tthat I'm one of the three billion \\n \\t\\tpeople who are going to die...soon. \\n \\n \\tCOLE stands, moves close to her. \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\tI attended a lecture once...Apocalyptic \\n \\t\\tvisions. \\n \\n \\tWe see Dr. Mason's ASSISTANT now. It's DR. PETERS, the red-\"\n ],\n [\n \"\\t\\tA secret army. The Army of The Twelve \\n \\t\\tMonkeys. I've told you about them. \\n \\t\\tThey spread the virus. That's why we \\n \\t\\thave to get to Philadelphia. I have to\",\n \"\\t\\tSpit it out... you went to the home of \\n \\t\\ta famous virologist... \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\t\\t(weakly) \\n \\t\\tYou...don't...exist! You're in\",\n \"\\tWATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?\\\" \\n \\n \\t\\t\\t\\tBOTANIST (o.s.) \\n \\t\\tThis is from a magazine printed in late\",\n \"\\t\\tWhat virus are we talking about, Dad? \\n \\n \\t\\t\\t\\tDR. MASON \\n \\t\\tYou're insane, Jeffrey. \\n \\n \\t\\t\\t\\tJEFFREY\",\n \"\\t\\tScientist's own kid was one a the ones did it! \\n \\n \\tRAILLY and COLE stare at the cabbie, stunned. \\n \\n \\t\\t\\t\\tWOMAN CABBlE\",\n \"\\t\\tTHERE HE IS! HE'S CARRYING A DEADLY \\n \\t\\tVIRUS! STOP HIM! \\n\",\n \"\\t\\tJames! Thank God! I thought you'd \\n \\t\\tdisappeared. Listen, I think I know \\n \\t\\twho it is! I saw him! It's Dr. Mason's\",\n \"\\t\\tWho chattered? Goines? Weller? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI just need to have access to the pure \\n \\t\\tvirus, that's all! For the future! \\n\",\n \"\\t\\tAu contraire, Doctor. No sign of your \\n \\t\\tgood friend, the kidnapper. However, \\n \\t\\tthe plot thickens. I have a ballistic \\n \\t\\treport on my desk that says the bullet\",\n \"\\t\\tAnd that's when I told you my father was \\n \\t\\tthis famous virologist and you said, \\\"Hey, \\n \\t\\the could make a germ and we could steal it!\\\" \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tJeffrey Mason said it was my idea about \\n \\t\\tthe virus. And suddenly, I wasn't \\n \\t\\tsure. We talked when I was in the\",\n \"\\twall. One headline screams, \\\"VIRUS MUTATING!\\\" Another features \\n \\ta photo of an OLD MAN (DR. MASON, who we'll see again later on)\",\n \"\\t\\t-- so they get there and they ask the guy \\n \\t\\treal nice for some kind of i.d., and he gets \\n \\t\\tagitated, starts screaming about viruses. \\n \\t\\tTotally irrational, totally disoriented,\",\n \"\\tThe ACTIVISTS are all exchanging puzzled looks. \\n \\n \\t\\t\\t\\tJEFFREY \\n \\t\\tWhat...virus? \\n \\n \\t\\t\\t\\tDR. MASON\",\n \"\\t\\tI just have to locate the virus in its \\n \\t\\toriginal form before it mutates. So \\n \\t\\tscientists can come back and study it \\n \\t\\tand find a cure. So that those of us\",\n \"\\t\\tAnd he told you then his father was a \\n \\t\\tfamous virologist. \\n \\n \\tCOLE is absorbed in the map, his finger tracing \\\"Outerbridge Road\\\". \\n \\n \\t\\t\\t\\tCOLE\",\n \"\\t\\t\\t\\tFIRST AGENT \\n \\t\\tThat kid. The one in the pipe. \\n \\n \\t\\t\\t\\tSECOND AGENT \\n \\t\\tYou believe this? They're dropping a monkey\",\n \"\\t\\tCole, did you or did you not record \\n \\t\\tthat message? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, that message...me? \\n \\n \\t\\t\\t\\tMICROBIOLOGIST\",\n \"\\t\\tSo that...??? \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tUh, so that a vaccine can be developed \\n \\t\\tthat will, uh, allow mankind to reclaim \\n \\t\\tthe surface of the earth. \\n\",\n \"\\t\\t\\t\\tCOLE \\n \\t\\tThis part isn't about the virus, is it? \\n \\n \\t\\t\\t\\tJOSE \\n \\t\\tHey, man... \\n \\n \\t\\t\\t\\tCOLE\"\n ],\n [\n \"\\tRAILLY. Even now, she continues to look around almost frantically. \\n \\n \\tSuddenly, her gaze falls on YOUNG COLE and she reacts...she's \\n \\tfound what she's looking for! \\n\",\n \"\\tANGLE ON YOUNG COLE, reacting to the intensity of her look. \\n \\n \\tANGLE ON RAILLY, her eyes speaking to the boy across the crowded \\n \\tconcourse. \\n\",\n \"\\tFADE IN: \\n \\n \\tINT. CONCOURSE/AIRPORT TERMINAL - BAY \\n \\n \\tCLOSE ON A FACE. A nine year old boy, YOUNG COLE, his eyes wide\",\n \"\\tINT. SECURITY CHECK POINT/TERMINAL - DAY \\n \\n \\tA young boy of nine passes through the magnetic arch grinning. \\n \\tYOUNG COLE! Exactly as he appears in the dream! \\n\",\n \"\\tJOSE, having heard this, steps back into the crowd as RAILLY \\n \\tgrabs COLE and pulls him toward the Security Check Points. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tI love you, Kathryn. Remember that.\",\n \"\\tINT. TICKET COUNTER/AIRPORT TERMINAL - MORNING \\n \\n \\tCLOSY ON copies of the mug shot of COLE and a photo of RAILLY\",\n \"\\tEven as she responds, her eyes continue to scan the concourse. \\n \\n \\tANGLE ON YOUNG COLE, being hurried toward the lobby by his PARENTS\",\n \"\\tCOLE grabs RAILLY and pulls her into the alley and down it. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tThey're keeping an eye on me. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\tspeaks, it comes out of him like air...a whisper. \\n \\n \\t\\t\\t\\tCOLE \\n \\t\\tMore...than...anything. \\n \\n \\tINT. RAILLY'S BEDROOM - MORNING \\n\",\n \"\\t\\t\\t\\tRAILLY \\n \\t\\tIf those young men don't get loose, \\n \\t\\tthey could die in that basement. \\n \\n \\tCOLE glances out the window, indicates the PEOPLE in passing\",\n \"\\tANGLE ON RAILLY AND COLE, thirty yards away, entering the terminal. \\n \\n \\t\\t\\t\\tP.A. SYSTEM \\n \\t\\t-- Flight 531 for Chicago is now ready\",\n \"\\t\\tbrain's fried. Give him another shot! \\n \\t\\tSPEAK UP, COLE. WHAT DID YOU DO NEXT? \\n \\n \\tINT. RAILLY'S APARTMENT - EVENING \\n\",\n \"\\tRAILLY puts an arm around him and helps him to his feet. A beat. \\n \\tThey're very close. They don't move. RAILLY looks like she can \\n \\tbarely breathe. \\n\",\n \"\\tRAILLY pulls a photo from her purse, shows it to COLE. \\n \\n \\tIt's the uncropped picture from her book, the photo of JOSE in\",\n \"\\tlobby, their eyes scanning the faces of TRAVELERS. \\n \\n \\tANGLE ON RAILLY, pulling a small tube from her purse. \\n \\n \\t\\t\\t\\tRAILLY\",\n \"\\tCOLE'S POV: RAILLY, well out of earshot, speaking earnestly into \\n \\tthe phone. \\n \\n \\tANGLE ON COLE, startled, as a BUSINESSMAN, mistaking him for a\",\n \"\\tANGLE ON COLE, wind in his hair, eyes shining, gulping air blissfully. \\n \\n \\tINT. RAILLY'S APARTMENT - MORNING \\n\",\n \"\\t\\tAnd in Fresno, California... \\n \\n \\t\\t\\t\\tRAILLY \\n \\t\\t\\t(glances sadly toward the TV) \\n \\t\\tHe's dead, isn't he -- that little boy? \\n\",\n \"\\tCOLE looks desperately toward RAILLY, pleading eyes meeting hers. \\n \\n \\tINT. LOW RENT APARTMENT - DAY \\n \\n \\tFour little KIDS SCREAM and SQUABBLE while the phone CHIRPS\",\n \"\\tINT. AIRPORT CONCOURSE/THE DREAM \\n \\n \\tYOUNG COLE stares, eyes wide. \\n \\n \\tHe sees the BRUNETTE, cradling the head of the BLONDE MAN as he\"\n ]\n]"},"questions":{"kind":"list like","value":["Where do the survivors live after a virus wipes-out most of humanity?","Who is believed to be responsible for the virus that wipes out most of humanity?","Where is the underground shelter where James Cole is being held as a prisoner located?","Why is James Cole sent back in time?","Where does James Cole force Dr. Kathryn Railly to take him after he kidnaps her?","Who does James Cole meet while he is hospitalized in a mental institution?","Who is the founder of the Army of the Twelve Monkeys?","What happens when James Cole draws a gun while pursuing Dr. Peters?","Where do Cole and Reilly decide they will spend their remaining time together before the plague strikes?","Which group was initially thought to be responsible for the 1996 virus?","Where was James Cole living as a prisoner, before he was selected to travel back in time?","What was happening in the recurring dreams that were bothering James Cole?","While attempting to travel back in time to 1996 for the first time, where did James Cole actually end up?","On James Cole's second attempt at time travel, where did he land before finding his way to 1996?","Who is the founder of the Army of the Twelve Monkeys?","Who does Goines claim came up with the idea to wipe out humanity?","Who is the small boy that witnesses James Cole's Death?","Who was responsible for the virus?","In what year does a deadly virus wipe out majority of the human population?","What group is believed to responsible for the virus?","In what year is James Cole selected for a mission to go back in time?","Why is James Cole sent back in time?","What recurring dream keeps troubling Cole?","In what city does Cole arrive when he time travels the first time?","Who is the founder of the Army of the Twelve Monkeys?","On whom does Goines assign blame for coming up with the idea of wiping out humanity?","Who is the real culprit behind the virus outbreak?","Who is the small boy that Railly makes eye contact with at the airport while Cole lies dying in her arms?"],"string":"[\n \"Where do the survivors live after a virus wipes-out most of humanity?\",\n \"Who is believed to be responsible for the virus that wipes out most of humanity?\",\n \"Where is the underground shelter where James Cole is being held as a prisoner located?\",\n \"Why is James Cole sent back in time?\",\n \"Where does James Cole force Dr. Kathryn Railly to take him after he kidnaps her?\",\n \"Who does James Cole meet while he is hospitalized in a mental institution?\",\n \"Who is the founder of the Army of the Twelve Monkeys?\",\n \"What happens when James Cole draws a gun while pursuing Dr. Peters?\",\n \"Where do Cole and Reilly decide they will spend their remaining time together before the plague strikes?\",\n \"Which group was initially thought to be responsible for the 1996 virus?\",\n \"Where was James Cole living as a prisoner, before he was selected to travel back in time?\",\n \"What was happening in the recurring dreams that were bothering James Cole?\",\n \"While attempting to travel back in time to 1996 for the first time, where did James Cole actually end up?\",\n \"On James Cole's second attempt at time travel, where did he land before finding his way to 1996?\",\n \"Who is the founder of the Army of the Twelve Monkeys?\",\n \"Who does Goines claim came up with the idea to wipe out humanity?\",\n \"Who is the small boy that witnesses James Cole's Death?\",\n \"Who was responsible for the virus?\",\n \"In what year does a deadly virus wipe out majority of the human population?\",\n \"What group is believed to responsible for the virus?\",\n \"In what year is James Cole selected for a mission to go back in time?\",\n \"Why is James Cole sent back in time?\",\n \"What recurring dream keeps troubling Cole?\",\n \"In what city does Cole arrive when he time travels the first time?\",\n \"Who is the founder of the Army of the Twelve Monkeys?\",\n \"On whom does Goines assign blame for coming up with the idea of wiping out humanity?\",\n \"Who is the real culprit behind the virus outbreak?\",\n \"Who is the small boy that Railly makes eye contact with at the airport while Cole lies dying in her arms?\"\n]"},"answers":{"kind":"list like","value":[["Underground.","underground"],["A group named the Army of the Twelve Monkeys. ","The Twelve Monkeys"],["Under the ruins of Philadelphia.","Philadelphia"],["To collect information about the virus in order to try to develop a cure.","He was selected for a mission."],["To Philadelphia. ","Philadelphia."],["Jeffrey Goines.","Jeffrey Goines"],["Jeffrey Goines.","Goines"],["Cole is shot and killed by the police.","he is shot by police"],["The Florida Keys.","Florida Keys"],["the Army of the Twelve Monkeys.","The Army of the 12 Monkeys"],["A subterranean shelter beneath the ruins of Philadelphia.","In an underground shelter beneath Philadelphia"],["A foot chase and an airport shooting.","and chase and shooting in his dreams"],["Baltimore in 1990.","He ended up in 1990 instead."],["A World War 1 battlefield.","A battlefield of World War I."],["Jeffrey Goines.","Goines"],["James Cole in 1990.","James Cole."],["James Cole.","His own self from the future."],["Dr. Peters.","Cole"],["1996","1996"],["Army of the Twelve Monkeys","Army of the Twelve Monkeys"],["2035","2035."],["James Cole is sent back in time to collect information about the virus.","to collect info about a virus so scientists can find a cure"],["A dream involving a foot chase and an airport shooting.","A foot chase and a shooting in a airport"],["Baltimore","Baltimore"],["Goines","Jeffrey Goines."],["Coles","Cole"],["Dr. Peters","Dr. Peters"],["Young James Cole","Young James Cole"]],"string":"[\n [\n \"Underground.\",\n \"underground\"\n ],\n [\n \"A group named the Army of the Twelve Monkeys. \",\n \"The Twelve Monkeys\"\n ],\n [\n \"Under the ruins of Philadelphia.\",\n \"Philadelphia\"\n ],\n [\n \"To collect information about the virus in order to try to develop a cure.\",\n \"He was selected for a mission.\"\n ],\n [\n \"To Philadelphia. \",\n \"Philadelphia.\"\n ],\n [\n \"Jeffrey Goines.\",\n \"Jeffrey Goines\"\n ],\n [\n \"Jeffrey Goines.\",\n \"Goines\"\n ],\n [\n \"Cole is shot and killed by the police.\",\n \"he is shot by police\"\n ],\n [\n \"The Florida Keys.\",\n \"Florida Keys\"\n ],\n [\n \"the Army of the Twelve Monkeys.\",\n \"The Army of the 12 Monkeys\"\n ],\n [\n \"A subterranean shelter beneath the ruins of Philadelphia.\",\n \"In an underground shelter beneath Philadelphia\"\n ],\n [\n \"A foot chase and an airport shooting.\",\n \"and chase and shooting in his dreams\"\n ],\n [\n \"Baltimore in 1990.\",\n \"He ended up in 1990 instead.\"\n ],\n [\n \"A World War 1 battlefield.\",\n \"A battlefield of World War I.\"\n ],\n [\n \"Jeffrey Goines.\",\n \"Goines\"\n ],\n [\n \"James Cole in 1990.\",\n \"James Cole.\"\n ],\n [\n \"James Cole.\",\n \"His own self from the future.\"\n ],\n [\n \"Dr. Peters.\",\n \"Cole\"\n ],\n [\n \"1996\",\n \"1996\"\n ],\n [\n \"Army of the Twelve Monkeys\",\n \"Army of the Twelve Monkeys\"\n ],\n [\n \"2035\",\n \"2035.\"\n ],\n [\n \"James Cole is sent back in time to collect information about the virus.\",\n \"to collect info about a virus so scientists can find a cure\"\n ],\n [\n \"A dream involving a foot chase and an airport shooting.\",\n \"A foot chase and a shooting in a airport\"\n ],\n [\n \"Baltimore\",\n \"Baltimore\"\n ],\n [\n \"Goines\",\n \"Jeffrey Goines.\"\n ],\n [\n \"Coles\",\n \"Cole\"\n ],\n [\n \"Dr. Peters\",\n \"Dr. Peters\"\n ],\n [\n \"Young James Cole\",\n \"Young James Cole\"\n ]\n]"},"document_id":{"kind":"string","value":"5df7b23024d86a042fcdcb06ee485d528317a156"},"split":{"kind":"string","value":"test"}}},{"rowIdx":84,"cells":{"text":{"kind":"list like","value":[[" enough to speak with one another. At the moment Solomon \n is still trying to apply reason to the situation. \n \n \n \n \n \n (CONTINUED) \n \n 22A. \n"," Solomon waits outside the house on the porch. A house \n servant - ZACHARY - approaches and admonishes Solomon. \n \n ZACHARY \n Off the porch. Get off."," \n \n (CONTINUED) \n \n 23. \n \n 32 CONTINUED: (2) 32 \n The fact is, Solomon can't say for certain. \n"," \n \n \n \n \n \n (CONTINUED) \n \n 52. \n \n 81 CONTINUED: 81 \n \n SOLOMON"," 89 CONTINUED: 89 \n Solomon doesn't have much chance to luxuriate in his \n surroundings. He hears a DOG BARKING just outside, and"," seen before at the very beginning of our story. Solomon, \n aged significantly since then, stands nervously, \n swallowing, and adjusting his attire. He breaths in and \n holds his breath. He blows out and closes his eyes. A"," There is a pause. Solomon can't answer this question. It \n is the glaring hole in his plan. \n Having finished eating: \n \n \n \n \n \n \n \n \n"," \n \n \n \n (CONTINUED) \n \n 68. \n \n 100 CONTINUED: (2) 100 \n \n SOLOMON"," (CONTINUED) \n \n 46. \n \n 73 CONTINUED: 73 \n After a bit, Solomon rights himself and heads from the \n group. \n \n \n"," swings her around grandly and sets her down lightly to \n the delighted applause of the children. That done, \n Solomon takes Anne's hand and leads her on. \n \n As Solomon and his family make their way, among the"," (CONTINUED) \n \n 112-115. \n \n 160 CONTINUED: 160 \n Solomon holds a moment. Hasn't he heard the same promise"," I apologize for my appearance. I \n have had a difficult time of \n things these past many years. \n Solomon looks among his family; trying to recall them as \n much as they look to see familiarity within him. To his \n"," let alone draw a deep, clean breath. There is a real \n risk of suffocating in the mass. Some cough and wheeze. \n \n A CHILD CRIES... \n Among them is Solomon who must believe at this point that"," (CONTINUED) \n \n 82. \n \n 121 CONTINUED: (2) 121 \n SOLOMON'S HAND AND PRESSES IT TO HER BREAST. Solomon"," Your business waits. \n \n (TO SOLOMON) \n Tell me of your family. \n \n SOLOMON \n I have a wife and two children. \n \n SHERIFF"," Solomon walks on, looking one more time at the two young \n men; again there is a moment of connection. \n Solomon turns. The two men are hoisted up, kicking and \n spitting, behind his shoulder. "," Anne, busy in the kitchen, puts the final touches to the \n meal, which is just about to begin. Solomon, in the \n meanwhile, sits at the head of the table reading from a"," on the cheek. The children giggle at the sight. \n \n \n \n \n EXT. STREET - DAY \n \n Solomon and his family are out walking along the streets \n and groves of Saratoga. \n"," Have you stopped crying for your \n children? You make no sounds, but \n will you ever let them go in your \n heart? \n \n SOLOMON \n ...They are as my flesh... \n \n \n"," 19. \n \n 25 CONTINUED: (3) 25 \n on his chains. But for all his struggling, the chain \n loosens none. Solomon calls out: \n \n SOLOMON"],[" on the cheek. The children giggle at the sight. \n \n \n \n \n EXT. STREET - DAY \n \n Solomon and his family are out walking along the streets \n and groves of Saratoga. \n"," not physically downtrodden, not field hands. They are \n well dressed and \"leading apparently an easy life\" - \n comparatively speaking - as they trail their masters. \n \n As they walk, Solomon and his family arrive to an"," Solomon waits outside the house on the porch. A house \n servant - ZACHARY - approaches and admonishes Solomon. \n \n ZACHARY \n Off the porch. Get off."," Back in his house, we see Solomon packing: putting some \n clothes in a travel case, and collecting his violin as \n well. \n \n \n"," swings her around grandly and sets her down lightly to \n the delighted applause of the children. That done, \n Solomon takes Anne's hand and leads her on. \n \n As Solomon and his family make their way, among the"," Anne, busy in the kitchen, puts the final touches to the \n meal, which is just about to begin. Solomon, in the \n meanwhile, sits at the head of the table reading from a"," HANDSOME, AND WELL DECORATED. It is sharp contrast to \n the bleak surroundings, shacks and dungeons Solomon has \n largely been accustom to during his time of slavery. It"," They all wait a moment, then Solomon enters the foyer. \n He stands and looks admiringly at his family. ADMIRINGLY \n stressed. It isn't that he doesn't have love for them,"," I apologize for my appearance. I \n have had a difficult time of \n things these past many years. \n Solomon looks among his family; trying to recall them as \n much as they look to see familiarity within him. To his \n"," seen before at the very beginning of our story. Solomon, \n aged significantly since then, stands nervously, \n swallowing, and adjusting his attire. He breaths in and \n holds his breath. He blows out and closes his eyes. A"," on clapboards. \n Tibeats wheels away. Solomon goes back to his work. \n After a few moments Solomon notices a bit of commotion in \n the drive of the great house. It involves an"," Solomon's direction. Solomon stands and watches as they \n fade into the environs and are gone from sight. \n \n \n \n 53 53 \n \n EXT. NEW ORLEANS/PORT - LATER"," 89 CONTINUED: 89 \n Solomon doesn't have much chance to luxuriate in his \n surroundings. He hears a DOG BARKING just outside, and"," enough to speak with one another. At the moment Solomon \n is still trying to apply reason to the situation. \n \n \n \n \n \n (CONTINUED) \n \n 22A. \n"," Solomon and Bass are working together alone on the \n extension. From the amount of work that's been done on \n it, it should be obvious that days have now passed. \n Solomon makes a cautious approach to Bass. As casually"," EXT. WEAVING HOUSE - LATER \n \n As the day gets on to mid-morning, the sun already baking \n in the sky, Tibeats makes his way over to Solomon. Even"," Solomon is now very much alone, and he waits for what is \n to come. AND WE WAIT WITH HIM. And we wait, and we \n continue to wait... Moment by moment, the dread of the \n unexpected mounts."," Solomon walks on, looking one more time at the two young \n men; again there is a moment of connection. \n Solomon turns. The two men are hoisted up, kicking and \n spitting, behind his shoulder. "," There is a pause. Solomon can't answer this question. It \n is the glaring hole in his plan. \n Having finished eating: \n \n \n \n \n \n \n \n \n"," Bass hands Solomon an end of a long plank of wood and \n looks over his shoulder, as if to camouflage the \n conversation by work. They both lift it toward the \n floorboards. Finally Bass speaks. \n \n \n"],[" You have described it, yes. \n \n BROWN \n Yes. We need to return \n immediately to Washington. \n Solomon...I believe us familiar \n enough now, but forgive me if I am"," SOLOMON \n Thank you sir... \n \n BROWN \n If we could persuade you to \n accompany us as far as New York... \n We would give you one dollar for \n each day's service and three"," bold...would you consider making \n the trip with us? \n Solomon gives a bit of a laugh at the idea. \n \n \n \n \n \n \n \n (CONTINUED) \n"," Back in his house, we see Solomon packing: putting some \n clothes in a travel case, and collecting his violin as \n well. \n \n \n"," (CONTINUED) \n \n 46. \n \n 73 CONTINUED: 73 \n After a bit, Solomon rights himself and heads from the \n group. \n \n \n"," enough to speak with one another. At the moment Solomon \n is still trying to apply reason to the situation. \n \n \n \n \n \n (CONTINUED) \n \n 22A. \n"," 11 CONTINUED: (2) 11 \n \n SOLOMON \n As luck would have it, my wife and \n children are traveling. I will \n write her of our plans. \n \n BROWN"," not physically downtrodden, not field hands. They are \n well dressed and \"leading apparently an easy life\" - \n comparatively speaking - as they trail their masters. \n \n As they walk, Solomon and his family arrive to an"," (CONTINUED) \n \n 112-115. \n \n 160 CONTINUED: 160 \n Solomon holds a moment. Hasn't he heard the same promise"," Solomon, a bit reluctantly, does the same. \n \n HAMILTON \n Cheers. \n \n BROWN \n Another. Our departed President \n deserves all the salutation we can"," Tell me again. \n \n SOLOMON \n Washington. \n \n MISTRESS EPPS \n Who were yah Master? \n \n SOLOMON \n Master name of Freeman. \n"," Solomon, slightly confused. \n \n BASS (CONT'D) \n I will write your letter sir, for \n if I could bring freedom to you, \n it will be more than a pleasure."," Solomon toward him, out of earshot from the slaves who \n are continuing to work on the gazebo. As Solomon \n approaches, Bass shouts- \n \n BASS \n And bring those markers!"," Freeman steps to Solomon. He gives him a looking over. \n \n FREEMAN \n Stand up. \n Solomon does as told. \n \n FREEMAN (CONT'D) \n You fit the description given."," Epps extends a hand to Solomon. Cautiously, Solomon \n moves close, but not too close. As Solomon draws within \n striking distance, Epps lunges for him. He chases"," And with frequency. \n \n SOLOMON \n Where is your place of birth? \n \n ARMSBY \n Maryland. Have you traveled \n there? \n \n SOLOMON"," To Treach, regarding Solomon and Abram: \n \n EPPS \n Take 'em out. Get to whippin'. \n No force is needed. The slaves understand the situation. \n They follow Treach out of the Gin house."," Solomon walks on, looking one more time at the two young \n men; again there is a moment of connection. \n Solomon turns. The two men are hoisted up, kicking and \n spitting, behind his shoulder. "," Solomon looks toward the carriage. He has to shield his \n eyes from the sun. Recognition is slow coming to him. \n But when it does, it hits him as a rush. \n \n SOLOMON \n Mr. Parker...? \n"," \n \n 14 14 \n \n EXT. SOLOMON'S HOUSE/INT. COVERED CARRIAGE - LATER \n \n Solomon enters the buggy, carpet bag in hand. Brown and"],[" Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," you any other name than Platt? \n \n SOLOMON \n Solomon Northup is my name. \n \n EPPS \n Sheriff... \n \n SHERIFF \n Have you a family? \n"," Your name is Platt, and I will \n teach you your name so that you \n don't forget. \n (to the Captain) \n Shackle my niggers. Get them to \n my cart. \n \n 36."," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," Call the Devil's name... There he \n is now. Mr. Northup...! I have \n two gentlemen who should make your \n acquaintance. Messrs. Brown and \n Hamilton. \n \n BROWN"," SOLOMON \n Excuse me, Mistress Shaw. \n \n MISTRESS SHAW \n Nigger Platt. \n \n SOLOMON \n My apologies. Patsey, Master \n wishes you to return."," The trio starts for the carriage. Solomon is pulled back \n by the call of Patsey's voice: \n \n PATSEY \n Platt... \n Disregarding Parker, Solomon crosses over to Patsey."," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," Hours later. The slaves sit off on one side of the dock, \n baking in the sun, awaiting their fate. \n THEOPHILUS FREEMAN - a tall, thin-faced man with light \n complexion and a little bent - moves along the deck"," Platt. \n \n (BEAT) \n Solomon. Solomon is my true and \n free name. \n \n CELESTE \n Was you free? \n \n SOLOMON"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," A thousand for Platt; he is a \n nigger of talent. Seven hundred \n for Eliza. My fairest price. \n \n FORD \n You will accept a note? \n \n FREEMAN"," calling out names from a list. The slaves STAND as they \n are called. \n \n FREEMAN \n Oren. John. Lethe. Eliza. \n Randall. Emily. Platt... Platt!"," stands is a dead man. I am \n overseer of this plantation seven \n years, and in the absence of \n William Ford, my duty is to \n protect his interests. Ford holds \n a mortgage on Platt of four"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," Heard Judge Turner gave you favor. \n Oh, did you beguile him, Platt, \n with your slick nigger ways? \n Well, yah won't stand idle, boy. \n Not on my land. Much work to do."," for Patsey. She rises from her bedding, goes to a corner \n of the cabin and removes something from a secretive \n location. She then moves over to Platt. \n \n PATSEY"," slave in me, sir. The most \n faithful slave that has ever \n lived, but I beg that you do not \n separate us. \n A BUYER interrupts the skirmish and approaches Freeman"," Freeman makes the slaves hold their heads up - \"look \n smart\" as he previously admonished them. They are made \n to walk briskly back and forth while customers feel their \n hands and arms and bodies, turn them about and ask what"," him as Master. \n This plantation covers many \n hundreds of acres, and you will \n traverse the Texas road between \n the forest site and the sawmill in \n double time. Any clever nigger on "],[" Hours later. The slaves sit off on one side of the dock, \n baking in the sun, awaiting their fate. \n THEOPHILUS FREEMAN - a tall, thin-faced man with light \n complexion and a little bent - moves along the deck"," slave in me, sir. The most \n faithful slave that has ever \n lived, but I beg that you do not \n separate us. \n A BUYER interrupts the skirmish and approaches Freeman"," The slaves, however, react as though it is not the first \n time they've seen as much from the Mistress. \n Mistress Epps, screaming like a hellion: \n \n MISTRESS EPPS \n Sell her! \n"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," Call the Devil's name... There he \n is now. Mr. Northup...! I have \n two gentlemen who should make your \n acquaintance. Messrs. Brown and \n Hamilton. \n \n BROWN"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," and extensive planter whose large estate is situated on \n Bayou Salle within a few miles of the gulf. Epps and \n Turner stand off to one side engaged in bargaining as \n Henry, Bob, Uncle Abram and Solomon wait and watch."," of. That, now, is to Edwin Epps. \n He is a hard man. Prides himself \n on being a \"nigger breaker.\" But \n truthfully I could find no others \n who would have you. You've made a"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," (CONTINUED) \n \n 75. \n \n 107 CONTINUED: 107 \n The slaves are asleep. Epps arrives, again without"," -EARLY TO MID JUNE, 1841- \n It's Sunday morning. All of Ford's slaves are dressed \n with their \"finest\" clothes - brightly colored and as \n free as possible of defect. The slaves are gathered on"," This nigger ain't even average. \n Epps pulls Solomon aside. \n \n TREACH \n Five hundred twelve pounds for \n Patsey. \n \n EPPS \n Five hundred twelve. Yah men folk"," Freeman makes the slaves hold their heads up - \"look \n smart\" as he previously admonished them. They are made \n to walk briskly back and forth while customers feel their \n hands and arms and bodies, turn them about and ask what"," The slaves are sleeping. There is a loud commotion. \n Epps enters, drunkenly, forcing the slaves awake. \n \n \n \n \n \n \n \n \n"," him as Master. \n This plantation covers many \n hundreds of acres, and you will \n traverse the Texas road between \n the forest site and the sawmill in \n double time. Any clever nigger on "," EPPS (CONT'D) \n There; there's all the truth he \n got. Damned nigger. Damn yah. \n Epps pushes his way past the Mistress. \n \n \n"," stands is a dead man. I am \n overseer of this plantation seven \n years, and in the absence of \n William Ford, my duty is to \n protect his interests. Ford holds \n a mortgage on Platt of four"," and shouted while slaves are shuttled from the Orleans to \n a holding pen. Solomon, and all the slaves are \n overwhelmed by all that is happening around them. \n Two men - among many - are awaiting the arrival of the"," out of sight of Epps. \n Mistress Epps also bears witness, standing on the veranda \n next to her house slave. Her face is of a strange mixed \n emotion."],[" Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," what Freeman is trying to do is coach the slaves into \n being more \"sellable.\" He works with them in groups of \n five or so. \n \n FREEMAN \n Tallest to smallest, understand?"," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," slave in me, sir. The most \n faithful slave that has ever \n lived, but I beg that you do not \n separate us. \n A BUYER interrupts the skirmish and approaches Freeman"," The slaves say nothing. There is nothing for them to \n say. They don't know where she is. Eventually Epps \n drops into true sorrow. \n \n EPPS (CONT'D) \n She gone... My Pats gone."," fidelity. If that what keep me \n from the cotton pickin' niggers, \n that what it be. A small and \n reasonable price to be paid 'fo \n sure. \n Looking toward Patsey, speaking with great empathy: \n"," slave to read is unfit to own \n niggers! \n Handing the Bible back to Sam, very matter of factly: \n \n FORD \n Pay him no mind. The word of God \n applies to all. In that you may"," EPPS (CONT'D) \n There; there's all the truth he \n got. Damned nigger. Damn yah. \n Epps pushes his way past the Mistress. \n \n \n"," began when I was sent to retrieve \n Patsey from where she'd taken \n sabbatical at Master Shaw's. Upon \n returning, Master Epps believed \n Patsey and me to be in \n conversation when we were not. I"," Freeman makes the slaves hold their heads up - \"look \n smart\" as he previously admonished them. They are made \n to walk briskly back and forth while customers feel their \n hands and arms and bodies, turn them about and ask what"," One of the slaves whisper under their breath. \n \n EPPS' SLAVE \n I hear cutting cane is twice as \n hard as picking cotton. \n \n BOB \n But at least we'll be away from"," him as Master. \n This plantation covers many \n hundreds of acres, and you will \n traverse the Texas road between \n the forest site and the sawmill in \n double time. Any clever nigger on "," The slaves are sleeping. There is a loud commotion. \n Epps enters, drunkenly, forcing the slaves awake. \n \n \n \n \n \n \n \n \n"," Shortly, Epps again stops, gets his breath... And now in \n what should be quite comical, Epps again runs after \n Solomon. Again, Epps's vigor leaves him before he can \n even get close to the slave."," of. That, now, is to Edwin Epps. \n He is a hard man. Prides himself \n on being a \"nigger breaker.\" But \n truthfully I could find no others \n who would have you. You've made a"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"],[" EPPS (CONT'D) \n There; there's all the truth he \n got. Damned nigger. Damn yah. \n Epps pushes his way past the Mistress. \n \n \n"," The slaves are sleeping. There is a loud commotion. \n Epps enters, drunkenly, forcing the slaves awake. \n \n \n \n \n \n \n \n \n"," (CONTINUED) \n \n 75. \n \n 107 CONTINUED: 107 \n The slaves are asleep. Epps arrives, again without"," The slaves say nothing. There is nothing for them to \n say. They don't know where she is. Eventually Epps \n drops into true sorrow. \n \n EPPS (CONT'D) \n She gone... My Pats gone."," Mistress Epps comes running from the house to the pair. \n \n MISTRESS EPPS \n What? Wha's the fuss? \n \n SOLOMON \n A misunderstanding is all. It"," Epps heads from the field. Patsey is left where she is. \n \n \n \n 109 109 \n \n INT. BARTHOLOMEW'S - DAY \n \n"," \n \n (CONTINUED) \n \n 61. \n \n 90 CONTINUED: 90 \n Epps reads the Bible to his slaves, eight of them"," up only to see PATSEY RETURNING TO THE PLANTATION. Epps \n steps up to greet her, with anger rather than relief. \n As they hear his angry voice, the slaves step around from"," One of the slaves whisper under their breath. \n \n EPPS' SLAVE \n I hear cutting cane is twice as \n hard as picking cotton. \n \n BOB \n But at least we'll be away from"," Master Epps. \n \n UNCLE ABRAM \n Boy, you two have no sense. \n Epps returns to his slaves and gives a parting \n salutation. \n \n EPPS"," EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \n \n As the slaves continue to work, there is a conversation \n going on between Epps and Bass. Bass much skilled in the"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," \n \n 141 141 \n \n INT. MASTER EPPS'S PLANTATION/GIN HOUSE - EVENING \n \n As Epps said, it is days of long since. The slaves are"," the takin'. \n Epps's grief is replaced by fury. EPPS GRABS THE PISTOL \n FROM TREACH'S HOLSTER and draws down on the slaves. \n \n EPPS"," Thoroughly cuckolded by the Mistress's actions, Epps \n takes his whip and pulls Patsey out of the house. His \n intentions are plain. \n All the slaves remain silent. The Mistress, however,"," out of sight of Epps. \n Mistress Epps also bears witness, standing on the veranda \n next to her house slave. Her face is of a strange mixed \n emotion."," Epps looks among his slaves at work, his enmity growing. \n \n EPPS (CONT'D) \n It's that Godless lot. They \n brought this on me. I bring 'em \n"," EXT. EPPS'S PLANTATION - DAY \n \n \n -MAY/JUNE, 1847- \n We come up now outside of Master Epps's plantation. Epps"," Epps speaks to Armsby sternly, but nothing of the manner \n in which he would address the slaves. \n \n \n \n \n \n (CONTINUED) \n \n 95. \n"," INT. EPPS'S PLANTATION/SLAVE SHACK - NIGHT \n \n The slaves are at rest. Gripping his whip Epps enters, \n without so much as a knock at the door. For a moment"],[" continually turn her head from Epps, but otherwise remain \n as still as possible. If there is such a thing, she is \n vicious with her passive aggressiveness. \n Epps's frustration mounts until - as the Mistress Shaw"," Good morning, Master Shaw. I've \n been sent by Master to retrieve \n Patsey. May I approach? \n \n MASTER SHAW \n You may. \n Solomon makes his way over to the piazza. \n"," MISTRESS SHAW \n He do. \n \n SOLOMON \n Master Epps has somehow come to \n believe, as incorrectly as it may \n be, that Master Shaw is... That"," MISTRESS SHAW \n He ain't heard you. \n \n \n \n \n \n \n \n (CONTINUED) \n \n 71. \n"," Patsey takes soap from the pocket of her dress. \n \n PATSEY (CONT'D) \n I got this from Mistress Shaw. \n Mistress Epps won't even grant me \n no soap ta clean with. Stink so"," SOLOMON \n Excuse me, Mistress Shaw. \n \n MISTRESS SHAW \n Nigger Platt. \n \n SOLOMON \n My apologies. Patsey, Master \n wishes you to return."," Mistress Epps comes running from the house to the pair. \n \n MISTRESS EPPS \n What? Wha's the fuss? \n \n SOLOMON \n A misunderstanding is all. It"," Mistress Shaw turns her head to the side, catching a \n slave's attention. As she does so, the slave, a YOUNG \n WOMAN, commences to pour tea. \n As if to punctuate her thought, the Mistress takes a sip"," Thoroughly cuckolded by the Mistress's actions, Epps \n takes his whip and pulls Patsey out of the house. His \n intentions are plain. \n All the slaves remain silent. The Mistress, however,"," MISTRESS SHAW (CONT'D) \n I knowed what it like to be the \n object of Massa's predilections \n and peculiarities. And I knowed \n they can get expressed with"," To the store, Sir, to \n Bartholomew's. I was sent there \n by Mistress Epps. \n The patroller reaches out for Solomon's free pass around "," 104 EXT. SHAW'S HOUSE - DAY 104 \n \n \n -JULY, 1844- \n Sitting on the Grand house's Piazza, Patsey is having tea"," began when I was sent to retrieve \n Patsey from where she'd taken \n sabbatical at Master Shaw's. Upon \n returning, Master Epps believed \n Patsey and me to be in \n conversation when we were not. I"," for Patsey. She rises from her bedding, goes to a corner \n of the cabin and removes something from a secretive \n location. She then moves over to Platt. \n \n PATSEY"," Mistress Epps stands irate, lost in fury and unable to \n even think of what to do. Eventually, optionless, she \n storms away. \n For a few beats there is only the sound of Patsey \n sobbing. \n"," Solomon looks around. He is alone other than Rachel and \n Mistress Ford who, shocked by that which she witnesses, \n runs out to the field to fetch Chapin. Solomon's \n instinct is to run, but he stands his ground as Tibeats"," No doubt...if not born outta truth \n itself. \n The Mistress waves to Shaw. Shaw, unsuspecting of the \n conversation, waves back. \n \n SOLOMON \n I'm certain Patsey's well being is"," little Pats? She pick with more \n vigor than any other nigger! \n Choose another ta go. \n \n MISTRESS EPPS \n No other. Sell her! \n \n EPPS \n I will not!"," MISTRESS SHAW \n Drink tea? \n \n SOLOMON \n Thank you, Mistress, but I don't \n dare. \n \n MISTRESS SHAW"," There'll be none for you, Patsey. \n Patsey merely turns away. Her non responsiveness, \n however, serves only to incite the Mistress. Screaming: \n \n MISTRESS EPPS (CONT'D)"],[" INT. EPPS'S PLANTATION/WOODS - NIGHT \n \n Solomon goes to RETRIEVE THE SMALL PACKAGE FROM UNDER A \n ROCK AT THE BASE OF A TREE. Solomon returns the letter to"," It is a simple enough request. I \n ask only that you deposit a letter \n in the Marksville post office. \n And that you keep the action an \n inviolable secret forever. The \n details of the letter are of no"," If you truly do, I would ask...I \n would beg that you write my \n friends in the north, acquainting \n them with my situation and \n beseeching them to forward free \n papers, or take such steps as they"," man; a resident of Saratoga, New \n York. The residence also of my \n wife and children who are equally \n free. I have papers. You have no \n right whatsoever to detain me-- \n \n BURCH"," Hamilton are waiting. They ride in a covered carriage \n led by a pair of \"noble\" horses. \n \n HAMILTON \n No letter to post? \n \n SOLOMON \n No need. My return will coincide"," dollars for every night played at \n our performances. In addition we \n would provide sufficient pay for \n the expenses of your return from \n New York here to Saratoga. \n \n SOLOMON \n You understand this is all very"," A letter? How'll yah mail da \n letter? Who yah trust to post it? \n A nigger that can read and write \n is a nigger that'll hang."," resident of Saratoga Springs, NY. \n \n EPPS \n To hell with that! My nigger, and \n I'll fight you for 'em! \n \n PARKER \n As is your right. As it will be"," Where's the letter now? \n \n SOLOMON \n ...It is not yet written. I will \n have it in a day. Two at most, my \n skill with composition as poor as \n it is."," EXT. MASTER EPPS'S PLANTATION/WOODS - NIGHT \n \n Having found a lonely spot, Solomon has struck a SMALL \n FIRE. He has in his hand his letter. With no ceremony,"," Celeste got no one to write a \n letter to. \n As if to punctuate her resolve, without a word more \n Celeste departs toward the swamp. Solomon starts on into \n the swamp after her. \n"," How? Celeste knows you ain't \n gunna run. Celeste knows it ain't \n your nature. \n \n SOLOMON \n I have a plan. I have a letter. \n \n CELESTE"," As he does, Epps makes his way over. \n \n SHERIFF \n That man received a letter \n compiling many accusations. You \n look me in the eye and on your \n life answer me truthfully: have"," Solomon, slightly confused. \n \n BASS (CONT'D) \n I will write your letter sir, for \n if I could bring freedom to you, \n it will be more than a pleasure."," leave the plantation on any \n account whatever. But if you run \n there is no protecting you. \n \n SOLOMON \n \n SIR-- \n \n CHAPIN"," 138 138 \n \n EXT. TURNER PLANTATION - NIGHT \n \n Solomon sits with Celeste. He relates his news to her. \n \n SOLOMON \n I have my letter."," 11 CONTINUED: (2) 11 \n \n SOLOMON \n As luck would have it, my wife and \n children are traveling. I will \n write her of our plans. \n \n BROWN"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," to Master Ford. Tell him to come \n here at once without a single \n moment's delay. Tell him they are \n trying to murder Platt. Hurry, \n boy. Bring him back if you must \n kill the mule to do so!"," CELESTE \n Yah has your freedom then? \n \n SOLOMON \n All that remains is to contrive \n measures by which the letter can \n safely be deposited in the post \n office."],[" with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," Solomon Northup most likely died between 1863 and 1875. \n The exact date, place, and circumstances of his death \n remain unknown. \n \n - END - \n \n"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," EXT. FORD PLANATION - DAY \n \n \n -END OF JANUARY, 1842- [OVER ONE DAY] \n We see Solomon working as a carpenter, helping to erect a"," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," slaves on the street, we see one in particular; JASPER. \n As he trails his MASTER he can't help but note Solomon \n and his family as they enter A STORE. His intrigue of \n this most handsome and harmonious group should be"," SOLOMON \n Niggers are hired to work, not to \n read and write. \n Turner gives that a bit of consideration as he gives \n Solomon a wary looking over. \n \n \n"," and shouted while slaves are shuttled from the Orleans to \n a holding pen. Solomon, and all the slaves are \n overwhelmed by all that is happening around them. \n Two men - among many - are awaiting the arrival of the"," Solomon remains tied and dangling exactly where he was \n left. The scene is both tranquil and horrific. Life on \n the plantation continues. The OTHER SLAVES work in the"," you any other name than Platt? \n \n SOLOMON \n Solomon Northup is my name. \n \n EPPS \n Sheriff... \n \n SHERIFF \n Have you a family? \n"," of the villages on the Erie canal \n and the Champlain canal. \n Bass gives Solomon a long and curious stare. \n \n BASS \n Well traveled for a slave. How \n came you here? \n"," Yah ain't a free man. Yah nuthin' \n but a Georgia runaway. \n Burch waits for Solomon to acquiesce. Solomon does not \n in any way. Both men exchange a long and daring stare."," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"],[" of. That, now, is to Edwin Epps. \n He is a hard man. Prides himself \n on being a \"nigger breaker.\" But \n truthfully I could find no others \n who would have you. You've made a"," EPPS (CONT'D) \n There; there's all the truth he \n got. Damned nigger. Damn yah. \n Epps pushes his way past the Mistress. \n \n \n"," One of the slaves whisper under their breath. \n \n EPPS' SLAVE \n I hear cutting cane is twice as \n hard as picking cotton. \n \n BOB \n But at least we'll be away from"," and have done so. But to toil in \n the field? Never thought that \n would come to pass. Never. But \n times are desperate. Where once I \n had said \"no\" to Epps and his"," The slaves are sleeping. There is a loud commotion. \n Epps enters, drunkenly, forcing the slaves awake. \n \n \n \n \n \n \n \n \n"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," out of sight of Epps. \n Mistress Epps also bears witness, standing on the veranda \n next to her house slave. Her face is of a strange mixed \n emotion."," have dined on the cotton and nearly destroyed the crop. \n We see the cotton worms in extreme close-up, moving among \n and destroying the cotton crop. \n Epps is beside himself as he looks out over his ruined \n field. \n"," near to their living quarters behind the plantation. It \n is a sight of ritual. Missing from the field of labor is \n Patsey, for whom Epps hollers. \n \n EPPS \n Patsey... Patsey!"," The slaves say nothing. There is nothing for them to \n say. They don't know where she is. Eventually Epps \n drops into true sorrow. \n \n EPPS (CONT'D) \n She gone... My Pats gone."," Mistress Epps comes running from the house to the pair. \n \n MISTRESS EPPS \n What? Wha's the fuss? \n \n SOLOMON \n A misunderstanding is all. It"," (CONTINUED) \n \n 75. \n \n 107 CONTINUED: 107 \n The slaves are asleep. Epps arrives, again without"," EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \n \n As the slaves continue to work, there is a conversation \n going on between Epps and Bass. Bass much skilled in the"," Thoroughly cuckolded by the Mistress's actions, Epps \n takes his whip and pulls Patsey out of the house. His \n intentions are plain. \n All the slaves remain silent. The Mistress, however,"," up only to see PATSEY RETURNING TO THE PLANTATION. Epps \n steps up to greet her, with anger rather than relief. \n As they hear his angry voice, the slaves step around from"," EXT. MASTER EPPS'S PLANTATION/BACK PORCH - DAY \n \n \n -END OF JANUARY, 1842- \n From the back porch, we come into the scene on EDWIN"," Epps heads from the field. Patsey is left where she is. \n \n \n \n 109 109 \n \n INT. BARTHOLOMEW'S - DAY \n \n"," \n \n 141 141 \n \n INT. MASTER EPPS'S PLANTATION/GIN HOUSE - EVENING \n \n As Epps said, it is days of long since. The slaves are"," Epps looks among his slaves at work, his enmity growing. \n \n EPPS (CONT'D) \n It's that Godless lot. They \n brought this on me. I bring 'em \n"," INT. EPPS'S PLANTATION/SLAVE SHACK - NIGHT \n \n The slaves are at rest. Gripping his whip Epps enters, \n without so much as a knock at the door. For a moment"],[" Solomon Northup most likely died between 1863 and 1875. \n The exact date, place, and circumstances of his death \n remain unknown. \n \n - END - \n \n"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," not physically downtrodden, not field hands. They are \n well dressed and \"leading apparently an easy life\" - \n comparatively speaking - as they trail their masters. \n \n As they walk, Solomon and his family arrive to an"," INT. NORTHUP HOUSE/BEDROOM - MORNING \n \n It is a Saturday morning. Clad in her finest attire is \n ANNE; Solomon's wife, a few years younger than he. We"," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," slaves on the street, we see one in particular; JASPER. \n As he trails his MASTER he can't help but note Solomon \n and his family as they enter A STORE. His intrigue of \n this most handsome and harmonious group should be"," of the villages on the Erie canal \n and the Champlain canal. \n Bass gives Solomon a long and curious stare. \n \n BASS \n Well traveled for a slave. How \n came you here? \n"," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," Solomon remains tied and dangling exactly where he was \n left. The scene is both tranquil and horrific. Life on \n the plantation continues. The OTHER SLAVES work in the"," you any other name than Platt? \n \n SOLOMON \n Solomon Northup is my name. \n \n EPPS \n Sheriff... \n \n SHERIFF \n Have you a family? \n"," and shouted while slaves are shuttled from the Orleans to \n a holding pen. Solomon, and all the slaves are \n overwhelmed by all that is happening around them. \n Two men - among many - are awaiting the arrival of the"," EXT. FORD PLANATION - DAY \n \n \n -END OF JANUARY, 1842- [OVER ONE DAY] \n We see Solomon working as a carpenter, helping to erect a"," from the slaves - who are diminished by distance. \n Solomon waves a hand to them, but the carriage rounds a \n bend and a thicket of trees hides them from his eyes \n forever more. \n \n BLACK \n \n "],[" Solomon starts for Parker, but he is pulled back by the \n Sheriff who is keen to determine Solomon's true identity. \n \n SHERIFF \n Say again? \n \n SOLOMON \n Mr. Parker?"," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," Solomon looks toward the carriage. He has to shield his \n eyes from the sun. Recognition is slow coming to him. \n But when it does, it hits him as a rush. \n \n SOLOMON \n Mr. Parker...? \n"," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," their way in the trying soil. Solomon, too focused to \n note the arrival of two men by carriage: Parker and the \n \n SHERIFF. \n While the Sheriff makes his way to the field, Parker"," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," tear falls from his cheek, but this is not the way he \n wants his family to see him. He gathers himself, and \n looks to his right. There stands Mr. Parker. He places \n his hand on Solomon's shoulder. He says gently- \n"," The trio starts for the carriage. Solomon is pulled back \n by the call of Patsey's voice: \n \n PATSEY \n Platt... \n Disregarding Parker, Solomon crosses over to Patsey."," EPPS \n You say! You come here, \n unfamiliar to me, and make claims. \n \n SHERIFF \n Not claims. I have no doubts. \n This is Solomon Northup, a"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," SOLOMON \n No intrusion. \n Fitzgerald looks to Solomon. It is a cold glare as \n though he wasn't speaking to, and has no interest in a \n response from a black man. Looking back to Parker: \n"," we should depart. \n A moment longer Solomon and Patsey hold each other. They \n separate, Solomon heading back to the carriage. He and \n Parker alight. The Sheriff chides the horses and they \n \n \n \n "," Kicking the stirrups hard into the sides of the horse, he \n rides off furiously. \n Calling from the carriage, mindful of Epps: \n \n PARKER \n Solomon...if we know what's wise,"," Epps looks to Solomon. Solomon icily, stoically holds \n his ground. He makes it quite clear in his countenance \n that nobody owns him. Sheriff, hand on his gun, is there"," Call the Devil's name... There he \n is now. Mr. Northup...! I have \n two gentlemen who should make your \n acquaintance. Messrs. Brown and \n Hamilton. \n \n BROWN"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," PARKER \n Are you ready? \n Solomon swallows and nods. \n \n \n \n 169 169 \n \n INT. NORTHUP HOUSE - LATER \n"," Anne Hampton. I am who I say. \n Solomon pushes past the sheriff. As Solomon moves toward \n Parker, his pace quickens with each step until his \n \n (CONTINUED) \n"," The Sheriff crosses to him. \n \n SHERIFF \n Your name is Platt, is it? \n \n SOLOMON \n Yes, sir. \n Pointing off to the distance. \n"],[" FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," Call the Devil's name... There he \n is now. Mr. Northup...! I have \n two gentlemen who should make your \n acquaintance. Messrs. Brown and \n Hamilton. \n \n BROWN"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," You have described it, yes. \n \n BROWN \n Yes. We need to return \n immediately to Washington. \n Solomon...I believe us familiar \n enough now, but forgive me if I am"," are frequently seen, and the occasional American Flag \n hung at half mast. As well, there are portraits of \n Harrison at varying locations. \n Having arrived in Washington, Solomon, Hamilton and Brown \n"," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," SOLOMON \n Thank you sir... \n \n BROWN \n If we could persuade you to \n accompany us as far as New York... \n We would give you one dollar for \n each day's service and three"," The trio starts for the carriage. Solomon is pulled back \n by the call of Patsey's voice: \n \n PATSEY \n Platt... \n Disregarding Parker, Solomon crosses over to Patsey."," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," Solomon Northup most likely died between 1863 and 1875. \n The exact date, place, and circumstances of his death \n remain unknown. \n \n - END - \n \n"," Solomon, a bit reluctantly, does the same. \n \n HAMILTON \n Cheers. \n \n BROWN \n Another. Our departed President \n deserves all the salutation we can"," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"," Hamilton and Brown help Solomon to lumber up the spiral \n staircase, passing the occasional bemused guest. \n \n \n \n 23 INT. GADSBY HOTEL/SOLOMON'S ROOM - NIGHT 23"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," Solomon for Brown's taste. With more than a bit of \n \n SIGNIFICATION: \n \n BROWN \n Hamilton! Nothing more we can do \n for him. \n \n HAMILTON"," MOON himself: MERRILL BROWN and ABRAM HAMILTON. Brown \n is about 40, with a countenance indicating shrewdness and \n intelligence. Hamilton is closer to 25, a man of fair"," of the villages on the Erie canal \n and the Champlain canal. \n Bass gives Solomon a long and curious stare. \n \n BASS \n Well traveled for a slave. How \n came you here? \n"],[" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," INT. EPPS'S PLANTATION/WOODS - NIGHT \n \n Solomon goes to RETRIEVE THE SMALL PACKAGE FROM UNDER A \n ROCK AT THE BASE OF A TREE. Solomon returns the letter to"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," The trio starts for the carriage. Solomon is pulled back \n by the call of Patsey's voice: \n \n PATSEY \n Platt... \n Disregarding Parker, Solomon crosses over to Patsey."," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," Solomon, slightly confused. \n \n BASS (CONT'D) \n I will write your letter sir, for \n if I could bring freedom to you, \n it will be more than a pleasure."," EXT. MASTER EPPS'S PLANTATION/WOODS - NIGHT \n \n Having found a lonely spot, Solomon has struck a SMALL \n FIRE. He has in his hand his letter. With no ceremony,"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," 138 138 \n \n EXT. TURNER PLANTATION - NIGHT \n \n Solomon sits with Celeste. He relates his news to her. \n \n SOLOMON \n I have my letter."," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," dollars for every night played at \n our performances. In addition we \n would provide sufficient pay for \n the expenses of your return from \n New York here to Saratoga. \n \n SOLOMON \n You understand this is all very"," Where's the letter now? \n \n SOLOMON \n ...It is not yet written. I will \n have it in a day. Two at most, my \n skill with composition as poor as \n it is."," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"," Celeste got no one to write a \n letter to. \n As if to punctuate her resolve, without a word more \n Celeste departs toward the swamp. Solomon starts on into \n the swamp after her. \n"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," leave the plantation on any \n account whatever. But if you run \n there is no protecting you. \n \n SOLOMON \n \n SIR-- \n \n CHAPIN"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," Good morning, Master Shaw. I've \n been sent by Master to retrieve \n Patsey. May I approach? \n \n MASTER SHAW \n You may. \n Solomon makes his way over to the piazza. \n"],[" Thoroughly cuckolded by the Mistress's actions, Epps \n takes his whip and pulls Patsey out of the house. His \n intentions are plain. \n All the slaves remain silent. The Mistress, however,"," Now tied to the post, Epps stands behind Patsey with his \n whip. \n \n EPPS (CONT'D) \n Yah done this to yerself, Pats!"," begins to whip Patsey. Lash after lash, Patsey squirms \n before it. Epps eyes fill with tears, he is nearly too \n distraught to watch. \n But the Mistress... She is not satisfied with Solomon's"," Solomon will not. Epps takes up the whip and whips \n Patsey with \"ten fold\" greater force than he had. The \n painfully loud and angry curses of Epps load the air."," Epps remains quietly focused on Patsey. And it's clear \n from her apprehensive expression just what it is he's \n come looking for. This time there is no escaping it. As"," EPPS (CONT'D) \n There; there's all the truth he \n got. Damned nigger. Damn yah. \n Epps pushes his way past the Mistress. \n \n \n"," A drunk Epps asks of the slaves: \n \n EPPS (CONT'D) \n Where is she? Where is Patsey? \n No one answers. \n \n EPPS (CONT'D)"," up only to see PATSEY RETURNING TO THE PLANTATION. Epps \n steps up to greet her, with anger rather than relief. \n As they hear his angry voice, the slaves step around from"," the moment marked with appropriate screams. Patsey \n collapses on the floor, covering her bleeding face. \n \n MISTRESS EPPS (CONT'D) \n Beat it from 'em!"," Epps hoists the whip to strike, holds it high...but no \n matter his rage, Epps cannot bring himself to deliver the \n blow. He looks to Mistress Epps who now stands gloating \n and spurring him on. \n"," little Pats? She pick with more \n vigor than any other nigger! \n Choose another ta go. \n \n MISTRESS EPPS \n No other. Sell her! \n \n EPPS \n I will not!"," Mistress Epps stands irate, lost in fury and unable to \n even think of what to do. Eventually, optionless, she \n storms away. \n For a few beats there is only the sound of Patsey \n sobbing. \n"," Patsey by now is terribly lacerated, literally flayed. \n The lash wet with blood which flowed down her sides and \n dropped upon the ground. At length Patsey ceases \n struggling. Her head sinks listlessly on the ground. \n"," What else can he do? Solomon begins to whip, to truly \n whip Patsey. Her back welts, then tears... Patsey \n screams in agony. Solomon strikes again and again..."," from 'em. \n Epps does nothing. The Mistress lets her anger loose. \n She moves quickly to Patsey, DRIVES HER NAILS INTO THE \n"," Epps heads from the field. Patsey is left where she is. \n \n \n \n 109 109 \n \n INT. BARTHOLOMEW'S - DAY \n \n"," had cautioned - he crosses the line from passion to \n violence. He begins slapping Patsey to get a response \n from her. When that fails, he punches her which only \n leads to him taking up his whip and lashing Patsey"," MERCILESSLY. Still, she gives him nothing. Beaten, \n Patsey sits in the dirt among the cotton, Epps deep \n breathing above her. The desire for sex now having left \n him."," near to their living quarters behind the plantation. It \n is a sight of ritual. Missing from the field of labor is \n Patsey, for whom Epps hollers. \n \n EPPS \n Patsey... Patsey!"," Strip her. Strike her bare 'n \n lash her to the post. \n Mistress Epps has now come from the Great House. She \n gazes on the scene with an air of heartless satisfaction."],[" JUDGE TURNER \n You play the fiddle? \n \n SOLOMON \n I do. \n \n JUDGE TURNER \n Willard Yarney, a planter up the"," Henry, Bob, Uncle Abram and Solomon sit in the back of a \n cart. SOLOMON HAS HIS FIDDLE WITH HIM. Epps has \n delivered the men to JUDGE TURNER, a distinguished man"," It's another night of Epps's forced revelry. Coming in \n quick from the previous scene, we go from Solomon holding \n his fiddle, to playing it as the slaves are again made to \n dance."," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," and play. \n As ordered, Solomon takes up Cape's fiddle and begins to \n play lightly. \n \n FREEMAN (CONT'D) \n Play! \n Solomon plays harder and more loudly. Still, it is"," EXT. FORD PLANTATION/GREAT HOUSE - DAY \n \n As we come into the scene, Ford is presenting Solomon \n with a fiddle. Not as grand as the one he previously"," him play, boy. Let's see what he \n can do. \n Cape reluctantly hands the fiddle over to Solomon. \n Solomon tunes it a bit, then begins to play. His fingers"," 137 INT. JUDGE TURNER'S PLANTATION/SLAVES CABIN - NIGHT 137 \n \n As others sleep, by the light of dying coals, Solomon"," Heard Judge Turner gave you favor. \n Oh, did you beguile him, Platt, \n with your slick nigger ways? \n Well, yah won't stand idle, boy. \n Not on my land. Much work to do."," Like a dog shooed away, Solomon steps down. \n Eventually Judge Turner exits the house and crosses to \n Solomon. \n \n SOLOMON \n ...Sir... \n \n JUDGE TURNER"," 125 EXT. TURNER'S PLANTATION - EVENING (MOVED FROM 125) 125 \n \n Solomon plays with a piece of cane, fashions it into some"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," Judge Turner's on foot. There is only the moonlight with \n which to light the way. As he walks, Solomon eats from a \n HEARTY CHUCK OF BREAD. Obviously part of his haul from"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," SOLOMON \n Niggers are hired to work, not to \n read and write. \n Turner gives that a bit of consideration as he gives \n Solomon a wary looking over. \n \n \n"," Mistress Epps comes running from the house to the pair. \n \n MISTRESS EPPS \n What? Wha's the fuss? \n \n SOLOMON \n A misunderstanding is all. It"," Solomon sits on a secluded part of the road, fiddle in \n hand. He stares across the expanse. His eyes fixed on \n something that is a million miles away. \n Slowly Solomon tunes his fiddle, turning the tuning peg"," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," Solomon, hardly missing a beat, plays this off. \n \n EPPS (CONT'D) \n Well, Armsby tol' me today the \n devil was among my niggers. That \n I had one that needed close"," and extensive planter whose large estate is situated on \n Bayou Salle within a few miles of the gulf. Epps and \n Turner stand off to one side engaged in bargaining as \n Henry, Bob, Uncle Abram and Solomon wait and watch."],[" EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \n \n As the slaves continue to work, there is a conversation \n going on between Epps and Bass. Bass much skilled in the"," Solomon, working still, can't help but overhear as Epps \n offers Bass a drink, which Bass waves away. \n \n EPPS \n Take it. You look unsettled. \n \n BASS"," EPPS (CONT'D) \n There; there's all the truth he \n got. Damned nigger. Damn yah. \n Epps pushes his way past the Mistress. \n \n \n"," of. That, now, is to Edwin Epps. \n He is a hard man. Prides himself \n on being a \"nigger breaker.\" But \n truthfully I could find no others \n who would have you. You've made a"," As you are aware, Master Epps can \n be a man of a hard countenance. \n There are times when it is \n impossible to account for his \n logic. You know he has ill \n feelings toward your husband. \n"," Mistress Epps comes running from the house to the pair. \n \n MISTRESS EPPS \n What? Wha's the fuss? \n \n SOLOMON \n A misunderstanding is all. It"," Epps looks among his slaves at work, his enmity growing. \n \n EPPS (CONT'D) \n It's that Godless lot. They \n brought this on me. I bring 'em \n"," the hell are you-- \n \n BASS \n It is horrid. It's all wrong. \n All wrong, sir. \n \n EPPS \n They ain't hired help. They're my \n slaves."," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," One of the slaves whisper under their breath. \n \n EPPS' SLAVE \n I hear cutting cane is twice as \n hard as picking cotton. \n \n BOB \n But at least we'll be away from"," -MARCH, 1852- \n The slaves are now employed working on an extension to \n the Great House. The slaves work under the direction of \n MR. SAMUEL BASS, a between forty and fifty years old, of"," Epps speaks to Armsby sternly, but nothing of the manner \n in which he would address the slaves. \n \n \n \n \n \n (CONTINUED) \n \n 95. \n"," EPPS (CONT'D) \n That damned woman! I won't have \n my mood spoiled. I will not. \n Dance! \n Epps sends the whip in Solomon's direction. Solomon"," MISTRESS SHAW (CONT'D) \n What'n was Epps's concern? \n \n SOLOMON \n ...I'd rather not say... \n \n MISTRESS SHAW"," forever. There will be a \n reckoning yet. \n \n EPPS \n You like to hear yourself talk, \n Bass, better than any man I know \n of. Yah'd argue that black was"," Epps does not care to be ignored. He lifts himself and \n moves toward the pair in a rage. \n \n EPPS \n Patsey...! \n Solomon moves between Epps and Patsey, cutting Epps off"," The slaves are sleeping. There is a loud commotion. \n Epps enters, drunkenly, forcing the slaves awake. \n \n \n \n \n \n \n \n \n"," EXT. MASTER EPPS'S PLANTATION/BACK PORCH - DAY \n \n \n -END OF JANUARY, 1842- \n From the back porch, we come into the scene on EDWIN"," Epps hoists the whip to strike, holds it high...but no \n matter his rage, Epps cannot bring himself to deliver the \n blow. He looks to Mistress Epps who now stands gloating \n and spurring him on. \n"," up only to see PATSEY RETURNING TO THE PLANTATION. Epps \n steps up to greet her, with anger rather than relief. \n As they hear his angry voice, the slaves step around from"],[" MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," The trio starts for the carriage. Solomon is pulled back \n by the call of Patsey's voice: \n \n PATSEY \n Platt... \n Disregarding Parker, Solomon crosses over to Patsey."," on the cheek. The children giggle at the sight. \n \n \n \n \n EXT. STREET - DAY \n \n Solomon and his family are out walking along the streets \n and groves of Saratoga. \n"," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," not physically downtrodden, not field hands. They are \n well dressed and \"leading apparently an easy life\" - \n comparatively speaking - as they trail their masters. \n \n As they walk, Solomon and his family arrive to an"," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," Under the circumstances, neither really knows how to \n engage. Finally, suddenly, Patsey throws her arms around \n Solomon and they embrace. \n Epps, now mounted on his horse, witness the encounter."," tear falls from his cheek, but this is not the way he \n wants his family to see him. He gathers himself, and \n looks to his right. There stands Mr. Parker. He places \n his hand on Solomon's shoulder. He says gently- \n"," Solomon looks toward the carriage. He has to shield his \n eyes from the sun. Recognition is slow coming to him. \n But when it does, it hits him as a rush. \n \n SOLOMON \n Mr. Parker...? \n"," Solomon Northup most likely died between 1863 and 1875. \n The exact date, place, and circumstances of his death \n remain unknown. \n \n - END - \n \n"," stands in the drive. He's in surprisingly good spirits \n as Solomon, Uncle Abram, Henry and Bob trudge their way \n wearily toward Epps and his other slaves who are \n gathered."," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," INT. NORTHUP HOUSE/BEDROOM - MORNING \n \n It is a Saturday morning. Clad in her finest attire is \n ANNE; Solomon's wife, a few years younger than he. We"," Good morning, Master Shaw. I've \n been sent by Master to retrieve \n Patsey. May I approach? \n \n MASTER SHAW \n You may. \n Solomon makes his way over to the piazza. \n"," Anne rises to greet him, but holds back. All around, the \n body language of the family is stiff and awkward. They \n are, after all - after twelve years - little more than \n familiar strangers. \n \n SOLOMON"," EPPS \n You say! You come here, \n unfamiliar to me, and make claims. \n \n SHERIFF \n Not claims. I have no doubts. \n This is Solomon Northup, a"],[" Call the Devil's name... There he \n is now. Mr. Northup...! I have \n two gentlemen who should make your \n acquaintance. Messrs. Brown and \n Hamilton. \n \n BROWN"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," leave the plantation on any \n account whatever. But if you run \n there is no protecting you. \n \n SOLOMON \n \n SIR-- \n \n CHAPIN"," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," we should depart. \n A moment longer Solomon and Patsey hold each other. They \n separate, Solomon heading back to the carriage. He and \n Parker alight. The Sheriff chides the horses and they \n \n \n \n "," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," The trio starts for the carriage. Solomon is pulled back \n by the call of Patsey's voice: \n \n PATSEY \n Platt... \n Disregarding Parker, Solomon crosses over to Patsey."," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," MOON himself: MERRILL BROWN and ABRAM HAMILTON. Brown \n is about 40, with a countenance indicating shrewdness and \n intelligence. Hamilton is closer to 25, a man of fair"," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," and have done so. But to toil in \n the field? Never thought that \n would come to pass. Never. But \n times are desperate. Where once I \n had said \"no\" to Epps and his"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," Yah ain't a free man. Yah nuthin' \n but a Georgia runaway. \n Burch waits for Solomon to acquiesce. Solomon does not \n in any way. Both men exchange a long and daring stare."," 9 EXT. NORTHUP HOUSE - MORNING 9 \n \n We are just outside the Northup house. A CARRIAGE waits \n with a DRIVER. Anne and the children are dressed for"," Solomon looks around. He is alone other than Rachel and \n Mistress Ford who, shocked by that which she witnesses, \n runs out to the field to fetch Chapin. Solomon's \n instinct is to run, but he stands his ground as Tibeats"],[" The Sheriff crosses to him. \n \n SHERIFF \n Your name is Platt, is it? \n \n SOLOMON \n Yes, sir. \n Pointing off to the distance. \n"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," Platt is it? Have you cultivated \n cane previously? \n \n SOLOMON \n No, sir, I have not. \n \n JUDGE TURNER \n You take to it quite naturally."," remains with the carriage. The Sheriff calls: \n \n SHERIFF \n Platt...? Where is the boy called \n Platt? \n \n SOLOMON \n ...Sir..."," Act outta lunacy. Heads fulla \n stories 'bout life up north. Yah \n ever been north, Platt? \n \n SOLOMON \n ...No... \n \n UNCLE ABRAM"," Platt... My poor Platt. \n Ford produces a blade and cuts Solomon loose. Solomon \n attempts to carry himself, but he cannot. He falls to \n the ground and passes out. \n \n \n"," Heard Judge Turner gave you favor. \n Oh, did you beguile him, Platt, \n with your slick nigger ways? \n Well, yah won't stand idle, boy. \n Not on my land. Much work to do."," It yours, Platt. \n \n SOLOMON \n For what cause? \n \n PATSEY \n All I ask: end my life. Take my \n body to the margin of the swamp--"," No sin! There is no sin! A man \n does how he pleases with his \n property. At the moment, Platt, I \n am of great pleasure. You be \n goddamn careful I don't come to"," stands is a dead man. I am \n overseer of this plantation seven \n years, and in the absence of \n William Ford, my duty is to \n protect his interests. Ford holds \n a mortgage on Platt of four"," If you run, Platt, there is no \n protecting you. Rachel...! \n Chapin runs off to join Rachel. The two converse at a \n distance from Solomon, then they head off for the log \n kitchen."," for Patsey. She rises from her bedding, goes to a corner \n of the cabin and removes something from a secretive \n location. She then moves over to Platt. \n \n PATSEY"," CHAPIN \n I am overseer here. I told Platt \n to use them, and \n \n (MORE) \n \n (CONTINUED) \n \n 56. \n"," Platt. \n \n (BEAT) \n Solomon. Solomon is my true and \n free name. \n \n CELESTE \n Was you free? \n \n SOLOMON"," And with frequency. \n \n SOLOMON \n Where is your place of birth? \n \n ARMSBY \n Maryland. Have you traveled \n there? \n \n SOLOMON"," Platt... Platt, you awake? \n \n SOLOMON \n I am. \n \n PATSEY \n I have a request; an act of \n kindness. \n \n \n"," INQUISITIVENESS: \n \n MISTRESS EPPS \n Where yah from, Platt? \n \n SOLOMON \n I have told you. \n \n MISTRESS EPPS"," Your name is Platt, and I will \n teach you your name so that you \n don't forget. \n (to the Captain) \n Shackle my niggers. Get them to \n my cart. \n \n 36."," A thousand for Platt; he is a \n nigger of talent. Seven hundred \n for Eliza. My fairest price. \n \n FORD \n You will accept a note? \n \n FREEMAN"," further word, they mount their horses and ride away. \n Tibeats remains, and his anger with him. \n \n TIBEATS \n Yah got no cause. Platt is mine, \n and mine ta do with as I please."],[" stands is a dead man. I am \n overseer of this plantation seven \n years, and in the absence of \n William Ford, my duty is to \n protect his interests. Ford holds \n a mortgage on Platt of four"," 60 EXT. FORD PLANTATION - LATER 60 \n \n Driven in a horse drawn wagon by Ford are Solomon and \n Eliza. Eliza is sullen to say the least. With the loss"," -EARLY TO MID JUNE, 1841- \n It's Sunday morning. All of Ford's slaves are dressed \n with their \"finest\" clothes - brightly colored and as \n free as possible of defect. The slaves are gathered on"," One of them, John, is stripped and inspected. \n Cape, as he's done previously, plays his fiddle. \n A buyer - WILLIAM FORD; a man of middle age, and an"," Ford sees the distress and panic in Eliza; it visibly \n touches him. He now tries to buy EMILY to console her. \n \n FORD \n How much for the little girl? You \n have no need for her. One so"," Call the Devil's name... There he \n is now. Mr. Northup...! I have \n two gentlemen who should make your \n acquaintance. Messrs. Brown and \n Hamilton. \n \n BROWN"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," The slaves, however, react as though it is not the first \n time they've seen as much from the Mistress. \n Mistress Epps, screaming like a hellion: \n \n MISTRESS EPPS \n Sell her! \n"," EXT. FORD PLANATION - DAY \n \n \n -END OF JANUARY, 1842- [OVER ONE DAY] \n We see Solomon working as a carpenter, helping to erect a"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," Epps. He will take charge of you. \n \n SOLOMON \n (desperate, urgent) \n Master Ford, you must know; I am \n not a slave. \n \n FORD"," A thousand for Platt; he is a \n nigger of talent. Seven hundred \n for Eliza. My fairest price. \n \n FORD \n You will accept a note? \n \n FREEMAN"," remains, as though his torture will not end. Ford, \n trailed by Sam, finally comes riding up. He dismounts, \n and moves swiftly over to Solomon. With great heartache: \n \n FORD"," EPPS (CONT'D) \n There; there's all the truth he \n got. Damned nigger. Damn yah. \n Epps pushes his way past the Mistress. \n \n \n"," of. That, now, is to Edwin Epps. \n He is a hard man. Prides himself \n on being a \"nigger breaker.\" But \n truthfully I could find no others \n who would have you. You've made a"," You can do no worse, Ford. A \n slave that reads is dangerous. \n Winslow moves off. He yells back at Ford: \n \n WINSLOW (CONT'D) \n And the man who would allow a"," Platt... My poor Platt. \n Ford produces a blade and cuts Solomon loose. Solomon \n attempts to carry himself, but he cannot. He falls to \n the ground and passes out. \n \n \n"],[" against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," With money in hand the Northup children move quickly \n about the store looking for items to purchase. \n \n \n \n CONTINUED: \n \n \n Anne looks over some silks and fabrics. Parker suggests \n"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," One of the slaves whisper under their breath. \n \n EPPS' SLAVE \n I hear cutting cane is twice as \n hard as picking cotton. \n \n BOB \n But at least we'll be away from"," and extensive planter whose large estate is situated on \n Bayou Salle within a few miles of the gulf. Epps and \n Turner stand off to one side engaged in bargaining as \n Henry, Bob, Uncle Abram and Solomon wait and watch."," him as Master. \n This plantation covers many \n hundreds of acres, and you will \n traverse the Texas road between \n the forest site and the sawmill in \n double time. Any clever nigger on "," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," This nigger ain't even average. \n Epps pulls Solomon aside. \n \n TREACH \n Five hundred twelve pounds for \n Patsey. \n \n EPPS \n Five hundred twelve. Yah men folk"," -EARLY TO MID JUNE, 1841- \n It's Sunday morning. All of Ford's slaves are dressed \n with their \"finest\" clothes - brightly colored and as \n free as possible of defect. The slaves are gathered on"," EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \n \n As the slaves continue to work, there is a conversation \n going on between Epps and Bass. Bass much skilled in the"," -END OF MAY THROUGH EARLY JUNE, 1841- \n We are in a wooded area. There is A GANG OF SLAVES \n chopping trees into timber. It is hard, laborious work"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," EXT. FORD PLANATION - DAY \n \n \n -END OF JANUARY, 1842- [OVER ONE DAY] \n We see Solomon working as a carpenter, helping to erect a"," Solomon Northup most likely died between 1863 and 1875. \n The exact date, place, and circumstances of his death \n remain unknown. \n \n - END - \n \n"," and have done so. But to toil in \n the field? Never thought that \n would come to pass. Never. But \n times are desperate. Where once I \n had said \"no\" to Epps and his"],[" fidelity. If that what keep me \n from the cotton pickin' niggers, \n that what it be. A small and \n reasonable price to be paid 'fo \n sure. \n Looking toward Patsey, speaking with great empathy: \n"," EXT. FORD PLANTATION/GREAT HOUSE - DAY \n \n As we come into the scene, Ford is presenting Solomon \n with a fiddle. Not as grand as the one he previously"," JUDGE TURNER \n You play the fiddle? \n \n SOLOMON \n I do. \n \n JUDGE TURNER \n Willard Yarney, a planter up the"," It's another night of Epps's forced revelry. Coming in \n quick from the previous scene, we go from Solomon holding \n his fiddle, to playing it as the slaves are again made to \n dance."," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \n \n As the slaves continue to work, there is a conversation \n going on between Epps and Bass. Bass much skilled in the"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," and extensive planter whose large estate is situated on \n Bayou Salle within a few miles of the gulf. Epps and \n Turner stand off to one side engaged in bargaining as \n Henry, Bob, Uncle Abram and Solomon wait and watch."," him as Master. \n This plantation covers many \n hundreds of acres, and you will \n traverse the Texas road between \n the forest site and the sawmill in \n double time. Any clever nigger on "," stands is a dead man. I am \n overseer of this plantation seven \n years, and in the absence of \n William Ford, my duty is to \n protect his interests. Ford holds \n a mortgage on Platt of four"," Solomon and the slaves pick cotton. Armsby is \n conspicuously NOT laboring in the field. As Solomon \n works he is watched by Epps. Watched more than he \n normally is. For a moment it seems it might just be a"," Mistress Epps comes running from the house to the pair. \n \n MISTRESS EPPS \n What? Wha's the fuss? \n \n SOLOMON \n A misunderstanding is all. It"," Do not strike him. I went to \n Massa Shaw's plantation! \n \n EPPS \n Yah admit it. \n \n PATSEY \n Freely. And you know why."," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," Epps heads from the field. Patsey is left where she is. \n \n \n \n 109 109 \n \n INT. BARTHOLOMEW'S - DAY \n \n"," EXT. EPPS'S PLANTATION - DAY \n \n \n -MAY/JUNE, 1847- \n We come up now outside of Master Epps's plantation. Epps"," SOLOMON \n Excuse me, Mistress Shaw. \n \n MISTRESS SHAW \n Nigger Platt. \n \n SOLOMON \n My apologies. Patsey, Master \n wishes you to return."," EPPS (CONT'D) \n There; there's all the truth he \n got. Damned nigger. Damn yah. \n Epps pushes his way past the Mistress. \n \n \n"," Patsey takes soap from the pocket of her dress. \n \n PATSEY (CONT'D) \n I got this from Mistress Shaw. \n Mistress Epps won't even grant me \n no soap ta clean with. Stink so"],[" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," A letter? How'll yah mail da \n letter? Who yah trust to post it? \n A nigger that can read and write \n is a nigger that'll hang."," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," If you truly do, I would ask...I \n would beg that you write my \n friends in the north, acquainting \n them with my situation and \n beseeching them to forward free \n papers, or take such steps as they"," It is a simple enough request. I \n ask only that you deposit a letter \n in the Marksville post office. \n And that you keep the action an \n inviolable secret forever. The \n details of the letter are of no"," against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," Hours later. The slaves sit off on one side of the dock, \n baking in the sun, awaiting their fate. \n THEOPHILUS FREEMAN - a tall, thin-faced man with light \n complexion and a little bent - moves along the deck"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," leave the plantation on any \n account whatever. But if you run \n there is no protecting you. \n \n SOLOMON \n \n SIR-- \n \n CHAPIN"," Call the Devil's name... There he \n is now. Mr. Northup...! I have \n two gentlemen who should make your \n acquaintance. Messrs. Brown and \n Hamilton. \n \n BROWN"," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," As he does, Epps makes his way over. \n \n SHERIFF \n That man received a letter \n compiling many accusations. You \n look me in the eye and on your \n life answer me truthfully: have"," INT. EPPS'S PLANTATION/WOODS - NIGHT \n \n Solomon goes to RETRIEVE THE SMALL PACKAGE FROM UNDER A \n ROCK AT THE BASE OF A TREE. Solomon returns the letter to"," you any other name than Platt? \n \n SOLOMON \n Solomon Northup is my name. \n \n EPPS \n Sheriff... \n \n SHERIFF \n Have you a family? \n"," The trio starts for the carriage. Solomon is pulled back \n by the call of Patsey's voice: \n \n PATSEY \n Platt... \n Disregarding Parker, Solomon crosses over to Patsey."," Solomon, slightly confused. \n \n BASS (CONT'D) \n I will write your letter sir, for \n if I could bring freedom to you, \n it will be more than a pleasure."," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," of. That, now, is to Edwin Epps. \n He is a hard man. Prides himself \n on being a \"nigger breaker.\" But \n truthfully I could find no others \n who would have you. You've made a"],[" against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," Solomon Northup most likely died between 1863 and 1875. \n The exact date, place, and circumstances of his death \n remain unknown. \n \n - END - \n \n"," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," Call the Devil's name... There he \n is now. Mr. Northup...! I have \n two gentlemen who should make your \n acquaintance. Messrs. Brown and \n Hamilton. \n \n BROWN"," Hours later. The slaves sit off on one side of the dock, \n baking in the sun, awaiting their fate. \n THEOPHILUS FREEMAN - a tall, thin-faced man with light \n complexion and a little bent - moves along the deck"," 9 EXT. NORTHUP HOUSE - MORNING 9 \n \n We are just outside the Northup house. A CARRIAGE waits \n with a DRIVER. Anne and the children are dressed for"," of the villages on the Erie canal \n and the Champlain canal. \n Bass gives Solomon a long and curious stare. \n \n BASS \n Well traveled for a slave. How \n came you here? \n"," And with frequency. \n \n SOLOMON \n Where is your place of birth? \n \n ARMSBY \n Maryland. Have you traveled \n there? \n \n SOLOMON"," and shouted while slaves are shuttled from the Orleans to \n a holding pen. Solomon, and all the slaves are \n overwhelmed by all that is happening around them. \n Two men - among many - are awaiting the arrival of the"," see also the Northup children: MARGARET who is eight, and \n ALONZO who is five. They are handsome, and well groomed \n kids. Anne straightens up the children. She finishes, \n \n \n"," wilderness.\" \n With the arrival of Master Ford there is a flurry of \n activity - the \"excitement\" of a new delivery. MR. \n CHAPIN, a white overseer, instructs a slave named SAM. \n"],[" see also the Northup children: MARGARET who is eight, and \n ALONZO who is five. They are handsome, and well groomed \n kids. Anne straightens up the children. She finishes, \n \n \n"," With money in hand the Northup children move quickly \n about the store looking for items to purchase. \n \n \n \n CONTINUED: \n \n \n Anne looks over some silks and fabrics. Parker suggests \n"," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"," 9 EXT. NORTHUP HOUSE - MORNING 9 \n \n We are just outside the Northup house. A CARRIAGE waits \n with a DRIVER. Anne and the children are dressed for"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," arms, holds her tightly as they both luxuriate in the \n simple, beautiful gift that is their children. \n \n \n \n 7A 7A \n \n INT. NORTHUP HOUSE - NIGHT \n"," 6. \n \n \n \n \n \n 7 INT. NORTHUP HOUSE - NIGHT 7 \n \n Solomon and Anne have fun and difficulty putting the"," INT. NORTHUP HOUSE/BEDROOM - MORNING \n \n It is a Saturday morning. Clad in her finest attire is \n ANNE; Solomon's wife, a few years younger than he. We"," Solomon Northup most likely died between 1863 and 1875. \n The exact date, place, and circumstances of his death \n remain unknown. \n \n - END - \n \n"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," and a supplier of general goods. Solomon greets him \n \n WITH: \n \n SOLOMON \n Mr. Parker. \n \n PARKER \n Mr. Northup. Mrs. Northup. \n"," \n \n \n \n \n \n (CONTINUED) \n \n 25. \n \n 33 CONTINUED: 33 \n Eliza turns to her children: \n"," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," divide my family. Don't take me \n unless you take my children as \n well. \n \n FREEMAN \n Eliza, quiet! \n \n ELIZA \n You will have the most faithful"," altogether. ABRAM; a tall, older slave of about sixty \n years. WILEY, who is forty eight. PHEBE, who is married \n to Wiley. BOB and HENRY who are Phebe's children, EDWARD"," The slaves say nothing. There is nothing for them to \n say. They don't know where she is. Eventually Epps \n drops into true sorrow. \n \n EPPS (CONT'D) \n She gone... My Pats gone."," The trio starts for the carriage. Solomon is pulled back \n by the call of Patsey's voice: \n \n PATSEY \n Platt... \n Disregarding Parker, Solomon crosses over to Patsey."],[" against whites. The charges against the kidnappers were \n eventually dismissed. \n Northup spent the rest of his life working as an \n abolitionist, and with the Underground Railroad."," Solomon Northup most likely died between 1863 and 1875. \n The exact date, place, and circumstances of his death \n remain unknown. \n \n - END - \n \n"," FADE TO: \n \n BLACK \n \n CARD: \n Upon gaining his freedom, Solomon Northup located and \n attempted to seek legal justice against the men who \n kidnapped him. The case was tried in Washington, DC"," 12 YEARS A SLAVE \n \n \n \n \n Written by \n \n John Ridley \n \n \n \n \n CARD: 1841 \n"," THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \n behind. We first see Anne, in her finest attire; the \n Northup children: Alonzo, who is now seventeen and"," Sir. \n \n MR. MOON \n Mr. Northup, these two gentlemen \n were inquiring about distinguished \n individuals, and I was just this \n very moment telling them that \n Solomon Northup is an expert"," MARGARET \n And this is your grandson. \n Solomon Northup Staunton. \n \n SOLOMON \n ...Solomon... \n The fact his grandson carries his name, is overwhelming."," Platt is my nigger! \n \n PARKER \n He is Solomon Northup. \n \n EPPS \n You say... \n \n PARKER \n He belongs to no man. \n"," with violin in hand is SOLOMON NORTHUP; a man in his late \n twenties. Everything about Solomon, his mien and manner, \n is distinguished. But he, too, seems a hardy individual."," -EARLY TO MID JUNE, 1841- \n It's Sunday morning. All of Ford's slaves are dressed \n with their \"finest\" clothes - brightly colored and as \n free as possible of defect. The slaves are gathered on"," 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \n \n Solomon sits down to write a letter; pen poised over \n paper with already a few lines written. But Solomon"," Solomon rises up as best he can. With all the resolve he \n can put together he states what he considers to be fact: \n \n SOLOMON \n I am Solomon Northup. I am a free"," Forgive me, Mrs. Northup. A \n customer waits. Welcome, sir. \n To Jasper, with good nature: \n \n SOLOMON \n Shop well, but mind your wallet. \n \n PARKER"," you any other name than Platt? \n \n SOLOMON \n Solomon Northup is my name. \n \n EPPS \n Sheriff... \n \n SHERIFF \n Have you a family? \n"," -END OF MAY THROUGH EARLY JUNE, 1841- \n We are in a wooded area. There is A GANG OF SLAVES \n chopping trees into timber. It is hard, laborious work"," -JULY, 1847- \n The slaves are out working on the field. White hands \n appear, picking cotton: ARMSBY. He is wholly unskilled at \n picking cotton, and he puts little effort into the job."," With money in hand the Northup children move quickly \n about the store looking for items to purchase. \n \n \n \n CONTINUED: \n \n \n Anne looks over some silks and fabrics. Parker suggests \n"," Hours have passed. Bass reflects on the story that Epps \n has told in the intervening. \n \n BASS \n How many years all told? \n \n SOLOMON \n Just nearly...just passed eleven. \n"," HAGGARD THAN WHEN WE LAST SAW HER. Her face and arms \n display many new scars. It's clear that in the \n intervening years she has quite literally been a whipping \n boy for Epps and the Mistress."," -END OF JULY, 1841- \n The slaves eat. All tired from a days work they conduct \n themselves in silence. All except for Eliza who,"]],"string":"[\n [\n \" enough to speak with one another. At the moment Solomon \\n is still trying to apply reason to the situation. \\n \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 22A. \\n\",\n \" Solomon waits outside the house on the porch. A house \\n servant - ZACHARY - approaches and admonishes Solomon. \\n \\n ZACHARY \\n Off the porch. Get off.\",\n \" \\n \\n (CONTINUED) \\n \\n 23. \\n \\n 32 CONTINUED: (2) 32 \\n The fact is, Solomon can't say for certain. \\n\",\n \" \\n \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 52. \\n \\n 81 CONTINUED: 81 \\n \\n SOLOMON\",\n \" 89 CONTINUED: 89 \\n Solomon doesn't have much chance to luxuriate in his \\n surroundings. He hears a DOG BARKING just outside, and\",\n \" seen before at the very beginning of our story. Solomon, \\n aged significantly since then, stands nervously, \\n swallowing, and adjusting his attire. He breaths in and \\n holds his breath. He blows out and closes his eyes. A\",\n \" There is a pause. Solomon can't answer this question. It \\n is the glaring hole in his plan. \\n Having finished eating: \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" \\n \\n \\n \\n (CONTINUED) \\n \\n 68. \\n \\n 100 CONTINUED: (2) 100 \\n \\n SOLOMON\",\n \" (CONTINUED) \\n \\n 46. \\n \\n 73 CONTINUED: 73 \\n After a bit, Solomon rights himself and heads from the \\n group. \\n \\n \\n\",\n \" swings her around grandly and sets her down lightly to \\n the delighted applause of the children. That done, \\n Solomon takes Anne's hand and leads her on. \\n \\n As Solomon and his family make their way, among the\",\n \" (CONTINUED) \\n \\n 112-115. \\n \\n 160 CONTINUED: 160 \\n Solomon holds a moment. Hasn't he heard the same promise\",\n \" I apologize for my appearance. I \\n have had a difficult time of \\n things these past many years. \\n Solomon looks among his family; trying to recall them as \\n much as they look to see familiarity within him. To his \\n\",\n \" let alone draw a deep, clean breath. There is a real \\n risk of suffocating in the mass. Some cough and wheeze. \\n \\n A CHILD CRIES... \\n Among them is Solomon who must believe at this point that\",\n \" (CONTINUED) \\n \\n 82. \\n \\n 121 CONTINUED: (2) 121 \\n SOLOMON'S HAND AND PRESSES IT TO HER BREAST. Solomon\",\n \" Your business waits. \\n \\n (TO SOLOMON) \\n Tell me of your family. \\n \\n SOLOMON \\n I have a wife and two children. \\n \\n SHERIFF\",\n \" Solomon walks on, looking one more time at the two young \\n men; again there is a moment of connection. \\n Solomon turns. The two men are hoisted up, kicking and \\n spitting, behind his shoulder. \",\n \" Anne, busy in the kitchen, puts the final touches to the \\n meal, which is just about to begin. Solomon, in the \\n meanwhile, sits at the head of the table reading from a\",\n \" on the cheek. The children giggle at the sight. \\n \\n \\n \\n \\n EXT. STREET - DAY \\n \\n Solomon and his family are out walking along the streets \\n and groves of Saratoga. \\n\",\n \" Have you stopped crying for your \\n children? You make no sounds, but \\n will you ever let them go in your \\n heart? \\n \\n SOLOMON \\n ...They are as my flesh... \\n \\n \\n\",\n \" 19. \\n \\n 25 CONTINUED: (3) 25 \\n on his chains. But for all his struggling, the chain \\n loosens none. Solomon calls out: \\n \\n SOLOMON\"\n ],\n [\n \" on the cheek. The children giggle at the sight. \\n \\n \\n \\n \\n EXT. STREET - DAY \\n \\n Solomon and his family are out walking along the streets \\n and groves of Saratoga. \\n\",\n \" not physically downtrodden, not field hands. They are \\n well dressed and \\\"leading apparently an easy life\\\" - \\n comparatively speaking - as they trail their masters. \\n \\n As they walk, Solomon and his family arrive to an\",\n \" Solomon waits outside the house on the porch. A house \\n servant - ZACHARY - approaches and admonishes Solomon. \\n \\n ZACHARY \\n Off the porch. Get off.\",\n \" Back in his house, we see Solomon packing: putting some \\n clothes in a travel case, and collecting his violin as \\n well. \\n \\n \\n\",\n \" swings her around grandly and sets her down lightly to \\n the delighted applause of the children. That done, \\n Solomon takes Anne's hand and leads her on. \\n \\n As Solomon and his family make their way, among the\",\n \" Anne, busy in the kitchen, puts the final touches to the \\n meal, which is just about to begin. Solomon, in the \\n meanwhile, sits at the head of the table reading from a\",\n \" HANDSOME, AND WELL DECORATED. It is sharp contrast to \\n the bleak surroundings, shacks and dungeons Solomon has \\n largely been accustom to during his time of slavery. It\",\n \" They all wait a moment, then Solomon enters the foyer. \\n He stands and looks admiringly at his family. ADMIRINGLY \\n stressed. It isn't that he doesn't have love for them,\",\n \" I apologize for my appearance. I \\n have had a difficult time of \\n things these past many years. \\n Solomon looks among his family; trying to recall them as \\n much as they look to see familiarity within him. To his \\n\",\n \" seen before at the very beginning of our story. Solomon, \\n aged significantly since then, stands nervously, \\n swallowing, and adjusting his attire. He breaths in and \\n holds his breath. He blows out and closes his eyes. A\",\n \" on clapboards. \\n Tibeats wheels away. Solomon goes back to his work. \\n After a few moments Solomon notices a bit of commotion in \\n the drive of the great house. It involves an\",\n \" Solomon's direction. Solomon stands and watches as they \\n fade into the environs and are gone from sight. \\n \\n \\n \\n 53 53 \\n \\n EXT. NEW ORLEANS/PORT - LATER\",\n \" 89 CONTINUED: 89 \\n Solomon doesn't have much chance to luxuriate in his \\n surroundings. He hears a DOG BARKING just outside, and\",\n \" enough to speak with one another. At the moment Solomon \\n is still trying to apply reason to the situation. \\n \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 22A. \\n\",\n \" Solomon and Bass are working together alone on the \\n extension. From the amount of work that's been done on \\n it, it should be obvious that days have now passed. \\n Solomon makes a cautious approach to Bass. As casually\",\n \" EXT. WEAVING HOUSE - LATER \\n \\n As the day gets on to mid-morning, the sun already baking \\n in the sky, Tibeats makes his way over to Solomon. Even\",\n \" Solomon is now very much alone, and he waits for what is \\n to come. AND WE WAIT WITH HIM. And we wait, and we \\n continue to wait... Moment by moment, the dread of the \\n unexpected mounts.\",\n \" Solomon walks on, looking one more time at the two young \\n men; again there is a moment of connection. \\n Solomon turns. The two men are hoisted up, kicking and \\n spitting, behind his shoulder. \",\n \" There is a pause. Solomon can't answer this question. It \\n is the glaring hole in his plan. \\n Having finished eating: \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" Bass hands Solomon an end of a long plank of wood and \\n looks over his shoulder, as if to camouflage the \\n conversation by work. They both lift it toward the \\n floorboards. Finally Bass speaks. \\n \\n \\n\"\n ],\n [\n \" You have described it, yes. \\n \\n BROWN \\n Yes. We need to return \\n immediately to Washington. \\n Solomon...I believe us familiar \\n enough now, but forgive me if I am\",\n \" SOLOMON \\n Thank you sir... \\n \\n BROWN \\n If we could persuade you to \\n accompany us as far as New York... \\n We would give you one dollar for \\n each day's service and three\",\n \" bold...would you consider making \\n the trip with us? \\n Solomon gives a bit of a laugh at the idea. \\n \\n \\n \\n \\n \\n \\n \\n (CONTINUED) \\n\",\n \" Back in his house, we see Solomon packing: putting some \\n clothes in a travel case, and collecting his violin as \\n well. \\n \\n \\n\",\n \" (CONTINUED) \\n \\n 46. \\n \\n 73 CONTINUED: 73 \\n After a bit, Solomon rights himself and heads from the \\n group. \\n \\n \\n\",\n \" enough to speak with one another. At the moment Solomon \\n is still trying to apply reason to the situation. \\n \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 22A. \\n\",\n \" 11 CONTINUED: (2) 11 \\n \\n SOLOMON \\n As luck would have it, my wife and \\n children are traveling. I will \\n write her of our plans. \\n \\n BROWN\",\n \" not physically downtrodden, not field hands. They are \\n well dressed and \\\"leading apparently an easy life\\\" - \\n comparatively speaking - as they trail their masters. \\n \\n As they walk, Solomon and his family arrive to an\",\n \" (CONTINUED) \\n \\n 112-115. \\n \\n 160 CONTINUED: 160 \\n Solomon holds a moment. Hasn't he heard the same promise\",\n \" Solomon, a bit reluctantly, does the same. \\n \\n HAMILTON \\n Cheers. \\n \\n BROWN \\n Another. Our departed President \\n deserves all the salutation we can\",\n \" Tell me again. \\n \\n SOLOMON \\n Washington. \\n \\n MISTRESS EPPS \\n Who were yah Master? \\n \\n SOLOMON \\n Master name of Freeman. \\n\",\n \" Solomon, slightly confused. \\n \\n BASS (CONT'D) \\n I will write your letter sir, for \\n if I could bring freedom to you, \\n it will be more than a pleasure.\",\n \" Solomon toward him, out of earshot from the slaves who \\n are continuing to work on the gazebo. As Solomon \\n approaches, Bass shouts- \\n \\n BASS \\n And bring those markers!\",\n \" Freeman steps to Solomon. He gives him a looking over. \\n \\n FREEMAN \\n Stand up. \\n Solomon does as told. \\n \\n FREEMAN (CONT'D) \\n You fit the description given.\",\n \" Epps extends a hand to Solomon. Cautiously, Solomon \\n moves close, but not too close. As Solomon draws within \\n striking distance, Epps lunges for him. He chases\",\n \" And with frequency. \\n \\n SOLOMON \\n Where is your place of birth? \\n \\n ARMSBY \\n Maryland. Have you traveled \\n there? \\n \\n SOLOMON\",\n \" To Treach, regarding Solomon and Abram: \\n \\n EPPS \\n Take 'em out. Get to whippin'. \\n No force is needed. The slaves understand the situation. \\n They follow Treach out of the Gin house.\",\n \" Solomon walks on, looking one more time at the two young \\n men; again there is a moment of connection. \\n Solomon turns. The two men are hoisted up, kicking and \\n spitting, behind his shoulder. \",\n \" Solomon looks toward the carriage. He has to shield his \\n eyes from the sun. Recognition is slow coming to him. \\n But when it does, it hits him as a rush. \\n \\n SOLOMON \\n Mr. Parker...? \\n\",\n \" \\n \\n 14 14 \\n \\n EXT. SOLOMON'S HOUSE/INT. COVERED CARRIAGE - LATER \\n \\n Solomon enters the buggy, carpet bag in hand. Brown and\"\n ],\n [\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" you any other name than Platt? \\n \\n SOLOMON \\n Solomon Northup is my name. \\n \\n EPPS \\n Sheriff... \\n \\n SHERIFF \\n Have you a family? \\n\",\n \" Your name is Platt, and I will \\n teach you your name so that you \\n don't forget. \\n (to the Captain) \\n Shackle my niggers. Get them to \\n my cart. \\n \\n 36.\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" Call the Devil's name... There he \\n is now. Mr. Northup...! I have \\n two gentlemen who should make your \\n acquaintance. Messrs. Brown and \\n Hamilton. \\n \\n BROWN\",\n \" SOLOMON \\n Excuse me, Mistress Shaw. \\n \\n MISTRESS SHAW \\n Nigger Platt. \\n \\n SOLOMON \\n My apologies. Patsey, Master \\n wishes you to return.\",\n \" The trio starts for the carriage. Solomon is pulled back \\n by the call of Patsey's voice: \\n \\n PATSEY \\n Platt... \\n Disregarding Parker, Solomon crosses over to Patsey.\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" Hours later. The slaves sit off on one side of the dock, \\n baking in the sun, awaiting their fate. \\n THEOPHILUS FREEMAN - a tall, thin-faced man with light \\n complexion and a little bent - moves along the deck\",\n \" Platt. \\n \\n (BEAT) \\n Solomon. Solomon is my true and \\n free name. \\n \\n CELESTE \\n Was you free? \\n \\n SOLOMON\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" A thousand for Platt; he is a \\n nigger of talent. Seven hundred \\n for Eliza. My fairest price. \\n \\n FORD \\n You will accept a note? \\n \\n FREEMAN\",\n \" calling out names from a list. The slaves STAND as they \\n are called. \\n \\n FREEMAN \\n Oren. John. Lethe. Eliza. \\n Randall. Emily. Platt... Platt!\",\n \" stands is a dead man. I am \\n overseer of this plantation seven \\n years, and in the absence of \\n William Ford, my duty is to \\n protect his interests. Ford holds \\n a mortgage on Platt of four\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" Heard Judge Turner gave you favor. \\n Oh, did you beguile him, Platt, \\n with your slick nigger ways? \\n Well, yah won't stand idle, boy. \\n Not on my land. Much work to do.\",\n \" for Patsey. She rises from her bedding, goes to a corner \\n of the cabin and removes something from a secretive \\n location. She then moves over to Platt. \\n \\n PATSEY\",\n \" slave in me, sir. The most \\n faithful slave that has ever \\n lived, but I beg that you do not \\n separate us. \\n A BUYER interrupts the skirmish and approaches Freeman\",\n \" Freeman makes the slaves hold their heads up - \\\"look \\n smart\\\" as he previously admonished them. They are made \\n to walk briskly back and forth while customers feel their \\n hands and arms and bodies, turn them about and ask what\",\n \" him as Master. \\n This plantation covers many \\n hundreds of acres, and you will \\n traverse the Texas road between \\n the forest site and the sawmill in \\n double time. Any clever nigger on \"\n ],\n [\n \" Hours later. The slaves sit off on one side of the dock, \\n baking in the sun, awaiting their fate. \\n THEOPHILUS FREEMAN - a tall, thin-faced man with light \\n complexion and a little bent - moves along the deck\",\n \" slave in me, sir. The most \\n faithful slave that has ever \\n lived, but I beg that you do not \\n separate us. \\n A BUYER interrupts the skirmish and approaches Freeman\",\n \" The slaves, however, react as though it is not the first \\n time they've seen as much from the Mistress. \\n Mistress Epps, screaming like a hellion: \\n \\n MISTRESS EPPS \\n Sell her! \\n\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" Call the Devil's name... There he \\n is now. Mr. Northup...! I have \\n two gentlemen who should make your \\n acquaintance. Messrs. Brown and \\n Hamilton. \\n \\n BROWN\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" and extensive planter whose large estate is situated on \\n Bayou Salle within a few miles of the gulf. Epps and \\n Turner stand off to one side engaged in bargaining as \\n Henry, Bob, Uncle Abram and Solomon wait and watch.\",\n \" of. That, now, is to Edwin Epps. \\n He is a hard man. Prides himself \\n on being a \\\"nigger breaker.\\\" But \\n truthfully I could find no others \\n who would have you. You've made a\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" (CONTINUED) \\n \\n 75. \\n \\n 107 CONTINUED: 107 \\n The slaves are asleep. Epps arrives, again without\",\n \" -EARLY TO MID JUNE, 1841- \\n It's Sunday morning. All of Ford's slaves are dressed \\n with their \\\"finest\\\" clothes - brightly colored and as \\n free as possible of defect. The slaves are gathered on\",\n \" This nigger ain't even average. \\n Epps pulls Solomon aside. \\n \\n TREACH \\n Five hundred twelve pounds for \\n Patsey. \\n \\n EPPS \\n Five hundred twelve. Yah men folk\",\n \" Freeman makes the slaves hold their heads up - \\\"look \\n smart\\\" as he previously admonished them. They are made \\n to walk briskly back and forth while customers feel their \\n hands and arms and bodies, turn them about and ask what\",\n \" The slaves are sleeping. There is a loud commotion. \\n Epps enters, drunkenly, forcing the slaves awake. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" him as Master. \\n This plantation covers many \\n hundreds of acres, and you will \\n traverse the Texas road between \\n the forest site and the sawmill in \\n double time. Any clever nigger on \",\n \" EPPS (CONT'D) \\n There; there's all the truth he \\n got. Damned nigger. Damn yah. \\n Epps pushes his way past the Mistress. \\n \\n \\n\",\n \" stands is a dead man. I am \\n overseer of this plantation seven \\n years, and in the absence of \\n William Ford, my duty is to \\n protect his interests. Ford holds \\n a mortgage on Platt of four\",\n \" and shouted while slaves are shuttled from the Orleans to \\n a holding pen. Solomon, and all the slaves are \\n overwhelmed by all that is happening around them. \\n Two men - among many - are awaiting the arrival of the\",\n \" out of sight of Epps. \\n Mistress Epps also bears witness, standing on the veranda \\n next to her house slave. Her face is of a strange mixed \\n emotion.\"\n ],\n [\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" what Freeman is trying to do is coach the slaves into \\n being more \\\"sellable.\\\" He works with them in groups of \\n five or so. \\n \\n FREEMAN \\n Tallest to smallest, understand?\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" slave in me, sir. The most \\n faithful slave that has ever \\n lived, but I beg that you do not \\n separate us. \\n A BUYER interrupts the skirmish and approaches Freeman\",\n \" The slaves say nothing. There is nothing for them to \\n say. They don't know where she is. Eventually Epps \\n drops into true sorrow. \\n \\n EPPS (CONT'D) \\n She gone... My Pats gone.\",\n \" fidelity. If that what keep me \\n from the cotton pickin' niggers, \\n that what it be. A small and \\n reasonable price to be paid 'fo \\n sure. \\n Looking toward Patsey, speaking with great empathy: \\n\",\n \" slave to read is unfit to own \\n niggers! \\n Handing the Bible back to Sam, very matter of factly: \\n \\n FORD \\n Pay him no mind. The word of God \\n applies to all. In that you may\",\n \" EPPS (CONT'D) \\n There; there's all the truth he \\n got. Damned nigger. Damn yah. \\n Epps pushes his way past the Mistress. \\n \\n \\n\",\n \" began when I was sent to retrieve \\n Patsey from where she'd taken \\n sabbatical at Master Shaw's. Upon \\n returning, Master Epps believed \\n Patsey and me to be in \\n conversation when we were not. I\",\n \" Freeman makes the slaves hold their heads up - \\\"look \\n smart\\\" as he previously admonished them. They are made \\n to walk briskly back and forth while customers feel their \\n hands and arms and bodies, turn them about and ask what\",\n \" One of the slaves whisper under their breath. \\n \\n EPPS' SLAVE \\n I hear cutting cane is twice as \\n hard as picking cotton. \\n \\n BOB \\n But at least we'll be away from\",\n \" him as Master. \\n This plantation covers many \\n hundreds of acres, and you will \\n traverse the Texas road between \\n the forest site and the sawmill in \\n double time. Any clever nigger on \",\n \" The slaves are sleeping. There is a loud commotion. \\n Epps enters, drunkenly, forcing the slaves awake. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" Shortly, Epps again stops, gets his breath... And now in \\n what should be quite comical, Epps again runs after \\n Solomon. Again, Epps's vigor leaves him before he can \\n even get close to the slave.\",\n \" of. That, now, is to Edwin Epps. \\n He is a hard man. Prides himself \\n on being a \\\"nigger breaker.\\\" But \\n truthfully I could find no others \\n who would have you. You've made a\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\"\n ],\n [\n \" EPPS (CONT'D) \\n There; there's all the truth he \\n got. Damned nigger. Damn yah. \\n Epps pushes his way past the Mistress. \\n \\n \\n\",\n \" The slaves are sleeping. There is a loud commotion. \\n Epps enters, drunkenly, forcing the slaves awake. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" (CONTINUED) \\n \\n 75. \\n \\n 107 CONTINUED: 107 \\n The slaves are asleep. Epps arrives, again without\",\n \" The slaves say nothing. There is nothing for them to \\n say. They don't know where she is. Eventually Epps \\n drops into true sorrow. \\n \\n EPPS (CONT'D) \\n She gone... My Pats gone.\",\n \" Mistress Epps comes running from the house to the pair. \\n \\n MISTRESS EPPS \\n What? Wha's the fuss? \\n \\n SOLOMON \\n A misunderstanding is all. It\",\n \" Epps heads from the field. Patsey is left where she is. \\n \\n \\n \\n 109 109 \\n \\n INT. BARTHOLOMEW'S - DAY \\n \\n\",\n \" \\n \\n (CONTINUED) \\n \\n 61. \\n \\n 90 CONTINUED: 90 \\n Epps reads the Bible to his slaves, eight of them\",\n \" up only to see PATSEY RETURNING TO THE PLANTATION. Epps \\n steps up to greet her, with anger rather than relief. \\n As they hear his angry voice, the slaves step around from\",\n \" One of the slaves whisper under their breath. \\n \\n EPPS' SLAVE \\n I hear cutting cane is twice as \\n hard as picking cotton. \\n \\n BOB \\n But at least we'll be away from\",\n \" Master Epps. \\n \\n UNCLE ABRAM \\n Boy, you two have no sense. \\n Epps returns to his slaves and gives a parting \\n salutation. \\n \\n EPPS\",\n \" EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \\n \\n As the slaves continue to work, there is a conversation \\n going on between Epps and Bass. Bass much skilled in the\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" \\n \\n 141 141 \\n \\n INT. MASTER EPPS'S PLANTATION/GIN HOUSE - EVENING \\n \\n As Epps said, it is days of long since. The slaves are\",\n \" the takin'. \\n Epps's grief is replaced by fury. EPPS GRABS THE PISTOL \\n FROM TREACH'S HOLSTER and draws down on the slaves. \\n \\n EPPS\",\n \" Thoroughly cuckolded by the Mistress's actions, Epps \\n takes his whip and pulls Patsey out of the house. His \\n intentions are plain. \\n All the slaves remain silent. The Mistress, however,\",\n \" out of sight of Epps. \\n Mistress Epps also bears witness, standing on the veranda \\n next to her house slave. Her face is of a strange mixed \\n emotion.\",\n \" Epps looks among his slaves at work, his enmity growing. \\n \\n EPPS (CONT'D) \\n It's that Godless lot. They \\n brought this on me. I bring 'em \\n\",\n \" EXT. EPPS'S PLANTATION - DAY \\n \\n \\n -MAY/JUNE, 1847- \\n We come up now outside of Master Epps's plantation. Epps\",\n \" Epps speaks to Armsby sternly, but nothing of the manner \\n in which he would address the slaves. \\n \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 95. \\n\",\n \" INT. EPPS'S PLANTATION/SLAVE SHACK - NIGHT \\n \\n The slaves are at rest. Gripping his whip Epps enters, \\n without so much as a knock at the door. For a moment\"\n ],\n [\n \" continually turn her head from Epps, but otherwise remain \\n as still as possible. If there is such a thing, she is \\n vicious with her passive aggressiveness. \\n Epps's frustration mounts until - as the Mistress Shaw\",\n \" Good morning, Master Shaw. I've \\n been sent by Master to retrieve \\n Patsey. May I approach? \\n \\n MASTER SHAW \\n You may. \\n Solomon makes his way over to the piazza. \\n\",\n \" MISTRESS SHAW \\n He do. \\n \\n SOLOMON \\n Master Epps has somehow come to \\n believe, as incorrectly as it may \\n be, that Master Shaw is... That\",\n \" MISTRESS SHAW \\n He ain't heard you. \\n \\n \\n \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 71. \\n\",\n \" Patsey takes soap from the pocket of her dress. \\n \\n PATSEY (CONT'D) \\n I got this from Mistress Shaw. \\n Mistress Epps won't even grant me \\n no soap ta clean with. Stink so\",\n \" SOLOMON \\n Excuse me, Mistress Shaw. \\n \\n MISTRESS SHAW \\n Nigger Platt. \\n \\n SOLOMON \\n My apologies. Patsey, Master \\n wishes you to return.\",\n \" Mistress Epps comes running from the house to the pair. \\n \\n MISTRESS EPPS \\n What? Wha's the fuss? \\n \\n SOLOMON \\n A misunderstanding is all. It\",\n \" Mistress Shaw turns her head to the side, catching a \\n slave's attention. As she does so, the slave, a YOUNG \\n WOMAN, commences to pour tea. \\n As if to punctuate her thought, the Mistress takes a sip\",\n \" Thoroughly cuckolded by the Mistress's actions, Epps \\n takes his whip and pulls Patsey out of the house. His \\n intentions are plain. \\n All the slaves remain silent. The Mistress, however,\",\n \" MISTRESS SHAW (CONT'D) \\n I knowed what it like to be the \\n object of Massa's predilections \\n and peculiarities. And I knowed \\n they can get expressed with\",\n \" To the store, Sir, to \\n Bartholomew's. I was sent there \\n by Mistress Epps. \\n The patroller reaches out for Solomon's free pass around \",\n \" 104 EXT. SHAW'S HOUSE - DAY 104 \\n \\n \\n -JULY, 1844- \\n Sitting on the Grand house's Piazza, Patsey is having tea\",\n \" began when I was sent to retrieve \\n Patsey from where she'd taken \\n sabbatical at Master Shaw's. Upon \\n returning, Master Epps believed \\n Patsey and me to be in \\n conversation when we were not. I\",\n \" for Patsey. She rises from her bedding, goes to a corner \\n of the cabin and removes something from a secretive \\n location. She then moves over to Platt. \\n \\n PATSEY\",\n \" Mistress Epps stands irate, lost in fury and unable to \\n even think of what to do. Eventually, optionless, she \\n storms away. \\n For a few beats there is only the sound of Patsey \\n sobbing. \\n\",\n \" Solomon looks around. He is alone other than Rachel and \\n Mistress Ford who, shocked by that which she witnesses, \\n runs out to the field to fetch Chapin. Solomon's \\n instinct is to run, but he stands his ground as Tibeats\",\n \" No doubt...if not born outta truth \\n itself. \\n The Mistress waves to Shaw. Shaw, unsuspecting of the \\n conversation, waves back. \\n \\n SOLOMON \\n I'm certain Patsey's well being is\",\n \" little Pats? She pick with more \\n vigor than any other nigger! \\n Choose another ta go. \\n \\n MISTRESS EPPS \\n No other. Sell her! \\n \\n EPPS \\n I will not!\",\n \" MISTRESS SHAW \\n Drink tea? \\n \\n SOLOMON \\n Thank you, Mistress, but I don't \\n dare. \\n \\n MISTRESS SHAW\",\n \" There'll be none for you, Patsey. \\n Patsey merely turns away. Her non responsiveness, \\n however, serves only to incite the Mistress. Screaming: \\n \\n MISTRESS EPPS (CONT'D)\"\n ],\n [\n \" INT. EPPS'S PLANTATION/WOODS - NIGHT \\n \\n Solomon goes to RETRIEVE THE SMALL PACKAGE FROM UNDER A \\n ROCK AT THE BASE OF A TREE. Solomon returns the letter to\",\n \" It is a simple enough request. I \\n ask only that you deposit a letter \\n in the Marksville post office. \\n And that you keep the action an \\n inviolable secret forever. The \\n details of the letter are of no\",\n \" If you truly do, I would ask...I \\n would beg that you write my \\n friends in the north, acquainting \\n them with my situation and \\n beseeching them to forward free \\n papers, or take such steps as they\",\n \" man; a resident of Saratoga, New \\n York. The residence also of my \\n wife and children who are equally \\n free. I have papers. You have no \\n right whatsoever to detain me-- \\n \\n BURCH\",\n \" Hamilton are waiting. They ride in a covered carriage \\n led by a pair of \\\"noble\\\" horses. \\n \\n HAMILTON \\n No letter to post? \\n \\n SOLOMON \\n No need. My return will coincide\",\n \" dollars for every night played at \\n our performances. In addition we \\n would provide sufficient pay for \\n the expenses of your return from \\n New York here to Saratoga. \\n \\n SOLOMON \\n You understand this is all very\",\n \" A letter? How'll yah mail da \\n letter? Who yah trust to post it? \\n A nigger that can read and write \\n is a nigger that'll hang.\",\n \" resident of Saratoga Springs, NY. \\n \\n EPPS \\n To hell with that! My nigger, and \\n I'll fight you for 'em! \\n \\n PARKER \\n As is your right. As it will be\",\n \" Where's the letter now? \\n \\n SOLOMON \\n ...It is not yet written. I will \\n have it in a day. Two at most, my \\n skill with composition as poor as \\n it is.\",\n \" EXT. MASTER EPPS'S PLANTATION/WOODS - NIGHT \\n \\n Having found a lonely spot, Solomon has struck a SMALL \\n FIRE. He has in his hand his letter. With no ceremony,\",\n \" Celeste got no one to write a \\n letter to. \\n As if to punctuate her resolve, without a word more \\n Celeste departs toward the swamp. Solomon starts on into \\n the swamp after her. \\n\",\n \" How? Celeste knows you ain't \\n gunna run. Celeste knows it ain't \\n your nature. \\n \\n SOLOMON \\n I have a plan. I have a letter. \\n \\n CELESTE\",\n \" As he does, Epps makes his way over. \\n \\n SHERIFF \\n That man received a letter \\n compiling many accusations. You \\n look me in the eye and on your \\n life answer me truthfully: have\",\n \" Solomon, slightly confused. \\n \\n BASS (CONT'D) \\n I will write your letter sir, for \\n if I could bring freedom to you, \\n it will be more than a pleasure.\",\n \" leave the plantation on any \\n account whatever. But if you run \\n there is no protecting you. \\n \\n SOLOMON \\n \\n SIR-- \\n \\n CHAPIN\",\n \" 138 138 \\n \\n EXT. TURNER PLANTATION - NIGHT \\n \\n Solomon sits with Celeste. He relates his news to her. \\n \\n SOLOMON \\n I have my letter.\",\n \" 11 CONTINUED: (2) 11 \\n \\n SOLOMON \\n As luck would have it, my wife and \\n children are traveling. I will \\n write her of our plans. \\n \\n BROWN\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" to Master Ford. Tell him to come \\n here at once without a single \\n moment's delay. Tell him they are \\n trying to murder Platt. Hurry, \\n boy. Bring him back if you must \\n kill the mule to do so!\",\n \" CELESTE \\n Yah has your freedom then? \\n \\n SOLOMON \\n All that remains is to contrive \\n measures by which the letter can \\n safely be deposited in the post \\n office.\"\n ],\n [\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" Solomon Northup most likely died between 1863 and 1875. \\n The exact date, place, and circumstances of his death \\n remain unknown. \\n \\n - END - \\n \\n\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" EXT. FORD PLANATION - DAY \\n \\n \\n -END OF JANUARY, 1842- [OVER ONE DAY] \\n We see Solomon working as a carpenter, helping to erect a\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" slaves on the street, we see one in particular; JASPER. \\n As he trails his MASTER he can't help but note Solomon \\n and his family as they enter A STORE. His intrigue of \\n this most handsome and harmonious group should be\",\n \" SOLOMON \\n Niggers are hired to work, not to \\n read and write. \\n Turner gives that a bit of consideration as he gives \\n Solomon a wary looking over. \\n \\n \\n\",\n \" and shouted while slaves are shuttled from the Orleans to \\n a holding pen. Solomon, and all the slaves are \\n overwhelmed by all that is happening around them. \\n Two men - among many - are awaiting the arrival of the\",\n \" Solomon remains tied and dangling exactly where he was \\n left. The scene is both tranquil and horrific. Life on \\n the plantation continues. The OTHER SLAVES work in the\",\n \" you any other name than Platt? \\n \\n SOLOMON \\n Solomon Northup is my name. \\n \\n EPPS \\n Sheriff... \\n \\n SHERIFF \\n Have you a family? \\n\",\n \" of the villages on the Erie canal \\n and the Champlain canal. \\n Bass gives Solomon a long and curious stare. \\n \\n BASS \\n Well traveled for a slave. How \\n came you here? \\n\",\n \" Yah ain't a free man. Yah nuthin' \\n but a Georgia runaway. \\n Burch waits for Solomon to acquiesce. Solomon does not \\n in any way. Both men exchange a long and daring stare.\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\"\n ],\n [\n \" of. That, now, is to Edwin Epps. \\n He is a hard man. Prides himself \\n on being a \\\"nigger breaker.\\\" But \\n truthfully I could find no others \\n who would have you. You've made a\",\n \" EPPS (CONT'D) \\n There; there's all the truth he \\n got. Damned nigger. Damn yah. \\n Epps pushes his way past the Mistress. \\n \\n \\n\",\n \" One of the slaves whisper under their breath. \\n \\n EPPS' SLAVE \\n I hear cutting cane is twice as \\n hard as picking cotton. \\n \\n BOB \\n But at least we'll be away from\",\n \" and have done so. But to toil in \\n the field? Never thought that \\n would come to pass. Never. But \\n times are desperate. Where once I \\n had said \\\"no\\\" to Epps and his\",\n \" The slaves are sleeping. There is a loud commotion. \\n Epps enters, drunkenly, forcing the slaves awake. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" out of sight of Epps. \\n Mistress Epps also bears witness, standing on the veranda \\n next to her house slave. Her face is of a strange mixed \\n emotion.\",\n \" have dined on the cotton and nearly destroyed the crop. \\n We see the cotton worms in extreme close-up, moving among \\n and destroying the cotton crop. \\n Epps is beside himself as he looks out over his ruined \\n field. \\n\",\n \" near to their living quarters behind the plantation. It \\n is a sight of ritual. Missing from the field of labor is \\n Patsey, for whom Epps hollers. \\n \\n EPPS \\n Patsey... Patsey!\",\n \" The slaves say nothing. There is nothing for them to \\n say. They don't know where she is. Eventually Epps \\n drops into true sorrow. \\n \\n EPPS (CONT'D) \\n She gone... My Pats gone.\",\n \" Mistress Epps comes running from the house to the pair. \\n \\n MISTRESS EPPS \\n What? Wha's the fuss? \\n \\n SOLOMON \\n A misunderstanding is all. It\",\n \" (CONTINUED) \\n \\n 75. \\n \\n 107 CONTINUED: 107 \\n The slaves are asleep. Epps arrives, again without\",\n \" EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \\n \\n As the slaves continue to work, there is a conversation \\n going on between Epps and Bass. Bass much skilled in the\",\n \" Thoroughly cuckolded by the Mistress's actions, Epps \\n takes his whip and pulls Patsey out of the house. His \\n intentions are plain. \\n All the slaves remain silent. The Mistress, however,\",\n \" up only to see PATSEY RETURNING TO THE PLANTATION. Epps \\n steps up to greet her, with anger rather than relief. \\n As they hear his angry voice, the slaves step around from\",\n \" EXT. MASTER EPPS'S PLANTATION/BACK PORCH - DAY \\n \\n \\n -END OF JANUARY, 1842- \\n From the back porch, we come into the scene on EDWIN\",\n \" Epps heads from the field. Patsey is left where she is. \\n \\n \\n \\n 109 109 \\n \\n INT. BARTHOLOMEW'S - DAY \\n \\n\",\n \" \\n \\n 141 141 \\n \\n INT. MASTER EPPS'S PLANTATION/GIN HOUSE - EVENING \\n \\n As Epps said, it is days of long since. The slaves are\",\n \" Epps looks among his slaves at work, his enmity growing. \\n \\n EPPS (CONT'D) \\n It's that Godless lot. They \\n brought this on me. I bring 'em \\n\",\n \" INT. EPPS'S PLANTATION/SLAVE SHACK - NIGHT \\n \\n The slaves are at rest. Gripping his whip Epps enters, \\n without so much as a knock at the door. For a moment\"\n ],\n [\n \" Solomon Northup most likely died between 1863 and 1875. \\n The exact date, place, and circumstances of his death \\n remain unknown. \\n \\n - END - \\n \\n\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" not physically downtrodden, not field hands. They are \\n well dressed and \\\"leading apparently an easy life\\\" - \\n comparatively speaking - as they trail their masters. \\n \\n As they walk, Solomon and his family arrive to an\",\n \" INT. NORTHUP HOUSE/BEDROOM - MORNING \\n \\n It is a Saturday morning. Clad in her finest attire is \\n ANNE; Solomon's wife, a few years younger than he. We\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" slaves on the street, we see one in particular; JASPER. \\n As he trails his MASTER he can't help but note Solomon \\n and his family as they enter A STORE. His intrigue of \\n this most handsome and harmonious group should be\",\n \" of the villages on the Erie canal \\n and the Champlain canal. \\n Bass gives Solomon a long and curious stare. \\n \\n BASS \\n Well traveled for a slave. How \\n came you here? \\n\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" Solomon remains tied and dangling exactly where he was \\n left. The scene is both tranquil and horrific. Life on \\n the plantation continues. The OTHER SLAVES work in the\",\n \" you any other name than Platt? \\n \\n SOLOMON \\n Solomon Northup is my name. \\n \\n EPPS \\n Sheriff... \\n \\n SHERIFF \\n Have you a family? \\n\",\n \" and shouted while slaves are shuttled from the Orleans to \\n a holding pen. Solomon, and all the slaves are \\n overwhelmed by all that is happening around them. \\n Two men - among many - are awaiting the arrival of the\",\n \" EXT. FORD PLANATION - DAY \\n \\n \\n -END OF JANUARY, 1842- [OVER ONE DAY] \\n We see Solomon working as a carpenter, helping to erect a\",\n \" from the slaves - who are diminished by distance. \\n Solomon waves a hand to them, but the carriage rounds a \\n bend and a thicket of trees hides them from his eyes \\n forever more. \\n \\n BLACK \\n \\n \"\n ],\n [\n \" Solomon starts for Parker, but he is pulled back by the \\n Sheriff who is keen to determine Solomon's true identity. \\n \\n SHERIFF \\n Say again? \\n \\n SOLOMON \\n Mr. Parker?\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" Solomon looks toward the carriage. He has to shield his \\n eyes from the sun. Recognition is slow coming to him. \\n But when it does, it hits him as a rush. \\n \\n SOLOMON \\n Mr. Parker...? \\n\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" their way in the trying soil. Solomon, too focused to \\n note the arrival of two men by carriage: Parker and the \\n \\n SHERIFF. \\n While the Sheriff makes his way to the field, Parker\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" tear falls from his cheek, but this is not the way he \\n wants his family to see him. He gathers himself, and \\n looks to his right. There stands Mr. Parker. He places \\n his hand on Solomon's shoulder. He says gently- \\n\",\n \" The trio starts for the carriage. Solomon is pulled back \\n by the call of Patsey's voice: \\n \\n PATSEY \\n Platt... \\n Disregarding Parker, Solomon crosses over to Patsey.\",\n \" EPPS \\n You say! You come here, \\n unfamiliar to me, and make claims. \\n \\n SHERIFF \\n Not claims. I have no doubts. \\n This is Solomon Northup, a\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" SOLOMON \\n No intrusion. \\n Fitzgerald looks to Solomon. It is a cold glare as \\n though he wasn't speaking to, and has no interest in a \\n response from a black man. Looking back to Parker: \\n\",\n \" we should depart. \\n A moment longer Solomon and Patsey hold each other. They \\n separate, Solomon heading back to the carriage. He and \\n Parker alight. The Sheriff chides the horses and they \\n \\n \\n \\n \",\n \" Kicking the stirrups hard into the sides of the horse, he \\n rides off furiously. \\n Calling from the carriage, mindful of Epps: \\n \\n PARKER \\n Solomon...if we know what's wise,\",\n \" Epps looks to Solomon. Solomon icily, stoically holds \\n his ground. He makes it quite clear in his countenance \\n that nobody owns him. Sheriff, hand on his gun, is there\",\n \" Call the Devil's name... There he \\n is now. Mr. Northup...! I have \\n two gentlemen who should make your \\n acquaintance. Messrs. Brown and \\n Hamilton. \\n \\n BROWN\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" PARKER \\n Are you ready? \\n Solomon swallows and nods. \\n \\n \\n \\n 169 169 \\n \\n INT. NORTHUP HOUSE - LATER \\n\",\n \" Anne Hampton. I am who I say. \\n Solomon pushes past the sheriff. As Solomon moves toward \\n Parker, his pace quickens with each step until his \\n \\n (CONTINUED) \\n\",\n \" The Sheriff crosses to him. \\n \\n SHERIFF \\n Your name is Platt, is it? \\n \\n SOLOMON \\n Yes, sir. \\n Pointing off to the distance. \\n\"\n ],\n [\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" Call the Devil's name... There he \\n is now. Mr. Northup...! I have \\n two gentlemen who should make your \\n acquaintance. Messrs. Brown and \\n Hamilton. \\n \\n BROWN\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" You have described it, yes. \\n \\n BROWN \\n Yes. We need to return \\n immediately to Washington. \\n Solomon...I believe us familiar \\n enough now, but forgive me if I am\",\n \" are frequently seen, and the occasional American Flag \\n hung at half mast. As well, there are portraits of \\n Harrison at varying locations. \\n Having arrived in Washington, Solomon, Hamilton and Brown \\n\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" SOLOMON \\n Thank you sir... \\n \\n BROWN \\n If we could persuade you to \\n accompany us as far as New York... \\n We would give you one dollar for \\n each day's service and three\",\n \" The trio starts for the carriage. Solomon is pulled back \\n by the call of Patsey's voice: \\n \\n PATSEY \\n Platt... \\n Disregarding Parker, Solomon crosses over to Patsey.\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" Solomon Northup most likely died between 1863 and 1875. \\n The exact date, place, and circumstances of his death \\n remain unknown. \\n \\n - END - \\n \\n\",\n \" Solomon, a bit reluctantly, does the same. \\n \\n HAMILTON \\n Cheers. \\n \\n BROWN \\n Another. Our departed President \\n deserves all the salutation we can\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\",\n \" Hamilton and Brown help Solomon to lumber up the spiral \\n staircase, passing the occasional bemused guest. \\n \\n \\n \\n 23 INT. GADSBY HOTEL/SOLOMON'S ROOM - NIGHT 23\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" Solomon for Brown's taste. With more than a bit of \\n \\n SIGNIFICATION: \\n \\n BROWN \\n Hamilton! Nothing more we can do \\n for him. \\n \\n HAMILTON\",\n \" MOON himself: MERRILL BROWN and ABRAM HAMILTON. Brown \\n is about 40, with a countenance indicating shrewdness and \\n intelligence. Hamilton is closer to 25, a man of fair\",\n \" of the villages on the Erie canal \\n and the Champlain canal. \\n Bass gives Solomon a long and curious stare. \\n \\n BASS \\n Well traveled for a slave. How \\n came you here? \\n\"\n ],\n [\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" INT. EPPS'S PLANTATION/WOODS - NIGHT \\n \\n Solomon goes to RETRIEVE THE SMALL PACKAGE FROM UNDER A \\n ROCK AT THE BASE OF A TREE. Solomon returns the letter to\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" The trio starts for the carriage. Solomon is pulled back \\n by the call of Patsey's voice: \\n \\n PATSEY \\n Platt... \\n Disregarding Parker, Solomon crosses over to Patsey.\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" Solomon, slightly confused. \\n \\n BASS (CONT'D) \\n I will write your letter sir, for \\n if I could bring freedom to you, \\n it will be more than a pleasure.\",\n \" EXT. MASTER EPPS'S PLANTATION/WOODS - NIGHT \\n \\n Having found a lonely spot, Solomon has struck a SMALL \\n FIRE. He has in his hand his letter. With no ceremony,\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" 138 138 \\n \\n EXT. TURNER PLANTATION - NIGHT \\n \\n Solomon sits with Celeste. He relates his news to her. \\n \\n SOLOMON \\n I have my letter.\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" dollars for every night played at \\n our performances. In addition we \\n would provide sufficient pay for \\n the expenses of your return from \\n New York here to Saratoga. \\n \\n SOLOMON \\n You understand this is all very\",\n \" Where's the letter now? \\n \\n SOLOMON \\n ...It is not yet written. I will \\n have it in a day. Two at most, my \\n skill with composition as poor as \\n it is.\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\",\n \" Celeste got no one to write a \\n letter to. \\n As if to punctuate her resolve, without a word more \\n Celeste departs toward the swamp. Solomon starts on into \\n the swamp after her. \\n\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" leave the plantation on any \\n account whatever. But if you run \\n there is no protecting you. \\n \\n SOLOMON \\n \\n SIR-- \\n \\n CHAPIN\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" Good morning, Master Shaw. I've \\n been sent by Master to retrieve \\n Patsey. May I approach? \\n \\n MASTER SHAW \\n You may. \\n Solomon makes his way over to the piazza. \\n\"\n ],\n [\n \" Thoroughly cuckolded by the Mistress's actions, Epps \\n takes his whip and pulls Patsey out of the house. His \\n intentions are plain. \\n All the slaves remain silent. The Mistress, however,\",\n \" Now tied to the post, Epps stands behind Patsey with his \\n whip. \\n \\n EPPS (CONT'D) \\n Yah done this to yerself, Pats!\",\n \" begins to whip Patsey. Lash after lash, Patsey squirms \\n before it. Epps eyes fill with tears, he is nearly too \\n distraught to watch. \\n But the Mistress... She is not satisfied with Solomon's\",\n \" Solomon will not. Epps takes up the whip and whips \\n Patsey with \\\"ten fold\\\" greater force than he had. The \\n painfully loud and angry curses of Epps load the air.\",\n \" Epps remains quietly focused on Patsey. And it's clear \\n from her apprehensive expression just what it is he's \\n come looking for. This time there is no escaping it. As\",\n \" EPPS (CONT'D) \\n There; there's all the truth he \\n got. Damned nigger. Damn yah. \\n Epps pushes his way past the Mistress. \\n \\n \\n\",\n \" A drunk Epps asks of the slaves: \\n \\n EPPS (CONT'D) \\n Where is she? Where is Patsey? \\n No one answers. \\n \\n EPPS (CONT'D)\",\n \" up only to see PATSEY RETURNING TO THE PLANTATION. Epps \\n steps up to greet her, with anger rather than relief. \\n As they hear his angry voice, the slaves step around from\",\n \" the moment marked with appropriate screams. Patsey \\n collapses on the floor, covering her bleeding face. \\n \\n MISTRESS EPPS (CONT'D) \\n Beat it from 'em!\",\n \" Epps hoists the whip to strike, holds it high...but no \\n matter his rage, Epps cannot bring himself to deliver the \\n blow. He looks to Mistress Epps who now stands gloating \\n and spurring him on. \\n\",\n \" little Pats? She pick with more \\n vigor than any other nigger! \\n Choose another ta go. \\n \\n MISTRESS EPPS \\n No other. Sell her! \\n \\n EPPS \\n I will not!\",\n \" Mistress Epps stands irate, lost in fury and unable to \\n even think of what to do. Eventually, optionless, she \\n storms away. \\n For a few beats there is only the sound of Patsey \\n sobbing. \\n\",\n \" Patsey by now is terribly lacerated, literally flayed. \\n The lash wet with blood which flowed down her sides and \\n dropped upon the ground. At length Patsey ceases \\n struggling. Her head sinks listlessly on the ground. \\n\",\n \" What else can he do? Solomon begins to whip, to truly \\n whip Patsey. Her back welts, then tears... Patsey \\n screams in agony. Solomon strikes again and again...\",\n \" from 'em. \\n Epps does nothing. The Mistress lets her anger loose. \\n She moves quickly to Patsey, DRIVES HER NAILS INTO THE \\n\",\n \" Epps heads from the field. Patsey is left where she is. \\n \\n \\n \\n 109 109 \\n \\n INT. BARTHOLOMEW'S - DAY \\n \\n\",\n \" had cautioned - he crosses the line from passion to \\n violence. He begins slapping Patsey to get a response \\n from her. When that fails, he punches her which only \\n leads to him taking up his whip and lashing Patsey\",\n \" MERCILESSLY. Still, she gives him nothing. Beaten, \\n Patsey sits in the dirt among the cotton, Epps deep \\n breathing above her. The desire for sex now having left \\n him.\",\n \" near to their living quarters behind the plantation. It \\n is a sight of ritual. Missing from the field of labor is \\n Patsey, for whom Epps hollers. \\n \\n EPPS \\n Patsey... Patsey!\",\n \" Strip her. Strike her bare 'n \\n lash her to the post. \\n Mistress Epps has now come from the Great House. She \\n gazes on the scene with an air of heartless satisfaction.\"\n ],\n [\n \" JUDGE TURNER \\n You play the fiddle? \\n \\n SOLOMON \\n I do. \\n \\n JUDGE TURNER \\n Willard Yarney, a planter up the\",\n \" Henry, Bob, Uncle Abram and Solomon sit in the back of a \\n cart. SOLOMON HAS HIS FIDDLE WITH HIM. Epps has \\n delivered the men to JUDGE TURNER, a distinguished man\",\n \" It's another night of Epps's forced revelry. Coming in \\n quick from the previous scene, we go from Solomon holding \\n his fiddle, to playing it as the slaves are again made to \\n dance.\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" and play. \\n As ordered, Solomon takes up Cape's fiddle and begins to \\n play lightly. \\n \\n FREEMAN (CONT'D) \\n Play! \\n Solomon plays harder and more loudly. Still, it is\",\n \" EXT. FORD PLANTATION/GREAT HOUSE - DAY \\n \\n As we come into the scene, Ford is presenting Solomon \\n with a fiddle. Not as grand as the one he previously\",\n \" him play, boy. Let's see what he \\n can do. \\n Cape reluctantly hands the fiddle over to Solomon. \\n Solomon tunes it a bit, then begins to play. His fingers\",\n \" 137 INT. JUDGE TURNER'S PLANTATION/SLAVES CABIN - NIGHT 137 \\n \\n As others sleep, by the light of dying coals, Solomon\",\n \" Heard Judge Turner gave you favor. \\n Oh, did you beguile him, Platt, \\n with your slick nigger ways? \\n Well, yah won't stand idle, boy. \\n Not on my land. Much work to do.\",\n \" Like a dog shooed away, Solomon steps down. \\n Eventually Judge Turner exits the house and crosses to \\n Solomon. \\n \\n SOLOMON \\n ...Sir... \\n \\n JUDGE TURNER\",\n \" 125 EXT. TURNER'S PLANTATION - EVENING (MOVED FROM 125) 125 \\n \\n Solomon plays with a piece of cane, fashions it into some\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" Judge Turner's on foot. There is only the moonlight with \\n which to light the way. As he walks, Solomon eats from a \\n HEARTY CHUCK OF BREAD. Obviously part of his haul from\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" SOLOMON \\n Niggers are hired to work, not to \\n read and write. \\n Turner gives that a bit of consideration as he gives \\n Solomon a wary looking over. \\n \\n \\n\",\n \" Mistress Epps comes running from the house to the pair. \\n \\n MISTRESS EPPS \\n What? Wha's the fuss? \\n \\n SOLOMON \\n A misunderstanding is all. It\",\n \" Solomon sits on a secluded part of the road, fiddle in \\n hand. He stares across the expanse. His eyes fixed on \\n something that is a million miles away. \\n Slowly Solomon tunes his fiddle, turning the tuning peg\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" Solomon, hardly missing a beat, plays this off. \\n \\n EPPS (CONT'D) \\n Well, Armsby tol' me today the \\n devil was among my niggers. That \\n I had one that needed close\",\n \" and extensive planter whose large estate is situated on \\n Bayou Salle within a few miles of the gulf. Epps and \\n Turner stand off to one side engaged in bargaining as \\n Henry, Bob, Uncle Abram and Solomon wait and watch.\"\n ],\n [\n \" EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \\n \\n As the slaves continue to work, there is a conversation \\n going on between Epps and Bass. Bass much skilled in the\",\n \" Solomon, working still, can't help but overhear as Epps \\n offers Bass a drink, which Bass waves away. \\n \\n EPPS \\n Take it. You look unsettled. \\n \\n BASS\",\n \" EPPS (CONT'D) \\n There; there's all the truth he \\n got. Damned nigger. Damn yah. \\n Epps pushes his way past the Mistress. \\n \\n \\n\",\n \" of. That, now, is to Edwin Epps. \\n He is a hard man. Prides himself \\n on being a \\\"nigger breaker.\\\" But \\n truthfully I could find no others \\n who would have you. You've made a\",\n \" As you are aware, Master Epps can \\n be a man of a hard countenance. \\n There are times when it is \\n impossible to account for his \\n logic. You know he has ill \\n feelings toward your husband. \\n\",\n \" Mistress Epps comes running from the house to the pair. \\n \\n MISTRESS EPPS \\n What? Wha's the fuss? \\n \\n SOLOMON \\n A misunderstanding is all. It\",\n \" Epps looks among his slaves at work, his enmity growing. \\n \\n EPPS (CONT'D) \\n It's that Godless lot. They \\n brought this on me. I bring 'em \\n\",\n \" the hell are you-- \\n \\n BASS \\n It is horrid. It's all wrong. \\n All wrong, sir. \\n \\n EPPS \\n They ain't hired help. They're my \\n slaves.\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" One of the slaves whisper under their breath. \\n \\n EPPS' SLAVE \\n I hear cutting cane is twice as \\n hard as picking cotton. \\n \\n BOB \\n But at least we'll be away from\",\n \" -MARCH, 1852- \\n The slaves are now employed working on an extension to \\n the Great House. The slaves work under the direction of \\n MR. SAMUEL BASS, a between forty and fifty years old, of\",\n \" Epps speaks to Armsby sternly, but nothing of the manner \\n in which he would address the slaves. \\n \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 95. \\n\",\n \" EPPS (CONT'D) \\n That damned woman! I won't have \\n my mood spoiled. I will not. \\n Dance! \\n Epps sends the whip in Solomon's direction. Solomon\",\n \" MISTRESS SHAW (CONT'D) \\n What'n was Epps's concern? \\n \\n SOLOMON \\n ...I'd rather not say... \\n \\n MISTRESS SHAW\",\n \" forever. There will be a \\n reckoning yet. \\n \\n EPPS \\n You like to hear yourself talk, \\n Bass, better than any man I know \\n of. Yah'd argue that black was\",\n \" Epps does not care to be ignored. He lifts himself and \\n moves toward the pair in a rage. \\n \\n EPPS \\n Patsey...! \\n Solomon moves between Epps and Patsey, cutting Epps off\",\n \" The slaves are sleeping. There is a loud commotion. \\n Epps enters, drunkenly, forcing the slaves awake. \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" EXT. MASTER EPPS'S PLANTATION/BACK PORCH - DAY \\n \\n \\n -END OF JANUARY, 1842- \\n From the back porch, we come into the scene on EDWIN\",\n \" Epps hoists the whip to strike, holds it high...but no \\n matter his rage, Epps cannot bring himself to deliver the \\n blow. He looks to Mistress Epps who now stands gloating \\n and spurring him on. \\n\",\n \" up only to see PATSEY RETURNING TO THE PLANTATION. Epps \\n steps up to greet her, with anger rather than relief. \\n As they hear his angry voice, the slaves step around from\"\n ],\n [\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" The trio starts for the carriage. Solomon is pulled back \\n by the call of Patsey's voice: \\n \\n PATSEY \\n Platt... \\n Disregarding Parker, Solomon crosses over to Patsey.\",\n \" on the cheek. The children giggle at the sight. \\n \\n \\n \\n \\n EXT. STREET - DAY \\n \\n Solomon and his family are out walking along the streets \\n and groves of Saratoga. \\n\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" not physically downtrodden, not field hands. They are \\n well dressed and \\\"leading apparently an easy life\\\" - \\n comparatively speaking - as they trail their masters. \\n \\n As they walk, Solomon and his family arrive to an\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" Under the circumstances, neither really knows how to \\n engage. Finally, suddenly, Patsey throws her arms around \\n Solomon and they embrace. \\n Epps, now mounted on his horse, witness the encounter.\",\n \" tear falls from his cheek, but this is not the way he \\n wants his family to see him. He gathers himself, and \\n looks to his right. There stands Mr. Parker. He places \\n his hand on Solomon's shoulder. He says gently- \\n\",\n \" Solomon looks toward the carriage. He has to shield his \\n eyes from the sun. Recognition is slow coming to him. \\n But when it does, it hits him as a rush. \\n \\n SOLOMON \\n Mr. Parker...? \\n\",\n \" Solomon Northup most likely died between 1863 and 1875. \\n The exact date, place, and circumstances of his death \\n remain unknown. \\n \\n - END - \\n \\n\",\n \" stands in the drive. He's in surprisingly good spirits \\n as Solomon, Uncle Abram, Henry and Bob trudge their way \\n wearily toward Epps and his other slaves who are \\n gathered.\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" INT. NORTHUP HOUSE/BEDROOM - MORNING \\n \\n It is a Saturday morning. Clad in her finest attire is \\n ANNE; Solomon's wife, a few years younger than he. We\",\n \" Good morning, Master Shaw. I've \\n been sent by Master to retrieve \\n Patsey. May I approach? \\n \\n MASTER SHAW \\n You may. \\n Solomon makes his way over to the piazza. \\n\",\n \" Anne rises to greet him, but holds back. All around, the \\n body language of the family is stiff and awkward. They \\n are, after all - after twelve years - little more than \\n familiar strangers. \\n \\n SOLOMON\",\n \" EPPS \\n You say! You come here, \\n unfamiliar to me, and make claims. \\n \\n SHERIFF \\n Not claims. I have no doubts. \\n This is Solomon Northup, a\"\n ],\n [\n \" Call the Devil's name... There he \\n is now. Mr. Northup...! I have \\n two gentlemen who should make your \\n acquaintance. Messrs. Brown and \\n Hamilton. \\n \\n BROWN\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" leave the plantation on any \\n account whatever. But if you run \\n there is no protecting you. \\n \\n SOLOMON \\n \\n SIR-- \\n \\n CHAPIN\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" we should depart. \\n A moment longer Solomon and Patsey hold each other. They \\n separate, Solomon heading back to the carriage. He and \\n Parker alight. The Sheriff chides the horses and they \\n \\n \\n \\n \",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" The trio starts for the carriage. Solomon is pulled back \\n by the call of Patsey's voice: \\n \\n PATSEY \\n Platt... \\n Disregarding Parker, Solomon crosses over to Patsey.\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" MOON himself: MERRILL BROWN and ABRAM HAMILTON. Brown \\n is about 40, with a countenance indicating shrewdness and \\n intelligence. Hamilton is closer to 25, a man of fair\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" and have done so. But to toil in \\n the field? Never thought that \\n would come to pass. Never. But \\n times are desperate. Where once I \\n had said \\\"no\\\" to Epps and his\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" Yah ain't a free man. Yah nuthin' \\n but a Georgia runaway. \\n Burch waits for Solomon to acquiesce. Solomon does not \\n in any way. Both men exchange a long and daring stare.\",\n \" 9 EXT. NORTHUP HOUSE - MORNING 9 \\n \\n We are just outside the Northup house. A CARRIAGE waits \\n with a DRIVER. Anne and the children are dressed for\",\n \" Solomon looks around. He is alone other than Rachel and \\n Mistress Ford who, shocked by that which she witnesses, \\n runs out to the field to fetch Chapin. Solomon's \\n instinct is to run, but he stands his ground as Tibeats\"\n ],\n [\n \" The Sheriff crosses to him. \\n \\n SHERIFF \\n Your name is Platt, is it? \\n \\n SOLOMON \\n Yes, sir. \\n Pointing off to the distance. \\n\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" Platt is it? Have you cultivated \\n cane previously? \\n \\n SOLOMON \\n No, sir, I have not. \\n \\n JUDGE TURNER \\n You take to it quite naturally.\",\n \" remains with the carriage. The Sheriff calls: \\n \\n SHERIFF \\n Platt...? Where is the boy called \\n Platt? \\n \\n SOLOMON \\n ...Sir...\",\n \" Act outta lunacy. Heads fulla \\n stories 'bout life up north. Yah \\n ever been north, Platt? \\n \\n SOLOMON \\n ...No... \\n \\n UNCLE ABRAM\",\n \" Platt... My poor Platt. \\n Ford produces a blade and cuts Solomon loose. Solomon \\n attempts to carry himself, but he cannot. He falls to \\n the ground and passes out. \\n \\n \\n\",\n \" Heard Judge Turner gave you favor. \\n Oh, did you beguile him, Platt, \\n with your slick nigger ways? \\n Well, yah won't stand idle, boy. \\n Not on my land. Much work to do.\",\n \" It yours, Platt. \\n \\n SOLOMON \\n For what cause? \\n \\n PATSEY \\n All I ask: end my life. Take my \\n body to the margin of the swamp--\",\n \" No sin! There is no sin! A man \\n does how he pleases with his \\n property. At the moment, Platt, I \\n am of great pleasure. You be \\n goddamn careful I don't come to\",\n \" stands is a dead man. I am \\n overseer of this plantation seven \\n years, and in the absence of \\n William Ford, my duty is to \\n protect his interests. Ford holds \\n a mortgage on Platt of four\",\n \" If you run, Platt, there is no \\n protecting you. Rachel...! \\n Chapin runs off to join Rachel. The two converse at a \\n distance from Solomon, then they head off for the log \\n kitchen.\",\n \" for Patsey. She rises from her bedding, goes to a corner \\n of the cabin and removes something from a secretive \\n location. She then moves over to Platt. \\n \\n PATSEY\",\n \" CHAPIN \\n I am overseer here. I told Platt \\n to use them, and \\n \\n (MORE) \\n \\n (CONTINUED) \\n \\n 56. \\n\",\n \" Platt. \\n \\n (BEAT) \\n Solomon. Solomon is my true and \\n free name. \\n \\n CELESTE \\n Was you free? \\n \\n SOLOMON\",\n \" And with frequency. \\n \\n SOLOMON \\n Where is your place of birth? \\n \\n ARMSBY \\n Maryland. Have you traveled \\n there? \\n \\n SOLOMON\",\n \" Platt... Platt, you awake? \\n \\n SOLOMON \\n I am. \\n \\n PATSEY \\n I have a request; an act of \\n kindness. \\n \\n \\n\",\n \" INQUISITIVENESS: \\n \\n MISTRESS EPPS \\n Where yah from, Platt? \\n \\n SOLOMON \\n I have told you. \\n \\n MISTRESS EPPS\",\n \" Your name is Platt, and I will \\n teach you your name so that you \\n don't forget. \\n (to the Captain) \\n Shackle my niggers. Get them to \\n my cart. \\n \\n 36.\",\n \" A thousand for Platt; he is a \\n nigger of talent. Seven hundred \\n for Eliza. My fairest price. \\n \\n FORD \\n You will accept a note? \\n \\n FREEMAN\",\n \" further word, they mount their horses and ride away. \\n Tibeats remains, and his anger with him. \\n \\n TIBEATS \\n Yah got no cause. Platt is mine, \\n and mine ta do with as I please.\"\n ],\n [\n \" stands is a dead man. I am \\n overseer of this plantation seven \\n years, and in the absence of \\n William Ford, my duty is to \\n protect his interests. Ford holds \\n a mortgage on Platt of four\",\n \" 60 EXT. FORD PLANTATION - LATER 60 \\n \\n Driven in a horse drawn wagon by Ford are Solomon and \\n Eliza. Eliza is sullen to say the least. With the loss\",\n \" -EARLY TO MID JUNE, 1841- \\n It's Sunday morning. All of Ford's slaves are dressed \\n with their \\\"finest\\\" clothes - brightly colored and as \\n free as possible of defect. The slaves are gathered on\",\n \" One of them, John, is stripped and inspected. \\n Cape, as he's done previously, plays his fiddle. \\n A buyer - WILLIAM FORD; a man of middle age, and an\",\n \" Ford sees the distress and panic in Eliza; it visibly \\n touches him. He now tries to buy EMILY to console her. \\n \\n FORD \\n How much for the little girl? You \\n have no need for her. One so\",\n \" Call the Devil's name... There he \\n is now. Mr. Northup...! I have \\n two gentlemen who should make your \\n acquaintance. Messrs. Brown and \\n Hamilton. \\n \\n BROWN\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" The slaves, however, react as though it is not the first \\n time they've seen as much from the Mistress. \\n Mistress Epps, screaming like a hellion: \\n \\n MISTRESS EPPS \\n Sell her! \\n\",\n \" EXT. FORD PLANATION - DAY \\n \\n \\n -END OF JANUARY, 1842- [OVER ONE DAY] \\n We see Solomon working as a carpenter, helping to erect a\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" Epps. He will take charge of you. \\n \\n SOLOMON \\n (desperate, urgent) \\n Master Ford, you must know; I am \\n not a slave. \\n \\n FORD\",\n \" A thousand for Platt; he is a \\n nigger of talent. Seven hundred \\n for Eliza. My fairest price. \\n \\n FORD \\n You will accept a note? \\n \\n FREEMAN\",\n \" remains, as though his torture will not end. Ford, \\n trailed by Sam, finally comes riding up. He dismounts, \\n and moves swiftly over to Solomon. With great heartache: \\n \\n FORD\",\n \" EPPS (CONT'D) \\n There; there's all the truth he \\n got. Damned nigger. Damn yah. \\n Epps pushes his way past the Mistress. \\n \\n \\n\",\n \" of. That, now, is to Edwin Epps. \\n He is a hard man. Prides himself \\n on being a \\\"nigger breaker.\\\" But \\n truthfully I could find no others \\n who would have you. You've made a\",\n \" You can do no worse, Ford. A \\n slave that reads is dangerous. \\n Winslow moves off. He yells back at Ford: \\n \\n WINSLOW (CONT'D) \\n And the man who would allow a\",\n \" Platt... My poor Platt. \\n Ford produces a blade and cuts Solomon loose. Solomon \\n attempts to carry himself, but he cannot. He falls to \\n the ground and passes out. \\n \\n \\n\"\n ],\n [\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" With money in hand the Northup children move quickly \\n about the store looking for items to purchase. \\n \\n \\n \\n CONTINUED: \\n \\n \\n Anne looks over some silks and fabrics. Parker suggests \\n\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" One of the slaves whisper under their breath. \\n \\n EPPS' SLAVE \\n I hear cutting cane is twice as \\n hard as picking cotton. \\n \\n BOB \\n But at least we'll be away from\",\n \" and extensive planter whose large estate is situated on \\n Bayou Salle within a few miles of the gulf. Epps and \\n Turner stand off to one side engaged in bargaining as \\n Henry, Bob, Uncle Abram and Solomon wait and watch.\",\n \" him as Master. \\n This plantation covers many \\n hundreds of acres, and you will \\n traverse the Texas road between \\n the forest site and the sawmill in \\n double time. Any clever nigger on \",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" This nigger ain't even average. \\n Epps pulls Solomon aside. \\n \\n TREACH \\n Five hundred twelve pounds for \\n Patsey. \\n \\n EPPS \\n Five hundred twelve. Yah men folk\",\n \" -EARLY TO MID JUNE, 1841- \\n It's Sunday morning. All of Ford's slaves are dressed \\n with their \\\"finest\\\" clothes - brightly colored and as \\n free as possible of defect. The slaves are gathered on\",\n \" EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \\n \\n As the slaves continue to work, there is a conversation \\n going on between Epps and Bass. Bass much skilled in the\",\n \" -END OF MAY THROUGH EARLY JUNE, 1841- \\n We are in a wooded area. There is A GANG OF SLAVES \\n chopping trees into timber. It is hard, laborious work\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" EXT. FORD PLANATION - DAY \\n \\n \\n -END OF JANUARY, 1842- [OVER ONE DAY] \\n We see Solomon working as a carpenter, helping to erect a\",\n \" Solomon Northup most likely died between 1863 and 1875. \\n The exact date, place, and circumstances of his death \\n remain unknown. \\n \\n - END - \\n \\n\",\n \" and have done so. But to toil in \\n the field? Never thought that \\n would come to pass. Never. But \\n times are desperate. Where once I \\n had said \\\"no\\\" to Epps and his\"\n ],\n [\n \" fidelity. If that what keep me \\n from the cotton pickin' niggers, \\n that what it be. A small and \\n reasonable price to be paid 'fo \\n sure. \\n Looking toward Patsey, speaking with great empathy: \\n\",\n \" EXT. FORD PLANTATION/GREAT HOUSE - DAY \\n \\n As we come into the scene, Ford is presenting Solomon \\n with a fiddle. Not as grand as the one he previously\",\n \" JUDGE TURNER \\n You play the fiddle? \\n \\n SOLOMON \\n I do. \\n \\n JUDGE TURNER \\n Willard Yarney, a planter up the\",\n \" It's another night of Epps's forced revelry. Coming in \\n quick from the previous scene, we go from Solomon holding \\n his fiddle, to playing it as the slaves are again made to \\n dance.\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY \\n \\n As the slaves continue to work, there is a conversation \\n going on between Epps and Bass. Bass much skilled in the\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" and extensive planter whose large estate is situated on \\n Bayou Salle within a few miles of the gulf. Epps and \\n Turner stand off to one side engaged in bargaining as \\n Henry, Bob, Uncle Abram and Solomon wait and watch.\",\n \" him as Master. \\n This plantation covers many \\n hundreds of acres, and you will \\n traverse the Texas road between \\n the forest site and the sawmill in \\n double time. Any clever nigger on \",\n \" stands is a dead man. I am \\n overseer of this plantation seven \\n years, and in the absence of \\n William Ford, my duty is to \\n protect his interests. Ford holds \\n a mortgage on Platt of four\",\n \" Solomon and the slaves pick cotton. Armsby is \\n conspicuously NOT laboring in the field. As Solomon \\n works he is watched by Epps. Watched more than he \\n normally is. For a moment it seems it might just be a\",\n \" Mistress Epps comes running from the house to the pair. \\n \\n MISTRESS EPPS \\n What? Wha's the fuss? \\n \\n SOLOMON \\n A misunderstanding is all. It\",\n \" Do not strike him. I went to \\n Massa Shaw's plantation! \\n \\n EPPS \\n Yah admit it. \\n \\n PATSEY \\n Freely. And you know why.\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" Epps heads from the field. Patsey is left where she is. \\n \\n \\n \\n 109 109 \\n \\n INT. BARTHOLOMEW'S - DAY \\n \\n\",\n \" EXT. EPPS'S PLANTATION - DAY \\n \\n \\n -MAY/JUNE, 1847- \\n We come up now outside of Master Epps's plantation. Epps\",\n \" SOLOMON \\n Excuse me, Mistress Shaw. \\n \\n MISTRESS SHAW \\n Nigger Platt. \\n \\n SOLOMON \\n My apologies. Patsey, Master \\n wishes you to return.\",\n \" EPPS (CONT'D) \\n There; there's all the truth he \\n got. Damned nigger. Damn yah. \\n Epps pushes his way past the Mistress. \\n \\n \\n\",\n \" Patsey takes soap from the pocket of her dress. \\n \\n PATSEY (CONT'D) \\n I got this from Mistress Shaw. \\n Mistress Epps won't even grant me \\n no soap ta clean with. Stink so\"\n ],\n [\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" A letter? How'll yah mail da \\n letter? Who yah trust to post it? \\n A nigger that can read and write \\n is a nigger that'll hang.\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" If you truly do, I would ask...I \\n would beg that you write my \\n friends in the north, acquainting \\n them with my situation and \\n beseeching them to forward free \\n papers, or take such steps as they\",\n \" It is a simple enough request. I \\n ask only that you deposit a letter \\n in the Marksville post office. \\n And that you keep the action an \\n inviolable secret forever. The \\n details of the letter are of no\",\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" Hours later. The slaves sit off on one side of the dock, \\n baking in the sun, awaiting their fate. \\n THEOPHILUS FREEMAN - a tall, thin-faced man with light \\n complexion and a little bent - moves along the deck\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" leave the plantation on any \\n account whatever. But if you run \\n there is no protecting you. \\n \\n SOLOMON \\n \\n SIR-- \\n \\n CHAPIN\",\n \" Call the Devil's name... There he \\n is now. Mr. Northup...! I have \\n two gentlemen who should make your \\n acquaintance. Messrs. Brown and \\n Hamilton. \\n \\n BROWN\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" As he does, Epps makes his way over. \\n \\n SHERIFF \\n That man received a letter \\n compiling many accusations. You \\n look me in the eye and on your \\n life answer me truthfully: have\",\n \" INT. EPPS'S PLANTATION/WOODS - NIGHT \\n \\n Solomon goes to RETRIEVE THE SMALL PACKAGE FROM UNDER A \\n ROCK AT THE BASE OF A TREE. Solomon returns the letter to\",\n \" you any other name than Platt? \\n \\n SOLOMON \\n Solomon Northup is my name. \\n \\n EPPS \\n Sheriff... \\n \\n SHERIFF \\n Have you a family? \\n\",\n \" The trio starts for the carriage. Solomon is pulled back \\n by the call of Patsey's voice: \\n \\n PATSEY \\n Platt... \\n Disregarding Parker, Solomon crosses over to Patsey.\",\n \" Solomon, slightly confused. \\n \\n BASS (CONT'D) \\n I will write your letter sir, for \\n if I could bring freedom to you, \\n it will be more than a pleasure.\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" of. That, now, is to Edwin Epps. \\n He is a hard man. Prides himself \\n on being a \\\"nigger breaker.\\\" But \\n truthfully I could find no others \\n who would have you. You've made a\"\n ],\n [\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" Solomon Northup most likely died between 1863 and 1875. \\n The exact date, place, and circumstances of his death \\n remain unknown. \\n \\n - END - \\n \\n\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" Call the Devil's name... There he \\n is now. Mr. Northup...! I have \\n two gentlemen who should make your \\n acquaintance. Messrs. Brown and \\n Hamilton. \\n \\n BROWN\",\n \" Hours later. The slaves sit off on one side of the dock, \\n baking in the sun, awaiting their fate. \\n THEOPHILUS FREEMAN - a tall, thin-faced man with light \\n complexion and a little bent - moves along the deck\",\n \" 9 EXT. NORTHUP HOUSE - MORNING 9 \\n \\n We are just outside the Northup house. A CARRIAGE waits \\n with a DRIVER. Anne and the children are dressed for\",\n \" of the villages on the Erie canal \\n and the Champlain canal. \\n Bass gives Solomon a long and curious stare. \\n \\n BASS \\n Well traveled for a slave. How \\n came you here? \\n\",\n \" And with frequency. \\n \\n SOLOMON \\n Where is your place of birth? \\n \\n ARMSBY \\n Maryland. Have you traveled \\n there? \\n \\n SOLOMON\",\n \" and shouted while slaves are shuttled from the Orleans to \\n a holding pen. Solomon, and all the slaves are \\n overwhelmed by all that is happening around them. \\n Two men - among many - are awaiting the arrival of the\",\n \" see also the Northup children: MARGARET who is eight, and \\n ALONZO who is five. They are handsome, and well groomed \\n kids. Anne straightens up the children. She finishes, \\n \\n \\n\",\n \" wilderness.\\\" \\n With the arrival of Master Ford there is a flurry of \\n activity - the \\\"excitement\\\" of a new delivery. MR. \\n CHAPIN, a white overseer, instructs a slave named SAM. \\n\"\n ],\n [\n \" see also the Northup children: MARGARET who is eight, and \\n ALONZO who is five. They are handsome, and well groomed \\n kids. Anne straightens up the children. She finishes, \\n \\n \\n\",\n \" With money in hand the Northup children move quickly \\n about the store looking for items to purchase. \\n \\n \\n \\n CONTINUED: \\n \\n \\n Anne looks over some silks and fabrics. Parker suggests \\n\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\",\n \" 9 EXT. NORTHUP HOUSE - MORNING 9 \\n \\n We are just outside the Northup house. A CARRIAGE waits \\n with a DRIVER. Anne and the children are dressed for\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" arms, holds her tightly as they both luxuriate in the \\n simple, beautiful gift that is their children. \\n \\n \\n \\n 7A 7A \\n \\n INT. NORTHUP HOUSE - NIGHT \\n\",\n \" 6. \\n \\n \\n \\n \\n \\n 7 INT. NORTHUP HOUSE - NIGHT 7 \\n \\n Solomon and Anne have fun and difficulty putting the\",\n \" INT. NORTHUP HOUSE/BEDROOM - MORNING \\n \\n It is a Saturday morning. Clad in her finest attire is \\n ANNE; Solomon's wife, a few years younger than he. We\",\n \" Solomon Northup most likely died between 1863 and 1875. \\n The exact date, place, and circumstances of his death \\n remain unknown. \\n \\n - END - \\n \\n\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" and a supplier of general goods. Solomon greets him \\n \\n WITH: \\n \\n SOLOMON \\n Mr. Parker. \\n \\n PARKER \\n Mr. Northup. Mrs. Northup. \\n\",\n \" \\n \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 25. \\n \\n 33 CONTINUED: 33 \\n Eliza turns to her children: \\n\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" divide my family. Don't take me \\n unless you take my children as \\n well. \\n \\n FREEMAN \\n Eliza, quiet! \\n \\n ELIZA \\n You will have the most faithful\",\n \" altogether. ABRAM; a tall, older slave of about sixty \\n years. WILEY, who is forty eight. PHEBE, who is married \\n to Wiley. BOB and HENRY who are Phebe's children, EDWARD\",\n \" The slaves say nothing. There is nothing for them to \\n say. They don't know where she is. Eventually Epps \\n drops into true sorrow. \\n \\n EPPS (CONT'D) \\n She gone... My Pats gone.\",\n \" The trio starts for the carriage. Solomon is pulled back \\n by the call of Patsey's voice: \\n \\n PATSEY \\n Platt... \\n Disregarding Parker, Solomon crosses over to Patsey.\"\n ],\n [\n \" against whites. The charges against the kidnappers were \\n eventually dismissed. \\n Northup spent the rest of his life working as an \\n abolitionist, and with the Underground Railroad.\",\n \" Solomon Northup most likely died between 1863 and 1875. \\n The exact date, place, and circumstances of his death \\n remain unknown. \\n \\n - END - \\n \\n\",\n \" FADE TO: \\n \\n BLACK \\n \\n CARD: \\n Upon gaining his freedom, Solomon Northup located and \\n attempted to seek legal justice against the men who \\n kidnapped him. The case was tried in Washington, DC\",\n \" 12 YEARS A SLAVE \\n \\n \\n \\n \\n Written by \\n \\n John Ridley \\n \\n \\n \\n \\n CARD: 1841 \\n\",\n \" THE DOOR TO THE ROOM OPENS. Mr. Parker enters, Solomon \\n behind. We first see Anne, in her finest attire; the \\n Northup children: Alonzo, who is now seventeen and\",\n \" Sir. \\n \\n MR. MOON \\n Mr. Northup, these two gentlemen \\n were inquiring about distinguished \\n individuals, and I was just this \\n very moment telling them that \\n Solomon Northup is an expert\",\n \" MARGARET \\n And this is your grandson. \\n Solomon Northup Staunton. \\n \\n SOLOMON \\n ...Solomon... \\n The fact his grandson carries his name, is overwhelming.\",\n \" Platt is my nigger! \\n \\n PARKER \\n He is Solomon Northup. \\n \\n EPPS \\n You say... \\n \\n PARKER \\n He belongs to no man. \\n\",\n \" with violin in hand is SOLOMON NORTHUP; a man in his late \\n twenties. Everything about Solomon, his mien and manner, \\n is distinguished. But he, too, seems a hardy individual.\",\n \" -EARLY TO MID JUNE, 1841- \\n It's Sunday morning. All of Ford's slaves are dressed \\n with their \\\"finest\\\" clothes - brightly colored and as \\n free as possible of defect. The slaves are gathered on\",\n \" 13 INT. NORTHUP HOUSE/STUDY - LATER 13 \\n \\n Solomon sits down to write a letter; pen poised over \\n paper with already a few lines written. But Solomon\",\n \" Solomon rises up as best he can. With all the resolve he \\n can put together he states what he considers to be fact: \\n \\n SOLOMON \\n I am Solomon Northup. I am a free\",\n \" Forgive me, Mrs. Northup. A \\n customer waits. Welcome, sir. \\n To Jasper, with good nature: \\n \\n SOLOMON \\n Shop well, but mind your wallet. \\n \\n PARKER\",\n \" you any other name than Platt? \\n \\n SOLOMON \\n Solomon Northup is my name. \\n \\n EPPS \\n Sheriff... \\n \\n SHERIFF \\n Have you a family? \\n\",\n \" -END OF MAY THROUGH EARLY JUNE, 1841- \\n We are in a wooded area. There is A GANG OF SLAVES \\n chopping trees into timber. It is hard, laborious work\",\n \" -JULY, 1847- \\n The slaves are out working on the field. White hands \\n appear, picking cotton: ARMSBY. He is wholly unskilled at \\n picking cotton, and he puts little effort into the job.\",\n \" With money in hand the Northup children move quickly \\n about the store looking for items to purchase. \\n \\n \\n \\n CONTINUED: \\n \\n \\n Anne looks over some silks and fabrics. Parker suggests \\n\",\n \" Hours have passed. Bass reflects on the story that Epps \\n has told in the intervening. \\n \\n BASS \\n How many years all told? \\n \\n SOLOMON \\n Just nearly...just passed eleven. \\n\",\n \" HAGGARD THAN WHEN WE LAST SAW HER. Her face and arms \\n display many new scars. It's clear that in the \\n intervening years she has quite literally been a whipping \\n boy for Epps and the Mistress.\",\n \" -END OF JULY, 1841- \\n The slaves eat. All tired from a days work they conduct \\n themselves in silence. All except for Eliza who,\"\n ]\n]"},"questions":{"kind":"list like","value":["How many children does Solomon have?","Where do Solomon and his family live?","Who wanted Solomon to travel with them to Washington DC?","What was the slave trader name that gave Northup a platt?","How many slave owner was Northup sold to?","What did Northup tried to explained to the slave owners?","Who did epps release his slaves to?","Why did Patsy sneaks off to Mistress Shaw's house?","Who risk their life to send a letter to Saratoga?","What was Solomon Northup's profession before he became a slave?","What forced Edwin Epps to lease his slaves to his neighbors?","Where did Solomon Northup and his family live before he became a slave?","How did the sheriff's companion, Mr. Parker, know Solomon Northup?","Why did Solomon Northup travel to Washington D.C. with Brown and Hamilton?","Which character successfully sends a letter to Saratoga Springs for Solomon Northup?","Why did Edwin Epps order Patsy to be whipped?","At what occasion does Judge Turner allow Solomon Northup to play his fiddle for earnings?","Why did Edwin Epps dislike Samuel Bass?","Who does Solomon Northup meet when he returns to his family in Saratoga Springs?","What made Northup leave his home with the two men, Brown and Hamilton?","What state does Platt originate from?","What caused William Ford to sell Northup?","How did Northup earn his own money while being a slave?","Which plantation owner allowed Northup to keep the money he earned as a fiddle player?","How many people did Northup ask to mail a letter to his family?","What state was Northup originate from?","How many children did Northup have?","What year was Northup's memoir published?"],"string":"[\n \"How many children does Solomon have?\",\n \"Where do Solomon and his family live?\",\n \"Who wanted Solomon to travel with them to Washington DC?\",\n \"What was the slave trader name that gave Northup a platt?\",\n \"How many slave owner was Northup sold to?\",\n \"What did Northup tried to explained to the slave owners?\",\n \"Who did epps release his slaves to?\",\n \"Why did Patsy sneaks off to Mistress Shaw's house?\",\n \"Who risk their life to send a letter to Saratoga?\",\n \"What was Solomon Northup's profession before he became a slave?\",\n \"What forced Edwin Epps to lease his slaves to his neighbors?\",\n \"Where did Solomon Northup and his family live before he became a slave?\",\n \"How did the sheriff's companion, Mr. Parker, know Solomon Northup?\",\n \"Why did Solomon Northup travel to Washington D.C. with Brown and Hamilton?\",\n \"Which character successfully sends a letter to Saratoga Springs for Solomon Northup?\",\n \"Why did Edwin Epps order Patsy to be whipped?\",\n \"At what occasion does Judge Turner allow Solomon Northup to play his fiddle for earnings?\",\n \"Why did Edwin Epps dislike Samuel Bass?\",\n \"Who does Solomon Northup meet when he returns to his family in Saratoga Springs?\",\n \"What made Northup leave his home with the two men, Brown and Hamilton?\",\n \"What state does Platt originate from?\",\n \"What caused William Ford to sell Northup?\",\n \"How did Northup earn his own money while being a slave?\",\n \"Which plantation owner allowed Northup to keep the money he earned as a fiddle player?\",\n \"How many people did Northup ask to mail a letter to his family?\",\n \"What state was Northup originate from?\",\n \"How many children did Northup have?\",\n \"What year was Northup's memoir published?\"\n]"},"answers":{"kind":"list like","value":[["Two.","two"],["Saratoga Springs, New York.","Saratoga Springs, New York"],["Brown and hamilton.","Brown & Hamilton"],["Freeman.","Freeman"],["Two.","Two"],["He is actually a free man.","Northup tried to tell the slave owners that he is a freeman."],["Neighboring plantation.","a neighboring plantation"],["To get soap to clean herself.","To get soap so she can clean herself"],["Bass.","bass"],["Violinist","Violinist"],["An outbreak of cotton worm","An outbreak of Cotton Worm"],["Saratoga Springs, New York","Saratoga Springs, New York."],["Mr. Parker was a shopkeeper in Saratoga Springs.","they knew each other in saratoga"],["Northup was offered short-term employment as a musician.","For short term employment as a musician."],["Samuel Bass","Bass"],["Patsy sneaked to Mistress Shaw's house for soap.","Lying"],["A neighbor's wedding anniversary celebration","A wedding anniversary."],["Samuel Bass was anti-slavery.","Bass's opposition to slavery"],["His grandson","Grandson Solomon Northup Staunton"],["The promise of temporary work as a musician.","He offered him employment."],["Georgia.","Georgia"],["Tension with another slave.","Tension between Northup and another plantation owner"],["Playing the fiddle at an anniversary celebration.","he played the fiddle at a neighbors wedding anniversary"],["Judge Turner.","Judge Turner"],["Two.","Twice."],["New York.","New York"],["Two.","two"],["1853.","1853."]],"string":"[\n [\n \"Two.\",\n \"two\"\n ],\n [\n \"Saratoga Springs, New York.\",\n \"Saratoga Springs, New York\"\n ],\n [\n \"Brown and hamilton.\",\n \"Brown & Hamilton\"\n ],\n [\n \"Freeman.\",\n \"Freeman\"\n ],\n [\n \"Two.\",\n \"Two\"\n ],\n [\n \"He is actually a free man.\",\n \"Northup tried to tell the slave owners that he is a freeman.\"\n ],\n [\n \"Neighboring plantation.\",\n \"a neighboring plantation\"\n ],\n [\n \"To get soap to clean herself.\",\n \"To get soap so she can clean herself\"\n ],\n [\n \"Bass.\",\n \"bass\"\n ],\n [\n \"Violinist\",\n \"Violinist\"\n ],\n [\n \"An outbreak of cotton worm\",\n \"An outbreak of Cotton Worm\"\n ],\n [\n \"Saratoga Springs, New York\",\n \"Saratoga Springs, New York.\"\n ],\n [\n \"Mr. Parker was a shopkeeper in Saratoga Springs.\",\n \"they knew each other in saratoga\"\n ],\n [\n \"Northup was offered short-term employment as a musician.\",\n \"For short term employment as a musician.\"\n ],\n [\n \"Samuel Bass\",\n \"Bass\"\n ],\n [\n \"Patsy sneaked to Mistress Shaw's house for soap.\",\n \"Lying\"\n ],\n [\n \"A neighbor's wedding anniversary celebration\",\n \"A wedding anniversary.\"\n ],\n [\n \"Samuel Bass was anti-slavery.\",\n \"Bass's opposition to slavery\"\n ],\n [\n \"His grandson\",\n \"Grandson Solomon Northup Staunton\"\n ],\n [\n \"The promise of temporary work as a musician.\",\n \"He offered him employment.\"\n ],\n [\n \"Georgia.\",\n \"Georgia\"\n ],\n [\n \"Tension with another slave.\",\n \"Tension between Northup and another plantation owner\"\n ],\n [\n \"Playing the fiddle at an anniversary celebration.\",\n \"he played the fiddle at a neighbors wedding anniversary\"\n ],\n [\n \"Judge Turner.\",\n \"Judge Turner\"\n ],\n [\n \"Two.\",\n \"Twice.\"\n ],\n [\n \"New York.\",\n \"New York\"\n ],\n [\n \"Two.\",\n \"two\"\n ],\n [\n \"1853.\",\n \"1853.\"\n ]\n]"},"document_id":{"kind":"string","value":"6ea31b70e5af494ad2b7623d06b6487b3953b20d"},"split":{"kind":"string","value":"test"}}},{"rowIdx":85,"cells":{"text":{"kind":"list like","value":[[" GUY \n What? \n \n BRUNO \n The wedding. You and Anne Burton. \n (a gesture of \n explanation) \n It was in the papers. \n \n GUY","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves"," They're close to the finish, Guy \n \n GUY \n Be right there. \n (turns to Anne) \n I was afraid you wouldn't get here. \n Wish me luck, darling. \n","They both wait for him to enter. \n \n \n CLOSEUP GUY \n \n He steels himself for the long walk across the hall and the \n living room. \n \n \n CLOSEUP ANNE \n \n Watching Guy closely."," your way now. You can be married \n right away. Think of it -- you're \n free! \n \n \n CLOSE TWO ANNE AND GUY \n \n look at one another with a growing realization of what","Guy turns and closes the door. \n \n \n MEDIUM SHOT FROM ANNE'S VIEWPOINT \n \n The limousine moves off and Guy comes toward her. \n \n \n MEDIUM SHOT \n","Anne comes down the steps and intercepts Guy on the sidewalk. \n She leads him along a few paces and then stops and faces \n him. \n \n \n CLOSE TWO SHOT \n \n Anne nods off in the direction of the departed Bruno and"," GUY \n (coldly) \n Yes? \n \n BRUNO \n Anne Burton. Sometimes I turn the \n sport page and look at the society \n news. And the pictures. She's very"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","gets an idea and with a pat on Barbara's arm, asks hurriedly: \n \n ANNE \n Do you know where Guy is? \n \n BARBARA \n He went out with that man! \n"," to have a man love you so much he'd \n kill for you. \n (she ducks out) \n \n \n TWO SHOT \n \n Left alone, Guy and Anne embrace. Anne's nervous tension"," GUY \n Stay away from me, I tell you! \n \n He leaves Bruno abruptly to rejoin Anne. Bruno looks after \n him, a little hurt. \n \n \n TWO SHOT \n","Anne watches Guy approach this stranger. She looks downward \n at Bruno's tie pin. \n \n \n CLOSEUP \n \n Bruno's tie pin, bearing his name, gleams in the light. \n \n \n CLOSEUP \n"," tonight he has plenty to worry about. \n \n Converted to PDF by www.screentalk.org 50. \n \n \n \n ANNE \n (who hasn't taken \n anxious eyes off Guy)","As Guy comes near to Bruno, the latter turns on him and starts \n to attack him. \n BRUNO \n I want to get off of here! Let me \n off of here! It makes me dizzy. \n \n GUY","Guy turns back to Barbara. Barbara looks with interest toward \n Bruno. \n \n BARBARA \n Who's the nice looking Frenchman \n with the Darvilles? \n \n GUY","As Guy comes into the scene. He stands staring. \n \n ANNE \n Guy, darling -- this is Mr. Antony -- \n a friend of Monsieur and Madame \n Darville... \n (to Bruno)","toward her, smiling. \n \n \n CLOSEUP ANNE \n \n As Bruno comes in her direction, Anne's expression shows her \n mystification and concern about Bruno's presence and about \n Guy's attitude toward him. \n \n","As Guy's hands unfold the paper and hold it for moment, we \n see that it is a diagrammed plan of the grounds and the \n Interior of the Anthony house. There are dotted lines along \n the upper hall, with an arrow which points to one room and"],[" GUY \n What? \n \n BRUNO \n The wedding. You and Anne Burton. \n (a gesture of \n explanation) \n It was in the papers. \n \n GUY","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and"," your way now. You can be married \n right away. Think of it -- you're \n free! \n \n \n CLOSE TWO ANNE AND GUY \n \n look at one another with a growing realization of what"," They're close to the finish, Guy \n \n GUY \n Be right there. \n (turns to Anne) \n I was afraid you wouldn't get here. \n Wish me luck, darling. \n","Guy turns and closes the door. \n \n \n MEDIUM SHOT FROM ANNE'S VIEWPOINT \n \n The limousine moves off and Guy comes toward her. \n \n \n MEDIUM SHOT \n"," (answering Guy's look) \n It can't be helped, darling. It is \n not your fault. It's not as though \n anyone can say you had something to \n do with it. \n \n GUY"," (raises a finger and \n stops Guy's protest) \n Let's say. You'd be afraid to kill \n her because you'd get caught. And \n what would trip you up? Motive.","Subdued, she sits down. But Guy remains standing. \n \n SENATOR \n (finding it difficult \n to begin) \n There seems to be no way of \n diplomatically breaking tragic news."," But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves"," tonight he has plenty to worry about. \n \n Converted to PDF by www.screentalk.org 50. \n \n \n \n ANNE \n (who hasn't taken \n anxious eyes off Guy)","Anne comes down the steps and intercepts Guy on the sidewalk. \n She leads him along a few paces and then stops and faces \n him. \n \n \n CLOSE TWO SHOT \n \n Anne nods off in the direction of the departed Bruno and","on her face. He nods in assent to the Senator's suggestion, \n but puts his hand over Anne's. \n \n GUY \n (hopelessly) \n Then what about practicing? Perhaps","Guy is so preoccupied with his grim doesn't nod to Hennessy \n until Anne nudges him. \n \n \n INSIDE THE STAND MED. SHOT \n \n Anne is reluctant to leave Guy who must now join his opponent,"," to have a man love you so much he'd \n kill for you. \n (she ducks out) \n \n \n TWO SHOT \n \n Left alone, Guy and Anne embrace. Anne's nervous tension","They both wait for him to enter. \n \n \n CLOSEUP GUY \n \n He steels himself for the long walk across the hall and the \n living room. \n \n \n CLOSEUP ANNE \n \n Watching Guy closely."," But, Mrs. Antony, you've got to make \n him do something about this. Don't \n you see that just one word from him \n would extricate Guy from this dreadful \n situation? \n"," with unpleasant \n realization) \n Another man's child! But she can't \n do that to you, Guy -- it's \n unbelievable -- it's, it's evil! \n (she listens, then","speaks in a desperate, low voice. \n \n ANNE \n You didn't meet him for the first \n time the other day, did you, Guy? \n \n Guy stares at her for a moment. \n \n GUY"],[" BRUNO \n (looks at Guy with \n astonishment) \n But, Guy, you wanted it! We planned \n it on the train together, remember? \n \n Guy suddenly starts to go. Bruno grabs his arm. \n","Guy looks at him, almost numb. \n \n BRUNO \n Now look, Guy, about my father. I \n have the plans made. Two plans. A \n plan of the grounds and a plan of","As Guy comes near to Bruno, the latter turns on him and starts \n to attack him. \n BRUNO \n I want to get off of here! Let me \n off of here! It makes me dizzy. \n \n GUY","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves"," But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO","Guy's arguments have made no impression on Bruno whatsoever. \n He fingers the gun. \n \n BRUNO \n I don't like to be doublecrossed. \n (MORE) \n","some surprise and disgust, then over at Bruno, suddenly \n conscious he is behaving like a criminal and that Bruno is \n responsible for his predicament. \n \n GUY \n (muttering)"," GUY \n (nods) \n Okay, Mr. Turley. Thanks. \n \n Turley turns back to the group around Bruno. Guy looks down \n for a moment at Bruno, then speaks to the boatman, who is \n standing nearby.","Bruno. He steps back into the darkness again as Guy comes \n up to him. \n \n \n TWO SHOT \n Guy frowning in puzzlement as he looks at Bruno. \n \n BRUNO \n (cheerfully)"," I thought he'd be Interested to know \n he his a lunatic son. \n \n The faintest flicker of Bruno's eyes indicates the intensity \n of his reaction. He stares hard at Guy. \n","Bruno's relief turns again to menace. He picks up the gun \n and fingers it nervously. \n \n GUY \n (kindly) \n Look, Bruno. You're terribly sick. \n (haltingly)","Guy advances, and with a sharp thrust, pushes Bruno back on \n the settee. \n \n Bruno looks and sees Guy clearly for the first time. \n \n BRUNO \n What happened? I was on a merry-go-"," So they got you at last, eh, Guy? \n \n Guy looks around desperately, frustrated for a moment as \n Turley eyes him stonily. Then he turns again to Bruno. \n \n GUY \n (rather gently)"," Hello, Guy. \n \n GUY \n (recognizes Bruno -- \n not pleased) \n What are you doing here? At this \n time of night? \n \n BRUNO","INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with"," do it?\" And Bruno would say we'd \n planed it together. \n \n ANNE \n Oh, Guy -- what can we do? \n \n GUY","For a moment a look of fear comes into Bruno's face as he \n thinks Guy will probably shoot him. After a pause, Guy tosses \n the gun on the bed. \n \n GUY \n Or this. \n"," GUY \n Stay away from me, I tell you! \n \n He leaves Bruno abruptly to rejoin Anne. Bruno looks after \n him, a little hurt. \n \n \n TWO SHOT \n"," until the crane comes. \n \n Bruno opens his eyes and sees Guy. \n \n BRUNO \n Hello, Guy. \n \n Turley has leaned forward to look at the helpless Bruno. \n \n BRUNO","back-up for fear of being knocked over. The screw of tension \n increase. Over this comes the sound of an approaching \n ambulance siren. \n \n \n CLOSE SHOT \n \n Bruno edges himself toward Guy. He is hanging on to the"],["The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is"," Why yes. How did you -- \n \n Converted to PDF by www.screentalk.org 35. \n \n \n \n We see Bruno's gloved hands dart quickly to Miriam's throat.","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks","CLOSE UP MIRIAM \n \n She gives a faint smile in return. \n \n \n CLOSE SHOT \n \n With a studied movement, Bruno picks up the handle of the \n hammer and swings. \n","Miriam comes nearer and nearer to Bruno. With her two \n companions she brushes past him and jumps onto the bus. THE \n CAMERA PANS BRUNO AFTER THEM. \n \n EXT. AMUSEMENT PARK LONG SHOT","over and after paying his fee, goes to take up the hammer. \n \n \n CLOSE UP MIRIAM \n \n She watches Bruno. \n \n \n CLOSE SHOT \n \n Bruno looks down at his hands. \n \n","we were shooting up at them. Suddenly one of the figures \n falls forward. \n \n \n CLOSE UP \n \n Miriam's head drops into the picture by the glasses. \n \n Bruno's hand comes into the picture and picks up the glasses.","and down. CAMERA FOLLOWING HIM. He passes one or two of \n the oncoming heads before he reaches Miriam. She is on an \n outside mount which is high in the air when she sees Bruno \n facing her. Her laughter dies for a moment and she smiles","Bruno drops the hammer and glances around at Miriam again. \n Her two boy-friends are calling for her from a little \n distance. \n \n BOY'S VOICE \n Come On, Miriam. Come On! \n"," Oh! \n \n She gives a coy smile of recognition. CAMERA PULLS BACK to \n reveal the mad and shoulders of Bruno between Miriam and the \n camera. His hand holds Guy's lighter which he flicks on as","Again from Bruno's viewpoint, we see Miriam's house. At \n this moment the front door swings open, emitting a long streak \n ot bright light. We see the silhouette of a woman emerge,","he raises it above Miriam's face. 0f Bruno, we see only the \n back of his head and shoulders. \n \n BRUNO \n Is your name Miriam? \n \n MIRIAM \n (with surprise)","Bruno turns to follow Miriam, his manner casual. As he takes \n a few steps, WE PAN ACROSS with him until, over his shoulder, \n we see a merry-go-round in the background. Miriam and the"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and","that her lips are trembling, too, and in her eyes frightened \n tears are welling. Her breath is heavy. \n \n \n INT. STUDY \n \n Bruno is stretched out on a settee. He is completely out."," (calling back) \n Goodnight, Mother. See you later. \n \n \n CLOSE UP \n \n Bruno watches Miriam. \n \n \n MED. SHOT \n","MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT) \n \n Bruno is approaching the pay box. \n \n \n MEDIUM SHOT \n \n Miriam and her companions are escorted to a small boat with","INSERT \n \n Bruno's two strong hands - as he holds them palms tilted \n upward and fingers curled in. \n \n \n CLOSE UP \n \n Bruno, as he smiles faintly, glancing across at Miriam. \n \n","One of the lenses has been broken by Miriam's fall. \n \n As we see Bruno's sport shoes move away, the CAMERA MOVES \n PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed"],[" GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","INT. BURTON LIVING ROOM EVENING \n \n The Burtons are having coffee. Barbara has been glancing \n through a new murder mystery with a lurid cover. As Guy \n enters, Anne rises to greet him. \n"," was murdered. They had it all worked \n out -- \n (taps his head) \n in their timetables. \n \n ANNE \n (growing indignant \n and increasingly \n nervous)"," (quietly) \n What do you mean -- your murder, \n Guy? \n \n GUY \n Well, he'd read about me in the paper. \n He knew about Miriam -- and about"," interested in the subject of murder. \n \n Anne looks more troubled, then moves on out of the scene. \n \n BRUNO \n No more than anyone else. No more \n than you, for instance. \n"," So few murderers are caught. \n \n The Judge moves out of the way. Bruno smiles blandly at the \n ladies. One of them speaks to him. \n \n MRS. CUNNINGHAM \n Well, Mr. Antony, you seem very","As Guy's hands unfold the paper and hold it for moment, we \n see that it is a diagrammed plan of the grounds and the \n Interior of the Anthony house. There are dotted lines along \n the upper hall, with an arrow which points to one room and"," while his hands were around Mrs. \n Cunningham's throat. \n \n Guy looks at Anne with an expression of growing fear and \n alarm. She goes on inexorably: \n \n ANNE"," Oh, come now, everyone's interested \n in that. Everyone would like to put \n someone out of the way. Now surely, \n Madame, you're not going to tell me \n that there hasn't been a time when"," But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO"," Then he is going to Metcalf. But he \n has to wait until it gets dark -- \n (with frantic haste, \n he thinks quickly, \n then murmurs to Anne) \n Listen, Anne, as soon as the third"," You're is much in it as I am. We \n planned it together. Criss-cross. \n I do your murder -- \n \n GUY \n (suddenly angry) \n You crazy fool! You think you can"," know Bruno's been in some very awkward \n scrapes, but nothing so ridiculous \n as a murder. \n (she gives a short \n little laugh) \n ANNE \n (desperately)","on to the next one. He turns the knob soundlessly and passes \n through into the room. \n \n \n INT. ANTONY BEDROOM LONG SHOT \n \n The room is in darkness except for the dim outline of the"," fellows meet accidentally, like you \n and me. No connection between them \n at all. Never saw each other before. \n Each of them has somebody he'd like \n to get rid of, but he can't murder","The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is"," BRUNO (CONT'D) \n Bang, bang, all over the place. \n Blood everywhere? \n \n The other woman joins in: \n \n MRS. ANDERSON \n What about a little poison? \n"," I'm sorry, Guy, to be the one to \n tell you. It concerns your wife. \n She's been murdered. \n \n Guy stares woodenly at the Senator, is if hypnotized. \n \n BARBARA","that her lips are trembling, too, and in her eyes frightened \n tears are welling. Her breath is heavy. \n \n \n INT. STUDY \n \n Bruno is stretched out on a settee. He is completely out.","said on the phone: \"I could strangle her.\" He sinks into a \n chair. The Senator is quite distressed. \n \n During the following scene Barbara quietly goes about the \n business of pouring drinks and serving them. She knows \n everyone's preference. \n"],[" But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO","Guy looks at him, almost numb. \n \n BRUNO \n Now look, Guy, about my father. I \n have the plans made. Two plans. A \n plan of the grounds and a plan of"," I thought he'd be Interested to know \n he his a lunatic son. \n \n The faintest flicker of Bruno's eyes indicates the intensity \n of his reaction. He stares hard at Guy. \n","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves","Guy advances, and with a sharp thrust, pushes Bruno back on \n the settee. \n \n Bruno looks and sees Guy clearly for the first time. \n \n BRUNO \n What happened? I was on a merry-go-","INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with","some surprise and disgust, then over at Bruno, suddenly \n conscious he is behaving like a criminal and that Bruno is \n responsible for his predicament. \n \n GUY \n (muttering)","Guy smashes Bruno in the jaw, in utter disgust, and knocks \n him back onto the settee. Bruno looks up from his sprawled \n position, a dull look in his eye. \n \n BRUNO \n You shouldn't have done that, Guy.","for Guy to pass through. \n \n \n INT. HALLWAY MED. SHOT \n \n Guy walks toward the stairs, tense and apprehensive. Bruno \n is following him, still holding the gun. When the Great","As Bruno is dying, his closed fist slowly starts to open. \n \n DETECTIVE'S VOICE \n He's finished. \n \n Guy's lighter is now revealed in Bruno's open hand. \n \n"," last thing I do! \n \n Bruno looks off in direction of his farther's voice with an \n expression which says, \"Crow while you can, you haven't \n much time.\" He reaches into his pocket, brings out Guy's","Bruno. He steps back into the darkness again as Guy comes \n up to him. \n \n \n TWO SHOT \n Guy frowning in puzzlement as he looks at Bruno. \n \n BRUNO \n (cheerfully)","Guy's arguments have made no impression on Bruno whatsoever. \n He fingers the gun. \n \n BRUNO \n I don't like to be doublecrossed. \n (MORE) \n","back-up for fear of being knocked over. The screw of tension \n increase. Over this comes the sound of an approaching \n ambulance siren. \n \n \n CLOSE SHOT \n \n Bruno edges himself toward Guy. He is hanging on to the"," use for the key, then, Mr. Haines. \n (he holds out his \n hand and Guy gives \n him the key) \n Thank you very such. \n \n As Bruno continues to stare at him, Guy takes out the Luger.","As Guy comes near to Bruno, the latter turns on him and starts \n to attack him. \n BRUNO \n I want to get off of here! Let me \n off of here! It makes me dizzy. \n \n GUY"," GUY \n You can't go around killing people \n just because you think they're \n useless. \n \n BRUNO \n Oh, what's a life or two? Some people","Bruno's relief turns again to menace. He picks up the gun \n and fingers it nervously. \n \n GUY \n (kindly) \n Look, Bruno. You're terribly sick. \n (haltingly)","Anne watches Guy approach this stranger. She looks downward \n at Bruno's tie pin. \n \n \n CLOSEUP \n \n Bruno's tie pin, bearing his name, gleams in the light. \n \n \n CLOSEUP \n","Anne comes down the steps and intercepts Guy on the sidewalk. \n She leads him along a few paces and then stops and faces \n him. \n \n \n CLOSE TWO SHOT \n \n Anne nods off in the direction of the departed Bruno and"],[" But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO","One of the lenses has been broken by Miriam's fall. \n \n As we see Bruno's sport shoes move away, the CAMERA MOVES \n PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed","Guy's hands taking Miriam's glasses from Bruno. One of the \n lenses is broken. \n \n Converted to PDF by www.screentalk.org 41. \n \n \n \n TWO SHOT \n"," Oh! \n \n She gives a coy smile of recognition. CAMERA PULLS BACK to \n reveal the mad and shoulders of Bruno between Miriam and the \n camera. His hand holds Guy's lighter which he flicks on as","some surprise and disgust, then over at Bruno, suddenly \n conscious he is behaving like a criminal and that Bruno is \n responsible for his predicament. \n \n GUY \n (muttering)","The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves"," GUY \n What do you mean? \n \n Bruno's hand comes out of his pocket and he hands Miriam's \n glasses to Guy. \n \n \n INSERT \n","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","As Bruno is dying, his closed fist slowly starts to open. \n \n DETECTIVE'S VOICE \n He's finished. \n \n Guy's lighter is now revealed in Bruno's open hand. \n \n","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks","toward her, smiling. \n \n \n CLOSEUP ANNE \n \n As Bruno comes in her direction, Anne's expression shows her \n mystification and concern about Bruno's presence and about \n Guy's attitude toward him. \n \n"," So they got you at last, eh, Guy? \n \n Guy looks around desperately, frustrated for a moment as \n Turley eyes him stonily. Then he turns again to Bruno. \n \n GUY \n (rather gently)","Anne watches Guy approach this stranger. She looks downward \n at Bruno's tie pin. \n \n \n CLOSEUP \n \n Bruno's tie pin, bearing his name, gleams in the light. \n \n \n CLOSEUP \n","Bruno. He steps back into the darkness again as Guy comes \n up to him. \n \n \n TWO SHOT \n Guy frowning in puzzlement as he looks at Bruno. \n \n BRUNO \n (cheerfully)"," GUY \n Miriam. \n \n BRUNO \n That's it. Miriam Joyce Haines. \n Played around a lot, I suppose? \n GUY \n Let's not talk about it any more.","INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with"," until the crane comes. \n \n Bruno opens his eyes and sees Guy. \n \n BRUNO \n Hello, Guy. \n \n Turley has leaned forward to look at the helpless Bruno. \n \n BRUNO","we were shooting up at them. Suddenly one of the figures \n falls forward. \n \n \n CLOSE UP \n \n Miriam's head drops into the picture by the glasses. \n \n Bruno's hand comes into the picture and picks up the glasses."],["Bruno's flare of anger dies. They both look again across \n the street. \n \n \n LONG SHOT (FROM THEIR VIEWPOINT) \n \n The two policemen come out of the house, get into their car \n and drive off. \n","As Bruno is dying, his closed fist slowly starts to open. \n \n DETECTIVE'S VOICE \n He's finished. \n \n Guy's lighter is now revealed in Bruno's open hand. \n \n","Guy still stares across the street. \n \n \n LONG SHOT (FROM HIS VIEWPOINT) \n \n We see a police car pull up outside Guy's apartment. \n \n \n TWO SHOT \n","head sags back somewhat, but is resting on pieces of debris. \n A uniformed policeman looks up from Bruno to Turley: \n \n POLICEMAN \n This one's in a pretty bad way, Mr. \n Turley. \n"," THE END \n \n","CLOSE SHOT \n The detective fires at Guy. \n \n \n CLOSE SHOT \n \n The man running the machine in the center of the merry-go- \n round is suddenly hit in the shoulder. \n \n \n CLOSE SHOT","Guy is shocked at the sight of Bruno. \n \n GUY \n (looking down at Bruno) \n Can't you get that stuff off him? \n \n POLICEMAN \n No, they've done everything they can","Guy is surrounded by police and Campbell stands at his elbow. \n At this moment the boatman runs in. One of the detectives \n is with him. \n \n DETECTIVE \n Mr. Turley! Mr. Turley!","followed by two other men. They're laughing and joking. \n Suddenly they look up the street. At this very moment the \n bus pulls up in front of Bruno's view, cutting off the sight \n of his quarry. The bus comes to a stop. \n \n"," ...And he said that if the police \n found your lighter there, that's all \n they'd need -- something to prove \n you were at the scene of the murder. \n \n GUY \n (grimly)"," Guy. \n \n Converted to PDF by www.screentalk.org 44. \n \n \n \n CLOSEUP GUY \n \n He looks across at the police, then down at himself with","CLOSE SHOT MAN \n \n watching Guy get into taxi. As we hear the taxi drive away, \n the man hurries across to a waiting police car. \n \n \n CLOSE SHOT \n","his assistant as he gets into the boat. \n \n Converted to PDF by www.screentalk.org 37. \n \n \n \n BOATMAN \n Got a cop! \n \n The assistant runs off out of the pictures"," was murdered. They had it all worked \n out -- \n (taps his head) \n in their timetables. \n \n ANNE \n (growing indignant \n and increasingly \n nervous)"," There he is! That's the one! That's \n the one who killed her! \n \n TURLEY \n Of course he is. We know that. \n \n"," Whatever it is, the police will know \n it. They gave me a present -- come \n take a look. \n \n He crosses to the window, lifts the curtain slightly, then \n turns back to the others. \n \n GUY"," The police have been using everything \n but radar to locate you. \n \n SENATOR \n You're to call Headquarters at \n Metcalf. \n \n The full impact of what has happened hits Guy once more. \n","We see the two policemen go into his apartment building. \n \n \n TWO SHOT \n \n Guy is still flattened against the wall to keep out of light. \n \n BRUNO \n Tell them you know about it already,"," ANNE \n He killed Miriam, didn't he? Tell \n me, Guy! \n \n GUY \n Yes. \n (suddenly bursting \n out)"," I'm sorry, Guy, to be the one to \n tell you. It concerns your wife. \n She's been murdered. \n \n Guy stares woodenly at the Senator, is if hypnotized. \n \n BARBARA"],[" But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO","Guy's hands taking Miriam's glasses from Bruno. One of the \n lenses is broken. \n \n Converted to PDF by www.screentalk.org 41. \n \n \n \n TWO SHOT \n","some surprise and disgust, then over at Bruno, suddenly \n conscious he is behaving like a criminal and that Bruno is \n responsible for his predicament. \n \n GUY \n (muttering)","One of the lenses has been broken by Miriam's fall. \n \n As we see Bruno's sport shoes move away, the CAMERA MOVES \n PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed"," Oh! \n \n She gives a coy smile of recognition. CAMERA PULLS BACK to \n reveal the mad and shoulders of Bruno between Miriam and the \n camera. His hand holds Guy's lighter which he flicks on as","The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is"," Why yes. How did you -- \n \n Converted to PDF by www.screentalk.org 35. \n \n \n \n We see Bruno's gloved hands dart quickly to Miriam's throat."," GUY \n What do you mean? \n \n Bruno's hand comes out of his pocket and he hands Miriam's \n glasses to Guy. \n \n \n INSERT \n","As Bruno is dying, his closed fist slowly starts to open. \n \n DETECTIVE'S VOICE \n He's finished. \n \n Guy's lighter is now revealed in Bruno's open hand. \n \n","INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with"," I thought he'd be Interested to know \n he his a lunatic son. \n \n The faintest flicker of Bruno's eyes indicates the intensity \n of his reaction. He stares hard at Guy. \n","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he"," GUY \n Miriam. \n \n BRUNO \n That's it. Miriam Joyce Haines. \n Played around a lot, I suppose? \n GUY \n Let's not talk about it any more.","For a moment a look of fear comes into Bruno's face as he \n thinks Guy will probably shoot him. After a pause, Guy tosses \n the gun on the bed. \n \n GUY \n Or this. \n","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves"," BRUNO \n (looks at Guy with \n astonishment) \n But, Guy, you wanted it! We planned \n it on the train together, remember? \n \n Guy suddenly starts to go. Bruno grabs his arm. \n"," use for the key, then, Mr. Haines. \n (he holds out his \n hand and Guy gives \n him the key) \n Thank you very such. \n \n As Bruno continues to stare at him, Guy takes out the Luger.","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks","for Guy to pass through. \n \n \n INT. HALLWAY MED. SHOT \n \n Guy walks toward the stairs, tense and apprehensive. Bruno \n is following him, still holding the gun. When the Great"],["Miriam comes nearer and nearer to Bruno. With her two \n companions she brushes past him and jumps onto the bus. THE \n CAMERA PANS BRUNO AFTER THEM. \n \n EXT. AMUSEMENT PARK LONG SHOT","We see the bus pull up outside the Amusement Park, and the \n various passengers alight. These include Miriam nd her \n companions, and Bruno. \n \n \n LONG SHOT NEARER VIEW OF THE AMUSEMENT PARK \n","From his viewpoint, the girl, whom we now see is Miriam, is \n running followed by the two young men. They are calling for \n the bus not to go - shouting, \"Hi - stop!\" Mrs. Joyce calls \n from the porch: \n","CLOSE SHOT MIRIAM \n \n She turns away and is lost in the crowd. \n \n \n MEDIUM SHOT OVER BRUNO'S SHOULDER AT MERRY-GO ROUND IN \n BACKGROUND \n","Bruno turns to follow Miriam, his manner casual. As he takes \n a few steps, WE PAN ACROSS with him until, over his shoulder, \n we see a merry-go-round in the background. Miriam and the","and down. CAMERA FOLLOWING HIM. He passes one or two of \n the oncoming heads before he reaches Miriam. She is on an \n outside mount which is high in the air when she sees Bruno \n facing her. Her laughter dies for a moment and she smiles","and it, too, goes into the tunnel. \n \n \n INSIDE THE TUNNEL \n \n We see the silhouettes of the occupants of Miriam's boat on \n the wall of the tunnel, lit dimly from the light coming from","obviously misses her, for we hear his voice call out: \n \n GEORGE'S VOICE \n Miriam! \n \n Miriam backs out of the bushes until the back of her head is","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and","MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT) \n \n Bruno is approaching the pay box. \n \n \n MEDIUM SHOT \n \n Miriam and her companions are escorted to a small boat with","Miriam's death actually means to their happiness -- they are \n free. \n \n \n BACK TO SCENE \n \n The Senator firmly urges Barbara to the door. \n \n SENATOR \n (to Barbara)","Boatman's hand comes up into the picture and pulls the lever \n over. \n \n \n LONG SHOT \n \n The sudden braking causes the whole merry-go-round to topple \n over with a grinding roar. \n \n","The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is","Miriam and her boy friends begin to sing the song being played \n on the calliope. \n \n \n CLOSE UP MIRIAM \n \n As she starts to sing, she glances back. \n \n \n CLOSE UP BRUNO","we were shooting up at them. Suddenly one of the figures \n falls forward. \n \n \n CLOSE UP \n \n Miriam's head drops into the picture by the glasses. \n \n Bruno's hand comes into the picture and picks up the glasses.","EXIT OF THE TUNNEL \n \n It is empty. There is a sudden piercing scream from inside, \n followed after a second or two by protestations and giggling \n as Miriam's boat emerges into the light. She is pushing one","Silhouetted in the foreground, the trees and foliage of the \n island. Nearby we see the silhouetted figures of Miriam and \n her companions move across the scene, right to left. Miriam \n is pushing George away from her. \n","Bruno drops the hammer and glances around at Miriam again. \n Her two boy-friends are calling for her from a little \n distance. \n \n BOY'S VOICE \n Come On, Miriam. Come On! \n","MEDIUM SHOT ON MERRY-GO-ROUND \n \n Bruno begins to look around for Miriam, who is apparently on \n the other side of the merry-go-round. He starts to thread \n his way through the horses which are beginning to move up","We see Miriam and her companions approach the boat concession \n and CAMERA FOLLOWS THEM onto the little landing stage. CAMERA \n MOVES UP SLOWLY over the boy's shoulders until we get MIRIAM"],[" GUY \n What? \n \n BRUNO \n The wedding. You and Anne Burton. \n (a gesture of \n explanation) \n It was in the papers. \n \n GUY"," They're close to the finish, Guy \n \n GUY \n Be right there. \n (turns to Anne) \n I was afraid you wouldn't get here. \n Wish me luck, darling. \n"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","Anne comes down the steps and intercepts Guy on the sidewalk. \n She leads him along a few paces and then stops and faces \n him. \n \n \n CLOSE TWO SHOT \n \n Anne nods off in the direction of the departed Bruno and","gets an idea and with a pat on Barbara's arm, asks hurriedly: \n \n ANNE \n Do you know where Guy is? \n \n BARBARA \n He went out with that man! \n"," ANNE \n He killed Miriam, didn't he? Tell \n me, Guy! \n \n GUY \n Yes. \n (suddenly bursting \n out)","Anne, with his back to him. He takes something out of the \n pocket of his dressing gown and looks down at it in his hand. \n It is Guy's lighter. Suddenly he stuffs it back his pocket \n and turn back to Anne. \n"," GUY \n (coldly) \n Yes? \n \n BRUNO \n Anne Burton. Sometimes I turn the \n sport page and look at the society \n news. And the pictures. She's very","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves","speaks in a desperate, low voice. \n \n ANNE \n You didn't meet him for the first \n time the other day, did you, Guy? \n \n Guy stares at her for a moment. \n \n GUY"," your way now. You can be married \n right away. Think of it -- you're \n free! \n \n \n CLOSE TWO ANNE AND GUY \n \n look at one another with a growing realization of what","His figure tense, he rings the bell. After a moment's wait, \n the door is opened from inside and Anne Burton stands in the \n lighted hallway. She looks at Guy with an anxious, taut","Guy turns and closes the door. \n \n \n MEDIUM SHOT FROM ANNE'S VIEWPOINT \n \n The limousine moves off and Guy comes toward her. \n \n \n MEDIUM SHOT \n","toward her, smiling. \n \n \n CLOSEUP ANNE \n \n As Bruno comes in her direction, Anne's expression shows her \n mystification and concern about Bruno's presence and about \n Guy's attitude toward him. \n \n","They both wait for him to enter. \n \n \n CLOSEUP GUY \n \n He steels himself for the long walk across the hall and the \n living room. \n \n \n CLOSEUP ANNE \n \n Watching Guy closely."," you. He suggested that if he got \n rid of Miriam for me, I should kill \n his father. \n \n ANNE \n You must have realized he was talking \n a lot of nonsense! \n \n GUY","door. One is climbing in. The other is Guy. \n \n \n CLOSEUP ANNE \n She calls out urgently: \n \n ANNE \n Guy! \n \n \n CLOSE SHOT \n"," tonight he has plenty to worry about. \n \n Converted to PDF by www.screentalk.org 50. \n \n \n \n ANNE \n (who hasn't taken \n anxious eyes off Guy)"," GUY \n (grimly) \n Yes, isn't it? \n \n ANNE \n You mean you've known about Miriam \n all this time? \n","As Guy comes into the scene. He stands staring. \n \n ANNE \n Guy, darling -- this is Mr. Antony -- \n a friend of Monsieur and Madame \n Darville... \n (to Bruno)"],["The two men are now in a clinch. Guy tries to fight off the \n maddened Bruno. They are flung between the horses, bouncing \n one against the other, almost half way around the merry-go- \n round. \n \n","Bruno is seen to jump on a merry-go-round, which is just \n starting. Its pace is already pretty fast. \n \n \n MED. SHOT \n \n Guy runs toward Bruno. \n","As Guy comes near to Bruno, the latter turns on him and starts \n to attack him. \n BRUNO \n I want to get off of here! Let me \n off of here! It makes me dizzy. \n \n GUY","The detective pulls out his gun and starts to run after Guy. \n \n \n SEMI-LONG SHOT \n \n Guy jumps on the merry-go-round after Bruno. Its speed is \n so great that he nearly gets flung off. \n \n","CLOSE SHOT ON MERRY-GO-ROUND \n \n Guy and Bruno in a struggle. Guy has to protect himself \n from a madman whose hands attempt to reach his throat. \n","CLOSE SHOT BRUNO AND GUY \n \n Again they struggles between two horses. On each side of \n them are two young screaming girls. The two bounce from one \n horse to the other. \n \n CLOSE SHOT \n","MED. SHOT GUY AND BRUNO \n \n Bruno swings around till his back is to us. He pushes Guy \n toward the edge, but Guy manages to grab the rein of the \n nearest horse. The momentum of the machine swings Guy around","Guy is now glancing at his watch. The sun is behind him and \n very much lower. \n \n EXT. AMUSEMENT PARK \n \n Bruno is looking at his watch and then across at the sky. \n \n","gondola. Bruno leaps onto his back but Guy manages to put \n the boy in the gondola. \n \n \n CLOSE SHOT UNDERNEATH THE WHIRLING MERRY-GO-ROUND \n","Guy advances, and with a sharp thrust, pushes Bruno back on \n the settee. \n \n Bruno looks and sees Guy clearly for the first time. \n \n BRUNO \n What happened? I was on a merry-go-","enjoyment. He sees this by suddenly glancing over his \n shoulder. In the b.g. Guy and Bruno are continuing their \n fight. Bruno rises. Guy staggers after him. Bruno again \n leaps upon Guy. The two men sway toward the CAMERA until","CLOSE SHOT \n \n Guy breaks away from Bruno and dives around the back of the \n horse to grab the little boy. \n \n \n CLOSE SHOT \n \n As Guy grabs the boy, he staggers forward with him to a small","two boys are aboard and climbing onto horses. As Bruno goes \n toward the merry-go-round, the CAMERA MOVES UP A LITTLE with \n him. The merry-go-round starts to move slowly round as Bruno \n hops on. \n","back-up for fear of being knocked over. The screw of tension \n increase. Over this comes the sound of an approaching \n ambulance siren. \n \n \n CLOSE SHOT \n \n Bruno edges himself toward Guy. He is hanging on to the"," round somewhere. It made me dizzy. \n \n Guy moves forward, and thrusting his hand in Bruno's open \n shirt, pulls him to his feet. Bruno ignores Guy's violence \n and remain puzzled. \n \n GUY","against the horse, whose big head towers in the f.g. Bruno, \n on this side of the horse pushes forward and tries to grab \n the reins from Guy's hand. He tries to slash at Guy's face.","Bruno pulls Guy back further into the shadows. Guy \n instinctively flattens himself against the wall. He looks \n across the street again. \n \n \n LONG SHOT (FROM HIS VIEWPOINT) \n"," BRUNO \n (looks at Guy with \n astonishment) \n But, Guy, you wanted it! We planned \n it on the train together, remember? \n \n Guy suddenly starts to go. Bruno grabs his arm. \n"," GUY \n Stay away from me, I tell you! \n \n He leaves Bruno abruptly to rejoin Anne. Bruno looks after \n him, a little hurt. \n \n \n TWO SHOT \n","INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with"],[" ANOTHER VOICE \n Stop him! Stop him! \n \n \n CLOSEUP \n Bruno's wrists and hands and the neck of his victim. We can","The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is","that her lips are trembling, too, and in her eyes frightened \n tears are welling. Her breath is heavy. \n \n \n INT. STUDY \n \n Bruno is stretched out on a settee. He is completely out.","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks","A few more passersby have stopped to watch Bruno, whose arm \n is pushed through the grating. \n \n CLOSEUP \n \n Bruno's face -- straining. \n \n \n CLOSEUP \n","Bruno gets alongside the little boy. The boy now shows some \n anxiety. The three figures now fill the screen with the \n horses' heads in the f.g. Bruno is forced against the little \n boy, who now, alarmed, beats Bruno on the cheek with one"," Why yes. How did you -- \n \n Converted to PDF by www.screentalk.org 35. \n \n \n \n We see Bruno's gloved hands dart quickly to Miriam's throat."," until the crane comes. \n \n Bruno opens his eyes and sees Guy. \n \n BRUNO \n Hello, Guy. \n \n Turley has leaned forward to look at the helpless Bruno. \n \n BRUNO","She looks off in Bruno's direction extremely disturbed at \n this new aspect of the mysterious stranger. \n \n \n CLOSEUP GUY \n \n He is watching Bruno. \n \n \n MED. SHOT \n","is semi-flexed and turning slowly, The other is receiving \n the final touches of a manicure. \n \n CAMERA PULLS BACK to reveal that these are Bruno's hands,","INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with","He is starting to join in the singing. \n \n \n MEDIUM SHOT \n \n The horses of the merry-go-round are filling the screen as \n they whizz by, and again we get the picture of Bruno chasing"," round somewhere. It made me dizzy. \n \n Guy moves forward, and thrusting his hand in Bruno's open \n shirt, pulls him to his feet. Bruno ignores Guy's violence \n and remain puzzled. \n \n GUY"," I thought he'd be Interested to know \n he his a lunatic son. \n \n The faintest flicker of Bruno's eyes indicates the intensity \n of his reaction. He stares hard at Guy. \n","women, also in the picture, are pulling at Bruno's wrists. \n Mrs. Cunningham's hands begin to slide off. Her head drops \n back. \n \n Over this we HEAR cries of: \n \n VOICES","BACK until we can see the feet of Bruno protruding from behind \n a chair in which he is sitting. He has obviously heard the \n entire conversation between Anne and his mother. Bruno rises. \n He is in dressing gown and pajamas. \n","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves","As Bruno is dying, his closed fist slowly starts to open. \n \n DETECTIVE'S VOICE \n He's finished. \n \n Guy's lighter is now revealed in Bruno's open hand. \n \n"," BRUNO \n (looks at Guy with \n astonishment) \n But, Guy, you wanted it! We planned \n it on the train together, remember? \n \n Guy suddenly starts to go. Bruno grabs his arm. \n","Bruno doesn't answer. With the lighter in his closed fist, \n he darts through the crowd, the people looking after him. \n \n \n LONG SHOT \n \n The sun is much lower. \n \n \n INT. CLUB CAR \n"],["As Guy's hands unfold the paper and hold it for moment, we \n see that it is a diagrammed plan of the grounds and the \n Interior of the Anthony house. There are dotted lines along \n the upper hall, with an arrow which points to one room and","on to the next one. He turns the knob soundlessly and passes \n through into the room. \n \n \n INT. ANTONY BEDROOM LONG SHOT \n \n The room is in darkness except for the dim outline of the","recumbent figure in the bed. We hear Guy's voice, in a loud \n whisper: \n \n GUY \n Mr. Antony! \n \n The figure stirs. \n \n \n ANOTHER ANGLE \n","INT. ANTONY HOME ENTRANCE HALL \n \n As Guy moves in soundlessly and closes the door. He looks \n toward the stairs which are in shadow. \n \n \n MED. SHOT \n"," You know, I'm very upset with Guy. \n He shouldn't have sent you on an \n errand like this. \n \n ANNE \n Guy doesn't know I'm here, Mr. Antony. \n","As Guy comes into the scene. He stands staring. \n \n ANNE \n Guy, darling -- this is Mr. Antony -- \n a friend of Monsieur and Madame \n Darville... \n (to Bruno)","door. One is climbing in. The other is Guy. \n \n \n CLOSEUP ANNE \n She calls out urgently: \n \n ANNE \n Guy! \n \n \n CLOSE SHOT \n","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves","Anne, with his back to him. He takes something out of the \n pocket of his dressing gown and looks down at it in his hand. \n It is Guy's lighter. Suddenly he stuffs it back his pocket \n and turn back to Anne. \n","They both wait for him to enter. \n \n \n CLOSEUP GUY \n \n He steels himself for the long walk across the hall and the \n living room. \n \n \n CLOSEUP ANNE \n \n Watching Guy closely.","quietly and moves away to a window at the turn of the stairs. \n \n \n EXT. FIRE ESCAPE \n \n Guy comes out of the window onto the second floor fire escape. \n He creeps stealthily down and emerges into a narrow alleyway.","gets an idea and with a pat on Barbara's arm, asks hurriedly: \n \n ANNE \n Do you know where Guy is? \n \n BARBARA \n He went out with that man! \n","His figure tense, he rings the bell. After a moment's wait, \n the door is opened from inside and Anne Burton stands in the \n lighted hallway. She looks at Guy with an anxious, taut"," together there one night after dark? \n \n ANNE \n Yes. \n \n GUY \n Well, that's what's in his mind now. \n He's not going to expose himself in"," (sotto voce) \n Bruno, Guy. Bruno Anthony. Don't \n you remember? On the train. \n \n The voices of Mr. and Mrs. Anthony can still be heard in \n dispute as Bruno listens at phone: \n","Guy advances, and with a sharp thrust, pushes Bruno back on \n the settee. \n \n Bruno looks and sees Guy clearly for the first time. \n \n BRUNO \n What happened? I was on a merry-go-"," Converted to PDF by www.screentalk.org 77. \n \n \n \n He's gone, and with a last glance at the dresser, Guy goes \n out and closes the door. \n","He realizes there is no use in trying to talk to Guy any \n further. He turns and faces the CAMERA IN CLOSE UP as he \n moves away, looking sad almost to the point of tears. \n \n \n INT. GUY'S APARTMENT","Guy crosses to his door, which he opens surreptitiously. \n \n \n MED. SHOT CORRIDOR \n \n Guy glances down the stairs, then closes the door behind him","Guy turns and closes the door. \n \n \n MEDIUM SHOT FROM ANNE'S VIEWPOINT \n \n The limousine moves off and Guy comes toward her. \n \n \n MEDIUM SHOT \n"],[" GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he"," a crime of this sort the police first \n go after the husband, and Guy had \n every motive. \n \n SENATOR \n (aghast) \n Motive? \n \n GUY","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and"," (quietly) \n What do you mean -- your murder, \n Guy? \n \n GUY \n Well, he'd read about me in the paper. \n He knew about Miriam -- and about"," ANNE \n He killed Miriam, didn't he? Tell \n me, Guy! \n \n GUY \n Yes. \n (suddenly bursting \n out)"," you. He suggested that if he got \n rid of Miriam for me, I should kill \n his father. \n \n ANNE \n You must have realized he was talking \n a lot of nonsense! \n \n GUY","wife Miriam. A sub-heading tells of Guy's cigarette lighter \n found at the scene of the crime. All this DISSOLVES AWAY \n and the page becomes once more the sports section. \n \n \n CLOSEUP \n"," GUY \n (grimly) \n Yes, isn't it? \n \n ANNE \n You mean you've known about Miriam \n all this time? \n","Guy still stares across the street. \n \n \n LONG SHOT (FROM HIS VIEWPOINT) \n \n We see a police car pull up outside Guy's apartment. \n \n \n TWO SHOT \n","Guy is standing at the telephone which is still ringing. He \n has Miriam's glasses in his hand. He looks down at them for \n a moment, then picks up the receiver. He hesitates, then \n speaks into the phone. \n \n GUY"," No, I didn't, sir. I've never seen \n this man before in my life. I meant \n the other one. \n \n The detective who was holding Guy instinctively relax his","Guy is shocked at the sight of Bruno. \n \n GUY \n (looking down at Bruno) \n Can't you get that stuff off him? \n \n POLICEMAN \n No, they've done everything they can"," Guy. \n \n Converted to PDF by www.screentalk.org 44. \n \n \n \n CLOSEUP GUY \n \n He looks across at the police, then down at himself with"," GUY \n Miriam. \n \n BRUNO \n That's it. Miriam Joyce Haines. \n Played around a lot, I suppose? \n GUY \n Let's not talk about it any more."," He's right, Guy. You mustn't do \n anything that would look suspicious. \n You've got to carry on as though \n nothing has happened. \n \n BARBARA \n (pointing out the"," ...And he said that if the police \n found your lighter there, that's all \n they'd need -- something to prove \n you were at the scene of the murder. \n \n GUY \n (grimly)"," (she looks up at Guy \n as the woman moves \n off) \n Well -- hello, Guy. \n \n GUY \n You're looking well, Miriam. \n"," Converted to PDF by www.screentalk.org 77. \n \n \n \n He's gone, and with a last glance at the dresser, Guy goes \n out and closes the door. \n"," (brushing this off) \n Oh, they can't have anything on you. \n (looking past Guy) \n Isn't that Anne Burton? Slight \n improvement over Miriam -- eh, Guy? \n"," GUY \n Let me go, Bruno. I had nothing to \n do with this and the police will \n believe me. \n \n Converted to PDF by www.screentalk.org 43. \n \n \n"],[" ANOTHER VOICE \n Stop him! Stop him! \n \n \n CLOSEUP \n Bruno's wrists and hands and the neck of his victim. We can","Bruno gets alongside the little boy. The boy now shows some \n anxiety. The three figures now fill the screen with the \n horses' heads in the f.g. Bruno is forced against the little \n boy, who now, alarmed, beats Bruno on the cheek with one","He is starting to join in the singing. \n \n \n MEDIUM SHOT \n \n The horses of the merry-go-round are filling the screen as \n they whizz by, and again we get the picture of Bruno chasing","The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is","that her lips are trembling, too, and in her eyes frightened \n tears are welling. Her breath is heavy. \n \n \n INT. STUDY \n \n Bruno is stretched out on a settee. He is completely out.","Bruno rises from the bed and sits on the and of it. He is \n fully dressed, just as he was at the party, in white tie and \n tails. \n \n BRUNO \n (politely)","A few more passersby have stopped to watch Bruno, whose arm \n is pushed through the grating. \n \n CLOSEUP \n \n Bruno's face -- straining. \n \n \n CLOSEUP \n"," Stop him! \n Help, somebody! \n Pull him off! \n Mr. Antony! Mr. Antony! \n \n \n CLOSEUP BRUNO \n \n His body is swaying slightly at the various efforts to drag"," Why yes. How did you -- \n \n Converted to PDF by www.screentalk.org 35. \n \n \n \n We see Bruno's gloved hands dart quickly to Miriam's throat.","She looks off in Bruno's direction extremely disturbed at \n this new aspect of the mysterious stranger. \n \n \n CLOSEUP GUY \n \n He is watching Bruno. \n \n \n MED. SHOT \n"," hurt in any way. It was all over in \n no time. \n \n \n CLOSEUP GUY \n \n He is horrified. He looks swiftly down at the glasses in \n his hand, then back to Bruno. \n","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves","women, also in the picture, are pulling at Bruno's wrists. \n Mrs. Cunningham's hands begin to slide off. Her head drops \n back. \n \n Over this we HEAR cries of: \n \n VOICES"," I thought he'd be Interested to know \n he his a lunatic son. \n \n The faintest flicker of Bruno's eyes indicates the intensity \n of his reaction. He stares hard at Guy. \n","The small boy pointing the gun fires it twice with a couple \n of 'bangs!' He then starts to move off. \n \n \n SEMI-CLOSE UP \n \n Bruno moves on past the boy. He casually touches the balloon","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks"," BRUNO \n (looks at Guy with \n astonishment) \n But, Guy, you wanted it! We planned \n it on the train together, remember? \n \n Guy suddenly starts to go. Bruno grabs his arm. \n","BACK until we can see the feet of Bruno protruding from behind \n a chair in which he is sitting. He has obviously heard the \n entire conversation between Anne and his mother. Bruno rises. \n He is in dressing gown and pajamas. \n","Bruno's relief turns again to menace. He picks up the gun \n and fingers it nervously. \n \n GUY \n (kindly) \n Look, Bruno. You're terribly sick. \n (haltingly)","As Bruno is dying, his closed fist slowly starts to open. \n \n DETECTIVE'S VOICE \n He's finished. \n \n Guy's lighter is now revealed in Bruno's open hand. \n \n"],[" BARBARA \n I hope you aren't forgetting our \n little party on Thursday, Madame. \n \n From Bruno's viewpoint, as Barbara speaks,CAMERA MOVES IN","She comes from the same direction that Guy came. She stops \n short as she sees: \n \n \n MED. SHOT FROM BARBARA'S VIEWPOINT \n \n Bruno is now heartily joining in conversation with one of \n the elderly gentlemen.","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves","All talk dies out as all eyes turn to Bruno, who is staring \n at Barbara. Except Anne's, who is saying quietly to Bruno: \n \n ANNE \n This is my sister Barbara. Barbara, \n this is Mr. Antony. \n","Guy sees Bruno join a group of several ladies who are seated \n on a settee and a couple of older men who are standing by. \n A waiter comes along with a tray of drinks. Bruno takes \n one. \n \n \n CLOSEUP BARBARA \n","where Bruno has indicated in his handwriting, \"My father's \n room.\" Over this we hear the voices of Barbara and the \n secretary: \n \n SECRETARY'S VOICE \n Barbara, who are you waving at? \n"," She looked a lot like Barbara, didn't \n she? \n \n Guy suddenly begins to realize what Anne is getting at. \n \n Anne lowers her head, deliberately avoids looking at Guy, as \n she asks: \n","CLOSE SHOT GROUP AT TABLE FROM GUY'S VIEWPOINT \n \n Bruno is occupied with his French joke, but Anne is looking \n at Guy strangely. \n \n \n TWO SHOT GUY AND BARBARA \n","that her lips are trembling, too, and in her eyes frightened \n tears are welling. Her breath is heavy. \n \n \n INT. STUDY \n \n Bruno is stretched out on a settee. He is completely out.","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks","CLOSEUP BRUNO \n \n He does not acknowledge the introduction immediately. He is \n still staring at Barbara. Then he nods abstractedly. \n \n Converted to PDF by www.screentalk.org 75. \n \n","Guy turns back to Barbara. Barbara looks with interest toward \n Bruno. \n \n BARBARA \n Who's the nice looking Frenchman \n with the Darvilles? \n \n GUY","BACK until we can see the feet of Bruno protruding from behind \n a chair in which he is sitting. He has obviously heard the \n entire conversation between Anne and his mother. Bruno rises. \n He is in dressing gown and pajamas. \n","CLOSEUP BRUNO \n \n Bruno stops in the middle of some French to stare at Barbara. \n Her voice continues. \n \n BARBARA'S VOICE \n How are you?","She looks off in Bruno's direction extremely disturbed at \n this new aspect of the mysterious stranger. \n \n \n CLOSEUP GUY \n \n He is watching Bruno. \n \n \n MED. SHOT \n","Bruno and Guy going out the front door. The man-servant \n does not close it immediately, so we are able to HEAR the \n call for Mr. Antony's car. \n \n \n CLOSEUP BARBARA \n","Miriam comes nearer and nearer to Bruno. With her two \n companions she brushes past him and jumps onto the bus. THE \n CAMERA PANS BRUNO AFTER THEM. \n \n EXT. AMUSEMENT PARK LONG SHOT","He is still watching Bruno talk to the French couple. Guy \n is unaware of Anne's looks. Suddenly his attention is \n arrested by the sound of Barbara's voice calling him. \n \n Converted to PDF by www.screentalk.org 73.","toward her, smiling. \n \n \n CLOSEUP ANNE \n \n As Bruno comes in her direction, Anne's expression shows her \n mystification and concern about Bruno's presence and about \n Guy's attitude toward him. \n \n","Bruno rises from the bed and sits on the and of it. He is \n fully dressed, just as he was at the party, in white tie and \n tails. \n \n BRUNO \n (politely)"],["a few newspaper photographers. There is a rush of interest \n when a taxi pulls up and Guy steps out of it. Guy pushes \n his way through the people. Two or three bulbs flash. There \n is a murmur from the crowd and we hear Guy's name. He passes","dignified and erect. He has removed his glasses to polish \n them and does not react to Guy's presence. \n \n \n CLOSEUP GUY \n \n Guy starts with a smile of recognition to say, \"How do you","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and","Guy advances, and with a sharp thrust, pushes Bruno back on \n the settee. \n \n Bruno looks and sees Guy clearly for the first time. \n \n BRUNO \n What happened? I was on a merry-go-","Guy looks at him, almost numb. \n \n BRUNO \n Now look, Guy, about my father. I \n have the plans made. Two plans. A \n plan of the grounds and a plan of"," GUY \n What? \n \n BRUNO \n The wedding. You and Anne Burton. \n (a gesture of \n explanation) \n It was in the papers. \n \n GUY","Guy still stares across the street. \n \n \n LONG SHOT (FROM HIS VIEWPOINT) \n \n We see a police car pull up outside Guy's apartment. \n \n \n TWO SHOT \n","As Guy's hands unfold the paper and hold it for moment, we \n see that it is a diagrammed plan of the grounds and the \n Interior of the Anthony house. There are dotted lines along \n the upper hall, with an arrow which points to one room and","Bruno pulls Guy back further into the shadows. Guy \n instinctively flattens himself against the wall. He looks \n across the street again. \n \n \n LONG SHOT (FROM HIS VIEWPOINT) \n","GUY HAINES. He, too, is in his middle twenties and is well \n dressed because he can now afford to be. He nods politely, \n acknowledging Bruno's apology, then turns away with the \n gesture implying he wants privacy. \n"," it's yours. And as you're the one \n to profit, I think you should be the \n one to pay for it. \n \n For an instant his nervous hands seem to be struggling with \n the urge to kill Guy. \n"," GUY \n (subsiding) \n Come on -- pull yourself together. \n Do your tie up. \n \n Bruno staggers to his feet. He fumbles at his collar. As","He realizes there is no use in trying to talk to Guy any \n further. He turns and faces the CAMERA IN CLOSE UP as he \n moves away, looking sad almost to the point of tears. \n \n \n INT. GUY'S APARTMENT"," I thought he'd be Interested to know \n he his a lunatic son. \n \n The faintest flicker of Bruno's eyes indicates the intensity \n of his reaction. He stares hard at Guy. \n","man looks over the top of his magazine at Guy, with \n recognition. He leans forward. \n \n CLERIC \n I beg your pardon, but aren't you \n Guy Haines? \n \n GUY","He looks up eagerly. \n \n \n MED. SHOT \n \n Professor Collins comes in and sits in a chair opposite Guy. \n \n TURLEY \n Professor Collins, this is Mr. Haines."," GUY \n Stay away from me, I tell you! \n \n He leaves Bruno abruptly to rejoin Anne. Bruno looks after \n him, a little hurt. \n \n \n TWO SHOT \n","Guy turns and closes the door. \n \n \n MEDIUM SHOT FROM ANNE'S VIEWPOINT \n \n The limousine moves off and Guy comes toward her. \n \n \n MEDIUM SHOT \n","Guy and Anne are walking slowly through a more or less \n deserted room of the gallery. Their manner is relaxed and \n intimate. \n \n ANNE \n Well, we'd better be getting back. \n \n GUY"],[" reporters at your front door in the \n morning. \n \n BARBARA \n Daddy doesn't mind a little scandal. \n He's a senator. \n \n ANNE","his family and his career. Barbara, Anne's younger sister, \n is a lively seventeen who loves excitement, says exactly \n what she thinks and rarely thinks before she says it. \n Superficially, in height and figure, she resembles Miriam.","INT. BURTON HOUSE BIG HEAD CLOSEUP OF ANNE \n \n Her face is troubled. CAMERA BEGINS TO PULL BACK. We see \n now that the reception is in progress and that Anne stands","The Senator looks inquiringly. Anne makes the introduction. \n \n ANNE \n This is Mr. Antony, father. \n \n SENATOR \n How do you do, sir. \n \n BRUNO","ANNE BURTON is a beautiful, high-spirited and well-bred young \n woman. The smile on her face his faded to anxiety as she \n listens over the telephone which is on the desk. \n \n ANNE \n (after a pause then"," Then he is going to Metcalf. But he \n has to wait until it gets dark -- \n (with frantic haste, \n he thinks quickly, \n then murmurs to Anne) \n Listen, Anne, as soon as the third"," We're on in a few minutes, Guy. \n (to Anne) \n How are you, Miss Morton. \n \n Anne acknowledges his greeting with a nod. \n \n GUY","Anne and Mrs. Antony are in the middle of a conversation. \n Anne's manner is tense and purposeful, Mrs. Antony's much \n less serious. \n \n MRS. ANTONY \n Oh, now, Miss Burton, really! I","His figure tense, he rings the bell. After a moment's wait, \n the door is opened from inside and Anne Burton stands in the \n lighted hallway. She looks at Guy with an anxious, taut","INT. BURTON LIVING ROOM EVENING \n \n The Burtons are having coffee. Barbara has been glancing \n through a new murder mystery with a lurid cover. As Guy \n enters, Anne rises to greet him. \n"," DISSOLVE TO: \n \n \n INT. BURTON STUDY NIGHT \n \n Anne, Barbara and the Senator are sitting silently in the \n attitudes of waiting. The telephone rings. Anne is instantly"," while his hands were around Mrs. \n Cunningham's throat. \n \n Guy looks at Anne with an expression of growing fear and \n alarm. She goes on inexorably: \n \n ANNE","BACK until we can see the feet of Bruno protruding from behind \n a chair in which he is sitting. He has obviously heard the \n entire conversation between Anne and his mother. Bruno rises. \n He is in dressing gown and pajamas. \n"," long time. She's a little -- how \n shall I say -- confused. \n (shakes his head \n commiseratingly) \n Poor mother. \n \n Anne is too stunned to speak. \n \n BRUNO"," I'd like to talk to you sometime, \n Senator, about my idea of harnessing \n the life force. It will make atomic \n power look like the horse and buggy. \n (the Senator and Anne \n are beginning to","on her feet. Barbara and the Senator watch her anxiously as \n she goes to answer it. \n \n ANNE \n (into phone) \n Hello... \n (impatiently) \n Yes, operator, yes!"," was murdered. They had it all worked \n out -- \n (taps his head) \n in their timetables. \n \n ANNE \n (growing indignant \n and increasingly \n nervous)"," SENATOR \n Barbara! \n ANNE \n Father, it's getting terribly late, \n and Guy looks so tired... \n \n SENATOR \n (quickly)","and that, he is studying them moodily, CAMERA PULLS BACK \n FARTHER to reveal his mother, MRS. ANTHONY, sitting opposite \n him at a little table in the Anthony living room. She is"," you. He suggested that if he got \n rid of Miriam for me, I should kill \n his father. \n \n ANNE \n You must have realized he was talking \n a lot of nonsense! \n \n GUY"],[" VOICE \n (OFFSCENE) \n Guy Haines! -- Reynolds! \n \n While Anne is frantically trying to remember, Guy turns \n toward, the stadium and gives a signal of \"Be right there.\" \n ANNE","Through the rear window we see the tracks rushing away from \n us. Seated in the foreground are Guy Haines and a rather \n professorial type opposite him, a bespectacled man around \n forty-five or fifty who is extremely drunk. \n"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","a picture of Guy among other tennis players. WITH A DISSOLVE \n the whole character of this page changes with the exception \n of Guy's picture, which becomes surrounded with large type, \n announcing the arrest of Guy Haines for the murder of his","man looks over the top of his magazine at Guy, with \n recognition. He leans forward. \n \n CLERIC \n I beg your pardon, but aren't you \n Guy Haines? \n \n GUY"," while his hands were around Mrs. \n Cunningham's throat. \n \n Guy looks at Anne with an expression of growing fear and \n alarm. She goes on inexorably: \n \n ANNE","hold on Guy's arm. Turley turns to Guy, puzzled. \n \n TURLEY \n What is this all about, Haines? Did \n you know he killed your wife? \n \n GUY"," a crime of this sort the police first \n go after the husband, and Guy had \n every motive. \n \n SENATOR \n (aghast) \n Motive? \n \n GUY"," ANNOUNCER \n (with great excitement) \n This is more than a tennis game, \n ladies and gentlemen -- it's a \n desperate fight with Guy Haines \n playing as if his life depended on \n it!"," BRUNO \n (smiling with sudden \n recognition) \n I beg your pardon, but aren't you \n Guy Haines. \n \n Guy nods with a polite half smile. Being a well known"," But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO"," (O.S.) \n Double fault. Love forty. \n \n \n INT. THE ANNOUNCER'S BOOTH \n \n The announcer telling his listeners that Guy Haines seems to \n be a little reckless. \n"," to have a man love you so much he'd \n kill for you. \n (she ducks out) \n \n \n TWO SHOT \n \n Left alone, Guy and Anne embrace. Anne's nervous tension","Anne comes down the steps and intercepts Guy on the sidewalk. \n She leads him along a few paces and then stops and faces \n him. \n \n \n CLOSE TWO SHOT \n \n Anne nods off in the direction of the departed Bruno and"," He knows? \n \n Anne nods slowly. \n \n GUY \n (grimly) \n Then he'll think of something. He \n said he would. \n \n ANNE"," Guy Haines. \n \n \n CLOSEUP GUY \n \n He gives a weak acknowledgment in Bruno's direction, realizing \n that Bruno has wormed his way into the group and that he \n must accept the introduction. \n"," They're close to the finish, Guy \n \n GUY \n Be right there. \n (turns to Anne) \n I was afraid you wouldn't get here. \n Wish me luck, darling. \n"," (quietly) \n What do you mean -- your murder, \n Guy? \n \n GUY \n Well, he'd read about me in the paper. \n He knew about Miriam -- and about","Guy turns and closes the door. \n \n \n MEDIUM SHOT FROM ANNE'S VIEWPOINT \n \n The limousine moves off and Guy comes toward her. \n \n \n MEDIUM SHOT \n"," ANNE \n He killed Miriam, didn't he? Tell \n me, Guy! \n \n GUY \n Yes. \n (suddenly bursting \n out)"],[" VOICE \n (OFFSCENE) \n Guy Haines! -- Reynolds! \n \n While Anne is frantically trying to remember, Guy turns \n toward, the stadium and gives a signal of \"Be right there.\" \n ANNE","Through the rear window we see the tracks rushing away from \n us. Seated in the foreground are Guy Haines and a rather \n professorial type opposite him, a bespectacled man around \n forty-five or fifty who is extremely drunk. \n"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","man looks over the top of his magazine at Guy, with \n recognition. He leans forward. \n \n CLERIC \n I beg your pardon, but aren't you \n Guy Haines? \n \n GUY"," (O.S.) \n Double fault. Love forty. \n \n \n INT. THE ANNOUNCER'S BOOTH \n \n The announcer telling his listeners that Guy Haines seems to \n be a little reckless. \n"," GUY \n What? \n \n BRUNO \n The wedding. You and Anne Burton. \n (a gesture of \n explanation) \n It was in the papers. \n \n GUY"," BRUNO \n (smiling with sudden \n recognition) \n I beg your pardon, but aren't you \n Guy Haines. \n \n Guy nods with a polite half smile. Being a well known","a picture of Guy among other tennis players. WITH A DISSOLVE \n the whole character of this page changes with the exception \n of Guy's picture, which becomes surrounded with large type, \n announcing the arrest of Guy Haines for the murder of his"," while his hands were around Mrs. \n Cunningham's throat. \n \n Guy looks at Anne with an expression of growing fear and \n alarm. She goes on inexorably: \n \n ANNE"," But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO"," a crime of this sort the police first \n go after the husband, and Guy had \n every motive. \n \n SENATOR \n (aghast) \n Motive? \n \n GUY"," ANNE \n He killed Miriam, didn't he? Tell \n me, Guy! \n \n GUY \n Yes. \n (suddenly bursting \n out)","hold on Guy's arm. Turley turns to Guy, puzzled. \n \n TURLEY \n What is this all about, Haines? Did \n you know he killed your wife? \n \n GUY"," Especially when you have Anne Burton \n hanging on your arm. \n \n GUY \n Let's not talk about Anne Burton. \n \n MIRIAM \n So, it's really serious between you"," ANNOUNCER \n (with great excitement) \n This is more than a tennis game, \n ladies and gentlemen -- it's a \n desperate fight with Guy Haines \n playing as if his life depended on \n it!"," your way now. You can be married \n right away. Think of it -- you're \n free! \n \n \n CLOSE TWO ANNE AND GUY \n \n look at one another with a growing realization of what"," Guy Haines. \n \n \n CLOSEUP GUY \n \n He gives a weak acknowledgment in Bruno's direction, realizing \n that Bruno has wormed his way into the group and that he \n must accept the introduction. \n"," you. He suggested that if he got \n rid of Miriam for me, I should kill \n his father. \n \n ANNE \n You must have realized he was talking \n a lot of nonsense! \n \n GUY","Anne comes down the steps and intercepts Guy on the sidewalk. \n She leads him along a few paces and then stops and faces \n him. \n \n \n CLOSE TWO SHOT \n \n Anne nods off in the direction of the departed Bruno and","Guy turns and closes the door. \n \n \n MEDIUM SHOT FROM ANNE'S VIEWPOINT \n \n The limousine moves off and Guy comes toward her. \n \n \n MEDIUM SHOT \n"],[" BRUNO \n (smiling with sudden \n recognition) \n I beg your pardon, but aren't you \n Guy Haines. \n \n Guy nods with a polite half smile. Being a well known"," But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he"," you. He suggested that if he got \n rid of Miriam for me, I should kill \n his father. \n \n ANNE \n You must have realized he was talking \n a lot of nonsense! \n \n GUY"," use for the key, then, Mr. Haines. \n (he holds out his \n hand and Guy gives \n him the key) \n Thank you very such. \n \n As Bruno continues to stare at him, Guy takes out the Luger."," (quietly) \n What do you mean -- your murder, \n Guy? \n \n GUY \n Well, he'd read about me in the paper. \n He knew about Miriam -- and about"," GUY \n Miriam. \n \n BRUNO \n That's it. Miriam Joyce Haines. \n Played around a lot, I suppose? \n GUY \n Let's not talk about it any more."," BRUNO \n (looks at Guy with \n astonishment) \n But, Guy, you wanted it! We planned \n it on the train together, remember? \n \n Guy suddenly starts to go. Bruno grabs his arm. \n","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves"," Guy Haines. \n \n \n CLOSEUP GUY \n \n He gives a weak acknowledgment in Bruno's direction, realizing \n that Bruno has wormed his way into the group and that he \n must accept the introduction. \n"," Now, let's say you want to get rid \n of your wife. \n \n GUY \n Why? \n \n BRUNO \n Let's say she refuses to give you a \n divorce --","As Guy comes near to Bruno, the latter turns on him and starts \n to attack him. \n BRUNO \n I want to get off of here! Let me \n off of here! It makes me dizzy. \n \n GUY"," (sotto voce) \n Bruno, Guy. Bruno Anthony. Don't \n you remember? On the train. \n \n The voices of Mr. and Mrs. Anthony can still be heard in \n dispute as Bruno listens at phone: \n","Anne watches Guy approach this stranger. She looks downward \n at Bruno's tie pin. \n \n \n CLOSEUP \n \n Bruno's tie pin, bearing his name, gleams in the light. \n \n \n CLOSEUP \n","man looks over the top of his magazine at Guy, with \n recognition. He leans forward. \n \n CLERIC \n I beg your pardon, but aren't you \n Guy Haines? \n \n GUY","Bruno's relief turns again to menace. He picks up the gun \n and fingers it nervously. \n \n GUY \n (kindly) \n Look, Bruno. You're terribly sick. \n (haltingly)","INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with"," Get away before I give you what you \n gave Miriam. \n \n BRUNO \n (sadly) \n You're not yourself, Guy. You're \n tired. When you think things over,"," ANNE \n He killed Miriam, didn't he? Tell \n me, Guy! \n \n GUY \n Yes. \n (suddenly bursting \n out)"," Oh! \n \n She gives a coy smile of recognition. CAMERA PULLS BACK to \n reveal the mad and shoulders of Bruno between Miriam and the \n camera. His hand holds Guy's lighter which he flicks on as"],["INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with"," BRUNO \n (looks at Guy with \n astonishment) \n But, Guy, you wanted it! We planned \n it on the train together, remember? \n \n Guy suddenly starts to go. Bruno grabs his arm. \n"," use for the key, then, Mr. Haines. \n (he holds out his \n hand and Guy gives \n him the key) \n Thank you very such. \n \n As Bruno continues to stare at him, Guy takes out the Luger.","As Guy comes near to Bruno, the latter turns on him and starts \n to attack him. \n BRUNO \n I want to get off of here! Let me \n off of here! It makes me dizzy. \n \n GUY","Bruno is now seated in his accustomed place in the club car. \n His gloved fingers are quietly toying with Guy's lighter. A \n passenger next to him asks: \n \n PASSENGER \n May I have a light, please? \n"," last thing I do! \n \n Bruno looks off in direction of his farther's voice with an \n expression which says, \"Crow while you can, you haven't \n much time.\" He reaches into his pocket, brings out Guy's","some surprise and disgust, then over at Bruno, suddenly \n conscious he is behaving like a criminal and that Bruno is \n responsible for his predicament. \n \n GUY \n (muttering)","Guy advances, and with a sharp thrust, pushes Bruno back on \n the settee. \n \n Bruno looks and sees Guy clearly for the first time. \n \n BRUNO \n What happened? I was on a merry-go-","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves","Anne watches Guy approach this stranger. She looks downward \n at Bruno's tie pin. \n \n \n CLOSEUP \n \n Bruno's tie pin, bearing his name, gleams in the light. \n \n \n CLOSEUP \n","back-up for fear of being knocked over. The screw of tension \n increase. Over this comes the sound of an approaching \n ambulance siren. \n \n \n CLOSE SHOT \n \n Bruno edges himself toward Guy. He is hanging on to the","Bruno. He steps back into the darkness again as Guy comes \n up to him. \n \n \n TWO SHOT \n Guy frowning in puzzlement as he looks at Bruno. \n \n BRUNO \n (cheerfully)","The detective pulls out his gun and starts to run after Guy. \n \n \n SEMI-LONG SHOT \n \n Guy jumps on the merry-go-round after Bruno. Its speed is \n so great that he nearly gets flung off. \n \n","Guy's arguments have made no impression on Bruno whatsoever. \n He fingers the gun. \n \n BRUNO \n I don't like to be doublecrossed. \n (MORE) \n"," BRUNO \n (smiling with sudden \n recognition) \n I beg your pardon, but aren't you \n Guy Haines. \n \n Guy nods with a polite half smile. Being a well known","Bruno pulls Guy back further into the shadows. Guy \n instinctively flattens himself against the wall. He looks \n across the street again. \n \n \n LONG SHOT (FROM HIS VIEWPOINT) \n","Bruno is casually waiting for the train. He stands near a \n news-stand reading a paper. \n \n \n INSERT: \n \n We see that the paper is open at the sports page. There is","For a moment a look of fear comes into Bruno's face as he \n thinks Guy will probably shoot him. After a pause, Guy tosses \n the gun on the bed. \n \n GUY \n Or this. \n","Bruno is sitting with an unlighted cigarette in his mouth. \n CAMERA MOVES IN until he is in big CLOSEUP. His eyes look \n down. There is the SOUND of a click, then Guy's lighter","for Guy to pass through. \n \n \n INT. HALLWAY MED. SHOT \n \n Guy walks toward the stairs, tense and apprehensive. Bruno \n is following him, still holding the gun. When the Great"],["The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is","Miriam comes nearer and nearer to Bruno. With her two \n companions she brushes past him and jumps onto the bus. THE \n CAMERA PANS BRUNO AFTER THEM. \n \n EXT. AMUSEMENT PARK LONG SHOT"," Why yes. How did you -- \n \n Converted to PDF by www.screentalk.org 35. \n \n \n \n We see Bruno's gloved hands dart quickly to Miriam's throat.","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks","we were shooting up at them. Suddenly one of the figures \n falls forward. \n \n \n CLOSE UP \n \n Miriam's head drops into the picture by the glasses. \n \n Bruno's hand comes into the picture and picks up the glasses.","and down. CAMERA FOLLOWING HIM. He passes one or two of \n the oncoming heads before he reaches Miriam. She is on an \n outside mount which is high in the air when she sees Bruno \n facing her. Her laughter dies for a moment and she smiles","CLOSE UP MIRIAM \n \n She gives a faint smile in return. \n \n \n CLOSE SHOT \n \n With a studied movement, Bruno picks up the handle of the \n hammer and swings. \n","Bruno turns to follow Miriam, his manner casual. As he takes \n a few steps, WE PAN ACROSS with him until, over his shoulder, \n we see a merry-go-round in the background. Miriam and the","Again from Bruno's viewpoint, we see Miriam's house. At \n this moment the front door swings open, emitting a long streak \n ot bright light. We see the silhouette of a woman emerge,","Bruno drops the hammer and glances around at Miriam again. \n Her two boy-friends are calling for her from a little \n distance. \n \n BOY'S VOICE \n Come On, Miriam. Come On! \n","We see the bus pull up outside the Amusement Park, and the \n various passengers alight. These include Miriam nd her \n companions, and Bruno. \n \n \n LONG SHOT NEARER VIEW OF THE AMUSEMENT PARK \n"," Oh! \n \n She gives a coy smile of recognition. CAMERA PULLS BACK to \n reveal the mad and shoulders of Bruno between Miriam and the \n camera. His hand holds Guy's lighter which he flicks on as","over and after paying his fee, goes to take up the hammer. \n \n \n CLOSE UP MIRIAM \n \n She watches Bruno. \n \n \n CLOSE SHOT \n \n Bruno looks down at his hands. \n \n","MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT) \n \n Bruno is approaching the pay box. \n \n \n MEDIUM SHOT \n \n Miriam and her companions are escorted to a small boat with","CLOSE SHOT MIRIAM \n \n She turns away and is lost in the crowd. \n \n \n MEDIUM SHOT OVER BRUNO'S SHOULDER AT MERRY-GO ROUND IN \n BACKGROUND \n","that her lips are trembling, too, and in her eyes frightened \n tears are welling. Her breath is heavy. \n \n \n INT. STUDY \n \n Bruno is stretched out on a settee. He is completely out.","the distance. Bruno has been lost to view. \n \n Converted to PDF by www.screentalk.org 36. \n \n \n \n Miriam's companions are still searching for her. We hear \n their faint voices in the distance.","he raises it above Miriam's face. 0f Bruno, we see only the \n back of his head and shoulders. \n \n BRUNO \n Is your name Miriam? \n \n MIRIAM \n (with surprise)"," (calling back) \n Goodnight, Mother. See you later. \n \n \n CLOSE UP \n \n Bruno watches Miriam. \n \n \n MED. SHOT \n","try his hand. As he swings, Miriam turns and glances about \n her, obviously looking for Bruno. \n \n \n LONG SHOT FROM MIRIAM VIEWPOINT \n \n The crowds milling, but no sign of Bruno. \n"],["The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is"," Why yes. How did you -- \n \n Converted to PDF by www.screentalk.org 35. \n \n \n \n We see Bruno's gloved hands dart quickly to Miriam's throat.","CLOSE UP MIRIAM \n \n She gives a faint smile in return. \n \n \n CLOSE SHOT \n \n With a studied movement, Bruno picks up the handle of the \n hammer and swings. \n","Miriam comes nearer and nearer to Bruno. With her two \n companions she brushes past him and jumps onto the bus. THE \n CAMERA PANS BRUNO AFTER THEM. \n \n EXT. AMUSEMENT PARK LONG SHOT","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks","we were shooting up at them. Suddenly one of the figures \n falls forward. \n \n \n CLOSE UP \n \n Miriam's head drops into the picture by the glasses. \n \n Bruno's hand comes into the picture and picks up the glasses.","over and after paying his fee, goes to take up the hammer. \n \n \n CLOSE UP MIRIAM \n \n She watches Bruno. \n \n \n CLOSE SHOT \n \n Bruno looks down at his hands. \n \n","Bruno drops the hammer and glances around at Miriam again. \n Her two boy-friends are calling for her from a little \n distance. \n \n BOY'S VOICE \n Come On, Miriam. Come On! \n","and down. CAMERA FOLLOWING HIM. He passes one or two of \n the oncoming heads before he reaches Miriam. She is on an \n outside mount which is high in the air when she sees Bruno \n facing her. Her laughter dies for a moment and she smiles"," Oh! \n \n She gives a coy smile of recognition. CAMERA PULLS BACK to \n reveal the mad and shoulders of Bruno between Miriam and the \n camera. His hand holds Guy's lighter which he flicks on as","he raises it above Miriam's face. 0f Bruno, we see only the \n back of his head and shoulders. \n \n BRUNO \n Is your name Miriam? \n \n MIRIAM \n (with surprise)","Again from Bruno's viewpoint, we see Miriam's house. At \n this moment the front door swings open, emitting a long streak \n ot bright light. We see the silhouette of a woman emerge,","Bruno turns to follow Miriam, his manner casual. As he takes \n a few steps, WE PAN ACROSS with him until, over his shoulder, \n we see a merry-go-round in the background. Miriam and the","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and"," (calling back) \n Goodnight, Mother. See you later. \n \n \n CLOSE UP \n \n Bruno watches Miriam. \n \n \n MED. SHOT \n","MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT) \n \n Bruno is approaching the pay box. \n \n \n MEDIUM SHOT \n \n Miriam and her companions are escorted to a small boat with","that her lips are trembling, too, and in her eyes frightened \n tears are welling. Her breath is heavy. \n \n \n INT. STUDY \n \n Bruno is stretched out on a settee. He is completely out.","One of the lenses has been broken by Miriam's fall. \n \n As we see Bruno's sport shoes move away, the CAMERA MOVES \n PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed"," ANNE \n He killed Miriam, didn't he? Tell \n me, Guy! \n \n GUY \n Yes. \n (suddenly bursting \n out)"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he"],[" GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and"," ANNE \n He killed Miriam, didn't he? Tell \n me, Guy! \n \n GUY \n Yes. \n (suddenly bursting \n out)"," a crime of this sort the police first \n go after the husband, and Guy had \n every motive. \n \n SENATOR \n (aghast) \n Motive? \n \n GUY"," (quietly) \n What do you mean -- your murder, \n Guy? \n \n GUY \n Well, he'd read about me in the paper. \n He knew about Miriam -- and about","He puts his head in the side window and tells the two waiting \n detectives where Guy has gone. \n \n MAN \n Amusement park. \n \n Converted to PDF by www.screentalk.org 131. \n","wife Miriam. A sub-heading tells of Guy's cigarette lighter \n found at the scene of the crime. All this DISSOLVES AWAY \n and the page becomes once more the sports section. \n \n \n CLOSEUP \n","Guy is standing at the telephone which is still ringing. He \n has Miriam's glasses in his hand. He looks down at them for \n a moment, then picks up the receiver. He hesitates, then \n speaks into the phone. \n \n GUY"," GUY \n (grimly) \n Yes, isn't it? \n \n ANNE \n You mean you've known about Miriam \n all this time? \n"," You can tell them where you were, \n can't you, Guy? \n \n GUY \n (wearily) \n At nine-thirty I was on the train \n from New York to Washington. \n","Guy still stares across the street. \n \n \n LONG SHOT (FROM HIS VIEWPOINT) \n \n We see a police car pull up outside Guy's apartment. \n \n \n TWO SHOT \n"," No, I didn't, sir. I've never seen \n this man before in my life. I meant \n the other one. \n \n The detective who was holding Guy instinctively relax his"," Guy. \n \n Converted to PDF by www.screentalk.org 44. \n \n \n \n CLOSEUP GUY \n \n He looks across at the police, then down at himself with"," you. He suggested that if he got \n rid of Miriam for me, I should kill \n his father. \n \n ANNE \n You must have realized he was talking \n a lot of nonsense! \n \n GUY"," while his hands were around Mrs. \n Cunningham's throat. \n \n Guy looks at Anne with an expression of growing fear and \n alarm. She goes on inexorably: \n \n ANNE"," Guy, has he anything that the police \n could trace to you -- \n (quoting Bruno) \n Any little thing. \n \n GUY \n My cigarette lighter. He said once \n he could have left it on the islands"," But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO"," GUY \n Miriam. \n \n BRUNO \n That's it. Miriam Joyce Haines. \n Played around a lot, I suppose? \n GUY \n Let's not talk about it any more."," ...And he said that if the police \n found your lighter there, that's all \n they'd need -- something to prove \n you were at the scene of the murder. \n \n GUY \n (grimly)"," proof of where I was at nine-thirty \n last night? \n Guy asks this question with a look of near triumph that he \n has clearly established his alibi. \n \n DISSOLVE TO: \n \n"],["Miriam's face is pretty because it is still young. She is \n self-centered and inclined to be vindictive. She wears \n harlequin glasses with myopic lenses which tend to make her \n eyes look small. \n"," What did Miriam look like, Guy. \n \n GUY \n (awkwardly) \n Well, why do you ask me? You've \n seen her pictures in the paper. \n \n ANNE","his family and his career. Barbara, Anne's younger sister, \n is a lively seventeen who loves excitement, says exactly \n what she thinks and rarely thinks before she says it. \n Superficially, in height and figure, she resembles Miriam.","obviously misses her, for we hear his voice call out: \n \n GEORGE'S VOICE \n Miriam! \n \n Miriam backs out of the bushes until the back of her head is","Miriam's mother, dressed all in black, is seated in one of \n the chairs. She has been staring at the floor, but brings \n her eyes up slowly to glare at Guy with a look of burning \n hatred. \n","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and","From his viewpoint, the girl, whom we now see is Miriam, is \n running followed by the two young men. They are calling for \n the bus not to go - shouting, \"Hi - stop!\" Mrs. Joyce calls \n from the porch: \n","he raises it above Miriam's face. 0f Bruno, we see only the \n back of his head and shoulders. \n \n BRUNO \n Is your name Miriam? \n \n MIRIAM \n (with surprise)","Again from Bruno's viewpoint, we see Miriam's house. At \n this moment the front door swings open, emitting a long streak \n ot bright light. We see the silhouette of a woman emerge,"," MIRIAM \n (intimately) \n Now this is cosier. Sort of like \n old times, isn't it, Guy? \n \n GUY \n (coldly)"," (she looks up at Guy \n as the woman moves \n off) \n Well -- hello, Guy. \n \n GUY \n You're looking well, Miriam. \n","Silhouetted in the foreground, the trees and foliage of the \n island. Nearby we see the silhouetted figures of Miriam and \n her companions move across the scene, right to left. Miriam \n is pushing George away from her. \n","Miriam's mother. She has white hair. A woman comes along \n the street and pauses as she gets to Mrs. Joyce. \n \n Converted to PDF by www.screentalk.org 27. \n \n \n","The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is"," She looked a lot like Barbara, didn't \n she? \n \n Guy suddenly begins to realize what Anne is getting at. \n \n Anne lowers her head, deliberately avoids looking at Guy, as \n she asks: \n"," GUY \n (grimly) \n Yes, isn't it? \n \n ANNE \n You mean you've known about Miriam \n all this time? \n"," MIRIAM \n (protesting \n perfunctorily) \n George, no! \n \n She backs away from him and the boys go on picture. Miriam \n goes in another direction, around, the bushes. George","We see Miriam and her companions approach the boat concession \n and CAMERA FOLLOWS THEM onto the little landing stage. CAMERA \n MOVES UP SLOWLY over the boy's shoulders until we get MIRIAM","Bruno on his horse, as though he is chasing Miriam. He is a \n little more open now in his laughter. \n \n \n GROUP SHOT MIRIAM AND TWO BOYS \n","Miriam and her boy friends begin to sing the song being played \n on the calliope. \n \n \n CLOSE UP MIRIAM \n \n As she starts to sing, she glances back. \n \n \n CLOSE UP BRUNO"],[" But you can't, Guy. We'd both be \n arrested for murder. \n \n Guy turns back slowly and faces him. \n \n GUY \n We'd both be arrested for murder? \n \n BRUNO","some surprise and disgust, then over at Bruno, suddenly \n conscious he is behaving like a criminal and that Bruno is \n responsible for his predicament. \n \n GUY \n (muttering)","Guy looks at him, almost numb. \n \n BRUNO \n Now look, Guy, about my father. I \n have the plans made. Two plans. A \n plan of the grounds and a plan of","We see Guy excuse himself from Barbara, cross to Bruno and \n speak to him angrily, obviously asking, \"What are you doing \n here?\" Bruno, however, greets Guy with a smile then turns \n from him, unperturbed and bland. He sees Anne and moves"," I thought he'd be Interested to know \n he his a lunatic son. \n \n The faintest flicker of Bruno's eyes indicates the intensity \n of his reaction. He stares hard at Guy. \n","We see Guy gripping Miriam's arms and apparently addressing \n her in a threatening manner, although we do not hear his \n words. The smile has faded from Miriam's face and something \n like cringing fear has taken its place. She is drawn and"," Oh! \n \n She gives a coy smile of recognition. CAMERA PULLS BACK to \n reveal the mad and shoulders of Bruno between Miriam and the \n camera. His hand holds Guy's lighter which he flicks on as","The lighter falls down out of picture, and as Bruno's hands \n grip her throat, his head moves slightly to blot out Miriam's \n face. His head moves a bit farther until Miriam's face is"," BRUNO \n (looks at Guy with \n astonishment) \n But, Guy, you wanted it! We planned \n it on the train together, remember? \n \n Guy suddenly starts to go. Bruno grabs his arm. \n"," GUY \n Miriam...murdered. \n \n ANNE \n (with inner tension) \n She was...strangled. \n \n Slowly Guy's eyes meet hers. They are remembering what he","Guy's hands taking Miriam's glasses from Bruno. One of the \n lenses is broken. \n \n Converted to PDF by www.screentalk.org 41. \n \n \n \n TWO SHOT \n","As Bruno is dying, his closed fist slowly starts to open. \n \n DETECTIVE'S VOICE \n He's finished. \n \n Guy's lighter is now revealed in Bruno's open hand. \n \n","INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \n \n Bruno and Guy are finishing lunch. Bruno has been drinking \n and his eyes are bright and feverish. An almost empty liquor \n bottle is near a couple of detective novels covered with","Guy's arguments have made no impression on Bruno whatsoever. \n He fingers the gun. \n \n BRUNO \n I don't like to be doublecrossed. \n (MORE) \n","is only one lamp lighted in the room. Guy presents a grim \n picture. \n \n Converted to PDF by www.screentalk.org 94. \n \n \n \n He is studying the plan of Bruno's house, and he picks up"," Why yes. How did you -- \n \n Converted to PDF by www.screentalk.org 35. \n \n \n \n We see Bruno's gloved hands dart quickly to Miriam's throat."," (quietly) \n What do you mean -- your murder, \n Guy? \n \n GUY \n Well, he'd read about me in the paper. \n He knew about Miriam -- and about","toward her, smiling. \n \n \n CLOSEUP ANNE \n \n As Bruno comes in her direction, Anne's expression shows her \n mystification and concern about Bruno's presence and about \n Guy's attitude toward him. \n \n","Anne watches Guy approach this stranger. She looks downward \n at Bruno's tie pin. \n \n \n CLOSEUP \n \n Bruno's tie pin, bearing his name, gleams in the light. \n \n \n CLOSEUP \n","Bruno. Looking first to her left where she sees nothing, \n she then looks to her right, and as she does THE CAMERA PANS \n to show Bruno standing right it her shoulder. Miriam gives \n a little start. Bruno smiles at her. With a smirk he walks"]],"string":"[\n [\n \" GUY \\n What? \\n \\n BRUNO \\n The wedding. You and Anne Burton. \\n (a gesture of \\n explanation) \\n It was in the papers. \\n \\n GUY\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \" They're close to the finish, Guy \\n \\n GUY \\n Be right there. \\n (turns to Anne) \\n I was afraid you wouldn't get here. \\n Wish me luck, darling. \\n\",\n \"They both wait for him to enter. \\n \\n \\n CLOSEUP GUY \\n \\n He steels himself for the long walk across the hall and the \\n living room. \\n \\n \\n CLOSEUP ANNE \\n \\n Watching Guy closely.\",\n \" your way now. You can be married \\n right away. Think of it -- you're \\n free! \\n \\n \\n CLOSE TWO ANNE AND GUY \\n \\n look at one another with a growing realization of what\",\n \"Guy turns and closes the door. \\n \\n \\n MEDIUM SHOT FROM ANNE'S VIEWPOINT \\n \\n The limousine moves off and Guy comes toward her. \\n \\n \\n MEDIUM SHOT \\n\",\n \"Anne comes down the steps and intercepts Guy on the sidewalk. \\n She leads him along a few paces and then stops and faces \\n him. \\n \\n \\n CLOSE TWO SHOT \\n \\n Anne nods off in the direction of the departed Bruno and\",\n \" GUY \\n (coldly) \\n Yes? \\n \\n BRUNO \\n Anne Burton. Sometimes I turn the \\n sport page and look at the society \\n news. And the pictures. She's very\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"gets an idea and with a pat on Barbara's arm, asks hurriedly: \\n \\n ANNE \\n Do you know where Guy is? \\n \\n BARBARA \\n He went out with that man! \\n\",\n \" to have a man love you so much he'd \\n kill for you. \\n (she ducks out) \\n \\n \\n TWO SHOT \\n \\n Left alone, Guy and Anne embrace. Anne's nervous tension\",\n \" GUY \\n Stay away from me, I tell you! \\n \\n He leaves Bruno abruptly to rejoin Anne. Bruno looks after \\n him, a little hurt. \\n \\n \\n TWO SHOT \\n\",\n \"Anne watches Guy approach this stranger. She looks downward \\n at Bruno's tie pin. \\n \\n \\n CLOSEUP \\n \\n Bruno's tie pin, bearing his name, gleams in the light. \\n \\n \\n CLOSEUP \\n\",\n \" tonight he has plenty to worry about. \\n \\n Converted to PDF by www.screentalk.org 50. \\n \\n \\n \\n ANNE \\n (who hasn't taken \\n anxious eyes off Guy)\",\n \"As Guy comes near to Bruno, the latter turns on him and starts \\n to attack him. \\n BRUNO \\n I want to get off of here! Let me \\n off of here! It makes me dizzy. \\n \\n GUY\",\n \"Guy turns back to Barbara. Barbara looks with interest toward \\n Bruno. \\n \\n BARBARA \\n Who's the nice looking Frenchman \\n with the Darvilles? \\n \\n GUY\",\n \"As Guy comes into the scene. He stands staring. \\n \\n ANNE \\n Guy, darling -- this is Mr. Antony -- \\n a friend of Monsieur and Madame \\n Darville... \\n (to Bruno)\",\n \"toward her, smiling. \\n \\n \\n CLOSEUP ANNE \\n \\n As Bruno comes in her direction, Anne's expression shows her \\n mystification and concern about Bruno's presence and about \\n Guy's attitude toward him. \\n \\n\",\n \"As Guy's hands unfold the paper and hold it for moment, we \\n see that it is a diagrammed plan of the grounds and the \\n Interior of the Anthony house. There are dotted lines along \\n the upper hall, with an arrow which points to one room and\"\n ],\n [\n \" GUY \\n What? \\n \\n BRUNO \\n The wedding. You and Anne Burton. \\n (a gesture of \\n explanation) \\n It was in the papers. \\n \\n GUY\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \" your way now. You can be married \\n right away. Think of it -- you're \\n free! \\n \\n \\n CLOSE TWO ANNE AND GUY \\n \\n look at one another with a growing realization of what\",\n \" They're close to the finish, Guy \\n \\n GUY \\n Be right there. \\n (turns to Anne) \\n I was afraid you wouldn't get here. \\n Wish me luck, darling. \\n\",\n \"Guy turns and closes the door. \\n \\n \\n MEDIUM SHOT FROM ANNE'S VIEWPOINT \\n \\n The limousine moves off and Guy comes toward her. \\n \\n \\n MEDIUM SHOT \\n\",\n \" (answering Guy's look) \\n It can't be helped, darling. It is \\n not your fault. It's not as though \\n anyone can say you had something to \\n do with it. \\n \\n GUY\",\n \" (raises a finger and \\n stops Guy's protest) \\n Let's say. You'd be afraid to kill \\n her because you'd get caught. And \\n what would trip you up? Motive.\",\n \"Subdued, she sits down. But Guy remains standing. \\n \\n SENATOR \\n (finding it difficult \\n to begin) \\n There seems to be no way of \\n diplomatically breaking tragic news.\",\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \" tonight he has plenty to worry about. \\n \\n Converted to PDF by www.screentalk.org 50. \\n \\n \\n \\n ANNE \\n (who hasn't taken \\n anxious eyes off Guy)\",\n \"Anne comes down the steps and intercepts Guy on the sidewalk. \\n She leads him along a few paces and then stops and faces \\n him. \\n \\n \\n CLOSE TWO SHOT \\n \\n Anne nods off in the direction of the departed Bruno and\",\n \"on her face. He nods in assent to the Senator's suggestion, \\n but puts his hand over Anne's. \\n \\n GUY \\n (hopelessly) \\n Then what about practicing? Perhaps\",\n \"Guy is so preoccupied with his grim doesn't nod to Hennessy \\n until Anne nudges him. \\n \\n \\n INSIDE THE STAND MED. SHOT \\n \\n Anne is reluctant to leave Guy who must now join his opponent,\",\n \" to have a man love you so much he'd \\n kill for you. \\n (she ducks out) \\n \\n \\n TWO SHOT \\n \\n Left alone, Guy and Anne embrace. Anne's nervous tension\",\n \"They both wait for him to enter. \\n \\n \\n CLOSEUP GUY \\n \\n He steels himself for the long walk across the hall and the \\n living room. \\n \\n \\n CLOSEUP ANNE \\n \\n Watching Guy closely.\",\n \" But, Mrs. Antony, you've got to make \\n him do something about this. Don't \\n you see that just one word from him \\n would extricate Guy from this dreadful \\n situation? \\n\",\n \" with unpleasant \\n realization) \\n Another man's child! But she can't \\n do that to you, Guy -- it's \\n unbelievable -- it's, it's evil! \\n (she listens, then\",\n \"speaks in a desperate, low voice. \\n \\n ANNE \\n You didn't meet him for the first \\n time the other day, did you, Guy? \\n \\n Guy stares at her for a moment. \\n \\n GUY\"\n ],\n [\n \" BRUNO \\n (looks at Guy with \\n astonishment) \\n But, Guy, you wanted it! We planned \\n it on the train together, remember? \\n \\n Guy suddenly starts to go. Bruno grabs his arm. \\n\",\n \"Guy looks at him, almost numb. \\n \\n BRUNO \\n Now look, Guy, about my father. I \\n have the plans made. Two plans. A \\n plan of the grounds and a plan of\",\n \"As Guy comes near to Bruno, the latter turns on him and starts \\n to attack him. \\n BRUNO \\n I want to get off of here! Let me \\n off of here! It makes me dizzy. \\n \\n GUY\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \"Guy's arguments have made no impression on Bruno whatsoever. \\n He fingers the gun. \\n \\n BRUNO \\n I don't like to be doublecrossed. \\n (MORE) \\n\",\n \"some surprise and disgust, then over at Bruno, suddenly \\n conscious he is behaving like a criminal and that Bruno is \\n responsible for his predicament. \\n \\n GUY \\n (muttering)\",\n \" GUY \\n (nods) \\n Okay, Mr. Turley. Thanks. \\n \\n Turley turns back to the group around Bruno. Guy looks down \\n for a moment at Bruno, then speaks to the boatman, who is \\n standing nearby.\",\n \"Bruno. He steps back into the darkness again as Guy comes \\n up to him. \\n \\n \\n TWO SHOT \\n Guy frowning in puzzlement as he looks at Bruno. \\n \\n BRUNO \\n (cheerfully)\",\n \" I thought he'd be Interested to know \\n he his a lunatic son. \\n \\n The faintest flicker of Bruno's eyes indicates the intensity \\n of his reaction. He stares hard at Guy. \\n\",\n \"Bruno's relief turns again to menace. He picks up the gun \\n and fingers it nervously. \\n \\n GUY \\n (kindly) \\n Look, Bruno. You're terribly sick. \\n (haltingly)\",\n \"Guy advances, and with a sharp thrust, pushes Bruno back on \\n the settee. \\n \\n Bruno looks and sees Guy clearly for the first time. \\n \\n BRUNO \\n What happened? I was on a merry-go-\",\n \" So they got you at last, eh, Guy? \\n \\n Guy looks around desperately, frustrated for a moment as \\n Turley eyes him stonily. Then he turns again to Bruno. \\n \\n GUY \\n (rather gently)\",\n \" Hello, Guy. \\n \\n GUY \\n (recognizes Bruno -- \\n not pleased) \\n What are you doing here? At this \\n time of night? \\n \\n BRUNO\",\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\",\n \" do it?\\\" And Bruno would say we'd \\n planed it together. \\n \\n ANNE \\n Oh, Guy -- what can we do? \\n \\n GUY\",\n \"For a moment a look of fear comes into Bruno's face as he \\n thinks Guy will probably shoot him. After a pause, Guy tosses \\n the gun on the bed. \\n \\n GUY \\n Or this. \\n\",\n \" GUY \\n Stay away from me, I tell you! \\n \\n He leaves Bruno abruptly to rejoin Anne. Bruno looks after \\n him, a little hurt. \\n \\n \\n TWO SHOT \\n\",\n \" until the crane comes. \\n \\n Bruno opens his eyes and sees Guy. \\n \\n BRUNO \\n Hello, Guy. \\n \\n Turley has leaned forward to look at the helpless Bruno. \\n \\n BRUNO\",\n \"back-up for fear of being knocked over. The screw of tension \\n increase. Over this comes the sound of an approaching \\n ambulance siren. \\n \\n \\n CLOSE SHOT \\n \\n Bruno edges himself toward Guy. He is hanging on to the\"\n ],\n [\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \" Why yes. How did you -- \\n \\n Converted to PDF by www.screentalk.org 35. \\n \\n \\n \\n We see Bruno's gloved hands dart quickly to Miriam's throat.\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\",\n \"CLOSE UP MIRIAM \\n \\n She gives a faint smile in return. \\n \\n \\n CLOSE SHOT \\n \\n With a studied movement, Bruno picks up the handle of the \\n hammer and swings. \\n\",\n \"Miriam comes nearer and nearer to Bruno. With her two \\n companions she brushes past him and jumps onto the bus. THE \\n CAMERA PANS BRUNO AFTER THEM. \\n \\n EXT. AMUSEMENT PARK LONG SHOT\",\n \"over and after paying his fee, goes to take up the hammer. \\n \\n \\n CLOSE UP MIRIAM \\n \\n She watches Bruno. \\n \\n \\n CLOSE SHOT \\n \\n Bruno looks down at his hands. \\n \\n\",\n \"we were shooting up at them. Suddenly one of the figures \\n falls forward. \\n \\n \\n CLOSE UP \\n \\n Miriam's head drops into the picture by the glasses. \\n \\n Bruno's hand comes into the picture and picks up the glasses.\",\n \"and down. CAMERA FOLLOWING HIM. He passes one or two of \\n the oncoming heads before he reaches Miriam. She is on an \\n outside mount which is high in the air when she sees Bruno \\n facing her. Her laughter dies for a moment and she smiles\",\n \"Bruno drops the hammer and glances around at Miriam again. \\n Her two boy-friends are calling for her from a little \\n distance. \\n \\n BOY'S VOICE \\n Come On, Miriam. Come On! \\n\",\n \" Oh! \\n \\n She gives a coy smile of recognition. CAMERA PULLS BACK to \\n reveal the mad and shoulders of Bruno between Miriam and the \\n camera. His hand holds Guy's lighter which he flicks on as\",\n \"Again from Bruno's viewpoint, we see Miriam's house. At \\n this moment the front door swings open, emitting a long streak \\n ot bright light. We see the silhouette of a woman emerge,\",\n \"he raises it above Miriam's face. 0f Bruno, we see only the \\n back of his head and shoulders. \\n \\n BRUNO \\n Is your name Miriam? \\n \\n MIRIAM \\n (with surprise)\",\n \"Bruno turns to follow Miriam, his manner casual. As he takes \\n a few steps, WE PAN ACROSS with him until, over his shoulder, \\n we see a merry-go-round in the background. Miriam and the\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \"that her lips are trembling, too, and in her eyes frightened \\n tears are welling. Her breath is heavy. \\n \\n \\n INT. STUDY \\n \\n Bruno is stretched out on a settee. He is completely out.\",\n \" (calling back) \\n Goodnight, Mother. See you later. \\n \\n \\n CLOSE UP \\n \\n Bruno watches Miriam. \\n \\n \\n MED. SHOT \\n\",\n \"MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT) \\n \\n Bruno is approaching the pay box. \\n \\n \\n MEDIUM SHOT \\n \\n Miriam and her companions are escorted to a small boat with\",\n \"INSERT \\n \\n Bruno's two strong hands - as he holds them palms tilted \\n upward and fingers curled in. \\n \\n \\n CLOSE UP \\n \\n Bruno, as he smiles faintly, glancing across at Miriam. \\n \\n\",\n \"One of the lenses has been broken by Miriam's fall. \\n \\n As we see Bruno's sport shoes move away, the CAMERA MOVES \\n PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed\"\n ],\n [\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"INT. BURTON LIVING ROOM EVENING \\n \\n The Burtons are having coffee. Barbara has been glancing \\n through a new murder mystery with a lurid cover. As Guy \\n enters, Anne rises to greet him. \\n\",\n \" was murdered. They had it all worked \\n out -- \\n (taps his head) \\n in their timetables. \\n \\n ANNE \\n (growing indignant \\n and increasingly \\n nervous)\",\n \" (quietly) \\n What do you mean -- your murder, \\n Guy? \\n \\n GUY \\n Well, he'd read about me in the paper. \\n He knew about Miriam -- and about\",\n \" interested in the subject of murder. \\n \\n Anne looks more troubled, then moves on out of the scene. \\n \\n BRUNO \\n No more than anyone else. No more \\n than you, for instance. \\n\",\n \" So few murderers are caught. \\n \\n The Judge moves out of the way. Bruno smiles blandly at the \\n ladies. One of them speaks to him. \\n \\n MRS. CUNNINGHAM \\n Well, Mr. Antony, you seem very\",\n \"As Guy's hands unfold the paper and hold it for moment, we \\n see that it is a diagrammed plan of the grounds and the \\n Interior of the Anthony house. There are dotted lines along \\n the upper hall, with an arrow which points to one room and\",\n \" while his hands were around Mrs. \\n Cunningham's throat. \\n \\n Guy looks at Anne with an expression of growing fear and \\n alarm. She goes on inexorably: \\n \\n ANNE\",\n \" Oh, come now, everyone's interested \\n in that. Everyone would like to put \\n someone out of the way. Now surely, \\n Madame, you're not going to tell me \\n that there hasn't been a time when\",\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \" Then he is going to Metcalf. But he \\n has to wait until it gets dark -- \\n (with frantic haste, \\n he thinks quickly, \\n then murmurs to Anne) \\n Listen, Anne, as soon as the third\",\n \" You're is much in it as I am. We \\n planned it together. Criss-cross. \\n I do your murder -- \\n \\n GUY \\n (suddenly angry) \\n You crazy fool! You think you can\",\n \" know Bruno's been in some very awkward \\n scrapes, but nothing so ridiculous \\n as a murder. \\n (she gives a short \\n little laugh) \\n ANNE \\n (desperately)\",\n \"on to the next one. He turns the knob soundlessly and passes \\n through into the room. \\n \\n \\n INT. ANTONY BEDROOM LONG SHOT \\n \\n The room is in darkness except for the dim outline of the\",\n \" fellows meet accidentally, like you \\n and me. No connection between them \\n at all. Never saw each other before. \\n Each of them has somebody he'd like \\n to get rid of, but he can't murder\",\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \" BRUNO (CONT'D) \\n Bang, bang, all over the place. \\n Blood everywhere? \\n \\n The other woman joins in: \\n \\n MRS. ANDERSON \\n What about a little poison? \\n\",\n \" I'm sorry, Guy, to be the one to \\n tell you. It concerns your wife. \\n She's been murdered. \\n \\n Guy stares woodenly at the Senator, is if hypnotized. \\n \\n BARBARA\",\n \"that her lips are trembling, too, and in her eyes frightened \\n tears are welling. Her breath is heavy. \\n \\n \\n INT. STUDY \\n \\n Bruno is stretched out on a settee. He is completely out.\",\n \"said on the phone: \\\"I could strangle her.\\\" He sinks into a \\n chair. The Senator is quite distressed. \\n \\n During the following scene Barbara quietly goes about the \\n business of pouring drinks and serving them. She knows \\n everyone's preference. \\n\"\n ],\n [\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \"Guy looks at him, almost numb. \\n \\n BRUNO \\n Now look, Guy, about my father. I \\n have the plans made. Two plans. A \\n plan of the grounds and a plan of\",\n \" I thought he'd be Interested to know \\n he his a lunatic son. \\n \\n The faintest flicker of Bruno's eyes indicates the intensity \\n of his reaction. He stares hard at Guy. \\n\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \"Guy advances, and with a sharp thrust, pushes Bruno back on \\n the settee. \\n \\n Bruno looks and sees Guy clearly for the first time. \\n \\n BRUNO \\n What happened? I was on a merry-go-\",\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\",\n \"some surprise and disgust, then over at Bruno, suddenly \\n conscious he is behaving like a criminal and that Bruno is \\n responsible for his predicament. \\n \\n GUY \\n (muttering)\",\n \"Guy smashes Bruno in the jaw, in utter disgust, and knocks \\n him back onto the settee. Bruno looks up from his sprawled \\n position, a dull look in his eye. \\n \\n BRUNO \\n You shouldn't have done that, Guy.\",\n \"for Guy to pass through. \\n \\n \\n INT. HALLWAY MED. SHOT \\n \\n Guy walks toward the stairs, tense and apprehensive. Bruno \\n is following him, still holding the gun. When the Great\",\n \"As Bruno is dying, his closed fist slowly starts to open. \\n \\n DETECTIVE'S VOICE \\n He's finished. \\n \\n Guy's lighter is now revealed in Bruno's open hand. \\n \\n\",\n \" last thing I do! \\n \\n Bruno looks off in direction of his farther's voice with an \\n expression which says, \\\"Crow while you can, you haven't \\n much time.\\\" He reaches into his pocket, brings out Guy's\",\n \"Bruno. He steps back into the darkness again as Guy comes \\n up to him. \\n \\n \\n TWO SHOT \\n Guy frowning in puzzlement as he looks at Bruno. \\n \\n BRUNO \\n (cheerfully)\",\n \"Guy's arguments have made no impression on Bruno whatsoever. \\n He fingers the gun. \\n \\n BRUNO \\n I don't like to be doublecrossed. \\n (MORE) \\n\",\n \"back-up for fear of being knocked over. The screw of tension \\n increase. Over this comes the sound of an approaching \\n ambulance siren. \\n \\n \\n CLOSE SHOT \\n \\n Bruno edges himself toward Guy. He is hanging on to the\",\n \" use for the key, then, Mr. Haines. \\n (he holds out his \\n hand and Guy gives \\n him the key) \\n Thank you very such. \\n \\n As Bruno continues to stare at him, Guy takes out the Luger.\",\n \"As Guy comes near to Bruno, the latter turns on him and starts \\n to attack him. \\n BRUNO \\n I want to get off of here! Let me \\n off of here! It makes me dizzy. \\n \\n GUY\",\n \" GUY \\n You can't go around killing people \\n just because you think they're \\n useless. \\n \\n BRUNO \\n Oh, what's a life or two? Some people\",\n \"Bruno's relief turns again to menace. He picks up the gun \\n and fingers it nervously. \\n \\n GUY \\n (kindly) \\n Look, Bruno. You're terribly sick. \\n (haltingly)\",\n \"Anne watches Guy approach this stranger. She looks downward \\n at Bruno's tie pin. \\n \\n \\n CLOSEUP \\n \\n Bruno's tie pin, bearing his name, gleams in the light. \\n \\n \\n CLOSEUP \\n\",\n \"Anne comes down the steps and intercepts Guy on the sidewalk. \\n She leads him along a few paces and then stops and faces \\n him. \\n \\n \\n CLOSE TWO SHOT \\n \\n Anne nods off in the direction of the departed Bruno and\"\n ],\n [\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \"One of the lenses has been broken by Miriam's fall. \\n \\n As we see Bruno's sport shoes move away, the CAMERA MOVES \\n PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed\",\n \"Guy's hands taking Miriam's glasses from Bruno. One of the \\n lenses is broken. \\n \\n Converted to PDF by www.screentalk.org 41. \\n \\n \\n \\n TWO SHOT \\n\",\n \" Oh! \\n \\n She gives a coy smile of recognition. CAMERA PULLS BACK to \\n reveal the mad and shoulders of Bruno between Miriam and the \\n camera. His hand holds Guy's lighter which he flicks on as\",\n \"some surprise and disgust, then over at Bruno, suddenly \\n conscious he is behaving like a criminal and that Bruno is \\n responsible for his predicament. \\n \\n GUY \\n (muttering)\",\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \" GUY \\n What do you mean? \\n \\n Bruno's hand comes out of his pocket and he hands Miriam's \\n glasses to Guy. \\n \\n \\n INSERT \\n\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"As Bruno is dying, his closed fist slowly starts to open. \\n \\n DETECTIVE'S VOICE \\n He's finished. \\n \\n Guy's lighter is now revealed in Bruno's open hand. \\n \\n\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\",\n \"toward her, smiling. \\n \\n \\n CLOSEUP ANNE \\n \\n As Bruno comes in her direction, Anne's expression shows her \\n mystification and concern about Bruno's presence and about \\n Guy's attitude toward him. \\n \\n\",\n \" So they got you at last, eh, Guy? \\n \\n Guy looks around desperately, frustrated for a moment as \\n Turley eyes him stonily. Then he turns again to Bruno. \\n \\n GUY \\n (rather gently)\",\n \"Anne watches Guy approach this stranger. She looks downward \\n at Bruno's tie pin. \\n \\n \\n CLOSEUP \\n \\n Bruno's tie pin, bearing his name, gleams in the light. \\n \\n \\n CLOSEUP \\n\",\n \"Bruno. He steps back into the darkness again as Guy comes \\n up to him. \\n \\n \\n TWO SHOT \\n Guy frowning in puzzlement as he looks at Bruno. \\n \\n BRUNO \\n (cheerfully)\",\n \" GUY \\n Miriam. \\n \\n BRUNO \\n That's it. Miriam Joyce Haines. \\n Played around a lot, I suppose? \\n GUY \\n Let's not talk about it any more.\",\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\",\n \" until the crane comes. \\n \\n Bruno opens his eyes and sees Guy. \\n \\n BRUNO \\n Hello, Guy. \\n \\n Turley has leaned forward to look at the helpless Bruno. \\n \\n BRUNO\",\n \"we were shooting up at them. Suddenly one of the figures \\n falls forward. \\n \\n \\n CLOSE UP \\n \\n Miriam's head drops into the picture by the glasses. \\n \\n Bruno's hand comes into the picture and picks up the glasses.\"\n ],\n [\n \"Bruno's flare of anger dies. They both look again across \\n the street. \\n \\n \\n LONG SHOT (FROM THEIR VIEWPOINT) \\n \\n The two policemen come out of the house, get into their car \\n and drive off. \\n\",\n \"As Bruno is dying, his closed fist slowly starts to open. \\n \\n DETECTIVE'S VOICE \\n He's finished. \\n \\n Guy's lighter is now revealed in Bruno's open hand. \\n \\n\",\n \"Guy still stares across the street. \\n \\n \\n LONG SHOT (FROM HIS VIEWPOINT) \\n \\n We see a police car pull up outside Guy's apartment. \\n \\n \\n TWO SHOT \\n\",\n \"head sags back somewhat, but is resting on pieces of debris. \\n A uniformed policeman looks up from Bruno to Turley: \\n \\n POLICEMAN \\n This one's in a pretty bad way, Mr. \\n Turley. \\n\",\n \" THE END \\n \\n\",\n \"CLOSE SHOT \\n The detective fires at Guy. \\n \\n \\n CLOSE SHOT \\n \\n The man running the machine in the center of the merry-go- \\n round is suddenly hit in the shoulder. \\n \\n \\n CLOSE SHOT\",\n \"Guy is shocked at the sight of Bruno. \\n \\n GUY \\n (looking down at Bruno) \\n Can't you get that stuff off him? \\n \\n POLICEMAN \\n No, they've done everything they can\",\n \"Guy is surrounded by police and Campbell stands at his elbow. \\n At this moment the boatman runs in. One of the detectives \\n is with him. \\n \\n DETECTIVE \\n Mr. Turley! Mr. Turley!\",\n \"followed by two other men. They're laughing and joking. \\n Suddenly they look up the street. At this very moment the \\n bus pulls up in front of Bruno's view, cutting off the sight \\n of his quarry. The bus comes to a stop. \\n \\n\",\n \" ...And he said that if the police \\n found your lighter there, that's all \\n they'd need -- something to prove \\n you were at the scene of the murder. \\n \\n GUY \\n (grimly)\",\n \" Guy. \\n \\n Converted to PDF by www.screentalk.org 44. \\n \\n \\n \\n CLOSEUP GUY \\n \\n He looks across at the police, then down at himself with\",\n \"CLOSE SHOT MAN \\n \\n watching Guy get into taxi. As we hear the taxi drive away, \\n the man hurries across to a waiting police car. \\n \\n \\n CLOSE SHOT \\n\",\n \"his assistant as he gets into the boat. \\n \\n Converted to PDF by www.screentalk.org 37. \\n \\n \\n \\n BOATMAN \\n Got a cop! \\n \\n The assistant runs off out of the pictures\",\n \" was murdered. They had it all worked \\n out -- \\n (taps his head) \\n in their timetables. \\n \\n ANNE \\n (growing indignant \\n and increasingly \\n nervous)\",\n \" There he is! That's the one! That's \\n the one who killed her! \\n \\n TURLEY \\n Of course he is. We know that. \\n \\n\",\n \" Whatever it is, the police will know \\n it. They gave me a present -- come \\n take a look. \\n \\n He crosses to the window, lifts the curtain slightly, then \\n turns back to the others. \\n \\n GUY\",\n \" The police have been using everything \\n but radar to locate you. \\n \\n SENATOR \\n You're to call Headquarters at \\n Metcalf. \\n \\n The full impact of what has happened hits Guy once more. \\n\",\n \"We see the two policemen go into his apartment building. \\n \\n \\n TWO SHOT \\n \\n Guy is still flattened against the wall to keep out of light. \\n \\n BRUNO \\n Tell them you know about it already,\",\n \" ANNE \\n He killed Miriam, didn't he? Tell \\n me, Guy! \\n \\n GUY \\n Yes. \\n (suddenly bursting \\n out)\",\n \" I'm sorry, Guy, to be the one to \\n tell you. It concerns your wife. \\n She's been murdered. \\n \\n Guy stares woodenly at the Senator, is if hypnotized. \\n \\n BARBARA\"\n ],\n [\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \"Guy's hands taking Miriam's glasses from Bruno. One of the \\n lenses is broken. \\n \\n Converted to PDF by www.screentalk.org 41. \\n \\n \\n \\n TWO SHOT \\n\",\n \"some surprise and disgust, then over at Bruno, suddenly \\n conscious he is behaving like a criminal and that Bruno is \\n responsible for his predicament. \\n \\n GUY \\n (muttering)\",\n \"One of the lenses has been broken by Miriam's fall. \\n \\n As we see Bruno's sport shoes move away, the CAMERA MOVES \\n PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed\",\n \" Oh! \\n \\n She gives a coy smile of recognition. CAMERA PULLS BACK to \\n reveal the mad and shoulders of Bruno between Miriam and the \\n camera. His hand holds Guy's lighter which he flicks on as\",\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \" Why yes. How did you -- \\n \\n Converted to PDF by www.screentalk.org 35. \\n \\n \\n \\n We see Bruno's gloved hands dart quickly to Miriam's throat.\",\n \" GUY \\n What do you mean? \\n \\n Bruno's hand comes out of his pocket and he hands Miriam's \\n glasses to Guy. \\n \\n \\n INSERT \\n\",\n \"As Bruno is dying, his closed fist slowly starts to open. \\n \\n DETECTIVE'S VOICE \\n He's finished. \\n \\n Guy's lighter is now revealed in Bruno's open hand. \\n \\n\",\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\",\n \" I thought he'd be Interested to know \\n he his a lunatic son. \\n \\n The faintest flicker of Bruno's eyes indicates the intensity \\n of his reaction. He stares hard at Guy. \\n\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \" GUY \\n Miriam. \\n \\n BRUNO \\n That's it. Miriam Joyce Haines. \\n Played around a lot, I suppose? \\n GUY \\n Let's not talk about it any more.\",\n \"For a moment a look of fear comes into Bruno's face as he \\n thinks Guy will probably shoot him. After a pause, Guy tosses \\n the gun on the bed. \\n \\n GUY \\n Or this. \\n\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \" BRUNO \\n (looks at Guy with \\n astonishment) \\n But, Guy, you wanted it! We planned \\n it on the train together, remember? \\n \\n Guy suddenly starts to go. Bruno grabs his arm. \\n\",\n \" use for the key, then, Mr. Haines. \\n (he holds out his \\n hand and Guy gives \\n him the key) \\n Thank you very such. \\n \\n As Bruno continues to stare at him, Guy takes out the Luger.\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\",\n \"for Guy to pass through. \\n \\n \\n INT. HALLWAY MED. SHOT \\n \\n Guy walks toward the stairs, tense and apprehensive. Bruno \\n is following him, still holding the gun. When the Great\"\n ],\n [\n \"Miriam comes nearer and nearer to Bruno. With her two \\n companions she brushes past him and jumps onto the bus. THE \\n CAMERA PANS BRUNO AFTER THEM. \\n \\n EXT. AMUSEMENT PARK LONG SHOT\",\n \"We see the bus pull up outside the Amusement Park, and the \\n various passengers alight. These include Miriam nd her \\n companions, and Bruno. \\n \\n \\n LONG SHOT NEARER VIEW OF THE AMUSEMENT PARK \\n\",\n \"From his viewpoint, the girl, whom we now see is Miriam, is \\n running followed by the two young men. They are calling for \\n the bus not to go - shouting, \\\"Hi - stop!\\\" Mrs. Joyce calls \\n from the porch: \\n\",\n \"CLOSE SHOT MIRIAM \\n \\n She turns away and is lost in the crowd. \\n \\n \\n MEDIUM SHOT OVER BRUNO'S SHOULDER AT MERRY-GO ROUND IN \\n BACKGROUND \\n\",\n \"Bruno turns to follow Miriam, his manner casual. As he takes \\n a few steps, WE PAN ACROSS with him until, over his shoulder, \\n we see a merry-go-round in the background. Miriam and the\",\n \"and down. CAMERA FOLLOWING HIM. He passes one or two of \\n the oncoming heads before he reaches Miriam. She is on an \\n outside mount which is high in the air when she sees Bruno \\n facing her. Her laughter dies for a moment and she smiles\",\n \"and it, too, goes into the tunnel. \\n \\n \\n INSIDE THE TUNNEL \\n \\n We see the silhouettes of the occupants of Miriam's boat on \\n the wall of the tunnel, lit dimly from the light coming from\",\n \"obviously misses her, for we hear his voice call out: \\n \\n GEORGE'S VOICE \\n Miriam! \\n \\n Miriam backs out of the bushes until the back of her head is\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \"MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT) \\n \\n Bruno is approaching the pay box. \\n \\n \\n MEDIUM SHOT \\n \\n Miriam and her companions are escorted to a small boat with\",\n \"Miriam's death actually means to their happiness -- they are \\n free. \\n \\n \\n BACK TO SCENE \\n \\n The Senator firmly urges Barbara to the door. \\n \\n SENATOR \\n (to Barbara)\",\n \"Boatman's hand comes up into the picture and pulls the lever \\n over. \\n \\n \\n LONG SHOT \\n \\n The sudden braking causes the whole merry-go-round to topple \\n over with a grinding roar. \\n \\n\",\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \"Miriam and her boy friends begin to sing the song being played \\n on the calliope. \\n \\n \\n CLOSE UP MIRIAM \\n \\n As she starts to sing, she glances back. \\n \\n \\n CLOSE UP BRUNO\",\n \"we were shooting up at them. Suddenly one of the figures \\n falls forward. \\n \\n \\n CLOSE UP \\n \\n Miriam's head drops into the picture by the glasses. \\n \\n Bruno's hand comes into the picture and picks up the glasses.\",\n \"EXIT OF THE TUNNEL \\n \\n It is empty. There is a sudden piercing scream from inside, \\n followed after a second or two by protestations and giggling \\n as Miriam's boat emerges into the light. She is pushing one\",\n \"Silhouetted in the foreground, the trees and foliage of the \\n island. Nearby we see the silhouetted figures of Miriam and \\n her companions move across the scene, right to left. Miriam \\n is pushing George away from her. \\n\",\n \"Bruno drops the hammer and glances around at Miriam again. \\n Her two boy-friends are calling for her from a little \\n distance. \\n \\n BOY'S VOICE \\n Come On, Miriam. Come On! \\n\",\n \"MEDIUM SHOT ON MERRY-GO-ROUND \\n \\n Bruno begins to look around for Miriam, who is apparently on \\n the other side of the merry-go-round. He starts to thread \\n his way through the horses which are beginning to move up\",\n \"We see Miriam and her companions approach the boat concession \\n and CAMERA FOLLOWS THEM onto the little landing stage. CAMERA \\n MOVES UP SLOWLY over the boy's shoulders until we get MIRIAM\"\n ],\n [\n \" GUY \\n What? \\n \\n BRUNO \\n The wedding. You and Anne Burton. \\n (a gesture of \\n explanation) \\n It was in the papers. \\n \\n GUY\",\n \" They're close to the finish, Guy \\n \\n GUY \\n Be right there. \\n (turns to Anne) \\n I was afraid you wouldn't get here. \\n Wish me luck, darling. \\n\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"Anne comes down the steps and intercepts Guy on the sidewalk. \\n She leads him along a few paces and then stops and faces \\n him. \\n \\n \\n CLOSE TWO SHOT \\n \\n Anne nods off in the direction of the departed Bruno and\",\n \"gets an idea and with a pat on Barbara's arm, asks hurriedly: \\n \\n ANNE \\n Do you know where Guy is? \\n \\n BARBARA \\n He went out with that man! \\n\",\n \" ANNE \\n He killed Miriam, didn't he? Tell \\n me, Guy! \\n \\n GUY \\n Yes. \\n (suddenly bursting \\n out)\",\n \"Anne, with his back to him. He takes something out of the \\n pocket of his dressing gown and looks down at it in his hand. \\n It is Guy's lighter. Suddenly he stuffs it back his pocket \\n and turn back to Anne. \\n\",\n \" GUY \\n (coldly) \\n Yes? \\n \\n BRUNO \\n Anne Burton. Sometimes I turn the \\n sport page and look at the society \\n news. And the pictures. She's very\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \"speaks in a desperate, low voice. \\n \\n ANNE \\n You didn't meet him for the first \\n time the other day, did you, Guy? \\n \\n Guy stares at her for a moment. \\n \\n GUY\",\n \" your way now. You can be married \\n right away. Think of it -- you're \\n free! \\n \\n \\n CLOSE TWO ANNE AND GUY \\n \\n look at one another with a growing realization of what\",\n \"His figure tense, he rings the bell. After a moment's wait, \\n the door is opened from inside and Anne Burton stands in the \\n lighted hallway. She looks at Guy with an anxious, taut\",\n \"Guy turns and closes the door. \\n \\n \\n MEDIUM SHOT FROM ANNE'S VIEWPOINT \\n \\n The limousine moves off and Guy comes toward her. \\n \\n \\n MEDIUM SHOT \\n\",\n \"toward her, smiling. \\n \\n \\n CLOSEUP ANNE \\n \\n As Bruno comes in her direction, Anne's expression shows her \\n mystification and concern about Bruno's presence and about \\n Guy's attitude toward him. \\n \\n\",\n \"They both wait for him to enter. \\n \\n \\n CLOSEUP GUY \\n \\n He steels himself for the long walk across the hall and the \\n living room. \\n \\n \\n CLOSEUP ANNE \\n \\n Watching Guy closely.\",\n \" you. He suggested that if he got \\n rid of Miriam for me, I should kill \\n his father. \\n \\n ANNE \\n You must have realized he was talking \\n a lot of nonsense! \\n \\n GUY\",\n \"door. One is climbing in. The other is Guy. \\n \\n \\n CLOSEUP ANNE \\n She calls out urgently: \\n \\n ANNE \\n Guy! \\n \\n \\n CLOSE SHOT \\n\",\n \" tonight he has plenty to worry about. \\n \\n Converted to PDF by www.screentalk.org 50. \\n \\n \\n \\n ANNE \\n (who hasn't taken \\n anxious eyes off Guy)\",\n \" GUY \\n (grimly) \\n Yes, isn't it? \\n \\n ANNE \\n You mean you've known about Miriam \\n all this time? \\n\",\n \"As Guy comes into the scene. He stands staring. \\n \\n ANNE \\n Guy, darling -- this is Mr. Antony -- \\n a friend of Monsieur and Madame \\n Darville... \\n (to Bruno)\"\n ],\n [\n \"The two men are now in a clinch. Guy tries to fight off the \\n maddened Bruno. They are flung between the horses, bouncing \\n one against the other, almost half way around the merry-go- \\n round. \\n \\n\",\n \"Bruno is seen to jump on a merry-go-round, which is just \\n starting. Its pace is already pretty fast. \\n \\n \\n MED. SHOT \\n \\n Guy runs toward Bruno. \\n\",\n \"As Guy comes near to Bruno, the latter turns on him and starts \\n to attack him. \\n BRUNO \\n I want to get off of here! Let me \\n off of here! It makes me dizzy. \\n \\n GUY\",\n \"The detective pulls out his gun and starts to run after Guy. \\n \\n \\n SEMI-LONG SHOT \\n \\n Guy jumps on the merry-go-round after Bruno. Its speed is \\n so great that he nearly gets flung off. \\n \\n\",\n \"CLOSE SHOT ON MERRY-GO-ROUND \\n \\n Guy and Bruno in a struggle. Guy has to protect himself \\n from a madman whose hands attempt to reach his throat. \\n\",\n \"CLOSE SHOT BRUNO AND GUY \\n \\n Again they struggles between two horses. On each side of \\n them are two young screaming girls. The two bounce from one \\n horse to the other. \\n \\n CLOSE SHOT \\n\",\n \"MED. SHOT GUY AND BRUNO \\n \\n Bruno swings around till his back is to us. He pushes Guy \\n toward the edge, but Guy manages to grab the rein of the \\n nearest horse. The momentum of the machine swings Guy around\",\n \"Guy is now glancing at his watch. The sun is behind him and \\n very much lower. \\n \\n EXT. AMUSEMENT PARK \\n \\n Bruno is looking at his watch and then across at the sky. \\n \\n\",\n \"gondola. Bruno leaps onto his back but Guy manages to put \\n the boy in the gondola. \\n \\n \\n CLOSE SHOT UNDERNEATH THE WHIRLING MERRY-GO-ROUND \\n\",\n \"Guy advances, and with a sharp thrust, pushes Bruno back on \\n the settee. \\n \\n Bruno looks and sees Guy clearly for the first time. \\n \\n BRUNO \\n What happened? I was on a merry-go-\",\n \"enjoyment. He sees this by suddenly glancing over his \\n shoulder. In the b.g. Guy and Bruno are continuing their \\n fight. Bruno rises. Guy staggers after him. Bruno again \\n leaps upon Guy. The two men sway toward the CAMERA until\",\n \"CLOSE SHOT \\n \\n Guy breaks away from Bruno and dives around the back of the \\n horse to grab the little boy. \\n \\n \\n CLOSE SHOT \\n \\n As Guy grabs the boy, he staggers forward with him to a small\",\n \"two boys are aboard and climbing onto horses. As Bruno goes \\n toward the merry-go-round, the CAMERA MOVES UP A LITTLE with \\n him. The merry-go-round starts to move slowly round as Bruno \\n hops on. \\n\",\n \"back-up for fear of being knocked over. The screw of tension \\n increase. Over this comes the sound of an approaching \\n ambulance siren. \\n \\n \\n CLOSE SHOT \\n \\n Bruno edges himself toward Guy. He is hanging on to the\",\n \" round somewhere. It made me dizzy. \\n \\n Guy moves forward, and thrusting his hand in Bruno's open \\n shirt, pulls him to his feet. Bruno ignores Guy's violence \\n and remain puzzled. \\n \\n GUY\",\n \"against the horse, whose big head towers in the f.g. Bruno, \\n on this side of the horse pushes forward and tries to grab \\n the reins from Guy's hand. He tries to slash at Guy's face.\",\n \"Bruno pulls Guy back further into the shadows. Guy \\n instinctively flattens himself against the wall. He looks \\n across the street again. \\n \\n \\n LONG SHOT (FROM HIS VIEWPOINT) \\n\",\n \" BRUNO \\n (looks at Guy with \\n astonishment) \\n But, Guy, you wanted it! We planned \\n it on the train together, remember? \\n \\n Guy suddenly starts to go. Bruno grabs his arm. \\n\",\n \" GUY \\n Stay away from me, I tell you! \\n \\n He leaves Bruno abruptly to rejoin Anne. Bruno looks after \\n him, a little hurt. \\n \\n \\n TWO SHOT \\n\",\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\"\n ],\n [\n \" ANOTHER VOICE \\n Stop him! Stop him! \\n \\n \\n CLOSEUP \\n Bruno's wrists and hands and the neck of his victim. We can\",\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \"that her lips are trembling, too, and in her eyes frightened \\n tears are welling. Her breath is heavy. \\n \\n \\n INT. STUDY \\n \\n Bruno is stretched out on a settee. He is completely out.\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\",\n \"A few more passersby have stopped to watch Bruno, whose arm \\n is pushed through the grating. \\n \\n CLOSEUP \\n \\n Bruno's face -- straining. \\n \\n \\n CLOSEUP \\n\",\n \"Bruno gets alongside the little boy. The boy now shows some \\n anxiety. The three figures now fill the screen with the \\n horses' heads in the f.g. Bruno is forced against the little \\n boy, who now, alarmed, beats Bruno on the cheek with one\",\n \" Why yes. How did you -- \\n \\n Converted to PDF by www.screentalk.org 35. \\n \\n \\n \\n We see Bruno's gloved hands dart quickly to Miriam's throat.\",\n \" until the crane comes. \\n \\n Bruno opens his eyes and sees Guy. \\n \\n BRUNO \\n Hello, Guy. \\n \\n Turley has leaned forward to look at the helpless Bruno. \\n \\n BRUNO\",\n \"She looks off in Bruno's direction extremely disturbed at \\n this new aspect of the mysterious stranger. \\n \\n \\n CLOSEUP GUY \\n \\n He is watching Bruno. \\n \\n \\n MED. SHOT \\n\",\n \"is semi-flexed and turning slowly, The other is receiving \\n the final touches of a manicure. \\n \\n CAMERA PULLS BACK to reveal that these are Bruno's hands,\",\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\",\n \"He is starting to join in the singing. \\n \\n \\n MEDIUM SHOT \\n \\n The horses of the merry-go-round are filling the screen as \\n they whizz by, and again we get the picture of Bruno chasing\",\n \" round somewhere. It made me dizzy. \\n \\n Guy moves forward, and thrusting his hand in Bruno's open \\n shirt, pulls him to his feet. Bruno ignores Guy's violence \\n and remain puzzled. \\n \\n GUY\",\n \" I thought he'd be Interested to know \\n he his a lunatic son. \\n \\n The faintest flicker of Bruno's eyes indicates the intensity \\n of his reaction. He stares hard at Guy. \\n\",\n \"women, also in the picture, are pulling at Bruno's wrists. \\n Mrs. Cunningham's hands begin to slide off. Her head drops \\n back. \\n \\n Over this we HEAR cries of: \\n \\n VOICES\",\n \"BACK until we can see the feet of Bruno protruding from behind \\n a chair in which he is sitting. He has obviously heard the \\n entire conversation between Anne and his mother. Bruno rises. \\n He is in dressing gown and pajamas. \\n\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \"As Bruno is dying, his closed fist slowly starts to open. \\n \\n DETECTIVE'S VOICE \\n He's finished. \\n \\n Guy's lighter is now revealed in Bruno's open hand. \\n \\n\",\n \" BRUNO \\n (looks at Guy with \\n astonishment) \\n But, Guy, you wanted it! We planned \\n it on the train together, remember? \\n \\n Guy suddenly starts to go. Bruno grabs his arm. \\n\",\n \"Bruno doesn't answer. With the lighter in his closed fist, \\n he darts through the crowd, the people looking after him. \\n \\n \\n LONG SHOT \\n \\n The sun is much lower. \\n \\n \\n INT. CLUB CAR \\n\"\n ],\n [\n \"As Guy's hands unfold the paper and hold it for moment, we \\n see that it is a diagrammed plan of the grounds and the \\n Interior of the Anthony house. There are dotted lines along \\n the upper hall, with an arrow which points to one room and\",\n \"on to the next one. He turns the knob soundlessly and passes \\n through into the room. \\n \\n \\n INT. ANTONY BEDROOM LONG SHOT \\n \\n The room is in darkness except for the dim outline of the\",\n \"recumbent figure in the bed. We hear Guy's voice, in a loud \\n whisper: \\n \\n GUY \\n Mr. Antony! \\n \\n The figure stirs. \\n \\n \\n ANOTHER ANGLE \\n\",\n \"INT. ANTONY HOME ENTRANCE HALL \\n \\n As Guy moves in soundlessly and closes the door. He looks \\n toward the stairs which are in shadow. \\n \\n \\n MED. SHOT \\n\",\n \" You know, I'm very upset with Guy. \\n He shouldn't have sent you on an \\n errand like this. \\n \\n ANNE \\n Guy doesn't know I'm here, Mr. Antony. \\n\",\n \"As Guy comes into the scene. He stands staring. \\n \\n ANNE \\n Guy, darling -- this is Mr. Antony -- \\n a friend of Monsieur and Madame \\n Darville... \\n (to Bruno)\",\n \"door. One is climbing in. The other is Guy. \\n \\n \\n CLOSEUP ANNE \\n She calls out urgently: \\n \\n ANNE \\n Guy! \\n \\n \\n CLOSE SHOT \\n\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \"Anne, with his back to him. He takes something out of the \\n pocket of his dressing gown and looks down at it in his hand. \\n It is Guy's lighter. Suddenly he stuffs it back his pocket \\n and turn back to Anne. \\n\",\n \"They both wait for him to enter. \\n \\n \\n CLOSEUP GUY \\n \\n He steels himself for the long walk across the hall and the \\n living room. \\n \\n \\n CLOSEUP ANNE \\n \\n Watching Guy closely.\",\n \"quietly and moves away to a window at the turn of the stairs. \\n \\n \\n EXT. FIRE ESCAPE \\n \\n Guy comes out of the window onto the second floor fire escape. \\n He creeps stealthily down and emerges into a narrow alleyway.\",\n \"gets an idea and with a pat on Barbara's arm, asks hurriedly: \\n \\n ANNE \\n Do you know where Guy is? \\n \\n BARBARA \\n He went out with that man! \\n\",\n \"His figure tense, he rings the bell. After a moment's wait, \\n the door is opened from inside and Anne Burton stands in the \\n lighted hallway. She looks at Guy with an anxious, taut\",\n \" together there one night after dark? \\n \\n ANNE \\n Yes. \\n \\n GUY \\n Well, that's what's in his mind now. \\n He's not going to expose himself in\",\n \" (sotto voce) \\n Bruno, Guy. Bruno Anthony. Don't \\n you remember? On the train. \\n \\n The voices of Mr. and Mrs. Anthony can still be heard in \\n dispute as Bruno listens at phone: \\n\",\n \"Guy advances, and with a sharp thrust, pushes Bruno back on \\n the settee. \\n \\n Bruno looks and sees Guy clearly for the first time. \\n \\n BRUNO \\n What happened? I was on a merry-go-\",\n \" Converted to PDF by www.screentalk.org 77. \\n \\n \\n \\n He's gone, and with a last glance at the dresser, Guy goes \\n out and closes the door. \\n\",\n \"He realizes there is no use in trying to talk to Guy any \\n further. He turns and faces the CAMERA IN CLOSE UP as he \\n moves away, looking sad almost to the point of tears. \\n \\n \\n INT. GUY'S APARTMENT\",\n \"Guy crosses to his door, which he opens surreptitiously. \\n \\n \\n MED. SHOT CORRIDOR \\n \\n Guy glances down the stairs, then closes the door behind him\",\n \"Guy turns and closes the door. \\n \\n \\n MEDIUM SHOT FROM ANNE'S VIEWPOINT \\n \\n The limousine moves off and Guy comes toward her. \\n \\n \\n MEDIUM SHOT \\n\"\n ],\n [\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \" a crime of this sort the police first \\n go after the husband, and Guy had \\n every motive. \\n \\n SENATOR \\n (aghast) \\n Motive? \\n \\n GUY\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \" (quietly) \\n What do you mean -- your murder, \\n Guy? \\n \\n GUY \\n Well, he'd read about me in the paper. \\n He knew about Miriam -- and about\",\n \" ANNE \\n He killed Miriam, didn't he? Tell \\n me, Guy! \\n \\n GUY \\n Yes. \\n (suddenly bursting \\n out)\",\n \" you. He suggested that if he got \\n rid of Miriam for me, I should kill \\n his father. \\n \\n ANNE \\n You must have realized he was talking \\n a lot of nonsense! \\n \\n GUY\",\n \"wife Miriam. A sub-heading tells of Guy's cigarette lighter \\n found at the scene of the crime. All this DISSOLVES AWAY \\n and the page becomes once more the sports section. \\n \\n \\n CLOSEUP \\n\",\n \" GUY \\n (grimly) \\n Yes, isn't it? \\n \\n ANNE \\n You mean you've known about Miriam \\n all this time? \\n\",\n \"Guy still stares across the street. \\n \\n \\n LONG SHOT (FROM HIS VIEWPOINT) \\n \\n We see a police car pull up outside Guy's apartment. \\n \\n \\n TWO SHOT \\n\",\n \"Guy is standing at the telephone which is still ringing. He \\n has Miriam's glasses in his hand. He looks down at them for \\n a moment, then picks up the receiver. He hesitates, then \\n speaks into the phone. \\n \\n GUY\",\n \" No, I didn't, sir. I've never seen \\n this man before in my life. I meant \\n the other one. \\n \\n The detective who was holding Guy instinctively relax his\",\n \"Guy is shocked at the sight of Bruno. \\n \\n GUY \\n (looking down at Bruno) \\n Can't you get that stuff off him? \\n \\n POLICEMAN \\n No, they've done everything they can\",\n \" Guy. \\n \\n Converted to PDF by www.screentalk.org 44. \\n \\n \\n \\n CLOSEUP GUY \\n \\n He looks across at the police, then down at himself with\",\n \" GUY \\n Miriam. \\n \\n BRUNO \\n That's it. Miriam Joyce Haines. \\n Played around a lot, I suppose? \\n GUY \\n Let's not talk about it any more.\",\n \" He's right, Guy. You mustn't do \\n anything that would look suspicious. \\n You've got to carry on as though \\n nothing has happened. \\n \\n BARBARA \\n (pointing out the\",\n \" ...And he said that if the police \\n found your lighter there, that's all \\n they'd need -- something to prove \\n you were at the scene of the murder. \\n \\n GUY \\n (grimly)\",\n \" (she looks up at Guy \\n as the woman moves \\n off) \\n Well -- hello, Guy. \\n \\n GUY \\n You're looking well, Miriam. \\n\",\n \" Converted to PDF by www.screentalk.org 77. \\n \\n \\n \\n He's gone, and with a last glance at the dresser, Guy goes \\n out and closes the door. \\n\",\n \" (brushing this off) \\n Oh, they can't have anything on you. \\n (looking past Guy) \\n Isn't that Anne Burton? Slight \\n improvement over Miriam -- eh, Guy? \\n\",\n \" GUY \\n Let me go, Bruno. I had nothing to \\n do with this and the police will \\n believe me. \\n \\n Converted to PDF by www.screentalk.org 43. \\n \\n \\n\"\n ],\n [\n \" ANOTHER VOICE \\n Stop him! Stop him! \\n \\n \\n CLOSEUP \\n Bruno's wrists and hands and the neck of his victim. We can\",\n \"Bruno gets alongside the little boy. The boy now shows some \\n anxiety. The three figures now fill the screen with the \\n horses' heads in the f.g. Bruno is forced against the little \\n boy, who now, alarmed, beats Bruno on the cheek with one\",\n \"He is starting to join in the singing. \\n \\n \\n MEDIUM SHOT \\n \\n The horses of the merry-go-round are filling the screen as \\n they whizz by, and again we get the picture of Bruno chasing\",\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \"that her lips are trembling, too, and in her eyes frightened \\n tears are welling. Her breath is heavy. \\n \\n \\n INT. STUDY \\n \\n Bruno is stretched out on a settee. He is completely out.\",\n \"Bruno rises from the bed and sits on the and of it. He is \\n fully dressed, just as he was at the party, in white tie and \\n tails. \\n \\n BRUNO \\n (politely)\",\n \"A few more passersby have stopped to watch Bruno, whose arm \\n is pushed through the grating. \\n \\n CLOSEUP \\n \\n Bruno's face -- straining. \\n \\n \\n CLOSEUP \\n\",\n \" Stop him! \\n Help, somebody! \\n Pull him off! \\n Mr. Antony! Mr. Antony! \\n \\n \\n CLOSEUP BRUNO \\n \\n His body is swaying slightly at the various efforts to drag\",\n \" Why yes. How did you -- \\n \\n Converted to PDF by www.screentalk.org 35. \\n \\n \\n \\n We see Bruno's gloved hands dart quickly to Miriam's throat.\",\n \"She looks off in Bruno's direction extremely disturbed at \\n this new aspect of the mysterious stranger. \\n \\n \\n CLOSEUP GUY \\n \\n He is watching Bruno. \\n \\n \\n MED. SHOT \\n\",\n \" hurt in any way. It was all over in \\n no time. \\n \\n \\n CLOSEUP GUY \\n \\n He is horrified. He looks swiftly down at the glasses in \\n his hand, then back to Bruno. \\n\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \"women, also in the picture, are pulling at Bruno's wrists. \\n Mrs. Cunningham's hands begin to slide off. Her head drops \\n back. \\n \\n Over this we HEAR cries of: \\n \\n VOICES\",\n \" I thought he'd be Interested to know \\n he his a lunatic son. \\n \\n The faintest flicker of Bruno's eyes indicates the intensity \\n of his reaction. He stares hard at Guy. \\n\",\n \"The small boy pointing the gun fires it twice with a couple \\n of 'bangs!' He then starts to move off. \\n \\n \\n SEMI-CLOSE UP \\n \\n Bruno moves on past the boy. He casually touches the balloon\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\",\n \" BRUNO \\n (looks at Guy with \\n astonishment) \\n But, Guy, you wanted it! We planned \\n it on the train together, remember? \\n \\n Guy suddenly starts to go. Bruno grabs his arm. \\n\",\n \"BACK until we can see the feet of Bruno protruding from behind \\n a chair in which he is sitting. He has obviously heard the \\n entire conversation between Anne and his mother. Bruno rises. \\n He is in dressing gown and pajamas. \\n\",\n \"Bruno's relief turns again to menace. He picks up the gun \\n and fingers it nervously. \\n \\n GUY \\n (kindly) \\n Look, Bruno. You're terribly sick. \\n (haltingly)\",\n \"As Bruno is dying, his closed fist slowly starts to open. \\n \\n DETECTIVE'S VOICE \\n He's finished. \\n \\n Guy's lighter is now revealed in Bruno's open hand. \\n \\n\"\n ],\n [\n \" BARBARA \\n I hope you aren't forgetting our \\n little party on Thursday, Madame. \\n \\n From Bruno's viewpoint, as Barbara speaks,CAMERA MOVES IN\",\n \"She comes from the same direction that Guy came. She stops \\n short as she sees: \\n \\n \\n MED. SHOT FROM BARBARA'S VIEWPOINT \\n \\n Bruno is now heartily joining in conversation with one of \\n the elderly gentlemen.\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \"All talk dies out as all eyes turn to Bruno, who is staring \\n at Barbara. Except Anne's, who is saying quietly to Bruno: \\n \\n ANNE \\n This is my sister Barbara. Barbara, \\n this is Mr. Antony. \\n\",\n \"Guy sees Bruno join a group of several ladies who are seated \\n on a settee and a couple of older men who are standing by. \\n A waiter comes along with a tray of drinks. Bruno takes \\n one. \\n \\n \\n CLOSEUP BARBARA \\n\",\n \"where Bruno has indicated in his handwriting, \\\"My father's \\n room.\\\" Over this we hear the voices of Barbara and the \\n secretary: \\n \\n SECRETARY'S VOICE \\n Barbara, who are you waving at? \\n\",\n \" She looked a lot like Barbara, didn't \\n she? \\n \\n Guy suddenly begins to realize what Anne is getting at. \\n \\n Anne lowers her head, deliberately avoids looking at Guy, as \\n she asks: \\n\",\n \"CLOSE SHOT GROUP AT TABLE FROM GUY'S VIEWPOINT \\n \\n Bruno is occupied with his French joke, but Anne is looking \\n at Guy strangely. \\n \\n \\n TWO SHOT GUY AND BARBARA \\n\",\n \"that her lips are trembling, too, and in her eyes frightened \\n tears are welling. Her breath is heavy. \\n \\n \\n INT. STUDY \\n \\n Bruno is stretched out on a settee. He is completely out.\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\",\n \"CLOSEUP BRUNO \\n \\n He does not acknowledge the introduction immediately. He is \\n still staring at Barbara. Then he nods abstractedly. \\n \\n Converted to PDF by www.screentalk.org 75. \\n \\n\",\n \"Guy turns back to Barbara. Barbara looks with interest toward \\n Bruno. \\n \\n BARBARA \\n Who's the nice looking Frenchman \\n with the Darvilles? \\n \\n GUY\",\n \"BACK until we can see the feet of Bruno protruding from behind \\n a chair in which he is sitting. He has obviously heard the \\n entire conversation between Anne and his mother. Bruno rises. \\n He is in dressing gown and pajamas. \\n\",\n \"CLOSEUP BRUNO \\n \\n Bruno stops in the middle of some French to stare at Barbara. \\n Her voice continues. \\n \\n BARBARA'S VOICE \\n How are you?\",\n \"She looks off in Bruno's direction extremely disturbed at \\n this new aspect of the mysterious stranger. \\n \\n \\n CLOSEUP GUY \\n \\n He is watching Bruno. \\n \\n \\n MED. SHOT \\n\",\n \"Bruno and Guy going out the front door. The man-servant \\n does not close it immediately, so we are able to HEAR the \\n call for Mr. Antony's car. \\n \\n \\n CLOSEUP BARBARA \\n\",\n \"Miriam comes nearer and nearer to Bruno. With her two \\n companions she brushes past him and jumps onto the bus. THE \\n CAMERA PANS BRUNO AFTER THEM. \\n \\n EXT. AMUSEMENT PARK LONG SHOT\",\n \"He is still watching Bruno talk to the French couple. Guy \\n is unaware of Anne's looks. Suddenly his attention is \\n arrested by the sound of Barbara's voice calling him. \\n \\n Converted to PDF by www.screentalk.org 73.\",\n \"toward her, smiling. \\n \\n \\n CLOSEUP ANNE \\n \\n As Bruno comes in her direction, Anne's expression shows her \\n mystification and concern about Bruno's presence and about \\n Guy's attitude toward him. \\n \\n\",\n \"Bruno rises from the bed and sits on the and of it. He is \\n fully dressed, just as he was at the party, in white tie and \\n tails. \\n \\n BRUNO \\n (politely)\"\n ],\n [\n \"a few newspaper photographers. There is a rush of interest \\n when a taxi pulls up and Guy steps out of it. Guy pushes \\n his way through the people. Two or three bulbs flash. There \\n is a murmur from the crowd and we hear Guy's name. He passes\",\n \"dignified and erect. He has removed his glasses to polish \\n them and does not react to Guy's presence. \\n \\n \\n CLOSEUP GUY \\n \\n Guy starts with a smile of recognition to say, \\\"How do you\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \"Guy advances, and with a sharp thrust, pushes Bruno back on \\n the settee. \\n \\n Bruno looks and sees Guy clearly for the first time. \\n \\n BRUNO \\n What happened? I was on a merry-go-\",\n \"Guy looks at him, almost numb. \\n \\n BRUNO \\n Now look, Guy, about my father. I \\n have the plans made. Two plans. A \\n plan of the grounds and a plan of\",\n \" GUY \\n What? \\n \\n BRUNO \\n The wedding. You and Anne Burton. \\n (a gesture of \\n explanation) \\n It was in the papers. \\n \\n GUY\",\n \"Guy still stares across the street. \\n \\n \\n LONG SHOT (FROM HIS VIEWPOINT) \\n \\n We see a police car pull up outside Guy's apartment. \\n \\n \\n TWO SHOT \\n\",\n \"As Guy's hands unfold the paper and hold it for moment, we \\n see that it is a diagrammed plan of the grounds and the \\n Interior of the Anthony house. There are dotted lines along \\n the upper hall, with an arrow which points to one room and\",\n \"Bruno pulls Guy back further into the shadows. Guy \\n instinctively flattens himself against the wall. He looks \\n across the street again. \\n \\n \\n LONG SHOT (FROM HIS VIEWPOINT) \\n\",\n \"GUY HAINES. He, too, is in his middle twenties and is well \\n dressed because he can now afford to be. He nods politely, \\n acknowledging Bruno's apology, then turns away with the \\n gesture implying he wants privacy. \\n\",\n \" it's yours. And as you're the one \\n to profit, I think you should be the \\n one to pay for it. \\n \\n For an instant his nervous hands seem to be struggling with \\n the urge to kill Guy. \\n\",\n \" GUY \\n (subsiding) \\n Come on -- pull yourself together. \\n Do your tie up. \\n \\n Bruno staggers to his feet. He fumbles at his collar. As\",\n \"He realizes there is no use in trying to talk to Guy any \\n further. He turns and faces the CAMERA IN CLOSE UP as he \\n moves away, looking sad almost to the point of tears. \\n \\n \\n INT. GUY'S APARTMENT\",\n \" I thought he'd be Interested to know \\n he his a lunatic son. \\n \\n The faintest flicker of Bruno's eyes indicates the intensity \\n of his reaction. He stares hard at Guy. \\n\",\n \"man looks over the top of his magazine at Guy, with \\n recognition. He leans forward. \\n \\n CLERIC \\n I beg your pardon, but aren't you \\n Guy Haines? \\n \\n GUY\",\n \"He looks up eagerly. \\n \\n \\n MED. SHOT \\n \\n Professor Collins comes in and sits in a chair opposite Guy. \\n \\n TURLEY \\n Professor Collins, this is Mr. Haines.\",\n \" GUY \\n Stay away from me, I tell you! \\n \\n He leaves Bruno abruptly to rejoin Anne. Bruno looks after \\n him, a little hurt. \\n \\n \\n TWO SHOT \\n\",\n \"Guy turns and closes the door. \\n \\n \\n MEDIUM SHOT FROM ANNE'S VIEWPOINT \\n \\n The limousine moves off and Guy comes toward her. \\n \\n \\n MEDIUM SHOT \\n\",\n \"Guy and Anne are walking slowly through a more or less \\n deserted room of the gallery. Their manner is relaxed and \\n intimate. \\n \\n ANNE \\n Well, we'd better be getting back. \\n \\n GUY\"\n ],\n [\n \" reporters at your front door in the \\n morning. \\n \\n BARBARA \\n Daddy doesn't mind a little scandal. \\n He's a senator. \\n \\n ANNE\",\n \"his family and his career. Barbara, Anne's younger sister, \\n is a lively seventeen who loves excitement, says exactly \\n what she thinks and rarely thinks before she says it. \\n Superficially, in height and figure, she resembles Miriam.\",\n \"INT. BURTON HOUSE BIG HEAD CLOSEUP OF ANNE \\n \\n Her face is troubled. CAMERA BEGINS TO PULL BACK. We see \\n now that the reception is in progress and that Anne stands\",\n \"The Senator looks inquiringly. Anne makes the introduction. \\n \\n ANNE \\n This is Mr. Antony, father. \\n \\n SENATOR \\n How do you do, sir. \\n \\n BRUNO\",\n \"ANNE BURTON is a beautiful, high-spirited and well-bred young \\n woman. The smile on her face his faded to anxiety as she \\n listens over the telephone which is on the desk. \\n \\n ANNE \\n (after a pause then\",\n \" Then he is going to Metcalf. But he \\n has to wait until it gets dark -- \\n (with frantic haste, \\n he thinks quickly, \\n then murmurs to Anne) \\n Listen, Anne, as soon as the third\",\n \" We're on in a few minutes, Guy. \\n (to Anne) \\n How are you, Miss Morton. \\n \\n Anne acknowledges his greeting with a nod. \\n \\n GUY\",\n \"Anne and Mrs. Antony are in the middle of a conversation. \\n Anne's manner is tense and purposeful, Mrs. Antony's much \\n less serious. \\n \\n MRS. ANTONY \\n Oh, now, Miss Burton, really! I\",\n \"His figure tense, he rings the bell. After a moment's wait, \\n the door is opened from inside and Anne Burton stands in the \\n lighted hallway. She looks at Guy with an anxious, taut\",\n \"INT. BURTON LIVING ROOM EVENING \\n \\n The Burtons are having coffee. Barbara has been glancing \\n through a new murder mystery with a lurid cover. As Guy \\n enters, Anne rises to greet him. \\n\",\n \" DISSOLVE TO: \\n \\n \\n INT. BURTON STUDY NIGHT \\n \\n Anne, Barbara and the Senator are sitting silently in the \\n attitudes of waiting. The telephone rings. Anne is instantly\",\n \" while his hands were around Mrs. \\n Cunningham's throat. \\n \\n Guy looks at Anne with an expression of growing fear and \\n alarm. She goes on inexorably: \\n \\n ANNE\",\n \"BACK until we can see the feet of Bruno protruding from behind \\n a chair in which he is sitting. He has obviously heard the \\n entire conversation between Anne and his mother. Bruno rises. \\n He is in dressing gown and pajamas. \\n\",\n \" long time. She's a little -- how \\n shall I say -- confused. \\n (shakes his head \\n commiseratingly) \\n Poor mother. \\n \\n Anne is too stunned to speak. \\n \\n BRUNO\",\n \" I'd like to talk to you sometime, \\n Senator, about my idea of harnessing \\n the life force. It will make atomic \\n power look like the horse and buggy. \\n (the Senator and Anne \\n are beginning to\",\n \"on her feet. Barbara and the Senator watch her anxiously as \\n she goes to answer it. \\n \\n ANNE \\n (into phone) \\n Hello... \\n (impatiently) \\n Yes, operator, yes!\",\n \" was murdered. They had it all worked \\n out -- \\n (taps his head) \\n in their timetables. \\n \\n ANNE \\n (growing indignant \\n and increasingly \\n nervous)\",\n \" SENATOR \\n Barbara! \\n ANNE \\n Father, it's getting terribly late, \\n and Guy looks so tired... \\n \\n SENATOR \\n (quickly)\",\n \"and that, he is studying them moodily, CAMERA PULLS BACK \\n FARTHER to reveal his mother, MRS. ANTHONY, sitting opposite \\n him at a little table in the Anthony living room. She is\",\n \" you. He suggested that if he got \\n rid of Miriam for me, I should kill \\n his father. \\n \\n ANNE \\n You must have realized he was talking \\n a lot of nonsense! \\n \\n GUY\"\n ],\n [\n \" VOICE \\n (OFFSCENE) \\n Guy Haines! -- Reynolds! \\n \\n While Anne is frantically trying to remember, Guy turns \\n toward, the stadium and gives a signal of \\\"Be right there.\\\" \\n ANNE\",\n \"Through the rear window we see the tracks rushing away from \\n us. Seated in the foreground are Guy Haines and a rather \\n professorial type opposite him, a bespectacled man around \\n forty-five or fifty who is extremely drunk. \\n\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"a picture of Guy among other tennis players. WITH A DISSOLVE \\n the whole character of this page changes with the exception \\n of Guy's picture, which becomes surrounded with large type, \\n announcing the arrest of Guy Haines for the murder of his\",\n \"man looks over the top of his magazine at Guy, with \\n recognition. He leans forward. \\n \\n CLERIC \\n I beg your pardon, but aren't you \\n Guy Haines? \\n \\n GUY\",\n \" while his hands were around Mrs. \\n Cunningham's throat. \\n \\n Guy looks at Anne with an expression of growing fear and \\n alarm. She goes on inexorably: \\n \\n ANNE\",\n \"hold on Guy's arm. Turley turns to Guy, puzzled. \\n \\n TURLEY \\n What is this all about, Haines? Did \\n you know he killed your wife? \\n \\n GUY\",\n \" a crime of this sort the police first \\n go after the husband, and Guy had \\n every motive. \\n \\n SENATOR \\n (aghast) \\n Motive? \\n \\n GUY\",\n \" ANNOUNCER \\n (with great excitement) \\n This is more than a tennis game, \\n ladies and gentlemen -- it's a \\n desperate fight with Guy Haines \\n playing as if his life depended on \\n it!\",\n \" BRUNO \\n (smiling with sudden \\n recognition) \\n I beg your pardon, but aren't you \\n Guy Haines. \\n \\n Guy nods with a polite half smile. Being a well known\",\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \" (O.S.) \\n Double fault. Love forty. \\n \\n \\n INT. THE ANNOUNCER'S BOOTH \\n \\n The announcer telling his listeners that Guy Haines seems to \\n be a little reckless. \\n\",\n \" to have a man love you so much he'd \\n kill for you. \\n (she ducks out) \\n \\n \\n TWO SHOT \\n \\n Left alone, Guy and Anne embrace. Anne's nervous tension\",\n \"Anne comes down the steps and intercepts Guy on the sidewalk. \\n She leads him along a few paces and then stops and faces \\n him. \\n \\n \\n CLOSE TWO SHOT \\n \\n Anne nods off in the direction of the departed Bruno and\",\n \" He knows? \\n \\n Anne nods slowly. \\n \\n GUY \\n (grimly) \\n Then he'll think of something. He \\n said he would. \\n \\n ANNE\",\n \" Guy Haines. \\n \\n \\n CLOSEUP GUY \\n \\n He gives a weak acknowledgment in Bruno's direction, realizing \\n that Bruno has wormed his way into the group and that he \\n must accept the introduction. \\n\",\n \" They're close to the finish, Guy \\n \\n GUY \\n Be right there. \\n (turns to Anne) \\n I was afraid you wouldn't get here. \\n Wish me luck, darling. \\n\",\n \" (quietly) \\n What do you mean -- your murder, \\n Guy? \\n \\n GUY \\n Well, he'd read about me in the paper. \\n He knew about Miriam -- and about\",\n \"Guy turns and closes the door. \\n \\n \\n MEDIUM SHOT FROM ANNE'S VIEWPOINT \\n \\n The limousine moves off and Guy comes toward her. \\n \\n \\n MEDIUM SHOT \\n\",\n \" ANNE \\n He killed Miriam, didn't he? Tell \\n me, Guy! \\n \\n GUY \\n Yes. \\n (suddenly bursting \\n out)\"\n ],\n [\n \" VOICE \\n (OFFSCENE) \\n Guy Haines! -- Reynolds! \\n \\n While Anne is frantically trying to remember, Guy turns \\n toward, the stadium and gives a signal of \\\"Be right there.\\\" \\n ANNE\",\n \"Through the rear window we see the tracks rushing away from \\n us. Seated in the foreground are Guy Haines and a rather \\n professorial type opposite him, a bespectacled man around \\n forty-five or fifty who is extremely drunk. \\n\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"man looks over the top of his magazine at Guy, with \\n recognition. He leans forward. \\n \\n CLERIC \\n I beg your pardon, but aren't you \\n Guy Haines? \\n \\n GUY\",\n \" (O.S.) \\n Double fault. Love forty. \\n \\n \\n INT. THE ANNOUNCER'S BOOTH \\n \\n The announcer telling his listeners that Guy Haines seems to \\n be a little reckless. \\n\",\n \" GUY \\n What? \\n \\n BRUNO \\n The wedding. You and Anne Burton. \\n (a gesture of \\n explanation) \\n It was in the papers. \\n \\n GUY\",\n \" BRUNO \\n (smiling with sudden \\n recognition) \\n I beg your pardon, but aren't you \\n Guy Haines. \\n \\n Guy nods with a polite half smile. Being a well known\",\n \"a picture of Guy among other tennis players. WITH A DISSOLVE \\n the whole character of this page changes with the exception \\n of Guy's picture, which becomes surrounded with large type, \\n announcing the arrest of Guy Haines for the murder of his\",\n \" while his hands were around Mrs. \\n Cunningham's throat. \\n \\n Guy looks at Anne with an expression of growing fear and \\n alarm. She goes on inexorably: \\n \\n ANNE\",\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \" a crime of this sort the police first \\n go after the husband, and Guy had \\n every motive. \\n \\n SENATOR \\n (aghast) \\n Motive? \\n \\n GUY\",\n \" ANNE \\n He killed Miriam, didn't he? Tell \\n me, Guy! \\n \\n GUY \\n Yes. \\n (suddenly bursting \\n out)\",\n \"hold on Guy's arm. Turley turns to Guy, puzzled. \\n \\n TURLEY \\n What is this all about, Haines? Did \\n you know he killed your wife? \\n \\n GUY\",\n \" Especially when you have Anne Burton \\n hanging on your arm. \\n \\n GUY \\n Let's not talk about Anne Burton. \\n \\n MIRIAM \\n So, it's really serious between you\",\n \" ANNOUNCER \\n (with great excitement) \\n This is more than a tennis game, \\n ladies and gentlemen -- it's a \\n desperate fight with Guy Haines \\n playing as if his life depended on \\n it!\",\n \" your way now. You can be married \\n right away. Think of it -- you're \\n free! \\n \\n \\n CLOSE TWO ANNE AND GUY \\n \\n look at one another with a growing realization of what\",\n \" Guy Haines. \\n \\n \\n CLOSEUP GUY \\n \\n He gives a weak acknowledgment in Bruno's direction, realizing \\n that Bruno has wormed his way into the group and that he \\n must accept the introduction. \\n\",\n \" you. He suggested that if he got \\n rid of Miriam for me, I should kill \\n his father. \\n \\n ANNE \\n You must have realized he was talking \\n a lot of nonsense! \\n \\n GUY\",\n \"Anne comes down the steps and intercepts Guy on the sidewalk. \\n She leads him along a few paces and then stops and faces \\n him. \\n \\n \\n CLOSE TWO SHOT \\n \\n Anne nods off in the direction of the departed Bruno and\",\n \"Guy turns and closes the door. \\n \\n \\n MEDIUM SHOT FROM ANNE'S VIEWPOINT \\n \\n The limousine moves off and Guy comes toward her. \\n \\n \\n MEDIUM SHOT \\n\"\n ],\n [\n \" BRUNO \\n (smiling with sudden \\n recognition) \\n I beg your pardon, but aren't you \\n Guy Haines. \\n \\n Guy nods with a polite half smile. Being a well known\",\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \" you. He suggested that if he got \\n rid of Miriam for me, I should kill \\n his father. \\n \\n ANNE \\n You must have realized he was talking \\n a lot of nonsense! \\n \\n GUY\",\n \" use for the key, then, Mr. Haines. \\n (he holds out his \\n hand and Guy gives \\n him the key) \\n Thank you very such. \\n \\n As Bruno continues to stare at him, Guy takes out the Luger.\",\n \" (quietly) \\n What do you mean -- your murder, \\n Guy? \\n \\n GUY \\n Well, he'd read about me in the paper. \\n He knew about Miriam -- and about\",\n \" GUY \\n Miriam. \\n \\n BRUNO \\n That's it. Miriam Joyce Haines. \\n Played around a lot, I suppose? \\n GUY \\n Let's not talk about it any more.\",\n \" BRUNO \\n (looks at Guy with \\n astonishment) \\n But, Guy, you wanted it! We planned \\n it on the train together, remember? \\n \\n Guy suddenly starts to go. Bruno grabs his arm. \\n\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \" Guy Haines. \\n \\n \\n CLOSEUP GUY \\n \\n He gives a weak acknowledgment in Bruno's direction, realizing \\n that Bruno has wormed his way into the group and that he \\n must accept the introduction. \\n\",\n \" Now, let's say you want to get rid \\n of your wife. \\n \\n GUY \\n Why? \\n \\n BRUNO \\n Let's say she refuses to give you a \\n divorce --\",\n \"As Guy comes near to Bruno, the latter turns on him and starts \\n to attack him. \\n BRUNO \\n I want to get off of here! Let me \\n off of here! It makes me dizzy. \\n \\n GUY\",\n \" (sotto voce) \\n Bruno, Guy. Bruno Anthony. Don't \\n you remember? On the train. \\n \\n The voices of Mr. and Mrs. Anthony can still be heard in \\n dispute as Bruno listens at phone: \\n\",\n \"Anne watches Guy approach this stranger. She looks downward \\n at Bruno's tie pin. \\n \\n \\n CLOSEUP \\n \\n Bruno's tie pin, bearing his name, gleams in the light. \\n \\n \\n CLOSEUP \\n\",\n \"man looks over the top of his magazine at Guy, with \\n recognition. He leans forward. \\n \\n CLERIC \\n I beg your pardon, but aren't you \\n Guy Haines? \\n \\n GUY\",\n \"Bruno's relief turns again to menace. He picks up the gun \\n and fingers it nervously. \\n \\n GUY \\n (kindly) \\n Look, Bruno. You're terribly sick. \\n (haltingly)\",\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\",\n \" Get away before I give you what you \\n gave Miriam. \\n \\n BRUNO \\n (sadly) \\n You're not yourself, Guy. You're \\n tired. When you think things over,\",\n \" ANNE \\n He killed Miriam, didn't he? Tell \\n me, Guy! \\n \\n GUY \\n Yes. \\n (suddenly bursting \\n out)\",\n \" Oh! \\n \\n She gives a coy smile of recognition. CAMERA PULLS BACK to \\n reveal the mad and shoulders of Bruno between Miriam and the \\n camera. His hand holds Guy's lighter which he flicks on as\"\n ],\n [\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\",\n \" BRUNO \\n (looks at Guy with \\n astonishment) \\n But, Guy, you wanted it! We planned \\n it on the train together, remember? \\n \\n Guy suddenly starts to go. Bruno grabs his arm. \\n\",\n \" use for the key, then, Mr. Haines. \\n (he holds out his \\n hand and Guy gives \\n him the key) \\n Thank you very such. \\n \\n As Bruno continues to stare at him, Guy takes out the Luger.\",\n \"As Guy comes near to Bruno, the latter turns on him and starts \\n to attack him. \\n BRUNO \\n I want to get off of here! Let me \\n off of here! It makes me dizzy. \\n \\n GUY\",\n \"Bruno is now seated in his accustomed place in the club car. \\n His gloved fingers are quietly toying with Guy's lighter. A \\n passenger next to him asks: \\n \\n PASSENGER \\n May I have a light, please? \\n\",\n \" last thing I do! \\n \\n Bruno looks off in direction of his farther's voice with an \\n expression which says, \\\"Crow while you can, you haven't \\n much time.\\\" He reaches into his pocket, brings out Guy's\",\n \"some surprise and disgust, then over at Bruno, suddenly \\n conscious he is behaving like a criminal and that Bruno is \\n responsible for his predicament. \\n \\n GUY \\n (muttering)\",\n \"Guy advances, and with a sharp thrust, pushes Bruno back on \\n the settee. \\n \\n Bruno looks and sees Guy clearly for the first time. \\n \\n BRUNO \\n What happened? I was on a merry-go-\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \"Anne watches Guy approach this stranger. She looks downward \\n at Bruno's tie pin. \\n \\n \\n CLOSEUP \\n \\n Bruno's tie pin, bearing his name, gleams in the light. \\n \\n \\n CLOSEUP \\n\",\n \"back-up for fear of being knocked over. The screw of tension \\n increase. Over this comes the sound of an approaching \\n ambulance siren. \\n \\n \\n CLOSE SHOT \\n \\n Bruno edges himself toward Guy. He is hanging on to the\",\n \"Bruno. He steps back into the darkness again as Guy comes \\n up to him. \\n \\n \\n TWO SHOT \\n Guy frowning in puzzlement as he looks at Bruno. \\n \\n BRUNO \\n (cheerfully)\",\n \"The detective pulls out his gun and starts to run after Guy. \\n \\n \\n SEMI-LONG SHOT \\n \\n Guy jumps on the merry-go-round after Bruno. Its speed is \\n so great that he nearly gets flung off. \\n \\n\",\n \"Guy's arguments have made no impression on Bruno whatsoever. \\n He fingers the gun. \\n \\n BRUNO \\n I don't like to be doublecrossed. \\n (MORE) \\n\",\n \" BRUNO \\n (smiling with sudden \\n recognition) \\n I beg your pardon, but aren't you \\n Guy Haines. \\n \\n Guy nods with a polite half smile. Being a well known\",\n \"Bruno pulls Guy back further into the shadows. Guy \\n instinctively flattens himself against the wall. He looks \\n across the street again. \\n \\n \\n LONG SHOT (FROM HIS VIEWPOINT) \\n\",\n \"Bruno is casually waiting for the train. He stands near a \\n news-stand reading a paper. \\n \\n \\n INSERT: \\n \\n We see that the paper is open at the sports page. There is\",\n \"For a moment a look of fear comes into Bruno's face as he \\n thinks Guy will probably shoot him. After a pause, Guy tosses \\n the gun on the bed. \\n \\n GUY \\n Or this. \\n\",\n \"Bruno is sitting with an unlighted cigarette in his mouth. \\n CAMERA MOVES IN until he is in big CLOSEUP. His eyes look \\n down. There is the SOUND of a click, then Guy's lighter\",\n \"for Guy to pass through. \\n \\n \\n INT. HALLWAY MED. SHOT \\n \\n Guy walks toward the stairs, tense and apprehensive. Bruno \\n is following him, still holding the gun. When the Great\"\n ],\n [\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \"Miriam comes nearer and nearer to Bruno. With her two \\n companions she brushes past him and jumps onto the bus. THE \\n CAMERA PANS BRUNO AFTER THEM. \\n \\n EXT. AMUSEMENT PARK LONG SHOT\",\n \" Why yes. How did you -- \\n \\n Converted to PDF by www.screentalk.org 35. \\n \\n \\n \\n We see Bruno's gloved hands dart quickly to Miriam's throat.\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\",\n \"we were shooting up at them. Suddenly one of the figures \\n falls forward. \\n \\n \\n CLOSE UP \\n \\n Miriam's head drops into the picture by the glasses. \\n \\n Bruno's hand comes into the picture and picks up the glasses.\",\n \"and down. CAMERA FOLLOWING HIM. He passes one or two of \\n the oncoming heads before he reaches Miriam. She is on an \\n outside mount which is high in the air when she sees Bruno \\n facing her. Her laughter dies for a moment and she smiles\",\n \"CLOSE UP MIRIAM \\n \\n She gives a faint smile in return. \\n \\n \\n CLOSE SHOT \\n \\n With a studied movement, Bruno picks up the handle of the \\n hammer and swings. \\n\",\n \"Bruno turns to follow Miriam, his manner casual. As he takes \\n a few steps, WE PAN ACROSS with him until, over his shoulder, \\n we see a merry-go-round in the background. Miriam and the\",\n \"Again from Bruno's viewpoint, we see Miriam's house. At \\n this moment the front door swings open, emitting a long streak \\n ot bright light. We see the silhouette of a woman emerge,\",\n \"Bruno drops the hammer and glances around at Miriam again. \\n Her two boy-friends are calling for her from a little \\n distance. \\n \\n BOY'S VOICE \\n Come On, Miriam. Come On! \\n\",\n \"We see the bus pull up outside the Amusement Park, and the \\n various passengers alight. These include Miriam nd her \\n companions, and Bruno. \\n \\n \\n LONG SHOT NEARER VIEW OF THE AMUSEMENT PARK \\n\",\n \" Oh! \\n \\n She gives a coy smile of recognition. CAMERA PULLS BACK to \\n reveal the mad and shoulders of Bruno between Miriam and the \\n camera. His hand holds Guy's lighter which he flicks on as\",\n \"over and after paying his fee, goes to take up the hammer. \\n \\n \\n CLOSE UP MIRIAM \\n \\n She watches Bruno. \\n \\n \\n CLOSE SHOT \\n \\n Bruno looks down at his hands. \\n \\n\",\n \"MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT) \\n \\n Bruno is approaching the pay box. \\n \\n \\n MEDIUM SHOT \\n \\n Miriam and her companions are escorted to a small boat with\",\n \"CLOSE SHOT MIRIAM \\n \\n She turns away and is lost in the crowd. \\n \\n \\n MEDIUM SHOT OVER BRUNO'S SHOULDER AT MERRY-GO ROUND IN \\n BACKGROUND \\n\",\n \"that her lips are trembling, too, and in her eyes frightened \\n tears are welling. Her breath is heavy. \\n \\n \\n INT. STUDY \\n \\n Bruno is stretched out on a settee. He is completely out.\",\n \"the distance. Bruno has been lost to view. \\n \\n Converted to PDF by www.screentalk.org 36. \\n \\n \\n \\n Miriam's companions are still searching for her. We hear \\n their faint voices in the distance.\",\n \"he raises it above Miriam's face. 0f Bruno, we see only the \\n back of his head and shoulders. \\n \\n BRUNO \\n Is your name Miriam? \\n \\n MIRIAM \\n (with surprise)\",\n \" (calling back) \\n Goodnight, Mother. See you later. \\n \\n \\n CLOSE UP \\n \\n Bruno watches Miriam. \\n \\n \\n MED. SHOT \\n\",\n \"try his hand. As he swings, Miriam turns and glances about \\n her, obviously looking for Bruno. \\n \\n \\n LONG SHOT FROM MIRIAM VIEWPOINT \\n \\n The crowds milling, but no sign of Bruno. \\n\"\n ],\n [\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \" Why yes. How did you -- \\n \\n Converted to PDF by www.screentalk.org 35. \\n \\n \\n \\n We see Bruno's gloved hands dart quickly to Miriam's throat.\",\n \"CLOSE UP MIRIAM \\n \\n She gives a faint smile in return. \\n \\n \\n CLOSE SHOT \\n \\n With a studied movement, Bruno picks up the handle of the \\n hammer and swings. \\n\",\n \"Miriam comes nearer and nearer to Bruno. With her two \\n companions she brushes past him and jumps onto the bus. THE \\n CAMERA PANS BRUNO AFTER THEM. \\n \\n EXT. AMUSEMENT PARK LONG SHOT\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\",\n \"we were shooting up at them. Suddenly one of the figures \\n falls forward. \\n \\n \\n CLOSE UP \\n \\n Miriam's head drops into the picture by the glasses. \\n \\n Bruno's hand comes into the picture and picks up the glasses.\",\n \"over and after paying his fee, goes to take up the hammer. \\n \\n \\n CLOSE UP MIRIAM \\n \\n She watches Bruno. \\n \\n \\n CLOSE SHOT \\n \\n Bruno looks down at his hands. \\n \\n\",\n \"Bruno drops the hammer and glances around at Miriam again. \\n Her two boy-friends are calling for her from a little \\n distance. \\n \\n BOY'S VOICE \\n Come On, Miriam. Come On! \\n\",\n \"and down. CAMERA FOLLOWING HIM. He passes one or two of \\n the oncoming heads before he reaches Miriam. She is on an \\n outside mount which is high in the air when she sees Bruno \\n facing her. Her laughter dies for a moment and she smiles\",\n \" Oh! \\n \\n She gives a coy smile of recognition. CAMERA PULLS BACK to \\n reveal the mad and shoulders of Bruno between Miriam and the \\n camera. His hand holds Guy's lighter which he flicks on as\",\n \"he raises it above Miriam's face. 0f Bruno, we see only the \\n back of his head and shoulders. \\n \\n BRUNO \\n Is your name Miriam? \\n \\n MIRIAM \\n (with surprise)\",\n \"Again from Bruno's viewpoint, we see Miriam's house. At \\n this moment the front door swings open, emitting a long streak \\n ot bright light. We see the silhouette of a woman emerge,\",\n \"Bruno turns to follow Miriam, his manner casual. As he takes \\n a few steps, WE PAN ACROSS with him until, over his shoulder, \\n we see a merry-go-round in the background. Miriam and the\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \" (calling back) \\n Goodnight, Mother. See you later. \\n \\n \\n CLOSE UP \\n \\n Bruno watches Miriam. \\n \\n \\n MED. SHOT \\n\",\n \"MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT) \\n \\n Bruno is approaching the pay box. \\n \\n \\n MEDIUM SHOT \\n \\n Miriam and her companions are escorted to a small boat with\",\n \"that her lips are trembling, too, and in her eyes frightened \\n tears are welling. Her breath is heavy. \\n \\n \\n INT. STUDY \\n \\n Bruno is stretched out on a settee. He is completely out.\",\n \"One of the lenses has been broken by Miriam's fall. \\n \\n As we see Bruno's sport shoes move away, the CAMERA MOVES \\n PAST MIRIAM'S HEAD until it comes to Guy's lighter pressed\",\n \" ANNE \\n He killed Miriam, didn't he? Tell \\n me, Guy! \\n \\n GUY \\n Yes. \\n (suddenly bursting \\n out)\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\"\n ],\n [\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \" ANNE \\n He killed Miriam, didn't he? Tell \\n me, Guy! \\n \\n GUY \\n Yes. \\n (suddenly bursting \\n out)\",\n \" a crime of this sort the police first \\n go after the husband, and Guy had \\n every motive. \\n \\n SENATOR \\n (aghast) \\n Motive? \\n \\n GUY\",\n \" (quietly) \\n What do you mean -- your murder, \\n Guy? \\n \\n GUY \\n Well, he'd read about me in the paper. \\n He knew about Miriam -- and about\",\n \"He puts his head in the side window and tells the two waiting \\n detectives where Guy has gone. \\n \\n MAN \\n Amusement park. \\n \\n Converted to PDF by www.screentalk.org 131. \\n\",\n \"wife Miriam. A sub-heading tells of Guy's cigarette lighter \\n found at the scene of the crime. All this DISSOLVES AWAY \\n and the page becomes once more the sports section. \\n \\n \\n CLOSEUP \\n\",\n \"Guy is standing at the telephone which is still ringing. He \\n has Miriam's glasses in his hand. He looks down at them for \\n a moment, then picks up the receiver. He hesitates, then \\n speaks into the phone. \\n \\n GUY\",\n \" GUY \\n (grimly) \\n Yes, isn't it? \\n \\n ANNE \\n You mean you've known about Miriam \\n all this time? \\n\",\n \" You can tell them where you were, \\n can't you, Guy? \\n \\n GUY \\n (wearily) \\n At nine-thirty I was on the train \\n from New York to Washington. \\n\",\n \"Guy still stares across the street. \\n \\n \\n LONG SHOT (FROM HIS VIEWPOINT) \\n \\n We see a police car pull up outside Guy's apartment. \\n \\n \\n TWO SHOT \\n\",\n \" No, I didn't, sir. I've never seen \\n this man before in my life. I meant \\n the other one. \\n \\n The detective who was holding Guy instinctively relax his\",\n \" Guy. \\n \\n Converted to PDF by www.screentalk.org 44. \\n \\n \\n \\n CLOSEUP GUY \\n \\n He looks across at the police, then down at himself with\",\n \" you. He suggested that if he got \\n rid of Miriam for me, I should kill \\n his father. \\n \\n ANNE \\n You must have realized he was talking \\n a lot of nonsense! \\n \\n GUY\",\n \" while his hands were around Mrs. \\n Cunningham's throat. \\n \\n Guy looks at Anne with an expression of growing fear and \\n alarm. She goes on inexorably: \\n \\n ANNE\",\n \" Guy, has he anything that the police \\n could trace to you -- \\n (quoting Bruno) \\n Any little thing. \\n \\n GUY \\n My cigarette lighter. He said once \\n he could have left it on the islands\",\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \" GUY \\n Miriam. \\n \\n BRUNO \\n That's it. Miriam Joyce Haines. \\n Played around a lot, I suppose? \\n GUY \\n Let's not talk about it any more.\",\n \" ...And he said that if the police \\n found your lighter there, that's all \\n they'd need -- something to prove \\n you were at the scene of the murder. \\n \\n GUY \\n (grimly)\",\n \" proof of where I was at nine-thirty \\n last night? \\n Guy asks this question with a look of near triumph that he \\n has clearly established his alibi. \\n \\n DISSOLVE TO: \\n \\n\"\n ],\n [\n \"Miriam's face is pretty because it is still young. She is \\n self-centered and inclined to be vindictive. She wears \\n harlequin glasses with myopic lenses which tend to make her \\n eyes look small. \\n\",\n \" What did Miriam look like, Guy. \\n \\n GUY \\n (awkwardly) \\n Well, why do you ask me? You've \\n seen her pictures in the paper. \\n \\n ANNE\",\n \"his family and his career. Barbara, Anne's younger sister, \\n is a lively seventeen who loves excitement, says exactly \\n what she thinks and rarely thinks before she says it. \\n Superficially, in height and figure, she resembles Miriam.\",\n \"obviously misses her, for we hear his voice call out: \\n \\n GEORGE'S VOICE \\n Miriam! \\n \\n Miriam backs out of the bushes until the back of her head is\",\n \"Miriam's mother, dressed all in black, is seated in one of \\n the chairs. She has been staring at the floor, but brings \\n her eyes up slowly to glare at Guy with a look of burning \\n hatred. \\n\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \"From his viewpoint, the girl, whom we now see is Miriam, is \\n running followed by the two young men. They are calling for \\n the bus not to go - shouting, \\\"Hi - stop!\\\" Mrs. Joyce calls \\n from the porch: \\n\",\n \"he raises it above Miriam's face. 0f Bruno, we see only the \\n back of his head and shoulders. \\n \\n BRUNO \\n Is your name Miriam? \\n \\n MIRIAM \\n (with surprise)\",\n \"Again from Bruno's viewpoint, we see Miriam's house. At \\n this moment the front door swings open, emitting a long streak \\n ot bright light. We see the silhouette of a woman emerge,\",\n \" MIRIAM \\n (intimately) \\n Now this is cosier. Sort of like \\n old times, isn't it, Guy? \\n \\n GUY \\n (coldly)\",\n \" (she looks up at Guy \\n as the woman moves \\n off) \\n Well -- hello, Guy. \\n \\n GUY \\n You're looking well, Miriam. \\n\",\n \"Silhouetted in the foreground, the trees and foliage of the \\n island. Nearby we see the silhouetted figures of Miriam and \\n her companions move across the scene, right to left. Miriam \\n is pushing George away from her. \\n\",\n \"Miriam's mother. She has white hair. A woman comes along \\n the street and pauses as she gets to Mrs. Joyce. \\n \\n Converted to PDF by www.screentalk.org 27. \\n \\n \\n\",\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \" She looked a lot like Barbara, didn't \\n she? \\n \\n Guy suddenly begins to realize what Anne is getting at. \\n \\n Anne lowers her head, deliberately avoids looking at Guy, as \\n she asks: \\n\",\n \" GUY \\n (grimly) \\n Yes, isn't it? \\n \\n ANNE \\n You mean you've known about Miriam \\n all this time? \\n\",\n \" MIRIAM \\n (protesting \\n perfunctorily) \\n George, no! \\n \\n She backs away from him and the boys go on picture. Miriam \\n goes in another direction, around, the bushes. George\",\n \"We see Miriam and her companions approach the boat concession \\n and CAMERA FOLLOWS THEM onto the little landing stage. CAMERA \\n MOVES UP SLOWLY over the boy's shoulders until we get MIRIAM\",\n \"Bruno on his horse, as though he is chasing Miriam. He is a \\n little more open now in his laughter. \\n \\n \\n GROUP SHOT MIRIAM AND TWO BOYS \\n\",\n \"Miriam and her boy friends begin to sing the song being played \\n on the calliope. \\n \\n \\n CLOSE UP MIRIAM \\n \\n As she starts to sing, she glances back. \\n \\n \\n CLOSE UP BRUNO\"\n ],\n [\n \" But you can't, Guy. We'd both be \\n arrested for murder. \\n \\n Guy turns back slowly and faces him. \\n \\n GUY \\n We'd both be arrested for murder? \\n \\n BRUNO\",\n \"some surprise and disgust, then over at Bruno, suddenly \\n conscious he is behaving like a criminal and that Bruno is \\n responsible for his predicament. \\n \\n GUY \\n (muttering)\",\n \"Guy looks at him, almost numb. \\n \\n BRUNO \\n Now look, Guy, about my father. I \\n have the plans made. Two plans. A \\n plan of the grounds and a plan of\",\n \"We see Guy excuse himself from Barbara, cross to Bruno and \\n speak to him angrily, obviously asking, \\\"What are you doing \\n here?\\\" Bruno, however, greets Guy with a smile then turns \\n from him, unperturbed and bland. He sees Anne and moves\",\n \" I thought he'd be Interested to know \\n he his a lunatic son. \\n \\n The faintest flicker of Bruno's eyes indicates the intensity \\n of his reaction. He stares hard at Guy. \\n\",\n \"We see Guy gripping Miriam's arms and apparently addressing \\n her in a threatening manner, although we do not hear his \\n words. The smile has faded from Miriam's face and something \\n like cringing fear has taken its place. She is drawn and\",\n \" Oh! \\n \\n She gives a coy smile of recognition. CAMERA PULLS BACK to \\n reveal the mad and shoulders of Bruno between Miriam and the \\n camera. His hand holds Guy's lighter which he flicks on as\",\n \"The lighter falls down out of picture, and as Bruno's hands \\n grip her throat, his head moves slightly to blot out Miriam's \\n face. His head moves a bit farther until Miriam's face is\",\n \" BRUNO \\n (looks at Guy with \\n astonishment) \\n But, Guy, you wanted it! We planned \\n it on the train together, remember? \\n \\n Guy suddenly starts to go. Bruno grabs his arm. \\n\",\n \" GUY \\n Miriam...murdered. \\n \\n ANNE \\n (with inner tension) \\n She was...strangled. \\n \\n Slowly Guy's eyes meet hers. They are remembering what he\",\n \"Guy's hands taking Miriam's glasses from Bruno. One of the \\n lenses is broken. \\n \\n Converted to PDF by www.screentalk.org 41. \\n \\n \\n \\n TWO SHOT \\n\",\n \"As Bruno is dying, his closed fist slowly starts to open. \\n \\n DETECTIVE'S VOICE \\n He's finished. \\n \\n Guy's lighter is now revealed in Bruno's open hand. \\n \\n\",\n \"INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS) \\n \\n Bruno and Guy are finishing lunch. Bruno has been drinking \\n and his eyes are bright and feverish. An almost empty liquor \\n bottle is near a couple of detective novels covered with\",\n \"Guy's arguments have made no impression on Bruno whatsoever. \\n He fingers the gun. \\n \\n BRUNO \\n I don't like to be doublecrossed. \\n (MORE) \\n\",\n \"is only one lamp lighted in the room. Guy presents a grim \\n picture. \\n \\n Converted to PDF by www.screentalk.org 94. \\n \\n \\n \\n He is studying the plan of Bruno's house, and he picks up\",\n \" Why yes. How did you -- \\n \\n Converted to PDF by www.screentalk.org 35. \\n \\n \\n \\n We see Bruno's gloved hands dart quickly to Miriam's throat.\",\n \" (quietly) \\n What do you mean -- your murder, \\n Guy? \\n \\n GUY \\n Well, he'd read about me in the paper. \\n He knew about Miriam -- and about\",\n \"toward her, smiling. \\n \\n \\n CLOSEUP ANNE \\n \\n As Bruno comes in her direction, Anne's expression shows her \\n mystification and concern about Bruno's presence and about \\n Guy's attitude toward him. \\n \\n\",\n \"Anne watches Guy approach this stranger. She looks downward \\n at Bruno's tie pin. \\n \\n \\n CLOSEUP \\n \\n Bruno's tie pin, bearing his name, gleams in the light. \\n \\n \\n CLOSEUP \\n\",\n \"Bruno. Looking first to her left where she sees nothing, \\n she then looks to her right, and as she does THE CAMERA PANS \\n to show Bruno standing right it her shoulder. Miriam gives \\n a little start. Bruno smiles at her. With a smirk he walks\"\n ]\n]"},"questions":{"kind":"list like","value":["Who does Guy want to marry?","Why can't Guy marry her?","What plan does Bruno propose to Guy?","How does Bruno murder Miriam?","Where does the murder take place?","How does Guy murder Bruno's father?","How can Bruno frame Guy for Miriam's murder?","Who is killed by the police at the end of the story?","What did Bruno intend to use to frame Guy for Miriam's murder?","Which ride did Miriam die on?","What ambition did Guy have in marrying Anne?","What ride did Guy and Bruno fight on?","Where did Bruno demonstrate strangling to someone?","Why did Guy sneak into Mr. Anthony's bedroom?","What action did the police take after hearing Guy's alibi for Miriam's murder?","What happened to Bruno when he demonstrated strangling at the party?","Who did Barbara at the party remind Bruno of?","What is Guy's profession?","What is the profession of Anne Morton's father?","What does Guy Haines want to do after he marries Anne Morton?","Why can't Guy Haines marry Anne Morton?","What does Bruno Anthony want Guy Haines to do in exchange for his murdering Haines' wife Miriam?","What does Bruno steal from Guy on the train?","Where does Bruno kill Miriam?","How does Bruno kill Miriam?","Where does Guy tell the police he was at the time of Miriam's murder?","Who physically resembles Miriam?","How does Bruno plan to incriminate Guy for Miriam's murder?"],"string":"[\n \"Who does Guy want to marry?\",\n \"Why can't Guy marry her?\",\n \"What plan does Bruno propose to Guy?\",\n \"How does Bruno murder Miriam?\",\n \"Where does the murder take place?\",\n \"How does Guy murder Bruno's father?\",\n \"How can Bruno frame Guy for Miriam's murder?\",\n \"Who is killed by the police at the end of the story?\",\n \"What did Bruno intend to use to frame Guy for Miriam's murder?\",\n \"Which ride did Miriam die on?\",\n \"What ambition did Guy have in marrying Anne?\",\n \"What ride did Guy and Bruno fight on?\",\n \"Where did Bruno demonstrate strangling to someone?\",\n \"Why did Guy sneak into Mr. Anthony's bedroom?\",\n \"What action did the police take after hearing Guy's alibi for Miriam's murder?\",\n \"What happened to Bruno when he demonstrated strangling at the party?\",\n \"Who did Barbara at the party remind Bruno of?\",\n \"What is Guy's profession?\",\n \"What is the profession of Anne Morton's father?\",\n \"What does Guy Haines want to do after he marries Anne Morton?\",\n \"Why can't Guy Haines marry Anne Morton?\",\n \"What does Bruno Anthony want Guy Haines to do in exchange for his murdering Haines' wife Miriam?\",\n \"What does Bruno steal from Guy on the train?\",\n \"Where does Bruno kill Miriam?\",\n \"How does Bruno kill Miriam?\",\n \"Where does Guy tell the police he was at the time of Miriam's murder?\",\n \"Who physically resembles Miriam?\",\n \"How does Bruno plan to incriminate Guy for Miriam's murder?\"\n]"},"answers":{"kind":"list like","value":[["Anne Morton, a senator's daughter","Anne Morton"],["He is already married to Miriam","he is married to Miriam"],["That Guy murder Bruno's father and Bruno would murder Miriam","Bruno will kill Guy's wife if Guy will Kill Bruno's father"],["By straggling her ","he strangles her"],["at an amusement park","On the Magic-Isle at an amusement park."],["He doesn't","he doesn't"],["Bruno stole Guy's lighter and can plant it at the murder scene","By leaving Guy's lighter."],["Bruno","Bruno"],["Guy's monogrammed lighter","his cigarette lighter"],["Magic Isle","The Magic Isle."],["Political Career","So he can go into politics."],["The carousel","a carousel "],["Senator Morton's house","A party at the Morton house"],["To warn him of Bruno's intent","to warn him that Bruno wants him dead"],["Assigned an officer to tail Guy","have him followes"],["He blacked out","he actually strangles the person"],["Miriam","Miriam"],["Amateur tennis player","professional tennis player"],["He is a senator.","Senator."],["Pursue a political career.","become a politician"],["He is already married to Miriam.","His wife Miriam refuses to divorce him"],["Kill Bruno's hated father.","He wants Guy to kill Bruno's despised father."],["He takes Guy's monogrammed cigarette lighter.","his cigarette lighter"],["On the \"Magic Isle\" at an amusement park.","amusement park"],["He strangles her.","He strangles her."],["On a train.","On the train."],["Anne Morton's younger sister, Barbara.","Barbara"],["By planting Guy's stolen cigarette lighter at the amusement park.","By leaving his lighter at the scene."]],"string":"[\n [\n \"Anne Morton, a senator's daughter\",\n \"Anne Morton\"\n ],\n [\n \"He is already married to Miriam\",\n \"he is married to Miriam\"\n ],\n [\n \"That Guy murder Bruno's father and Bruno would murder Miriam\",\n \"Bruno will kill Guy's wife if Guy will Kill Bruno's father\"\n ],\n [\n \"By straggling her \",\n \"he strangles her\"\n ],\n [\n \"at an amusement park\",\n \"On the Magic-Isle at an amusement park.\"\n ],\n [\n \"He doesn't\",\n \"he doesn't\"\n ],\n [\n \"Bruno stole Guy's lighter and can plant it at the murder scene\",\n \"By leaving Guy's lighter.\"\n ],\n [\n \"Bruno\",\n \"Bruno\"\n ],\n [\n \"Guy's monogrammed lighter\",\n \"his cigarette lighter\"\n ],\n [\n \"Magic Isle\",\n \"The Magic Isle.\"\n ],\n [\n \"Political Career\",\n \"So he can go into politics.\"\n ],\n [\n \"The carousel\",\n \"a carousel \"\n ],\n [\n \"Senator Morton's house\",\n \"A party at the Morton house\"\n ],\n [\n \"To warn him of Bruno's intent\",\n \"to warn him that Bruno wants him dead\"\n ],\n [\n \"Assigned an officer to tail Guy\",\n \"have him followes\"\n ],\n [\n \"He blacked out\",\n \"he actually strangles the person\"\n ],\n [\n \"Miriam\",\n \"Miriam\"\n ],\n [\n \"Amateur tennis player\",\n \"professional tennis player\"\n ],\n [\n \"He is a senator.\",\n \"Senator.\"\n ],\n [\n \"Pursue a political career.\",\n \"become a politician\"\n ],\n [\n \"He is already married to Miriam.\",\n \"His wife Miriam refuses to divorce him\"\n ],\n [\n \"Kill Bruno's hated father.\",\n \"He wants Guy to kill Bruno's despised father.\"\n ],\n [\n \"He takes Guy's monogrammed cigarette lighter.\",\n \"his cigarette lighter\"\n ],\n [\n \"On the \\\"Magic Isle\\\" at an amusement park.\",\n \"amusement park\"\n ],\n [\n \"He strangles her.\",\n \"He strangles her.\"\n ],\n [\n \"On a train.\",\n \"On the train.\"\n ],\n [\n \"Anne Morton's younger sister, Barbara.\",\n \"Barbara\"\n ],\n [\n \"By planting Guy's stolen cigarette lighter at the amusement park.\",\n \"By leaving his lighter at the scene.\"\n ]\n]"},"document_id":{"kind":"string","value":"7f1cb0e615795ed6be5d96ea3f13ce62921d8835"},"split":{"kind":"string","value":"test"}}},{"rowIdx":86,"cells":{"text":{"kind":"list like","value":[[" Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," with tears and guilt. Patrick puts his arms around her. \n \n SARA \n (inconsolable) \n She was dying while I was dancing \n and I was mad at her and I'm"," Sara looks at him, feeling bad. Feeling stupid for \n ruining the evening. She bites her lip, shakes her head \n (\"but nothing\"). Patrick takes her and they go in. \n \n"," Your mom would've expected you to \n do what you did. \n \n Sara, choking on tears, regards him forlornly. \n \n SARA \n That's what makes it so bad. She"," 31. \n \n 66 CONTINUED: 66 \n \n Hill's tone is searing. He turns to Sara. She's trying"," Because he was in my house with \n his hands all over my daughter! \n \n SARA \n Keep telling yourself that. Just \n don't expect me to believe it. I \n saw how you looked at him. But"," Sara takes a small, tasteless sample, nods. They eat in \n silence. Then Sara looks over at him with genuine if \n detached remorse. \n \n SARA \n You're right. I should've said"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," 99. \n \n 156 CONTINUED: 156 \n \n SARA \n She started it, Chenille. She \n wanted to start it. I told you"," Know why there's nothing to say? \n Because you don't talk about her. \n You won't talk about her. \n \n SARA \n I'm sorry she's dead. God! What"," she's feeling. But she goes on. \n \n SARA \n What I want is to wake up and see \n my mom. For things to go back to \n the way they were. When they made"," Sara folds her arms, turns away mumbling under breath. \n \n SARA \n Used to. \n \n Sara gazes out the window. The world outside begins to \n dissolve melting into images from another time, another"," to you because too much time went \n by. \n \n Sara's eyes well up. Before she can stop herself, she's \n crying. \n \n SARA"," SARA \n Uh-huh. \n \n Roy takes another drag, nods thoughtfully to himself. \n \n ROY \n That's what I figured you were \n doin'. \n"," Sara exits, looking pretty much like she feels. Like \n shit. She walks a few paces. Sees Patrick. Their eyes \n connect for a brief, awful moment before they continue on \n their respective ways. \n \n"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," SARA \n (beside herself) \n I know, but -- \n \n PATRICK \n (crestfallen) \n But what? \n"," SARA \n See you tomorrow? \n \n A rhetorical question under the circumstances. Patrick \n regards her tenderly, moves her hair from her eyes. \n Stares deeply into them. Sara smiles wanly, certain she"," SARA \n I did. \n \n PATRICK \n You ain't actin' like you did. \n \n She looks over at him, tries to smile. \n \n SARA"," Patrick looks at her, nods. He gets up, follows Sara \n behind the partition into her \"room.\" They stand there \n for a moment. He cups her face with his hands. Kisses \n her. They begin to take off each other's clothes,"],[" Chenille comes up behind him. Squeezes, pats his \n shoulder. \n \n (CONTINUED) \n \n 94. \n"," CHENILLE \n That's him. Comin' over. Kenny? \n Don't look. \n \n So of course Sara does. She makes a silly face at"," CHENILLE \n (laughs) \n Gotta watch where you sit, girl. \n And it's Chenille. But you're \n still welcome. Let's catch some"," Chenille as Kenny sidles up to her. Chenille rolls her \n eyes half-heartedly. \n \n KENNY (MAN) \n What's up? \n \n CHENILLE"," Chenille. She's ugly. She's fat! \n \n CHENILLE \n She's twenty-one too. I ain't got \n all night. Let's hop. \n \n SARA"," Chenille. Lookin' fine. As \n always. \n \n CHENILLE \n Too fine to stand in line? \n \n The Man grins, opens the rope, lets them in -- \"in\" being"," friend. Chenille doesn't like \n him. \n \n PATRICK \n She likes him. It don't stop her \n from trippin' off him now and"," Chenille, her girls, that identity \n crisis Diggy. \n \n Sara looks at Toni. Getting it. Getting her. The \n expression on her face closes off. Toni, too dense to \n read it, keeps talking. \n"," Chenille makes an impressed face. Regards Sara \n curiously. \n \n CHENILLE \n You should hit Feetz with us \n tomorrow night. It's a club. \n Sorta members only. \n"," of it. Chenille, disconcerted with Patrick, looks dourly \n at Sara. \n \n CHENILLE \n I'll see you Monday. \n (to Patrick, like an \n order)"," Chenille triple unlocks the door, lets Sara in. Sara's \n surprised -- the apartment is surprisingly quaint and \n extremely neat. It looks a helluva lot better than Roy's \n place. Chenille is dressed in hugely baggy military-"," the playground. Disappear. She and Christopher move on \n to a seesaw. Chenille bobs him up and down on one end of \n it. She's snuggling in Christopher's face when the other"," They, like Chenille, are rugged and regular. They know \n who they are. \n \n END OF SERIES OF SWEEPING SHOTS. \n \n 20. \n"," I love my son, Chenille. You know \n that, don't you? \n \n CHENILLE \n Yeah. I always knew that. \n \n"," Chenille, and Nikki). Amid snickers, the stout girl \n (\"DIGGY\") slides off the beam, walks past the teacher \n with her head demurely cast down. Clearing the teacher,"," Chenille starts to change Christopher's diaper. He \n starts to wail and flail. Chenille can't placate him. \n One of his kicks connects with Chenille's open backpack,"," (a look; knows that) \n No, I mean... the step, the... \n \n She trails off as she catches someone in the corner of \n her eye. She turns away from Chenille, gradually \n focusing on -- \n \n"," Chenille pushes her way to the bar, tugging Sara along. \n A tall, angular twenty-something MAN on the far side of \n the bar sees her. She sees him. Sucks her teeth, nudges \n Sara. \n"," ride and Patrick and Chenille repeat the routine \n throughout their conversation. \n \n CHENILLE \n Why you so quiet? \n (off Patrick's \n brooding look)"," She leaves. Chenille spots Patrick. Not too worse for \n the wear. She smiles with relief. Then Sara sees him. \n She smiles too. \n \n 47. \n"],[" There's a KNOCK at door. MRS. GWYNN, the Guidance \n Counselor, steps in. The Administrator introduces her to \n Sara. Sara regards Mrs. Gwynn with polite petulance. \n"," an EXPLOSION. A CAR HORN goes off in a persistent drone. \n Patrick stops. Stands there for a moment. Then he's \n walking again. Without looking back. And then he's","Chevalier Building, Ste. 203 \n Los Angeles, California \n \n JUNE 11, 1999 \n \n FADE IN: \n"," Before she can respond, Patrick's voice booms from the \n back of the auditorium. \n \n PATRICK (O.S.) \n Yes, sir. She's ready. \n"," Groups of children scatter around worn-out playground \n equipment. The gleeful squeal of them is everywhere. \n Patrick guides Christopher down a slide; Chenille catches \n him at the bottom. Christopher can't get enough of this"," the cheeks. ANGLE WIDENS to reveal a stout white girl on \n a balance beam. Trying to get her legs to stand up on \n it. Hanging on for dear life. From somewhere around \n her, a WHISTLE BLOWS."," clips Sara's elbow as she passes, knocking it against a \n locker. They keep going as if they don't see her. No \n one seems to see her. Welcome to mass avoidance at \n Patterson High. \n \n"," exit the complex. He leads her to a mall of trees and \n bike paths. \n \n PATRICK \n Lemme see that move you did. That \n cute leg relieve thing. \n (as she shakes"," She walks like a well-rehearsed soldier in a stiff \n straight line to the school's entrance. It's clogged \n with students. Inside the doorway, two security guards"," DAVIS presides. Girls only. \n \n \n 50 WHITE TABLE \n \n Notable for its glaring absence of color. A girl we will \n come to know as TONI sits there. \n"," in formal attire. Parking valets hover on the sidewalks \n waiting for cars. Into this, Sara and Patrick walk. She \n looks at the crowd, then sees the overhead banner -- \n \"Boston Ballet, A Command Performance.\" Sara's heart"," than we've seen before. HOLD ON closet door. A beat \n before Sara emerges from behind it, ballet slippers in \n hand. She takes a deep breath. Slides them on. Peers"," with aplomb. Her legs and body are strong, supple, \n pliable rubber bands. She flounces across it on her \n tiptoes. Does a flawless split. Hops off. Looks out. \n \n"," slumps over the steering wheel, a bullet through his \n head. \n \n \n 176 INT. BALTIMORE SCHOOL OF PERFORMING ARTS - AUDITORIUM - 176 \n NIGHT"," (CONTINUED) \n \n 111. \n \n 167 CONTINUED: 167 \n \n PATRICK"," A car speeds off. Patrick raises up, looks around. \n Malakai nods. He's okay. Snookie's crawling to the \n exit, snot-nosed and crying. He's okay. Then they see"," practicing with Patrick. Her body has finally found a \n way to get inside this kind of music, to elevate its \n meaning and transform her dance. \n \n The MUSIC ENDS. The lights go up. \n"," Patrick, still in work coveralls, enters. First thing he \n does is pick up a stack of mail. Tracking him into \n kitchen as he crosses to refrigerator, takes out a plate","83 EXT. FEETZ - FRONT ENTRANCE - NIGHT 83 \n \n Distant WAIL of SIRENS as Feetz begins to empty out. \n Kids converge on the sidewalks. PICK UP Sara, Chenille"," Patrick steers Malakai away from the waiting room, backs \n him against a wall and, in a gentle but firm way, holds \n him there. \n \n PATRICK \n They just got bad news, man. They"],[" He goes into a spin, a half-split, comes out of it \n swaggering and half-stepping around her. Sara gives him \n an impish look. Rises up on full pointe, turns out her"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," floor. PAN UP and PULL BACK to reveal Sara at 17, \n dancing in the space opened up by cornered furniture and \n rolled up rugs. As Glynn looks on, Sara completes the"," A gallant lie. Sara tries to believe it. They dance. \n Practice has made her near perfect. Their movements are \n ambitious, nimble, better than anyone else on the floor. \n They move so well together that Snookie, dancing nearby,"," So, Sara. What's up with that? \n \n SARA \n (awkwardly) \n Nothing's up with it. I used to \n kind of dance. Ballet. Mostly. \n"," SARA (CONT'D) \n (succumbs to his \n bewilderment) \n Ballet. I used to dance, Patrick. \n \n PATRICK \n You used to dance?"," WIDER as the dance floor swells with kids. PICK UP Sara \n and Patrick among them. She looks at him nervously. He \n smiles. \n \n PATRICK \n Nobody's watchin' you but me. \n","159 INT. DANCE STUDIO - SARA AND PATRICK - MORNING 159 \n \n Practice her free form, a hip-hop ballet hybrid. They're"," Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the"," DIGGY \n Go, Sara! Go, Sara! \n \n \n PATRICK AND SARA \n \n building up a sweat; confidently dancing at fever pitch. \n"," party on the floor. FAVOR Sara and Patrick, facing each \n other. He's moving already. She starts to dance, \n stiffly, tentatively. Patrick smiles at her. Shakes his"," head. He grabs her hands, swings them in time to the \n music. \n \n PATRICK \n Now move your hips. Not so fast. \n (as Sara looks lost)"," in formal attire. Parking valets hover on the sidewalks \n waiting for cars. Into this, Sara and Patrick walk. She \n looks at the crowd, then sees the overhead banner -- \n \"Boston Ballet, A Command Performance.\" Sara's heart"," Shoving, pushing, and barging her way up to Patrick. \n Without preamble or regard for Sara, she starts dancing \n with him. Patrick looks at Sara but he's somehow dancing \n with Nikki. Sara retreats with daggers in her eyes."," bustling crowds of the inner harbor, then to a park \n across from this where Sara and Patrick are practicing. \n HIP-HOP MUSIC softly PLAYS from Patrick's BOOM-BOX. Sara \n watches his face as they dance. \n"," be the dancer Juilliard came to \n see. \n \n SARA \n I wanted somebody there who loves \n me. \n \n Roy regards her softly, significantly, the irony \n implicit. \n"," 107. \n \n 164 INT. DANCE STUDIO - DAY 164 \n \n Sara. Alone. She pushes the tape from Patrick into an"," MUSIC begins. \n \n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \n like an angel through the soft cloud of this music. Her \n line, proportion and balance are impeccable. \n"," DISSOLVE TO: \n \n \n 6 INT. BALLET CLASS - EVENING (FIVE YEARS LATER) 6 \n \n Young Sara, lithe and earnest, dances. A budding beauty"," BACK TO SCENE \n \n SARA \n What's it called? What she's \n doing? \n \n CHENILLE \n A dance. \n \n SARA"],[" He calls after her. \n \n ROY \n -- Pick you up. Three-thirty. \n \n SARA \n (over a shoulder) \n Yeah. Sure. Whatever. \n \n"," Both of them ignore it. But it goes on like a musical \n number. Sara gets a sinking feeling that drops like a \n stone when she looks across the street. Roy's parked at \n the curb, waiting for her. She rolls her eyes and he"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," Patrick looks at her, nods. He gets up, follows Sara \n behind the partition into her \"room.\" They stand there \n for a moment. He cups her face with his hands. Kisses \n her. They begin to take off each other's clothes,"," Sara looks at him, feeling bad. Feeling stupid for \n ruining the evening. She bites her lip, shakes her head \n (\"but nothing\"). Patrick takes her and they go in. \n \n"," Sara looks at him. A soft smile is all she offers up. \n \n \n 115 EXT. PARK - SARA AND PATRICK - LATER 115 \n","85 EXT. STREET - SARA AND PATRICK - NIGHT 85 \n \n walking. Sara keeps stealing glances of him. Or so she \n thinks. \n \n PATRICK"," Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," so than we've ever seen. They sit close to each other. \n Very close. \n \n SARA \n Are you gonna tell me where we're \n going? \n (as he grins, shakes"," in formal attire. Parking valets hover on the sidewalks \n waiting for cars. Into this, Sara and Patrick walk. She \n looks at the crowd, then sees the overhead banner -- \n \"Boston Ballet, A Command Performance.\" Sara's heart"," sees Roys' pickup. Shit. He's home. \n \n \n 92 CAMERA TRACKS 92 \n \n Sara as she enters their rowhouse, walks up a flight of"," living area from the bedroom. Sara walks past a \n collection of saxophones and several framed pictures of \n herself. Aside from the saxophones and the pictures, \n there's hardly any furniture. Roy lights a cigarette. \n"," Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the","115 CONTINUED: 115 \n \n She looks at him. Patrick grins. Sara knocks her legs \n against his. He knocks his legs back. A silly moment."," Chenille triple unlocks the door, lets Sara in. Sara's \n surprised -- the apartment is surprisingly quaint and \n extremely neat. It looks a helluva lot better than Roy's \n place. Chenille is dressed in hugely baggy military-"," bustling crowds of the inner harbor, then to a park \n across from this where Sara and Patrick are practicing. \n HIP-HOP MUSIC softly PLAYS from Patrick's BOOM-BOX. Sara \n watches his face as they dance. \n"," dinners. \n \n SARA \n (into phone) \n It was so... slamming, Lindsay. \n The dancing! I'm going again. \n What? No, I haven't seen anybody"," hand. Sara fiercely jerks away. Patrick grabs her hand \n again, more emphatically this time. But Sara won't budge \n from the spot where she's standing. So Patrick slides \n his arms around her, holds her without moving. They"," SARA \n What? \n \n ROY (O.S.) \n Just come here. \n \n She walks into the kitchen. Roy's in front of the open"," floor. PAN UP and PULL BACK to reveal Sara at 17, \n dancing in the space opened up by cornered furniture and \n rolled up rugs. As Glynn looks on, Sara completes the"],[" Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," Malakai than it is to walk away from a lifetime of \n friendship. But Patrick does. With Sara holding onto \n his arm, at his side, he turns and walks away. \n \n"," Sara exits, looking pretty much like she feels. Like \n shit. She walks a few paces. Sees Patrick. Their eyes \n connect for a brief, awful moment before they continue on \n their respective ways. \n \n"," Patrick looks at her, nods. He gets up, follows Sara \n behind the partition into her \"room.\" They stand there \n for a moment. He cups her face with his hands. Kisses \n her. They begin to take off each other's clothes,"," Because he was in my house with \n his hands all over my daughter! \n \n SARA \n Keep telling yourself that. Just \n don't expect me to believe it. I \n saw how you looked at him. But"," Sara turns her back on him and Patrick walks away. \n \n \n ANOTHER ANGLE - TONI \n \n approaching Sara's locker. Having seen the encounter \n between Patrick and Sara, she's as smug and overbearing"," Both of them ignore it. But it goes on like a musical \n number. Sara gets a sinking feeling that drops like a \n stone when she looks across the street. Roy's parked at \n the curb, waiting for her. She rolls her eyes and he"," Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the"," He calls after her. \n \n ROY \n -- Pick you up. Three-thirty. \n \n SARA \n (over a shoulder) \n Yeah. Sure. Whatever. \n \n"," 31. \n \n 66 CONTINUED: 66 \n \n Hill's tone is searing. He turns to Sara. She's trying"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," So, Sara. What's up with that? \n \n SARA \n (awkwardly) \n Nothing's up with it. I used to \n kind of dance. Ballet. Mostly. \n"," (CONTINUED) \n \n 12. \n \n 33 CONTINUED: 33 \n \n SARA \n Over the summer. You blew me off","139 CONTINUED: 139 \n \n SARA \n (screaming at him) \n Want me to say it? You were a"," SARA \n Uh-huh. \n \n Roy takes another drag, nods thoughtfully to himself. \n \n ROY \n That's what I figured you were \n doin'. \n"," Sara. The look is like, help me out. Don't let me leave \n her hangin'. Patrick rolls his eyes as he glances at \n Sara, before he really sees her. She looks fly. Hugely"," Sara's moving the partition around, trying to make her \n room more like a room. Trying to build another wall \n between her and Roy. \n \n (CONTINUED) \n \n 26. \n","110 CONTINUED: 110 \n \n LINDSAY (V.O.) (CONT'D) \n Jesus, Sara, you're in the"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," It takes everything Patrick has to keep walking until \n he's out the door. It slams behind him. Sara marches up \n to Roy, furious. \n \n SARA \n I hate being your daughter. You"],[" Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," Because he was in my house with \n his hands all over my daughter! \n \n SARA \n Keep telling yourself that. Just \n don't expect me to believe it. I \n saw how you looked at him. But"," SARA \n Uh-huh. \n \n Roy takes another drag, nods thoughtfully to himself. \n \n ROY \n That's what I figured you were \n doin'. \n"," Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the"," SARA \n Yeah. I do. \n \n PATRICK \n Then it's on you to make the dream \n come true. \n \n SARA"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," Sara glares at him. The disingenuous Rhonda jumps in. \n \n RHONDA \n I think he means you know about \n sex. That we have it and he likes"," HONKS AGAIN. Then he waves at her. Waves! Chenille \n looks at Sara. Then at Roy. \n \n CHENILLE \n That's your old man? Now he's \n cute. \n"," 31. \n \n 66 CONTINUED: 66 \n \n Hill's tone is searing. He turns to Sara. She's trying"," father. \n \n (CONTINUED) \n \n 108. \n \n 165 CONTINUED: 165 \n \n SARA"," DIGGY \n Go, Sara! Go, Sara! \n \n \n PATRICK AND SARA \n \n building up a sweat; confidently dancing at fever pitch. \n"," Your mom would've expected you to \n do what you did. \n \n Sara, choking on tears, regards him forlornly. \n \n SARA \n That's what makes it so bad. She"," Patrick looks at her, nods. He gets up, follows Sara \n behind the partition into her \"room.\" They stand there \n for a moment. He cups her face with his hands. Kisses \n her. They begin to take off each other's clothes,"," you don't know him, Sara, what he \n been through. Matter of fact, you \n don't know shit about none of it. \n So don't come off to me like you \n do. \n"," Both of them ignore it. But it goes on like a musical \n number. Sara gets a sinking feeling that drops like a \n stone when she looks across the street. Roy's parked at \n the curb, waiting for her. She rolls her eyes and he"," A gallant lie. Sara tries to believe it. They dance. \n Practice has made her near perfect. Their movements are \n ambitious, nimble, better than anyone else on the floor. \n They move so well together that Snookie, dancing nearby,"," SARA \n What? \n \n ROY (O.S.) \n Just come here. \n \n She walks into the kitchen. Roy's in front of the open"," she's feeling. But she goes on. \n \n SARA \n What I want is to wake up and see \n my mom. For things to go back to \n the way they were. When they made"," Sara. Caught up in a throng of kids and somehow very \n separate from them. The walls have been transformed into \n veritable billboards for the senior prom -- decorations \n are everywhere. Sara continues down the hallway almost"],[" Patrick looks at her, nods. He gets up, follows Sara \n behind the partition into her \"room.\" They stand there \n for a moment. He cups her face with his hands. Kisses \n her. They begin to take off each other's clothes,"," Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," Malakai than it is to walk away from a lifetime of \n friendship. But Patrick does. With Sara holding onto \n his arm, at his side, he turns and walks away. \n \n"," Sara looks at him, feeling bad. Feeling stupid for \n ruining the evening. She bites her lip, shakes her head \n (\"but nothing\"). Patrick takes her and they go in. \n \n"," with tears and guilt. Patrick puts his arms around her. \n \n SARA \n (inconsolable) \n She was dying while I was dancing \n and I was mad at her and I'm"," hand. Sara fiercely jerks away. Patrick grabs her hand \n again, more emphatically this time. But Sara won't budge \n from the spot where she's standing. So Patrick slides \n his arms around her, holds her without moving. They"," Sara and Patrick. Gazing at each other. The SONG ENDS \n with them in each other's arms. \n \n FADE OUT. \n \n \n \n \n THE END \n \n"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," SARA \n See you tomorrow? \n \n A rhetorical question under the circumstances. Patrick \n regards her tenderly, moves her hair from her eyes. \n Stares deeply into them. Sara smiles wanly, certain she"," 31. \n \n 66 CONTINUED: 66 \n \n Hill's tone is searing. He turns to Sara. She's trying"," Sara looks at him. A soft smile is all she offers up. \n \n \n 115 EXT. PARK - SARA AND PATRICK - LATER 115 \n"," Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the"," Sara exits, looking pretty much like she feels. Like \n shit. She walks a few paces. Sees Patrick. Their eyes \n connect for a brief, awful moment before they continue on \n their respective ways. \n \n"," He regards her, touched. \n \n PATRICK \n I like it. I love it. Thank you. \n \n SARA \n Wait. There's more. \n"," Sara pulls Patrick back. Walks alone to the edge of the \n stage, composed and professional again. She regards the \n judges with a beaming resolve and a ballerina's curtsy, \n then simply says: \n \n SARA"," SARA \n I did. \n \n PATRICK \n You ain't actin' like you did. \n \n She looks over at him, tries to smile. \n \n SARA"," Sara looks up. For the first time in her life, she \n believes him. \n \n \n 166 INT. HOSPITAL - I.C.U. WAITING ROOM/CORRIDOR - EVENING 166","115 CONTINUED: 115 \n \n She looks at him. Patrick grins. Sara knocks her legs \n against his. He knocks his legs back. A silly moment."," She leaves. Chenille spots Patrick. Not too worse for \n the wear. She smiles with relief. Then Sara sees him. \n She smiles too. \n \n 47. \n"," He calls after her. \n \n ROY \n -- Pick you up. Three-thirty. \n \n SARA \n (over a shoulder) \n Yeah. Sure. Whatever. \n \n"],[" Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the"," Sara on stage. She looks past a row of Juilliard JUDGES \n into the audience. No glint of gold. MOZART'S \"Elvira \n Madigan\" (Andante) CUES UP. Sara begins her technical."," Pince-Nez leads Sara to the stage. Announces her. \n \n Sara walks onstage. \n \n She nods down at the judges, looks out into the audience. \n Her eyes anxiously search for Patrick... hoping. Her"," SARA \n Nothing's wrong. \n (except) \n I can't figure things out. \n \n PATRICK \n What things? The audition? You"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," Patrick hugging Sara, looks down at the judges. \n \n PATRICK \n All due respect, if ya'll don't \n let this girl in, you're crazy! \n"," SARA \n \n finishes with a flawless arabesque. Looks out. \n \n \n REVERSE ANGLE - JUDGES \n \n One of the more imperious-appearing JUDGES removes his"," perfunctorily nod. Their equivalent of maybe next year. \n Sara chokes two words out... \n \n SARA \n Thank you. \n \n \n 16 INT. AUDITORIUM - BACKSTAGE"," audition, Roy. I meant to. \n \n She's clutching the photo album. Roy sits down next to \n her. \n \n ROY \n Tomorrow's the big day? \n \n SARA"," Sara pulls Patrick back. Walks alone to the edge of the \n stage, composed and professional again. She regards the \n judges with a beaming resolve and a ballerina's curtsy, \n then simply says: \n \n SARA"," SARA \n It was great. \n \n PATRICK \n Once you got used to the music. \n \n SARA \n It wasn't the music I wasn't used"," glasses, speaks to her. Sara's still trying to catch her \n breath. \n \n STERN JUDGE \n You prepared a free-form? \n \n SARA \n Yes... sir... they have... my"," Both of them ignore it. But it goes on like a musical \n number. Sara gets a sinking feeling that drops like a \n stone when she looks across the street. Roy's parked at \n the curb, waiting for her. She rolls her eyes and he"," stage. \n \n Sara begins to dance. \n \n She starts out strong and gets stronger. Every emotion \n she feels, every experience she's had, comes to life in a \n way that we've never seen before, not even when she was"," living area from the bedroom. Sara walks past a \n collection of saxophones and several framed pictures of \n herself. Aside from the saxophones and the pictures, \n there's hardly any furniture. Roy lights a cigarette. \n"," (fingering Sara's \n papers) \n I see here that you trained for \n Juilliard, that you auditioned. \n \n SARA \n That was a long time ago. \n"," Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," SARA (CONT'D) \n (succumbs to his \n bewilderment) \n Ballet. I used to dance, Patrick. \n \n PATRICK \n You used to dance?","114 CONTINUED: 114 \n \n SARA \n Yeah I liked it. I was gonna go \n to Juilliard. That school fucked"," MUSIC begins. \n \n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \n like an angel through the soft cloud of this music. Her \n line, proportion and balance are impeccable. \n"],[" Sara on stage. She looks past a row of Juilliard JUDGES \n into the audience. No glint of gold. MOZART'S \"Elvira \n Madigan\" (Andante) CUES UP. Sara begins her technical."," JUILLIARD SCHOOL OF DANCE AUDITIONS. Sara stares at it. \n Re-checks her watch. An official with a clipboard walks \n toward her. Where's her mother? \n \n"," be the dancer Juilliard came to \n see. \n \n SARA \n I wanted somebody there who loves \n me. \n \n Roy regards her softly, significantly, the irony \n implicit. \n","114 CONTINUED: 114 \n \n SARA \n Yeah I liked it. I was gonna go \n to Juilliard. That school fucked"," (fingering Sara's \n papers) \n I see here that you trained for \n Juilliard, that you auditioned. \n \n SARA \n That was a long time ago. \n"," think I can do it without her. \n \n PATRICK \n (holding her) \n Do you want to do it, Sara? I \n mean you. Do you want Juilliard? \n"," Sara regards him quizzically. Roy goes to her dresser, \n picks up an envelope from Juilliard. \n \n ROY \n I saw the return address. Got \n curious. It was open. I read it."," SARA \n Nothing's wrong. \n (except) \n I can't figure things out. \n \n PATRICK \n What things? The audition? You"," Sara's stomach drops to her feet. Her mother's not there \n and her free form sucks and she doesn't have a theme. \n Shit! \n \n SARA \n Well, it's um, pretty self-"," living area from the bedroom. Sara walks past a \n collection of saxophones and several framed pictures of \n herself. Aside from the saxophones and the pictures, \n there's hardly any furniture. Roy lights a cigarette. \n"," she's feeling. But she goes on. \n \n SARA \n What I want is to wake up and see \n my mom. For things to go back to \n the way they were. When they made"," glasses, speaks to her. Sara's still trying to catch her \n breath. \n \n STERN JUDGE \n You prepared a free-form? \n \n SARA \n Yes... sir... they have... my"," Pince-Nez leads Sara to the stage. Announces her. \n \n Sara walks onstage. \n \n She nods down at the judges, looks out into the audience. \n Her eyes anxiously search for Patrick... hoping. Her"," perfunctorily nod. Their equivalent of maybe next year. \n Sara chokes two words out... \n \n SARA \n Thank you. \n \n \n 16 INT. AUDITORIUM - BACKSTAGE","137 INT. SARA'S CLASSROOM - CONTINUOUS ACTION 137 \n \n No teacher is present. The class files in. Toni drops \n down in a chair beside Sara. She leans over in a"," How come you never talk about her? \n \n SARA \n There's nothing to say. \n \n PATRICK \n (studying her face)","151 INT. ROY'S APARTMENT - LIVING AREA/SARA'S ROOM - DAY 151 \n \n Roy's tuning his sax when Sara enters. Her face is a"," So, Sara. What's up with that? \n \n SARA \n (awkwardly) \n Nothing's up with it. I used to \n kind of dance. Ballet. Mostly. \n"," audition, Roy. I meant to. \n \n She's clutching the photo album. Roy sits down next to \n her. \n \n ROY \n Tomorrow's the big day? \n \n SARA"," SARA \n \n finishes with a flawless arabesque. Looks out. \n \n \n REVERSE ANGLE - JUDGES \n \n One of the more imperious-appearing JUDGES removes his"],[" Sara. Caught up in a throng of kids and somehow very \n separate from them. The walls have been transformed into \n veritable billboards for the senior prom -- decorations \n are everywhere. Sara continues down the hallway almost"," SARA'S POV \n \n as she MOVES FORWARD. A crush of KIDS -- mostly black \n with a sprinkling of white and Latino faces thrown in. \n Kids like her. Only they don't dress like her. They","114 CONTINUED: 114 \n \n SARA \n Yeah I liked it. I was gonna go \n to Juilliard. That school fucked","40 CONTINUED: 40 \n \n That's it! The entire student body is energized. Sara's \n thoughts are jolted by two black girls squeezing by. One"," So, Sara. What's up with that? \n \n SARA \n (awkwardly) \n Nothing's up with it. I used to \n kind of dance. Ballet. Mostly. \n","137 INT. SARA'S CLASSROOM - CONTINUOUS ACTION 137 \n \n No teacher is present. The class files in. Toni drops \n down in a chair beside Sara. She leans over in a"," (CONTINUED) \n \n 104. \n \n 159 CONTINUED: 159 \n \n SARA (CONT'D)","68 PATTERSON HIGH - END OF SCHOOL THAT DAY 68 \n \n Sara. Heading down the steps with other students. \n Chenille and Diggy break through the logjam, catch up to \n her.","10 EXT. EXETER SENIOR HIGH SCHOOL - LATER THAT MORNING 10 \n \n Sara exits with a bouquet of roses, takes the steps two"," clips Sara's elbow as she passes, knocking it against a \n locker. They keep going as if they don't see her. No \n one seems to see her. Welcome to mass avoidance at \n Patterson High. \n \n"," ROY \n Not around here you don't. Not \n until you get the hang of things. \n \n Sara looks out the window at a full-fledged ghetto. It's"," Sara folds her arms, turns away mumbling under breath. \n \n SARA \n Used to. \n \n Sara gazes out the window. The world outside begins to \n dissolve melting into images from another time, another"," ... And then TIGHTER STILL on Sara. Tentatively \n approaching the balance beam. Mindful of all the eyes on \n her, all the bated breaths. All waiting to see the new \n girl fall on her ass. Sara swings herself onto the beam"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever","38 EXT./INT. PATTERSON HIGH - MORNING 38 \n \n Sara moving TOWARD us PAST a floating mosaic of black \n faces. This is a near out-of-body experience for her."," Everyone looks at her. The way kids look at new kids. \n \n SARA \n It's a non-fiction novel. The \n first of its kind. Capote mixed \n true events with things he"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," Sara's moving the partition around, trying to make her \n room more like a room. Trying to build another wall \n between her and Roy. \n \n (CONTINUED) \n \n 26. \n"," You're Sara, right? \n (as Sara warily nods) \n Toni. I was gonna introduce \n myself before but you're always \n with that crowd. You know."," 31. \n \n 66 CONTINUED: 66 \n \n Hill's tone is searing. He turns to Sara. She's trying"],[" He goes into a spin, a half-split, comes out of it \n swaggering and half-stepping around her. Sara gives him \n an impish look. Rises up on full pointe, turns out her"," So, Sara. What's up with that? \n \n SARA \n (awkwardly) \n Nothing's up with it. I used to \n kind of dance. Ballet. Mostly. \n"," stage. \n \n Sara begins to dance. \n \n She starts out strong and gets stronger. Every emotion \n she feels, every experience she's had, comes to life in a \n way that we've never seen before, not even when she was"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," MUSIC begins. \n \n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \n like an angel through the soft cloud of this music. Her \n line, proportion and balance are impeccable. \n"," BACK TO SCENE \n \n SARA \n What's it called? What she's \n doing? \n \n CHENILLE \n A dance. \n \n SARA","159 INT. DANCE STUDIO - SARA AND PATRICK - MORNING 159 \n \n Practice her free form, a hip-hop ballet hybrid. They're"," A gallant lie. Sara tries to believe it. They dance. \n Practice has made her near perfect. Their movements are \n ambitious, nimble, better than anyone else on the floor. \n They move so well together that Snookie, dancing nearby,"," SARA (CONT'D) \n (succumbs to his \n bewilderment) \n Ballet. I used to dance, Patrick. \n \n PATRICK \n You used to dance?"," Tchaikovsky's Swan Lake (Tanz der Schwane) begins and \n Sara slowly blossoms, opening herself up to the music \n like a flower. She completes every turn and twist and \n leap with confidence, energy and persuasion. She is"," floor. PAN UP and PULL BACK to reveal Sara at 17, \n dancing in the space opened up by cornered furniture and \n rolled up rugs. As Glynn looks on, Sara completes the"," DISSOLVE TO: \n \n \n 6 INT. BALLET CLASS - EVENING (FIVE YEARS LATER) 6 \n \n Young Sara, lithe and earnest, dances. A budding beauty"," be the dancer Juilliard came to \n see. \n \n SARA \n I wanted somebody there who loves \n me. \n \n Roy regards her softly, significantly, the irony \n implicit. \n"," head. He grabs her hands, swings them in time to the \n music. \n \n PATRICK \n Now move your hips. Not so fast. \n (as Sara looks lost)"," practicing with Patrick. Her body has finally found a \n way to get inside this kind of music, to elevate its \n meaning and transform her dance. \n \n The MUSIC ENDS. The lights go up. \n"," Feel the groove. Don't let the \n music mess with you. \n \n He starts to move with the music. Sara tries to emulate \n him. They dance throughout the conversation. \n \n SARA"," routine with a pirouette. She spins out of it with a \n preoccupied frown on her face. \n \n GLYNN \n What's the matter? It was good. \n \n SARA"," in formal attire. Parking valets hover on the sidewalks \n waiting for cars. Into this, Sara and Patrick walk. She \n looks at the crowd, then sees the overhead banner -- \n \"Boston Ballet, A Command Performance.\" Sara's heart"," SARA'S POV \n \n as she MOVES FORWARD. A crush of KIDS -- mostly black \n with a sprinkling of white and Latino faces thrown in. \n Kids like her. Only they don't dress like her. They"," bustling crowds of the inner harbor, then to a park \n across from this where Sara and Patrick are practicing. \n HIP-HOP MUSIC softly PLAYS from Patrick's BOOM-BOX. Sara \n watches his face as they dance. \n"],[" Chenille comes up behind him. Squeezes, pats his \n shoulder. \n \n (CONTINUED) \n \n 94. \n"," CHENILLE \n That's him. Comin' over. Kenny? \n Don't look. \n \n So of course Sara does. She makes a silly face at"," know him. He's my brother. \n \n Chenille waits for Sara to swallow her tongue. Enjoys a \n laugh. \n \n \n ANGLE SHIFTS TO PATRICK \n"," ride and Patrick and Chenille repeat the routine \n throughout their conversation. \n \n CHENILLE \n Why you so quiet? \n (off Patrick's \n brooding look)"," friend. Chenille doesn't like \n him. \n \n PATRICK \n She likes him. It don't stop her \n from trippin' off him now and"," quits the room. Kenny regards his son haplessly. Looks \n at Chenille. \n \n KENNY \n Why's he do that? \n \n CHENILLE"," They, like Chenille, are rugged and regular. They know \n who they are. \n \n END OF SERIES OF SWEEPING SHOTS. \n \n 20. \n"," of it. Chenille, disconcerted with Patrick, looks dourly \n at Sara. \n \n CHENILLE \n I'll see you Monday. \n (to Patrick, like an \n order)"," Chenille as Kenny sidles up to her. Chenille rolls her \n eyes half-heartedly. \n \n KENNY (MAN) \n What's up? \n \n CHENILLE"," club. He wants a drink. He's almost at the bar when he \n sees Chenille on the dance floor with Kenny. She shrugs \n a smile, then cocks her head over at the bar. Toward"," Chenille makes an impressed face. Regards Sara \n curiously. \n \n CHENILLE \n You should hit Feetz with us \n tomorrow night. It's a club. \n Sorta members only. \n"," Chenille. Lookin' fine. As \n always. \n \n CHENILLE \n Too fine to stand in line? \n \n The Man grins, opens the rope, lets them in -- \"in\" being"," Why you burn her like that? \n \n CHENILLE \n 'Cause I can't stand her ass and \n the way she played my brother. I \n need a drink, Sara. Let's walk. \n"," Chenille starts to change Christopher's diaper. He \n starts to wail and flail. Chenille can't placate him. \n One of his kicks connects with Chenille's open backpack,"," CHENILLE \n Be sick of it. You ain't got to \n see me to see your son. \n \n KENNY \n I'll be sure to keep that in mind. \n"," the playground. Disappear. She and Christopher move on \n to a seesaw. Chenille bobs him up and down on one end of \n it. She's snuggling in Christopher's face when the other"," CHENILLE \n (laughs) \n Gotta watch where you sit, girl. \n And it's Chenille. But you're \n still welcome. Let's catch some"," Chenille pushes her way to the bar, tugging Sara along. \n A tall, angular twenty-something MAN on the far side of \n the bar sees her. She sees him. Sucks her teeth, nudges \n Sara. \n"," I love my son, Chenille. You know \n that, don't you? \n \n CHENILLE \n Yeah. I always knew that. \n \n"," that time. \n \n CHENILLE \n That time? What? Fifth and sixth \n grade don't count? \n \n Patrick finally laughs. Then his face changes. Becomes"],[" NIKKI \n (a hiss, under her \n breath) \n It ain't over, bitch. \n \n SARA \n Over? I don't even know why it"," and drive-bys. That's what Nikki \n meant about you up in our world. \n \n Sara sits there, stupefied. Understanding. Not \n understanding. \n"," A fight. Two black girls having at it. It's a ferocious \n match. Hair pulling, spit flying, punches landed, \n clothes torn apart. \n \n \n ANGLE ON SARA \n"," ball to Nikki. It clips Nikki's head, bounces out of \n bounds. Nikki, her dignity stunned, her patience out, \n walks up to Sara, shoves her to the floor. Sara looks up","146 INT. PATTERSON HIGH - GYM 146 \n \n Sara jumps up, shoves Nikki back. And the fight is on. \n \n 92. \n"," Shoving, pushing, and barging her way up to Patrick. \n Without preamble or regard for Sara, she starts dancing \n with him. Patrick looks at Sara but he's somehow dancing \n with Nikki. Sara retreats with daggers in her eyes."," standing with her crew dourly observing Patrick and Sara. \n \n NIKKI \n Watch me squash their shit. Hard. \n \n \n ON NIKKI \n","148 INT. PATTERSON HIGH - GYM 148 \n \n Sara and Nikki tumble to the gym floor. The surprise is \n Sara. She matches Nikki blow for blow. It's a punishing"," though, Nikki. You lettin' some \n white ho' show you up like that. \n \n He regards her with bemused pity. Nikki, with all her \n inner outrage, manages to salvage her pride. She sneers"," PATRICK \n Somethin' must be on your mind for \n you to get up in Sara's face, \n start all this drama. What you \n tryin' to prove, Nikki? \n"," Sara. It's Sara. And I know you. \n We have a class together. \n \n NIKKI \n That don't mean you know me. \n \n CHENILLE"," like \"no shit \n Sherlock\") \n Why were you fighting, Sara? \n \n SARA \n (sardonically) \n I'm not sure. I think it's some"," 99. \n \n 156 CONTINUED: 156 \n \n SARA \n She started it, Chenille. She \n wanted to start it. I told you"," NIKKI \n That was different. \n \n PATRICK \n How you gonna call it different? \n \n She stands up. Looks down at him. Raises her voice. \n"," Nikki folds her arms across her chest, looks at him \n defiantly. \n \n NIKKI \n I don't think it, I know it. But \n you go ahead, deny it. That's"," Yeah. And they started with you. \n \n The three girls and Diggy snicker. Nikki gives Chenille \n a look. Turns back to Sara with a snide smirk. Points \n out her crew. \n"," in his face. \n \n NIKKI \n Fuck you, Malakai. Fuck her too. \n \n MALAKAI \n (gaily, a she sails off)"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," He separates the two girls who are still swinging at each \n other. He throws one into a corner, hurls the other in \n an opposite corner. \n \n \n ON SARA \n"," Basket. Nikki shoots Sara a murderous look. Stupid, \n uncoordinated bitch. \n \n \n 143 EXT. DRUID HILL PLAYGROUND - BASKETBALL COURT 143 \n"],["114 CONTINUED: 114 \n \n SARA \n Yeah I liked it. I was gonna go \n to Juilliard. That school fucked"," be the dancer Juilliard came to \n see. \n \n SARA \n I wanted somebody there who loves \n me. \n \n Roy regards her softly, significantly, the irony \n implicit. \n"," think I can do it without her. \n \n PATRICK \n (holding her) \n Do you want to do it, Sara? I \n mean you. Do you want Juilliard? \n"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," Patrick hugging Sara, looks down at the judges. \n \n PATRICK \n All due respect, if ya'll don't \n let this girl in, you're crazy! \n"," Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the"," Sara regards him quizzically. Roy goes to her dresser, \n picks up an envelope from Juilliard. \n \n ROY \n I saw the return address. Got \n curious. It was open. I read it."," Sara on stage. She looks past a row of Juilliard JUDGES \n into the audience. No glint of gold. MOZART'S \"Elvira \n Madigan\" (Andante) CUES UP. Sara begins her technical."," (fingering Sara's \n papers) \n I see here that you trained for \n Juilliard, that you auditioned. \n \n SARA \n That was a long time ago. \n"," Sara pulls Patrick back. Walks alone to the edge of the \n stage, composed and professional again. She regards the \n judges with a beaming resolve and a ballerina's curtsy, \n then simply says: \n \n SARA"," JUILLIARD SCHOOL OF DANCE AUDITIONS. Sara stares at it. \n Re-checks her watch. An official with a clipboard walks \n toward her. Where's her mother? \n \n"," SARA \n Nothing's wrong. \n (except) \n I can't figure things out. \n \n PATRICK \n What things? The audition? You"," SARA (CONT'D) \n (succumbs to his \n bewilderment) \n Ballet. I used to dance, Patrick. \n \n PATRICK \n You used to dance?"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," Pince-Nez leads Sara to the stage. Announces her. \n \n Sara walks onstage. \n \n She nods down at the judges, looks out into the audience. \n Her eyes anxiously search for Patrick... hoping. Her"," glasses, speaks to her. Sara's still trying to catch her \n breath. \n \n STERN JUDGE \n You prepared a free-form? \n \n SARA \n Yes... sir... they have... my"," SARA \n Yeah. I do. \n \n PATRICK \n Then it's on you to make the dream \n come true. \n \n SARA"," A gallant lie. Sara tries to believe it. They dance. \n Practice has made her near perfect. Their movements are \n ambitious, nimble, better than anyone else on the floor. \n They move so well together that Snookie, dancing nearby,"," 31. \n \n 66 CONTINUED: 66 \n \n Hill's tone is searing. He turns to Sara. She's trying"," perfunctorily nod. Their equivalent of maybe next year. \n Sara chokes two words out... \n \n SARA \n Thank you. \n \n \n 16 INT. AUDITORIUM - BACKSTAGE"],[" SARA \n Nothing's wrong. \n (except) \n I can't figure things out. \n \n PATRICK \n What things? The audition? You"," audition, Roy. I meant to. \n \n She's clutching the photo album. Roy sits down next to \n her. \n \n ROY \n Tomorrow's the big day? \n \n SARA"," Both of them ignore it. But it goes on like a musical \n number. Sara gets a sinking feeling that drops like a \n stone when she looks across the street. Roy's parked at \n the curb, waiting for her. She rolls her eyes and he"," Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the"," Sara regards him quizzically. Roy goes to her dresser, \n picks up an envelope from Juilliard. \n \n ROY \n I saw the return address. Got \n curious. It was open. I read it."," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," perfunctorily nod. Their equivalent of maybe next year. \n Sara chokes two words out... \n \n SARA \n Thank you. \n \n \n 16 INT. AUDITORIUM - BACKSTAGE"," Patrick hugging Sara, looks down at the judges. \n \n PATRICK \n All due respect, if ya'll don't \n let this girl in, you're crazy! \n"," He calls after her. \n \n ROY \n -- Pick you up. Three-thirty. \n \n SARA \n (over a shoulder) \n Yeah. Sure. Whatever. \n \n"," be the dancer Juilliard came to \n see. \n \n SARA \n I wanted somebody there who loves \n me. \n \n Roy regards her softly, significantly, the irony \n implicit. \n"," Because he was in my house with \n his hands all over my daughter! \n \n SARA \n Keep telling yourself that. Just \n don't expect me to believe it. I \n saw how you looked at him. But"," SARA \n I did. \n \n PATRICK \n You ain't actin' like you did. \n \n She looks over at him, tries to smile. \n \n SARA"," one of her legs between his and whispers: \n \n SARA \n We have an audience. Work with \n me. \n \n PATRICK \n (nonplussed)"," (fingering Sara's \n papers) \n I see here that you trained for \n Juilliard, that you auditioned. \n \n SARA \n That was a long time ago. \n"," GLYNN \n I won't miss your audition, Sara. \n I'll be there, okay? If I have to \n swim the Susquehanna, I'll be \n there. \n","114 CONTINUED: 114 \n \n SARA \n Yeah I liked it. I was gonna go \n to Juilliard. That school fucked"," SARA (CONT'D) \n (succumbs to his \n bewilderment) \n Ballet. I used to dance, Patrick. \n \n PATRICK \n You used to dance?"," Patrick looks at her, nods. He gets up, follows Sara \n behind the partition into her \"room.\" They stand there \n for a moment. He cups her face with his hands. Kisses \n her. They begin to take off each other's clothes,"," Malakai than it is to walk away from a lifetime of \n friendship. But Patrick does. With Sara holding onto \n his arm, at his side, he turns and walks away. \n \n"],[" A car speeds off. Patrick raises up, looks around. \n Malakai nods. He's okay. Snookie's crawling to the \n exit, snot-nosed and crying. He's okay. Then they see"," it. He can feel it trained on his back as he gets out \n the car. But Malakai can't do it. Wouldn't do it. He \n takes off like a bat out of hell. \n \n"," running away from the mayhem behind him. \n \n \n 175 EXT. STREET - SAME TIME 175 \n \n The BMW's tangled around a street lamp. Inside Malakai"," -- jumped out the car. 'Kai kept \n goin', got caught. \n (pauses) \n I knew what he was gonna do that \n night. Knew the car was hot. I"," club he sees Malakai. \n \n (CONTINUED) \n \n 45. \n \n 81 CONTINUED: 81 \n"," MALAKAI \n They the ones tryin' shit. Comin' \n here. Squarin' off in my shit. \n \n PATRICK \n You couldn't let it slide? \n"," MALAKAI \n Shut the fuck up. \n \n Patrick jerks himself loose. Opens the door. Malakai \n cocks the gun. Patrick's face flinches at the sound of"," MALAKAI \n (watching Patrick \n keenly) \n You tappin' that white girl, man? \n (half joking) \n That's why you ain't got time for","145 EXT. DRUID HILL - BASKETBALL COURT 145 \n \n Malakai dribbles the ball around one of the Two Deuces,"," Malakai than it is to walk away from a lifetime of \n friendship. But Patrick does. With Sara holding onto \n his arm, at his side, he turns and walks away. \n \n"," Malakai reaches the dealers. He doesn't explain, doesn't \n complain. He just starts swinging. \n \n \n SARA AND PATRICK \n \n The MUSIC changes and their dance ends. They stand there"," MALAKAI \n Not at this motherfucker. Out a \n week and where am I? Fucking home \n sweet high school. Jail away from \n jail. You can have it. \n"," LIP \n Awww, shit. Here we go. \n \n MALAKAI \n (furious) \n What you mean you out? You think \n I'ma let your punk ass bail on me"," PATRICK \n Even if I did ride, you ain't got \n nobody but Lip and Lip will get a \n nigger's ass killed. Quick. \n \n MALAKAI"," and Diggy. Waiting and watching for Patrick. Diggy \n looks at them. \n \n DIGGY \n It's about to get real out here. \n Cops and shit. I'm gone. \n"," How you know? You ain't tried \n nothing else. Now you sittin' up \n here strapped for no good reason. \n You askin' for trouble, Malakai. \n (as Malakai laughs)"," (as Malakai glances at \n him, not understanding) \n This ain't helpin' nobody, 'Kai. \n I'm out. I mean it. Stop the \n car. \n"," lifts his shirt to expose a gun. Patrick stares at \n Malakai with disbelief. \n \n MALAKAI \n What you think? I'ma keep walkin' \n around waitin' for some chump to"," They look at each other. Share a small laugh. \n \n MALAKAI \n We fucked those fools up for sure. \n \n PATRICK \n (crossing to exit door)"," He starts to walk off, doesn't get far before Patrick \n calls out. \n \n PATRICK \n Malakai... \n (a fleeting hesitation)"],["159 INT. DANCE STUDIO - SARA AND PATRICK - MORNING 159 \n \n Practice her free form, a hip-hop ballet hybrid. They're"," bustling crowds of the inner harbor, then to a park \n across from this where Sara and Patrick are practicing. \n HIP-HOP MUSIC softly PLAYS from Patrick's BOOM-BOX. Sara \n watches his face as they dance. \n"," He goes into a spin, a half-split, comes out of it \n swaggering and half-stepping around her. Sara gives him \n an impish look. Rises up on full pointe, turns out her"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," floor. PAN UP and PULL BACK to reveal Sara at 17, \n dancing in the space opened up by cornered furniture and \n rolled up rugs. As Glynn looks on, Sara completes the"," So, Sara. What's up with that? \n \n SARA \n (awkwardly) \n Nothing's up with it. I used to \n kind of dance. Ballet. Mostly. \n"," head. He grabs her hands, swings them in time to the \n music. \n \n PATRICK \n Now move your hips. Not so fast. \n (as Sara looks lost)","88 INT. RECORD STORE - HIP-HOP SECTION - MOMENTS LATER 88 \n \n Sara with a bunch of C.D.'s. She juggles them in one"," stage. \n \n Sara begins to dance. \n \n She starts out strong and gets stronger. Every emotion \n she feels, every experience she's had, comes to life in a \n way that we've never seen before, not even when she was"," SARA'S POV \n \n as she MOVES FORWARD. A crush of KIDS -- mostly black \n with a sprinkling of white and Latino faces thrown in. \n Kids like her. Only they don't dress like her. They"," BACK TO SCENE \n \n SARA \n What's it called? What she's \n doing? \n \n CHENILLE \n A dance. \n \n SARA"," A gallant lie. Sara tries to believe it. They dance. \n Practice has made her near perfect. Their movements are \n ambitious, nimble, better than anyone else on the floor. \n They move so well together that Snookie, dancing nearby,"," DISSOLVE TO: \n \n \n 6 INT. BALLET CLASS - EVENING (FIVE YEARS LATER) 6 \n \n Young Sara, lithe and earnest, dances. A budding beauty"," MUSIC begins. \n \n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \n like an angel through the soft cloud of this music. Her \n line, proportion and balance are impeccable. \n"," SARA'S POV - KIDS OF QUAD \n \n And OVER the sound of HIP-HOP MUSIC, a pair of feet."," Sara's eyes focus on him. She nods. Turns to the \n judges. \n \n SARA \n I'm ready. \n \n As her MUSIC cues up, Patrick slowly backs away from the"," Patrick and Sara, two dots that grow larger. He CLICKS \n ON a BOOM-BOX resting on the roof's ledge. A hip-hop \n track BLASTS. \n \n PATRICK"," 107. \n \n 164 INT. DANCE STUDIO - DAY 164 \n \n Sara. Alone. She pushes the tape from Patrick into an"," Sara. Caught up in a throng of kids and somehow very \n separate from them. The walls have been transformed into \n veritable billboards for the senior prom -- decorations \n are everywhere. Sara continues down the hallway almost"," DIGGY \n Go, Sara! Go, Sara! \n \n \n PATRICK AND SARA \n \n building up a sweat; confidently dancing at fever pitch. \n"],[" Sara on stage. She looks past a row of Juilliard JUDGES \n into the audience. No glint of gold. MOZART'S \"Elvira \n Madigan\" (Andante) CUES UP. Sara begins her technical."," JUILLIARD SCHOOL OF DANCE AUDITIONS. Sara stares at it. \n Re-checks her watch. An official with a clipboard walks \n toward her. Where's her mother? \n \n","114 CONTINUED: 114 \n \n SARA \n Yeah I liked it. I was gonna go \n to Juilliard. That school fucked"," be the dancer Juilliard came to \n see. \n \n SARA \n I wanted somebody there who loves \n me. \n \n Roy regards her softly, significantly, the irony \n implicit. \n"," (fingering Sara's \n papers) \n I see here that you trained for \n Juilliard, that you auditioned. \n \n SARA \n That was a long time ago. \n"," Know why there's nothing to say? \n Because you don't talk about her. \n You won't talk about her. \n \n SARA \n I'm sorry she's dead. God! What"," How come you never talk about her? \n \n SARA \n There's nothing to say. \n \n PATRICK \n (studying her face)"," A sign on it reads: \"JUILLIARD SCHOOL OF DANCE - \n BALTIMORE AUDITIONS.\" She stares at it, fingers the \n clover leaf necklace with an unsettling sense of deja vu. \n"," think I can do it without her. \n \n PATRICK \n (holding her) \n Do you want to do it, Sara? I \n mean you. Do you want Juilliard? \n"," she's feeling. But she goes on. \n \n SARA \n What I want is to wake up and see \n my mom. For things to go back to \n the way they were. When they made"," Pince-Nez leads Sara to the stage. Announces her. \n \n Sara walks onstage. \n \n She nods down at the judges, looks out into the audience. \n Her eyes anxiously search for Patrick... hoping. Her"," Wondering where her mother is and knowing how badly she's \n dancing. Knowing but somehow continuing, stumbling, \n recovering, and finally finishing with those damned \n knocking knees. The Judges, eyes like stones,"," audition, Roy. I meant to. \n \n She's clutching the photo album. Roy sits down next to \n her. \n \n ROY \n Tomorrow's the big day? \n \n SARA"," Sara regards him quizzically. Roy goes to her dresser, \n picks up an envelope from Juilliard. \n \n ROY \n I saw the return address. Got \n curious. It was open. I read it."," Sara's stomach drops to her feet. Her mother's not there \n and her free form sucks and she doesn't have a theme. \n Shit! \n \n SARA \n Well, it's um, pretty self-"," perfunctorily nod. Their equivalent of maybe next year. \n Sara chokes two words out... \n \n SARA \n Thank you. \n \n \n 16 INT. AUDITORIUM - BACKSTAGE"," Why not? What happened? You just \n woke up one day and decided to \n waste your talent. \n \n SARA \n (without rancor) \n How do you know I have talent?"," SARA \n Nothing's wrong. \n (except) \n I can't figure things out. \n \n PATRICK \n What things? The audition? You"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," ballet costume). Embracing. Happy. PULL BACK to see \n Sara. Sitting on the edge of her futon, holding Glynn's \n clover leaf necklace and staring at her mother's face."],[" So, Sara. What's up with that? \n \n SARA \n (awkwardly) \n Nothing's up with it. I used to \n kind of dance. Ballet. Mostly. \n"," SARA (CONT'D) \n (succumbs to his \n bewilderment) \n Ballet. I used to dance, Patrick. \n \n PATRICK \n You used to dance?"," I don't want you to think I didn't \n have a good time tonight, Patrick. \n I did. But ballet isn't a part of \n my life anymore. \n \n PATRICK"," Several layers into a suitcase, she comes to her ballet \n shoes. The sight hits her like a slap in the face. Sara \n stares at the shoes until her eyes blur. Then she"," Negative shit. White folks call \n it karma. The bad kind. \n \n SARA \n You don't understand. Ballet \n takes a lot of time, a lot of \n preparation. I used to practice"," He goes into a spin, a half-split, comes out of it \n swaggering and half-stepping around her. Sara gives him \n an impish look. Rises up on full pointe, turns out her"," DISSOLVE TO: \n \n \n 6 INT. BALLET CLASS - EVENING (FIVE YEARS LATER) 6 \n \n Young Sara, lithe and earnest, dances. A budding beauty"," ballet costume). Embracing. Happy. PULL BACK to see \n Sara. Sitting on the edge of her futon, holding Glynn's \n clover leaf necklace and staring at her mother's face."," routine with a pirouette. She spins out of it with a \n preoccupied frown on her face. \n \n GLYNN \n What's the matter? It was good. \n \n SARA"," in formal attire. Parking valets hover on the sidewalks \n waiting for cars. Into this, Sara and Patrick walk. She \n looks at the crowd, then sees the overhead banner -- \n \"Boston Ballet, A Command Performance.\" Sara's heart"," than we've seen before. HOLD ON closet door. A beat \n before Sara emerges from behind it, ballet slippers in \n hand. She takes a deep breath. Slides them on. Peers"," A sign on it reads: \"JUILLIARD SCHOOL OF DANCE - \n BALTIMORE AUDITIONS.\" She stares at it, fingers the \n clover leaf necklace with an unsettling sense of deja vu. \n"," SARA \n \n finishes with a flawless arabesque. Looks out. \n \n \n REVERSE ANGLE - JUDGES \n \n One of the more imperious-appearing JUDGES removes his"," you're gonna tell me somethin' \n about not dancing, at least tell \n me somethin' real. \n \n A long, difficult moment wherein Sara attempts to find \n the words, face the pain that comes with them. Finally,","125 CONTINUED: 125 \n \n As she tries to complete the arabesque, the backward-most \n leg buckles. She steadies herself. Starts over. \n"," MUSIC begins. \n \n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \n like an angel through the soft cloud of this music. Her \n line, proportion and balance are impeccable. \n"," MRS. GWYNN \n It was three months ago, Sara. \n (the brick wall) \n Well, if you're not going to \n pursue dance, what are you going \n to do? \n"," Tchaikovsky's Swan Lake (Tanz der Schwane) begins and \n Sara slowly blossoms, opening herself up to the music \n like a flower. She completes every turn and twist and \n leap with confidence, energy and persuasion. She is"," Sara in street clothes. Cramming her ballet gear into a \n duffle bag when the official (of the clipboard) \n approaches her. She touches Sara's shoulder gently. \n Says something we do not hear. \n \n","159 INT. DANCE STUDIO - SARA AND PATRICK - MORNING 159 \n \n Practice her free form, a hip-hop ballet hybrid. They're"],[" she's feeling. But she goes on. \n \n SARA \n What I want is to wake up and see \n my mom. For things to go back to \n the way they were. When they made"," Know why there's nothing to say? \n Because you don't talk about her. \n You won't talk about her. \n \n SARA \n I'm sorry she's dead. God! What","121 CONTINUED: 121 \n \n PATRICK \n You still got whatever you had \n when your mom was alive, Sara."," Sara folds her arms, turns away mumbling under breath. \n \n SARA \n Used to. \n \n Sara gazes out the window. The world outside begins to \n dissolve melting into images from another time, another"," Patrick looks at her, nods. He gets up, follows Sara \n behind the partition into her \"room.\" They stand there \n for a moment. He cups her face with his hands. Kisses \n her. They begin to take off each other's clothes,"," living area from the bedroom. Sara walks past a \n collection of saxophones and several framed pictures of \n herself. Aside from the saxophones and the pictures, \n there's hardly any furniture. Roy lights a cigarette. \n"," with tears and guilt. Patrick puts his arms around her. \n \n SARA \n (inconsolable) \n She was dying while I was dancing \n and I was mad at her and I'm"," How come you never talk about her? \n \n SARA \n There's nothing to say. \n \n PATRICK \n (studying her face)"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," Sara looks at him, feeling bad. Feeling stupid for \n ruining the evening. She bites her lip, shakes her head \n (\"but nothing\"). Patrick takes her and they go in. \n \n"," Sara's stomach drops to her feet. Her mother's not there \n and her free form sucks and she doesn't have a theme. \n Shit! \n \n SARA \n Well, it's um, pretty self-"," to you because too much time went \n by. \n \n Sara's eyes well up. Before she can stop herself, she's \n crying. \n \n SARA"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," Malakai than it is to walk away from a lifetime of \n friendship. But Patrick does. With Sara holding onto \n his arm, at his side, he turns and walks away. \n \n"," (CONTINUED) \n \n 104. \n \n 159 CONTINUED: 159 \n \n SARA (CONT'D)"," SARA \n So you agree with her? You think \n I don't belong with Patrick. \n \n CHENILLE \n What I think don't matter. But"," Sara's moving the partition around, trying to make her \n room more like a room. Trying to build another wall \n between her and Roy. \n \n (CONTINUED) \n \n 26. \n"," It takes everything Patrick has to keep walking until \n he's out the door. It slams behind him. Sara marches up \n to Roy, furious. \n \n SARA \n I hate being your daughter. You"," Sara exits, looking pretty much like she feels. Like \n shit. She walks a few paces. Sees Patrick. Their eyes \n connect for a brief, awful moment before they continue on \n their respective ways. \n \n"],[" father. \n \n (CONTINUED) \n \n 108. \n \n 165 CONTINUED: 165 \n \n SARA","93 SARA'S POV - LIVING ROOM 93 \n \n Her father's fucking somebody! On the couch. Half on it \n anyway. In broad daylight! The whore underneath him is"," KENNY \n I'm his father. He knows me. \n (meaning now) \n ... What should I do? \n \n CHENILLE \n Come around more often. \n"," living area from the bedroom. Sara walks past a \n collection of saxophones and several framed pictures of \n herself. Aside from the saxophones and the pictures, \n there's hardly any furniture. Roy lights a cigarette. \n"," with aplomb. Her legs and body are strong, supple, \n pliable rubber bands. She flounces across it on her \n tiptoes. Does a flawless split. Hops off. Looks out. \n \n"," You've been asleep for the past \n thirty-seven years! \n \n Now she does storm off. This time Roy lets her. He \n can't find the words to deny what she's said. \n \n"," Patrick's bouncing on his knees, speaking to Arvel's \n parents, who are clearly stricken. Arvel's father, \n stoic, holds his wife's hand. Arvel's mother kneads a"," Both of them ignore it. But it goes on like a musical \n number. Sara gets a sinking feeling that drops like a \n stone when she looks across the street. Roy's parked at \n the curb, waiting for her. She rolls her eyes and he"," place. Her eyes stare blankly OUT AT us, blinded by her \n memories. \n \n 2. \n"," Momma Dean's left for him. He sits down at the table, \n takes a breath, begins shifting through the mail. His \n face registers disappointment. Nothing. Again. \n \n"," It takes everything Patrick has to keep walking until \n he's out the door. It slams behind him. Sara marches up \n to Roy, furious. \n \n SARA \n I hate being your daughter. You"," her arm from behind. She turns, startled, a little \n afraid. It's the Girl from the stall. She looks Sara in \n the eye. Shakes her head. Don't. Mr. Hill walks by \n them unbeckoned. \n"," your mother. Be a father to you. \n But time flies. You look up one \n day and all you got to show for \n yourself is a pretty little girl \n who hates your guts and won't talk"," Before she can respond, Patrick's voice booms from the \n back of the auditorium. \n \n PATRICK (O.S.) \n Yes, sir. She's ready. \n"," the playground. Disappear. She and Christopher move on \n to a seesaw. Chenille bobs him up and down on one end of \n it. She's snuggling in Christopher's face when the other"," He looks at her and she doesn't have the heart -- or the \n nerve -- to tell him. A long moment. She plucks a \n dandelion from the grass, twirls it thoughtfully in her \n fingers. \n"," Kleenex, her face etched with tears. Patrick hugs her. \n Stands up to see Malakai frozen in the doorway, put off \n by the palpable grief. Patrick crosses over to him."," HONKS AGAIN. Then he waves at her. Waves! Chenille \n looks at Sara. Then at Roy. \n \n CHENILLE \n That's your old man? Now he's \n cute. \n"," Finds it in the back of the room where her mother, Glynn, \n stands watching her. Their eyes connect with mutual \n smiles and those smiles CARRY us TO: \n \n"," doesn't bother looking out. Inside's more interesting. \n The kids cut up. Singing, rapping, and jousting with \n each other. Some even manage to read. Sara watches with \n immunity. She's invisible to them. \n"],[" SARA'S POV \n \n as she MOVES FORWARD. A crush of KIDS -- mostly black \n with a sprinkling of white and Latino faces thrown in. \n Kids like her. Only they don't dress like her. They"," Everyone looks at her. The way kids look at new kids. \n \n SARA \n It's a non-fiction novel. The \n first of its kind. Capote mixed \n true events with things he","41 AT SARA'S LOCKER - LATER 41 \n \n Sara's back is to a black girl striding purposefully \n toward her. CHENILLE -- tall, pretty, with about a","137 INT. SARA'S CLASSROOM - CONTINUOUS ACTION 137 \n \n No teacher is present. The class files in. Toni drops \n down in a chair beside Sara. She leans over in a"," clips Sara's elbow as she passes, knocking it against a \n locker. They keep going as if they don't see her. No \n one seems to see her. Welcome to mass avoidance at \n Patterson High. \n \n"," She's eager to make a friend. One friend. But \n Chenille's gone. \n \n \n 42 ANOTHER CORRIDOR 42 \n \n Sara memorizes the schedule of classes in her hand. She"," You finished? \n \n Sara leaps up with a quick, grateful nod. Beats a hasty \n retreat from the table. As she and Chenille walk through \n the cafeteria, Sara shudders with relief. She feels \n rescued."," passes a clutch of students who surround a kid in the \n middle like a horseshoe. Sara gets a fleeting glimpse of \n him. \n \n \n SARA'S POV - PATRICK REYNOLDS \n"," You're Sara, right? \n (as Sara warily nods) \n Toni. I was gonna introduce \n myself before but you're always \n with that crowd. You know."," Sara. Caught up in a throng of kids and somehow very \n separate from them. The walls have been transformed into \n veritable billboards for the senior prom -- decorations \n are everywhere. Sara continues down the hallway almost","68 PATTERSON HIGH - END OF SCHOOL THAT DAY 68 \n \n Sara. Heading down the steps with other students. \n Chenille and Diggy break through the logjam, catch up to \n her."," Sara. It's Sara. And I know you. \n We have a class together. \n \n NIKKI \n That don't mean you know me. \n \n CHENILLE"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," ... And then TIGHTER STILL on Sara. Tentatively \n approaching the balance beam. Mindful of all the eyes on \n her, all the bated breaths. All waiting to see the new \n girl fall on her ass. Sara swings herself onto the beam"," friend, LINDSAY, 17. Lindsay, chomping on a wad of gum, \n turns from the jock to Sara with a bubble in bloom, \n bursts it with her teeth. \n \n LINDSAY"," Clutching new textbooks, Sara starts down the hallway. \n She's hoping nothing in her face reveals the rising panic \n in her heart. She's surrounded. Alone. Every inch of \n her feels afraid. \n \n"," her arm from behind. She turns, startled, a little \n afraid. It's the Girl from the stall. She looks Sara in \n the eye. Shakes her head. Don't. Mr. Hill walks by \n them unbeckoned. \n","40 CONTINUED: 40 \n \n That's it! The entire student body is energized. Sara's \n thoughts are jolted by two black girls squeezing by. One"," faster. They sit down in the only empty seats. Sara \n backs off, invisible again. \n \n \n ON CHENILLE \n \n glimpsing Sara from the corner of her eye as Sara walks \n away. \n \n"," She walks like a well-rehearsed soldier in a stiff \n straight line to the school's entrance. It's clogged \n with students. Inside the doorway, two security guards"],[" Chenille comes up behind him. Squeezes, pats his \n shoulder. \n \n (CONTINUED) \n \n 94. \n"," CHENILLE \n That's him. Comin' over. Kenny? \n Don't look. \n \n So of course Sara does. She makes a silly face at"," Chenille as Kenny sidles up to her. Chenille rolls her \n eyes half-heartedly. \n \n KENNY (MAN) \n What's up? \n \n CHENILLE"," friend. Chenille doesn't like \n him. \n \n PATRICK \n She likes him. It don't stop her \n from trippin' off him now and"," CHENILLE \n (laughs) \n Gotta watch where you sit, girl. \n And it's Chenille. But you're \n still welcome. Let's catch some"," Chenille, her girls, that identity \n crisis Diggy. \n \n Sara looks at Toni. Getting it. Getting her. The \n expression on her face closes off. Toni, too dense to \n read it, keeps talking. \n"," I love my son, Chenille. You know \n that, don't you? \n \n CHENILLE \n Yeah. I always knew that. \n \n"," know him. He's my brother. \n \n Chenille waits for Sara to swallow her tongue. Enjoys a \n laugh. \n \n \n ANGLE SHIFTS TO PATRICK \n"," Chenille triple unlocks the door, lets Sara in. Sara's \n surprised -- the apartment is surprisingly quaint and \n extremely neat. It looks a helluva lot better than Roy's \n place. Chenille is dressed in hugely baggy military-"," but he's still crying. Chenille slips off his dirty \n diaper. When Sara hands her a clean one, Chenille \n regards her strangely, as if just remembering that she's \n there. \n \n CHENILLE"," 97. \n \n 155 INT. REYNOLDS' APARTMENT - CHENILLE'S BEDROOM - NIGHT 155 \n \n Chenille and Kenny. In the middle of a contentious"," ride and Patrick and Chenille repeat the routine \n throughout their conversation. \n \n CHENILLE \n Why you so quiet? \n (off Patrick's \n brooding look)"," club. He wants a drink. He's almost at the bar when he \n sees Chenille on the dance floor with Kenny. She shrugs \n a smile, then cocks her head over at the bar. Toward"," of it. Chenille, disconcerted with Patrick, looks dourly \n at Sara. \n \n CHENILLE \n I'll see you Monday. \n (to Patrick, like an \n order)"," Chenille pushes her way to the bar, tugging Sara along. \n A tall, angular twenty-something MAN on the far side of \n the bar sees her. She sees him. Sucks her teeth, nudges \n Sara. \n"," To where? To who? Malakai? \n (sucks her teeth) \n You ain't through with that fool \n yet. \n \n PATRICK \n He's not a fool, Chenille. \n"," Chenille makes an impressed face. Regards Sara \n curiously. \n \n CHENILLE \n You should hit Feetz with us \n tomorrow night. It's a club. \n Sorta members only. \n"," joke about her nearly blowing him up. But Patrick just \n stares at her with a twinkle in his eyes. A nice \n twinkle. Sara's not entirely immune to it. Chenille \n breaks their eye play, pushes Patrick aside. She grabs"," He'll walk you. \n \n As much as this makes sense, it still takes Patrick by \n surprise. Sara sees it in his face, regards Chenille \n with a false bravado. \n \n SARA"," HONKS AGAIN. Then he waves at her. Waves! Chenille \n looks at Sara. Then at Roy. \n \n CHENILLE \n That's your old man? Now he's \n cute. \n"],[" Chenille makes an impressed face. Regards Sara \n curiously. \n \n CHENILLE \n You should hit Feetz with us \n tomorrow night. It's a club. \n Sorta members only. \n"," club. He wants a drink. He's almost at the bar when he \n sees Chenille on the dance floor with Kenny. She shrugs \n a smile, then cocks her head over at the bar. Toward"," Chenille pushes her way to the bar, tugging Sara along. \n A tall, angular twenty-something MAN on the far side of \n the bar sees her. She sees him. Sucks her teeth, nudges \n Sara. \n"," Chenille triple unlocks the door, lets Sara in. Sara's \n surprised -- the apartment is surprisingly quaint and \n extremely neat. It looks a helluva lot better than Roy's \n place. Chenille is dressed in hugely baggy military-"," BACK TO SCENE \n \n SARA \n What's it called? What she's \n doing? \n \n CHENILLE \n A dance. \n \n SARA"," Changed your hair. \n \n He waves a metal detector over their bodies, nods to yet \n another bouncer who escorts Sara and Chenille through yet \n another door. \n \n"," Chenille, her girls, that identity \n crisis Diggy. \n \n Sara looks at Toni. Getting it. Getting her. The \n expression on her face closes off. Toni, too dense to \n read it, keeps talking. \n"," Chenille comes up behind him. Squeezes, pats his \n shoulder. \n \n (CONTINUED) \n \n 94. \n"," Want me to take him? \n \n Chenille shakes her head. Walks to reception to sign \n herself in. Sara takes in the faces of girls younger \n than herself, the grime and gloom of the room. It's"," up by the crowd, Chenille turns back to Sara, shouts: \n \n CHENILLE \n Rum and Coke. No ice. Hook me \n up. \n \n \n ON PATRICK \n"," Chenille. She's ugly. She's fat! \n \n CHENILLE \n She's twenty-one too. I ain't got \n all night. Let's hop. \n \n SARA"," CHENILLE \n (laughs) \n Gotta watch where you sit, girl. \n And it's Chenille. But you're \n still welcome. Let's catch some"," (an inside to Chenille) \n Can't get much more underground \n than this. \n \n \n 78 INT. FEETZ CLUB - CONTINUOUS ACTION 78 \n"," incomprehensible that this is a place where sick children \n are brought to get well. Chenille finishes at the desk. \n Returns to Sara. They cross to a corner of the clinic \n where they sit -- on the floor. Chenille indicates the"," peak when Chenille and Sara walk in. Chenille's carrying \n a fussy Christopher, his diaper bag and her backpack. \n Sara, wanting to be helpful, reaches for Christopher. \n \n SARA"," Chenille, Diggy and another black girl. Fraternizing. \n \n \n ANOTHER ANGLE - DEEJAY BOOTH \n \n A chrome-domed deejay with a Barry White baritone bellows","83 EXT. FEETZ - FRONT ENTRANCE - NIGHT 83 \n \n Distant WAIL of SIRENS as Feetz begins to empty out. \n Kids converge on the sidewalks. PICK UP Sara, Chenille"," Chenille as Kenny sidles up to her. Chenille rolls her \n eyes half-heartedly. \n \n KENNY (MAN) \n What's up? \n \n CHENILLE"," CHENILLE \n That's him. Comin' over. Kenny? \n Don't look. \n \n So of course Sara does. She makes a silly face at"," the playground. Disappear. She and Christopher move on \n to a seesaw. Chenille bobs him up and down on one end of \n it. She's snuggling in Christopher's face when the other"],[" though, Nikki. You lettin' some \n white ho' show you up like that. \n \n He regards her with bemused pity. Nikki, with all her \n inner outrage, manages to salvage her pride. She sneers"," NIKKI \n (a hiss, under her \n breath) \n It ain't over, bitch. \n \n SARA \n Over? I don't even know why it"," Shoving, pushing, and barging her way up to Patrick. \n Without preamble or regard for Sara, she starts dancing \n with him. Patrick looks at Sara but he's somehow dancing \n with Nikki. Sara retreats with daggers in her eyes."," NIKKI \n That was different. \n \n PATRICK \n How you gonna call it different? \n \n She stands up. Looks down at him. Raises her voice. \n"," Nikki folds her arms across her chest, looks at him \n defiantly. \n \n NIKKI \n I don't think it, I know it. But \n you go ahead, deny it. That's"," ball to Nikki. It clips Nikki's head, bounces out of \n bounds. Nikki, her dignity stunned, her patience out, \n walks up to Sara, shoves her to the floor. Sara looks up"," NIKKI \n You're the one tryin' to prove \n something. Stuck up in her shit \n like she's somethin' special. \n \n PATRICK"," standing with her crew dourly observing Patrick and Sara. \n \n NIKKI \n Watch me squash their shit. Hard. \n \n \n ON NIKKI \n"," NIKKI \n Please. You're with her because \n she's white. That's what sets me \n off. \n \n PATRICK \n (exasperated)"," as Nikki approaches him. Sexy, standoffish and \n conceited, she's the stuff of wet dreams and futile \n longing. She sits down next to Patrick. Close to him. \n Snookie watches her, much amused. \n"," and drive-bys. That's what Nikki \n meant about you up in our world. \n \n Sara sits there, stupefied. Understanding. Not \n understanding. \n","146 INT. PATTERSON HIGH - GYM 146 \n \n Sara jumps up, shoves Nikki back. And the fight is on. \n \n 92. \n"," A fight. Two black girls having at it. It's a ferocious \n match. Hair pulling, spit flying, punches landed, \n clothes torn apart. \n \n \n ANGLE ON SARA \n"," started... bitch. And don't say \n it's about Patrick because it's \n not. It's not about him. \n \n NIKKI \n No. It's about you. White girls"," Basket. Nikki shoots Sara a murderous look. Stupid, \n uncoordinated bitch. \n \n \n 143 EXT. DRUID HILL PLAYGROUND - BASKETBALL COURT 143 \n"," in his face. \n \n NIKKI \n Fuck you, Malakai. Fuck her too. \n \n MALAKAI \n (gaily, a she sails off)"," PATRICK \n Somethin' must be on your mind for \n you to get up in Sara's face, \n start all this drama. What you \n tryin' to prove, Nikki? \n"," NIKKI \n Tell her to chill. She always got \n somethin' to say. \n \n CHENILLE \n I can say a lot more. Keep"," if I want him to be. That bitch \n ain't got shit on me. \n \n The girls regard her in conspicuous, dubious silence. \n Nikki maintains her cool but inside her pride is \n pricking. \n"," You didn't hear? Nikki jumped off \n at her in gym. It was fierce... \n \n Given the day, this is the straw on Patrick's back. He \n bolts from the table and on his way out nearly bumps"],[" University guy. In any event, he looks slightly bored. \n \n Chenille with Kenny, smiles at Sara as she and Patrick \n dance by. \n \n CAMERA FAVORS and PUSHES IN ON... \n"," Since I'm all set. I mean, I have \n done this before. Gone to school. \n I'll be fine. I am fine. Really. \n \n Roy regards her with weary resignation. Sara climbs out."," Both of them ignore it. But it goes on like a musical \n number. Sara gets a sinking feeling that drops like a \n stone when she looks across the street. Roy's parked at \n the curb, waiting for her. She rolls her eyes and he"," Patrick pays him. Diondre darts out. Patrick walks up \n to Nikki. Nikki clenches, tries to dismiss him with a \n backhanded wave. \n \n NIKKI"," and drive-bys. That's what Nikki \n meant about you up in our world. \n \n Sara sits there, stupefied. Understanding. Not \n understanding. \n","114 CONTINUED: 114 \n \n SARA \n Yeah I liked it. I was gonna go \n to Juilliard. That school fucked"," back there. Shit. I never knew a \n year could be such a long time. \n \n A flash of commiseration, of guilt, crosses Patrick's \n face. They're at the doors now. Most of the kids have"," it. He can feel it trained on his back as he gets out \n the car. But Malakai can't do it. Wouldn't do it. He \n takes off like a bat out of hell. \n \n"," I get into U.M.B.C., financial \n aid, everything... \n \n MRS. GWYNN \n Do I detect a 'but'? \n"," A car speeds off. Patrick raises up, looks around. \n Malakai nods. He's okay. Snookie's crawling to the \n exit, snot-nosed and crying. He's okay. Then they see"," dance, he bravely but rather too abruptly dips her... \n \n Diggy (in a glitter tuxedo and spiked hair) and her \n date... \n \n Nikki with whom we shall perceive to be the Howard"," passes a clutch of students who surround a kid in the \n middle like a horseshoe. Sara gets a fleeting glimpse of \n him. \n \n \n SARA'S POV - PATRICK REYNOLDS \n"," Before she can respond, Patrick's voice booms from the \n back of the auditorium. \n \n PATRICK (O.S.) \n Yes, sir. She's ready. \n"," See ya. \n \n She and Sara continue on to back-of-the-club tables. \n Stop at a reserved one. An adjacent table sports Nikki, \n her three girl crew... and Diggy. All nurse drinks."," Sara regards him quizzically. Roy goes to her dresser, \n picks up an envelope from Juilliard. \n \n ROY \n I saw the return address. Got \n curious. It was open. I read it."," (off Patrick's silence) \n Aw'ight, college boy. You do what \n you think is the right thing. \n I'ma do what I know is the only \n thing. \n"," and Diggy. Waiting and watching for Patrick. Diggy \n looks at them. \n \n DIGGY \n It's about to get real out here. \n Cops and shit. I'm gone. \n"," so than we've ever seen. They sit close to each other. \n Very close. \n \n SARA \n Are you gonna tell me where we're \n going? \n (as he grins, shakes"," Patrick. \n \n PATRICK \n It ain't anymore, Nikki. Not to \n me. \n \n He walks off. CAMERA TRACKS him going deep inside the"," though, Nikki. You lettin' some \n white ho' show you up like that. \n \n He regards her with bemused pity. Nikki, with all her \n inner outrage, manages to salvage her pride. She sneers"],[" one of her legs between his and whispers: \n \n SARA \n We have an audience. Work with \n me. \n \n PATRICK \n (nonplussed)"," herself. \n \n SARA \n Asshole. \n \n (CONTINUED) \n \n 22. \n"," slightly, just enough for Patrick to see her face. It \n pisses him off. \n \n PATRICK \n Shit! \n \n SARA"," SARA \n Uh-huh. \n \n Roy takes another drag, nods thoughtfully to himself. \n \n ROY \n That's what I figured you were \n doin'. \n"," Patrick looks at her, nods. He gets up, follows Sara \n behind the partition into her \"room.\" They stand there \n for a moment. He cups her face with his hands. Kisses \n her. They begin to take off each other's clothes,"," Sara glares at him. The disingenuous Rhonda jumps in. \n \n RHONDA \n I think he means you know about \n sex. That we have it and he likes"," He regards her, touched. \n \n PATRICK \n I like it. I love it. Thank you. \n \n SARA \n Wait. There's more. \n"," Because he was in my house with \n his hands all over my daughter! \n \n SARA \n Keep telling yourself that. Just \n don't expect me to believe it. I \n saw how you looked at him. But"," The music's beginning to feel good to Sara. Patrick lets \n go of her hands. Starts to dance. Sara watches him \n intensely, her body follows his stiffly. Patrick's a \n good teacher. He leads without leaving her. Whenever"," She wouldn't want you to give up. \n \n Sara swipes at her face, looks up at him, still crying. \n \n SARA \n I know... but she... I just don't"," He'll walk you. \n \n As much as this makes sense, it still takes Patrick by \n surprise. Sara sees it in his face, regards Chenille \n with a false bravado. \n \n SARA"," Sara gazes at it, then up at him, understanding what this \n means. She won't let him see how it shatters her. He \n hesitates, as if he wants to say something else. But"," and drive-bys. That's what Nikki \n meant about you up in our world. \n \n Sara sits there, stupefied. Understanding. Not \n understanding. \n"," 103. \n \n 159 CONTINUED: 159 \n \n SARA \n We should keep going. \n \n PATRICK"," Both of them ignore it. But it goes on like a musical \n number. Sara gets a sinking feeling that drops like a \n stone when she looks across the street. Roy's parked at \n the curb, waiting for her. She rolls her eyes and he"," her face gives this away. The \"man\" glances out past his \n shoulder. He looks right down our throat straight into \n Sara's eyes. Malakai. \n \n \n ON SARA \n \n SARA","139 CONTINUED: 139 \n \n SARA \n (screaming at him) \n Want me to say it? You were a"," Work with you? \n \n SARA \n (sotto voce, \n through her teeth) \n Grab something. \n \n (CONTINUED) \n"," Malakai than it is to walk away from a lifetime of \n friendship. But Patrick does. With Sara holding onto \n his arm, at his side, he turns and walks away. \n \n"," in his face. \n \n NIKKI \n Fuck you, Malakai. Fuck her too. \n \n MALAKAI \n (gaily, a she sails off)"]],"string":"[\n [\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" with tears and guilt. Patrick puts his arms around her. \\n \\n SARA \\n (inconsolable) \\n She was dying while I was dancing \\n and I was mad at her and I'm\",\n \" Sara looks at him, feeling bad. Feeling stupid for \\n ruining the evening. She bites her lip, shakes her head \\n (\\\"but nothing\\\"). Patrick takes her and they go in. \\n \\n\",\n \" Your mom would've expected you to \\n do what you did. \\n \\n Sara, choking on tears, regards him forlornly. \\n \\n SARA \\n That's what makes it so bad. She\",\n \" 31. \\n \\n 66 CONTINUED: 66 \\n \\n Hill's tone is searing. He turns to Sara. She's trying\",\n \" Because he was in my house with \\n his hands all over my daughter! \\n \\n SARA \\n Keep telling yourself that. Just \\n don't expect me to believe it. I \\n saw how you looked at him. But\",\n \" Sara takes a small, tasteless sample, nods. They eat in \\n silence. Then Sara looks over at him with genuine if \\n detached remorse. \\n \\n SARA \\n You're right. I should've said\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" 99. \\n \\n 156 CONTINUED: 156 \\n \\n SARA \\n She started it, Chenille. She \\n wanted to start it. I told you\",\n \" Know why there's nothing to say? \\n Because you don't talk about her. \\n You won't talk about her. \\n \\n SARA \\n I'm sorry she's dead. God! What\",\n \" she's feeling. But she goes on. \\n \\n SARA \\n What I want is to wake up and see \\n my mom. For things to go back to \\n the way they were. When they made\",\n \" Sara folds her arms, turns away mumbling under breath. \\n \\n SARA \\n Used to. \\n \\n Sara gazes out the window. The world outside begins to \\n dissolve melting into images from another time, another\",\n \" to you because too much time went \\n by. \\n \\n Sara's eyes well up. Before she can stop herself, she's \\n crying. \\n \\n SARA\",\n \" SARA \\n Uh-huh. \\n \\n Roy takes another drag, nods thoughtfully to himself. \\n \\n ROY \\n That's what I figured you were \\n doin'. \\n\",\n \" Sara exits, looking pretty much like she feels. Like \\n shit. She walks a few paces. Sees Patrick. Their eyes \\n connect for a brief, awful moment before they continue on \\n their respective ways. \\n \\n\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" SARA \\n (beside herself) \\n I know, but -- \\n \\n PATRICK \\n (crestfallen) \\n But what? \\n\",\n \" SARA \\n See you tomorrow? \\n \\n A rhetorical question under the circumstances. Patrick \\n regards her tenderly, moves her hair from her eyes. \\n Stares deeply into them. Sara smiles wanly, certain she\",\n \" SARA \\n I did. \\n \\n PATRICK \\n You ain't actin' like you did. \\n \\n She looks over at him, tries to smile. \\n \\n SARA\",\n \" Patrick looks at her, nods. He gets up, follows Sara \\n behind the partition into her \\\"room.\\\" They stand there \\n for a moment. He cups her face with his hands. Kisses \\n her. They begin to take off each other's clothes,\"\n ],\n [\n \" Chenille comes up behind him. Squeezes, pats his \\n shoulder. \\n \\n (CONTINUED) \\n \\n 94. \\n\",\n \" CHENILLE \\n That's him. Comin' over. Kenny? \\n Don't look. \\n \\n So of course Sara does. She makes a silly face at\",\n \" CHENILLE \\n (laughs) \\n Gotta watch where you sit, girl. \\n And it's Chenille. But you're \\n still welcome. Let's catch some\",\n \" Chenille as Kenny sidles up to her. Chenille rolls her \\n eyes half-heartedly. \\n \\n KENNY (MAN) \\n What's up? \\n \\n CHENILLE\",\n \" Chenille. She's ugly. She's fat! \\n \\n CHENILLE \\n She's twenty-one too. I ain't got \\n all night. Let's hop. \\n \\n SARA\",\n \" Chenille. Lookin' fine. As \\n always. \\n \\n CHENILLE \\n Too fine to stand in line? \\n \\n The Man grins, opens the rope, lets them in -- \\\"in\\\" being\",\n \" friend. Chenille doesn't like \\n him. \\n \\n PATRICK \\n She likes him. It don't stop her \\n from trippin' off him now and\",\n \" Chenille, her girls, that identity \\n crisis Diggy. \\n \\n Sara looks at Toni. Getting it. Getting her. The \\n expression on her face closes off. Toni, too dense to \\n read it, keeps talking. \\n\",\n \" Chenille makes an impressed face. Regards Sara \\n curiously. \\n \\n CHENILLE \\n You should hit Feetz with us \\n tomorrow night. It's a club. \\n Sorta members only. \\n\",\n \" of it. Chenille, disconcerted with Patrick, looks dourly \\n at Sara. \\n \\n CHENILLE \\n I'll see you Monday. \\n (to Patrick, like an \\n order)\",\n \" Chenille triple unlocks the door, lets Sara in. Sara's \\n surprised -- the apartment is surprisingly quaint and \\n extremely neat. It looks a helluva lot better than Roy's \\n place. Chenille is dressed in hugely baggy military-\",\n \" the playground. Disappear. She and Christopher move on \\n to a seesaw. Chenille bobs him up and down on one end of \\n it. She's snuggling in Christopher's face when the other\",\n \" They, like Chenille, are rugged and regular. They know \\n who they are. \\n \\n END OF SERIES OF SWEEPING SHOTS. \\n \\n 20. \\n\",\n \" I love my son, Chenille. You know \\n that, don't you? \\n \\n CHENILLE \\n Yeah. I always knew that. \\n \\n\",\n \" Chenille, and Nikki). Amid snickers, the stout girl \\n (\\\"DIGGY\\\") slides off the beam, walks past the teacher \\n with her head demurely cast down. Clearing the teacher,\",\n \" Chenille starts to change Christopher's diaper. He \\n starts to wail and flail. Chenille can't placate him. \\n One of his kicks connects with Chenille's open backpack,\",\n \" (a look; knows that) \\n No, I mean... the step, the... \\n \\n She trails off as she catches someone in the corner of \\n her eye. She turns away from Chenille, gradually \\n focusing on -- \\n \\n\",\n \" Chenille pushes her way to the bar, tugging Sara along. \\n A tall, angular twenty-something MAN on the far side of \\n the bar sees her. She sees him. Sucks her teeth, nudges \\n Sara. \\n\",\n \" ride and Patrick and Chenille repeat the routine \\n throughout their conversation. \\n \\n CHENILLE \\n Why you so quiet? \\n (off Patrick's \\n brooding look)\",\n \" She leaves. Chenille spots Patrick. Not too worse for \\n the wear. She smiles with relief. Then Sara sees him. \\n She smiles too. \\n \\n 47. \\n\"\n ],\n [\n \" There's a KNOCK at door. MRS. GWYNN, the Guidance \\n Counselor, steps in. The Administrator introduces her to \\n Sara. Sara regards Mrs. Gwynn with polite petulance. \\n\",\n \" an EXPLOSION. A CAR HORN goes off in a persistent drone. \\n Patrick stops. Stands there for a moment. Then he's \\n walking again. Without looking back. And then he's\",\n \"Chevalier Building, Ste. 203 \\n Los Angeles, California \\n \\n JUNE 11, 1999 \\n \\n FADE IN: \\n\",\n \" Before she can respond, Patrick's voice booms from the \\n back of the auditorium. \\n \\n PATRICK (O.S.) \\n Yes, sir. She's ready. \\n\",\n \" Groups of children scatter around worn-out playground \\n equipment. The gleeful squeal of them is everywhere. \\n Patrick guides Christopher down a slide; Chenille catches \\n him at the bottom. Christopher can't get enough of this\",\n \" the cheeks. ANGLE WIDENS to reveal a stout white girl on \\n a balance beam. Trying to get her legs to stand up on \\n it. Hanging on for dear life. From somewhere around \\n her, a WHISTLE BLOWS.\",\n \" clips Sara's elbow as she passes, knocking it against a \\n locker. They keep going as if they don't see her. No \\n one seems to see her. Welcome to mass avoidance at \\n Patterson High. \\n \\n\",\n \" exit the complex. He leads her to a mall of trees and \\n bike paths. \\n \\n PATRICK \\n Lemme see that move you did. That \\n cute leg relieve thing. \\n (as she shakes\",\n \" She walks like a well-rehearsed soldier in a stiff \\n straight line to the school's entrance. It's clogged \\n with students. Inside the doorway, two security guards\",\n \" DAVIS presides. Girls only. \\n \\n \\n 50 WHITE TABLE \\n \\n Notable for its glaring absence of color. A girl we will \\n come to know as TONI sits there. \\n\",\n \" in formal attire. Parking valets hover on the sidewalks \\n waiting for cars. Into this, Sara and Patrick walk. She \\n looks at the crowd, then sees the overhead banner -- \\n \\\"Boston Ballet, A Command Performance.\\\" Sara's heart\",\n \" than we've seen before. HOLD ON closet door. A beat \\n before Sara emerges from behind it, ballet slippers in \\n hand. She takes a deep breath. Slides them on. Peers\",\n \" with aplomb. Her legs and body are strong, supple, \\n pliable rubber bands. She flounces across it on her \\n tiptoes. Does a flawless split. Hops off. Looks out. \\n \\n\",\n \" slumps over the steering wheel, a bullet through his \\n head. \\n \\n \\n 176 INT. BALTIMORE SCHOOL OF PERFORMING ARTS - AUDITORIUM - 176 \\n NIGHT\",\n \" (CONTINUED) \\n \\n 111. \\n \\n 167 CONTINUED: 167 \\n \\n PATRICK\",\n \" A car speeds off. Patrick raises up, looks around. \\n Malakai nods. He's okay. Snookie's crawling to the \\n exit, snot-nosed and crying. He's okay. Then they see\",\n \" practicing with Patrick. Her body has finally found a \\n way to get inside this kind of music, to elevate its \\n meaning and transform her dance. \\n \\n The MUSIC ENDS. The lights go up. \\n\",\n \" Patrick, still in work coveralls, enters. First thing he \\n does is pick up a stack of mail. Tracking him into \\n kitchen as he crosses to refrigerator, takes out a plate\",\n \"83 EXT. FEETZ - FRONT ENTRANCE - NIGHT 83 \\n \\n Distant WAIL of SIRENS as Feetz begins to empty out. \\n Kids converge on the sidewalks. PICK UP Sara, Chenille\",\n \" Patrick steers Malakai away from the waiting room, backs \\n him against a wall and, in a gentle but firm way, holds \\n him there. \\n \\n PATRICK \\n They just got bad news, man. They\"\n ],\n [\n \" He goes into a spin, a half-split, comes out of it \\n swaggering and half-stepping around her. Sara gives him \\n an impish look. Rises up on full pointe, turns out her\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" floor. PAN UP and PULL BACK to reveal Sara at 17, \\n dancing in the space opened up by cornered furniture and \\n rolled up rugs. As Glynn looks on, Sara completes the\",\n \" A gallant lie. Sara tries to believe it. They dance. \\n Practice has made her near perfect. Their movements are \\n ambitious, nimble, better than anyone else on the floor. \\n They move so well together that Snookie, dancing nearby,\",\n \" So, Sara. What's up with that? \\n \\n SARA \\n (awkwardly) \\n Nothing's up with it. I used to \\n kind of dance. Ballet. Mostly. \\n\",\n \" SARA (CONT'D) \\n (succumbs to his \\n bewilderment) \\n Ballet. I used to dance, Patrick. \\n \\n PATRICK \\n You used to dance?\",\n \" WIDER as the dance floor swells with kids. PICK UP Sara \\n and Patrick among them. She looks at him nervously. He \\n smiles. \\n \\n PATRICK \\n Nobody's watchin' you but me. \\n\",\n \"159 INT. DANCE STUDIO - SARA AND PATRICK - MORNING 159 \\n \\n Practice her free form, a hip-hop ballet hybrid. They're\",\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \" DIGGY \\n Go, Sara! Go, Sara! \\n \\n \\n PATRICK AND SARA \\n \\n building up a sweat; confidently dancing at fever pitch. \\n\",\n \" party on the floor. FAVOR Sara and Patrick, facing each \\n other. He's moving already. She starts to dance, \\n stiffly, tentatively. Patrick smiles at her. Shakes his\",\n \" head. He grabs her hands, swings them in time to the \\n music. \\n \\n PATRICK \\n Now move your hips. Not so fast. \\n (as Sara looks lost)\",\n \" in formal attire. Parking valets hover on the sidewalks \\n waiting for cars. Into this, Sara and Patrick walk. She \\n looks at the crowd, then sees the overhead banner -- \\n \\\"Boston Ballet, A Command Performance.\\\" Sara's heart\",\n \" Shoving, pushing, and barging her way up to Patrick. \\n Without preamble or regard for Sara, she starts dancing \\n with him. Patrick looks at Sara but he's somehow dancing \\n with Nikki. Sara retreats with daggers in her eyes.\",\n \" bustling crowds of the inner harbor, then to a park \\n across from this where Sara and Patrick are practicing. \\n HIP-HOP MUSIC softly PLAYS from Patrick's BOOM-BOX. Sara \\n watches his face as they dance. \\n\",\n \" be the dancer Juilliard came to \\n see. \\n \\n SARA \\n I wanted somebody there who loves \\n me. \\n \\n Roy regards her softly, significantly, the irony \\n implicit. \\n\",\n \" 107. \\n \\n 164 INT. DANCE STUDIO - DAY 164 \\n \\n Sara. Alone. She pushes the tape from Patrick into an\",\n \" MUSIC begins. \\n \\n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \\n like an angel through the soft cloud of this music. Her \\n line, proportion and balance are impeccable. \\n\",\n \" DISSOLVE TO: \\n \\n \\n 6 INT. BALLET CLASS - EVENING (FIVE YEARS LATER) 6 \\n \\n Young Sara, lithe and earnest, dances. A budding beauty\",\n \" BACK TO SCENE \\n \\n SARA \\n What's it called? What she's \\n doing? \\n \\n CHENILLE \\n A dance. \\n \\n SARA\"\n ],\n [\n \" He calls after her. \\n \\n ROY \\n -- Pick you up. Three-thirty. \\n \\n SARA \\n (over a shoulder) \\n Yeah. Sure. Whatever. \\n \\n\",\n \" Both of them ignore it. But it goes on like a musical \\n number. Sara gets a sinking feeling that drops like a \\n stone when she looks across the street. Roy's parked at \\n the curb, waiting for her. She rolls her eyes and he\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" Patrick looks at her, nods. He gets up, follows Sara \\n behind the partition into her \\\"room.\\\" They stand there \\n for a moment. He cups her face with his hands. Kisses \\n her. They begin to take off each other's clothes,\",\n \" Sara looks at him, feeling bad. Feeling stupid for \\n ruining the evening. She bites her lip, shakes her head \\n (\\\"but nothing\\\"). Patrick takes her and they go in. \\n \\n\",\n \" Sara looks at him. A soft smile is all she offers up. \\n \\n \\n 115 EXT. PARK - SARA AND PATRICK - LATER 115 \\n\",\n \"85 EXT. STREET - SARA AND PATRICK - NIGHT 85 \\n \\n walking. Sara keeps stealing glances of him. Or so she \\n thinks. \\n \\n PATRICK\",\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" so than we've ever seen. They sit close to each other. \\n Very close. \\n \\n SARA \\n Are you gonna tell me where we're \\n going? \\n (as he grins, shakes\",\n \" in formal attire. Parking valets hover on the sidewalks \\n waiting for cars. Into this, Sara and Patrick walk. She \\n looks at the crowd, then sees the overhead banner -- \\n \\\"Boston Ballet, A Command Performance.\\\" Sara's heart\",\n \" sees Roys' pickup. Shit. He's home. \\n \\n \\n 92 CAMERA TRACKS 92 \\n \\n Sara as she enters their rowhouse, walks up a flight of\",\n \" living area from the bedroom. Sara walks past a \\n collection of saxophones and several framed pictures of \\n herself. Aside from the saxophones and the pictures, \\n there's hardly any furniture. Roy lights a cigarette. \\n\",\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \"115 CONTINUED: 115 \\n \\n She looks at him. Patrick grins. Sara knocks her legs \\n against his. He knocks his legs back. A silly moment.\",\n \" Chenille triple unlocks the door, lets Sara in. Sara's \\n surprised -- the apartment is surprisingly quaint and \\n extremely neat. It looks a helluva lot better than Roy's \\n place. Chenille is dressed in hugely baggy military-\",\n \" bustling crowds of the inner harbor, then to a park \\n across from this where Sara and Patrick are practicing. \\n HIP-HOP MUSIC softly PLAYS from Patrick's BOOM-BOX. Sara \\n watches his face as they dance. \\n\",\n \" dinners. \\n \\n SARA \\n (into phone) \\n It was so... slamming, Lindsay. \\n The dancing! I'm going again. \\n What? No, I haven't seen anybody\",\n \" hand. Sara fiercely jerks away. Patrick grabs her hand \\n again, more emphatically this time. But Sara won't budge \\n from the spot where she's standing. So Patrick slides \\n his arms around her, holds her without moving. They\",\n \" SARA \\n What? \\n \\n ROY (O.S.) \\n Just come here. \\n \\n She walks into the kitchen. Roy's in front of the open\",\n \" floor. PAN UP and PULL BACK to reveal Sara at 17, \\n dancing in the space opened up by cornered furniture and \\n rolled up rugs. As Glynn looks on, Sara completes the\"\n ],\n [\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" Malakai than it is to walk away from a lifetime of \\n friendship. But Patrick does. With Sara holding onto \\n his arm, at his side, he turns and walks away. \\n \\n\",\n \" Sara exits, looking pretty much like she feels. Like \\n shit. She walks a few paces. Sees Patrick. Their eyes \\n connect for a brief, awful moment before they continue on \\n their respective ways. \\n \\n\",\n \" Patrick looks at her, nods. He gets up, follows Sara \\n behind the partition into her \\\"room.\\\" They stand there \\n for a moment. He cups her face with his hands. Kisses \\n her. They begin to take off each other's clothes,\",\n \" Because he was in my house with \\n his hands all over my daughter! \\n \\n SARA \\n Keep telling yourself that. Just \\n don't expect me to believe it. I \\n saw how you looked at him. But\",\n \" Sara turns her back on him and Patrick walks away. \\n \\n \\n ANOTHER ANGLE - TONI \\n \\n approaching Sara's locker. Having seen the encounter \\n between Patrick and Sara, she's as smug and overbearing\",\n \" Both of them ignore it. But it goes on like a musical \\n number. Sara gets a sinking feeling that drops like a \\n stone when she looks across the street. Roy's parked at \\n the curb, waiting for her. She rolls her eyes and he\",\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \" He calls after her. \\n \\n ROY \\n -- Pick you up. Three-thirty. \\n \\n SARA \\n (over a shoulder) \\n Yeah. Sure. Whatever. \\n \\n\",\n \" 31. \\n \\n 66 CONTINUED: 66 \\n \\n Hill's tone is searing. He turns to Sara. She's trying\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" So, Sara. What's up with that? \\n \\n SARA \\n (awkwardly) \\n Nothing's up with it. I used to \\n kind of dance. Ballet. Mostly. \\n\",\n \" (CONTINUED) \\n \\n 12. \\n \\n 33 CONTINUED: 33 \\n \\n SARA \\n Over the summer. You blew me off\",\n \"139 CONTINUED: 139 \\n \\n SARA \\n (screaming at him) \\n Want me to say it? You were a\",\n \" SARA \\n Uh-huh. \\n \\n Roy takes another drag, nods thoughtfully to himself. \\n \\n ROY \\n That's what I figured you were \\n doin'. \\n\",\n \" Sara. The look is like, help me out. Don't let me leave \\n her hangin'. Patrick rolls his eyes as he glances at \\n Sara, before he really sees her. She looks fly. Hugely\",\n \" Sara's moving the partition around, trying to make her \\n room more like a room. Trying to build another wall \\n between her and Roy. \\n \\n (CONTINUED) \\n \\n 26. \\n\",\n \"110 CONTINUED: 110 \\n \\n LINDSAY (V.O.) (CONT'D) \\n Jesus, Sara, you're in the\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" It takes everything Patrick has to keep walking until \\n he's out the door. It slams behind him. Sara marches up \\n to Roy, furious. \\n \\n SARA \\n I hate being your daughter. You\"\n ],\n [\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" Because he was in my house with \\n his hands all over my daughter! \\n \\n SARA \\n Keep telling yourself that. Just \\n don't expect me to believe it. I \\n saw how you looked at him. But\",\n \" SARA \\n Uh-huh. \\n \\n Roy takes another drag, nods thoughtfully to himself. \\n \\n ROY \\n That's what I figured you were \\n doin'. \\n\",\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \" SARA \\n Yeah. I do. \\n \\n PATRICK \\n Then it's on you to make the dream \\n come true. \\n \\n SARA\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" Sara glares at him. The disingenuous Rhonda jumps in. \\n \\n RHONDA \\n I think he means you know about \\n sex. That we have it and he likes\",\n \" HONKS AGAIN. Then he waves at her. Waves! Chenille \\n looks at Sara. Then at Roy. \\n \\n CHENILLE \\n That's your old man? Now he's \\n cute. \\n\",\n \" 31. \\n \\n 66 CONTINUED: 66 \\n \\n Hill's tone is searing. He turns to Sara. She's trying\",\n \" father. \\n \\n (CONTINUED) \\n \\n 108. \\n \\n 165 CONTINUED: 165 \\n \\n SARA\",\n \" DIGGY \\n Go, Sara! Go, Sara! \\n \\n \\n PATRICK AND SARA \\n \\n building up a sweat; confidently dancing at fever pitch. \\n\",\n \" Your mom would've expected you to \\n do what you did. \\n \\n Sara, choking on tears, regards him forlornly. \\n \\n SARA \\n That's what makes it so bad. She\",\n \" Patrick looks at her, nods. He gets up, follows Sara \\n behind the partition into her \\\"room.\\\" They stand there \\n for a moment. He cups her face with his hands. Kisses \\n her. They begin to take off each other's clothes,\",\n \" you don't know him, Sara, what he \\n been through. Matter of fact, you \\n don't know shit about none of it. \\n So don't come off to me like you \\n do. \\n\",\n \" Both of them ignore it. But it goes on like a musical \\n number. Sara gets a sinking feeling that drops like a \\n stone when she looks across the street. Roy's parked at \\n the curb, waiting for her. She rolls her eyes and he\",\n \" A gallant lie. Sara tries to believe it. They dance. \\n Practice has made her near perfect. Their movements are \\n ambitious, nimble, better than anyone else on the floor. \\n They move so well together that Snookie, dancing nearby,\",\n \" SARA \\n What? \\n \\n ROY (O.S.) \\n Just come here. \\n \\n She walks into the kitchen. Roy's in front of the open\",\n \" she's feeling. But she goes on. \\n \\n SARA \\n What I want is to wake up and see \\n my mom. For things to go back to \\n the way they were. When they made\",\n \" Sara. Caught up in a throng of kids and somehow very \\n separate from them. The walls have been transformed into \\n veritable billboards for the senior prom -- decorations \\n are everywhere. Sara continues down the hallway almost\"\n ],\n [\n \" Patrick looks at her, nods. He gets up, follows Sara \\n behind the partition into her \\\"room.\\\" They stand there \\n for a moment. He cups her face with his hands. Kisses \\n her. They begin to take off each other's clothes,\",\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" Malakai than it is to walk away from a lifetime of \\n friendship. But Patrick does. With Sara holding onto \\n his arm, at his side, he turns and walks away. \\n \\n\",\n \" Sara looks at him, feeling bad. Feeling stupid for \\n ruining the evening. She bites her lip, shakes her head \\n (\\\"but nothing\\\"). Patrick takes her and they go in. \\n \\n\",\n \" with tears and guilt. Patrick puts his arms around her. \\n \\n SARA \\n (inconsolable) \\n She was dying while I was dancing \\n and I was mad at her and I'm\",\n \" hand. Sara fiercely jerks away. Patrick grabs her hand \\n again, more emphatically this time. But Sara won't budge \\n from the spot where she's standing. So Patrick slides \\n his arms around her, holds her without moving. They\",\n \" Sara and Patrick. Gazing at each other. The SONG ENDS \\n with them in each other's arms. \\n \\n FADE OUT. \\n \\n \\n \\n \\n THE END \\n \\n\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" SARA \\n See you tomorrow? \\n \\n A rhetorical question under the circumstances. Patrick \\n regards her tenderly, moves her hair from her eyes. \\n Stares deeply into them. Sara smiles wanly, certain she\",\n \" 31. \\n \\n 66 CONTINUED: 66 \\n \\n Hill's tone is searing. He turns to Sara. She's trying\",\n \" Sara looks at him. A soft smile is all she offers up. \\n \\n \\n 115 EXT. PARK - SARA AND PATRICK - LATER 115 \\n\",\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \" Sara exits, looking pretty much like she feels. Like \\n shit. She walks a few paces. Sees Patrick. Their eyes \\n connect for a brief, awful moment before they continue on \\n their respective ways. \\n \\n\",\n \" He regards her, touched. \\n \\n PATRICK \\n I like it. I love it. Thank you. \\n \\n SARA \\n Wait. There's more. \\n\",\n \" Sara pulls Patrick back. Walks alone to the edge of the \\n stage, composed and professional again. She regards the \\n judges with a beaming resolve and a ballerina's curtsy, \\n then simply says: \\n \\n SARA\",\n \" SARA \\n I did. \\n \\n PATRICK \\n You ain't actin' like you did. \\n \\n She looks over at him, tries to smile. \\n \\n SARA\",\n \" Sara looks up. For the first time in her life, she \\n believes him. \\n \\n \\n 166 INT. HOSPITAL - I.C.U. WAITING ROOM/CORRIDOR - EVENING 166\",\n \"115 CONTINUED: 115 \\n \\n She looks at him. Patrick grins. Sara knocks her legs \\n against his. He knocks his legs back. A silly moment.\",\n \" She leaves. Chenille spots Patrick. Not too worse for \\n the wear. She smiles with relief. Then Sara sees him. \\n She smiles too. \\n \\n 47. \\n\",\n \" He calls after her. \\n \\n ROY \\n -- Pick you up. Three-thirty. \\n \\n SARA \\n (over a shoulder) \\n Yeah. Sure. Whatever. \\n \\n\"\n ],\n [\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \" Sara on stage. She looks past a row of Juilliard JUDGES \\n into the audience. No glint of gold. MOZART'S \\\"Elvira \\n Madigan\\\" (Andante) CUES UP. Sara begins her technical.\",\n \" Pince-Nez leads Sara to the stage. Announces her. \\n \\n Sara walks onstage. \\n \\n She nods down at the judges, looks out into the audience. \\n Her eyes anxiously search for Patrick... hoping. Her\",\n \" SARA \\n Nothing's wrong. \\n (except) \\n I can't figure things out. \\n \\n PATRICK \\n What things? The audition? You\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" Patrick hugging Sara, looks down at the judges. \\n \\n PATRICK \\n All due respect, if ya'll don't \\n let this girl in, you're crazy! \\n\",\n \" SARA \\n \\n finishes with a flawless arabesque. Looks out. \\n \\n \\n REVERSE ANGLE - JUDGES \\n \\n One of the more imperious-appearing JUDGES removes his\",\n \" perfunctorily nod. Their equivalent of maybe next year. \\n Sara chokes two words out... \\n \\n SARA \\n Thank you. \\n \\n \\n 16 INT. AUDITORIUM - BACKSTAGE\",\n \" audition, Roy. I meant to. \\n \\n She's clutching the photo album. Roy sits down next to \\n her. \\n \\n ROY \\n Tomorrow's the big day? \\n \\n SARA\",\n \" Sara pulls Patrick back. Walks alone to the edge of the \\n stage, composed and professional again. She regards the \\n judges with a beaming resolve and a ballerina's curtsy, \\n then simply says: \\n \\n SARA\",\n \" SARA \\n It was great. \\n \\n PATRICK \\n Once you got used to the music. \\n \\n SARA \\n It wasn't the music I wasn't used\",\n \" glasses, speaks to her. Sara's still trying to catch her \\n breath. \\n \\n STERN JUDGE \\n You prepared a free-form? \\n \\n SARA \\n Yes... sir... they have... my\",\n \" Both of them ignore it. But it goes on like a musical \\n number. Sara gets a sinking feeling that drops like a \\n stone when she looks across the street. Roy's parked at \\n the curb, waiting for her. She rolls her eyes and he\",\n \" stage. \\n \\n Sara begins to dance. \\n \\n She starts out strong and gets stronger. Every emotion \\n she feels, every experience she's had, comes to life in a \\n way that we've never seen before, not even when she was\",\n \" living area from the bedroom. Sara walks past a \\n collection of saxophones and several framed pictures of \\n herself. Aside from the saxophones and the pictures, \\n there's hardly any furniture. Roy lights a cigarette. \\n\",\n \" (fingering Sara's \\n papers) \\n I see here that you trained for \\n Juilliard, that you auditioned. \\n \\n SARA \\n That was a long time ago. \\n\",\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" SARA (CONT'D) \\n (succumbs to his \\n bewilderment) \\n Ballet. I used to dance, Patrick. \\n \\n PATRICK \\n You used to dance?\",\n \"114 CONTINUED: 114 \\n \\n SARA \\n Yeah I liked it. I was gonna go \\n to Juilliard. That school fucked\",\n \" MUSIC begins. \\n \\n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \\n like an angel through the soft cloud of this music. Her \\n line, proportion and balance are impeccable. \\n\"\n ],\n [\n \" Sara on stage. She looks past a row of Juilliard JUDGES \\n into the audience. No glint of gold. MOZART'S \\\"Elvira \\n Madigan\\\" (Andante) CUES UP. Sara begins her technical.\",\n \" JUILLIARD SCHOOL OF DANCE AUDITIONS. Sara stares at it. \\n Re-checks her watch. An official with a clipboard walks \\n toward her. Where's her mother? \\n \\n\",\n \" be the dancer Juilliard came to \\n see. \\n \\n SARA \\n I wanted somebody there who loves \\n me. \\n \\n Roy regards her softly, significantly, the irony \\n implicit. \\n\",\n \"114 CONTINUED: 114 \\n \\n SARA \\n Yeah I liked it. I was gonna go \\n to Juilliard. That school fucked\",\n \" (fingering Sara's \\n papers) \\n I see here that you trained for \\n Juilliard, that you auditioned. \\n \\n SARA \\n That was a long time ago. \\n\",\n \" think I can do it without her. \\n \\n PATRICK \\n (holding her) \\n Do you want to do it, Sara? I \\n mean you. Do you want Juilliard? \\n\",\n \" Sara regards him quizzically. Roy goes to her dresser, \\n picks up an envelope from Juilliard. \\n \\n ROY \\n I saw the return address. Got \\n curious. It was open. I read it.\",\n \" SARA \\n Nothing's wrong. \\n (except) \\n I can't figure things out. \\n \\n PATRICK \\n What things? The audition? You\",\n \" Sara's stomach drops to her feet. Her mother's not there \\n and her free form sucks and she doesn't have a theme. \\n Shit! \\n \\n SARA \\n Well, it's um, pretty self-\",\n \" living area from the bedroom. Sara walks past a \\n collection of saxophones and several framed pictures of \\n herself. Aside from the saxophones and the pictures, \\n there's hardly any furniture. Roy lights a cigarette. \\n\",\n \" she's feeling. But she goes on. \\n \\n SARA \\n What I want is to wake up and see \\n my mom. For things to go back to \\n the way they were. When they made\",\n \" glasses, speaks to her. Sara's still trying to catch her \\n breath. \\n \\n STERN JUDGE \\n You prepared a free-form? \\n \\n SARA \\n Yes... sir... they have... my\",\n \" Pince-Nez leads Sara to the stage. Announces her. \\n \\n Sara walks onstage. \\n \\n She nods down at the judges, looks out into the audience. \\n Her eyes anxiously search for Patrick... hoping. Her\",\n \" perfunctorily nod. Their equivalent of maybe next year. \\n Sara chokes two words out... \\n \\n SARA \\n Thank you. \\n \\n \\n 16 INT. AUDITORIUM - BACKSTAGE\",\n \"137 INT. SARA'S CLASSROOM - CONTINUOUS ACTION 137 \\n \\n No teacher is present. The class files in. Toni drops \\n down in a chair beside Sara. She leans over in a\",\n \" How come you never talk about her? \\n \\n SARA \\n There's nothing to say. \\n \\n PATRICK \\n (studying her face)\",\n \"151 INT. ROY'S APARTMENT - LIVING AREA/SARA'S ROOM - DAY 151 \\n \\n Roy's tuning his sax when Sara enters. Her face is a\",\n \" So, Sara. What's up with that? \\n \\n SARA \\n (awkwardly) \\n Nothing's up with it. I used to \\n kind of dance. Ballet. Mostly. \\n\",\n \" audition, Roy. I meant to. \\n \\n She's clutching the photo album. Roy sits down next to \\n her. \\n \\n ROY \\n Tomorrow's the big day? \\n \\n SARA\",\n \" SARA \\n \\n finishes with a flawless arabesque. Looks out. \\n \\n \\n REVERSE ANGLE - JUDGES \\n \\n One of the more imperious-appearing JUDGES removes his\"\n ],\n [\n \" Sara. Caught up in a throng of kids and somehow very \\n separate from them. The walls have been transformed into \\n veritable billboards for the senior prom -- decorations \\n are everywhere. Sara continues down the hallway almost\",\n \" SARA'S POV \\n \\n as she MOVES FORWARD. A crush of KIDS -- mostly black \\n with a sprinkling of white and Latino faces thrown in. \\n Kids like her. Only they don't dress like her. They\",\n \"114 CONTINUED: 114 \\n \\n SARA \\n Yeah I liked it. I was gonna go \\n to Juilliard. That school fucked\",\n \"40 CONTINUED: 40 \\n \\n That's it! The entire student body is energized. Sara's \\n thoughts are jolted by two black girls squeezing by. One\",\n \" So, Sara. What's up with that? \\n \\n SARA \\n (awkwardly) \\n Nothing's up with it. I used to \\n kind of dance. Ballet. Mostly. \\n\",\n \"137 INT. SARA'S CLASSROOM - CONTINUOUS ACTION 137 \\n \\n No teacher is present. The class files in. Toni drops \\n down in a chair beside Sara. She leans over in a\",\n \" (CONTINUED) \\n \\n 104. \\n \\n 159 CONTINUED: 159 \\n \\n SARA (CONT'D)\",\n \"68 PATTERSON HIGH - END OF SCHOOL THAT DAY 68 \\n \\n Sara. Heading down the steps with other students. \\n Chenille and Diggy break through the logjam, catch up to \\n her.\",\n \"10 EXT. EXETER SENIOR HIGH SCHOOL - LATER THAT MORNING 10 \\n \\n Sara exits with a bouquet of roses, takes the steps two\",\n \" clips Sara's elbow as she passes, knocking it against a \\n locker. They keep going as if they don't see her. No \\n one seems to see her. Welcome to mass avoidance at \\n Patterson High. \\n \\n\",\n \" ROY \\n Not around here you don't. Not \\n until you get the hang of things. \\n \\n Sara looks out the window at a full-fledged ghetto. It's\",\n \" Sara folds her arms, turns away mumbling under breath. \\n \\n SARA \\n Used to. \\n \\n Sara gazes out the window. The world outside begins to \\n dissolve melting into images from another time, another\",\n \" ... And then TIGHTER STILL on Sara. Tentatively \\n approaching the balance beam. Mindful of all the eyes on \\n her, all the bated breaths. All waiting to see the new \\n girl fall on her ass. Sara swings herself onto the beam\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \"38 EXT./INT. PATTERSON HIGH - MORNING 38 \\n \\n Sara moving TOWARD us PAST a floating mosaic of black \\n faces. This is a near out-of-body experience for her.\",\n \" Everyone looks at her. The way kids look at new kids. \\n \\n SARA \\n It's a non-fiction novel. The \\n first of its kind. Capote mixed \\n true events with things he\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" Sara's moving the partition around, trying to make her \\n room more like a room. Trying to build another wall \\n between her and Roy. \\n \\n (CONTINUED) \\n \\n 26. \\n\",\n \" You're Sara, right? \\n (as Sara warily nods) \\n Toni. I was gonna introduce \\n myself before but you're always \\n with that crowd. You know.\",\n \" 31. \\n \\n 66 CONTINUED: 66 \\n \\n Hill's tone is searing. He turns to Sara. She's trying\"\n ],\n [\n \" He goes into a spin, a half-split, comes out of it \\n swaggering and half-stepping around her. Sara gives him \\n an impish look. Rises up on full pointe, turns out her\",\n \" So, Sara. What's up with that? \\n \\n SARA \\n (awkwardly) \\n Nothing's up with it. I used to \\n kind of dance. Ballet. Mostly. \\n\",\n \" stage. \\n \\n Sara begins to dance. \\n \\n She starts out strong and gets stronger. Every emotion \\n she feels, every experience she's had, comes to life in a \\n way that we've never seen before, not even when she was\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" MUSIC begins. \\n \\n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \\n like an angel through the soft cloud of this music. Her \\n line, proportion and balance are impeccable. \\n\",\n \" BACK TO SCENE \\n \\n SARA \\n What's it called? What she's \\n doing? \\n \\n CHENILLE \\n A dance. \\n \\n SARA\",\n \"159 INT. DANCE STUDIO - SARA AND PATRICK - MORNING 159 \\n \\n Practice her free form, a hip-hop ballet hybrid. They're\",\n \" A gallant lie. Sara tries to believe it. They dance. \\n Practice has made her near perfect. Their movements are \\n ambitious, nimble, better than anyone else on the floor. \\n They move so well together that Snookie, dancing nearby,\",\n \" SARA (CONT'D) \\n (succumbs to his \\n bewilderment) \\n Ballet. I used to dance, Patrick. \\n \\n PATRICK \\n You used to dance?\",\n \" Tchaikovsky's Swan Lake (Tanz der Schwane) begins and \\n Sara slowly blossoms, opening herself up to the music \\n like a flower. She completes every turn and twist and \\n leap with confidence, energy and persuasion. She is\",\n \" floor. PAN UP and PULL BACK to reveal Sara at 17, \\n dancing in the space opened up by cornered furniture and \\n rolled up rugs. As Glynn looks on, Sara completes the\",\n \" DISSOLVE TO: \\n \\n \\n 6 INT. BALLET CLASS - EVENING (FIVE YEARS LATER) 6 \\n \\n Young Sara, lithe and earnest, dances. A budding beauty\",\n \" be the dancer Juilliard came to \\n see. \\n \\n SARA \\n I wanted somebody there who loves \\n me. \\n \\n Roy regards her softly, significantly, the irony \\n implicit. \\n\",\n \" head. He grabs her hands, swings them in time to the \\n music. \\n \\n PATRICK \\n Now move your hips. Not so fast. \\n (as Sara looks lost)\",\n \" practicing with Patrick. Her body has finally found a \\n way to get inside this kind of music, to elevate its \\n meaning and transform her dance. \\n \\n The MUSIC ENDS. The lights go up. \\n\",\n \" Feel the groove. Don't let the \\n music mess with you. \\n \\n He starts to move with the music. Sara tries to emulate \\n him. They dance throughout the conversation. \\n \\n SARA\",\n \" routine with a pirouette. She spins out of it with a \\n preoccupied frown on her face. \\n \\n GLYNN \\n What's the matter? It was good. \\n \\n SARA\",\n \" in formal attire. Parking valets hover on the sidewalks \\n waiting for cars. Into this, Sara and Patrick walk. She \\n looks at the crowd, then sees the overhead banner -- \\n \\\"Boston Ballet, A Command Performance.\\\" Sara's heart\",\n \" SARA'S POV \\n \\n as she MOVES FORWARD. A crush of KIDS -- mostly black \\n with a sprinkling of white and Latino faces thrown in. \\n Kids like her. Only they don't dress like her. They\",\n \" bustling crowds of the inner harbor, then to a park \\n across from this where Sara and Patrick are practicing. \\n HIP-HOP MUSIC softly PLAYS from Patrick's BOOM-BOX. Sara \\n watches his face as they dance. \\n\"\n ],\n [\n \" Chenille comes up behind him. Squeezes, pats his \\n shoulder. \\n \\n (CONTINUED) \\n \\n 94. \\n\",\n \" CHENILLE \\n That's him. Comin' over. Kenny? \\n Don't look. \\n \\n So of course Sara does. She makes a silly face at\",\n \" know him. He's my brother. \\n \\n Chenille waits for Sara to swallow her tongue. Enjoys a \\n laugh. \\n \\n \\n ANGLE SHIFTS TO PATRICK \\n\",\n \" ride and Patrick and Chenille repeat the routine \\n throughout their conversation. \\n \\n CHENILLE \\n Why you so quiet? \\n (off Patrick's \\n brooding look)\",\n \" friend. Chenille doesn't like \\n him. \\n \\n PATRICK \\n She likes him. It don't stop her \\n from trippin' off him now and\",\n \" quits the room. Kenny regards his son haplessly. Looks \\n at Chenille. \\n \\n KENNY \\n Why's he do that? \\n \\n CHENILLE\",\n \" They, like Chenille, are rugged and regular. They know \\n who they are. \\n \\n END OF SERIES OF SWEEPING SHOTS. \\n \\n 20. \\n\",\n \" of it. Chenille, disconcerted with Patrick, looks dourly \\n at Sara. \\n \\n CHENILLE \\n I'll see you Monday. \\n (to Patrick, like an \\n order)\",\n \" Chenille as Kenny sidles up to her. Chenille rolls her \\n eyes half-heartedly. \\n \\n KENNY (MAN) \\n What's up? \\n \\n CHENILLE\",\n \" club. He wants a drink. He's almost at the bar when he \\n sees Chenille on the dance floor with Kenny. She shrugs \\n a smile, then cocks her head over at the bar. Toward\",\n \" Chenille makes an impressed face. Regards Sara \\n curiously. \\n \\n CHENILLE \\n You should hit Feetz with us \\n tomorrow night. It's a club. \\n Sorta members only. \\n\",\n \" Chenille. Lookin' fine. As \\n always. \\n \\n CHENILLE \\n Too fine to stand in line? \\n \\n The Man grins, opens the rope, lets them in -- \\\"in\\\" being\",\n \" Why you burn her like that? \\n \\n CHENILLE \\n 'Cause I can't stand her ass and \\n the way she played my brother. I \\n need a drink, Sara. Let's walk. \\n\",\n \" Chenille starts to change Christopher's diaper. He \\n starts to wail and flail. Chenille can't placate him. \\n One of his kicks connects with Chenille's open backpack,\",\n \" CHENILLE \\n Be sick of it. You ain't got to \\n see me to see your son. \\n \\n KENNY \\n I'll be sure to keep that in mind. \\n\",\n \" the playground. Disappear. She and Christopher move on \\n to a seesaw. Chenille bobs him up and down on one end of \\n it. She's snuggling in Christopher's face when the other\",\n \" CHENILLE \\n (laughs) \\n Gotta watch where you sit, girl. \\n And it's Chenille. But you're \\n still welcome. Let's catch some\",\n \" Chenille pushes her way to the bar, tugging Sara along. \\n A tall, angular twenty-something MAN on the far side of \\n the bar sees her. She sees him. Sucks her teeth, nudges \\n Sara. \\n\",\n \" I love my son, Chenille. You know \\n that, don't you? \\n \\n CHENILLE \\n Yeah. I always knew that. \\n \\n\",\n \" that time. \\n \\n CHENILLE \\n That time? What? Fifth and sixth \\n grade don't count? \\n \\n Patrick finally laughs. Then his face changes. Becomes\"\n ],\n [\n \" NIKKI \\n (a hiss, under her \\n breath) \\n It ain't over, bitch. \\n \\n SARA \\n Over? I don't even know why it\",\n \" and drive-bys. That's what Nikki \\n meant about you up in our world. \\n \\n Sara sits there, stupefied. Understanding. Not \\n understanding. \\n\",\n \" A fight. Two black girls having at it. It's a ferocious \\n match. Hair pulling, spit flying, punches landed, \\n clothes torn apart. \\n \\n \\n ANGLE ON SARA \\n\",\n \" ball to Nikki. It clips Nikki's head, bounces out of \\n bounds. Nikki, her dignity stunned, her patience out, \\n walks up to Sara, shoves her to the floor. Sara looks up\",\n \"146 INT. PATTERSON HIGH - GYM 146 \\n \\n Sara jumps up, shoves Nikki back. And the fight is on. \\n \\n 92. \\n\",\n \" Shoving, pushing, and barging her way up to Patrick. \\n Without preamble or regard for Sara, she starts dancing \\n with him. Patrick looks at Sara but he's somehow dancing \\n with Nikki. Sara retreats with daggers in her eyes.\",\n \" standing with her crew dourly observing Patrick and Sara. \\n \\n NIKKI \\n Watch me squash their shit. Hard. \\n \\n \\n ON NIKKI \\n\",\n \"148 INT. PATTERSON HIGH - GYM 148 \\n \\n Sara and Nikki tumble to the gym floor. The surprise is \\n Sara. She matches Nikki blow for blow. It's a punishing\",\n \" though, Nikki. You lettin' some \\n white ho' show you up like that. \\n \\n He regards her with bemused pity. Nikki, with all her \\n inner outrage, manages to salvage her pride. She sneers\",\n \" PATRICK \\n Somethin' must be on your mind for \\n you to get up in Sara's face, \\n start all this drama. What you \\n tryin' to prove, Nikki? \\n\",\n \" Sara. It's Sara. And I know you. \\n We have a class together. \\n \\n NIKKI \\n That don't mean you know me. \\n \\n CHENILLE\",\n \" like \\\"no shit \\n Sherlock\\\") \\n Why were you fighting, Sara? \\n \\n SARA \\n (sardonically) \\n I'm not sure. I think it's some\",\n \" 99. \\n \\n 156 CONTINUED: 156 \\n \\n SARA \\n She started it, Chenille. She \\n wanted to start it. I told you\",\n \" NIKKI \\n That was different. \\n \\n PATRICK \\n How you gonna call it different? \\n \\n She stands up. Looks down at him. Raises her voice. \\n\",\n \" Nikki folds her arms across her chest, looks at him \\n defiantly. \\n \\n NIKKI \\n I don't think it, I know it. But \\n you go ahead, deny it. That's\",\n \" Yeah. And they started with you. \\n \\n The three girls and Diggy snicker. Nikki gives Chenille \\n a look. Turns back to Sara with a snide smirk. Points \\n out her crew. \\n\",\n \" in his face. \\n \\n NIKKI \\n Fuck you, Malakai. Fuck her too. \\n \\n MALAKAI \\n (gaily, a she sails off)\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" He separates the two girls who are still swinging at each \\n other. He throws one into a corner, hurls the other in \\n an opposite corner. \\n \\n \\n ON SARA \\n\",\n \" Basket. Nikki shoots Sara a murderous look. Stupid, \\n uncoordinated bitch. \\n \\n \\n 143 EXT. DRUID HILL PLAYGROUND - BASKETBALL COURT 143 \\n\"\n ],\n [\n \"114 CONTINUED: 114 \\n \\n SARA \\n Yeah I liked it. I was gonna go \\n to Juilliard. That school fucked\",\n \" be the dancer Juilliard came to \\n see. \\n \\n SARA \\n I wanted somebody there who loves \\n me. \\n \\n Roy regards her softly, significantly, the irony \\n implicit. \\n\",\n \" think I can do it without her. \\n \\n PATRICK \\n (holding her) \\n Do you want to do it, Sara? I \\n mean you. Do you want Juilliard? \\n\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" Patrick hugging Sara, looks down at the judges. \\n \\n PATRICK \\n All due respect, if ya'll don't \\n let this girl in, you're crazy! \\n\",\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \" Sara regards him quizzically. Roy goes to her dresser, \\n picks up an envelope from Juilliard. \\n \\n ROY \\n I saw the return address. Got \\n curious. It was open. I read it.\",\n \" Sara on stage. She looks past a row of Juilliard JUDGES \\n into the audience. No glint of gold. MOZART'S \\\"Elvira \\n Madigan\\\" (Andante) CUES UP. Sara begins her technical.\",\n \" (fingering Sara's \\n papers) \\n I see here that you trained for \\n Juilliard, that you auditioned. \\n \\n SARA \\n That was a long time ago. \\n\",\n \" Sara pulls Patrick back. Walks alone to the edge of the \\n stage, composed and professional again. She regards the \\n judges with a beaming resolve and a ballerina's curtsy, \\n then simply says: \\n \\n SARA\",\n \" JUILLIARD SCHOOL OF DANCE AUDITIONS. Sara stares at it. \\n Re-checks her watch. An official with a clipboard walks \\n toward her. Where's her mother? \\n \\n\",\n \" SARA \\n Nothing's wrong. \\n (except) \\n I can't figure things out. \\n \\n PATRICK \\n What things? The audition? You\",\n \" SARA (CONT'D) \\n (succumbs to his \\n bewilderment) \\n Ballet. I used to dance, Patrick. \\n \\n PATRICK \\n You used to dance?\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" Pince-Nez leads Sara to the stage. Announces her. \\n \\n Sara walks onstage. \\n \\n She nods down at the judges, looks out into the audience. \\n Her eyes anxiously search for Patrick... hoping. Her\",\n \" glasses, speaks to her. Sara's still trying to catch her \\n breath. \\n \\n STERN JUDGE \\n You prepared a free-form? \\n \\n SARA \\n Yes... sir... they have... my\",\n \" SARA \\n Yeah. I do. \\n \\n PATRICK \\n Then it's on you to make the dream \\n come true. \\n \\n SARA\",\n \" A gallant lie. Sara tries to believe it. They dance. \\n Practice has made her near perfect. Their movements are \\n ambitious, nimble, better than anyone else on the floor. \\n They move so well together that Snookie, dancing nearby,\",\n \" 31. \\n \\n 66 CONTINUED: 66 \\n \\n Hill's tone is searing. He turns to Sara. She's trying\",\n \" perfunctorily nod. Their equivalent of maybe next year. \\n Sara chokes two words out... \\n \\n SARA \\n Thank you. \\n \\n \\n 16 INT. AUDITORIUM - BACKSTAGE\"\n ],\n [\n \" SARA \\n Nothing's wrong. \\n (except) \\n I can't figure things out. \\n \\n PATRICK \\n What things? The audition? You\",\n \" audition, Roy. I meant to. \\n \\n She's clutching the photo album. Roy sits down next to \\n her. \\n \\n ROY \\n Tomorrow's the big day? \\n \\n SARA\",\n \" Both of them ignore it. But it goes on like a musical \\n number. Sara gets a sinking feeling that drops like a \\n stone when she looks across the street. Roy's parked at \\n the curb, waiting for her. She rolls her eyes and he\",\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \" Sara regards him quizzically. Roy goes to her dresser, \\n picks up an envelope from Juilliard. \\n \\n ROY \\n I saw the return address. Got \\n curious. It was open. I read it.\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" perfunctorily nod. Their equivalent of maybe next year. \\n Sara chokes two words out... \\n \\n SARA \\n Thank you. \\n \\n \\n 16 INT. AUDITORIUM - BACKSTAGE\",\n \" Patrick hugging Sara, looks down at the judges. \\n \\n PATRICK \\n All due respect, if ya'll don't \\n let this girl in, you're crazy! \\n\",\n \" He calls after her. \\n \\n ROY \\n -- Pick you up. Three-thirty. \\n \\n SARA \\n (over a shoulder) \\n Yeah. Sure. Whatever. \\n \\n\",\n \" be the dancer Juilliard came to \\n see. \\n \\n SARA \\n I wanted somebody there who loves \\n me. \\n \\n Roy regards her softly, significantly, the irony \\n implicit. \\n\",\n \" Because he was in my house with \\n his hands all over my daughter! \\n \\n SARA \\n Keep telling yourself that. Just \\n don't expect me to believe it. I \\n saw how you looked at him. But\",\n \" SARA \\n I did. \\n \\n PATRICK \\n You ain't actin' like you did. \\n \\n She looks over at him, tries to smile. \\n \\n SARA\",\n \" one of her legs between his and whispers: \\n \\n SARA \\n We have an audience. Work with \\n me. \\n \\n PATRICK \\n (nonplussed)\",\n \" (fingering Sara's \\n papers) \\n I see here that you trained for \\n Juilliard, that you auditioned. \\n \\n SARA \\n That was a long time ago. \\n\",\n \" GLYNN \\n I won't miss your audition, Sara. \\n I'll be there, okay? If I have to \\n swim the Susquehanna, I'll be \\n there. \\n\",\n \"114 CONTINUED: 114 \\n \\n SARA \\n Yeah I liked it. I was gonna go \\n to Juilliard. That school fucked\",\n \" SARA (CONT'D) \\n (succumbs to his \\n bewilderment) \\n Ballet. I used to dance, Patrick. \\n \\n PATRICK \\n You used to dance?\",\n \" Patrick looks at her, nods. He gets up, follows Sara \\n behind the partition into her \\\"room.\\\" They stand there \\n for a moment. He cups her face with his hands. Kisses \\n her. They begin to take off each other's clothes,\",\n \" Malakai than it is to walk away from a lifetime of \\n friendship. But Patrick does. With Sara holding onto \\n his arm, at his side, he turns and walks away. \\n \\n\"\n ],\n [\n \" A car speeds off. Patrick raises up, looks around. \\n Malakai nods. He's okay. Snookie's crawling to the \\n exit, snot-nosed and crying. He's okay. Then they see\",\n \" it. He can feel it trained on his back as he gets out \\n the car. But Malakai can't do it. Wouldn't do it. He \\n takes off like a bat out of hell. \\n \\n\",\n \" running away from the mayhem behind him. \\n \\n \\n 175 EXT. STREET - SAME TIME 175 \\n \\n The BMW's tangled around a street lamp. Inside Malakai\",\n \" -- jumped out the car. 'Kai kept \\n goin', got caught. \\n (pauses) \\n I knew what he was gonna do that \\n night. Knew the car was hot. I\",\n \" club he sees Malakai. \\n \\n (CONTINUED) \\n \\n 45. \\n \\n 81 CONTINUED: 81 \\n\",\n \" MALAKAI \\n They the ones tryin' shit. Comin' \\n here. Squarin' off in my shit. \\n \\n PATRICK \\n You couldn't let it slide? \\n\",\n \" MALAKAI \\n Shut the fuck up. \\n \\n Patrick jerks himself loose. Opens the door. Malakai \\n cocks the gun. Patrick's face flinches at the sound of\",\n \" MALAKAI \\n (watching Patrick \\n keenly) \\n You tappin' that white girl, man? \\n (half joking) \\n That's why you ain't got time for\",\n \"145 EXT. DRUID HILL - BASKETBALL COURT 145 \\n \\n Malakai dribbles the ball around one of the Two Deuces,\",\n \" Malakai than it is to walk away from a lifetime of \\n friendship. But Patrick does. With Sara holding onto \\n his arm, at his side, he turns and walks away. \\n \\n\",\n \" Malakai reaches the dealers. He doesn't explain, doesn't \\n complain. He just starts swinging. \\n \\n \\n SARA AND PATRICK \\n \\n The MUSIC changes and their dance ends. They stand there\",\n \" MALAKAI \\n Not at this motherfucker. Out a \\n week and where am I? Fucking home \\n sweet high school. Jail away from \\n jail. You can have it. \\n\",\n \" LIP \\n Awww, shit. Here we go. \\n \\n MALAKAI \\n (furious) \\n What you mean you out? You think \\n I'ma let your punk ass bail on me\",\n \" PATRICK \\n Even if I did ride, you ain't got \\n nobody but Lip and Lip will get a \\n nigger's ass killed. Quick. \\n \\n MALAKAI\",\n \" and Diggy. Waiting and watching for Patrick. Diggy \\n looks at them. \\n \\n DIGGY \\n It's about to get real out here. \\n Cops and shit. I'm gone. \\n\",\n \" How you know? You ain't tried \\n nothing else. Now you sittin' up \\n here strapped for no good reason. \\n You askin' for trouble, Malakai. \\n (as Malakai laughs)\",\n \" (as Malakai glances at \\n him, not understanding) \\n This ain't helpin' nobody, 'Kai. \\n I'm out. I mean it. Stop the \\n car. \\n\",\n \" lifts his shirt to expose a gun. Patrick stares at \\n Malakai with disbelief. \\n \\n MALAKAI \\n What you think? I'ma keep walkin' \\n around waitin' for some chump to\",\n \" They look at each other. Share a small laugh. \\n \\n MALAKAI \\n We fucked those fools up for sure. \\n \\n PATRICK \\n (crossing to exit door)\",\n \" He starts to walk off, doesn't get far before Patrick \\n calls out. \\n \\n PATRICK \\n Malakai... \\n (a fleeting hesitation)\"\n ],\n [\n \"159 INT. DANCE STUDIO - SARA AND PATRICK - MORNING 159 \\n \\n Practice her free form, a hip-hop ballet hybrid. They're\",\n \" bustling crowds of the inner harbor, then to a park \\n across from this where Sara and Patrick are practicing. \\n HIP-HOP MUSIC softly PLAYS from Patrick's BOOM-BOX. Sara \\n watches his face as they dance. \\n\",\n \" He goes into a spin, a half-split, comes out of it \\n swaggering and half-stepping around her. Sara gives him \\n an impish look. Rises up on full pointe, turns out her\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" floor. PAN UP and PULL BACK to reveal Sara at 17, \\n dancing in the space opened up by cornered furniture and \\n rolled up rugs. As Glynn looks on, Sara completes the\",\n \" So, Sara. What's up with that? \\n \\n SARA \\n (awkwardly) \\n Nothing's up with it. I used to \\n kind of dance. Ballet. Mostly. \\n\",\n \" head. He grabs her hands, swings them in time to the \\n music. \\n \\n PATRICK \\n Now move your hips. Not so fast. \\n (as Sara looks lost)\",\n \"88 INT. RECORD STORE - HIP-HOP SECTION - MOMENTS LATER 88 \\n \\n Sara with a bunch of C.D.'s. She juggles them in one\",\n \" stage. \\n \\n Sara begins to dance. \\n \\n She starts out strong and gets stronger. Every emotion \\n she feels, every experience she's had, comes to life in a \\n way that we've never seen before, not even when she was\",\n \" SARA'S POV \\n \\n as she MOVES FORWARD. A crush of KIDS -- mostly black \\n with a sprinkling of white and Latino faces thrown in. \\n Kids like her. Only they don't dress like her. They\",\n \" BACK TO SCENE \\n \\n SARA \\n What's it called? What she's \\n doing? \\n \\n CHENILLE \\n A dance. \\n \\n SARA\",\n \" A gallant lie. Sara tries to believe it. They dance. \\n Practice has made her near perfect. Their movements are \\n ambitious, nimble, better than anyone else on the floor. \\n They move so well together that Snookie, dancing nearby,\",\n \" DISSOLVE TO: \\n \\n \\n 6 INT. BALLET CLASS - EVENING (FIVE YEARS LATER) 6 \\n \\n Young Sara, lithe and earnest, dances. A budding beauty\",\n \" MUSIC begins. \\n \\n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \\n like an angel through the soft cloud of this music. Her \\n line, proportion and balance are impeccable. \\n\",\n \" SARA'S POV - KIDS OF QUAD \\n \\n And OVER the sound of HIP-HOP MUSIC, a pair of feet.\",\n \" Sara's eyes focus on him. She nods. Turns to the \\n judges. \\n \\n SARA \\n I'm ready. \\n \\n As her MUSIC cues up, Patrick slowly backs away from the\",\n \" Patrick and Sara, two dots that grow larger. He CLICKS \\n ON a BOOM-BOX resting on the roof's ledge. A hip-hop \\n track BLASTS. \\n \\n PATRICK\",\n \" 107. \\n \\n 164 INT. DANCE STUDIO - DAY 164 \\n \\n Sara. Alone. She pushes the tape from Patrick into an\",\n \" Sara. Caught up in a throng of kids and somehow very \\n separate from them. The walls have been transformed into \\n veritable billboards for the senior prom -- decorations \\n are everywhere. Sara continues down the hallway almost\",\n \" DIGGY \\n Go, Sara! Go, Sara! \\n \\n \\n PATRICK AND SARA \\n \\n building up a sweat; confidently dancing at fever pitch. \\n\"\n ],\n [\n \" Sara on stage. She looks past a row of Juilliard JUDGES \\n into the audience. No glint of gold. MOZART'S \\\"Elvira \\n Madigan\\\" (Andante) CUES UP. Sara begins her technical.\",\n \" JUILLIARD SCHOOL OF DANCE AUDITIONS. Sara stares at it. \\n Re-checks her watch. An official with a clipboard walks \\n toward her. Where's her mother? \\n \\n\",\n \"114 CONTINUED: 114 \\n \\n SARA \\n Yeah I liked it. I was gonna go \\n to Juilliard. That school fucked\",\n \" be the dancer Juilliard came to \\n see. \\n \\n SARA \\n I wanted somebody there who loves \\n me. \\n \\n Roy regards her softly, significantly, the irony \\n implicit. \\n\",\n \" (fingering Sara's \\n papers) \\n I see here that you trained for \\n Juilliard, that you auditioned. \\n \\n SARA \\n That was a long time ago. \\n\",\n \" Know why there's nothing to say? \\n Because you don't talk about her. \\n You won't talk about her. \\n \\n SARA \\n I'm sorry she's dead. God! What\",\n \" How come you never talk about her? \\n \\n SARA \\n There's nothing to say. \\n \\n PATRICK \\n (studying her face)\",\n \" A sign on it reads: \\\"JUILLIARD SCHOOL OF DANCE - \\n BALTIMORE AUDITIONS.\\\" She stares at it, fingers the \\n clover leaf necklace with an unsettling sense of deja vu. \\n\",\n \" think I can do it without her. \\n \\n PATRICK \\n (holding her) \\n Do you want to do it, Sara? I \\n mean you. Do you want Juilliard? \\n\",\n \" she's feeling. But she goes on. \\n \\n SARA \\n What I want is to wake up and see \\n my mom. For things to go back to \\n the way they were. When they made\",\n \" Pince-Nez leads Sara to the stage. Announces her. \\n \\n Sara walks onstage. \\n \\n She nods down at the judges, looks out into the audience. \\n Her eyes anxiously search for Patrick... hoping. Her\",\n \" Wondering where her mother is and knowing how badly she's \\n dancing. Knowing but somehow continuing, stumbling, \\n recovering, and finally finishing with those damned \\n knocking knees. The Judges, eyes like stones,\",\n \" audition, Roy. I meant to. \\n \\n She's clutching the photo album. Roy sits down next to \\n her. \\n \\n ROY \\n Tomorrow's the big day? \\n \\n SARA\",\n \" Sara regards him quizzically. Roy goes to her dresser, \\n picks up an envelope from Juilliard. \\n \\n ROY \\n I saw the return address. Got \\n curious. It was open. I read it.\",\n \" Sara's stomach drops to her feet. Her mother's not there \\n and her free form sucks and she doesn't have a theme. \\n Shit! \\n \\n SARA \\n Well, it's um, pretty self-\",\n \" perfunctorily nod. Their equivalent of maybe next year. \\n Sara chokes two words out... \\n \\n SARA \\n Thank you. \\n \\n \\n 16 INT. AUDITORIUM - BACKSTAGE\",\n \" Why not? What happened? You just \\n woke up one day and decided to \\n waste your talent. \\n \\n SARA \\n (without rancor) \\n How do you know I have talent?\",\n \" SARA \\n Nothing's wrong. \\n (except) \\n I can't figure things out. \\n \\n PATRICK \\n What things? The audition? You\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" ballet costume). Embracing. Happy. PULL BACK to see \\n Sara. Sitting on the edge of her futon, holding Glynn's \\n clover leaf necklace and staring at her mother's face.\"\n ],\n [\n \" So, Sara. What's up with that? \\n \\n SARA \\n (awkwardly) \\n Nothing's up with it. I used to \\n kind of dance. Ballet. Mostly. \\n\",\n \" SARA (CONT'D) \\n (succumbs to his \\n bewilderment) \\n Ballet. I used to dance, Patrick. \\n \\n PATRICK \\n You used to dance?\",\n \" I don't want you to think I didn't \\n have a good time tonight, Patrick. \\n I did. But ballet isn't a part of \\n my life anymore. \\n \\n PATRICK\",\n \" Several layers into a suitcase, she comes to her ballet \\n shoes. The sight hits her like a slap in the face. Sara \\n stares at the shoes until her eyes blur. Then she\",\n \" Negative shit. White folks call \\n it karma. The bad kind. \\n \\n SARA \\n You don't understand. Ballet \\n takes a lot of time, a lot of \\n preparation. I used to practice\",\n \" He goes into a spin, a half-split, comes out of it \\n swaggering and half-stepping around her. Sara gives him \\n an impish look. Rises up on full pointe, turns out her\",\n \" DISSOLVE TO: \\n \\n \\n 6 INT. BALLET CLASS - EVENING (FIVE YEARS LATER) 6 \\n \\n Young Sara, lithe and earnest, dances. A budding beauty\",\n \" ballet costume). Embracing. Happy. PULL BACK to see \\n Sara. Sitting on the edge of her futon, holding Glynn's \\n clover leaf necklace and staring at her mother's face.\",\n \" routine with a pirouette. She spins out of it with a \\n preoccupied frown on her face. \\n \\n GLYNN \\n What's the matter? It was good. \\n \\n SARA\",\n \" in formal attire. Parking valets hover on the sidewalks \\n waiting for cars. Into this, Sara and Patrick walk. She \\n looks at the crowd, then sees the overhead banner -- \\n \\\"Boston Ballet, A Command Performance.\\\" Sara's heart\",\n \" than we've seen before. HOLD ON closet door. A beat \\n before Sara emerges from behind it, ballet slippers in \\n hand. She takes a deep breath. Slides them on. Peers\",\n \" A sign on it reads: \\\"JUILLIARD SCHOOL OF DANCE - \\n BALTIMORE AUDITIONS.\\\" She stares at it, fingers the \\n clover leaf necklace with an unsettling sense of deja vu. \\n\",\n \" SARA \\n \\n finishes with a flawless arabesque. Looks out. \\n \\n \\n REVERSE ANGLE - JUDGES \\n \\n One of the more imperious-appearing JUDGES removes his\",\n \" you're gonna tell me somethin' \\n about not dancing, at least tell \\n me somethin' real. \\n \\n A long, difficult moment wherein Sara attempts to find \\n the words, face the pain that comes with them. Finally,\",\n \"125 CONTINUED: 125 \\n \\n As she tries to complete the arabesque, the backward-most \\n leg buckles. She steadies herself. Starts over. \\n\",\n \" MUSIC begins. \\n \\n Grieg's Peer Gynt (Morning). Sara starts to sway, moving \\n like an angel through the soft cloud of this music. Her \\n line, proportion and balance are impeccable. \\n\",\n \" MRS. GWYNN \\n It was three months ago, Sara. \\n (the brick wall) \\n Well, if you're not going to \\n pursue dance, what are you going \\n to do? \\n\",\n \" Tchaikovsky's Swan Lake (Tanz der Schwane) begins and \\n Sara slowly blossoms, opening herself up to the music \\n like a flower. She completes every turn and twist and \\n leap with confidence, energy and persuasion. She is\",\n \" Sara in street clothes. Cramming her ballet gear into a \\n duffle bag when the official (of the clipboard) \\n approaches her. She touches Sara's shoulder gently. \\n Says something we do not hear. \\n \\n\",\n \"159 INT. DANCE STUDIO - SARA AND PATRICK - MORNING 159 \\n \\n Practice her free form, a hip-hop ballet hybrid. They're\"\n ],\n [\n \" she's feeling. But she goes on. \\n \\n SARA \\n What I want is to wake up and see \\n my mom. For things to go back to \\n the way they were. When they made\",\n \" Know why there's nothing to say? \\n Because you don't talk about her. \\n You won't talk about her. \\n \\n SARA \\n I'm sorry she's dead. God! What\",\n \"121 CONTINUED: 121 \\n \\n PATRICK \\n You still got whatever you had \\n when your mom was alive, Sara.\",\n \" Sara folds her arms, turns away mumbling under breath. \\n \\n SARA \\n Used to. \\n \\n Sara gazes out the window. The world outside begins to \\n dissolve melting into images from another time, another\",\n \" Patrick looks at her, nods. He gets up, follows Sara \\n behind the partition into her \\\"room.\\\" They stand there \\n for a moment. He cups her face with his hands. Kisses \\n her. They begin to take off each other's clothes,\",\n \" living area from the bedroom. Sara walks past a \\n collection of saxophones and several framed pictures of \\n herself. Aside from the saxophones and the pictures, \\n there's hardly any furniture. Roy lights a cigarette. \\n\",\n \" with tears and guilt. Patrick puts his arms around her. \\n \\n SARA \\n (inconsolable) \\n She was dying while I was dancing \\n and I was mad at her and I'm\",\n \" How come you never talk about her? \\n \\n SARA \\n There's nothing to say. \\n \\n PATRICK \\n (studying her face)\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" Sara looks at him, feeling bad. Feeling stupid for \\n ruining the evening. She bites her lip, shakes her head \\n (\\\"but nothing\\\"). Patrick takes her and they go in. \\n \\n\",\n \" Sara's stomach drops to her feet. Her mother's not there \\n and her free form sucks and she doesn't have a theme. \\n Shit! \\n \\n SARA \\n Well, it's um, pretty self-\",\n \" to you because too much time went \\n by. \\n \\n Sara's eyes well up. Before she can stop herself, she's \\n crying. \\n \\n SARA\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" Malakai than it is to walk away from a lifetime of \\n friendship. But Patrick does. With Sara holding onto \\n his arm, at his side, he turns and walks away. \\n \\n\",\n \" (CONTINUED) \\n \\n 104. \\n \\n 159 CONTINUED: 159 \\n \\n SARA (CONT'D)\",\n \" SARA \\n So you agree with her? You think \\n I don't belong with Patrick. \\n \\n CHENILLE \\n What I think don't matter. But\",\n \" Sara's moving the partition around, trying to make her \\n room more like a room. Trying to build another wall \\n between her and Roy. \\n \\n (CONTINUED) \\n \\n 26. \\n\",\n \" It takes everything Patrick has to keep walking until \\n he's out the door. It slams behind him. Sara marches up \\n to Roy, furious. \\n \\n SARA \\n I hate being your daughter. You\",\n \" Sara exits, looking pretty much like she feels. Like \\n shit. She walks a few paces. Sees Patrick. Their eyes \\n connect for a brief, awful moment before they continue on \\n their respective ways. \\n \\n\"\n ],\n [\n \" father. \\n \\n (CONTINUED) \\n \\n 108. \\n \\n 165 CONTINUED: 165 \\n \\n SARA\",\n \"93 SARA'S POV - LIVING ROOM 93 \\n \\n Her father's fucking somebody! On the couch. Half on it \\n anyway. In broad daylight! The whore underneath him is\",\n \" KENNY \\n I'm his father. He knows me. \\n (meaning now) \\n ... What should I do? \\n \\n CHENILLE \\n Come around more often. \\n\",\n \" living area from the bedroom. Sara walks past a \\n collection of saxophones and several framed pictures of \\n herself. Aside from the saxophones and the pictures, \\n there's hardly any furniture. Roy lights a cigarette. \\n\",\n \" with aplomb. Her legs and body are strong, supple, \\n pliable rubber bands. She flounces across it on her \\n tiptoes. Does a flawless split. Hops off. Looks out. \\n \\n\",\n \" You've been asleep for the past \\n thirty-seven years! \\n \\n Now she does storm off. This time Roy lets her. He \\n can't find the words to deny what she's said. \\n \\n\",\n \" Patrick's bouncing on his knees, speaking to Arvel's \\n parents, who are clearly stricken. Arvel's father, \\n stoic, holds his wife's hand. Arvel's mother kneads a\",\n \" Both of them ignore it. But it goes on like a musical \\n number. Sara gets a sinking feeling that drops like a \\n stone when she looks across the street. Roy's parked at \\n the curb, waiting for her. She rolls her eyes and he\",\n \" place. Her eyes stare blankly OUT AT us, blinded by her \\n memories. \\n \\n 2. \\n\",\n \" Momma Dean's left for him. He sits down at the table, \\n takes a breath, begins shifting through the mail. His \\n face registers disappointment. Nothing. Again. \\n \\n\",\n \" It takes everything Patrick has to keep walking until \\n he's out the door. It slams behind him. Sara marches up \\n to Roy, furious. \\n \\n SARA \\n I hate being your daughter. You\",\n \" her arm from behind. She turns, startled, a little \\n afraid. It's the Girl from the stall. She looks Sara in \\n the eye. Shakes her head. Don't. Mr. Hill walks by \\n them unbeckoned. \\n\",\n \" your mother. Be a father to you. \\n But time flies. You look up one \\n day and all you got to show for \\n yourself is a pretty little girl \\n who hates your guts and won't talk\",\n \" Before she can respond, Patrick's voice booms from the \\n back of the auditorium. \\n \\n PATRICK (O.S.) \\n Yes, sir. She's ready. \\n\",\n \" the playground. Disappear. She and Christopher move on \\n to a seesaw. Chenille bobs him up and down on one end of \\n it. She's snuggling in Christopher's face when the other\",\n \" He looks at her and she doesn't have the heart -- or the \\n nerve -- to tell him. A long moment. She plucks a \\n dandelion from the grass, twirls it thoughtfully in her \\n fingers. \\n\",\n \" Kleenex, her face etched with tears. Patrick hugs her. \\n Stands up to see Malakai frozen in the doorway, put off \\n by the palpable grief. Patrick crosses over to him.\",\n \" HONKS AGAIN. Then he waves at her. Waves! Chenille \\n looks at Sara. Then at Roy. \\n \\n CHENILLE \\n That's your old man? Now he's \\n cute. \\n\",\n \" Finds it in the back of the room where her mother, Glynn, \\n stands watching her. Their eyes connect with mutual \\n smiles and those smiles CARRY us TO: \\n \\n\",\n \" doesn't bother looking out. Inside's more interesting. \\n The kids cut up. Singing, rapping, and jousting with \\n each other. Some even manage to read. Sara watches with \\n immunity. She's invisible to them. \\n\"\n ],\n [\n \" SARA'S POV \\n \\n as she MOVES FORWARD. A crush of KIDS -- mostly black \\n with a sprinkling of white and Latino faces thrown in. \\n Kids like her. Only they don't dress like her. They\",\n \" Everyone looks at her. The way kids look at new kids. \\n \\n SARA \\n It's a non-fiction novel. The \\n first of its kind. Capote mixed \\n true events with things he\",\n \"41 AT SARA'S LOCKER - LATER 41 \\n \\n Sara's back is to a black girl striding purposefully \\n toward her. CHENILLE -- tall, pretty, with about a\",\n \"137 INT. SARA'S CLASSROOM - CONTINUOUS ACTION 137 \\n \\n No teacher is present. The class files in. Toni drops \\n down in a chair beside Sara. She leans over in a\",\n \" clips Sara's elbow as she passes, knocking it against a \\n locker. They keep going as if they don't see her. No \\n one seems to see her. Welcome to mass avoidance at \\n Patterson High. \\n \\n\",\n \" She's eager to make a friend. One friend. But \\n Chenille's gone. \\n \\n \\n 42 ANOTHER CORRIDOR 42 \\n \\n Sara memorizes the schedule of classes in her hand. She\",\n \" You finished? \\n \\n Sara leaps up with a quick, grateful nod. Beats a hasty \\n retreat from the table. As she and Chenille walk through \\n the cafeteria, Sara shudders with relief. She feels \\n rescued.\",\n \" passes a clutch of students who surround a kid in the \\n middle like a horseshoe. Sara gets a fleeting glimpse of \\n him. \\n \\n \\n SARA'S POV - PATRICK REYNOLDS \\n\",\n \" You're Sara, right? \\n (as Sara warily nods) \\n Toni. I was gonna introduce \\n myself before but you're always \\n with that crowd. You know.\",\n \" Sara. Caught up in a throng of kids and somehow very \\n separate from them. The walls have been transformed into \\n veritable billboards for the senior prom -- decorations \\n are everywhere. Sara continues down the hallway almost\",\n \"68 PATTERSON HIGH - END OF SCHOOL THAT DAY 68 \\n \\n Sara. Heading down the steps with other students. \\n Chenille and Diggy break through the logjam, catch up to \\n her.\",\n \" Sara. It's Sara. And I know you. \\n We have a class together. \\n \\n NIKKI \\n That don't mean you know me. \\n \\n CHENILLE\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" ... And then TIGHTER STILL on Sara. Tentatively \\n approaching the balance beam. Mindful of all the eyes on \\n her, all the bated breaths. All waiting to see the new \\n girl fall on her ass. Sara swings herself onto the beam\",\n \" friend, LINDSAY, 17. Lindsay, chomping on a wad of gum, \\n turns from the jock to Sara with a bubble in bloom, \\n bursts it with her teeth. \\n \\n LINDSAY\",\n \" Clutching new textbooks, Sara starts down the hallway. \\n She's hoping nothing in her face reveals the rising panic \\n in her heart. She's surrounded. Alone. Every inch of \\n her feels afraid. \\n \\n\",\n \" her arm from behind. She turns, startled, a little \\n afraid. It's the Girl from the stall. She looks Sara in \\n the eye. Shakes her head. Don't. Mr. Hill walks by \\n them unbeckoned. \\n\",\n \"40 CONTINUED: 40 \\n \\n That's it! The entire student body is energized. Sara's \\n thoughts are jolted by two black girls squeezing by. One\",\n \" faster. They sit down in the only empty seats. Sara \\n backs off, invisible again. \\n \\n \\n ON CHENILLE \\n \\n glimpsing Sara from the corner of her eye as Sara walks \\n away. \\n \\n\",\n \" She walks like a well-rehearsed soldier in a stiff \\n straight line to the school's entrance. It's clogged \\n with students. Inside the doorway, two security guards\"\n ],\n [\n \" Chenille comes up behind him. Squeezes, pats his \\n shoulder. \\n \\n (CONTINUED) \\n \\n 94. \\n\",\n \" CHENILLE \\n That's him. Comin' over. Kenny? \\n Don't look. \\n \\n So of course Sara does. She makes a silly face at\",\n \" Chenille as Kenny sidles up to her. Chenille rolls her \\n eyes half-heartedly. \\n \\n KENNY (MAN) \\n What's up? \\n \\n CHENILLE\",\n \" friend. Chenille doesn't like \\n him. \\n \\n PATRICK \\n She likes him. It don't stop her \\n from trippin' off him now and\",\n \" CHENILLE \\n (laughs) \\n Gotta watch where you sit, girl. \\n And it's Chenille. But you're \\n still welcome. Let's catch some\",\n \" Chenille, her girls, that identity \\n crisis Diggy. \\n \\n Sara looks at Toni. Getting it. Getting her. The \\n expression on her face closes off. Toni, too dense to \\n read it, keeps talking. \\n\",\n \" I love my son, Chenille. You know \\n that, don't you? \\n \\n CHENILLE \\n Yeah. I always knew that. \\n \\n\",\n \" know him. He's my brother. \\n \\n Chenille waits for Sara to swallow her tongue. Enjoys a \\n laugh. \\n \\n \\n ANGLE SHIFTS TO PATRICK \\n\",\n \" Chenille triple unlocks the door, lets Sara in. Sara's \\n surprised -- the apartment is surprisingly quaint and \\n extremely neat. It looks a helluva lot better than Roy's \\n place. Chenille is dressed in hugely baggy military-\",\n \" but he's still crying. Chenille slips off his dirty \\n diaper. When Sara hands her a clean one, Chenille \\n regards her strangely, as if just remembering that she's \\n there. \\n \\n CHENILLE\",\n \" 97. \\n \\n 155 INT. REYNOLDS' APARTMENT - CHENILLE'S BEDROOM - NIGHT 155 \\n \\n Chenille and Kenny. In the middle of a contentious\",\n \" ride and Patrick and Chenille repeat the routine \\n throughout their conversation. \\n \\n CHENILLE \\n Why you so quiet? \\n (off Patrick's \\n brooding look)\",\n \" club. He wants a drink. He's almost at the bar when he \\n sees Chenille on the dance floor with Kenny. She shrugs \\n a smile, then cocks her head over at the bar. Toward\",\n \" of it. Chenille, disconcerted with Patrick, looks dourly \\n at Sara. \\n \\n CHENILLE \\n I'll see you Monday. \\n (to Patrick, like an \\n order)\",\n \" Chenille pushes her way to the bar, tugging Sara along. \\n A tall, angular twenty-something MAN on the far side of \\n the bar sees her. She sees him. Sucks her teeth, nudges \\n Sara. \\n\",\n \" To where? To who? Malakai? \\n (sucks her teeth) \\n You ain't through with that fool \\n yet. \\n \\n PATRICK \\n He's not a fool, Chenille. \\n\",\n \" Chenille makes an impressed face. Regards Sara \\n curiously. \\n \\n CHENILLE \\n You should hit Feetz with us \\n tomorrow night. It's a club. \\n Sorta members only. \\n\",\n \" joke about her nearly blowing him up. But Patrick just \\n stares at her with a twinkle in his eyes. A nice \\n twinkle. Sara's not entirely immune to it. Chenille \\n breaks their eye play, pushes Patrick aside. She grabs\",\n \" He'll walk you. \\n \\n As much as this makes sense, it still takes Patrick by \\n surprise. Sara sees it in his face, regards Chenille \\n with a false bravado. \\n \\n SARA\",\n \" HONKS AGAIN. Then he waves at her. Waves! Chenille \\n looks at Sara. Then at Roy. \\n \\n CHENILLE \\n That's your old man? Now he's \\n cute. \\n\"\n ],\n [\n \" Chenille makes an impressed face. Regards Sara \\n curiously. \\n \\n CHENILLE \\n You should hit Feetz with us \\n tomorrow night. It's a club. \\n Sorta members only. \\n\",\n \" club. He wants a drink. He's almost at the bar when he \\n sees Chenille on the dance floor with Kenny. She shrugs \\n a smile, then cocks her head over at the bar. Toward\",\n \" Chenille pushes her way to the bar, tugging Sara along. \\n A tall, angular twenty-something MAN on the far side of \\n the bar sees her. She sees him. Sucks her teeth, nudges \\n Sara. \\n\",\n \" Chenille triple unlocks the door, lets Sara in. Sara's \\n surprised -- the apartment is surprisingly quaint and \\n extremely neat. It looks a helluva lot better than Roy's \\n place. Chenille is dressed in hugely baggy military-\",\n \" BACK TO SCENE \\n \\n SARA \\n What's it called? What she's \\n doing? \\n \\n CHENILLE \\n A dance. \\n \\n SARA\",\n \" Changed your hair. \\n \\n He waves a metal detector over their bodies, nods to yet \\n another bouncer who escorts Sara and Chenille through yet \\n another door. \\n \\n\",\n \" Chenille, her girls, that identity \\n crisis Diggy. \\n \\n Sara looks at Toni. Getting it. Getting her. The \\n expression on her face closes off. Toni, too dense to \\n read it, keeps talking. \\n\",\n \" Chenille comes up behind him. Squeezes, pats his \\n shoulder. \\n \\n (CONTINUED) \\n \\n 94. \\n\",\n \" Want me to take him? \\n \\n Chenille shakes her head. Walks to reception to sign \\n herself in. Sara takes in the faces of girls younger \\n than herself, the grime and gloom of the room. It's\",\n \" up by the crowd, Chenille turns back to Sara, shouts: \\n \\n CHENILLE \\n Rum and Coke. No ice. Hook me \\n up. \\n \\n \\n ON PATRICK \\n\",\n \" Chenille. She's ugly. She's fat! \\n \\n CHENILLE \\n She's twenty-one too. I ain't got \\n all night. Let's hop. \\n \\n SARA\",\n \" CHENILLE \\n (laughs) \\n Gotta watch where you sit, girl. \\n And it's Chenille. But you're \\n still welcome. Let's catch some\",\n \" (an inside to Chenille) \\n Can't get much more underground \\n than this. \\n \\n \\n 78 INT. FEETZ CLUB - CONTINUOUS ACTION 78 \\n\",\n \" incomprehensible that this is a place where sick children \\n are brought to get well. Chenille finishes at the desk. \\n Returns to Sara. They cross to a corner of the clinic \\n where they sit -- on the floor. Chenille indicates the\",\n \" peak when Chenille and Sara walk in. Chenille's carrying \\n a fussy Christopher, his diaper bag and her backpack. \\n Sara, wanting to be helpful, reaches for Christopher. \\n \\n SARA\",\n \" Chenille, Diggy and another black girl. Fraternizing. \\n \\n \\n ANOTHER ANGLE - DEEJAY BOOTH \\n \\n A chrome-domed deejay with a Barry White baritone bellows\",\n \"83 EXT. FEETZ - FRONT ENTRANCE - NIGHT 83 \\n \\n Distant WAIL of SIRENS as Feetz begins to empty out. \\n Kids converge on the sidewalks. PICK UP Sara, Chenille\",\n \" Chenille as Kenny sidles up to her. Chenille rolls her \\n eyes half-heartedly. \\n \\n KENNY (MAN) \\n What's up? \\n \\n CHENILLE\",\n \" CHENILLE \\n That's him. Comin' over. Kenny? \\n Don't look. \\n \\n So of course Sara does. She makes a silly face at\",\n \" the playground. Disappear. She and Christopher move on \\n to a seesaw. Chenille bobs him up and down on one end of \\n it. She's snuggling in Christopher's face when the other\"\n ],\n [\n \" though, Nikki. You lettin' some \\n white ho' show you up like that. \\n \\n He regards her with bemused pity. Nikki, with all her \\n inner outrage, manages to salvage her pride. She sneers\",\n \" NIKKI \\n (a hiss, under her \\n breath) \\n It ain't over, bitch. \\n \\n SARA \\n Over? I don't even know why it\",\n \" Shoving, pushing, and barging her way up to Patrick. \\n Without preamble or regard for Sara, she starts dancing \\n with him. Patrick looks at Sara but he's somehow dancing \\n with Nikki. Sara retreats with daggers in her eyes.\",\n \" NIKKI \\n That was different. \\n \\n PATRICK \\n How you gonna call it different? \\n \\n She stands up. Looks down at him. Raises her voice. \\n\",\n \" Nikki folds her arms across her chest, looks at him \\n defiantly. \\n \\n NIKKI \\n I don't think it, I know it. But \\n you go ahead, deny it. That's\",\n \" ball to Nikki. It clips Nikki's head, bounces out of \\n bounds. Nikki, her dignity stunned, her patience out, \\n walks up to Sara, shoves her to the floor. Sara looks up\",\n \" NIKKI \\n You're the one tryin' to prove \\n something. Stuck up in her shit \\n like she's somethin' special. \\n \\n PATRICK\",\n \" standing with her crew dourly observing Patrick and Sara. \\n \\n NIKKI \\n Watch me squash their shit. Hard. \\n \\n \\n ON NIKKI \\n\",\n \" NIKKI \\n Please. You're with her because \\n she's white. That's what sets me \\n off. \\n \\n PATRICK \\n (exasperated)\",\n \" as Nikki approaches him. Sexy, standoffish and \\n conceited, she's the stuff of wet dreams and futile \\n longing. She sits down next to Patrick. Close to him. \\n Snookie watches her, much amused. \\n\",\n \" and drive-bys. That's what Nikki \\n meant about you up in our world. \\n \\n Sara sits there, stupefied. Understanding. Not \\n understanding. \\n\",\n \"146 INT. PATTERSON HIGH - GYM 146 \\n \\n Sara jumps up, shoves Nikki back. And the fight is on. \\n \\n 92. \\n\",\n \" A fight. Two black girls having at it. It's a ferocious \\n match. Hair pulling, spit flying, punches landed, \\n clothes torn apart. \\n \\n \\n ANGLE ON SARA \\n\",\n \" started... bitch. And don't say \\n it's about Patrick because it's \\n not. It's not about him. \\n \\n NIKKI \\n No. It's about you. White girls\",\n \" Basket. Nikki shoots Sara a murderous look. Stupid, \\n uncoordinated bitch. \\n \\n \\n 143 EXT. DRUID HILL PLAYGROUND - BASKETBALL COURT 143 \\n\",\n \" in his face. \\n \\n NIKKI \\n Fuck you, Malakai. Fuck her too. \\n \\n MALAKAI \\n (gaily, a she sails off)\",\n \" PATRICK \\n Somethin' must be on your mind for \\n you to get up in Sara's face, \\n start all this drama. What you \\n tryin' to prove, Nikki? \\n\",\n \" NIKKI \\n Tell her to chill. She always got \\n somethin' to say. \\n \\n CHENILLE \\n I can say a lot more. Keep\",\n \" if I want him to be. That bitch \\n ain't got shit on me. \\n \\n The girls regard her in conspicuous, dubious silence. \\n Nikki maintains her cool but inside her pride is \\n pricking. \\n\",\n \" You didn't hear? Nikki jumped off \\n at her in gym. It was fierce... \\n \\n Given the day, this is the straw on Patrick's back. He \\n bolts from the table and on his way out nearly bumps\"\n ],\n [\n \" University guy. In any event, he looks slightly bored. \\n \\n Chenille with Kenny, smiles at Sara as she and Patrick \\n dance by. \\n \\n CAMERA FAVORS and PUSHES IN ON... \\n\",\n \" Since I'm all set. I mean, I have \\n done this before. Gone to school. \\n I'll be fine. I am fine. Really. \\n \\n Roy regards her with weary resignation. Sara climbs out.\",\n \" Both of them ignore it. But it goes on like a musical \\n number. Sara gets a sinking feeling that drops like a \\n stone when she looks across the street. Roy's parked at \\n the curb, waiting for her. She rolls her eyes and he\",\n \" Patrick pays him. Diondre darts out. Patrick walks up \\n to Nikki. Nikki clenches, tries to dismiss him with a \\n backhanded wave. \\n \\n NIKKI\",\n \" and drive-bys. That's what Nikki \\n meant about you up in our world. \\n \\n Sara sits there, stupefied. Understanding. Not \\n understanding. \\n\",\n \"114 CONTINUED: 114 \\n \\n SARA \\n Yeah I liked it. I was gonna go \\n to Juilliard. That school fucked\",\n \" back there. Shit. I never knew a \\n year could be such a long time. \\n \\n A flash of commiseration, of guilt, crosses Patrick's \\n face. They're at the doors now. Most of the kids have\",\n \" it. He can feel it trained on his back as he gets out \\n the car. But Malakai can't do it. Wouldn't do it. He \\n takes off like a bat out of hell. \\n \\n\",\n \" I get into U.M.B.C., financial \\n aid, everything... \\n \\n MRS. GWYNN \\n Do I detect a 'but'? \\n\",\n \" A car speeds off. Patrick raises up, looks around. \\n Malakai nods. He's okay. Snookie's crawling to the \\n exit, snot-nosed and crying. He's okay. Then they see\",\n \" dance, he bravely but rather too abruptly dips her... \\n \\n Diggy (in a glitter tuxedo and spiked hair) and her \\n date... \\n \\n Nikki with whom we shall perceive to be the Howard\",\n \" passes a clutch of students who surround a kid in the \\n middle like a horseshoe. Sara gets a fleeting glimpse of \\n him. \\n \\n \\n SARA'S POV - PATRICK REYNOLDS \\n\",\n \" Before she can respond, Patrick's voice booms from the \\n back of the auditorium. \\n \\n PATRICK (O.S.) \\n Yes, sir. She's ready. \\n\",\n \" See ya. \\n \\n She and Sara continue on to back-of-the-club tables. \\n Stop at a reserved one. An adjacent table sports Nikki, \\n her three girl crew... and Diggy. All nurse drinks.\",\n \" Sara regards him quizzically. Roy goes to her dresser, \\n picks up an envelope from Juilliard. \\n \\n ROY \\n I saw the return address. Got \\n curious. It was open. I read it.\",\n \" (off Patrick's silence) \\n Aw'ight, college boy. You do what \\n you think is the right thing. \\n I'ma do what I know is the only \\n thing. \\n\",\n \" and Diggy. Waiting and watching for Patrick. Diggy \\n looks at them. \\n \\n DIGGY \\n It's about to get real out here. \\n Cops and shit. I'm gone. \\n\",\n \" so than we've ever seen. They sit close to each other. \\n Very close. \\n \\n SARA \\n Are you gonna tell me where we're \\n going? \\n (as he grins, shakes\",\n \" Patrick. \\n \\n PATRICK \\n It ain't anymore, Nikki. Not to \\n me. \\n \\n He walks off. CAMERA TRACKS him going deep inside the\",\n \" though, Nikki. You lettin' some \\n white ho' show you up like that. \\n \\n He regards her with bemused pity. Nikki, with all her \\n inner outrage, manages to salvage her pride. She sneers\"\n ],\n [\n \" one of her legs between his and whispers: \\n \\n SARA \\n We have an audience. Work with \\n me. \\n \\n PATRICK \\n (nonplussed)\",\n \" herself. \\n \\n SARA \\n Asshole. \\n \\n (CONTINUED) \\n \\n 22. \\n\",\n \" slightly, just enough for Patrick to see her face. It \\n pisses him off. \\n \\n PATRICK \\n Shit! \\n \\n SARA\",\n \" SARA \\n Uh-huh. \\n \\n Roy takes another drag, nods thoughtfully to himself. \\n \\n ROY \\n That's what I figured you were \\n doin'. \\n\",\n \" Patrick looks at her, nods. He gets up, follows Sara \\n behind the partition into her \\\"room.\\\" They stand there \\n for a moment. He cups her face with his hands. Kisses \\n her. They begin to take off each other's clothes,\",\n \" Sara glares at him. The disingenuous Rhonda jumps in. \\n \\n RHONDA \\n I think he means you know about \\n sex. That we have it and he likes\",\n \" He regards her, touched. \\n \\n PATRICK \\n I like it. I love it. Thank you. \\n \\n SARA \\n Wait. There's more. \\n\",\n \" Because he was in my house with \\n his hands all over my daughter! \\n \\n SARA \\n Keep telling yourself that. Just \\n don't expect me to believe it. I \\n saw how you looked at him. But\",\n \" The music's beginning to feel good to Sara. Patrick lets \\n go of her hands. Starts to dance. Sara watches him \\n intensely, her body follows his stiffly. Patrick's a \\n good teacher. He leads without leaving her. Whenever\",\n \" She wouldn't want you to give up. \\n \\n Sara swipes at her face, looks up at him, still crying. \\n \\n SARA \\n I know... but she... I just don't\",\n \" He'll walk you. \\n \\n As much as this makes sense, it still takes Patrick by \\n surprise. Sara sees it in his face, regards Chenille \\n with a false bravado. \\n \\n SARA\",\n \" Sara gazes at it, then up at him, understanding what this \\n means. She won't let him see how it shatters her. He \\n hesitates, as if he wants to say something else. But\",\n \" and drive-bys. That's what Nikki \\n meant about you up in our world. \\n \\n Sara sits there, stupefied. Understanding. Not \\n understanding. \\n\",\n \" 103. \\n \\n 159 CONTINUED: 159 \\n \\n SARA \\n We should keep going. \\n \\n PATRICK\",\n \" Both of them ignore it. But it goes on like a musical \\n number. Sara gets a sinking feeling that drops like a \\n stone when she looks across the street. Roy's parked at \\n the curb, waiting for her. She rolls her eyes and he\",\n \" her face gives this away. The \\\"man\\\" glances out past his \\n shoulder. He looks right down our throat straight into \\n Sara's eyes. Malakai. \\n \\n \\n ON SARA \\n \\n SARA\",\n \"139 CONTINUED: 139 \\n \\n SARA \\n (screaming at him) \\n Want me to say it? You were a\",\n \" Work with you? \\n \\n SARA \\n (sotto voce, \\n through her teeth) \\n Grab something. \\n \\n (CONTINUED) \\n\",\n \" Malakai than it is to walk away from a lifetime of \\n friendship. But Patrick does. With Sara holding onto \\n his arm, at his side, he turns and walks away. \\n \\n\",\n \" in his face. \\n \\n NIKKI \\n Fuck you, Malakai. Fuck her too. \\n \\n MALAKAI \\n (gaily, a she sails off)\"\n ]\n]"},"questions":{"kind":"list like","value":["Why does Sara feel guilty?","Who is Chenille?","What is STEPPS?","With whom does Sara dance with at STEPPS?","Where does Derek take Sara on their first date?","Why does Sara break up with Derek?","What does Sara's dad encourage her to do?","How do Derek and Sara reunite?","How does Sara's audition go?","Why wasn't Sara's mom at her Julliard audition?","When did Sara transfer schools?","How does Sara's dance style change after she moves to Chicago?","What did Chenille's brother want to do after high school?","Which reason was Sara given for why Nikki wanted to fight her?","Who convinced Sara to audition for Julliard again?","What commitment did Derrick make that conflicted with Sara's audition?","How did Derrick avoid being arrested with Malakai the night of the drive-by?","Where does Sara dance to hip hop for the first time?","Why didn't Sarah's mother show up at her Juliard audition?","What causes Sarah to give up on ballet?","Who does Sarah go live with after the death of her mother?","Where does her father live?","Who does Sarah quickly befriend at her new school in Chicago?","What is Derek's relationship to Chenille?","What is the name of the club Chenille takes Sarah too?","Why does Nikki pick a fight with Sarah?","What university is Derrik going to?","What does Derrik encourage Sarah to do?"],"string":"[\n \"Why does Sara feel guilty?\",\n \"Who is Chenille?\",\n \"What is STEPPS?\",\n \"With whom does Sara dance with at STEPPS?\",\n \"Where does Derek take Sara on their first date?\",\n \"Why does Sara break up with Derek?\",\n \"What does Sara's dad encourage her to do?\",\n \"How do Derek and Sara reunite?\",\n \"How does Sara's audition go?\",\n \"Why wasn't Sara's mom at her Julliard audition?\",\n \"When did Sara transfer schools?\",\n \"How does Sara's dance style change after she moves to Chicago?\",\n \"What did Chenille's brother want to do after high school?\",\n \"Which reason was Sara given for why Nikki wanted to fight her?\",\n \"Who convinced Sara to audition for Julliard again?\",\n \"What commitment did Derrick make that conflicted with Sara's audition?\",\n \"How did Derrick avoid being arrested with Malakai the night of the drive-by?\",\n \"Where does Sara dance to hip hop for the first time?\",\n \"Why didn't Sarah's mother show up at her Juliard audition?\",\n \"What causes Sarah to give up on ballet?\",\n \"Who does Sarah go live with after the death of her mother?\",\n \"Where does her father live?\",\n \"Who does Sarah quickly befriend at her new school in Chicago?\",\n \"What is Derek's relationship to Chenille?\",\n \"What is the name of the club Chenille takes Sarah too?\",\n \"Why does Nikki pick a fight with Sarah?\",\n \"What university is Derrik going to?\",\n \"What does Derrik encourage Sarah to do?\"\n]"},"answers":{"kind":"list like","value":[["She blames herself for her mother's death.","Because her mom died trying to get to her audition."],["A single black mother who befriends Sara.","a single mother attending the same urban Chicago school as Sarah"],["A dance club at the new school Sara attends.","A urban dancing school."],["Chenille's brother, Derek.","Derek"],["The Joffrey Ballet.","to see the Joffrey Ballet"],["Chenile makes her feel guilty about their interracial romance.","Had argrument with his exgirlfriend."],["Audition again for Juilliard. ","audition for Julliard"],["He shows up at her audition and encourages her.","Chenille encourages Derek to be with her."],["She is accepted into Juilliard.","she fails her first audition"],["She was killed in an accident on her way there","she was in a fatal car accident on her way to the audition"],["after moving in with her father","After her mother's death."],["it becomes a mix of ballet and hip hop","She incorporates more hip hop."],["go to Georgetown University and then Georgetown Medical School","Go to medical school."],["by dating Derrick, Sara taking one of the descent black men at school","She's a white girl who took one of the few good black men."],["Her father","Derek"],["helping Malakai with a drive-by","To be in a drive by."],["he wasn't with Malakai because he decided to attend the audition with Sara instead","He goes to Sara's audition."],["STEPPS dance club","Stepps."],["Sarah's mother was killed in a car accident on the way to the audition.","She died in a car accident."],["The guilt of her mothers death.","Her mother's death."],["Her father","her estranged father"],["Chicago ","Chicago."],["Chenille ","Derek"],["Her brother ","he is her brother"],["STEPPS","Stepps"],["Nikki is Deriks ex.","She's jealous."],["Georgetown ","Georgetown "],["Audition for Juilliard a second time","Follow her dreams to Julliard."]],"string":"[\n [\n \"She blames herself for her mother's death.\",\n \"Because her mom died trying to get to her audition.\"\n ],\n [\n \"A single black mother who befriends Sara.\",\n \"a single mother attending the same urban Chicago school as Sarah\"\n ],\n [\n \"A dance club at the new school Sara attends.\",\n \"A urban dancing school.\"\n ],\n [\n \"Chenille's brother, Derek.\",\n \"Derek\"\n ],\n [\n \"The Joffrey Ballet.\",\n \"to see the Joffrey Ballet\"\n ],\n [\n \"Chenile makes her feel guilty about their interracial romance.\",\n \"Had argrument with his exgirlfriend.\"\n ],\n [\n \"Audition again for Juilliard. \",\n \"audition for Julliard\"\n ],\n [\n \"He shows up at her audition and encourages her.\",\n \"Chenille encourages Derek to be with her.\"\n ],\n [\n \"She is accepted into Juilliard.\",\n \"she fails her first audition\"\n ],\n [\n \"She was killed in an accident on her way there\",\n \"she was in a fatal car accident on her way to the audition\"\n ],\n [\n \"after moving in with her father\",\n \"After her mother's death.\"\n ],\n [\n \"it becomes a mix of ballet and hip hop\",\n \"She incorporates more hip hop.\"\n ],\n [\n \"go to Georgetown University and then Georgetown Medical School\",\n \"Go to medical school.\"\n ],\n [\n \"by dating Derrick, Sara taking one of the descent black men at school\",\n \"She's a white girl who took one of the few good black men.\"\n ],\n [\n \"Her father\",\n \"Derek\"\n ],\n [\n \"helping Malakai with a drive-by\",\n \"To be in a drive by.\"\n ],\n [\n \"he wasn't with Malakai because he decided to attend the audition with Sara instead\",\n \"He goes to Sara's audition.\"\n ],\n [\n \"STEPPS dance club\",\n \"Stepps.\"\n ],\n [\n \"Sarah's mother was killed in a car accident on the way to the audition.\",\n \"She died in a car accident.\"\n ],\n [\n \"The guilt of her mothers death.\",\n \"Her mother's death.\"\n ],\n [\n \"Her father\",\n \"her estranged father\"\n ],\n [\n \"Chicago \",\n \"Chicago.\"\n ],\n [\n \"Chenille \",\n \"Derek\"\n ],\n [\n \"Her brother \",\n \"he is her brother\"\n ],\n [\n \"STEPPS\",\n \"Stepps\"\n ],\n [\n \"Nikki is Deriks ex.\",\n \"She's jealous.\"\n ],\n [\n \"Georgetown \",\n \"Georgetown \"\n ],\n [\n \"Audition for Juilliard a second time\",\n \"Follow her dreams to Julliard.\"\n ]\n]"},"document_id":{"kind":"string","value":"8e15ee1aade0ced118df14ec3c59a14fecba8e1f"},"split":{"kind":"string","value":"test"}}},{"rowIdx":87,"cells":{"text":{"kind":"list like","value":[[" Then, seen at the ALTAR, Ellie makes \n her decision. She reaches down, takes \n a firm hold on her train and, pushing \n several people aside, runs out of the "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," Then while Ellie groans and sighs and \n pounds the hay with her palm, Peter \n steps out of sight. Ellie is unaware \n of his departure, so busily occupied "," \n Ellie hesitates a moment, then starts \n toward the cabin. Now she is hurrying \n across the open space. En route she \n passes Dyke. \n "," \n (receiving no answer) \n \n You haven't fallen in love with somebody \n else, have you? \n \n As this brings an audible sob from Ellie, "," \n The scene dissolves to a close view \n of Ellie and a recently arrived fat \n man next to her. She has her head thrown \n back in an effort to sleep, but the "," Ellie? Oh, she's no responsibility. \n \n \n ANDREWS \n \n No? Say, listenI've devoted a whole "," Ellie has scarcely listened to him, \n and has divided her attention between \n glancing back at Peter and staring at \n Shapeley as if he were insanenone of "," ELLIE \n \n (calling) \n \n Come in! \n \n The moment she does, Peter rushes behind \n the hanging blanket. He has his head "," ELLIE \n \n (snappily) \n \n You're wasting your time. I'm already \n married to him. \n \n ANDREWS"," which covers his face. Her eyes are \n fixed forward, her lips set adamantly. \n A close-up of the MAN next to Ellie \n makes it plain that he is a typical "," Ellie takes the suitcase from him, and \n his hand now free, he delivers a resounding \n smack on her backside, so that Ellie \n lets out a yelp. \n "," \n (Ellie turns her head away, a little \n ashamed of her tears) \n \n Ellie now rises and walks miserably "," \n You've had a lot of men crazy about \n you, haven't you? \n \n ELLIE doesn't respond. She has the scrutinizing, "," \n He wheels around and goes through the \n door, Ellie looking after him, her eyes \n blazing. The drone of a plane motor \n outside is heard, and several people "," The \"prissy\" man is placing them in \n position. The big moment has arrived. \n The guests are all atwitter. But a close \n view of ELLIE shows that she realizes "," The scene dissolves to the edge of a \n cow PASTURE, at night, and Ellie and \n Peter are revealed climbing under a \n barbed wire fence, following which the "," SHAPELEY looks back at Ellie, and apparently \n comes to the conclusion that his suspicions \n are correct, for he quickly folds the \n newspaper, casting a surreptitious glance "," for someone. Suddenly she is attracted \n by something and gazes in its direction. \n Then, as seen by Ellie in a long view, \n there appears, about twenty yards away, "," \n He's no good, Ellie, and you know it. \n You married him only because I told \n you not to. \n \n ELLIE \n "],[" I'll get it annulled. \n \n ELLIE \n \n You'll never do it! You can't do it! \n \n \n ANDREWS"," You'll be set free when the marriage \n is annulled. \n \n A close-up of ELLIE, her eyes blazing \n angrily, shows her slowly edging away "," Ellie and I got married because we love \n each other. And she's proving it; as \n far as I'm concerned there's going to \n be no annulment. \n "," \n He's no good, Ellie, and you know it. \n You married him only because I told \n you not to. \n \n ELLIE \n "," Never mind . . . Listensuppose I should \n tell you that Ellen Andrews is going \n to have her marriage annulled. \n \n GORDON \n \n Huh?"," Then, seen at the ALTAR, Ellie makes \n her decision. She reaches down, takes \n a firm hold on her train and, pushing \n several people aside, runs out of the "," your father, you're all a lot of hooey \n to me. \n \n He turns his back on her and leaves. \n A close-up of ELLIE shows her staring "," ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," (arguing with himself) \n \n You're forgetting you're married. \n \n ELLIE \n \n (tensely) \n "," ELLIE \n \n (snappily) \n \n You're wasting your time. I'm already \n married to him. \n \n ANDREWS"," which covers his face. Her eyes are \n fixed forward, her lips set adamantly. \n A close-up of the MAN next to Ellie \n makes it plain that he is a typical "," door opens and Ellie, her father, and \n King Westley emerge. King has his arm \n around her. The moment they appear in \n the doorway, cameras click and several \n reporters surround them."," (Ellie is perceptibly startled by this \n piece of news) \n \n Kinda surprised, huh? It's just like \n I told you, Zeke. They ain't married "," Yesif he is your husband. \n \n ELLIE \n \n Isn't he here? \n \n WIFE \n "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," You've had a pretty tough break at that. \n Twice a Missus and still unkissed. \n \n \n Ellie doesn't like the implication, "," I just had a long talk with him. \n \n ELLEN \n \n (her voice breaking) \n \n I'm not interested. \n \n ANDREWS"," ELLIE \n \n You're not going to notify my father, \n are you? \n \n PETER \n \n (looking at her squarely)"," ELLIE \n \n (persistently) \n \n My father was a great \"piggy-backer.\" \n \n \n Peter raises his eyes heavenward in "," They are well out of the way when Ellie, \n on the arm of her father, appears in \n the doorway. A view of the guests shows \n that they cannot contain themselves. "],[" SHAPELEY looks back at Ellie, and apparently \n comes to the conclusion that his suspicions \n are correct, for he quickly folds the \n newspaper, casting a surreptitious glance "," Then the view draws back revealing that \n the newspaper is in the hands of Ellie, \n who sits in the car alone, gazing at \n the headlines. Then Peter's voice is \n heard."," Then, seen at the ALTAR, Ellie makes \n her decision. She reaches down, takes \n a firm hold on her train and, pushing \n several people aside, runs out of the "," ELLIE \n \n (frightened) \n \n A headline? You're not a newspaper man, \n are you? \n \n PETER"," follows a close view of a tabloid newspaper, \n featuring the heading: \"Love Triumphant\" \n and containing the pictures of Ellie \n and King. The view then moves down to "," and hands it to her. Ellie glances at \n the headline hurriedly. \n \n PETER \n \n (while she reads) \n "," aisle. Peter turns just as she gets \n seated. He glances at her indifferently. \n \n \n A close view shows Ellie seated next \n to a man who sits reading a newspaper "," decide to follow Ellie. \n \n A MAN \n \n Get her, Mac! She's ducking! \n \n And, as viewed by the newsreel men, "," \n Like to have a look at my paper? \n \n He has taken it out and has it opened \n as he hands it to Peter. The headlines \n concerning Ellie and her picture shriek "," (he rips a picture of Ellie on the desk \n out of its frame) \n \n Some of the out of town papers may not \n have a picture of her. Herewire this "," door opens and Ellie, her father, and \n King Westley emerge. King has his arm \n around her. The moment they appear in \n the doorway, cameras click and several \n reporters surround them."," and she quickly folds the paper and \n throws it out of sight. She starts to \n get out of the car. \n \n ELLIE \n "," which covers his face. Her eyes are \n fixed forward, her lips set adamantly. \n A close-up of the MAN next to Ellie \n makes it plain that he is a typical "," What!Ellen Andrews! You're crazy! \n \n \n This cuts to a TELEPHONE BOOTH where \n a reporter is seen speaking excitedly. \n "," \n There is a lengthy pause, neither of \n them stirs. Then Ellie slowly raises \n her tear-stained face and gets to her \n feet. \n \n ELLIE"," ELLIE \n \n (calling) \n \n Come in! \n \n The moment she does, Peter rushes behind \n the hanging blanket. He has his head "," reads: \"Where she was taken.\" Finally, \n the view moves down to the bottom of \n the page to a picture of Ellie and King, \n with her father between them, in front "," The view moves from them to ELLIE, who \n stands behind a post and is watching \n the two detectives apprehensively. As \n the two (viewed from her position) stand "," And the scene cuts to a New York NEWSPAPER \n OFFICE where the night editor, Gordon, \n his sleeves rolled up, sits at his desk \n shrieking into the phone. \n "," shoves his feet aside for her to pass, \n and Ellie starts up the aisle. But she \n suddenly stops; looks back, first at \n her bag and then at Peter; decides to "],[" Then, seen at the ALTAR, Ellie makes \n her decision. She reaches down, takes \n a firm hold on her train and, pushing \n several people aside, runs out of the "," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," did, Westley, not to contest that annulment. \n That's satisfactory, isn't it? Yeah. \n Well, it ought to be. Oh I'm not complaining. \n It was dirt cheap."," The \"prissy\" man is placing them in \n position. The big moment has arrived. \n The guests are all atwitter. But a close \n view of ELLIE shows that she realizes "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," Ellie and I got married because we love \n each other. And she's proving it; as \n far as I'm concerned there's going to \n be no annulment. \n "," ELLIE \n \n (snappily) \n \n You're wasting your time. I'm already \n married to him. \n \n ANDREWS"," \n PETER \n \n Just a spoiled brat of a rich man. You \n and Westley'll make an ideal team. \n \n \n ELLIE"," of Ellie shows her watching him. Her \n eyes soften. A very definite interest \n in him is slowly but surely blossoming, \n and the fact that he is making her bed "," pages, You know, I've always been curious \n about the kind of a girl that would \n marry King Westley. \n \n He pulls a newspaper out of his pocket "," get back to king Westley. \n \n He waits for a reaction, but a close \n view shows ELLIE absorbed, and she remains \n silent. Peter's voice continues. \n "," and looks around. The view swings around \n the room, following his gaze. It focuses \n on Ellie, who reclines on a sofa, in \n her bridal outfit, her head resting "," door opens and Ellie, her father, and \n King Westley emerge. King has his arm \n around her. The moment they appear in \n the doorway, cameras click and several \n reporters surround them."," WESTLEY \n \n If you really mean it, I will. \n \n ANDREWS \n \n (strongly) \n "," You'll be set free when the marriage \n is annulled. \n \n A close-up of ELLIE, her eyes blazing \n angrily, shows her slowly edging away "," I'll get it annulled. \n \n ELLIE \n \n You'll never do it! You can't do it! \n \n \n ANDREWS"," ANDREWS \n \n (joining in) \n \n Because marrying that fool King Westley \n is \n \n ? 211 ? \n "," \n You ought to know why. Because \n \n ELLIE \n \n (interrupting) \n \n Yes. I know. \n "," \n He's no good, Ellie, and you know it. \n You married him only because I told \n you not to. \n \n ELLIE \n "," \n ANDREWS \n \n Well, here we are; it's all set. You're \n finally going to be married properly. \n \n "],[" A close-up indicates that ANDREWS has \n been studying Peter throughout the scene. \n He is now completely won over. \n \n ANDREWS \n \n (smiling)"," following which ANDREWS is seen watching \n the door, his eyes twinkling, and the \n scene cuts to the DOWNSTAIRS HALLWAY \n as Peter comes through, moving on to "," Come in. Sit down. \n \n Peter advances into the room, looking \n around curiously. His air is frigid, \n contemptuous as Andrews studies him, "," and he makes no move to sit. Andrews \n waves to a chair and sits down himself. \n Peter flops into the nearest chair. \n \n \n ANDREWS \n "," relating to the Andrews story. Peter, \n a bewildered, stunned expression on \n his face, enters and crosses funereally \n toward Gordon's office. Several people \n standing around look up."," ANDREWS \n \n The reward. \n \n PETER \n \n (sharply) \n \n Who said anything about a reward! \n "," again, we see Andrews rising and awaiting \n Peter's entrance. After a moment Peter \n comes in, removes his soft felt hat, \n and tucks it under his arm. \n "," This is dangerous business, Mr. Andrews. \n After all, kidnapping is no child's \n play. \n \n But Andrews ignores him and merely stares "," \n A close view of the TWO shows Andrews \n smiling: Here is a man! \n \n PETER \n \n If you had half the brains you're supposed "," ANDREWS \n \n Mr. Warne? \n \n PETER \n \n Yeah. \n \n ANDREWS \n "," ANDREWS' STUDY fades in, affording a \n close view of King Westley. He answers \n every description we have had of him. \n He is a stiff, handsome, stuffed-shirt "," \n (but Andrews withdraws his hand. Apparently \n he has changed his mind) \n \n ANDREWS \n \n (evasively) \n "," \n Certainly. \n \n (he opens a checkbook and writes it \n out) \n \n While Andrews writes, Peter wanders "," not moveshe remains staring blankly \n at the door through which Peter went \n until Andrews enters from his study. \n \n \n ANDREWS \n "," at the door, as Andrews enters and closes \n the door behind him. He looks around \n and his eyes light on his prisoner, \n following which the view swings over "," You mean about the Andrews' kid? \n \n PETER \n \n That's it. \n \n (tapping his pocket) \n "," A close view of ANDREWS shows him looking \n around his study despairingly. \n \n ANDREWS \n \n (murmuring) \n "," \n Andrews starts out, and the scene cuts \n to the HALLWAY as Andrews enters from \n the study. A maid coming down the stairs, \n he calls to her: \n "," see a LETTER in Peter's handwriting. \n It is addressed to: \"Alexander Andrews, \n 11 Wall Street.\" It reads: \n \n \"Dear Sir: \n "," The scene dissolves to ANDREWS' OFFICE, \n where Andrews is regaling himself with \n a whiskey and soda. He is in a pleasantly \n inebriated mood when his SECRETARY enters."],[" A close-up indicates that ANDREWS has \n been studying Peter throughout the scene. \n He is now completely won over. \n \n ANDREWS \n \n (smiling)"," Come in. Sit down. \n \n Peter advances into the room, looking \n around curiously. His air is frigid, \n contemptuous as Andrews studies him, "," and he makes no move to sit. Andrews \n waves to a chair and sits down himself. \n Peter flops into the nearest chair. \n \n \n ANDREWS \n "," You mean about the Andrews' kid? \n \n PETER \n \n That's it. \n \n (tapping his pocket) \n "," relating to the Andrews story. Peter, \n a bewildered, stunned expression on \n his face, enters and crosses funereally \n toward Gordon's office. Several people \n standing around look up."," following which ANDREWS is seen watching \n the door, his eyes twinkling, and the \n scene cuts to the DOWNSTAIRS HALLWAY \n as Peter comes through, moving on to "," \n (but Andrews withdraws his hand. Apparently \n he has changed his mind) \n \n ANDREWS \n \n (evasively) \n "," ANDREWS \n \n Mr. Warne? \n \n PETER \n \n Yeah. \n \n ANDREWS \n "," (as Andrews smiles) \n \n But don't hold that against me. I'm \n a little screwy myself. \n \n He snaps the door open and goes out, "," again, we see Andrews rising and awaiting \n Peter's entrance. After a moment Peter \n comes in, removes his soft felt hat, \n and tucks it under his arm. \n "," \n PETER \n \n (irritably) \n \n We'll go into that some other time. \n \n \n ANDREWS"," not moveshe remains staring blankly \n at the door through which Peter went \n until Andrews enters from his study. \n \n \n ANDREWS \n "," ANDREWS \n \n The reward. \n \n PETER \n \n (sharply) \n \n Who said anything about a reward! \n "," \n A close view of the TWO shows Andrews \n smiling: Here is a man! \n \n PETER \n \n If you had half the brains you're supposed "," This is dangerous business, Mr. Andrews. \n After all, kidnapping is no child's \n play. \n \n But Andrews ignores him and merely stares "," A close view of ANDREWS shows him looking \n around his study despairingly. \n \n ANDREWS \n \n (murmuring) \n "," and glares in his direction as Peter's \n voice continues: \n \n PETER'S VOICE \n \n (meaningly) \n "," ANDREWS' STUDY fades in, affording a \n close view of King Westley. He answers \n every description we have had of him. \n He is a stiff, handsome, stuffed-shirt "," As he says this, he backs away from \n Peter, following which a close-up of \n PETER shows a twinkle in his eye and \n then, as seen by Peter, Shapeley appears "," The scene cuts to a close view of SHAPELEY \n who has his eye peeled on Peter, watching \n him, and we next see Peter and the boy, \n who is still sobbing quietly. They are "],[" \n ANDREWS \n \n Well, here we are; it's all set. You're \n finally going to be married properly. \n \n "," and King Westley Resumed, as Father \n Yields. Wedding Reception to be Held \n on Andrews' Lawn.\" \n \n Below this is a page of pictures, and "," ANDREWS' STUDY fades in, affording a \n close view of King Westley. He answers \n every description we have had of him. \n He is a stiff, handsome, stuffed-shirt "," on it reading: \"Justice of the Peace.\" \n Over the photograph is a caption: \"Where \n they were married.\" The next picture \n is of the Andrews Yacht, and the title "," Then the LAWN of the ANDREWS ESTATE \n dissolves in. It is now filled with \n guests, who wander around, chattering \n gaily. The orchestra plays. A captain "," \n (but Andrews withdraws his hand. Apparently \n he has changed his mind) \n \n ANDREWS \n \n (evasively) \n "," \n ANDREWS \n \n My daughter. \n \n KING \n \n (the two now seen again; lightly) \n "," \n ANDREWS \n \n (mumbling) \n \n I'll be going. \n \n (he goes out behind Mary) \n "," The scene dissolves to ANDREWS' OFFICE, \n where Andrews is regaling himself with \n a whiskey and soda. He is in a pleasantly \n inebriated mood when his SECRETARY enters."," ANDREWS \n \n Who is he? \n \n ELLIE \n \n I don't know very much about him. \n \n (in a whisper)"," Andrews. \n \n (this is a shock to Ellie) \n \n ELLIE \n \n (weakly) \n \n What are you talking about?"," A close-up indicates that ANDREWS has \n been studying Peter throughout the scene. \n He is now completely won over. \n \n ANDREWS \n \n (smiling)"," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," \n Ellie! \n \n He starts to go after herbut finds \n Andrews in his way while the outcries \n of the guests rise in chorus. \n "," and ANDREWS is still whispering to her. \n \n \n ANDREWS \n \n He loves you, Ellie. Told me so. \n "," at the door, as Andrews enters and closes \n the door behind him. He looks around \n and his eyes light on his prisoner, \n following which the view swings over "," ANDREWS \n \n (irascibly) \n \n Well, step on it! Step on it! \n \n He bangs up the receiver and stares "," away from him, dabbing her eyes. Andrews, \n watching her, realizes he has hit upon \n the truth. He walks over to her. \n \n ANDREWS \n "," ANDREWS \n \n (joining in) \n \n Because marrying that fool King Westley \n is \n \n ? 211 ? \n "," On the LAWN the commotion runs high, \n and the guests chatter their amazement. \n A close view of ANDREWS shows him smiling \n with satisfaction. \n "],[" ANDREWS \n \n The reward. \n \n PETER \n \n (sharply) \n \n Who said anything about a reward! \n "," The scene cuts to ANDREWS' STUDY: King \n Westley is seated, and Andrews walks \n around him. They are both dressed in \n striped trousers, frock coat, etc. \n "," ANDREWS' STUDY fades in, affording a \n close view of King Westley. He answers \n every description we have had of him. \n He is a stiff, handsome, stuffed-shirt "," A close-up indicates that ANDREWS has \n been studying Peter throughout the scene. \n He is now completely won over. \n \n ANDREWS \n \n (smiling)"," \n At this there is a close view of Westleythere \n is a satisfied smirk on his face. \n \n \n ANDREWS \n "," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," WESTLEY \n \n If you really mean it, I will. \n \n ANDREWS \n \n (strongly) \n "," following which ANDREWS is seen watching \n the door, his eyes twinkling, and the \n scene cuts to the DOWNSTAIRS HALLWAY \n as Peter comes through, moving on to "," \n (but Andrews withdraws his hand. Apparently \n he has changed his mind) \n \n ANDREWS \n \n (evasively) \n "," scene, is speaking as he paces around \n the room. \n \n ANDREWS \n \n I haven't changed my mind, Westley, "," and he makes no move to sit. Andrews \n waves to a chair and sits down himself. \n Peter flops into the nearest chair. \n \n \n ANDREWS \n "," This is dangerous business, Mr. Andrews. \n After all, kidnapping is no child's \n play. \n \n But Andrews ignores him and merely stares "," relating to the Andrews story. Peter, \n a bewildered, stunned expression on \n his face, enters and crosses funereally \n toward Gordon's office. Several people \n standing around look up."," \n PETER \n \n Just a spoiled brat of a rich man. You \n and Westley'll make an ideal team. \n \n \n ELLIE"," WESTLEY \n \n I might have been able to help if it \n weren't for you. I've been watched so \n closely, I \n \n ANDREWS"," \n ANDREWS \n \n Is that his name? \n \n ELLIE \n \n Yes. Peter Warne. \n "," \n A close view of the TWO shows Andrews \n smiling: Here is a man! \n \n PETER \n \n If you had half the brains you're supposed "," ANDREWS WITHDRAWS OBJECTION \n \n Magnate and Aviator Reconciled \"Everything \n all right. Come home, darling,\" says \n Westley. \n "," ANDREWS \n \n Mr. Warne? \n \n PETER \n \n Yeah. \n \n ANDREWS \n "," She starts to walk away when she is \n attracted by her father's surprise at \n the mention of the name. \n \n ANDREWS \n \n Peter Warne! \n "],[" Then, seen at the ALTAR, Ellie makes \n her decision. She reaches down, takes \n a firm hold on her train and, pushing \n several people aside, runs out of the "," \n (receiving no answer) \n \n You haven't fallen in love with somebody \n else, have you? \n \n As this brings an audible sob from Ellie, "," \n There is a lengthy pause, neither of \n them stirs. Then Ellie slowly raises \n her tear-stained face and gets to her \n feet. \n \n ELLIE"," of Ellie shows her watching him. Her \n eyes soften. A very definite interest \n in him is slowly but surely blossoming, \n and the fact that he is making her bed "," around them heaving a sigh of relief. \n Ellie flashes him a devastating look \n and deliberately turns her back on him. \n But Peter suddenly looks down toward \n the floor, following which a close-up "," which covers his face. Her eyes are \n fixed forward, her lips set adamantly. \n A close-up of the MAN next to Ellie \n makes it plain that he is a typical "," \n The scene dissolves to a close view \n of Ellie and a recently arrived fat \n man next to her. She has her head thrown \n back in an effort to sleep, but the "," and ANDREWS is still whispering to her. \n \n \n ANDREWS \n \n He loves you, Ellie. Told me so. \n "," \n ELLIE \n \n (to the fisherman) \n \n Thanks. \n \n (and she starts swimming toward shore) \n "," This dissolves to a view of ELLIE coming \n out of the showers. At the same time \n Shapeley comes out of the men's shower, \n and upon seeing Ellie, his face lights "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," Ellie? Oh, she's no responsibility. \n \n \n ANDREWS \n \n No? Say, listenI've devoted a whole "," The scene dissolves to the BUS, where \n all the passengers are scattering back \n to their seats; Peter is already seated, \n when Ellie arrives. A close view then \n shows her standing uncertainly for a "," about her. She looks around thoughtfully. \n Suddenly her eyes open in surprise at \n something she sees, and the view then \n moves over to Peter, who sits on his \n suitcase, looking toward Ellie."," ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," Then the view draws back revealing that \n the newspaper is in the hands of Ellie, \n who sits in the car alone, gazing at \n the headlines. Then Peter's voice is \n heard."," \n Ellie hesitates a moment, then starts \n toward the cabin. Now she is hurrying \n across the open space. En route she \n passes Dyke. \n "," the view, drawing back to include Ellie, \n shows her standing at his bedside, looking \n down at him yearningly. \n \n Then we see them close together: Peter's "," ELLIE \n \n (in a still, small voice) \n \n Yes. You'll have a great story, won't \n you? \n \n PETER"," PETER \n \n (without looking up) \n \n Well, here we are on the last lap. \n \n \n Ellie crosses to the window and stares "],[" ANDREWS \n \n The reward. \n \n PETER \n \n (sharply) \n \n Who said anything about a reward! \n "," A close-up indicates that ANDREWS has \n been studying Peter throughout the scene. \n He is now completely won over. \n \n ANDREWS \n \n (smiling)"," \n (a sob in his voice) \n \n No-o. But I shouldn't oughta take the \n money. \n \n (to Peter) \n "," \n (but Andrews withdraws his hand. Apparently \n he has changed his mind) \n \n ANDREWS \n \n (evasively) \n "," and he makes no move to sit. Andrews \n waves to a chair and sits down himself. \n Peter flops into the nearest chair. \n \n \n ANDREWS \n "," This is dangerous business, Mr. Andrews. \n After all, kidnapping is no child's \n play. \n \n But Andrews ignores him and merely stares "," You mean about the Andrews' kid? \n \n PETER \n \n That's it. \n \n (tapping his pocket) \n "," Come in. Sit down. \n \n Peter advances into the room, looking \n around curiously. His air is frigid, \n contemptuous as Andrews studies him, "," following which ANDREWS is seen watching \n the door, his eyes twinkling, and the \n scene cuts to the DOWNSTAIRS HALLWAY \n as Peter comes through, moving on to "," ? 323 ? \n \n ANDREWS \n \n That guy Warne is O.K. He didn't want \n the reward. \n "," \n The average man would go after the reward. \n All you seem to \n \n PETER \n \n Listen, did anybody ever make a sucker "," relating to the Andrews story. Peter, \n a bewildered, stunned expression on \n his face, enters and crosses funereally \n toward Gordon's office. Several people \n standing around look up."," \n PETER \n \n (irritably) \n \n We'll go into that some other time. \n \n \n ANDREWS"," \n Andrews doesn't answer him. He puffs \n furiously on his cigar, glances out \n of the window, and turns irritably to \n a phone by his side. He snaps up the "," \n Certainly. \n \n (he opens a checkbook and writes it \n out) \n \n While Andrews writes, Peter wanders "," \n A close view of the TWO shows Andrews \n smiling: Here is a man! \n \n PETER \n \n If you had half the brains you're supposed "," \n PETER \n \n (exhausted) \n \n You win! \n \n Smiling, he turns to sit down. But the "," Oh, thanks, thanks, Mister. I always \n knew you guys were kind-hearted. \n \n PETER \n \n (putting his hand away) \n "," (holding out his hand) \n \n Goodbye. \n \n (but Andrews turns his back on him) \n \n \n ANDREWS \n "," see a LETTER in Peter's handwriting. \n It is addressed to: \"Alexander Andrews, \n 11 Wall Street.\" It reads: \n \n \"Dear Sir: \n "],[" The scene dissolves to the BUS, where \n all the passengers are scattering back \n to their seats; Peter is already seated, \n when Ellie arrives. A close view then \n shows her standing uncertainly for a "," Ellie leaves him abruptly, and the scene \n cuts to the CABIN, where Peter is now \n busy setting the small table. Ellie \n enters after a moment, while Peter has \n his back to the door."," about her. She looks around thoughtfully. \n Suddenly her eyes open in surprise at \n something she sees, and the view then \n moves over to Peter, who sits on his \n suitcase, looking toward Ellie."," ELLIE \n \n (calling) \n \n Come in! \n \n The moment she does, Peter rushes behind \n the hanging blanket. He has his head "," while Ellie enters hurriedly from the \n rear door and starts forward. As she \n approaches Peter, she hesitates a second, \n and deliberately passes him, plunking \n herself into a seat in the opposite "," around them heaving a sigh of relief. \n Ellie flashes him a devastating look \n and deliberately turns her back on him. \n But Peter suddenly looks down toward \n the floor, following which a close-up "," Peter lifts Ellie's overnight bag off \n the seat and drops it on the floor. \n Part of her coat covers the small space \n by her side. This he sweeps across her \n lap."," The scene dissolves to the edge of a \n cow PASTURE, at night, and Ellie and \n Peter are revealed climbing under a \n barbed wire fence, following which the "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," As Ellie and Peter are seen again, she \n turns and calls to the boy: \n \n ELLIE \n \n Here, boy! \n \n PETER"," \n PETER \n \n Good morning. \n \n Peter is in the foreground, the guard \n is seen in the background. Ellie stares "," at which Peter and Ellie stayed. The \n owner's wife is talking to her husband. \n \n \n WIFE \n \n Funny couple, ain't they?"," ELLIE \n \n Hayin my teeth. \n \n She points to her front teeth, and Peter \n flicks the hay out of her teeth. \n "," The scene dissolves to the ROAD, at \n night, with Ellie and Peter walking \n along. It is apparent they have been \n trudging like this for a long time. \n \n "," struggles valiantly to maintain as much \n dignity as she can muster under the \n circumstances. Then in the cabin, at \n the window, Peter watching Ellie, chuckles "," \n The scene wiping off, we then get a \n closer view of Ellie and Peter sitting \n in the back of an open Ford. It is a "," ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," \n Well, I am. \n \n PETER \n \n (as both he and Ellie are seen in their \n respective places) \n "," aisle. Peter turns just as she gets \n seated. He glances at her indifferently. \n \n \n A close view shows Ellie seated next \n to a man who sits reading a newspaper "," on her face. \n \n ELLIE \n \n What are you thinking about? \n \n PETER \n \n By a strange coincidence, I was thinking "],[" The scene dissolves to DYKE'S AUTO CAMP. \n Ellie stands alone on the porch of a \n small bungalow, sheltered from the rain. \n Over her head is a sign reading:"," at which Peter and Ellie stayed. The \n owner's wife is talking to her husband. \n \n \n WIFE \n \n Funny couple, ain't they?"," Ellie takes the suitcase from him, and \n his hand now free, he delivers a resounding \n smack on her backside, so that Ellie \n lets out a yelp. \n "," \n The scene dissolves to a close view \n of Ellie and a recently arrived fat \n man next to her. She has her head thrown \n back in an effort to sleep, but the "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," Then, seen at the ALTAR, Ellie makes \n her decision. She reaches down, takes \n a firm hold on her train and, pushing \n several people aside, runs out of the "," ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," The pounding continuing, Ellie looks \n around, frightened. The door suddenly \n bursts open, and the owner and wife \n enter. They both glance over at Peter's \n side. \n "," \n ELLIE \n \n (her voice strident) \n \n Looks like that was his only interest \n in me. The reward. \n \n ANDREWS"," \n He wheels around and goes through the \n door, Ellie looking after him, her eyes \n blazing. The drone of a plane motor \n outside is heard, and several people "," and she quickly folds the paper and \n throws it out of sight. She starts to \n get out of the car. \n \n ELLIE \n "," Ellie, wheeling on the little girl, \n crushes her with a devastating look, \n so that the little girl cringes against \n her mother's skirt. Ellie goes to the "," ELLIE \n \n (murmuring in her sleep) \n \n Darn planes \n \n She squirms around uncomfortably, and "," Then while Ellie groans and sighs and \n pounds the hay with her palm, Peter \n steps out of sight. Ellie is unaware \n of his departure, so busily occupied "," This dissolves to a view of ELLIE coming \n out of the showers. At the same time \n Shapeley comes out of the men's shower, \n and upon seeing Ellie, his face lights "," \n Ellie hesitates a moment, then starts \n toward the cabin. Now she is hurrying \n across the open space. En route she \n passes Dyke. \n "," and starts toward his car. He springs \n into the car, steps on the starter, \n and is off. \n \n ELLIE and PETER hear the motor. They "," back, whereupon Peter viciously kicks \n it over to her side again. Next we see \n Ellie glaring at him, picking up her \n bag, and standing on the seat depositing "," The scene dissolves to the edge of a \n cow PASTURE, at night, and Ellie and \n Peter are revealed climbing under a \n barbed wire fence, following which the "," ELLIE \n \n (calling) \n \n Come in! \n \n The moment she does, Peter rushes behind \n the hanging blanket. He has his head "],[" the booth are half a dozen men of varied \n appearance. The inside of the booth \n is lighted, and a young man, Peter Warne, \n waves his hands wildly as he shouts "," \n ANDREWS \n \n Is that his name? \n \n ELLIE \n \n Yes. Peter Warne. \n "," 'em to find Peter Warne. Send out a \n general alarm. I want the dirty crook \n pinched. \n \n He picks up Peter's story and flings "," ANDREWS \n \n Mr. Warne? \n \n PETER \n \n Yeah. \n \n ANDREWS \n "," She starts to walk away when she is \n attracted by her father's surprise at \n the mention of the name. \n \n ANDREWS \n \n Peter Warne! \n "," \n PETER \n \n Yeah. I got a name. Peter Warne. \n \n ELLIE \n \n Peter Warne? I don't like it."," I should like to have a talk with you \n about a financial matter in connection \n with your daughter. \n \n Peter Warne.\" \n "," \n Peter Warne, you've gone far enough. \n I won't stand being insulted like this \n another minute. \n \n Ellie goes over to her cot, and starts "," \n A close view of PETER WARNE in the telephone \n booth gives evidence of his having also \n imbibed freely. \n \n PETER \n "," the road. As soon as her marriage to \n King Westley is annulled, she and Peter \n Warne, famous newspapermanand undoubtedly \n the most promising young novelist of "," which he inspects. \n \n DYKE \n \n (explains) \n \n These men are detectives, Mr. Warne. \n \n "," \"Tub of mush. Well try and get it. What \n I said about never writing another line \n for you still goes. Are you burning? \n Peter Warne.\" Well, that will be $2.60. \n "," You can't get a thing done around her \n unless \n \n AGNES \n \n Peter Warne was just in. \n \n GORDON \n "," (flopping back on her pillow as she \n mumbles) \n \n Pleased to meet you, Mr. Warne . . . \n \n \n PETER"," Goodnight, Mr. Warne. \n \n (she turns over) \n \n PETER \n \n Goodnight. \n "," up. \n \n Another car is heard coming, and Peter \n steps forward, prepared to hail it. \n Then this dissolves to a long view of "," out at Peter. This startles him for \n a moment, but he manages to recover \n his poise. \n \n SHAPELEY \n "," a small cabin, lighted on the inside; \n and from it Peter emerges accompanied \n by a manpresumably Mr. Dyke. We cannot \n hear what is being said; from their "," a close view shows PETER being very \n conscious of her proximity. The situation \n is delicate and dangerous; the room \n is atingle with sex. He turns his gaze "," \n PETER \n \n See that he gets that, will you, Agnes? \n Tell him I was just kidding. \n \n (he goes out)"],[" ANDREWS' STUDY fades in, affording a \n close view of King Westley. He answers \n every description we have had of him. \n He is a stiff, handsome, stuffed-shirt "," \n ANDREWS \n \n I'd like to have a talk with him. \n \n ELLIE \n \n It's no use, Dad. I practically threw "," ANDREWS \n \n Who is he? \n \n ELLIE \n \n I don't know very much about him. \n \n (in a whisper)"," Andrews. \n \n (this is a shock to Ellie) \n \n ELLIE \n \n (weakly) \n \n What are you talking about?"," \n Ellie! \n \n He starts to go after herbut finds \n Andrews in his way while the outcries \n of the guests rise in chorus. \n "," ANDREWS \n \n (his eyes widening) \n \n Well! \n \n ELLIE \n \n He blames you for everything that's "," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," ANDREWS \n \n (joining in) \n \n Because marrying that fool King Westley \n is \n \n ? 211 ? \n "," \n ANDREWS \n \n (tenderly) \n \n Elliewhat is it? Aren't you happy, \n child? \n "," ELLIE \n \n (snappily) \n \n You're wasting your time. I'm already \n married to him. \n \n ANDREWS"," \n A close-up of ANDREWS shows him watching \n Ellie, as her voice continues. \n \n ELLIE'S VOICE \n "," \n He despises me. \n \n ANDREWS \n \n Oh, come now \n \n ELLIE \n "," ELLIE \n \n (too quickly) \n \n Oh, no. \n \n ANDREWS \n "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," \n ANDREWS \n \n (mumbling) \n \n I'll be going. \n \n (he goes out behind Mary) \n "," and ANDREWS is still whispering to her. \n \n \n ANDREWS \n \n He loves you, Ellie. Told me so. \n "," This is dangerous business, Mr. Andrews. \n After all, kidnapping is no child's \n play. \n \n But Andrews ignores him and merely stares "," overlooking the lawn and stares out, \n lost in thought. \n \n ANDREWS' VOICE \n \n (he goes over the Ellie) \n "," \n (but Andrews withdraws his hand. Apparently \n he has changed his mind) \n \n ANDREWS \n \n (evasively) \n "," ANDREWS \n \n You're going to finance him, I suppose. \n \n \n ELLIE \n "],[" ELLIE \n \n (calling) \n \n Come in! \n \n The moment she does, Peter rushes behind \n the hanging blanket. He has his head "," about her. She looks around thoughtfully. \n Suddenly her eyes open in surprise at \n something she sees, and the view then \n moves over to Peter, who sits on his \n suitcase, looking toward Ellie."," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," Ellie has scarcely listened to him, \n and has divided her attention between \n glancing back at Peter and staring at \n Shapeley as if he were insanenone of "," around them heaving a sigh of relief. \n Ellie flashes him a devastating look \n and deliberately turns her back on him. \n But Peter suddenly looks down toward \n the floor, following which a close-up "," ? 285 ? \n \n ELLIE \n \n (quickly) \n \n Why, I think that would be \n \n PETER"," The Guard leaves the scene, and Ellie's \n disappointment is apparent. \n \n PETER \n \n (sarcastically) \n "," ELLIE \n \n (confidently) \n \n No. \n \n PETER \n \n (looking at her) \n "," \n ELLIE \n \n (clinging to him) \n \n Oh, Peter! I was so scared. \n \n With his free hand he removes her arm "," \n PETER \n \n Good morning. \n \n Peter is in the foreground, the guard \n is seen in the background. Ellie stares "," \n Now Ellie watches Peter out of the corner \n of her eye, her face expressionless. \n Peter continues his arm wavingbut slows \n down like a mechanical toy which has "," As Ellie and Peter are seen again, she \n turns and calls to the boy: \n \n ELLIE \n \n Here, boy! \n \n PETER"," Ellie leaves him abruptly, and the scene \n cuts to the CABIN, where Peter is now \n busy setting the small table. Ellie \n enters after a moment, while Peter has \n his back to the door."," \n PETER \n \n Sure. \n \n ELLIE \n \n What? \n \n PETER \n "," A close view shows Ellie and the detective. \n They have been staring at each other. \n \n \n ELLIE \n \n (very sweet, calling to Peter) \n "," ELLIE \n \n (in a still, small voice) \n \n Yes. You'll have a great story, won't \n you? \n \n PETER"," Ellie's side of the room appears, showing \n her crawling quickly into bed, pulling \n the covers over her and glancing apprehensively \n in Peter's directionfollowing which "," \n ELLIE \n \n Of course it is. \n \n PETER \n \n You're crazy. \n \n ELLIE"," Then the view draws back revealing that \n the newspaper is in the hands of Ellie, \n who sits in the car alone, gazing at \n the headlines. Then Peter's voice is \n heard."],[" \n At this there is a close view of Westleythere \n is a satisfied smirk on his face. \n \n \n ANDREWS \n "," Must be some strange power Westley has \n over you women. \n \n (he now has his shoes off and ties them \n to each other) \n \n How do you expect to get there?"," The scene cuts to ANDREWS' STUDY: King \n Westley is seated, and Andrews walks \n around him. They are both dressed in \n striped trousers, frock coat, etc. \n "," Come in, boys. This is myuhthis is \n King Westley. \n \n (Westley rises) \n \n He has a statement to make. \n "," Westley? \n \n LOVINGTON \n \n No. He's been trailed twenty-four hours \n a day since this thing started. He can't "," did, Westley, not to contest that annulment. \n That's satisfactory, isn't it? Yeah. \n Well, it ought to be. Oh I'm not complaining. \n It was dirt cheap."," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," along, too. She's been traveling by \n bus. The moment she read that her father \n and Westley made up, she phoned in. \n \n "," WESTLEY \n \n If you really mean it, I will. \n \n ANDREWS \n \n (strongly) \n "," scene, is speaking as he paces around \n the room. \n \n ANDREWS \n \n I haven't changed my mind, Westley, "," REPORTERS \n \n Hello, Westley . . . How do you do. \n \n \n (they group around him) \n "," a long, narrow, carpeted pathway leading \n to the house. Both sides are lined with \n guests, who are murmuring excitedly. \n At the moment, King Westley and his "," \n REPORTER \n \n Yeah. She just phoned her father from \n an auto camp to come and get her. He's \n getting a police escort. Westley's going "," pages, You know, I've always been curious \n about the kind of a girl that would \n marry King Westley. \n \n He pulls a newspaper out of his pocket "," WESTLEY \n \n I might have been able to help if it \n weren't for you. I've been watched so \n closely, I \n \n ANDREWS"," his menwaves his baton, and the orchestra \n starts playing, \"Here Comes the Bride.\"The \n guests whisper to each other excitedly. \n A great deal of stirring takes place. \n "," but Gordon ignores it) \n \n With King Westley in it. He's waiting \n at the church. Big tears streaming down \n his face. His bride hasn't shown up. "," ANDREWS' STUDY fades in, affording a \n close view of King Westley. He answers \n every description we have had of him. \n He is a stiff, handsome, stuffed-shirt "," \n The guests, of whom close glimpses are \n caught, are now peering over each other's \n shoulders. King and his best man have \n reached the altar, and the music of "," Well, if it isn't the groom himself! \n You're just in time, King. \n \n A close view of the Two shows King taking \n her in his arms. \n "],[" The scene dissolves to the BUS, where \n all the passengers are scattering back \n to their seats; Peter is already seated, \n when Ellie arrives. A close view then \n shows her standing uncertainly for a "," the BUS affording a close view of ELLIE \n and PETER. They are both asleep, her \n head resting comfortably on his shoulder, \n Peter's topcoat thrown over her. Then "," BUS, revealing Peter slumped in his \n seat, his hat drawn over his eyes. Ellie \n has her head thrown back, trying to \n sleep. But the swaying bus causes her "," the view draws back. The bus is empty \n except for Ellie and Peter, the last \n few passengers are just leaving. \n \n PETER's eyes slowly open. He looks down "," The music stops abruptly. Everyone looks \n up, startled. Ellie starts forward, \n followed by Peter. Passengers closely \n group around the woman and chatter. "," from his angle, reveals Ellie in the \n shadow of the bus, her bag at her feet. \n She slowly turns her head toward Peter \n and then quickly averts it. \n "," He disappears inside the bus through \n the side door. With an independent toss \n of her head, Ellie turns and also enters \n the bus, but through the rear door. \n \n "," Peter lifts Ellie's overnight bag off \n the seat and drops it on the floor. \n Part of her coat covers the small space \n by her side. This he sweeps across her \n lap."," The boy cries audibly, terror-stricken, \n but gets out of Peter's way, and Peter \n lifts the woman up and stretches her \n across the seat. Ellie comes back with "," The scene dissolves to the ROAD, at \n night, with Ellie and Peter walking \n along. It is apparent they have been \n trudging like this for a long time. \n \n "," \n The scene wiping off, we then get a \n closer view of Ellie and Peter sitting \n in the back of an open Ford. It is a "," about her. She looks around thoughtfully. \n Suddenly her eyes open in surprise at \n something she sees, and the view then \n moves over to Peter, who sits on his \n suitcase, looking toward Ellie."," As Ellie and Peter are seen again, she \n turns and calls to the boy: \n \n ELLIE \n \n Here, boy! \n \n PETER"," and starts toward his car. He springs \n into the car, steps on the starter, \n and is off. \n \n ELLIE and PETER hear the motor. They "," while Ellie enters hurriedly from the \n rear door and starts forward. As she \n approaches Peter, she hesitates a second, \n and deliberately passes him, plunking \n herself into a seat in the opposite "," approaches him. \n \n ELLIE \n \n (now next to the Guard) \n \n Where's the bus to New York? \n \n GUARD"," ELLIE \n \n (worried) \n \n Yes. \n \n We see the other passengers around Ellie \n and Peter enjoying themselves. One of "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," Ellie leaves him abruptly, and the scene \n cuts to the CABIN, where Peter is now \n busy setting the small table. Ellie \n enters after a moment, while Peter has \n his back to the door."," Then while Ellie groans and sighs and \n pounds the hay with her palm, Peter \n steps out of sight. Ellie is unaware \n of his departure, so busily occupied "],[" ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," \n PETER \n \n Sure. \n \n ELLIE \n \n What? \n \n PETER \n "," \n PETER \n \n Good morning. \n \n Peter is in the foreground, the guard \n is seen in the background. Ellie stares "," \n ELLIE \n \n (clinging to him) \n \n Oh, Peter! I was so scared. \n \n With his free hand he removes her arm "," ELLIE \n \n (calling) \n \n Come in! \n \n The moment she does, Peter rushes behind \n the hanging blanket. He has his head "," As Ellie and Peter are seen again, she \n turns and calls to the boy: \n \n ELLIE \n \n Here, boy! \n \n PETER"," ? 285 ? \n \n ELLIE \n \n (quickly) \n \n Why, I think that would be \n \n PETER"," about her. She looks around thoughtfully. \n Suddenly her eyes open in surprise at \n something she sees, and the view then \n moves over to Peter, who sits on his \n suitcase, looking toward Ellie."," \n ELLIE \n \n Doesn't sound very exciting. \n \n PETER, seen close, looks at her for \n a long time before speaking:"," Ellie's first fright is gone and she \n now rather enjoys the sensation of being \n carried by Peter. She lets herself go \n completely limp, still clinging to his "," ELLIE \n \n (touching Peter's arm) \n \n Peter! \n \n (as he turns) \n "," \n \n PETER \n \n You think it's simple, huh? \n \n ELLIE \n \n (exaggeratedly)"," \n ELLIE \n \n Of course it is. \n \n PETER \n \n You're crazy. \n \n ELLIE"," PETER \n \n What's the matter? \n \n ELLIE \n \n (relieved) \n \n Oh, Peter \n "," A close view shows Ellie and the detective. \n They have been staring at each other. \n \n \n ELLIE \n \n (very sweet, calling to Peter) \n "," The boy cries audibly, terror-stricken, \n but gets out of Peter's way, and Peter \n lifts the woman up and stretches her \n across the seat. Ellie comes back with "," \n Now Ellie watches Peter out of the corner \n of her eye, her face expressionless. \n Peter continues his arm wavingbut slows \n down like a mechanical toy which has "," PETER \n \n Say, you were pretty good. Jumping in \n like that. Got a brain, haven't you? \n \n \n ELLIE \n "," ELLIE \n \n (in a still, small voice) \n \n Yes. You'll have a great story, won't \n you? \n \n PETER"," PETER \n \n (the entire group coming into view) \n \n \n Well, I hope you find her. \n \n (to Ellie) \n "],[" did, Westley, not to contest that annulment. \n That's satisfactory, isn't it? Yeah. \n Well, it ought to be. Oh I'm not complaining. \n It was dirt cheap."," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," You'll be set free when the marriage \n is annulled. \n \n A close-up of ELLIE, her eyes blazing \n angrily, shows her slowly edging away "," I'll get it annulled. \n \n ELLIE \n \n You'll never do it! You can't do it! \n \n \n ANDREWS"," pages, You know, I've always been curious \n about the kind of a girl that would \n marry King Westley. \n \n He pulls a newspaper out of his pocket "," ANDREWS \n \n (joining in) \n \n Because marrying that fool King Westley \n is \n \n ? 211 ? \n "," Never mind . . . Listensuppose I should \n tell you that Ellen Andrews is going \n to have her marriage annulled. \n \n GORDON \n \n Huh?"," \n REPORTER \n \n Yeah. She just phoned her father from \n an auto camp to come and get her. He's \n getting a police escort. Westley's going "," Westley? \n \n LOVINGTON \n \n No. He's been trailed twenty-four hours \n a day since this thing started. He can't "," \n PETER \n \n Just a spoiled brat of a rich man. You \n and Westley'll make an ideal team. \n \n \n ELLIE"," the road. As soon as her marriage to \n King Westley is annulled, she and Peter \n Warne, famous newspapermanand undoubtedly \n the most promising young novelist of "," \n At this there is a close view of Westleythere \n is a satisfied smirk on his face. \n \n \n ANDREWS \n "," Must be some strange power Westley has \n over you women. \n \n (he now has his shoes off and ties them \n to each other) \n \n How do you expect to get there?"," WESTLEY \n \n If you really mean it, I will. \n \n ANDREWS \n \n (strongly) \n "," PETER \n \n Don't look at me. I didn't marry King \n Westley. \n \n ? 255 ? \n "," everything he dislikes. He creates the \n impression in the following scene that \n in his analysis of her he is trying \n to dissuade himself from something he \n is bound to regret. His attack on her, "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," Come in, boys. This is myuhthis is \n King Westley. \n \n (Westley rises) \n \n He has a statement to make. \n "," scene, is speaking as he paces around \n the room. \n \n ANDREWS \n \n I haven't changed my mind, Westley, "," What do you want to see me for? I've \n served my purpose. I brought you back \n to King Westley, didn't I? \n \n (his mouth screws up bitterly)"],[" \n ANDREWS \n \n Is that his name? \n \n ELLIE \n \n Yes. Peter Warne. \n "," the booth are half a dozen men of varied \n appearance. The inside of the booth \n is lighted, and a young man, Peter Warne, \n waves his hands wildly as he shouts "," 'em to find Peter Warne. Send out a \n general alarm. I want the dirty crook \n pinched. \n \n He picks up Peter's story and flings "," \n PETER \n \n Yeah. I got a name. Peter Warne. \n \n ELLIE \n \n Peter Warne? I don't like it."," She starts to walk away when she is \n attracted by her father's surprise at \n the mention of the name. \n \n ANDREWS \n \n Peter Warne! \n "," ANDREWS \n \n Mr. Warne? \n \n PETER \n \n Yeah. \n \n ANDREWS \n "," \n Peter Warne, you've gone far enough. \n I won't stand being insulted like this \n another minute. \n \n Ellie goes over to her cot, and starts "," I should like to have a talk with you \n about a financial matter in connection \n with your daughter. \n \n Peter Warne.\" \n "," \n A close view of PETER WARNE in the telephone \n booth gives evidence of his having also \n imbibed freely. \n \n PETER \n "," the road. As soon as her marriage to \n King Westley is annulled, she and Peter \n Warne, famous newspapermanand undoubtedly \n the most promising young novelist of "," \"Tub of mush. Well try and get it. What \n I said about never writing another line \n for you still goes. Are you burning? \n Peter Warne.\" Well, that will be $2.60. \n "," You can't get a thing done around her \n unless \n \n AGNES \n \n Peter Warne was just in. \n \n GORDON \n "," (flopping back on her pillow as she \n mumbles) \n \n Pleased to meet you, Mr. Warne . . . \n \n \n PETER"," Goodnight, Mr. Warne. \n \n (she turns over) \n \n PETER \n \n Goodnight. \n "," which he inspects. \n \n DYKE \n \n (explains) \n \n These men are detectives, Mr. Warne. \n \n "," \n PETER \n \n See that he gets that, will you, Agnes? \n Tell him I was just kidding. \n \n (he goes out)"," \n PETER \n \n Just a spoiled brat of a rich man. You \n and Westley'll make an ideal team. \n \n \n ELLIE"," a close view shows PETER being very \n conscious of her proximity. The situation \n is delicate and dangerous; the room \n is atingle with sex. He turns his gaze "," out at Peter. This startles him for \n a moment, but he manages to recover \n his poise. \n \n SHAPELEY \n "," up. \n \n Another car is heard coming, and Peter \n steps forward, prepared to hail it. \n Then this dissolves to a long view of "],[" \n PETER \n \n Just a spoiled brat of a rich man. You \n and Westley'll make an ideal team. \n \n \n ELLIE"," get back to king Westley. \n \n He waits for a reaction, but a close \n view shows ELLIE absorbed, and she remains \n silent. Peter's voice continues. \n "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," movements, however, it is apparent that \n an exchange of money is taking place. \n Dyke waves his hand in departure and \n starts toward Ellie. At the same time, \n Peter calls to her:"," As Ellie and Peter are seen again, she \n turns and calls to the boy: \n \n ELLIE \n \n Here, boy! \n \n PETER"," ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," PETER \n \n What's the matter? \n \n ELLIE \n \n (relieved) \n \n Oh, Peter \n "," \n PETER \n \n Sure. \n \n ELLIE \n \n What? \n \n PETER \n "," WESTLEY \n \n If you really mean it, I will. \n \n ANDREWS \n \n (strongly) \n "," about her. She looks around thoughtfully. \n Suddenly her eyes open in surprise at \n something she sees, and the view then \n moves over to Peter, who sits on his \n suitcase, looking toward Ellie."," ELLIE \n \n (calling) \n \n Come in! \n \n The moment she does, Peter rushes behind \n the hanging blanket. He has his head "," at him, hopefully. PETER, however, stares \n up at the stars, dreamily; and we then \n see ELLIE turning away from him, disappointed. \n Still, the minute Ellie turns her head, "," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," \n ELLIE \n \n (clinging to him) \n \n Oh, Peter! I was so scared. \n \n With his free hand he removes her arm "," Ellie leaves him abruptly, and the scene \n cuts to the CABIN, where Peter is now \n busy setting the small table. Ellie \n enters after a moment, while Peter has \n his back to the door."," A close-up indicates that ANDREWS has \n been studying Peter throughout the scene. \n He is now completely won over. \n \n ANDREWS \n \n (smiling)"," ELLIE \n \n (in a still, small voice) \n \n Yes. You'll have a great story, won't \n you? \n \n PETER"," What do you want to see me for? I've \n served my purpose. I brought you back \n to King Westley, didn't I? \n \n (his mouth screws up bitterly)"," struggles valiantly to maintain as much \n dignity as she can muster under the \n circumstances. Then in the cabin, at \n the window, Peter watching Ellie, chuckles "," did, Westley, not to contest that annulment. \n That's satisfactory, isn't it? Yeah. \n Well, it ought to be. Oh I'm not complaining. \n It was dirt cheap."],[" Westley? \n \n LOVINGTON \n \n No. He's been trailed twenty-four hours \n a day since this thing started. He can't "," \n At this there is a close view of Westleythere \n is a satisfied smirk on his face. \n \n \n ANDREWS \n "," Come in, boys. This is myuhthis is \n King Westley. \n \n (Westley rises) \n \n He has a statement to make. \n "," The scene cuts to ANDREWS' STUDY: King \n Westley is seated, and Andrews walks \n around him. They are both dressed in \n striped trousers, frock coat, etc. \n "," pages, You know, I've always been curious \n about the kind of a girl that would \n marry King Westley. \n \n He pulls a newspaper out of his pocket "," WESTLEY \n \n If you really mean it, I will. \n \n ANDREWS \n \n (strongly) \n "," did, Westley, not to contest that annulment. \n That's satisfactory, isn't it? Yeah. \n Well, it ought to be. Oh I'm not complaining. \n It was dirt cheap."," scene, is speaking as he paces around \n the room. \n \n ANDREWS \n \n I haven't changed my mind, Westley, "," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," Must be some strange power Westley has \n over you women. \n \n (he now has his shoes off and ties them \n to each other) \n \n How do you expect to get there?"," ANDREWS' STUDY fades in, affording a \n close view of King Westley. He answers \n every description we have had of him. \n He is a stiff, handsome, stuffed-shirt "," WESTLEY \n \n I might have been able to help if it \n weren't for you. I've been watched so \n closely, I \n \n ANDREWS"," \n REPORTER \n \n Yeah. She just phoned her father from \n an auto camp to come and get her. He's \n getting a police escort. Westley's going "," along, too. She's been traveling by \n bus. The moment she read that her father \n and Westley made up, she phoned in. \n \n "," REPORTERS \n \n Hello, Westley . . . How do you do. \n \n \n (they group around him) \n "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," But it's King Westley on the phone. \n \n \n ANDREWS \n \n Ooooooh. \n \n (into the phone) \n "," \n PETER \n \n Just a spoiled brat of a rich man. You \n and Westley'll make an ideal team. \n \n \n ELLIE"," \n (seen with her father) \n \n What've you got against King Westley? \n \n \n ANDREWS \n "," get back to king Westley. \n \n He waits for a reaction, but a close \n view shows ELLIE absorbed, and she remains \n silent. Peter's voice continues. \n "],[" ELLIE \n \n What if nobody stops for us? \n \n PETER \n \n Oh, they'll stop, all right. It's a "," then shows him stopping to listen as \n he sees Ellie talking to the driver. \n \n \n ? 229 ? \n \n DRIVER'S VOICE"," (ignoring himcalling) \n \n Driver! \n \n The driver, who has stopped to witness \n this new altercation, returns. \n \n ELLIE"," The music stops abruptly. Everyone looks \n up, startled. Ellie starts forward, \n followed by Peter. Passengers closely \n group around the woman and chatter. "," The boy cries audibly, terror-stricken, \n but gets out of Peter's way, and Peter \n lifts the woman up and stretches her \n across the seat. Ellie comes back with "," and she quickly folds the paper and \n throws it out of sight. She starts to \n get out of the car. \n \n ELLIE \n "," watching her leave, his interest definitely \n provoked. \n \n The scene cuts to the STAND as Ellie \n emerges from the bus. At the foot of \n the steps is the driver."," a wider view shows Ellie leaving the \n driver. \n \n ELLIE \n \n (as she goes) \n \n Yes. I may be a few minutes late."," \n ELLIE \n \n How much time have I? \n \n DRIVER \n \n About a half hour. \n \n ELLIE"," \n Ellie hesitates a moment, then starts \n toward the cabin. Now she is hurrying \n across the open space. En route she \n passes Dyke. \n "," is seen still in the same spot. He waves \n his arms, jerks his thumb, indulges \n in all sorts of gyrations, while Ellie \n remains slumped on her rock, completely \n worn out."," shoves his feet aside for her to pass, \n and Ellie starts up the aisle. But she \n suddenly stops; looks back, first at \n her bag and then at Peter; decides to "," The view moves to the rear door of the \n bus. Ellie stands on the bottom step. \n \n \n ELLIE \n \n (haughtily) \n "," I'll report it to the driver. About \n your bag, I mean. \n \n ELLIE \n \n (quickly) \n "," to stop a carand I won't use my thumb. \n \n \n The scene widens as she rises and steps \n forward. \n \n PETER \n "," cry with her. I'm going to kiss her \n wet lipsand \n \n Suddenly stopping, he turns his head \n slowly, sensing Ellie's nearness; and "," she stops dead and looks back at Dyke, \n following which a close-up of ELLIE \n shows her eyes opening wide with astonishment. \n Her impulse is to call Dyke back, to "," suddenly stops, turning to Ellie and \n Peter in the back seat. \n \n DANKER \n \n So you've just been married, huh? Well, "," seconds the procedure is repeated, and \n Ellie is beside herself. She looks around \n for somewhere to flee. \n \n PETER, seated in back of her, in his "," and starts toward his car. He springs \n into the car, steps on the starter, \n and is off. \n \n ELLIE and PETER hear the motor. They "],[" . . . turn.\" \n \n The scene dissolves to the front of \n a LUNCH WAGON on a deserted road, and \n Danker's car drives into the scene and "," stops. Then we see Danker turning to \n Ellie and Peter. \n \n DANKER \n \n How about a bite to eat? \n "," suddenly stops, turning to Ellie and \n Peter in the back seat. \n \n DANKER \n \n So you've just been married, huh? Well, "," driver of the car, Danker. He is a man \n of about thirty, a heavy set, loose \n chinned person; at the moment he is \n singing an aria from some opera. He "," \n (stopping her) \n \n No, thanks. We're not hungry. \n \n DANKER \n \n (sentimentally) \n "," they walk away from the car. Both are \n silent. At the DOOR of the LUNCH WAGON, \n then, Danker comes out and looks around \n furtively. Ellie and Peter, as seen "," Down.\" \n \n Ellie and Peter in the back of the car \n react to the noise Danker makes. \n \n PETER \n "," (giving up) \n \n All right, let it go. \n \n DANKER \n \n (completing his last line) \n "," by him, appear, walking away, following \n which the view moves over to the Ford \n and drops down to a close-up of Peter's \n suitcase. Now Danker looks about quickly "," And for no reason except that he cued \n himself into it, he bursts forth into \n song gustily. \n \n DANKER \n \n (singing)"," in vain. The mud splashes in all directions, \n and the wheel seems to sink deeper and \n deeper. Thereupon this view cuts to \n the inside of the BUS. The bus \n "," off the side of the road, Shapeley following. \n They are concealed from the rest of \n the passengers. \n \n PETER \n "," (pulling at him) \n \n Come on, get up, don't lay there. Let's \n do something about it. \n \n Thereupon the scene cuts to the AUTO "," (sticking his head in to face the passengers) \n \n \n Rest station! Ten minutes! \n \n The view draws back as some of the passengers "," This dissolves to a COUNTRY ROAD, and \n the bus sways perilously as it speeds \n through the night, following which the \n view dissolves to the INTERIOR of the "," The music stops abruptly. Everyone looks \n up, startled. Ellie starts forward, \n followed by Peter. Passengers closely \n group around the woman and chatter. "," \n Ellie hesitates a moment, then starts \n toward the cabin. Now she is hurrying \n across the open space. En route she \n passes Dyke. \n "," Thereupon Dyke is seen in conversation \n with two men outside the CABIN. \n \n DYKE \n \n (protesting loudly) \n "," ? 304 ? \n \n He applies the gas and shoots out of \n sight, following which a full view of \n the road shows Peter's car trying to "," jaw set forbiddingly. \n \n The scene dissolves to the view of a \n ROAD. It is dawn, and in the distance, \n against the horizon, the bus, a mere "],[" The scene dissolves to DYKE'S AUTO CAMP. \n Ellie stands alone on the porch of a \n small bungalow, sheltered from the rain. \n Over her head is a sign reading:"," at which Peter and Ellie stayed. The \n owner's wife is talking to her husband. \n \n \n WIFE \n \n Funny couple, ain't they?"," \n The scene dissolves to a close view \n of Ellie and a recently arrived fat \n man next to her. She has her head thrown \n back in an effort to sleep, but the "," Ellie takes the suitcase from him, and \n his hand now free, he delivers a resounding \n smack on her backside, so that Ellie \n lets out a yelp. \n "," Then, seen at the ALTAR, Ellie makes \n her decision. She reaches down, takes \n a firm hold on her train and, pushing \n several people aside, runs out of the "," Ellie, wheeling on the little girl, \n crushes her with a devastating look, \n so that the little girl cringes against \n her mother's skirt. Ellie goes to the "," Ellie leaves him abruptly, and the scene \n cuts to the CABIN, where Peter is now \n busy setting the small table. Ellie \n enters after a moment, while Peter has \n his back to the door."," ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," The scene thereupon cuts to the EXTERIOR \n of the AUTO CABIN as Ellie emerges, \n the Wife standing in the doorway. In \n the foreground several people are scattered "," The view moves from them to ELLIE, who \n stands behind a post and is watching \n the two detectives apprehensively. As \n the two (viewed from her position) stand "," This dissolves to a view of ELLIE coming \n out of the showers. At the same time \n Shapeley comes out of the men's shower, \n and upon seeing Ellie, his face lights "," The scene dissolves to the edge of a \n cow PASTURE, at night, and Ellie and \n Peter are revealed climbing under a \n barbed wire fence, following which the "," \n He wheels around and goes through the \n door, Ellie looking after him, her eyes \n blazing. The drone of a plane motor \n outside is heard, and several people "," Then while Ellie groans and sighs and \n pounds the hay with her palm, Peter \n steps out of sight. Ellie is unaware \n of his departure, so busily occupied "," The Guard leaves the scene, and Ellie's \n disappointment is apparent. \n \n PETER \n \n (sarcastically) \n "," and she quickly folds the paper and \n throws it out of sight. She starts to \n get out of the car. \n \n ELLIE \n "," \n Ellie hesitates a moment, then starts \n toward the cabin. Now she is hurrying \n across the open space. En route she \n passes Dyke. \n "," \n ELLIE \n \n (her voice strident) \n \n Looks like that was his only interest \n in me. The reward. \n \n ANDREWS"," ELLIE \n \n (murmuring in her sleep) \n \n Darn planes \n \n She squirms around uncomfortably, and "],[" movements, however, it is apparent that \n an exchange of money is taking place. \n Dyke waves his hand in departure and \n starts toward Ellie. At the same time, \n Peter calls to her:"," (she starts to rise) \n \n Here, boy! \n \n Peter snatches the purse out of her \n hand and takes the money out. Ellie "," about her. She looks around thoughtfully. \n Suddenly her eyes open in surprise at \n something she sees, and the view then \n moves over to Peter, who sits on his \n suitcase, looking toward Ellie."," ELLIE \n \n (dismissing the whole thing) \n \n Thank you. \n \n (Peter, thwarted for a moment, just "," scene. \n \n ELLIE \n \n You didn't give that boy all your money? \n \n \n PETER \n "," Ellie leaves him abruptly, and the scene \n cuts to the CABIN, where Peter is now \n busy setting the small table. Ellie \n enters after a moment, while Peter has \n his back to the door."," around them heaving a sigh of relief. \n Ellie flashes him a devastating look \n and deliberately turns her back on him. \n But Peter suddenly looks down toward \n the floor, following which a close-up "," PETER \n \n What's the matter? \n \n ELLIE \n \n (relieved) \n \n Oh, Peter \n "," ELLIE \n \n What do you meanstarvation? \n \n PETER \n \n It takes money to buy food. \n \n ELLIE"," ELLIE \n \n (calling) \n \n Come in! \n \n The moment she does, Peter rushes behind \n the hanging blanket. He has his head "," ? 285 ? \n \n ELLIE \n \n (quickly) \n \n Why, I think that would be \n \n PETER"," The scene dissolves to the BUS, where \n all the passengers are scattering back \n to their seats; Peter is already seated, \n when Ellie arrives. A close view then \n shows her standing uncertainly for a "," struggles valiantly to maintain as much \n dignity as she can muster under the \n circumstances. Then in the cabin, at \n the window, Peter watching Ellie, chuckles "," Ellie lies back on King Westley's shoulder. \n He has his arm around her as they pass \n out of sight. Thereupon a close view \n of PETER shows him reacting to what "," ELLIE \n \n (in a still, small voice) \n \n Yes. You'll have a great story, won't \n you? \n \n PETER"," ELLIE \n \n Hayin my teeth. \n \n She points to her front teeth, and Peter \n flicks the hay out of her teeth. \n "," \n ELLIE \n \n (clinging to him) \n \n Oh, Peter! I was so scared. \n \n With his free hand he removes her arm "," PETER \n \n (without looking up) \n \n Well, here we are on the last lap. \n \n \n Ellie crosses to the window and stares "," ELLIE AND PETER \n \n (singing) \n \n \"O-o-o-ohHe flies through the air with \n the \n "," at him, hopefully. PETER, however, stares \n up at the stars, dreamily; and we then \n see ELLIE turning away from him, disappointed. \n Still, the minute Ellie turns her head, "],[" at it. After a moment, he looks at Peter, \n studying him interestedly; then he returns \n to the paper, and reads its contents: \n \n \n \"Cash outlay"," ANDREWS \n \n And this is what you wantthirty-nine \n dollars and sixty cents? \n \n PETER \n "," PETER \n \n What happened to your money? \n \n BOY \n \n Ma spent it all for the tickets. She "," \n PETER \n \n Would an exclusive story like that be \n worth a thousand bucks to you? \n \n GORDON \n "," \n (a sob in his voice) \n \n No-o. But I shouldn't oughta take the \n money. \n \n (to Peter) \n "," movements, however, it is apparent that \n an exchange of money is taking place. \n Dyke waves his hand in departure and \n starts toward Ellie. At the same time, \n Peter calls to her:"," \"Tub of mush. Well try and get it. What \n I said about never writing another line \n for you still goes. Are you burning? \n Peter Warne.\" Well, that will be $2.60. \n "," \n Certainly. \n \n (he opens a checkbook and writes it \n out) \n \n While Andrews writes, Peter wanders "," \n PETER \n \n Send it collect. \n \n OPERATOR \n \n Collect? \n \n Peter \n "," Well, Bratwhat do you say! \n \n ? 240 ? \n \n As she doesn't stir, there appears a \n close-up view of PETER standing in the "," \n PETER \n \n Don't get sore, Joe. This is something \n you got to do for me. I need a thousand \n dollarsand I need it quick. I'm in "," \n PETER \n \n (with finality) \n \n You're on a budget from now on. \n \n ? 238 ? \n "," \n PETER \n \n See that he gets that, will you, Agnes? \n Tell him I was just kidding. \n \n (he goes out)"," stares at him dumbfounded. \n \n PETER \n \n A dollar sixty! . . . You had four dollars \n last night! How do you expect to get "," PETER \n \n (impatiently) \n \n All I want is thirty-nine sixty. If \n you'll give me a check I'll get out "," \n PETER \n \n You don't think I'm going around panhandling \n for you. \n \n (he takes a bite) \n "," \n Why, haven't you? \n \n PETER \n \n (interrupting) \n \n Not a sou. I had some before the fainting "," You were taken for a buggy ride? \n \n PETER \n \n Yeahwith all the trimmings. Now, how \n about the check. Do I get it? \n "," Why not? I'm not charging you for the \n time I wasted. \n \n ANDREWS \n \n Yes, I knowbut \n \n PETER"," a jam. \n \n GORDON \n \n (softening) \n \n What's the thousand bucks for? \n \n PETER"],[" \n At this there is a close view of Westleythere \n is a satisfied smirk on his face. \n \n \n ANDREWS \n "," Must be some strange power Westley has \n over you women. \n \n (he now has his shoes off and ties them \n to each other) \n \n How do you expect to get there?"," Come in, boys. This is myuhthis is \n King Westley. \n \n (Westley rises) \n \n He has a statement to make. \n "," The scene cuts to ANDREWS' STUDY: King \n Westley is seated, and Andrews walks \n around him. They are both dressed in \n striped trousers, frock coat, etc. \n "," along, too. She's been traveling by \n bus. The moment she read that her father \n and Westley made up, she phoned in. \n \n "," This brings a definite reaction, which \n she quickly covers up. \n \n ANDREWS \n \n You don't want to be married to a mug \n like Westley."," Westley? \n \n LOVINGTON \n \n No. He's been trailed twenty-four hours \n a day since this thing started. He can't "," did, Westley, not to contest that annulment. \n That's satisfactory, isn't it? Yeah. \n Well, it ought to be. Oh I'm not complaining. \n It was dirt cheap."," \n REPORTER \n \n Yeah. She just phoned her father from \n an auto camp to come and get her. He's \n getting a police escort. Westley's going "," a long, narrow, carpeted pathway leading \n to the house. Both sides are lined with \n guests, who are murmuring excitedly. \n At the moment, King Westley and his "," his menwaves his baton, and the orchestra \n starts playing, \"Here Comes the Bride.\"The \n guests whisper to each other excitedly. \n A great deal of stirring takes place. \n "," pages, You know, I've always been curious \n about the kind of a girl that would \n marry King Westley. \n \n He pulls a newspaper out of his pocket "," WESTLEY \n \n If you really mean it, I will. \n \n ANDREWS \n \n (strongly) \n "," scene, is speaking as he paces around \n the room. \n \n ANDREWS \n \n I haven't changed my mind, Westley, "," REPORTERS \n \n Hello, Westley . . . How do you do. \n \n \n (they group around him) \n "," up. \n \n Another car is heard coming, and Peter \n steps forward, prepared to hail it. \n Then this dissolves to a long view of "," view of the LAWN. The orchestra is playing \n Mendelssohn's Wedding March. The lawn \n is crowded with guests. In the background \n we see the autogyro idling. A closer "," sidestill . No moving aroundno talking, \n comprenez ? \n \n The view cuts to a ROADWAY leading to \n the estate, and Peter is seen driving "," (pulling at him) \n \n Come on, get up, don't lay there. Let's \n do something about it. \n \n Thereupon the scene cuts to the AUTO "," him. Several yokels look on. The limousine \n and motor cycles are at the curb. And \n now, in a closer view, at the DOOR the \n policeman on guard steps aside as the "]],"string":"[\n [\n \" Then, seen at the ALTAR, Ellie makes \\n her decision. She reaches down, takes \\n a firm hold on her train and, pushing \\n several people aside, runs out of the \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" Then while Ellie groans and sighs and \\n pounds the hay with her palm, Peter \\n steps out of sight. Ellie is unaware \\n of his departure, so busily occupied \",\n \" \\n Ellie hesitates a moment, then starts \\n toward the cabin. Now she is hurrying \\n across the open space. En route she \\n passes Dyke. \\n \",\n \" \\n (receiving no answer) \\n \\n You haven't fallen in love with somebody \\n else, have you? \\n \\n As this brings an audible sob from Ellie, \",\n \" \\n The scene dissolves to a close view \\n of Ellie and a recently arrived fat \\n man next to her. She has her head thrown \\n back in an effort to sleep, but the \",\n \" Ellie? Oh, she's no responsibility. \\n \\n \\n ANDREWS \\n \\n No? Say, listenI've devoted a whole \",\n \" Ellie has scarcely listened to him, \\n and has divided her attention between \\n glancing back at Peter and staring at \\n Shapeley as if he were insanenone of \",\n \" ELLIE \\n \\n (calling) \\n \\n Come in! \\n \\n The moment she does, Peter rushes behind \\n the hanging blanket. He has his head \",\n \" ELLIE \\n \\n (snappily) \\n \\n You're wasting your time. I'm already \\n married to him. \\n \\n ANDREWS\",\n \" which covers his face. Her eyes are \\n fixed forward, her lips set adamantly. \\n A close-up of the MAN next to Ellie \\n makes it plain that he is a typical \",\n \" Ellie takes the suitcase from him, and \\n his hand now free, he delivers a resounding \\n smack on her backside, so that Ellie \\n lets out a yelp. \\n \",\n \" \\n (Ellie turns her head away, a little \\n ashamed of her tears) \\n \\n Ellie now rises and walks miserably \",\n \" \\n You've had a lot of men crazy about \\n you, haven't you? \\n \\n ELLIE doesn't respond. She has the scrutinizing, \",\n \" \\n He wheels around and goes through the \\n door, Ellie looking after him, her eyes \\n blazing. The drone of a plane motor \\n outside is heard, and several people \",\n \" The \\\"prissy\\\" man is placing them in \\n position. The big moment has arrived. \\n The guests are all atwitter. But a close \\n view of ELLIE shows that she realizes \",\n \" The scene dissolves to the edge of a \\n cow PASTURE, at night, and Ellie and \\n Peter are revealed climbing under a \\n barbed wire fence, following which the \",\n \" SHAPELEY looks back at Ellie, and apparently \\n comes to the conclusion that his suspicions \\n are correct, for he quickly folds the \\n newspaper, casting a surreptitious glance \",\n \" for someone. Suddenly she is attracted \\n by something and gazes in its direction. \\n Then, as seen by Ellie in a long view, \\n there appears, about twenty yards away, \",\n \" \\n He's no good, Ellie, and you know it. \\n You married him only because I told \\n you not to. \\n \\n ELLIE \\n \"\n ],\n [\n \" I'll get it annulled. \\n \\n ELLIE \\n \\n You'll never do it! You can't do it! \\n \\n \\n ANDREWS\",\n \" You'll be set free when the marriage \\n is annulled. \\n \\n A close-up of ELLIE, her eyes blazing \\n angrily, shows her slowly edging away \",\n \" Ellie and I got married because we love \\n each other. And she's proving it; as \\n far as I'm concerned there's going to \\n be no annulment. \\n \",\n \" \\n He's no good, Ellie, and you know it. \\n You married him only because I told \\n you not to. \\n \\n ELLIE \\n \",\n \" Never mind . . . Listensuppose I should \\n tell you that Ellen Andrews is going \\n to have her marriage annulled. \\n \\n GORDON \\n \\n Huh?\",\n \" Then, seen at the ALTAR, Ellie makes \\n her decision. She reaches down, takes \\n a firm hold on her train and, pushing \\n several people aside, runs out of the \",\n \" your father, you're all a lot of hooey \\n to me. \\n \\n He turns his back on her and leaves. \\n A close-up of ELLIE shows her staring \",\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" (arguing with himself) \\n \\n You're forgetting you're married. \\n \\n ELLIE \\n \\n (tensely) \\n \",\n \" ELLIE \\n \\n (snappily) \\n \\n You're wasting your time. I'm already \\n married to him. \\n \\n ANDREWS\",\n \" which covers his face. Her eyes are \\n fixed forward, her lips set adamantly. \\n A close-up of the MAN next to Ellie \\n makes it plain that he is a typical \",\n \" door opens and Ellie, her father, and \\n King Westley emerge. King has his arm \\n around her. The moment they appear in \\n the doorway, cameras click and several \\n reporters surround them.\",\n \" (Ellie is perceptibly startled by this \\n piece of news) \\n \\n Kinda surprised, huh? It's just like \\n I told you, Zeke. They ain't married \",\n \" Yesif he is your husband. \\n \\n ELLIE \\n \\n Isn't he here? \\n \\n WIFE \\n \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" You've had a pretty tough break at that. \\n Twice a Missus and still unkissed. \\n \\n \\n Ellie doesn't like the implication, \",\n \" I just had a long talk with him. \\n \\n ELLEN \\n \\n (her voice breaking) \\n \\n I'm not interested. \\n \\n ANDREWS\",\n \" ELLIE \\n \\n You're not going to notify my father, \\n are you? \\n \\n PETER \\n \\n (looking at her squarely)\",\n \" ELLIE \\n \\n (persistently) \\n \\n My father was a great \\\"piggy-backer.\\\" \\n \\n \\n Peter raises his eyes heavenward in \",\n \" They are well out of the way when Ellie, \\n on the arm of her father, appears in \\n the doorway. A view of the guests shows \\n that they cannot contain themselves. \"\n ],\n [\n \" SHAPELEY looks back at Ellie, and apparently \\n comes to the conclusion that his suspicions \\n are correct, for he quickly folds the \\n newspaper, casting a surreptitious glance \",\n \" Then the view draws back revealing that \\n the newspaper is in the hands of Ellie, \\n who sits in the car alone, gazing at \\n the headlines. Then Peter's voice is \\n heard.\",\n \" Then, seen at the ALTAR, Ellie makes \\n her decision. She reaches down, takes \\n a firm hold on her train and, pushing \\n several people aside, runs out of the \",\n \" ELLIE \\n \\n (frightened) \\n \\n A headline? You're not a newspaper man, \\n are you? \\n \\n PETER\",\n \" follows a close view of a tabloid newspaper, \\n featuring the heading: \\\"Love Triumphant\\\" \\n and containing the pictures of Ellie \\n and King. The view then moves down to \",\n \" and hands it to her. Ellie glances at \\n the headline hurriedly. \\n \\n PETER \\n \\n (while she reads) \\n \",\n \" aisle. Peter turns just as she gets \\n seated. He glances at her indifferently. \\n \\n \\n A close view shows Ellie seated next \\n to a man who sits reading a newspaper \",\n \" decide to follow Ellie. \\n \\n A MAN \\n \\n Get her, Mac! She's ducking! \\n \\n And, as viewed by the newsreel men, \",\n \" \\n Like to have a look at my paper? \\n \\n He has taken it out and has it opened \\n as he hands it to Peter. The headlines \\n concerning Ellie and her picture shriek \",\n \" (he rips a picture of Ellie on the desk \\n out of its frame) \\n \\n Some of the out of town papers may not \\n have a picture of her. Herewire this \",\n \" door opens and Ellie, her father, and \\n King Westley emerge. King has his arm \\n around her. The moment they appear in \\n the doorway, cameras click and several \\n reporters surround them.\",\n \" and she quickly folds the paper and \\n throws it out of sight. She starts to \\n get out of the car. \\n \\n ELLIE \\n \",\n \" which covers his face. Her eyes are \\n fixed forward, her lips set adamantly. \\n A close-up of the MAN next to Ellie \\n makes it plain that he is a typical \",\n \" What!Ellen Andrews! You're crazy! \\n \\n \\n This cuts to a TELEPHONE BOOTH where \\n a reporter is seen speaking excitedly. \\n \",\n \" \\n There is a lengthy pause, neither of \\n them stirs. Then Ellie slowly raises \\n her tear-stained face and gets to her \\n feet. \\n \\n ELLIE\",\n \" ELLIE \\n \\n (calling) \\n \\n Come in! \\n \\n The moment she does, Peter rushes behind \\n the hanging blanket. He has his head \",\n \" reads: \\\"Where she was taken.\\\" Finally, \\n the view moves down to the bottom of \\n the page to a picture of Ellie and King, \\n with her father between them, in front \",\n \" The view moves from them to ELLIE, who \\n stands behind a post and is watching \\n the two detectives apprehensively. As \\n the two (viewed from her position) stand \",\n \" And the scene cuts to a New York NEWSPAPER \\n OFFICE where the night editor, Gordon, \\n his sleeves rolled up, sits at his desk \\n shrieking into the phone. \\n \",\n \" shoves his feet aside for her to pass, \\n and Ellie starts up the aisle. But she \\n suddenly stops; looks back, first at \\n her bag and then at Peter; decides to \"\n ],\n [\n \" Then, seen at the ALTAR, Ellie makes \\n her decision. She reaches down, takes \\n a firm hold on her train and, pushing \\n several people aside, runs out of the \",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" did, Westley, not to contest that annulment. \\n That's satisfactory, isn't it? Yeah. \\n Well, it ought to be. Oh I'm not complaining. \\n It was dirt cheap.\",\n \" The \\\"prissy\\\" man is placing them in \\n position. The big moment has arrived. \\n The guests are all atwitter. But a close \\n view of ELLIE shows that she realizes \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" Ellie and I got married because we love \\n each other. And she's proving it; as \\n far as I'm concerned there's going to \\n be no annulment. \\n \",\n \" ELLIE \\n \\n (snappily) \\n \\n You're wasting your time. I'm already \\n married to him. \\n \\n ANDREWS\",\n \" \\n PETER \\n \\n Just a spoiled brat of a rich man. You \\n and Westley'll make an ideal team. \\n \\n \\n ELLIE\",\n \" of Ellie shows her watching him. Her \\n eyes soften. A very definite interest \\n in him is slowly but surely blossoming, \\n and the fact that he is making her bed \",\n \" pages, You know, I've always been curious \\n about the kind of a girl that would \\n marry King Westley. \\n \\n He pulls a newspaper out of his pocket \",\n \" get back to king Westley. \\n \\n He waits for a reaction, but a close \\n view shows ELLIE absorbed, and she remains \\n silent. Peter's voice continues. \\n \",\n \" and looks around. The view swings around \\n the room, following his gaze. It focuses \\n on Ellie, who reclines on a sofa, in \\n her bridal outfit, her head resting \",\n \" door opens and Ellie, her father, and \\n King Westley emerge. King has his arm \\n around her. The moment they appear in \\n the doorway, cameras click and several \\n reporters surround them.\",\n \" WESTLEY \\n \\n If you really mean it, I will. \\n \\n ANDREWS \\n \\n (strongly) \\n \",\n \" You'll be set free when the marriage \\n is annulled. \\n \\n A close-up of ELLIE, her eyes blazing \\n angrily, shows her slowly edging away \",\n \" I'll get it annulled. \\n \\n ELLIE \\n \\n You'll never do it! You can't do it! \\n \\n \\n ANDREWS\",\n \" ANDREWS \\n \\n (joining in) \\n \\n Because marrying that fool King Westley \\n is \\n \\n ? 211 ? \\n \",\n \" \\n You ought to know why. Because \\n \\n ELLIE \\n \\n (interrupting) \\n \\n Yes. I know. \\n \",\n \" \\n He's no good, Ellie, and you know it. \\n You married him only because I told \\n you not to. \\n \\n ELLIE \\n \",\n \" \\n ANDREWS \\n \\n Well, here we are; it's all set. You're \\n finally going to be married properly. \\n \\n \"\n ],\n [\n \" A close-up indicates that ANDREWS has \\n been studying Peter throughout the scene. \\n He is now completely won over. \\n \\n ANDREWS \\n \\n (smiling)\",\n \" following which ANDREWS is seen watching \\n the door, his eyes twinkling, and the \\n scene cuts to the DOWNSTAIRS HALLWAY \\n as Peter comes through, moving on to \",\n \" Come in. Sit down. \\n \\n Peter advances into the room, looking \\n around curiously. His air is frigid, \\n contemptuous as Andrews studies him, \",\n \" and he makes no move to sit. Andrews \\n waves to a chair and sits down himself. \\n Peter flops into the nearest chair. \\n \\n \\n ANDREWS \\n \",\n \" relating to the Andrews story. Peter, \\n a bewildered, stunned expression on \\n his face, enters and crosses funereally \\n toward Gordon's office. Several people \\n standing around look up.\",\n \" ANDREWS \\n \\n The reward. \\n \\n PETER \\n \\n (sharply) \\n \\n Who said anything about a reward! \\n \",\n \" again, we see Andrews rising and awaiting \\n Peter's entrance. After a moment Peter \\n comes in, removes his soft felt hat, \\n and tucks it under his arm. \\n \",\n \" This is dangerous business, Mr. Andrews. \\n After all, kidnapping is no child's \\n play. \\n \\n But Andrews ignores him and merely stares \",\n \" \\n A close view of the TWO shows Andrews \\n smiling: Here is a man! \\n \\n PETER \\n \\n If you had half the brains you're supposed \",\n \" ANDREWS \\n \\n Mr. Warne? \\n \\n PETER \\n \\n Yeah. \\n \\n ANDREWS \\n \",\n \" ANDREWS' STUDY fades in, affording a \\n close view of King Westley. He answers \\n every description we have had of him. \\n He is a stiff, handsome, stuffed-shirt \",\n \" \\n (but Andrews withdraws his hand. Apparently \\n he has changed his mind) \\n \\n ANDREWS \\n \\n (evasively) \\n \",\n \" \\n Certainly. \\n \\n (he opens a checkbook and writes it \\n out) \\n \\n While Andrews writes, Peter wanders \",\n \" not moveshe remains staring blankly \\n at the door through which Peter went \\n until Andrews enters from his study. \\n \\n \\n ANDREWS \\n \",\n \" at the door, as Andrews enters and closes \\n the door behind him. He looks around \\n and his eyes light on his prisoner, \\n following which the view swings over \",\n \" You mean about the Andrews' kid? \\n \\n PETER \\n \\n That's it. \\n \\n (tapping his pocket) \\n \",\n \" A close view of ANDREWS shows him looking \\n around his study despairingly. \\n \\n ANDREWS \\n \\n (murmuring) \\n \",\n \" \\n Andrews starts out, and the scene cuts \\n to the HALLWAY as Andrews enters from \\n the study. A maid coming down the stairs, \\n he calls to her: \\n \",\n \" see a LETTER in Peter's handwriting. \\n It is addressed to: \\\"Alexander Andrews, \\n 11 Wall Street.\\\" It reads: \\n \\n \\\"Dear Sir: \\n \",\n \" The scene dissolves to ANDREWS' OFFICE, \\n where Andrews is regaling himself with \\n a whiskey and soda. He is in a pleasantly \\n inebriated mood when his SECRETARY enters.\"\n ],\n [\n \" A close-up indicates that ANDREWS has \\n been studying Peter throughout the scene. \\n He is now completely won over. \\n \\n ANDREWS \\n \\n (smiling)\",\n \" Come in. Sit down. \\n \\n Peter advances into the room, looking \\n around curiously. His air is frigid, \\n contemptuous as Andrews studies him, \",\n \" and he makes no move to sit. Andrews \\n waves to a chair and sits down himself. \\n Peter flops into the nearest chair. \\n \\n \\n ANDREWS \\n \",\n \" You mean about the Andrews' kid? \\n \\n PETER \\n \\n That's it. \\n \\n (tapping his pocket) \\n \",\n \" relating to the Andrews story. Peter, \\n a bewildered, stunned expression on \\n his face, enters and crosses funereally \\n toward Gordon's office. Several people \\n standing around look up.\",\n \" following which ANDREWS is seen watching \\n the door, his eyes twinkling, and the \\n scene cuts to the DOWNSTAIRS HALLWAY \\n as Peter comes through, moving on to \",\n \" \\n (but Andrews withdraws his hand. Apparently \\n he has changed his mind) \\n \\n ANDREWS \\n \\n (evasively) \\n \",\n \" ANDREWS \\n \\n Mr. Warne? \\n \\n PETER \\n \\n Yeah. \\n \\n ANDREWS \\n \",\n \" (as Andrews smiles) \\n \\n But don't hold that against me. I'm \\n a little screwy myself. \\n \\n He snaps the door open and goes out, \",\n \" again, we see Andrews rising and awaiting \\n Peter's entrance. After a moment Peter \\n comes in, removes his soft felt hat, \\n and tucks it under his arm. \\n \",\n \" \\n PETER \\n \\n (irritably) \\n \\n We'll go into that some other time. \\n \\n \\n ANDREWS\",\n \" not moveshe remains staring blankly \\n at the door through which Peter went \\n until Andrews enters from his study. \\n \\n \\n ANDREWS \\n \",\n \" ANDREWS \\n \\n The reward. \\n \\n PETER \\n \\n (sharply) \\n \\n Who said anything about a reward! \\n \",\n \" \\n A close view of the TWO shows Andrews \\n smiling: Here is a man! \\n \\n PETER \\n \\n If you had half the brains you're supposed \",\n \" This is dangerous business, Mr. Andrews. \\n After all, kidnapping is no child's \\n play. \\n \\n But Andrews ignores him and merely stares \",\n \" A close view of ANDREWS shows him looking \\n around his study despairingly. \\n \\n ANDREWS \\n \\n (murmuring) \\n \",\n \" and glares in his direction as Peter's \\n voice continues: \\n \\n PETER'S VOICE \\n \\n (meaningly) \\n \",\n \" ANDREWS' STUDY fades in, affording a \\n close view of King Westley. He answers \\n every description we have had of him. \\n He is a stiff, handsome, stuffed-shirt \",\n \" As he says this, he backs away from \\n Peter, following which a close-up of \\n PETER shows a twinkle in his eye and \\n then, as seen by Peter, Shapeley appears \",\n \" The scene cuts to a close view of SHAPELEY \\n who has his eye peeled on Peter, watching \\n him, and we next see Peter and the boy, \\n who is still sobbing quietly. They are \"\n ],\n [\n \" \\n ANDREWS \\n \\n Well, here we are; it's all set. You're \\n finally going to be married properly. \\n \\n \",\n \" and King Westley Resumed, as Father \\n Yields. Wedding Reception to be Held \\n on Andrews' Lawn.\\\" \\n \\n Below this is a page of pictures, and \",\n \" ANDREWS' STUDY fades in, affording a \\n close view of King Westley. He answers \\n every description we have had of him. \\n He is a stiff, handsome, stuffed-shirt \",\n \" on it reading: \\\"Justice of the Peace.\\\" \\n Over the photograph is a caption: \\\"Where \\n they were married.\\\" The next picture \\n is of the Andrews Yacht, and the title \",\n \" Then the LAWN of the ANDREWS ESTATE \\n dissolves in. It is now filled with \\n guests, who wander around, chattering \\n gaily. The orchestra plays. A captain \",\n \" \\n (but Andrews withdraws his hand. Apparently \\n he has changed his mind) \\n \\n ANDREWS \\n \\n (evasively) \\n \",\n \" \\n ANDREWS \\n \\n My daughter. \\n \\n KING \\n \\n (the two now seen again; lightly) \\n \",\n \" \\n ANDREWS \\n \\n (mumbling) \\n \\n I'll be going. \\n \\n (he goes out behind Mary) \\n \",\n \" The scene dissolves to ANDREWS' OFFICE, \\n where Andrews is regaling himself with \\n a whiskey and soda. He is in a pleasantly \\n inebriated mood when his SECRETARY enters.\",\n \" ANDREWS \\n \\n Who is he? \\n \\n ELLIE \\n \\n I don't know very much about him. \\n \\n (in a whisper)\",\n \" Andrews. \\n \\n (this is a shock to Ellie) \\n \\n ELLIE \\n \\n (weakly) \\n \\n What are you talking about?\",\n \" A close-up indicates that ANDREWS has \\n been studying Peter throughout the scene. \\n He is now completely won over. \\n \\n ANDREWS \\n \\n (smiling)\",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" \\n Ellie! \\n \\n He starts to go after herbut finds \\n Andrews in his way while the outcries \\n of the guests rise in chorus. \\n \",\n \" and ANDREWS is still whispering to her. \\n \\n \\n ANDREWS \\n \\n He loves you, Ellie. Told me so. \\n \",\n \" at the door, as Andrews enters and closes \\n the door behind him. He looks around \\n and his eyes light on his prisoner, \\n following which the view swings over \",\n \" ANDREWS \\n \\n (irascibly) \\n \\n Well, step on it! Step on it! \\n \\n He bangs up the receiver and stares \",\n \" away from him, dabbing her eyes. Andrews, \\n watching her, realizes he has hit upon \\n the truth. He walks over to her. \\n \\n ANDREWS \\n \",\n \" ANDREWS \\n \\n (joining in) \\n \\n Because marrying that fool King Westley \\n is \\n \\n ? 211 ? \\n \",\n \" On the LAWN the commotion runs high, \\n and the guests chatter their amazement. \\n A close view of ANDREWS shows him smiling \\n with satisfaction. \\n \"\n ],\n [\n \" ANDREWS \\n \\n The reward. \\n \\n PETER \\n \\n (sharply) \\n \\n Who said anything about a reward! \\n \",\n \" The scene cuts to ANDREWS' STUDY: King \\n Westley is seated, and Andrews walks \\n around him. They are both dressed in \\n striped trousers, frock coat, etc. \\n \",\n \" ANDREWS' STUDY fades in, affording a \\n close view of King Westley. He answers \\n every description we have had of him. \\n He is a stiff, handsome, stuffed-shirt \",\n \" A close-up indicates that ANDREWS has \\n been studying Peter throughout the scene. \\n He is now completely won over. \\n \\n ANDREWS \\n \\n (smiling)\",\n \" \\n At this there is a close view of Westleythere \\n is a satisfied smirk on his face. \\n \\n \\n ANDREWS \\n \",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" WESTLEY \\n \\n If you really mean it, I will. \\n \\n ANDREWS \\n \\n (strongly) \\n \",\n \" following which ANDREWS is seen watching \\n the door, his eyes twinkling, and the \\n scene cuts to the DOWNSTAIRS HALLWAY \\n as Peter comes through, moving on to \",\n \" \\n (but Andrews withdraws his hand. Apparently \\n he has changed his mind) \\n \\n ANDREWS \\n \\n (evasively) \\n \",\n \" scene, is speaking as he paces around \\n the room. \\n \\n ANDREWS \\n \\n I haven't changed my mind, Westley, \",\n \" and he makes no move to sit. Andrews \\n waves to a chair and sits down himself. \\n Peter flops into the nearest chair. \\n \\n \\n ANDREWS \\n \",\n \" This is dangerous business, Mr. Andrews. \\n After all, kidnapping is no child's \\n play. \\n \\n But Andrews ignores him and merely stares \",\n \" relating to the Andrews story. Peter, \\n a bewildered, stunned expression on \\n his face, enters and crosses funereally \\n toward Gordon's office. Several people \\n standing around look up.\",\n \" \\n PETER \\n \\n Just a spoiled brat of a rich man. You \\n and Westley'll make an ideal team. \\n \\n \\n ELLIE\",\n \" WESTLEY \\n \\n I might have been able to help if it \\n weren't for you. I've been watched so \\n closely, I \\n \\n ANDREWS\",\n \" \\n ANDREWS \\n \\n Is that his name? \\n \\n ELLIE \\n \\n Yes. Peter Warne. \\n \",\n \" \\n A close view of the TWO shows Andrews \\n smiling: Here is a man! \\n \\n PETER \\n \\n If you had half the brains you're supposed \",\n \" ANDREWS WITHDRAWS OBJECTION \\n \\n Magnate and Aviator Reconciled \\\"Everything \\n all right. Come home, darling,\\\" says \\n Westley. \\n \",\n \" ANDREWS \\n \\n Mr. Warne? \\n \\n PETER \\n \\n Yeah. \\n \\n ANDREWS \\n \",\n \" She starts to walk away when she is \\n attracted by her father's surprise at \\n the mention of the name. \\n \\n ANDREWS \\n \\n Peter Warne! \\n \"\n ],\n [\n \" Then, seen at the ALTAR, Ellie makes \\n her decision. She reaches down, takes \\n a firm hold on her train and, pushing \\n several people aside, runs out of the \",\n \" \\n (receiving no answer) \\n \\n You haven't fallen in love with somebody \\n else, have you? \\n \\n As this brings an audible sob from Ellie, \",\n \" \\n There is a lengthy pause, neither of \\n them stirs. Then Ellie slowly raises \\n her tear-stained face and gets to her \\n feet. \\n \\n ELLIE\",\n \" of Ellie shows her watching him. Her \\n eyes soften. A very definite interest \\n in him is slowly but surely blossoming, \\n and the fact that he is making her bed \",\n \" around them heaving a sigh of relief. \\n Ellie flashes him a devastating look \\n and deliberately turns her back on him. \\n But Peter suddenly looks down toward \\n the floor, following which a close-up \",\n \" which covers his face. Her eyes are \\n fixed forward, her lips set adamantly. \\n A close-up of the MAN next to Ellie \\n makes it plain that he is a typical \",\n \" \\n The scene dissolves to a close view \\n of Ellie and a recently arrived fat \\n man next to her. She has her head thrown \\n back in an effort to sleep, but the \",\n \" and ANDREWS is still whispering to her. \\n \\n \\n ANDREWS \\n \\n He loves you, Ellie. Told me so. \\n \",\n \" \\n ELLIE \\n \\n (to the fisherman) \\n \\n Thanks. \\n \\n (and she starts swimming toward shore) \\n \",\n \" This dissolves to a view of ELLIE coming \\n out of the showers. At the same time \\n Shapeley comes out of the men's shower, \\n and upon seeing Ellie, his face lights \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" Ellie? Oh, she's no responsibility. \\n \\n \\n ANDREWS \\n \\n No? Say, listenI've devoted a whole \",\n \" The scene dissolves to the BUS, where \\n all the passengers are scattering back \\n to their seats; Peter is already seated, \\n when Ellie arrives. A close view then \\n shows her standing uncertainly for a \",\n \" about her. She looks around thoughtfully. \\n Suddenly her eyes open in surprise at \\n something she sees, and the view then \\n moves over to Peter, who sits on his \\n suitcase, looking toward Ellie.\",\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" Then the view draws back revealing that \\n the newspaper is in the hands of Ellie, \\n who sits in the car alone, gazing at \\n the headlines. Then Peter's voice is \\n heard.\",\n \" \\n Ellie hesitates a moment, then starts \\n toward the cabin. Now she is hurrying \\n across the open space. En route she \\n passes Dyke. \\n \",\n \" the view, drawing back to include Ellie, \\n shows her standing at his bedside, looking \\n down at him yearningly. \\n \\n Then we see them close together: Peter's \",\n \" ELLIE \\n \\n (in a still, small voice) \\n \\n Yes. You'll have a great story, won't \\n you? \\n \\n PETER\",\n \" PETER \\n \\n (without looking up) \\n \\n Well, here we are on the last lap. \\n \\n \\n Ellie crosses to the window and stares \"\n ],\n [\n \" ANDREWS \\n \\n The reward. \\n \\n PETER \\n \\n (sharply) \\n \\n Who said anything about a reward! \\n \",\n \" A close-up indicates that ANDREWS has \\n been studying Peter throughout the scene. \\n He is now completely won over. \\n \\n ANDREWS \\n \\n (smiling)\",\n \" \\n (a sob in his voice) \\n \\n No-o. But I shouldn't oughta take the \\n money. \\n \\n (to Peter) \\n \",\n \" \\n (but Andrews withdraws his hand. Apparently \\n he has changed his mind) \\n \\n ANDREWS \\n \\n (evasively) \\n \",\n \" and he makes no move to sit. Andrews \\n waves to a chair and sits down himself. \\n Peter flops into the nearest chair. \\n \\n \\n ANDREWS \\n \",\n \" This is dangerous business, Mr. Andrews. \\n After all, kidnapping is no child's \\n play. \\n \\n But Andrews ignores him and merely stares \",\n \" You mean about the Andrews' kid? \\n \\n PETER \\n \\n That's it. \\n \\n (tapping his pocket) \\n \",\n \" Come in. Sit down. \\n \\n Peter advances into the room, looking \\n around curiously. His air is frigid, \\n contemptuous as Andrews studies him, \",\n \" following which ANDREWS is seen watching \\n the door, his eyes twinkling, and the \\n scene cuts to the DOWNSTAIRS HALLWAY \\n as Peter comes through, moving on to \",\n \" ? 323 ? \\n \\n ANDREWS \\n \\n That guy Warne is O.K. He didn't want \\n the reward. \\n \",\n \" \\n The average man would go after the reward. \\n All you seem to \\n \\n PETER \\n \\n Listen, did anybody ever make a sucker \",\n \" relating to the Andrews story. Peter, \\n a bewildered, stunned expression on \\n his face, enters and crosses funereally \\n toward Gordon's office. Several people \\n standing around look up.\",\n \" \\n PETER \\n \\n (irritably) \\n \\n We'll go into that some other time. \\n \\n \\n ANDREWS\",\n \" \\n Andrews doesn't answer him. He puffs \\n furiously on his cigar, glances out \\n of the window, and turns irritably to \\n a phone by his side. He snaps up the \",\n \" \\n Certainly. \\n \\n (he opens a checkbook and writes it \\n out) \\n \\n While Andrews writes, Peter wanders \",\n \" \\n A close view of the TWO shows Andrews \\n smiling: Here is a man! \\n \\n PETER \\n \\n If you had half the brains you're supposed \",\n \" \\n PETER \\n \\n (exhausted) \\n \\n You win! \\n \\n Smiling, he turns to sit down. But the \",\n \" Oh, thanks, thanks, Mister. I always \\n knew you guys were kind-hearted. \\n \\n PETER \\n \\n (putting his hand away) \\n \",\n \" (holding out his hand) \\n \\n Goodbye. \\n \\n (but Andrews turns his back on him) \\n \\n \\n ANDREWS \\n \",\n \" see a LETTER in Peter's handwriting. \\n It is addressed to: \\\"Alexander Andrews, \\n 11 Wall Street.\\\" It reads: \\n \\n \\\"Dear Sir: \\n \"\n ],\n [\n \" The scene dissolves to the BUS, where \\n all the passengers are scattering back \\n to their seats; Peter is already seated, \\n when Ellie arrives. A close view then \\n shows her standing uncertainly for a \",\n \" Ellie leaves him abruptly, and the scene \\n cuts to the CABIN, where Peter is now \\n busy setting the small table. Ellie \\n enters after a moment, while Peter has \\n his back to the door.\",\n \" about her. She looks around thoughtfully. \\n Suddenly her eyes open in surprise at \\n something she sees, and the view then \\n moves over to Peter, who sits on his \\n suitcase, looking toward Ellie.\",\n \" ELLIE \\n \\n (calling) \\n \\n Come in! \\n \\n The moment she does, Peter rushes behind \\n the hanging blanket. He has his head \",\n \" while Ellie enters hurriedly from the \\n rear door and starts forward. As she \\n approaches Peter, she hesitates a second, \\n and deliberately passes him, plunking \\n herself into a seat in the opposite \",\n \" around them heaving a sigh of relief. \\n Ellie flashes him a devastating look \\n and deliberately turns her back on him. \\n But Peter suddenly looks down toward \\n the floor, following which a close-up \",\n \" Peter lifts Ellie's overnight bag off \\n the seat and drops it on the floor. \\n Part of her coat covers the small space \\n by her side. This he sweeps across her \\n lap.\",\n \" The scene dissolves to the edge of a \\n cow PASTURE, at night, and Ellie and \\n Peter are revealed climbing under a \\n barbed wire fence, following which the \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" As Ellie and Peter are seen again, she \\n turns and calls to the boy: \\n \\n ELLIE \\n \\n Here, boy! \\n \\n PETER\",\n \" \\n PETER \\n \\n Good morning. \\n \\n Peter is in the foreground, the guard \\n is seen in the background. Ellie stares \",\n \" at which Peter and Ellie stayed. The \\n owner's wife is talking to her husband. \\n \\n \\n WIFE \\n \\n Funny couple, ain't they?\",\n \" ELLIE \\n \\n Hayin my teeth. \\n \\n She points to her front teeth, and Peter \\n flicks the hay out of her teeth. \\n \",\n \" The scene dissolves to the ROAD, at \\n night, with Ellie and Peter walking \\n along. It is apparent they have been \\n trudging like this for a long time. \\n \\n \",\n \" struggles valiantly to maintain as much \\n dignity as she can muster under the \\n circumstances. Then in the cabin, at \\n the window, Peter watching Ellie, chuckles \",\n \" \\n The scene wiping off, we then get a \\n closer view of Ellie and Peter sitting \\n in the back of an open Ford. It is a \",\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" \\n Well, I am. \\n \\n PETER \\n \\n (as both he and Ellie are seen in their \\n respective places) \\n \",\n \" aisle. Peter turns just as she gets \\n seated. He glances at her indifferently. \\n \\n \\n A close view shows Ellie seated next \\n to a man who sits reading a newspaper \",\n \" on her face. \\n \\n ELLIE \\n \\n What are you thinking about? \\n \\n PETER \\n \\n By a strange coincidence, I was thinking \"\n ],\n [\n \" The scene dissolves to DYKE'S AUTO CAMP. \\n Ellie stands alone on the porch of a \\n small bungalow, sheltered from the rain. \\n Over her head is a sign reading:\",\n \" at which Peter and Ellie stayed. The \\n owner's wife is talking to her husband. \\n \\n \\n WIFE \\n \\n Funny couple, ain't they?\",\n \" Ellie takes the suitcase from him, and \\n his hand now free, he delivers a resounding \\n smack on her backside, so that Ellie \\n lets out a yelp. \\n \",\n \" \\n The scene dissolves to a close view \\n of Ellie and a recently arrived fat \\n man next to her. She has her head thrown \\n back in an effort to sleep, but the \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" Then, seen at the ALTAR, Ellie makes \\n her decision. She reaches down, takes \\n a firm hold on her train and, pushing \\n several people aside, runs out of the \",\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" The pounding continuing, Ellie looks \\n around, frightened. The door suddenly \\n bursts open, and the owner and wife \\n enter. They both glance over at Peter's \\n side. \\n \",\n \" \\n ELLIE \\n \\n (her voice strident) \\n \\n Looks like that was his only interest \\n in me. The reward. \\n \\n ANDREWS\",\n \" \\n He wheels around and goes through the \\n door, Ellie looking after him, her eyes \\n blazing. The drone of a plane motor \\n outside is heard, and several people \",\n \" and she quickly folds the paper and \\n throws it out of sight. She starts to \\n get out of the car. \\n \\n ELLIE \\n \",\n \" Ellie, wheeling on the little girl, \\n crushes her with a devastating look, \\n so that the little girl cringes against \\n her mother's skirt. Ellie goes to the \",\n \" ELLIE \\n \\n (murmuring in her sleep) \\n \\n Darn planes \\n \\n She squirms around uncomfortably, and \",\n \" Then while Ellie groans and sighs and \\n pounds the hay with her palm, Peter \\n steps out of sight. Ellie is unaware \\n of his departure, so busily occupied \",\n \" This dissolves to a view of ELLIE coming \\n out of the showers. At the same time \\n Shapeley comes out of the men's shower, \\n and upon seeing Ellie, his face lights \",\n \" \\n Ellie hesitates a moment, then starts \\n toward the cabin. Now she is hurrying \\n across the open space. En route she \\n passes Dyke. \\n \",\n \" and starts toward his car. He springs \\n into the car, steps on the starter, \\n and is off. \\n \\n ELLIE and PETER hear the motor. They \",\n \" back, whereupon Peter viciously kicks \\n it over to her side again. Next we see \\n Ellie glaring at him, picking up her \\n bag, and standing on the seat depositing \",\n \" The scene dissolves to the edge of a \\n cow PASTURE, at night, and Ellie and \\n Peter are revealed climbing under a \\n barbed wire fence, following which the \",\n \" ELLIE \\n \\n (calling) \\n \\n Come in! \\n \\n The moment she does, Peter rushes behind \\n the hanging blanket. He has his head \"\n ],\n [\n \" the booth are half a dozen men of varied \\n appearance. The inside of the booth \\n is lighted, and a young man, Peter Warne, \\n waves his hands wildly as he shouts \",\n \" \\n ANDREWS \\n \\n Is that his name? \\n \\n ELLIE \\n \\n Yes. Peter Warne. \\n \",\n \" 'em to find Peter Warne. Send out a \\n general alarm. I want the dirty crook \\n pinched. \\n \\n He picks up Peter's story and flings \",\n \" ANDREWS \\n \\n Mr. Warne? \\n \\n PETER \\n \\n Yeah. \\n \\n ANDREWS \\n \",\n \" She starts to walk away when she is \\n attracted by her father's surprise at \\n the mention of the name. \\n \\n ANDREWS \\n \\n Peter Warne! \\n \",\n \" \\n PETER \\n \\n Yeah. I got a name. Peter Warne. \\n \\n ELLIE \\n \\n Peter Warne? I don't like it.\",\n \" I should like to have a talk with you \\n about a financial matter in connection \\n with your daughter. \\n \\n Peter Warne.\\\" \\n \",\n \" \\n Peter Warne, you've gone far enough. \\n I won't stand being insulted like this \\n another minute. \\n \\n Ellie goes over to her cot, and starts \",\n \" \\n A close view of PETER WARNE in the telephone \\n booth gives evidence of his having also \\n imbibed freely. \\n \\n PETER \\n \",\n \" the road. As soon as her marriage to \\n King Westley is annulled, she and Peter \\n Warne, famous newspapermanand undoubtedly \\n the most promising young novelist of \",\n \" which he inspects. \\n \\n DYKE \\n \\n (explains) \\n \\n These men are detectives, Mr. Warne. \\n \\n \",\n \" \\\"Tub of mush. Well try and get it. What \\n I said about never writing another line \\n for you still goes. Are you burning? \\n Peter Warne.\\\" Well, that will be $2.60. \\n \",\n \" You can't get a thing done around her \\n unless \\n \\n AGNES \\n \\n Peter Warne was just in. \\n \\n GORDON \\n \",\n \" (flopping back on her pillow as she \\n mumbles) \\n \\n Pleased to meet you, Mr. Warne . . . \\n \\n \\n PETER\",\n \" Goodnight, Mr. Warne. \\n \\n (she turns over) \\n \\n PETER \\n \\n Goodnight. \\n \",\n \" up. \\n \\n Another car is heard coming, and Peter \\n steps forward, prepared to hail it. \\n Then this dissolves to a long view of \",\n \" out at Peter. This startles him for \\n a moment, but he manages to recover \\n his poise. \\n \\n SHAPELEY \\n \",\n \" a small cabin, lighted on the inside; \\n and from it Peter emerges accompanied \\n by a manpresumably Mr. Dyke. We cannot \\n hear what is being said; from their \",\n \" a close view shows PETER being very \\n conscious of her proximity. The situation \\n is delicate and dangerous; the room \\n is atingle with sex. He turns his gaze \",\n \" \\n PETER \\n \\n See that he gets that, will you, Agnes? \\n Tell him I was just kidding. \\n \\n (he goes out)\"\n ],\n [\n \" ANDREWS' STUDY fades in, affording a \\n close view of King Westley. He answers \\n every description we have had of him. \\n He is a stiff, handsome, stuffed-shirt \",\n \" \\n ANDREWS \\n \\n I'd like to have a talk with him. \\n \\n ELLIE \\n \\n It's no use, Dad. I practically threw \",\n \" ANDREWS \\n \\n Who is he? \\n \\n ELLIE \\n \\n I don't know very much about him. \\n \\n (in a whisper)\",\n \" Andrews. \\n \\n (this is a shock to Ellie) \\n \\n ELLIE \\n \\n (weakly) \\n \\n What are you talking about?\",\n \" \\n Ellie! \\n \\n He starts to go after herbut finds \\n Andrews in his way while the outcries \\n of the guests rise in chorus. \\n \",\n \" ANDREWS \\n \\n (his eyes widening) \\n \\n Well! \\n \\n ELLIE \\n \\n He blames you for everything that's \",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" ANDREWS \\n \\n (joining in) \\n \\n Because marrying that fool King Westley \\n is \\n \\n ? 211 ? \\n \",\n \" \\n ANDREWS \\n \\n (tenderly) \\n \\n Elliewhat is it? Aren't you happy, \\n child? \\n \",\n \" ELLIE \\n \\n (snappily) \\n \\n You're wasting your time. I'm already \\n married to him. \\n \\n ANDREWS\",\n \" \\n A close-up of ANDREWS shows him watching \\n Ellie, as her voice continues. \\n \\n ELLIE'S VOICE \\n \",\n \" \\n He despises me. \\n \\n ANDREWS \\n \\n Oh, come now \\n \\n ELLIE \\n \",\n \" ELLIE \\n \\n (too quickly) \\n \\n Oh, no. \\n \\n ANDREWS \\n \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" \\n ANDREWS \\n \\n (mumbling) \\n \\n I'll be going. \\n \\n (he goes out behind Mary) \\n \",\n \" and ANDREWS is still whispering to her. \\n \\n \\n ANDREWS \\n \\n He loves you, Ellie. Told me so. \\n \",\n \" This is dangerous business, Mr. Andrews. \\n After all, kidnapping is no child's \\n play. \\n \\n But Andrews ignores him and merely stares \",\n \" overlooking the lawn and stares out, \\n lost in thought. \\n \\n ANDREWS' VOICE \\n \\n (he goes over the Ellie) \\n \",\n \" \\n (but Andrews withdraws his hand. Apparently \\n he has changed his mind) \\n \\n ANDREWS \\n \\n (evasively) \\n \",\n \" ANDREWS \\n \\n You're going to finance him, I suppose. \\n \\n \\n ELLIE \\n \"\n ],\n [\n \" ELLIE \\n \\n (calling) \\n \\n Come in! \\n \\n The moment she does, Peter rushes behind \\n the hanging blanket. He has his head \",\n \" about her. She looks around thoughtfully. \\n Suddenly her eyes open in surprise at \\n something she sees, and the view then \\n moves over to Peter, who sits on his \\n suitcase, looking toward Ellie.\",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" Ellie has scarcely listened to him, \\n and has divided her attention between \\n glancing back at Peter and staring at \\n Shapeley as if he were insanenone of \",\n \" around them heaving a sigh of relief. \\n Ellie flashes him a devastating look \\n and deliberately turns her back on him. \\n But Peter suddenly looks down toward \\n the floor, following which a close-up \",\n \" ? 285 ? \\n \\n ELLIE \\n \\n (quickly) \\n \\n Why, I think that would be \\n \\n PETER\",\n \" The Guard leaves the scene, and Ellie's \\n disappointment is apparent. \\n \\n PETER \\n \\n (sarcastically) \\n \",\n \" ELLIE \\n \\n (confidently) \\n \\n No. \\n \\n PETER \\n \\n (looking at her) \\n \",\n \" \\n ELLIE \\n \\n (clinging to him) \\n \\n Oh, Peter! I was so scared. \\n \\n With his free hand he removes her arm \",\n \" \\n PETER \\n \\n Good morning. \\n \\n Peter is in the foreground, the guard \\n is seen in the background. Ellie stares \",\n \" \\n Now Ellie watches Peter out of the corner \\n of her eye, her face expressionless. \\n Peter continues his arm wavingbut slows \\n down like a mechanical toy which has \",\n \" As Ellie and Peter are seen again, she \\n turns and calls to the boy: \\n \\n ELLIE \\n \\n Here, boy! \\n \\n PETER\",\n \" Ellie leaves him abruptly, and the scene \\n cuts to the CABIN, where Peter is now \\n busy setting the small table. Ellie \\n enters after a moment, while Peter has \\n his back to the door.\",\n \" \\n PETER \\n \\n Sure. \\n \\n ELLIE \\n \\n What? \\n \\n PETER \\n \",\n \" A close view shows Ellie and the detective. \\n They have been staring at each other. \\n \\n \\n ELLIE \\n \\n (very sweet, calling to Peter) \\n \",\n \" ELLIE \\n \\n (in a still, small voice) \\n \\n Yes. You'll have a great story, won't \\n you? \\n \\n PETER\",\n \" Ellie's side of the room appears, showing \\n her crawling quickly into bed, pulling \\n the covers over her and glancing apprehensively \\n in Peter's directionfollowing which \",\n \" \\n ELLIE \\n \\n Of course it is. \\n \\n PETER \\n \\n You're crazy. \\n \\n ELLIE\",\n \" Then the view draws back revealing that \\n the newspaper is in the hands of Ellie, \\n who sits in the car alone, gazing at \\n the headlines. Then Peter's voice is \\n heard.\"\n ],\n [\n \" \\n At this there is a close view of Westleythere \\n is a satisfied smirk on his face. \\n \\n \\n ANDREWS \\n \",\n \" Must be some strange power Westley has \\n over you women. \\n \\n (he now has his shoes off and ties them \\n to each other) \\n \\n How do you expect to get there?\",\n \" The scene cuts to ANDREWS' STUDY: King \\n Westley is seated, and Andrews walks \\n around him. They are both dressed in \\n striped trousers, frock coat, etc. \\n \",\n \" Come in, boys. This is myuhthis is \\n King Westley. \\n \\n (Westley rises) \\n \\n He has a statement to make. \\n \",\n \" Westley? \\n \\n LOVINGTON \\n \\n No. He's been trailed twenty-four hours \\n a day since this thing started. He can't \",\n \" did, Westley, not to contest that annulment. \\n That's satisfactory, isn't it? Yeah. \\n Well, it ought to be. Oh I'm not complaining. \\n It was dirt cheap.\",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" along, too. She's been traveling by \\n bus. The moment she read that her father \\n and Westley made up, she phoned in. \\n \\n \",\n \" WESTLEY \\n \\n If you really mean it, I will. \\n \\n ANDREWS \\n \\n (strongly) \\n \",\n \" scene, is speaking as he paces around \\n the room. \\n \\n ANDREWS \\n \\n I haven't changed my mind, Westley, \",\n \" REPORTERS \\n \\n Hello, Westley . . . How do you do. \\n \\n \\n (they group around him) \\n \",\n \" a long, narrow, carpeted pathway leading \\n to the house. Both sides are lined with \\n guests, who are murmuring excitedly. \\n At the moment, King Westley and his \",\n \" \\n REPORTER \\n \\n Yeah. She just phoned her father from \\n an auto camp to come and get her. He's \\n getting a police escort. Westley's going \",\n \" pages, You know, I've always been curious \\n about the kind of a girl that would \\n marry King Westley. \\n \\n He pulls a newspaper out of his pocket \",\n \" WESTLEY \\n \\n I might have been able to help if it \\n weren't for you. I've been watched so \\n closely, I \\n \\n ANDREWS\",\n \" his menwaves his baton, and the orchestra \\n starts playing, \\\"Here Comes the Bride.\\\"The \\n guests whisper to each other excitedly. \\n A great deal of stirring takes place. \\n \",\n \" but Gordon ignores it) \\n \\n With King Westley in it. He's waiting \\n at the church. Big tears streaming down \\n his face. His bride hasn't shown up. \",\n \" ANDREWS' STUDY fades in, affording a \\n close view of King Westley. He answers \\n every description we have had of him. \\n He is a stiff, handsome, stuffed-shirt \",\n \" \\n The guests, of whom close glimpses are \\n caught, are now peering over each other's \\n shoulders. King and his best man have \\n reached the altar, and the music of \",\n \" Well, if it isn't the groom himself! \\n You're just in time, King. \\n \\n A close view of the Two shows King taking \\n her in his arms. \\n \"\n ],\n [\n \" The scene dissolves to the BUS, where \\n all the passengers are scattering back \\n to their seats; Peter is already seated, \\n when Ellie arrives. A close view then \\n shows her standing uncertainly for a \",\n \" the BUS affording a close view of ELLIE \\n and PETER. They are both asleep, her \\n head resting comfortably on his shoulder, \\n Peter's topcoat thrown over her. Then \",\n \" BUS, revealing Peter slumped in his \\n seat, his hat drawn over his eyes. Ellie \\n has her head thrown back, trying to \\n sleep. But the swaying bus causes her \",\n \" the view draws back. The bus is empty \\n except for Ellie and Peter, the last \\n few passengers are just leaving. \\n \\n PETER's eyes slowly open. He looks down \",\n \" The music stops abruptly. Everyone looks \\n up, startled. Ellie starts forward, \\n followed by Peter. Passengers closely \\n group around the woman and chatter. \",\n \" from his angle, reveals Ellie in the \\n shadow of the bus, her bag at her feet. \\n She slowly turns her head toward Peter \\n and then quickly averts it. \\n \",\n \" He disappears inside the bus through \\n the side door. With an independent toss \\n of her head, Ellie turns and also enters \\n the bus, but through the rear door. \\n \\n \",\n \" Peter lifts Ellie's overnight bag off \\n the seat and drops it on the floor. \\n Part of her coat covers the small space \\n by her side. This he sweeps across her \\n lap.\",\n \" The boy cries audibly, terror-stricken, \\n but gets out of Peter's way, and Peter \\n lifts the woman up and stretches her \\n across the seat. Ellie comes back with \",\n \" The scene dissolves to the ROAD, at \\n night, with Ellie and Peter walking \\n along. It is apparent they have been \\n trudging like this for a long time. \\n \\n \",\n \" \\n The scene wiping off, we then get a \\n closer view of Ellie and Peter sitting \\n in the back of an open Ford. It is a \",\n \" about her. She looks around thoughtfully. \\n Suddenly her eyes open in surprise at \\n something she sees, and the view then \\n moves over to Peter, who sits on his \\n suitcase, looking toward Ellie.\",\n \" As Ellie and Peter are seen again, she \\n turns and calls to the boy: \\n \\n ELLIE \\n \\n Here, boy! \\n \\n PETER\",\n \" and starts toward his car. He springs \\n into the car, steps on the starter, \\n and is off. \\n \\n ELLIE and PETER hear the motor. They \",\n \" while Ellie enters hurriedly from the \\n rear door and starts forward. As she \\n approaches Peter, she hesitates a second, \\n and deliberately passes him, plunking \\n herself into a seat in the opposite \",\n \" approaches him. \\n \\n ELLIE \\n \\n (now next to the Guard) \\n \\n Where's the bus to New York? \\n \\n GUARD\",\n \" ELLIE \\n \\n (worried) \\n \\n Yes. \\n \\n We see the other passengers around Ellie \\n and Peter enjoying themselves. One of \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" Ellie leaves him abruptly, and the scene \\n cuts to the CABIN, where Peter is now \\n busy setting the small table. Ellie \\n enters after a moment, while Peter has \\n his back to the door.\",\n \" Then while Ellie groans and sighs and \\n pounds the hay with her palm, Peter \\n steps out of sight. Ellie is unaware \\n of his departure, so busily occupied \"\n ],\n [\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" \\n PETER \\n \\n Sure. \\n \\n ELLIE \\n \\n What? \\n \\n PETER \\n \",\n \" \\n PETER \\n \\n Good morning. \\n \\n Peter is in the foreground, the guard \\n is seen in the background. Ellie stares \",\n \" \\n ELLIE \\n \\n (clinging to him) \\n \\n Oh, Peter! I was so scared. \\n \\n With his free hand he removes her arm \",\n \" ELLIE \\n \\n (calling) \\n \\n Come in! \\n \\n The moment she does, Peter rushes behind \\n the hanging blanket. He has his head \",\n \" As Ellie and Peter are seen again, she \\n turns and calls to the boy: \\n \\n ELLIE \\n \\n Here, boy! \\n \\n PETER\",\n \" ? 285 ? \\n \\n ELLIE \\n \\n (quickly) \\n \\n Why, I think that would be \\n \\n PETER\",\n \" about her. She looks around thoughtfully. \\n Suddenly her eyes open in surprise at \\n something she sees, and the view then \\n moves over to Peter, who sits on his \\n suitcase, looking toward Ellie.\",\n \" \\n ELLIE \\n \\n Doesn't sound very exciting. \\n \\n PETER, seen close, looks at her for \\n a long time before speaking:\",\n \" Ellie's first fright is gone and she \\n now rather enjoys the sensation of being \\n carried by Peter. She lets herself go \\n completely limp, still clinging to his \",\n \" ELLIE \\n \\n (touching Peter's arm) \\n \\n Peter! \\n \\n (as he turns) \\n \",\n \" \\n \\n PETER \\n \\n You think it's simple, huh? \\n \\n ELLIE \\n \\n (exaggeratedly)\",\n \" \\n ELLIE \\n \\n Of course it is. \\n \\n PETER \\n \\n You're crazy. \\n \\n ELLIE\",\n \" PETER \\n \\n What's the matter? \\n \\n ELLIE \\n \\n (relieved) \\n \\n Oh, Peter \\n \",\n \" A close view shows Ellie and the detective. \\n They have been staring at each other. \\n \\n \\n ELLIE \\n \\n (very sweet, calling to Peter) \\n \",\n \" The boy cries audibly, terror-stricken, \\n but gets out of Peter's way, and Peter \\n lifts the woman up and stretches her \\n across the seat. Ellie comes back with \",\n \" \\n Now Ellie watches Peter out of the corner \\n of her eye, her face expressionless. \\n Peter continues his arm wavingbut slows \\n down like a mechanical toy which has \",\n \" PETER \\n \\n Say, you were pretty good. Jumping in \\n like that. Got a brain, haven't you? \\n \\n \\n ELLIE \\n \",\n \" ELLIE \\n \\n (in a still, small voice) \\n \\n Yes. You'll have a great story, won't \\n you? \\n \\n PETER\",\n \" PETER \\n \\n (the entire group coming into view) \\n \\n \\n Well, I hope you find her. \\n \\n (to Ellie) \\n \"\n ],\n [\n \" did, Westley, not to contest that annulment. \\n That's satisfactory, isn't it? Yeah. \\n Well, it ought to be. Oh I'm not complaining. \\n It was dirt cheap.\",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" You'll be set free when the marriage \\n is annulled. \\n \\n A close-up of ELLIE, her eyes blazing \\n angrily, shows her slowly edging away \",\n \" I'll get it annulled. \\n \\n ELLIE \\n \\n You'll never do it! You can't do it! \\n \\n \\n ANDREWS\",\n \" pages, You know, I've always been curious \\n about the kind of a girl that would \\n marry King Westley. \\n \\n He pulls a newspaper out of his pocket \",\n \" ANDREWS \\n \\n (joining in) \\n \\n Because marrying that fool King Westley \\n is \\n \\n ? 211 ? \\n \",\n \" Never mind . . . Listensuppose I should \\n tell you that Ellen Andrews is going \\n to have her marriage annulled. \\n \\n GORDON \\n \\n Huh?\",\n \" \\n REPORTER \\n \\n Yeah. She just phoned her father from \\n an auto camp to come and get her. He's \\n getting a police escort. Westley's going \",\n \" Westley? \\n \\n LOVINGTON \\n \\n No. He's been trailed twenty-four hours \\n a day since this thing started. He can't \",\n \" \\n PETER \\n \\n Just a spoiled brat of a rich man. You \\n and Westley'll make an ideal team. \\n \\n \\n ELLIE\",\n \" the road. As soon as her marriage to \\n King Westley is annulled, she and Peter \\n Warne, famous newspapermanand undoubtedly \\n the most promising young novelist of \",\n \" \\n At this there is a close view of Westleythere \\n is a satisfied smirk on his face. \\n \\n \\n ANDREWS \\n \",\n \" Must be some strange power Westley has \\n over you women. \\n \\n (he now has his shoes off and ties them \\n to each other) \\n \\n How do you expect to get there?\",\n \" WESTLEY \\n \\n If you really mean it, I will. \\n \\n ANDREWS \\n \\n (strongly) \\n \",\n \" PETER \\n \\n Don't look at me. I didn't marry King \\n Westley. \\n \\n ? 255 ? \\n \",\n \" everything he dislikes. He creates the \\n impression in the following scene that \\n in his analysis of her he is trying \\n to dissuade himself from something he \\n is bound to regret. His attack on her, \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" Come in, boys. This is myuhthis is \\n King Westley. \\n \\n (Westley rises) \\n \\n He has a statement to make. \\n \",\n \" scene, is speaking as he paces around \\n the room. \\n \\n ANDREWS \\n \\n I haven't changed my mind, Westley, \",\n \" What do you want to see me for? I've \\n served my purpose. I brought you back \\n to King Westley, didn't I? \\n \\n (his mouth screws up bitterly)\"\n ],\n [\n \" \\n ANDREWS \\n \\n Is that his name? \\n \\n ELLIE \\n \\n Yes. Peter Warne. \\n \",\n \" the booth are half a dozen men of varied \\n appearance. The inside of the booth \\n is lighted, and a young man, Peter Warne, \\n waves his hands wildly as he shouts \",\n \" 'em to find Peter Warne. Send out a \\n general alarm. I want the dirty crook \\n pinched. \\n \\n He picks up Peter's story and flings \",\n \" \\n PETER \\n \\n Yeah. I got a name. Peter Warne. \\n \\n ELLIE \\n \\n Peter Warne? I don't like it.\",\n \" She starts to walk away when she is \\n attracted by her father's surprise at \\n the mention of the name. \\n \\n ANDREWS \\n \\n Peter Warne! \\n \",\n \" ANDREWS \\n \\n Mr. Warne? \\n \\n PETER \\n \\n Yeah. \\n \\n ANDREWS \\n \",\n \" \\n Peter Warne, you've gone far enough. \\n I won't stand being insulted like this \\n another minute. \\n \\n Ellie goes over to her cot, and starts \",\n \" I should like to have a talk with you \\n about a financial matter in connection \\n with your daughter. \\n \\n Peter Warne.\\\" \\n \",\n \" \\n A close view of PETER WARNE in the telephone \\n booth gives evidence of his having also \\n imbibed freely. \\n \\n PETER \\n \",\n \" the road. As soon as her marriage to \\n King Westley is annulled, she and Peter \\n Warne, famous newspapermanand undoubtedly \\n the most promising young novelist of \",\n \" \\\"Tub of mush. Well try and get it. What \\n I said about never writing another line \\n for you still goes. Are you burning? \\n Peter Warne.\\\" Well, that will be $2.60. \\n \",\n \" You can't get a thing done around her \\n unless \\n \\n AGNES \\n \\n Peter Warne was just in. \\n \\n GORDON \\n \",\n \" (flopping back on her pillow as she \\n mumbles) \\n \\n Pleased to meet you, Mr. Warne . . . \\n \\n \\n PETER\",\n \" Goodnight, Mr. Warne. \\n \\n (she turns over) \\n \\n PETER \\n \\n Goodnight. \\n \",\n \" which he inspects. \\n \\n DYKE \\n \\n (explains) \\n \\n These men are detectives, Mr. Warne. \\n \\n \",\n \" \\n PETER \\n \\n See that he gets that, will you, Agnes? \\n Tell him I was just kidding. \\n \\n (he goes out)\",\n \" \\n PETER \\n \\n Just a spoiled brat of a rich man. You \\n and Westley'll make an ideal team. \\n \\n \\n ELLIE\",\n \" a close view shows PETER being very \\n conscious of her proximity. The situation \\n is delicate and dangerous; the room \\n is atingle with sex. He turns his gaze \",\n \" out at Peter. This startles him for \\n a moment, but he manages to recover \\n his poise. \\n \\n SHAPELEY \\n \",\n \" up. \\n \\n Another car is heard coming, and Peter \\n steps forward, prepared to hail it. \\n Then this dissolves to a long view of \"\n ],\n [\n \" \\n PETER \\n \\n Just a spoiled brat of a rich man. You \\n and Westley'll make an ideal team. \\n \\n \\n ELLIE\",\n \" get back to king Westley. \\n \\n He waits for a reaction, but a close \\n view shows ELLIE absorbed, and she remains \\n silent. Peter's voice continues. \\n \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" movements, however, it is apparent that \\n an exchange of money is taking place. \\n Dyke waves his hand in departure and \\n starts toward Ellie. At the same time, \\n Peter calls to her:\",\n \" As Ellie and Peter are seen again, she \\n turns and calls to the boy: \\n \\n ELLIE \\n \\n Here, boy! \\n \\n PETER\",\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" PETER \\n \\n What's the matter? \\n \\n ELLIE \\n \\n (relieved) \\n \\n Oh, Peter \\n \",\n \" \\n PETER \\n \\n Sure. \\n \\n ELLIE \\n \\n What? \\n \\n PETER \\n \",\n \" WESTLEY \\n \\n If you really mean it, I will. \\n \\n ANDREWS \\n \\n (strongly) \\n \",\n \" about her. She looks around thoughtfully. \\n Suddenly her eyes open in surprise at \\n something she sees, and the view then \\n moves over to Peter, who sits on his \\n suitcase, looking toward Ellie.\",\n \" ELLIE \\n \\n (calling) \\n \\n Come in! \\n \\n The moment she does, Peter rushes behind \\n the hanging blanket. He has his head \",\n \" at him, hopefully. PETER, however, stares \\n up at the stars, dreamily; and we then \\n see ELLIE turning away from him, disappointed. \\n Still, the minute Ellie turns her head, \",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" \\n ELLIE \\n \\n (clinging to him) \\n \\n Oh, Peter! I was so scared. \\n \\n With his free hand he removes her arm \",\n \" Ellie leaves him abruptly, and the scene \\n cuts to the CABIN, where Peter is now \\n busy setting the small table. Ellie \\n enters after a moment, while Peter has \\n his back to the door.\",\n \" A close-up indicates that ANDREWS has \\n been studying Peter throughout the scene. \\n He is now completely won over. \\n \\n ANDREWS \\n \\n (smiling)\",\n \" ELLIE \\n \\n (in a still, small voice) \\n \\n Yes. You'll have a great story, won't \\n you? \\n \\n PETER\",\n \" What do you want to see me for? I've \\n served my purpose. I brought you back \\n to King Westley, didn't I? \\n \\n (his mouth screws up bitterly)\",\n \" struggles valiantly to maintain as much \\n dignity as she can muster under the \\n circumstances. Then in the cabin, at \\n the window, Peter watching Ellie, chuckles \",\n \" did, Westley, not to contest that annulment. \\n That's satisfactory, isn't it? Yeah. \\n Well, it ought to be. Oh I'm not complaining. \\n It was dirt cheap.\"\n ],\n [\n \" Westley? \\n \\n LOVINGTON \\n \\n No. He's been trailed twenty-four hours \\n a day since this thing started. He can't \",\n \" \\n At this there is a close view of Westleythere \\n is a satisfied smirk on his face. \\n \\n \\n ANDREWS \\n \",\n \" Come in, boys. This is myuhthis is \\n King Westley. \\n \\n (Westley rises) \\n \\n He has a statement to make. \\n \",\n \" The scene cuts to ANDREWS' STUDY: King \\n Westley is seated, and Andrews walks \\n around him. They are both dressed in \\n striped trousers, frock coat, etc. \\n \",\n \" pages, You know, I've always been curious \\n about the kind of a girl that would \\n marry King Westley. \\n \\n He pulls a newspaper out of his pocket \",\n \" WESTLEY \\n \\n If you really mean it, I will. \\n \\n ANDREWS \\n \\n (strongly) \\n \",\n \" did, Westley, not to contest that annulment. \\n That's satisfactory, isn't it? Yeah. \\n Well, it ought to be. Oh I'm not complaining. \\n It was dirt cheap.\",\n \" scene, is speaking as he paces around \\n the room. \\n \\n ANDREWS \\n \\n I haven't changed my mind, Westley, \",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" Must be some strange power Westley has \\n over you women. \\n \\n (he now has his shoes off and ties them \\n to each other) \\n \\n How do you expect to get there?\",\n \" ANDREWS' STUDY fades in, affording a \\n close view of King Westley. He answers \\n every description we have had of him. \\n He is a stiff, handsome, stuffed-shirt \",\n \" WESTLEY \\n \\n I might have been able to help if it \\n weren't for you. I've been watched so \\n closely, I \\n \\n ANDREWS\",\n \" \\n REPORTER \\n \\n Yeah. She just phoned her father from \\n an auto camp to come and get her. He's \\n getting a police escort. Westley's going \",\n \" along, too. She's been traveling by \\n bus. The moment she read that her father \\n and Westley made up, she phoned in. \\n \\n \",\n \" REPORTERS \\n \\n Hello, Westley . . . How do you do. \\n \\n \\n (they group around him) \\n \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" But it's King Westley on the phone. \\n \\n \\n ANDREWS \\n \\n Ooooooh. \\n \\n (into the phone) \\n \",\n \" \\n PETER \\n \\n Just a spoiled brat of a rich man. You \\n and Westley'll make an ideal team. \\n \\n \\n ELLIE\",\n \" \\n (seen with her father) \\n \\n What've you got against King Westley? \\n \\n \\n ANDREWS \\n \",\n \" get back to king Westley. \\n \\n He waits for a reaction, but a close \\n view shows ELLIE absorbed, and she remains \\n silent. Peter's voice continues. \\n \"\n ],\n [\n \" ELLIE \\n \\n What if nobody stops for us? \\n \\n PETER \\n \\n Oh, they'll stop, all right. It's a \",\n \" then shows him stopping to listen as \\n he sees Ellie talking to the driver. \\n \\n \\n ? 229 ? \\n \\n DRIVER'S VOICE\",\n \" (ignoring himcalling) \\n \\n Driver! \\n \\n The driver, who has stopped to witness \\n this new altercation, returns. \\n \\n ELLIE\",\n \" The music stops abruptly. Everyone looks \\n up, startled. Ellie starts forward, \\n followed by Peter. Passengers closely \\n group around the woman and chatter. \",\n \" The boy cries audibly, terror-stricken, \\n but gets out of Peter's way, and Peter \\n lifts the woman up and stretches her \\n across the seat. Ellie comes back with \",\n \" and she quickly folds the paper and \\n throws it out of sight. She starts to \\n get out of the car. \\n \\n ELLIE \\n \",\n \" watching her leave, his interest definitely \\n provoked. \\n \\n The scene cuts to the STAND as Ellie \\n emerges from the bus. At the foot of \\n the steps is the driver.\",\n \" a wider view shows Ellie leaving the \\n driver. \\n \\n ELLIE \\n \\n (as she goes) \\n \\n Yes. I may be a few minutes late.\",\n \" \\n ELLIE \\n \\n How much time have I? \\n \\n DRIVER \\n \\n About a half hour. \\n \\n ELLIE\",\n \" \\n Ellie hesitates a moment, then starts \\n toward the cabin. Now she is hurrying \\n across the open space. En route she \\n passes Dyke. \\n \",\n \" is seen still in the same spot. He waves \\n his arms, jerks his thumb, indulges \\n in all sorts of gyrations, while Ellie \\n remains slumped on her rock, completely \\n worn out.\",\n \" shoves his feet aside for her to pass, \\n and Ellie starts up the aisle. But she \\n suddenly stops; looks back, first at \\n her bag and then at Peter; decides to \",\n \" The view moves to the rear door of the \\n bus. Ellie stands on the bottom step. \\n \\n \\n ELLIE \\n \\n (haughtily) \\n \",\n \" I'll report it to the driver. About \\n your bag, I mean. \\n \\n ELLIE \\n \\n (quickly) \\n \",\n \" to stop a carand I won't use my thumb. \\n \\n \\n The scene widens as she rises and steps \\n forward. \\n \\n PETER \\n \",\n \" cry with her. I'm going to kiss her \\n wet lipsand \\n \\n Suddenly stopping, he turns his head \\n slowly, sensing Ellie's nearness; and \",\n \" she stops dead and looks back at Dyke, \\n following which a close-up of ELLIE \\n shows her eyes opening wide with astonishment. \\n Her impulse is to call Dyke back, to \",\n \" suddenly stops, turning to Ellie and \\n Peter in the back seat. \\n \\n DANKER \\n \\n So you've just been married, huh? Well, \",\n \" seconds the procedure is repeated, and \\n Ellie is beside herself. She looks around \\n for somewhere to flee. \\n \\n PETER, seated in back of her, in his \",\n \" and starts toward his car. He springs \\n into the car, steps on the starter, \\n and is off. \\n \\n ELLIE and PETER hear the motor. They \"\n ],\n [\n \" . . . turn.\\\" \\n \\n The scene dissolves to the front of \\n a LUNCH WAGON on a deserted road, and \\n Danker's car drives into the scene and \",\n \" stops. Then we see Danker turning to \\n Ellie and Peter. \\n \\n DANKER \\n \\n How about a bite to eat? \\n \",\n \" suddenly stops, turning to Ellie and \\n Peter in the back seat. \\n \\n DANKER \\n \\n So you've just been married, huh? Well, \",\n \" driver of the car, Danker. He is a man \\n of about thirty, a heavy set, loose \\n chinned person; at the moment he is \\n singing an aria from some opera. He \",\n \" \\n (stopping her) \\n \\n No, thanks. We're not hungry. \\n \\n DANKER \\n \\n (sentimentally) \\n \",\n \" they walk away from the car. Both are \\n silent. At the DOOR of the LUNCH WAGON, \\n then, Danker comes out and looks around \\n furtively. Ellie and Peter, as seen \",\n \" Down.\\\" \\n \\n Ellie and Peter in the back of the car \\n react to the noise Danker makes. \\n \\n PETER \\n \",\n \" (giving up) \\n \\n All right, let it go. \\n \\n DANKER \\n \\n (completing his last line) \\n \",\n \" by him, appear, walking away, following \\n which the view moves over to the Ford \\n and drops down to a close-up of Peter's \\n suitcase. Now Danker looks about quickly \",\n \" And for no reason except that he cued \\n himself into it, he bursts forth into \\n song gustily. \\n \\n DANKER \\n \\n (singing)\",\n \" in vain. The mud splashes in all directions, \\n and the wheel seems to sink deeper and \\n deeper. Thereupon this view cuts to \\n the inside of the BUS. The bus \\n \",\n \" off the side of the road, Shapeley following. \\n They are concealed from the rest of \\n the passengers. \\n \\n PETER \\n \",\n \" (pulling at him) \\n \\n Come on, get up, don't lay there. Let's \\n do something about it. \\n \\n Thereupon the scene cuts to the AUTO \",\n \" (sticking his head in to face the passengers) \\n \\n \\n Rest station! Ten minutes! \\n \\n The view draws back as some of the passengers \",\n \" This dissolves to a COUNTRY ROAD, and \\n the bus sways perilously as it speeds \\n through the night, following which the \\n view dissolves to the INTERIOR of the \",\n \" The music stops abruptly. Everyone looks \\n up, startled. Ellie starts forward, \\n followed by Peter. Passengers closely \\n group around the woman and chatter. \",\n \" \\n Ellie hesitates a moment, then starts \\n toward the cabin. Now she is hurrying \\n across the open space. En route she \\n passes Dyke. \\n \",\n \" Thereupon Dyke is seen in conversation \\n with two men outside the CABIN. \\n \\n DYKE \\n \\n (protesting loudly) \\n \",\n \" ? 304 ? \\n \\n He applies the gas and shoots out of \\n sight, following which a full view of \\n the road shows Peter's car trying to \",\n \" jaw set forbiddingly. \\n \\n The scene dissolves to the view of a \\n ROAD. It is dawn, and in the distance, \\n against the horizon, the bus, a mere \"\n ],\n [\n \" The scene dissolves to DYKE'S AUTO CAMP. \\n Ellie stands alone on the porch of a \\n small bungalow, sheltered from the rain. \\n Over her head is a sign reading:\",\n \" at which Peter and Ellie stayed. The \\n owner's wife is talking to her husband. \\n \\n \\n WIFE \\n \\n Funny couple, ain't they?\",\n \" \\n The scene dissolves to a close view \\n of Ellie and a recently arrived fat \\n man next to her. She has her head thrown \\n back in an effort to sleep, but the \",\n \" Ellie takes the suitcase from him, and \\n his hand now free, he delivers a resounding \\n smack on her backside, so that Ellie \\n lets out a yelp. \\n \",\n \" Then, seen at the ALTAR, Ellie makes \\n her decision. She reaches down, takes \\n a firm hold on her train and, pushing \\n several people aside, runs out of the \",\n \" Ellie, wheeling on the little girl, \\n crushes her with a devastating look, \\n so that the little girl cringes against \\n her mother's skirt. Ellie goes to the \",\n \" Ellie leaves him abruptly, and the scene \\n cuts to the CABIN, where Peter is now \\n busy setting the small table. Ellie \\n enters after a moment, while Peter has \\n his back to the door.\",\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" The scene thereupon cuts to the EXTERIOR \\n of the AUTO CABIN as Ellie emerges, \\n the Wife standing in the doorway. In \\n the foreground several people are scattered \",\n \" The view moves from them to ELLIE, who \\n stands behind a post and is watching \\n the two detectives apprehensively. As \\n the two (viewed from her position) stand \",\n \" This dissolves to a view of ELLIE coming \\n out of the showers. At the same time \\n Shapeley comes out of the men's shower, \\n and upon seeing Ellie, his face lights \",\n \" The scene dissolves to the edge of a \\n cow PASTURE, at night, and Ellie and \\n Peter are revealed climbing under a \\n barbed wire fence, following which the \",\n \" \\n He wheels around and goes through the \\n door, Ellie looking after him, her eyes \\n blazing. The drone of a plane motor \\n outside is heard, and several people \",\n \" Then while Ellie groans and sighs and \\n pounds the hay with her palm, Peter \\n steps out of sight. Ellie is unaware \\n of his departure, so busily occupied \",\n \" The Guard leaves the scene, and Ellie's \\n disappointment is apparent. \\n \\n PETER \\n \\n (sarcastically) \\n \",\n \" and she quickly folds the paper and \\n throws it out of sight. She starts to \\n get out of the car. \\n \\n ELLIE \\n \",\n \" \\n Ellie hesitates a moment, then starts \\n toward the cabin. Now she is hurrying \\n across the open space. En route she \\n passes Dyke. \\n \",\n \" \\n ELLIE \\n \\n (her voice strident) \\n \\n Looks like that was his only interest \\n in me. The reward. \\n \\n ANDREWS\",\n \" ELLIE \\n \\n (murmuring in her sleep) \\n \\n Darn planes \\n \\n She squirms around uncomfortably, and \"\n ],\n [\n \" movements, however, it is apparent that \\n an exchange of money is taking place. \\n Dyke waves his hand in departure and \\n starts toward Ellie. At the same time, \\n Peter calls to her:\",\n \" (she starts to rise) \\n \\n Here, boy! \\n \\n Peter snatches the purse out of her \\n hand and takes the money out. Ellie \",\n \" about her. She looks around thoughtfully. \\n Suddenly her eyes open in surprise at \\n something she sees, and the view then \\n moves over to Peter, who sits on his \\n suitcase, looking toward Ellie.\",\n \" ELLIE \\n \\n (dismissing the whole thing) \\n \\n Thank you. \\n \\n (Peter, thwarted for a moment, just \",\n \" scene. \\n \\n ELLIE \\n \\n You didn't give that boy all your money? \\n \\n \\n PETER \\n \",\n \" Ellie leaves him abruptly, and the scene \\n cuts to the CABIN, where Peter is now \\n busy setting the small table. Ellie \\n enters after a moment, while Peter has \\n his back to the door.\",\n \" around them heaving a sigh of relief. \\n Ellie flashes him a devastating look \\n and deliberately turns her back on him. \\n But Peter suddenly looks down toward \\n the floor, following which a close-up \",\n \" PETER \\n \\n What's the matter? \\n \\n ELLIE \\n \\n (relieved) \\n \\n Oh, Peter \\n \",\n \" ELLIE \\n \\n What do you meanstarvation? \\n \\n PETER \\n \\n It takes money to buy food. \\n \\n ELLIE\",\n \" ELLIE \\n \\n (calling) \\n \\n Come in! \\n \\n The moment she does, Peter rushes behind \\n the hanging blanket. He has his head \",\n \" ? 285 ? \\n \\n ELLIE \\n \\n (quickly) \\n \\n Why, I think that would be \\n \\n PETER\",\n \" The scene dissolves to the BUS, where \\n all the passengers are scattering back \\n to their seats; Peter is already seated, \\n when Ellie arrives. A close view then \\n shows her standing uncertainly for a \",\n \" struggles valiantly to maintain as much \\n dignity as she can muster under the \\n circumstances. Then in the cabin, at \\n the window, Peter watching Ellie, chuckles \",\n \" Ellie lies back on King Westley's shoulder. \\n He has his arm around her as they pass \\n out of sight. Thereupon a close view \\n of PETER shows him reacting to what \",\n \" ELLIE \\n \\n (in a still, small voice) \\n \\n Yes. You'll have a great story, won't \\n you? \\n \\n PETER\",\n \" ELLIE \\n \\n Hayin my teeth. \\n \\n She points to her front teeth, and Peter \\n flicks the hay out of her teeth. \\n \",\n \" \\n ELLIE \\n \\n (clinging to him) \\n \\n Oh, Peter! I was so scared. \\n \\n With his free hand he removes her arm \",\n \" PETER \\n \\n (without looking up) \\n \\n Well, here we are on the last lap. \\n \\n \\n Ellie crosses to the window and stares \",\n \" ELLIE AND PETER \\n \\n (singing) \\n \\n \\\"O-o-o-ohHe flies through the air with \\n the \\n \",\n \" at him, hopefully. PETER, however, stares \\n up at the stars, dreamily; and we then \\n see ELLIE turning away from him, disappointed. \\n Still, the minute Ellie turns her head, \"\n ],\n [\n \" at it. After a moment, he looks at Peter, \\n studying him interestedly; then he returns \\n to the paper, and reads its contents: \\n \\n \\n \\\"Cash outlay\",\n \" ANDREWS \\n \\n And this is what you wantthirty-nine \\n dollars and sixty cents? \\n \\n PETER \\n \",\n \" PETER \\n \\n What happened to your money? \\n \\n BOY \\n \\n Ma spent it all for the tickets. She \",\n \" \\n PETER \\n \\n Would an exclusive story like that be \\n worth a thousand bucks to you? \\n \\n GORDON \\n \",\n \" \\n (a sob in his voice) \\n \\n No-o. But I shouldn't oughta take the \\n money. \\n \\n (to Peter) \\n \",\n \" movements, however, it is apparent that \\n an exchange of money is taking place. \\n Dyke waves his hand in departure and \\n starts toward Ellie. At the same time, \\n Peter calls to her:\",\n \" \\\"Tub of mush. Well try and get it. What \\n I said about never writing another line \\n for you still goes. Are you burning? \\n Peter Warne.\\\" Well, that will be $2.60. \\n \",\n \" \\n Certainly. \\n \\n (he opens a checkbook and writes it \\n out) \\n \\n While Andrews writes, Peter wanders \",\n \" \\n PETER \\n \\n Send it collect. \\n \\n OPERATOR \\n \\n Collect? \\n \\n Peter \\n \",\n \" Well, Bratwhat do you say! \\n \\n ? 240 ? \\n \\n As she doesn't stir, there appears a \\n close-up view of PETER standing in the \",\n \" \\n PETER \\n \\n Don't get sore, Joe. This is something \\n you got to do for me. I need a thousand \\n dollarsand I need it quick. I'm in \",\n \" \\n PETER \\n \\n (with finality) \\n \\n You're on a budget from now on. \\n \\n ? 238 ? \\n \",\n \" \\n PETER \\n \\n See that he gets that, will you, Agnes? \\n Tell him I was just kidding. \\n \\n (he goes out)\",\n \" stares at him dumbfounded. \\n \\n PETER \\n \\n A dollar sixty! . . . You had four dollars \\n last night! How do you expect to get \",\n \" PETER \\n \\n (impatiently) \\n \\n All I want is thirty-nine sixty. If \\n you'll give me a check I'll get out \",\n \" \\n PETER \\n \\n You don't think I'm going around panhandling \\n for you. \\n \\n (he takes a bite) \\n \",\n \" \\n Why, haven't you? \\n \\n PETER \\n \\n (interrupting) \\n \\n Not a sou. I had some before the fainting \",\n \" You were taken for a buggy ride? \\n \\n PETER \\n \\n Yeahwith all the trimmings. Now, how \\n about the check. Do I get it? \\n \",\n \" Why not? I'm not charging you for the \\n time I wasted. \\n \\n ANDREWS \\n \\n Yes, I knowbut \\n \\n PETER\",\n \" a jam. \\n \\n GORDON \\n \\n (softening) \\n \\n What's the thousand bucks for? \\n \\n PETER\"\n ],\n [\n \" \\n At this there is a close view of Westleythere \\n is a satisfied smirk on his face. \\n \\n \\n ANDREWS \\n \",\n \" Must be some strange power Westley has \\n over you women. \\n \\n (he now has his shoes off and ties them \\n to each other) \\n \\n How do you expect to get there?\",\n \" Come in, boys. This is myuhthis is \\n King Westley. \\n \\n (Westley rises) \\n \\n He has a statement to make. \\n \",\n \" The scene cuts to ANDREWS' STUDY: King \\n Westley is seated, and Andrews walks \\n around him. They are both dressed in \\n striped trousers, frock coat, etc. \\n \",\n \" along, too. She's been traveling by \\n bus. The moment she read that her father \\n and Westley made up, she phoned in. \\n \\n \",\n \" This brings a definite reaction, which \\n she quickly covers up. \\n \\n ANDREWS \\n \\n You don't want to be married to a mug \\n like Westley.\",\n \" Westley? \\n \\n LOVINGTON \\n \\n No. He's been trailed twenty-four hours \\n a day since this thing started. He can't \",\n \" did, Westley, not to contest that annulment. \\n That's satisfactory, isn't it? Yeah. \\n Well, it ought to be. Oh I'm not complaining. \\n It was dirt cheap.\",\n \" \\n REPORTER \\n \\n Yeah. She just phoned her father from \\n an auto camp to come and get her. He's \\n getting a police escort. Westley's going \",\n \" a long, narrow, carpeted pathway leading \\n to the house. Both sides are lined with \\n guests, who are murmuring excitedly. \\n At the moment, King Westley and his \",\n \" his menwaves his baton, and the orchestra \\n starts playing, \\\"Here Comes the Bride.\\\"The \\n guests whisper to each other excitedly. \\n A great deal of stirring takes place. \\n \",\n \" pages, You know, I've always been curious \\n about the kind of a girl that would \\n marry King Westley. \\n \\n He pulls a newspaper out of his pocket \",\n \" WESTLEY \\n \\n If you really mean it, I will. \\n \\n ANDREWS \\n \\n (strongly) \\n \",\n \" scene, is speaking as he paces around \\n the room. \\n \\n ANDREWS \\n \\n I haven't changed my mind, Westley, \",\n \" REPORTERS \\n \\n Hello, Westley . . . How do you do. \\n \\n \\n (they group around him) \\n \",\n \" up. \\n \\n Another car is heard coming, and Peter \\n steps forward, prepared to hail it. \\n Then this dissolves to a long view of \",\n \" view of the LAWN. The orchestra is playing \\n Mendelssohn's Wedding March. The lawn \\n is crowded with guests. In the background \\n we see the autogyro idling. A closer \",\n \" sidestill . No moving aroundno talking, \\n comprenez ? \\n \\n The view cuts to a ROADWAY leading to \\n the estate, and Peter is seen driving \",\n \" (pulling at him) \\n \\n Come on, get up, don't lay there. Let's \\n do something about it. \\n \\n Thereupon the scene cuts to the AUTO \",\n \" him. Several yokels look on. The limousine \\n and motor cycles are at the curb. And \\n now, in a closer view, at the DOOR the \\n policeman on guard steps aside as the \"\n ]\n]"},"questions":{"kind":"list like","value":["Who has Ellie eloped with?","Why does Ellie's father want this marriage annulled?","What choice does Ellie take from the newspaper reporter?","Why does Ellie decide to marry Westley in a more formal ceremony?","What does Mr. Andrews offer Peter when he comes to his home?","What does Peter admit to when Mr. Andrews questions him about his odd behavior?","What does Mr. Andrews reveal at the wedding ceremony?","What does Mr. Andrews do for Westley after revealing that Peter refused the reward?","Who does Ellie end up with in the end?","Why does Peter refuse the reward money from Mr. Andrews?","Where do Peter and Ellie meet?","Why did the owners of the motel kick Ellie out?","What is Peter Warne's profession?","Why does Mr. Andrews disapprove of Ellie and Westley eloping?","Why does Ellie believe Peter betrayed her?","How does Westley arrive at the wedding?","Where was Peter and Ellie's bus bound?","Why does Peter intially help Ellie?","Why does Alexander want his daughters marriage to Westley annulled?","Who is Peter Warne?","What does Peter want in return for helping Ellen reunite with Westley?","What city does Westley live in?","How does Ellen get the driver to stop so she can hitchhike?","What does Danker try to do after they stop en route to their destination?","Why do the motel owners expel Ellie?","Where does Peter get the money to marry Ellie?","How much are the expenses that Peter asks to be paid?","What type of vehicle does Westley arrive in for the wedding?"],"string":"[\n \"Who has Ellie eloped with?\",\n \"Why does Ellie's father want this marriage annulled?\",\n \"What choice does Ellie take from the newspaper reporter?\",\n \"Why does Ellie decide to marry Westley in a more formal ceremony?\",\n \"What does Mr. Andrews offer Peter when he comes to his home?\",\n \"What does Peter admit to when Mr. Andrews questions him about his odd behavior?\",\n \"What does Mr. Andrews reveal at the wedding ceremony?\",\n \"What does Mr. Andrews do for Westley after revealing that Peter refused the reward?\",\n \"Who does Ellie end up with in the end?\",\n \"Why does Peter refuse the reward money from Mr. Andrews?\",\n \"Where do Peter and Ellie meet?\",\n \"Why did the owners of the motel kick Ellie out?\",\n \"What is Peter Warne's profession?\",\n \"Why does Mr. Andrews disapprove of Ellie and Westley eloping?\",\n \"Why does Ellie believe Peter betrayed her?\",\n \"How does Westley arrive at the wedding?\",\n \"Where was Peter and Ellie's bus bound?\",\n \"Why does Peter intially help Ellie?\",\n \"Why does Alexander want his daughters marriage to Westley annulled?\",\n \"Who is Peter Warne?\",\n \"What does Peter want in return for helping Ellen reunite with Westley?\",\n \"What city does Westley live in?\",\n \"How does Ellen get the driver to stop so she can hitchhike?\",\n \"What does Danker try to do after they stop en route to their destination?\",\n \"Why do the motel owners expel Ellie?\",\n \"Where does Peter get the money to marry Ellie?\",\n \"How much are the expenses that Peter asks to be paid?\",\n \"What type of vehicle does Westley arrive in for the wedding?\"\n]"},"answers":{"kind":"list like","value":[["\"King\" Westley","King Westley"],["He knows Westley is only interested in Ellie's money.","Wesley is only interested in money."],["To give the reporter an exclusive to be reunited with Westley","The first choice."],["She feels Peter betrayed her for the reward?","She thinks Peter betray her "],["the reward money","The reward money."],["He loves Ellie.","That he loves Ellie "],["Peter refused the reward money.","Peter refused the reward money"],["He pays him off.","Gives him the money/Pays him off "],["Peter","Peter."],["Because he loved Ellie.","He loves Ellie"],["On a bus in Florida.","On a bus"],["Because Peter left the motel without explanation.","Because Peter's car was gone"],["A reporter.","newspaper reporter"],["Because he believes Westley is only interested in the Andrew's family money.","He thinks Westley is only after Ellie's money"],["She believed he was going to turn her in.","He left for too long"],["By autogyro.","In an autogyro"],["New York City.","New York City"],["To gain exclusive rights to her story.","She agrees to give him an exclusive on her story."],["Because he knows Wesley is only interested in her money.","He believe that he married her for her money."],["A fresh out of work newspaper reporter.","A news reporter."],["An exclusive on her story.","Her permission to write a story about her."],["New York City.","New York city"],["She shows her leg.","Displays a shapely leg"],["He tries to steal their luggage,","Steal their suitcases."],["Because they think Peter has deserted her when they notice his car no longer there.","because Peter's car was gone"],["From his editor.","His Editor"],["39.60.","$39.60"],["Autogyro.","Autogyro"]],"string":"[\n [\n \"\\\"King\\\" Westley\",\n \"King Westley\"\n ],\n [\n \"He knows Westley is only interested in Ellie's money.\",\n \"Wesley is only interested in money.\"\n ],\n [\n \"To give the reporter an exclusive to be reunited with Westley\",\n \"The first choice.\"\n ],\n [\n \"She feels Peter betrayed her for the reward?\",\n \"She thinks Peter betray her \"\n ],\n [\n \"the reward money\",\n \"The reward money.\"\n ],\n [\n \"He loves Ellie.\",\n \"That he loves Ellie \"\n ],\n [\n \"Peter refused the reward money.\",\n \"Peter refused the reward money\"\n ],\n [\n \"He pays him off.\",\n \"Gives him the money/Pays him off \"\n ],\n [\n \"Peter\",\n \"Peter.\"\n ],\n [\n \"Because he loved Ellie.\",\n \"He loves Ellie\"\n ],\n [\n \"On a bus in Florida.\",\n \"On a bus\"\n ],\n [\n \"Because Peter left the motel without explanation.\",\n \"Because Peter's car was gone\"\n ],\n [\n \"A reporter.\",\n \"newspaper reporter\"\n ],\n [\n \"Because he believes Westley is only interested in the Andrew's family money.\",\n \"He thinks Westley is only after Ellie's money\"\n ],\n [\n \"She believed he was going to turn her in.\",\n \"He left for too long\"\n ],\n [\n \"By autogyro.\",\n \"In an autogyro\"\n ],\n [\n \"New York City.\",\n \"New York City\"\n ],\n [\n \"To gain exclusive rights to her story.\",\n \"She agrees to give him an exclusive on her story.\"\n ],\n [\n \"Because he knows Wesley is only interested in her money.\",\n \"He believe that he married her for her money.\"\n ],\n [\n \"A fresh out of work newspaper reporter.\",\n \"A news reporter.\"\n ],\n [\n \"An exclusive on her story.\",\n \"Her permission to write a story about her.\"\n ],\n [\n \"New York City.\",\n \"New York city\"\n ],\n [\n \"She shows her leg.\",\n \"Displays a shapely leg\"\n ],\n [\n \"He tries to steal their luggage,\",\n \"Steal their suitcases.\"\n ],\n [\n \"Because they think Peter has deserted her when they notice his car no longer there.\",\n \"because Peter's car was gone\"\n ],\n [\n \"From his editor.\",\n \"His Editor\"\n ],\n [\n \"39.60.\",\n \"$39.60\"\n ],\n [\n \"Autogyro.\",\n \"Autogyro\"\n ]\n]"},"document_id":{"kind":"string","value":"9be329dfb0883011646f7c2b1af909bb154209d7"},"split":{"kind":"string","value":"test"}}},{"rowIdx":88,"cells":{"text":{"kind":"list like","value":[[" Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He"," newspaper. The man leans to take a closer look, unfolds the \n newspaper, sees the headline, smiles and then folds it back \n up again and returns it to Peppy text-side-up, highlighting"," shuts the paper and searches for something in the drawer of his \n desk. He takes out a piece of paper. It's the telephone number \n that Peppy had scribbled down for him. He looks at it, moves"," Inside the full bus is the young woman from the day before. Her \n name is Peppy Miller. She is proudly holding \"The Hollywood \n Reporter\" with her face on the front page, and is more or less"," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect"," the headline: Who's that girl ? \n \n Peppy is a bit annoyed to have been put in her place, but \n deep down she knows he's right. Nobody knows who she is. She \n puts the newspaper away. \n"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"," the image of a young comedy debut... George looks at her, Peppy \n seems to be smiling at him. He smiles back. Then his smile \n becomes strained. He's noticed something. The two theater \n employees are sticking a banner over the poster that reveals"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years","21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \n \n Later on, in the dressing room corridor, Peppy, holding an","Her joyful expression gradually becomes one of abject \n apology, but George is roaring with laughter. \n \n After a short pause, Zimmer makes the connection. He checks \n the front page of the paper, and recognizes her! \n"," newspaper. He knows what's up but tries to laugh it off. She \n doesn't find it funny, is as cold as stone and barely looks \n at him. She is obviously extremely annoyed with him. George","97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \n \n We see Peppy on a shoot, sitting in a chair with her name on"," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her"," We're in a smart restaurant. George has his back to the room \n and is eating with his chauffeur. Peppy comes into the \n restaurant and comes to sit just behind George. They are back"," She stops because George is not looking at her anymore. He's \n watching the arrival of the young, smiling, handsome and \n wholesome man who is with Peppy. George bears a melancholy \n smile. \n"," advertising feature representing the \"new faces of Kinograph \n Studios\". Among the medallion framed young portraits, George \n recognizes that of Peppy Miller. He glances up at Zimmer. \n \n Title card: Fresh blood... \n"],[" newspaper. The man leans to take a closer look, unfolds the \n newspaper, sees the headline, smiles and then folds it back \n up again and returns it to Peppy text-side-up, highlighting"," Inside the full bus is the young woman from the day before. Her \n name is Peppy Miller. She is proudly holding \"The Hollywood \n Reporter\" with her face on the front page, and is more or less"," the headline: Who's that girl ? \n \n Peppy is a bit annoyed to have been put in her place, but \n deep down she knows he's right. Nobody knows who she is. She \n puts the newspaper away. \n"," Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He"," them which illustrate Peppy's rising fame. Her name moves \n higher up the posters and into bigger letters. The films are \n called \"The Rookie\", \"The Brunette \", \"The Girl Next Door\" and,","97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \n \n We see Peppy on a shoot, sitting in a chair with her name on"," the image of a young comedy debut... George looks at her, Peppy \n seems to be smiling at him. He smiles back. Then his smile \n becomes strained. He's noticed something. The two theater \n employees are sticking a banner over the poster that reveals"," on the front page of \"The Hollywood Reporter\" newspaper, along \n with three other pictures of the scene and the headline WHO'S \n THAT GIRL? \n \n"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," shuts the paper and searches for something in the drawer of his \n desk. He takes out a piece of paper. It's the telephone number \n that Peppy had scribbled down for him. He looks at it, moves"," magnificent Peppy rising above him. She's playing a scene with \n a young actor we recognize, it's Humphrey Bogart. He's become a \n spectator: he laughs, is absorbed and cries along with the \n others."," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," door\", \"The girl you'll love to love\" \"Young and pretty\", etc. \n with a photo of Peppy each time, posters of the film and then, \n everywhere, the face that it's a talking movie! Talking,"," hesitation, he walks away without saying a thing. Peppy looks \n at George gratefully, smiling, but seems a little preoccupied \n as though she might have made a mistake. \n \n Everyone on set gets back to work. \n \n"," appearing one after the other, creating a montage of images \n with a very 1920's feel. \"Get some Peps with Peppy!\" and a \n close up on her smiling, mischievous face. \"The girl next"," Peppy is facing her mirror and putting her make up on. She \n takes a break, looking a little sad. Someone (some kind of \n assistant) opens the door to her dressing room and says \n something like you need to hurry up. She nods and gets back"," that he smiles admiringly then signals that she's hired. \n \n Full of self-assurance that her lucky day has come, Peppy \n heads off towards wardrobe too; swinging, her hips as she"," sidewalk, people are cheerfully waiting in line. George walks \n up the line and comes to a movie house that's playing the \n \"Beauty Spot\" talking movie. A huge poster depicts Peppy and","21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \n \n Later on, in the dressing room corridor, Peppy, holding an"],[" George signs a big contract with Zimmer as photographers take \n pictures. He smiles broadly, whereas Zimmer looks like his \n smile is a little forced. \n \n The date appears on the screen: 1929"," It's morning. George opens his front door. His chauffeur is \n outside. The man's expression announces bad news. He's holding \n the day's press. The huge headlines talk of a stock market"," crash, a black Thursday, a catastrophe. \n \n Dressed in a robe, George is on the telephone in the living \n room. He nods. The atmosphere is stifling. He hangs up. His"," Crossfade to a man's pair of shoes with used heels and uppers. \n George's dog comes to sit at his feet. The date is superimposed \n on the screen: 1931. \n","Her joyful expression gradually becomes one of abject \n apology, but George is roaring with laughter. \n \n After a short pause, Zimmer makes the connection. He checks \n the front page of the paper, and recognizes her! \n"," September 14th. There aren't many people in the room, just five \n or six. George is standing at the back, smoking a cigarette. \n 28. \n \n"," of the light beams of a film première. Behind is a stylized \n town. The titles end in a fade to black. On black, the date \n appears on the screen: 1927 \n \n",""," George is in the same position. He still has the pistol in \n his mouth. Visibly, he's heard a BANG from outside, because \n he takes the pistol out of his mouth and looks out the \n window. \n \n"," him. The two men draw close and George asks him what's \n happening. The man takes the day's newspaper out of his pocket \n and hands it to George before walking off. George reads: \n Kinograph Studios stop all silent productions to work"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," She waves, but we can tell that her smile is set between her \n teeth. She isn't feeling comfortable. George motions firing a \n gun with his fingers, but she does not fall down, merely"," are listening in on their conversation and seem to be waiting \n for his decision. There's an element of déjà-vu to the \n situation, and Zimmer, who already backed down a few years \n before, gives in. \n"," There's hardly anyone in the theater. The people that are there \n look bored more than anything. At the back smoking a cigarette, \n George takes the failure on the chin. \n 22. \n \n","24 INT. GEORGE & DORIS' HOUSE - DAY 24 \n \n We see several quick sequences which indicate time passing: \n \n Breakfasts with George and Doris where the atmosphere is"," but his voice remains silent. One dancer, seeing his fright, \n bursts into throaty laughter. George rushes through the \n milling crowd the sound of which is becoming increasingly \n loud... \n \n"," talking and laughing vivaciously. George is with her with an \n expression of love on his face. He's laughing with her when, \n suddenly, reality bites. He's still sitting opposite Doris,"," chauffeur looks at him inquisitively. George replies as though \n lost in thought: \n 21. \n \n \n Title card: It would seem that we're ruined. \n"," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," specimens of America's golden youth. She is coming up, he is \n going down. When she notices him, she stops, already one step \n above of him. She has a beaming smile and is truly delighted to"],[" We find Peppy and George on a film set, still dancing. The \n piece of jazz they are dancing to has gone so crazy that now \n everyone wants to get up and dance! They are dancing a tap"," them which illustrate Peppy's rising fame. Her name moves \n higher up the posters and into bigger letters. The films are \n called \"The Rookie\", \"The Brunette \", \"The Girl Next Door\" and,"," door\", \"The girl you'll love to love\" \"Young and pretty\", etc. \n with a photo of Peppy each time, posters of the film and then, \n everywhere, the face that it's a talking movie! Talking,"," magnificent Peppy rising above him. She's playing a scene with \n a young actor we recognize, it's Humphrey Bogart. He's become a \n spectator: he laughs, is absorbed and cries along with the \n others."," He does the same with a second girl and she gets hired too. \n Then it's Peppy's turn. She puts a lot of energy into a few \n top class tap steps, impressing the guy to such an extent"," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her","97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \n \n We see Peppy on a shoot, sitting in a chair with her name on"," a large \"Beauty Spot\" film poster. The poster shows Peppy close \n up, wearing a magnificent and jauntily positioned chapka over \n one eye. She is incredibly stylish but in no way vampish, more"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect","21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \n \n Later on, in the dressing room corridor, Peppy, holding an"," dances with Peppy, and, each time, the nature of their rapport \n changes. To begin with, they are happy and laughing, but then, \n with time, less so. Then they become embarrassed, and then"," Inside the full bus is the young woman from the day before. Her \n name is Peppy Miller. She is proudly holding \"The Hollywood \n Reporter\" with her face on the front page, and is more or less"," sidewalk, people are cheerfully waiting in line. George walks \n up the line and comes to a movie house that's playing the \n \"Beauty Spot\" talking movie. A huge poster depicts Peppy and"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," a little. She hangs up, pensive for a moment. On set,the \n director gestures to his assistant that the shot is ready and \n they are good to go. The assistant goes towards Peppy to let"," appearing one after the other, creating a montage of images \n with a very 1920's feel. \"Get some Peps with Peppy!\" and a \n close up on her smiling, mischievous face. \"The girl next"," advertising feature representing the \"new faces of Kinograph \n Studios\". Among the medallion framed young portraits, George \n recognizes that of Peppy Miller. He glances up at Zimmer. \n \n Title card: Fresh blood... \n"," the image of a young comedy debut... George looks at her, Peppy \n seems to be smiling at him. He smiles back. Then his smile \n becomes strained. He's noticed something. The two theater \n employees are sticking a banner over the poster that reveals"," that he smiles admiringly then signals that she's hired. \n \n Full of self-assurance that her lucky day has come, Peppy \n heads off towards wardrobe too; swinging, her hips as she"],[" his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," close ups show his devastating smile to its best advantage. In \n fact, it's an extract from The Mark of Zorro with Douglas \n Fairbanks, into which we'll insert close ups of Jean we've shot \n ourselves. \n","81 INT. AUCTION ROOMS - DAY 81 \n \n A sign says that the effects of George Valentin are to be \n auctioned. Furniture, costumes, objets d'art and paintings on"," of the light beams of a film première. Behind is a stylized \n town. The titles end in a fade to black. On black, the date \n appears on the screen: 1927 \n \n"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"," The letters of the titles come up on a title card typical of \n the 1920s. Elegant motifs around the edge of the frame, and, \n in the background, there are geometrical shapes reminiscent"," magnificent Peppy rising above him. She's playing a scene with \n a young actor we recognize, it's Humphrey Bogart. He's become a \n spectator: he laughs, is absorbed and cries along with the \n others."," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her"," Title card: George is a silent movie actor. He belongs to the \n past. Today he's a nobody. \n \n As Zimmer's speaking, she removes her accessories and hat. \n Zimmer is so intrigued he stops talking. \n"," Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect"," exclusively on talkies. \n \n \n 42 INT. KINOGRAPH STUDIOS - SECRETARY'S OFFICE - DAY 42 \n \n Despite the secretary's attempts to stop him, a furious George"," We see her playing some bit parts, maid, dancer, etc. Her roles \n seem to get a little bigger. We notice that she now wears the \n beauty spot that she'll keep forever. \n"," advertising feature representing the \"new faces of Kinograph \n Studios\". Among the medallion framed young portraits, George \n recognizes that of Peppy Miller. He glances up at Zimmer. \n \n Title card: Fresh blood... \n"," sidewalk, people are cheerfully waiting in line. George walks \n up the line and comes to a movie house that's playing the \n \"Beauty Spot\" talking movie. A huge poster depicts Peppy and"," appearing one after the other, creating a montage of images \n with a very 1920's feel. \"Get some Peps with Peppy!\" and a \n close up on her smiling, mischievous face. \"The girl next","123 INT. KINOGRAPH STUDIOS (1931) - ZIMMER'S OFFICE - DAY 123 \n \n Music suddenly begins to play and we see feet dancing in"," we see George begin making his film, the first clap of the \n board that shows he's both the film's producer and director. \n The film is called Tears of love, and it tells the tale of an"],["81 INT. AUCTION ROOMS - DAY 81 \n \n A sign says that the effects of George Valentin are to be \n auctioned. Furniture, costumes, objets d'art and paintings on"," George is now with the auctioneer, he's studying the list of \n items as auction assistants busy themselves around him, \n carrying and packing the sold lots. The auctioneer, who is \n putting on his coat, congratulates George. \n"," she bought everything he had put up for sale: furniture, \n paintings, objets d'art, souvenirs, etc. He rips off sheets \n one after the other and the objects appear, even down to his"," to them, however, the more his expression tightens. We realize \n that the butler is none other than the distinguished-looking \n man who purchased everything at the auction, and that the maid \n is the woman who was bidding against him to raise the sale"," He's looking a little unsteady on his feet, probably due to the \n hip flask he's necking that seems to contain liquor. The \n objects go under the hammer one by one. We see the three"," distinguished-looking man who puts on his coat and leaves. \n \n \n 83 EXT. AUCTION ROOM'S STREET - DAY 83 \n \n They leave at the same time. The man crosses the street, we"," being raised, hammer falling, \"sold\" labels) show us the lots \n disappearing - every single item is sold. \n \n \n 82 INT. AUCTION ROOMS - CORRIDOR - DAY 82 \n"," reveal a piece of furniture. Once again it's a piece that used \n to belong to him and we recognize it from having seen it at the \n auction room. \n \n After taking off several other sheets, George realizes that"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," In a pawnshop, George, still a little drunk, is selling his \n tuxedo. The pawnbroker and he are visibly disagreeing on the \n price, but of course it's George who folds first and hands"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," Title card: Well done! It all sold, there's nothing left! \n \n George nods but his smile seems a little ironic. He leaves \n the room. \n \n On the stairway, as he's leaving, he is joined by the"," monkeys go by, notably, hear no evil, speak no evil, see no \n evil. Two buyers especially are raising the prices by bidding \n against each other, a distinguished and reserved-looking man,"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment.","80 INT. GEORGE'S HOUSE - DAY 80 \n \n The next morning, George gets up and goes to look from the \n window. The chauffeur has gone. George is a little sad, but"," souvenirs together and get out of the house. \n \n Doris \n P.S.: You should go see Beauty Spot, it's incredible. \n \n George takes it on the chin and leaves, revealing behind him"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," so. He does not look at her. She leaves the room. Once he has \n studied and necklace and is satisfied, George turns back \n towards Peppy but she is no longer there. The chauffeur exits \n the room. \n"],[" the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," (91) In the room, among the flames and the smoke, George - \n now breathless - picks one of the reels and tries to turn \n round. He collapses, still holding on to the can. \n \n"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," of them. George is delighted at the sight, by the whole scene \n and, realizing this, the young woman steals a kiss. Flash. The \n image becomes static, then dissolves into the printed picture","122 INT. GEORGE'S BURNT HOUSE - DAY 122 \n \n She rushes into the living room and stops for a moment to look \n at George. George awkwardly tries to hide the pistol behind"," Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," lies an old page from a newspaper that bears a picture of \n George. A man's feet trample the picture. \n \n \n 66 INT. GEORGE & DORIS' HOUSE - NIGHT 66 \n"," not there. She looks for him but can't find him. The maid says \n that he has left. She drops the flowers. \n \n \n 116 INT. GEORGE'S BURNT HOUSE - DAY 116"," seem to still be clutching something. She's intrigued. In \n response, the doctor shows her the reel of film that sits in \n a corner of the room. \n \n Title card: He was holding that. It was real hard to pry it"," the reels and films that he has not opened are, and begins \n throwing them frantically over his shoulder as though he's \n looking for one in particular. The ever-increasing denseness \n of the smoke, however, is making the task almost impossible."," were inside. She takes pleasure from the embrace and, when \n George comes into the room, she slowly removes her hand without \n any rush. George sees her, they look at each other. He closes"," instant and give off lots of smoke. Jack is panicking and \n barks incessantly. Suddenly, George seems to lose it. He \n doesn't know what to do anymore and, although the fire is \n spreading quite spectacularly around him, he runs to where"," eyes, one with hands clasped to its ears and the third \n obscuring its mouth. George comes into the room and kisses \n his wife. She responds with cold indifference. You could cut \n the atmosphere with a knife. The woman hands George the"," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"," There's madness in his eyes as he watches the fire take hold. \n We can see his pleasure at seeing the flames spread. But he's \n very quickly overrun. The reels burst into flames in an"," the sheet. Underneath he finds his former objet d'art, the \n three monkeys \"hear no evil\", \"speak no evil\" and \"see no \n evil\". He thinks for a moment, then pulls of another sheet to"],[" sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," shakes of his head and his apologetic air as he listens to \n Peppy. She finally stops talking and gives him a determined \n look. Zimmer, uncomfortable and sorry, calmly replies. \n"," A screenplay lies on a table. Peppy and Zimmer are seated \n either side of the table and are talking animatedly. We're on \n the set we saw the previous day, and Peppy seems to be trying"," Zimmer is convinced by them, and, when they finish their \n demonstration, he has a broad smile on his face. \n \n \n 124 INT. STUDIO - PEPPY & GEORGE - DAY 124 \n"," another decor. Except that from now on we actually hear the \n sound of the tap steps. We pull back to find Peppy and George \n in Zimmer's office. They're dancing for him. Little by little,"," advertising feature representing the \"new faces of Kinograph \n Studios\". Among the medallion framed young portraits, George \n recognizes that of Peppy Miller. He glances up at Zimmer. \n \n Title card: Fresh blood... \n"," Even when she's blackmailing, she's still pretty, and Zimmer \n looks at her totally at a loss but at the same time it's \n obvious that he's going to back down. The people around them"," hesitation, he walks away without saying a thing. Peppy looks \n at George gratefully, smiling, but seems a little preoccupied \n as though she might have made a mistake. \n \n Everyone on set gets back to work. \n \n"," Peppy is facing her mirror and putting her make up on. She \n takes a break, looking a little sad. Someone (some kind of \n assistant) opens the door to her dressing room and says \n something like you need to hurry up. She nods and gets back"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms","young woman. She pulls a face meaning 'Here I am!!' And of \n course it's Peppy, except that she immediately realizes who \n she is dealing with - visibly she wasn't expecting this at \n all - and feels completely ridiculous and uncomfortable. \n"," (119) As for Peppy, she's speeding along, totally ignoring \n even the most basic of road safety requirements. \n \n (120) George puts down his glass and picks up the pistol."," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her"," the image of a young comedy debut... George looks at her, Peppy \n seems to be smiling at him. He smiles back. Then his smile \n becomes strained. He's noticed something. The two theater \n employees are sticking a banner over the poster that reveals"," Peppy enters. She's anxious but the doctor seems reassuring. \n \n Title card: He's not in any danger now. He just needs to \n rest. \n \n Peppy goes up to George. She notices that his burnt hands","21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \n \n Later on, in the dressing room corridor, Peppy, holding an"," shuts the paper and searches for something in the drawer of his \n desk. He takes out a piece of paper. It's the telephone number \n that Peppy had scribbled down for him. He looks at it, moves"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," nothing to feel bad about. He opens his arms towards her, \n still holding the pistol and the gun fires itself. \n Fortunately no one is hurt, but the incident makes Peppy \n laugh and, between sobs and gasps of laughter she throws","halt, talks to George as he shows him the front page. He is \n visibly upset. George looks a lot more relaxed, he says hello \n and vaguely tries to reassure him. But Zimmer persists, still \n pointing at the newspaper. \n"],[" (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," exclusively on talkies. \n \n \n 42 INT. KINOGRAPH STUDIOS - SECRETARY'S OFFICE - DAY 42 \n \n Despite the secretary's attempts to stop him, a furious George"," Title card: I don't need you. Go make your talking movies. \n I'm going to make them a beautiful film! \n 17. \n \n \n As George leaves in disgust, his eyes are drawn to an"," him. The two men draw close and George asks him what's \n happening. The man takes the day's newspaper out of his pocket \n and hands it to George before walking off. George reads: \n Kinograph Studios stop all silent productions to work"," Title card: George is a silent movie actor. He belongs to the \n past. Today he's a nobody. \n \n As Zimmer's speaking, she removes her accessories and hat. \n Zimmer is so intrigued he stops talking. \n"," audience can hear her. It is however, awful. \n \n (31) In the screening room, the audience seems stunned by \n what they see/hear. They are fascinated. They then begin to"," talking and laughing vivaciously. George is with her with an \n expression of love on his face. He's laughing with her when, \n suddenly, reality bites. He's still sitting opposite Doris,"," We're back with George in his dressing room. He's removing his \n make up. He moves some ordinary object and the object, as he \n moves it, makes a noise. We hear the noise it makes. Really"," tests it, delighted to be there. Cut. We see her again, the \n microphone has disappeared and she acts out a scene. It's a \n monologue. Her acting is terrible, very theatrical, but the","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms","81 INT. AUCTION ROOMS - DAY 81 \n \n A sign says that the effects of George Valentin are to be \n auctioned. Furniture, costumes, objets d'art and paintings on"," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her"," is finishing putting his make up on. He has a white face and \n dark lips and eyes. His chauffeur is signing autographs for \n him on full length photographs of himself (George) with his \n dog. George says to him: \n"," Title card: We belong to another age, you and I, George. \n Nowadays, the world talks. \n \n He talks to him, looks a little embarrassed, while George \n takes it on the chin, not knowing how to respond. \n"," A screenplay lies on a table. Peppy and Zimmer are seated \n either side of the table and are talking animatedly. We're on \n the set we saw the previous day, and Peppy seems to be trying"," door\", \"The girl you'll love to love\" \"Young and pretty\", etc. \n with a photo of Peppy each time, posters of the film and then, \n everywhere, the face that it's a talking movie! Talking,","dialogue ensues between the two pairs of legs, until the set \n hands - the path before them now cleared - pick up their \n screen of scenery and walk off with it. The screen moves away \n and as it disappears reveals that the upper body belongs to a"],[" (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," We're in a smart restaurant. George has his back to the room \n and is eating with his chauffeur. Peppy comes into the \n restaurant and comes to sit just behind George. They are back"," sidewalk, people are cheerfully waiting in line. George walks \n up the line and comes to a movie house that's playing the \n \"Beauty Spot\" talking movie. A huge poster depicts Peppy and"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," Peppy Miller is \"The Guardian Angel\". It's a huge poster on the \n façade of a movie theater. George goes inside. With Jack. \n \n"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years"," We find Peppy and George on a film set, still dancing. The \n piece of jazz they are dancing to has gone so crazy that now \n everyone wants to get up and dance! They are dancing a tap"," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her"," the image of a young comedy debut... George looks at her, Peppy \n seems to be smiling at him. He smiles back. Then his smile \n becomes strained. He's noticed something. The two theater \n employees are sticking a banner over the poster that reveals"," She stops because George is not looking at her anymore. He's \n watching the arrival of the young, smiling, handsome and \n wholesome man who is with Peppy. George bears a melancholy \n smile. \n"," Inside the full bus is the young woman from the day before. Her \n name is Peppy Miller. She is proudly holding \"The Hollywood \n Reporter\" with her face on the front page, and is more or less"," advertising feature representing the \"new faces of Kinograph \n Studios\". Among the medallion framed young portraits, George \n recognizes that of Peppy Miller. He glances up at Zimmer. \n \n Title card: Fresh blood... \n"," hesitation, he walks away without saying a thing. Peppy looks \n at George gratefully, smiling, but seems a little preoccupied \n as though she might have made a mistake. \n \n Everyone on set gets back to work. \n \n"," herself into George's arms. They hug for a long time. Peppy \n says into his ear, \n \n Title card: You've got so much that no one else has... \n \n And into her ear, George replies: \n"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect"," pauses in front of the butler. \n 8. \n \n \n Title card: The name is Miller. Peppy Miller! \n \n She finishes with an exaggerated wink, before walking on,"," magnificent Peppy rising above him. She's playing a scene with \n a young actor we recognize, it's Humphrey Bogart. He's become a \n spectator: he laughs, is absorbed and cries along with the \n others."," The man casts a glance to ask her what he should do next. \n Peppy, with a forced smile, motions that they can leave. As the \n man starts up the motorcar, George is walking away. The car"],[" that he smiles admiringly then signals that she's hired. \n \n Full of self-assurance that her lucky day has come, Peppy \n heads off towards wardrobe too; swinging, her hips as she"," Peppy is facing her mirror and putting her make up on. She \n takes a break, looking a little sad. Someone (some kind of \n assistant) opens the door to her dressing room and says \n something like you need to hurry up. She nods and gets back","young woman. She pulls a face meaning 'Here I am!!' And of \n course it's Peppy, except that she immediately realizes who \n she is dealing with - visibly she wasn't expecting this at \n all - and feels completely ridiculous and uncomfortable. \n"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years"," He does the same with a second girl and she gets hired too. \n Then it's Peppy's turn. She puts a lot of energy into a few \n top class tap steps, impressing the guy to such an extent"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," them which illustrate Peppy's rising fame. Her name moves \n higher up the posters and into bigger letters. The films are \n called \"The Rookie\", \"The Brunette \", \"The Girl Next Door\" and,"," directs her with a raised hand that Peppy immediately follows. \n \n She bounds up the stairs four at a time and comes into a \n corridor, \n \n"," Peppy gets home in the evening, arms laden with flowers. She's \n happy. \n \n She quickly goes up the stairs and into George's bedroom. He's","97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \n \n We see Peppy on a shoot, sitting in a chair with her name on"," a little. She hangs up, pensive for a moment. On set,the \n director gestures to his assistant that the shot is ready and \n they are good to go. The assistant goes towards Peppy to let"," two make up girls, a hairdresser and a wardrobe assistant. \n Peppy, fortunately, has stayed completely natural and doesn't \n seem to take any of it seriously. As the last touch is put in"," place, Peppy gets to her feet and turns round. \n 26. \n \n \n At her feet lie a dozen pairs of shoes, each pair as \n magnificent as the next, and all in their swanky boxes. Peppy"," appearing one after the other, creating a montage of images \n with a very 1920's feel. \"Get some Peps with Peppy!\" and a \n close up on her smiling, mischievous face. \"The girl next"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," (119) As for Peppy, she's speeding along, totally ignoring \n even the most basic of road safety requirements. \n \n (120) George puts down his glass and picks up the pistol.","72 INT. KINOGRAPH STUDIOS - PEPPY'S DRESSING ROOM - DAY 72 \n \n We catch up with her in a close up, applying her make up. The"," We find Peppy and George on a film set, still dancing. The \n piece of jazz they are dancing to has gone so crazy that now \n everyone wants to get up and dance! They are dancing a tap"," dances with Peppy, and, each time, the nature of their rapport \n changes. To begin with, they are happy and laughing, but then, \n with time, less so. Then they become embarrassed, and then"],[" His position and demeanor are exactly like when he was watching \n the screening of Tears of Love, from the back of the room with \n the verdict of failure in the air... \n"," be loved, but Doris is implacable. She gets up, walks away \n and does not turn back. Left on his own, George has a closed \n expression on his face. He seems unhappy to have hurt his"," It's obvious he's only saying that so that she can forget him \n and move on with her life, but it doesn't wash and the young \n woman weeps all the more, terribly moved by this last \n sacrifice on his part. \n"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He"," disgusted. Suddenly his shadow separates itself from him and \n moves independently from him. As he shouts at it, it lowers \n its head and doesn't reply. \n \n Title card: You acted very badly! You were thoughtless!"," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"," When he is alone, George looks at himself in the mirror. His \n expression shows that he things he is the stupidest man in \n the world. He mimes shooting himself in the temple with his"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," She stops because George is not looking at her anymore. He's \n watching the arrival of the young, smiling, handsome and \n wholesome man who is with Peppy. George bears a melancholy \n smile. \n"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," He carries on shouting at it, obviously very annoyed with it. \n \n Title card: You were very nasty! And stupid! And arrogant! \n \n He doesn't even want to look at it anymore. He looks"," Title card: I don't need you. Go make your talking movies. \n I'm going to make them a beautiful film! \n 17. \n \n \n As George leaves in disgust, his eyes are drawn to an"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."," suits and tuxedos. He continues and discovers the painting \n depicting him in a tux, waving and smiling. George looks \n stunned at the sight of himself looking so full of life. He's"," become more \"common\", less unattainable. He seems to have lost \n whatever it was that made him so superb. Primarily he's a bit \n drunk, somewhat hesitant. George gets up and closes his Murphy"," picks up a photo, looks at it closely and then writes on it. \n As he leaves the dressing room, we see the photograph. He's \n written Woof Woof on it, and signed it with the paw print of \n a dog. \n \n"," There's hardly anyone in the theater. The people that are there \n look bored more than anything. At the back smoking a cigarette, \n George takes the failure on the chin. \n 22. \n \n"," the sheet. Underneath he finds his former objet d'art, the \n three monkeys \"hear no evil\", \"speak no evil\" and \"see no \n evil\". He thinks for a moment, then pulls of another sheet to"," eyes, one with hands clasped to its ears and the third \n obscuring its mouth. George comes into the room and kisses \n his wife. She responds with cold indifference. You could cut \n the atmosphere with a knife. The woman hands George the"],[" His position and demeanor are exactly like when he was watching \n the screening of Tears of Love, from the back of the room with \n the verdict of failure in the air... \n"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," be loved, but Doris is implacable. She gets up, walks away \n and does not turn back. Left on his own, George has a closed \n expression on his face. He seems unhappy to have hurt his"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He"," (64) The hand has disappeared. The young woman is in a state \n of shock, rigid with a look of horror on her face. She is no \n doubt about to be put to certain death. The dog turns round \n and walks off with head and tail lowered..."," disgusted. Suddenly his shadow separates itself from him and \n moves independently from him. As he shouts at it, it lowers \n its head and doesn't reply. \n \n Title card: You acted very badly! You were thoughtless!"," (91) In the room, among the flames and the smoke, George - \n now breathless - picks one of the reels and tries to turn \n round. He collapses, still holding on to the can. \n \n"," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," There's hardly anyone in the theater. The people that are there \n look bored more than anything. At the back smoking a cigarette, \n George takes the failure on the chin. \n 22. \n \n"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," He carries on shouting at it, obviously very annoyed with it. \n \n Title card: You were very nasty! And stupid! And arrogant! \n \n He doesn't even want to look at it anymore. He looks"," there. He begins to holler. \n \n Title card: COME BACK! COME BACK HERE RIGHT NOW!!! \n \n Totally smashed he starts to violently throw film reels"," George is in the same position. He still has the pistol in \n his mouth. Visibly, he's heard a BANG from outside, because \n he takes the pistol out of his mouth and looks out the \n window. \n \n"," picks up a photo, looks at it closely and then writes on it. \n As he leaves the dressing room, we see the photograph. He's \n written Woof Woof on it, and signed it with the paw print of \n a dog. \n \n"," of them. George is delighted at the sight, by the whole scene \n and, realizing this, the young woman steals a kiss. Flash. The \n image becomes static, then dissolves into the printed picture"," talking and laughing vivaciously. George is with her with an \n expression of love on his face. He's laughing with her when, \n suddenly, reality bites. He's still sitting opposite Doris,"," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"],[" sees the smoke coming out of the house. He runs into the smoke. \n \n \n 95 INT. GEORGE'S HOUSE - DAY 95 \n \n A completely unconscious George, overcome by the fumes, is"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," instant and give off lots of smoke. Jack is panicking and \n barks incessantly. Suddenly, George seems to lose it. He \n doesn't know what to do anymore and, although the fire is \n spreading quite spectacularly around him, he runs to where"," dragged out of the fire by the policeman. \n \n \n 96 EXT. GEORGE'S HOUSE - DAY 96 \n \n They come out the house. George is still clutching the reel. A"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," On the floor, below the smoke, Jack flees the room and runs \n off while George suffocates but continues to struggle with \n the cans of reels. \n \n"," Peppy enters. She's anxious but the doctor seems reassuring. \n \n Title card: He's not in any danger now. He just needs to \n rest. \n \n Peppy goes up to George. She notices that his burnt hands"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n","122 INT. GEORGE'S BURNT HOUSE - DAY 122 \n \n She rushes into the living room and stops for a moment to look \n at George. George awkwardly tries to hide the pistol behind"," He composes himself. She casts him an admiring glance. Then, \n in view of the urgency of their situation, they escape at a \n run. \n \n"," not there. She looks for him but can't find him. The maid says \n that he has left. She drops the flowers. \n \n \n 116 INT. GEORGE'S BURNT HOUSE - DAY 116"," Coming out of the theater several young people bump into him. \n They don't recognize him. There's a lot of people milling \n about, so he picks Jack up. A woman exclaims an Oh! of"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," goes over to George. She reassures him, motions to him not to \n get upset, then slowly leaves the room before running off down \n the corridor. She knocks at a door then goes back to George's"," George calms down as he sits in the living room, alone in the \n darkness. Jack, still sleepy, has just curled into a ball \n next to him to fall back to sleep. George smiles and gives \n him a pat. \n \n"," understand it either, he tries to pick up altitude, but quickly \n notices that the explosions are in fact pretty and \n inoffensive. He consults a calendar dial on the control panel \n that shows it is July 14th, immediately understands, and"," (91) In the room, among the flames and the smoke, George - \n now breathless - picks one of the reels and tries to turn \n round. He collapses, still holding on to the can. \n \n"," were inside. She takes pleasure from the embrace and, when \n George comes into the room, she slowly removes her hand without \n any rush. George sees her, they look at each other. He closes"," and George respectfully bows, walks away from him still bowing \n then turns and runs. Once out of the decor, he bumps right into \n a worried-looking Zimmer who is followed by his loyal"," The man (the hero, thus) imprisons the guard without harming \n him, then runs over to the guard's desk. His ears are still \n causing him pain, but he opens a drawer and takes out his"],[" George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," dragged out of the fire by the policeman. \n \n \n 96 EXT. GEORGE'S HOUSE - DAY 96 \n \n They come out the house. George is still clutching the reel. A"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," of them. George is delighted at the sight, by the whole scene \n and, realizing this, the young woman steals a kiss. Flash. The \n image becomes static, then dissolves into the printed picture"," instant and give off lots of smoke. Jack is panicking and \n barks incessantly. Suddenly, George seems to lose it. He \n doesn't know what to do anymore and, although the fire is \n spreading quite spectacularly around him, he runs to where"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."," On the floor, below the smoke, Jack flees the room and runs \n off while George suffocates but continues to struggle with \n the cans of reels. \n \n"," (91) In the room, among the flames and the smoke, George - \n now breathless - picks one of the reels and tries to turn \n round. He collapses, still holding on to the can. \n \n"," she bought everything he had put up for sale: furniture, \n paintings, objets d'art, souvenirs, etc. He rips off sheets \n one after the other and the objects appear, even down to his"," reveal a piece of furniture. Once again it's a piece that used \n to belong to him and we recognize it from having seen it at the \n auction room. \n \n After taking off several other sheets, George realizes that"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"," (64) The hand has disappeared. The young woman is in a state \n of shock, rigid with a look of horror on her face. She is no \n doubt about to be put to certain death. The dog turns round \n and walks off with head and tail lowered..."," There's madness in his eyes as he watches the fire take hold. \n We can see his pleasure at seeing the flames spread. But he's \n very quickly overrun. The reels burst into flames in an"," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"," the sheet. Underneath he finds his former objet d'art, the \n three monkeys \"hear no evil\", \"speak no evil\" and \"see no \n evil\". He thinks for a moment, then pulls of another sheet to","122 INT. GEORGE'S BURNT HOUSE - DAY 122 \n \n She rushes into the living room and stops for a moment to look \n at George. George awkwardly tries to hide the pistol behind"," not there. She looks for him but can't find him. The maid says \n that he has left. She drops the flowers. \n \n \n 116 INT. GEORGE'S BURNT HOUSE - DAY 116"," (63) Next to Peppy, the young man sits watching her. She sees \n sad. \n \n (64) On screen, George has disappeared into the mire. Only \n one hand stays in the air for several seconds more in a"," Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He"," seem to still be clutching something. She's intrigued. In \n response, the doctor shows her the reel of film that sits in \n a corner of the room. \n \n Title card: He was holding that. It was real hard to pry it"],["81 INT. AUCTION ROOMS - DAY 81 \n \n A sign says that the effects of George Valentin are to be \n auctioned. Furniture, costumes, objets d'art and paintings on"," George is now with the auctioneer, he's studying the list of \n items as auction assistants busy themselves around him, \n carrying and packing the sold lots. The auctioneer, who is \n putting on his coat, congratulates George. \n"," she bought everything he had put up for sale: furniture, \n paintings, objets d'art, souvenirs, etc. He rips off sheets \n one after the other and the objects appear, even down to his"," to them, however, the more his expression tightens. We realize \n that the butler is none other than the distinguished-looking \n man who purchased everything at the auction, and that the maid \n is the woman who was bidding against him to raise the sale"," He's looking a little unsteady on his feet, probably due to the \n hip flask he's necking that seems to contain liquor. The \n objects go under the hammer one by one. We see the three"," being raised, hammer falling, \"sold\" labels) show us the lots \n disappearing - every single item is sold. \n \n \n 82 INT. AUCTION ROOMS - CORRIDOR - DAY 82 \n"," reveal a piece of furniture. Once again it's a piece that used \n to belong to him and we recognize it from having seen it at the \n auction room. \n \n After taking off several other sheets, George realizes that"," distinguished-looking man who puts on his coat and leaves. \n \n \n 83 EXT. AUCTION ROOM'S STREET - DAY 83 \n \n They leave at the same time. The man crosses the street, we"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," In a pawnshop, George, still a little drunk, is selling his \n tuxedo. The pawnbroker and he are visibly disagreeing on the \n price, but of course it's George who folds first and hands"," monkeys go by, notably, hear no evil, speak no evil, see no \n evil. Two buyers especially are raising the prices by bidding \n against each other, a distinguished and reserved-looking man,"," Title card: Well done! It all sold, there's nothing left! \n \n George nods but his smile seems a little ironic. He leaves \n the room. \n \n On the stairway, as he's leaving, he is joined by the"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," souvenirs together and get out of the house. \n \n Doris \n P.S.: You should go see Beauty Spot, it's incredible. \n \n George takes it on the chin and leaves, revealing behind him"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," and a lady of a certain age who looks a bit severe, to the \n point of bigotry. They don't seem perfectly comfortable, but \n they are the only two buying. \n \n A few crossfades (the display table emptying, faces, hands"," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"],[" shuts the paper and searches for something in the drawer of his \n desk. He takes out a piece of paper. It's the telephone number \n that Peppy had scribbled down for him. He looks at it, moves"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," Peppy enters. She's anxious but the doctor seems reassuring. \n \n Title card: He's not in any danger now. He just needs to \n rest. \n \n Peppy goes up to George. She notices that his burnt hands"," room. Peppy is close on her heels. She comes into the room in \n her nightgown. When he sees her, George smiles and she rushes \n over to the bed and puts her arms tight around him. She is"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years","105 INT. PEPPY'S HOUSE - DAY 105 \n \n A little later, and alone, he's exploring the house. It's \n richly and tastefully decorated, highly personal. He goes"," so. He does not look at her. She leaves the room. Once he has \n studied and necklace and is satisfied, George turns back \n towards Peppy but she is no longer there. The chauffeur exits \n the room. \n"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"," another decor. Except that from now on we actually hear the \n sound of the tap steps. We pull back to find Peppy and George \n in Zimmer's office. They're dancing for him. Little by little,"," follow him. \n \n He gets into a car. Peppy is sitting in the back. She's alone \n and watching George walk off with his unsteady gait. She's sad."," Peppy gets home in the evening, arms laden with flowers. She's \n happy. \n \n She quickly goes up the stairs and into George's bedroom. He's"," nothing to feel bad about. He opens his arms towards her, \n still holding the pistol and the gun fires itself. \n Fortunately no one is hurt, but the incident makes Peppy \n laugh and, between sobs and gasps of laughter she throws","112 INT. PEPPY'S HOUSE - GEORGE'S BEDROOM - DAY 112 \n \n He finishes putting on his burnt suit in his room, and leaves. \n \n"," Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He"," Peppy is driving as fast as she can through town, but she's \n pretty reckless and almost causes an accident. \n \n \n 120 INT. GEORGE'S BURNT HOUSE - DAY 120 \n"," hesitation, he walks away without saying a thing. Peppy looks \n at George gratefully, smiling, but seems a little preoccupied \n as though she might have made a mistake. \n \n Everyone on set gets back to work. \n \n"," walks off. George, totally bewildered by the incident, seems \n to lose his grip on himself a little more. \n \n \n 115 INT. PEPPY'S HOUSE - DAY 115 \n"," her know but, as he gets to where she should be, her seat is \n empty. He looks everywhere for her, but she has disappeared. \n \n \n 98 INT. PEPPY'S CAR (DRIVING) - DAY 98"," sets off and overtakes him. Peppy does not turn round. She's \n crying. \n \n \n 84 INT. CLANDESTINE BAR - NIGHT 84 \n"," (63) Next to Peppy, the young man sits watching her. She sees \n sad. \n \n (64) On screen, George has disappeared into the mire. Only \n one hand stays in the air for several seconds more in a"],[" away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," Title card: No, I'm nothing but a shadow. No good for \n anything but silence. \n \n Peppy doesn't reply. She just holds him tighter still and \n closes her eyes. Jack is sitting close by, watching them and"," dances with Peppy, and, each time, the nature of their rapport \n changes. To begin with, they are happy and laughing, but then, \n with time, less so. Then they become embarrassed, and then"," We find Peppy and George on a film set, still dancing. The \n piece of jazz they are dancing to has gone so crazy that now \n everyone wants to get up and dance! They are dancing a tap"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect"," (63) In the balcony, Peppy is speechless and her face \n impassive. \n \n (64) On screen, George and the young women exchange a last \n glance as George's face gradually sinks into the sand. \n"," magnificent Peppy rising above him. She's playing a scene with \n a young actor we recognize, it's Humphrey Bogart. He's become a \n spectator: he laughs, is absorbed and cries along with the \n others."," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," hesitation, he walks away without saying a thing. Peppy looks \n at George gratefully, smiling, but seems a little preoccupied \n as though she might have made a mistake. \n \n Everyone on set gets back to work. \n \n"," the image of a young comedy debut... George looks at her, Peppy \n seems to be smiling at him. He smiles back. Then his smile \n becomes strained. He's noticed something. The two theater \n employees are sticking a banner over the poster that reveals"," Title card: George is a silent movie actor. He belongs to the \n past. Today he's a nobody. \n \n As Zimmer's speaking, she removes her accessories and hat. \n Zimmer is so intrigued he stops talking. \n"," Crash. He looks for something on the inside pages of one paper \n and reads. Next to a large picture of Peppy there's a review of \n his own film, beginning \"Tears of Love, Old and Boring\". He"," The man casts a glance to ask her what he should do next. \n Peppy, with a forced smile, motions that they can leave. As the \n man starts up the motorcar, George is walking away. The car"," their faces. The music stops on a powerful blast from the \n brass instruments that leaves everyone bursting with energy. \n In the ensuing silence, Peppy and George stay exactly where \n they were, facing the camera, with the smile stuck on their"," We're in a smart restaurant. George has his back to the room \n and is eating with his chauffeur. Peppy comes into the \n restaurant and comes to sit just behind George. They are back"," herself into George's arms. They hug for a long time. Peppy \n says into his ear, \n \n Title card: You've got so much that no one else has... \n \n And into her ear, George replies: \n"],[" (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," We're in a smart restaurant. George has his back to the room \n and is eating with his chauffeur. Peppy comes into the \n restaurant and comes to sit just behind George. They are back"," She stops because George is not looking at her anymore. He's \n watching the arrival of the young, smiling, handsome and \n wholesome man who is with Peppy. George bears a melancholy \n smile. \n"," the image of a young comedy debut... George looks at her, Peppy \n seems to be smiling at him. He smiles back. Then his smile \n becomes strained. He's noticed something. The two theater \n employees are sticking a banner over the poster that reveals"," Title card: George is a silent movie actor. He belongs to the \n past. Today he's a nobody. \n \n As Zimmer's speaking, she removes her accessories and hat. \n Zimmer is so intrigued he stops talking. \n"," sidewalk, people are cheerfully waiting in line. George walks \n up the line and comes to a movie house that's playing the \n \"Beauty Spot\" talking movie. A huge poster depicts Peppy and"," and George respectfully bows, walks away from him still bowing \n then turns and runs. Once out of the decor, he bumps right into \n a worried-looking Zimmer who is followed by his loyal"," follow him. \n \n He gets into a car. Peppy is sitting in the back. She's alone \n and watching George walk off with his unsteady gait. She's sad."," hesitation, he walks away without saying a thing. Peppy looks \n at George gratefully, smiling, but seems a little preoccupied \n as though she might have made a mistake. \n \n Everyone on set gets back to work. \n \n"," The man casts a glance to ask her what he should do next. \n Peppy, with a forced smile, motions that they can leave. As the \n man starts up the motorcar, George is walking away. The car"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," herself into George's arms. They hug for a long time. Peppy \n says into his ear, \n \n Title card: You've got so much that no one else has... \n \n And into her ear, George replies: \n","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect"," talking and laughing vivaciously. George is with her with an \n expression of love on his face. He's laughing with her when, \n suddenly, reality bites. He's still sitting opposite Doris,"," so. He does not look at her. She leaves the room. Once he has \n studied and necklace and is satisfied, George turns back \n towards Peppy but she is no longer there. The chauffeur exits \n the room. \n"," One couple gets to their feet and leaves the theater. As the \n man reaches George, he recognizes him and casts him a glance \n that seems to say \"goodness old chap this one's not up to"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," attempt to calm the actress down. As for George, he returns \n to the stage, the audience roars. He pretends to want to \n leave the stage, and mimes bumping into an invisible wall"],[" He does the same with a second girl and she gets hired too. \n Then it's Peppy's turn. She puts a lot of energy into a few \n top class tap steps, impressing the guy to such an extent"," Peppy is facing her mirror and putting her make up on. She \n takes a break, looking a little sad. Someone (some kind of \n assistant) opens the door to her dressing room and says \n something like you need to hurry up. She nods and gets back"," that he smiles admiringly then signals that she's hired. \n \n Full of self-assurance that her lucky day has come, Peppy \n heads off towards wardrobe too; swinging, her hips as she","young woman. She pulls a face meaning 'Here I am!!' And of \n course it's Peppy, except that she immediately realizes who \n she is dealing with - visibly she wasn't expecting this at \n all - and feels completely ridiculous and uncomfortable. \n"," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her"," We find Peppy and George on a film set, still dancing. The \n piece of jazz they are dancing to has gone so crazy that now \n everyone wants to get up and dance! They are dancing a tap"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years","21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \n \n Later on, in the dressing room corridor, Peppy, holding an"," Inside the full bus is the young woman from the day before. Her \n name is Peppy Miller. She is proudly holding \"The Hollywood \n Reporter\" with her face on the front page, and is more or less"," a little. She hangs up, pensive for a moment. On set,the \n director gestures to his assistant that the shot is ready and \n they are good to go. The assistant goes towards Peppy to let"," magnificent Peppy rising above him. She's playing a scene with \n a young actor we recognize, it's Humphrey Bogart. He's become a \n spectator: he laughs, is absorbed and cries along with the \n others.","97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \n \n We see Peppy on a shoot, sitting in a chair with her name on"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," dances with Peppy, and, each time, the nature of their rapport \n changes. To begin with, they are happy and laughing, but then, \n with time, less so. Then they become embarrassed, and then","72 INT. KINOGRAPH STUDIOS - PEPPY'S DRESSING ROOM - DAY 72 \n \n We catch up with her in a close up, applying her make up. The"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," directs her with a raised hand that Peppy immediately follows. \n \n She bounds up the stairs four at a time and comes into a \n corridor, \n \n"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," her know but, as he gets to where she should be, her seat is \n empty. He looks everywhere for her, but she has disappeared. \n \n \n 98 INT. PEPPY'S CAR (DRIVING) - DAY 98"," them which illustrate Peppy's rising fame. Her name moves \n higher up the posters and into bigger letters. The films are \n called \"The Rookie\", \"The Brunette \", \"The Girl Next Door\" and,"],[" that he smiles admiringly then signals that she's hired. \n \n Full of self-assurance that her lucky day has come, Peppy \n heads off towards wardrobe too; swinging, her hips as she"," Peppy is facing her mirror and putting her make up on. She \n takes a break, looking a little sad. Someone (some kind of \n assistant) opens the door to her dressing room and says \n something like you need to hurry up. She nods and gets back","young woman. She pulls a face meaning 'Here I am!!' And of \n course it's Peppy, except that she immediately realizes who \n she is dealing with - visibly she wasn't expecting this at \n all - and feels completely ridiculous and uncomfortable. \n"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years"," He does the same with a second girl and she gets hired too. \n Then it's Peppy's turn. She puts a lot of energy into a few \n top class tap steps, impressing the guy to such an extent"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," them which illustrate Peppy's rising fame. Her name moves \n higher up the posters and into bigger letters. The films are \n called \"The Rookie\", \"The Brunette \", \"The Girl Next Door\" and,"," directs her with a raised hand that Peppy immediately follows. \n \n She bounds up the stairs four at a time and comes into a \n corridor, \n \n"," Peppy gets home in the evening, arms laden with flowers. She's \n happy. \n \n She quickly goes up the stairs and into George's bedroom. He's","97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \n \n We see Peppy on a shoot, sitting in a chair with her name on"," a little. She hangs up, pensive for a moment. On set,the \n director gestures to his assistant that the shot is ready and \n they are good to go. The assistant goes towards Peppy to let"," two make up girls, a hairdresser and a wardrobe assistant. \n Peppy, fortunately, has stayed completely natural and doesn't \n seem to take any of it seriously. As the last touch is put in"," place, Peppy gets to her feet and turns round. \n 26. \n \n \n At her feet lie a dozen pairs of shoes, each pair as \n magnificent as the next, and all in their swanky boxes. Peppy"," appearing one after the other, creating a montage of images \n with a very 1920's feel. \"Get some Peps with Peppy!\" and a \n close up on her smiling, mischievous face. \"The girl next"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," (119) As for Peppy, she's speeding along, totally ignoring \n even the most basic of road safety requirements. \n \n (120) George puts down his glass and picks up the pistol.","72 INT. KINOGRAPH STUDIOS - PEPPY'S DRESSING ROOM - DAY 72 \n \n We catch up with her in a close up, applying her make up. The"," We find Peppy and George on a film set, still dancing. The \n piece of jazz they are dancing to has gone so crazy that now \n everyone wants to get up and dance! They are dancing a tap"," dances with Peppy, and, each time, the nature of their rapport \n changes. To begin with, they are happy and laughing, but then, \n with time, less so. Then they become embarrassed, and then"],[" George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," the reels and films that he has not opened are, and begins \n throwing them frantically over his shoulder as though he's \n looking for one in particular. The ever-increasing denseness \n of the smoke, however, is making the task almost impossible.","81 INT. AUCTION ROOMS - DAY 81 \n \n A sign says that the effects of George Valentin are to be \n auctioned. Furniture, costumes, objets d'art and paintings on"," she bought everything he had put up for sale: furniture, \n paintings, objets d'art, souvenirs, etc. He rips off sheets \n one after the other and the objects appear, even down to his"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," (91) In the room, among the flames and the smoke, George - \n now breathless - picks one of the reels and tries to turn \n round. He collapses, still holding on to the can. \n \n"," He's looking a little unsteady on his feet, probably due to the \n hip flask he's necking that seems to contain liquor. The \n objects go under the hammer one by one. We see the three"," There's madness in his eyes as he watches the fire take hold. \n We can see his pleasure at seeing the flames spread. But he's \n very quickly overrun. The reels burst into flames in an"," It's obvious he's only saying that so that she can forget him \n and move on with her life, but it doesn't wash and the young \n woman weeps all the more, terribly moved by this last \n sacrifice on his part. \n"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," there. He begins to holler. \n \n Title card: COME BACK! COME BACK HERE RIGHT NOW!!! \n \n Totally smashed he starts to violently throw film reels"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," stops, dripping with sweat. Worriedly, he looks around for a \n moment. Then he strikes a match, takes a second to consider \n what he's about to do and throws the match into the middle of \n the reels. \n"," the sheet. Underneath he finds his former objet d'art, the \n three monkeys \"hear no evil\", \"speak no evil\" and \"see no \n evil\". He thinks for a moment, then pulls of another sheet to"," On the floor, below the smoke, Jack flees the room and runs \n off while George suffocates but continues to struggle with \n the cans of reels. \n \n"," against the wall as he hollers. The cans split open and the \n film bursts out all over. George is becoming more and more \n frenzied. The floor is now covered in cans and film. He"," In a pawnshop, George, still a little drunk, is selling his \n tuxedo. The pawnbroker and he are visibly disagreeing on the \n price, but of course it's George who folds first and hands"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."," instant and give off lots of smoke. Jack is panicking and \n barks incessantly. Suddenly, George seems to lose it. He \n doesn't know what to do anymore and, although the fire is \n spreading quite spectacularly around him, he runs to where"],[" As he comes off stage, George gets soundly told off by \n Constance, but, still grinning, he motions towards the \n audience who are still asking for more. The producer, \n although delighted by the successful reception, makes a weak"," congratulate each other and slap Zimmer on the back. Zimmer's \n pride seems to grow by the second. \n \n George, who at first seemed very surprised, slowly begins a \n snigger which gradually has become a belly laugh when the"," He composes himself. She casts him an admiring glance. Then, \n in view of the urgency of their situation, they escape at a \n run. \n \n"," become more \"common\", less unattainable. He seems to have lost \n whatever it was that made him so superb. Primarily he's a bit \n drunk, somewhat hesitant. George gets up and closes his Murphy"," pulls off in a series of kangaroo hops. It's obvious that she \n doesn't know how to drive all that well, but still goes at full \n speed - more or less successfully. Just as she passes through"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," dances with Peppy, and, each time, the nature of their rapport \n changes. To begin with, they are happy and laughing, but then, \n with time, less so. Then they become embarrassed, and then","Her joyful expression gradually becomes one of abject \n apology, but George is roaring with laughter. \n \n After a short pause, Zimmer makes the connection. He checks \n the front page of the paper, and recognizes her! \n"," George is now with the auctioneer, he's studying the list of \n items as auction assistants busy themselves around him, \n carrying and packing the sold lots. The auctioneer, who is \n putting on his coat, congratulates George. \n"," She stops because George is not looking at her anymore. He's \n watching the arrival of the young, smiling, handsome and \n wholesome man who is with Peppy. George bears a melancholy \n smile. \n"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," to them, however, the more his expression tightens. We realize \n that the butler is none other than the distinguished-looking \n man who purchased everything at the auction, and that the maid \n is the woman who was bidding against him to raise the sale"," specimens of America's golden youth. She is coming up, he is \n going down. When she notices him, she stops, already one step \n above of him. She has a beaming smile and is truly delighted to"," George smiles kindly at her. She returns the smile but we can \n tell that maybe reality has just reminded them that she is \n working, and he is not. They exchange a last glance before \n she leaves the room. \n"," likes it. She turns towards him and, quite naturally, folds \n into his arms. The dog watches them curiously with its head \n leaning to one side. They are probably about to kiss when"," talking and laughing vivaciously. George is with her with an \n expression of love on his face. He's laughing with her when, \n suddenly, reality bites. He's still sitting opposite Doris,"," are loving it! \n \n In the wings, Constance is fuming with rage, but on stage, \n George is pretending with his fingers to pull at the dog, who \n fakes death. Thunderous applause again."," see him. He is delighted too, although his mood is very \n different. \n \n Title card (him): How are you? \n \n Title card (her): Fantastic! I've been given a lead role! \n Isn't it wonderful?!"," herself into George's arms. They hug for a long time. Peppy \n says into his ear, \n \n Title card: You've got so much that no one else has... \n \n And into her ear, George replies: \n"," He nods, we see in his eyes that he's terribly happy for her. \n They look at each other, she laughs. \n \n Then she fumbles in her bag for something with which to note"],[" It's obvious he's only saying that so that she can forget him \n and move on with her life, but it doesn't wash and the young \n woman weeps all the more, terribly moved by this last \n sacrifice on his part. \n"," In a pawnshop, George, still a little drunk, is selling his \n tuxedo. The pawnbroker and he are visibly disagreeing on the \n price, but of course it's George who folds first and hands"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," When he is alone, George looks at himself in the mirror. His \n expression shows that he things he is the stupidest man in \n the world. He mimes shooting himself in the temple with his"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," be loved, but Doris is implacable. She gets up, walks away \n and does not turn back. Left on his own, George has a closed \n expression on his face. He seems unhappy to have hurt his"," are listening in on their conversation and seem to be waiting \n for his decision. There's an element of déjà-vu to the \n situation, and Zimmer, who already backed down a few years \n before, gives in. \n"," chauffeur looks at him inquisitively. George replies as though \n lost in thought: \n 21. \n \n \n Title card: It would seem that we're ruined. \n"," On the floor, below the smoke, Jack flees the room and runs \n off while George suffocates but continues to struggle with \n the cans of reels. \n \n"," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," the beggar motions to him to scram. George continues on his \n way. For that moment at least, he has become one of them. \n \n He buttons up the collar of his suit in an attempt to hide the","Then he begins shouting at her and all she can do is lower \n her head, unable to reply. He gestures that she's fired and \n for her to get out, and she starts to go, completely \n distraught. She's just made a couple of steps when George"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," follow him. \n \n He gets into a car. Peppy is sitting in the back. She's alone \n and watching George walk off with his unsteady gait. She's sad."," He composes himself. She casts him an admiring glance. Then, \n in view of the urgency of their situation, they escape at a \n run. \n \n"," (91) In the room, among the flames and the smoke, George - \n now breathless - picks one of the reels and tries to turn \n round. He collapses, still holding on to the can. \n \n"," There's nothing in the refrigerator. He looks for something to \n drink but there's only one bottle left in the rack. He lifts it \n up. It's empty. \n"," 27. \n \n \n George gets up, visibly thinking that he shouldn't have done \n that, that it's wrong. He go gets the keys and a jacket, \n comes back and gives them to the chauffeur."," The man casts a glance to ask her what he should do next. \n Peppy, with a forced smile, motions that they can leave. As the \n man starts up the motorcar, George is walking away. The car"," As he comes off stage, George gets soundly told off by \n Constance, but, still grinning, he motions towards the \n audience who are still asking for more. The producer, \n although delighted by the successful reception, makes a weak"],[" she bought everything he had put up for sale: furniture, \n paintings, objets d'art, souvenirs, etc. He rips off sheets \n one after the other and the objects appear, even down to his","81 INT. AUCTION ROOMS - DAY 81 \n \n A sign says that the effects of George Valentin are to be \n auctioned. Furniture, costumes, objets d'art and paintings on"," George is now with the auctioneer, he's studying the list of \n items as auction assistants busy themselves around him, \n carrying and packing the sold lots. The auctioneer, who is \n putting on his coat, congratulates George. \n"," He's looking a little unsteady on his feet, probably due to the \n hip flask he's necking that seems to contain liquor. The \n objects go under the hammer one by one. We see the three"," In a pawnshop, George, still a little drunk, is selling his \n tuxedo. The pawnbroker and he are visibly disagreeing on the \n price, but of course it's George who folds first and hands"," to them, however, the more his expression tightens. We realize \n that the butler is none other than the distinguished-looking \n man who purchased everything at the auction, and that the maid \n is the woman who was bidding against him to raise the sale"," As he comes off stage, George gets soundly told off by \n Constance, but, still grinning, he motions towards the \n audience who are still asking for more. The producer, \n although delighted by the successful reception, makes a weak"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," Title card: Well done! It all sold, there's nothing left! \n \n George nods but his smile seems a little ironic. He leaves \n the room. \n \n On the stairway, as he's leaving, he is joined by the"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," souvenirs together and get out of the house. \n \n Doris \n P.S.: You should go see Beauty Spot, it's incredible. \n \n George takes it on the chin and leaves, revealing behind him"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," reveal a piece of furniture. Once again it's a piece that used \n to belong to him and we recognize it from having seen it at the \n auction room. \n \n After taking off several other sheets, George realizes that"," All the men who had pressed forwards turn on their heels, \n leaving the assistant surrounded only by women. The man says \n something to one girl, who begins to dance. He motions to her \n that it's ok and she heads off towards the wardrobe section."," distinguished-looking man who puts on his coat and leaves. \n \n \n 83 EXT. AUCTION ROOM'S STREET - DAY 83 \n \n They leave at the same time. The man crosses the street, we"," One couple gets to their feet and leaves the theater. As the \n man reaches George, he recognizes him and casts him a glance \n that seems to say \"goodness old chap this one's not up to"," so. He does not look at her. She leaves the room. Once he has \n studied and necklace and is satisfied, George turns back \n towards Peppy but she is no longer there. The chauffeur exits \n the room. \n"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."],[" He does the same with a second girl and she gets hired too. \n Then it's Peppy's turn. She puts a lot of energy into a few \n top class tap steps, impressing the guy to such an extent"," that he smiles admiringly then signals that she's hired. \n \n Full of self-assurance that her lucky day has come, Peppy \n heads off towards wardrobe too; swinging, her hips as she"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," directs her with a raised hand that Peppy immediately follows. \n \n She bounds up the stairs four at a time and comes into a \n corridor, \n \n"," Peppy is facing her mirror and putting her make up on. She \n takes a break, looking a little sad. Someone (some kind of \n assistant) opens the door to her dressing room and says \n something like you need to hurry up. She nods and gets back"," shuts the paper and searches for something in the drawer of his \n desk. He takes out a piece of paper. It's the telephone number \n that Peppy had scribbled down for him. He looks at it, moves"," We're in a smart restaurant. George has his back to the room \n and is eating with his chauffeur. Peppy comes into the \n restaurant and comes to sit just behind George. They are back","21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \n \n Later on, in the dressing room corridor, Peppy, holding an"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years","117 INT. PEPPY'S HOUSE - STOREROOM - DAY 117 \n \n In the room with all the sheets, Peppy is with the maid. The"," a little. She hangs up, pensive for a moment. On set,the \n director gestures to his assistant that the shot is ready and \n they are good to go. The assistant goes towards Peppy to let"," Peppy enters. She's anxious but the doctor seems reassuring. \n \n Title card: He's not in any danger now. He just needs to \n rest. \n \n Peppy goes up to George. She notices that his burnt hands","young woman. She pulls a face meaning 'Here I am!!' And of \n course it's Peppy, except that she immediately realizes who \n she is dealing with - visibly she wasn't expecting this at \n all - and feels completely ridiculous and uncomfortable. \n"," hesitation, he walks away without saying a thing. Peppy looks \n at George gratefully, smiling, but seems a little preoccupied \n as though she might have made a mistake. \n \n Everyone on set gets back to work. \n \n"," 37. \n \n \n 110 EXT. PEPPY'S HOUSE - DAY 110 \n \n From the window, we see the chauffeur get into the car and","67 EXT. GEORGE & DORIS' HOUSE - TOP STEP - NIGHT 67 \n \n He opens the door. It's Peppy. She immediately notices that"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," Peppy gets home in the evening, arms laden with flowers. She's \n happy. \n \n She quickly goes up the stairs and into George's bedroom. He's"," As for Peppy, she's in the theater, watching Tears of love. \n She's with a handsome young man who seems bored. \n \n \n 64 EXT. JUNGLE - DAY 64 \n"," She stops because George is not looking at her anymore. He's \n watching the arrival of the young, smiling, handsome and \n wholesome man who is with Peppy. George bears a melancholy \n smile. \n"],[" When he is alone, George looks at himself in the mirror. His \n expression shows that he things he is the stupidest man in \n the world. He mimes shooting himself in the temple with his"," It's obvious he's only saying that so that she can forget him \n and move on with her life, but it doesn't wash and the young \n woman weeps all the more, terribly moved by this last \n sacrifice on his part. \n"," The next morning, he's having breakfast with his wife. The \n atmosphere is still dreadful but this time he's not making any \n effort either. He disdainfully watches Doris eat. She is"," George is in the same position. He still has the pistol in \n his mouth. Visibly, he's heard a BANG from outside, because \n he takes the pistol out of his mouth and looks out the \n window. \n \n"," (91) In the room, among the flames and the smoke, George - \n now breathless - picks one of the reels and tries to turn \n round. He collapses, still holding on to the can. \n \n"," him. She bursts into tears. \n \n Title card: I feel so awful. I only wanted to help you. To \n take care of you... \n \n He seems to reply that no, it's not her fault, she's got"," follow him. \n \n He gets into a car. Peppy is sitting in the back. She's alone \n and watching George walk off with his unsteady gait. She's sad."," nothing to feel bad about. He opens his arms towards her, \n still holding the pistol and the gun fires itself. \n Fortunately no one is hurt, but the incident makes Peppy \n laugh and, between sobs and gasps of laughter she throws"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," approaches, listens and suddenly understands! He grabs hold of \n his gun and goes out onto the air field, only to find the \n fugitives! He tries to shoot at them as he draws closer, but"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," sits with his head and ears hanging low as though very \n disappointed. George watches Peppy walking away, then steps \n forwards and sits down on the steps leading up to the house. \n 25. \n \n"," On the floor, below the smoke, Jack flees the room and runs \n off while George suffocates but continues to struggle with \n the cans of reels. \n \n"," (120) George puts the pistol into his mouth. Jack is barking \n like mad. George, still in the same position, closes his \n eyes. \n 40. \n \n \n Title card: \"BANG!\""," attempt to calm the actress down. As for George, he returns \n to the stage, the audience roars. He pretends to want to \n leave the stage, and mimes bumping into an invisible wall"," (63) Next to Peppy, the young man sits watching her. She sees \n sad. \n \n (64) On screen, George has disappeared into the mire. Only \n one hand stays in the air for several seconds more in a"," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," him to call her, and he nods, even though we think that he \n probably will not do so. She leaves and he watches her go \n before beginning his decent once more. Once at the top, she"," terribly moved but, when she releases him from her arms to talk \n to him, she realizes that he has lost consciousness again and \n so was not sharing the same special moment as she. She pulls a \n face, afraid she might have done something wrong, glances over"," (91) George is suffocating on the floor. The level of smoke \n is getting ever lower and is slowly covering his face. \n 32. \n \n"],[" He catches the kiss with a smile, pretends to make it \n disappear in his other hand like a magician, then shows her \n the inside breast pocket of his jacket as proof that he's \n keeping it safe and warm. She laughs loudly and goes on her"," She waves, but we can tell that her smile is set between her \n teeth. She isn't feeling comfortable. George motions firing a \n gun with his fingers, but she does not fall down, merely"," talking and laughing vivaciously. George is with her with an \n expression of love on his face. He's laughing with her when, \n suddenly, reality bites. He's still sitting opposite Doris,"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,","hidden by it. George acknowledges the sight with a smile and \n is about to bring his attention back to the on-going \n discussion, when his attention is drawn away again by a \n noise, that of the tap steps the female legs are making,"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," An extract from \"Tears of Love\" in which we see George, holding \n the young woman in his arms, take part in a cliché-d African \n dance with shields, spears and all the African accoutrements"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," eyes, one with hands clasped to its ears and the third \n obscuring its mouth. George comes into the room and kisses \n his wife. She responds with cold indifference. You could cut \n the atmosphere with a knife. The woman hands George the"," were inside. She takes pleasure from the embrace and, when \n George comes into the room, she slowly removes her hand without \n any rush. George sees her, they look at each other. He closes"," likes it. She turns towards him and, quite naturally, folds \n into his arms. The dog watches them curiously with its head \n leaning to one side. They are probably about to kiss when"," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," In the crowd, a young woman right at the front is staring at \n him in rapture. She drops her bag and, as she bends to pick it \n up, a swell in the crowd pushes her underneath the arms of the"," As he comes off stage, George gets soundly told off by \n Constance, but, still grinning, he motions towards the \n audience who are still asking for more. The producer, \n although delighted by the successful reception, makes a weak"," He composes himself. She casts him an admiring glance. Then, \n in view of the urgency of their situation, they escape at a \n run. \n \n"," him to call her, and he nods, even though we think that he \n probably will not do so. She leaves and he watches her go \n before beginning his decent once more. Once at the top, she"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," George smiles kindly at her. She returns the smile but we can \n tell that maybe reality has just reminded them that she is \n working, and he is not. They exchange a last glance before \n she leaves the room. \n"],[" We're in a smart restaurant. George has his back to the room \n and is eating with his chauffeur. Peppy comes into the \n restaurant and comes to sit just behind George. They are back"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years"," dances with Peppy, and, each time, the nature of their rapport \n changes. To begin with, they are happy and laughing, but then, \n with time, less so. Then they become embarrassed, and then","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect"," Peppy gets home in the evening, arms laden with flowers. She's \n happy. \n \n She quickly goes up the stairs and into George's bedroom. He's"," room. Peppy is close on her heels. She comes into the room in \n her nightgown. When he sees her, George smiles and she rushes \n over to the bed and puts her arms tight around him. She is"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," She stops because George is not looking at her anymore. He's \n watching the arrival of the young, smiling, handsome and \n wholesome man who is with Peppy. George bears a melancholy \n smile. \n"," He does the same with a second girl and she gets hired too. \n Then it's Peppy's turn. She puts a lot of energy into a few \n top class tap steps, impressing the guy to such an extent"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," As for Peppy, she's in the theater, watching Tears of love. \n She's with a handsome young man who seems bored. \n \n \n 64 EXT. JUNGLE - DAY 64 \n"," that he smiles admiringly then signals that she's hired. \n \n Full of self-assurance that her lucky day has come, Peppy \n heads off towards wardrobe too; swinging, her hips as she"," The man casts a glance to ask her what he should do next. \n Peppy, with a forced smile, motions that they can leave. As the \n man starts up the motorcar, George is walking away. The car"," magnificent Peppy rising above him. She's playing a scene with \n a young actor we recognize, it's Humphrey Bogart. He's become a \n spectator: he laughs, is absorbed and cries along with the \n others."," shuts the paper and searches for something in the drawer of his \n desk. He takes out a piece of paper. It's the telephone number \n that Peppy had scribbled down for him. He looks at it, moves"," another decor. Except that from now on we actually hear the \n sound of the tap steps. We pull back to find Peppy and George \n in Zimmer's office. They're dancing for him. Little by little,"," Peppy enters. She's anxious but the doctor seems reassuring. \n \n Title card: He's not in any danger now. He just needs to \n rest. \n \n Peppy goes up to George. She notices that his burnt hands"," reacting to them too. \n \n Among the audience is Peppy Miller. She's trying to \n concentrate fully on the film and is pushing away the handsome \n young man she's with, who is trying to kiss her. We see her"," away from him. \n \n Peppy picks up the can. The label is too damaged to be able \n to read the title of the film. She opens it and unrolls some \n of the film in front of the window. We see random photograms"],["81 INT. AUCTION ROOMS - DAY 81 \n \n A sign says that the effects of George Valentin are to be \n auctioned. Furniture, costumes, objets d'art and paintings on"," she bought everything he had put up for sale: furniture, \n paintings, objets d'art, souvenirs, etc. He rips off sheets \n one after the other and the objects appear, even down to his"," to them, however, the more his expression tightens. We realize \n that the butler is none other than the distinguished-looking \n man who purchased everything at the auction, and that the maid \n is the woman who was bidding against him to raise the sale"," George is now with the auctioneer, he's studying the list of \n items as auction assistants busy themselves around him, \n carrying and packing the sold lots. The auctioneer, who is \n putting on his coat, congratulates George. \n"," He's looking a little unsteady on his feet, probably due to the \n hip flask he's necking that seems to contain liquor. The \n objects go under the hammer one by one. We see the three"," being raised, hammer falling, \"sold\" labels) show us the lots \n disappearing - every single item is sold. \n \n \n 82 INT. AUCTION ROOMS - CORRIDOR - DAY 82 \n"," distinguished-looking man who puts on his coat and leaves. \n \n \n 83 EXT. AUCTION ROOM'S STREET - DAY 83 \n \n They leave at the same time. The man crosses the street, we"," reveal a piece of furniture. Once again it's a piece that used \n to belong to him and we recognize it from having seen it at the \n auction room. \n \n After taking off several other sheets, George realizes that"," In a pawnshop, George, still a little drunk, is selling his \n tuxedo. The pawnbroker and he are visibly disagreeing on the \n price, but of course it's George who folds first and hands"," Title card: Well done! It all sold, there's nothing left! \n \n George nods but his smile seems a little ironic. He leaves \n the room. \n \n On the stairway, as he's leaving, he is joined by the"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," monkeys go by, notably, hear no evil, speak no evil, see no \n evil. Two buyers especially are raising the prices by bidding \n against each other, a distinguished and reserved-looking man,"," souvenirs together and get out of the house. \n \n Doris \n P.S.: You should go see Beauty Spot, it's incredible. \n \n George takes it on the chin and leaves, revealing behind him","80 INT. GEORGE'S HOUSE - DAY 80 \n \n The next morning, George gets up and goes to look from the \n window. The chauffeur has gone. George is a little sad, but"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," so. He does not look at her. She leaves the room. Once he has \n studied and necklace and is satisfied, George turns back \n towards Peppy but she is no longer there. The chauffeur exits \n the room. \n"],[" that he smiles admiringly then signals that she's hired. \n \n Full of self-assurance that her lucky day has come, Peppy \n heads off towards wardrobe too; swinging, her hips as she"," Peppy is facing her mirror and putting her make up on. She \n takes a break, looking a little sad. Someone (some kind of \n assistant) opens the door to her dressing room and says \n something like you need to hurry up. She nods and gets back","young woman. She pulls a face meaning 'Here I am!!' And of \n course it's Peppy, except that she immediately realizes who \n she is dealing with - visibly she wasn't expecting this at \n all - and feels completely ridiculous and uncomfortable. \n"," The next morning, Peppy brings breakfast into George's room \n and they eat it together. She laughs, talks, eats, drinks and \n is as vivacious as he had dreamed she would be all those years"," He does the same with a second girl and she gets hired too. \n Then it's Peppy's turn. She puts a lot of energy into a few \n top class tap steps, impressing the guy to such an extent"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," them which illustrate Peppy's rising fame. Her name moves \n higher up the posters and into bigger letters. The films are \n called \"The Rookie\", \"The Brunette \", \"The Girl Next Door\" and,"," directs her with a raised hand that Peppy immediately follows. \n \n She bounds up the stairs four at a time and comes into a \n corridor, \n \n"," Peppy gets home in the evening, arms laden with flowers. She's \n happy. \n \n She quickly goes up the stairs and into George's bedroom. He's","97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \n \n We see Peppy on a shoot, sitting in a chair with her name on"," a little. She hangs up, pensive for a moment. On set,the \n director gestures to his assistant that the shot is ready and \n they are good to go. The assistant goes towards Peppy to let"," two make up girls, a hairdresser and a wardrobe assistant. \n Peppy, fortunately, has stayed completely natural and doesn't \n seem to take any of it seriously. As the last touch is put in"," place, Peppy gets to her feet and turns round. \n 26. \n \n \n At her feet lie a dozen pairs of shoes, each pair as \n magnificent as the next, and all in their swanky boxes. Peppy"," appearing one after the other, creating a montage of images \n with a very 1920's feel. \"Get some Peps with Peppy!\" and a \n close up on her smiling, mischievous face. \"The girl next"," sitting next to him, seems ecstatic. The director speaks and \n we hear what he says. \n \n DIRECTOR \n Cut! Excellent! \n \n Zimmer has both his thumbs up. The director says to Peppy and"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," (119) As for Peppy, she's speeding along, totally ignoring \n even the most basic of road safety requirements. \n \n (120) George puts down his glass and picks up the pistol.","72 INT. KINOGRAPH STUDIOS - PEPPY'S DRESSING ROOM - DAY 72 \n \n We catch up with her in a close up, applying her make up. The"," We find Peppy and George on a film set, still dancing. The \n piece of jazz they are dancing to has gone so crazy that now \n everyone wants to get up and dance! They are dancing a tap"," dances with Peppy, and, each time, the nature of their rapport \n changes. To begin with, they are happy and laughing, but then, \n with time, less so. Then they become embarrassed, and then"],[" his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," As he comes off stage, George gets soundly told off by \n Constance, but, still grinning, he motions towards the \n audience who are still asking for more. The producer, \n although delighted by the successful reception, makes a weak"," talking and laughing vivaciously. George is with her with an \n expression of love on his face. He's laughing with her when, \n suddenly, reality bites. He's still sitting opposite Doris,"," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," Noisy, laughing dancers pass in the corridor, others are \n talking or shouting and even if we can't make out what they are \n saying, they are all making sound. George tries to talk to them"," She waves, but we can tell that her smile is set between her \n teeth. She isn't feeling comfortable. George motions firing a \n gun with his fingers, but she does not fall down, merely"," but his voice remains silent. One dancer, seeing his fright, \n bursts into throaty laughter. George rushes through the \n milling crowd the sound of which is becoming increasingly \n loud... \n \n"," He catches the kiss with a smile, pretends to make it \n disappear in his other hand like a magician, then shows her \n the inside breast pocket of his jacket as proof that he's \n keeping it safe and warm. She laughs loudly and goes on her"," One couple gets to their feet and leaves the theater. As the \n man reaches George, he recognizes him and casts him a glance \n that seems to say \"goodness old chap this one's not up to"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a","hidden by it. George acknowledges the sight with a smile and \n is about to bring his attention back to the on-going \n discussion, when his attention is drawn away again by a \n noise, that of the tap steps the female legs are making,"," We're back with George in his dressing room. He's removing his \n make up. He moves some ordinary object and the object, as he \n moves it, makes a noise. We hear the noise it makes. Really"," eyes, one with hands clasped to its ears and the third \n obscuring its mouth. George comes into the room and kisses \n his wife. She responds with cold indifference. You could cut \n the atmosphere with a knife. The woman hands George the"," become more \"common\", less unattainable. He seems to have lost \n whatever it was that made him so superb. Primarily he's a bit \n drunk, somewhat hesitant. George gets up and closes his Murphy"," Peppy starts again, with a beaming smile, waiting for his \n response. George does a few tap steps himself, basic ones, \n without any great enthusiasm. She smiles at him and does a \n few more complex steps that are a lot livelier. He smiles"," English adventurer - played by himself - accompanied by a young \n woman, an old man who looks like a professor and who is \n probably the father of the young woman and, lastly, an African \n tribe represented as savages and whose humanity remains to be"," When he is alone, George looks at himself in the mirror. His \n expression shows that he things he is the stupidest man in \n the world. He mimes shooting himself in the temple with his"],[" (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," It's morning. George opens his front door. His chauffeur is \n outside. The man's expression announces bad news. He's holding \n the day's press. The huge headlines talk of a stock market"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," He opens a closet. Inside, a tuxedo hangs among a number of \n bare hangers. \n \n \n 74 INT. PAWNSHOP - DAY 74 \n","55 INT. GEORGE & DORIS' HOUSE - DAY 55 \n \n It's the day of the films' release, October 25th. \n","81 INT. AUCTION ROOMS - DAY 81 \n \n A sign says that the effects of George Valentin are to be \n auctioned. Furniture, costumes, objets d'art and paintings on"," He chooses the one in which he is most prominent, it's a poster \n depicting a cutesy melodrama and bears the release date \n October 25th. \n \n \n 50 50"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," He goes into the studio and heads for the set. There is still \n no one about. He doesn't understand and goes back outside. \n \n \n 41 EXT. KINOGRAPH STUDIOS - DAY 41 \n"," September 14th. There aren't many people in the room, just five \n or six. George is standing at the back, smoking a cigarette. \n 28. \n \n","45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \n \n Going down the stairs from the offices, he passes a laughing \n Peppy who is accompanied by two young and charming men, perfect"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," over to it and strokes it. They look at each other. We can tell \n that the chauffeur is worried about George. \n \n \n 87 EXT. \"GUARDIAN ANGEL\" THEATER - DAY 87"," him. The two men draw close and George asks him what's \n happening. The man takes the day's newspaper out of his pocket \n and hands it to George before walking off. George reads: \n Kinograph Studios stop all silent productions to work"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment.","80 INT. GEORGE'S HOUSE - DAY 80 \n \n The next morning, George gets up and goes to look from the \n window. The chauffeur has gone. George is a little sad, but"," but his voice remains silent. One dancer, seeing his fright, \n bursts into throaty laughter. George rushes through the \n milling crowd the sound of which is becoming increasingly \n loud... \n \n"," are listening in on their conversation and seem to be waiting \n for his decision. There's an element of déjà-vu to the \n situation, and Zimmer, who already backed down a few years \n before, gives in. \n"," 13. \n \n \n 30 30 \n INT. KINOGRAPH STUDIOS - TAVERN DECOR - DAY \n"," were inside. She takes pleasure from the embrace and, when \n George comes into the room, she slowly removes her hand without \n any rush. George sees her, they look at each other. He closes"],[" It's obvious he's only saying that so that she can forget him \n and move on with her life, but it doesn't wash and the young \n woman weeps all the more, terribly moved by this last \n sacrifice on his part. \n"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," souvenirs together and get out of the house. \n \n Doris \n P.S.: You should go see Beauty Spot, it's incredible. \n \n George takes it on the chin and leaves, revealing behind him"," be loved, but Doris is implacable. She gets up, walks away \n and does not turn back. Left on his own, George has a closed \n expression on his face. He seems unhappy to have hurt his"," silently that if she wants his place all she has to do is \n take it. She watches him leave and immediately regrets what \n she's just said. \n \n"," goes over to George. She reassures him, motions to him not to \n get upset, then slowly leaves the room before running off down \n the corridor. She knocks at a door then goes back to George's"," not there. She looks for him but can't find him. The maid says \n that he has left. She drops the flowers. \n \n \n 116 INT. GEORGE'S BURNT HOUSE - DAY 116"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," The next morning, he's having breakfast with his wife. The \n atmosphere is still dreadful but this time he's not making any \n effort either. He disdainfully watches Doris eat. She is"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,","Then he begins shouting at her and all she can do is lower \n her head, unable to reply. He gestures that she's fired and \n for her to get out, and she starts to go, completely \n distraught. She's just made a couple of steps when George"," The man casts a glance to ask her what he should do next. \n Peppy, with a forced smile, motions that they can leave. As the \n man starts up the motorcar, George is walking away. The car","80 INT. GEORGE'S HOUSE - DAY 80 \n \n The next morning, George gets up and goes to look from the \n window. The chauffeur has gone. George is a little sad, but"," maid seems to be telling her what happened with George, how he \n removed all the sheets, etc. Peppy listens with an inscrutable \n expression on her face. Then, suddenly overcome by a terrible \n thought, she rushes outside. \n \n"," His wife is sleeping by his side. He gets up, taking care not \n to make a sound. \n \n \n 37 INT. GEORGE & DORIS' HOUSE - LIVING ROOM - NIGHT 37 \n"," follow him. \n \n He gets into a car. Peppy is sitting in the back. She's alone \n and watching George walk off with his unsteady gait. She's sad."," casts him a \"very funny\" glance. George looks at his fingers, \n not understanding why they don't work anymore then mimes \n throwing them away behind him, as though they've become \n useless. Constance stalks back off into the wings in"," and George respectfully bows, walks away from him still bowing \n then turns and runs. Once out of the decor, he bumps right into \n a worried-looking Zimmer who is followed by his loyal"," so. He does not look at her. She leaves the room. Once he has \n studied and necklace and is satisfied, George turns back \n towards Peppy but she is no longer there. The chauffeur exits \n the room. \n"],[" addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," George calms down as he sits in the living room, alone in the \n darkness. Jack, still sleepy, has just curled into a ball \n next to him to fall back to sleep. George smiles and gives \n him a pat. \n \n"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," were inside. She takes pleasure from the embrace and, when \n George comes into the room, she slowly removes her hand without \n any rush. George sees her, they look at each other. He closes"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," His wife is sleeping by his side. He gets up, taking care not \n to make a sound. \n \n \n 37 INT. GEORGE & DORIS' HOUSE - LIVING ROOM - NIGHT 37 \n"," talking and laughing vivaciously. George is with her with an \n expression of love on his face. He's laughing with her when, \n suddenly, reality bites. He's still sitting opposite Doris,"," souvenirs together and get out of the house. \n \n Doris \n P.S.: You should go see Beauty Spot, it's incredible. \n \n George takes it on the chin and leaves, revealing behind him"," his name is George Valentin - closely studying the reactions \n of the audience. He was standing close to his dog, motioning \n to it not to make a noise. The dog's name is Jack. \n"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."," among them, sitting next to a man of about sixty who is \n dressed in a highly stylized fashion. His job is obviously \n that of a butler. Peppy proudly shows him the picture in the"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," goes over to George. She reassures him, motions to him not to \n get upset, then slowly leaves the room before running off down \n the corridor. She knocks at a door then goes back to George's"," however, he greets it affectionately. Doris is vexed. \n \n \n 48 INT. GEORGE & DORIS' HOUSE - LIVING ROOM - DAY 48 \n"," room. Peppy is close on her heels. She comes into the room in \n her nightgown. When he sees her, George smiles and she rushes \n over to the bed and puts her arms tight around him. She is","117 INT. PEPPY'S HOUSE - STOREROOM - DAY 117 \n \n In the room with all the sheets, Peppy is with the maid. The"," George smiles kindly at her. She returns the smile but we can \n tell that maybe reality has just reminded them that she is \n working, and he is not. They exchange a last glance before \n she leaves the room. \n","105 INT. PEPPY'S HOUSE - DAY 105 \n \n A little later, and alone, he's exploring the house. It's \n richly and tastefully decorated, highly personal. He goes"," He composes himself. She casts him an admiring glance. Then, \n in view of the urgency of their situation, they escape at a \n run. \n \n"],[" George is in the same position. He still has the pistol in \n his mouth. Visibly, he's heard a BANG from outside, because \n he takes the pistol out of his mouth and looks out the \n window. \n \n"," nothing to feel bad about. He opens his arms towards her, \n still holding the pistol and the gun fires itself. \n Fortunately no one is hurt, but the incident makes Peppy \n laugh and, between sobs and gasps of laughter she throws"," and takes out a pistol that he places on the table in front of \n him. He picks up the glass for another gulp. Jack doesn't like \n what he sees. He barks. \n"," approaches, listens and suddenly understands! He grabs hold of \n his gun and goes out onto the air field, only to find the \n fugitives! He tries to shoot at them as he draws closer, but"," (119) As for Peppy, she's speeding along, totally ignoring \n even the most basic of road safety requirements. \n \n (120) George puts down his glass and picks up the pistol."," (120) George puts the pistol into his mouth. Jack is barking \n like mad. George, still in the same position, closes his \n eyes. \n 40. \n \n \n Title card: \"BANG!\"","122 INT. GEORGE'S BURNT HOUSE - DAY 122 \n \n She rushes into the living room and stops for a moment to look \n at George. George awkwardly tries to hide the pistol behind"," guard's line of sight. The guard looks over at the animal. \n Using his fingers, the hero pretends to shoot his dog. The \n dog collapses, plays dead. The guard, increasingly curious,"," When he is alone, George looks at himself in the mirror. His \n expression shows that he things he is the stupidest man in \n the world. He mimes shooting himself in the temple with his"," She waves, but we can tell that her smile is set between her \n teeth. She isn't feeling comfortable. George motions firing a \n gun with his fingers, but she does not fall down, merely"," The man (the hero, thus) imprisons the guard without harming \n him, then runs over to the guard's desk. His ears are still \n causing him pain, but he opens a drawer and takes out his"," as an explorer and discovering the life-size version of \n himself. The big version watches the little version load his \n rifle. Then the little version shoots at the big version, but \n the big version just smiles. \n"," It's obvious he's only saying that so that she can forget him \n and move on with her life, but it doesn't wash and the young \n woman weeps all the more, terribly moved by this last \n sacrifice on his part. \n"," understand it either, he tries to pick up altitude, but quickly \n notices that the explosions are in fact pretty and \n inoffensive. He consults a calendar dial on the control panel \n that shows it is July 14th, immediately understands, and"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," silent and threatens it with two fingers, just like George \n miming a pistol. Jack collapses and plays dead. The cop has \n no idea what's happened, he crouches down and touches the dog"," are listening in on their conversation and seem to be waiting \n for his decision. There's an element of déjà-vu to the \n situation, and Zimmer, who already backed down a few years \n before, gives in. \n"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," (64) The hand has disappeared. The young woman is in a state \n of shock, rigid with a look of horror on her face. She is no \n doubt about to be put to certain death. The dog turns round \n and walks off with head and tail lowered..."," He composes himself. She casts him an admiring glance. Then, \n in view of the urgency of their situation, they escape at a \n run. \n \n"],[" dragged out of the fire by the policeman. \n \n \n 96 EXT. GEORGE'S HOUSE - DAY 96 \n \n They come out the house. George is still clutching the reel. A"," George, now alone, gets up with some difficulty. He picks up \n a pile of folded clothes from an armchair. It's his jacket \n and pants, both half burned. On the floor, his shoes are in \n exactly the same state of disrepair."," (91) In the room, among the flames and the smoke, George - \n now breathless - picks one of the reels and tries to turn \n round. He collapses, still holding on to the can. \n \n"," nothing to feel bad about. He opens his arms towards her, \n still holding the pistol and the gun fires itself. \n Fortunately no one is hurt, but the incident makes Peppy \n laugh and, between sobs and gasps of laughter she throws"," policeman in front of her, out of the crowd and into George. \n She stares at him, more in love than ever, delighted to be \n there. The police wait for someone to give orders. George"," George is in the same position. He still has the pistol in \n his mouth. Visibly, he's heard a BANG from outside, because \n he takes the pistol out of his mouth and looks out the \n window. \n \n","122 INT. GEORGE'S BURNT HOUSE - DAY 122 \n \n She rushes into the living room and stops for a moment to look \n at George. George awkwardly tries to hide the pistol behind"," addressed to George Valentin on the dresser. Then she \n attentively looks around the dressing room. She looks at the \n objects and photos and notices, hanging from a coat stand,"," seem to still be clutching something. She's intrigued. In \n response, the doctor shows her the reel of film that sits in \n a corner of the room. \n \n Title card: He was holding that. It was real hard to pry it"," instant and give off lots of smoke. Jack is panicking and \n barks incessantly. Suddenly, George seems to lose it. He \n doesn't know what to do anymore and, although the fire is \n spreading quite spectacularly around him, he runs to where"," George goes into his house that has been disfigured by the \n fire. The flames have changed everything and the atmosphere, \n here again, seems ghostly and sad. \n 39. \n \n"," There's madness in his eyes as he watches the fire take hold. \n We can see his pleasure at seeing the flames spread. But he's \n very quickly overrun. The reels burst into flames in an"," On the floor, below the smoke, Jack flees the room and runs \n off while George suffocates but continues to struggle with \n the cans of reels. \n \n"," (10) The lights come on. George Valentin comes onto the stage \n and acknowledges the audience, they are cheering for him. He \n is so happy he dances a few tap steps to express his joy then"," the reels and films that he has not opened are, and begins \n throwing them frantically over his shoulder as though he's \n looking for one in particular. The ever-increasing denseness \n of the smoke, however, is making the task almost impossible."," eyes, one with hands clasped to its ears and the third \n obscuring its mouth. George comes into the room and kisses \n his wife. She responds with cold indifference. You could cut \n the atmosphere with a knife. The woman hands George the"," shuts the paper and searches for something in the drawer of his \n desk. He takes out a piece of paper. It's the telephone number \n that Peppy had scribbled down for him. He looks at it, moves"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," the one we were used to seeing him in. We do however recognize \n some of the objects, furniture and paintings from his old \n house, notably the huge portrait of him smiling. He goes into \n the kitchen which is open onto the rest of the apartment."," approaches, listens and suddenly understands! He grabs hold of \n his gun and goes out onto the air field, only to find the \n fugitives! He tries to shoot at them as he draws closer, but"],[" policeman in front of her, out of the crowd and into George. \n She stares at him, more in love than ever, delighted to be \n there. The police wait for someone to give orders. George"," The cop smiles, carries on talking, then stops. He thinks \n he's talking to a madman. He doesn't persist, merely sizes \n George up and, once he's decided that he's harmless, the cop"," doesn't quite know what to do. Nobody moves. The young woman \n finally bursts out laughing, which, after a moment of shock, \n causes George to laugh too, thus placating the cops and tacitly"," dragged out of the fire by the policeman. \n \n \n 96 EXT. GEORGE'S HOUSE - DAY 96 \n \n They come out the house. George is still clutching the reel. A"," tells him what he must do. The cop seems to understand, has a \n moment of doubt, and then starts following the dog. Jack \n encourages him to go faster, but the cop resists to begin \n with. Little by little though, as though realizing the"," to see if it's all right. Jack wakes up and goes to leave but \n stops immediately to show the cop he wants to take him with \n him. The cop still doesn't understand, it's the woman who"," George's house. The policeman doesn't understand, however, and \n pushes it away with his foot. The dog persists and barks but \n the cop just wants to be left in peace. \n"," (93) Jack barks louder and louder. The policeman feels \n uncomfortable. A woman is watching the scene inquisitively. \n Not knowing what to do, the cop motions to the dog to be","93 EXT. POLICEMAN JUNCTION - DAY 93 \n \n Jack spots a cop at a junction. He takes hold of the cop's \n trouser leg with his teeth and tries to pull him towards"," silent and threatens it with two fingers, just like George \n miming a pistol. Jack collapses and plays dead. The cop has \n no idea what's happened, he crouches down and touches the dog"," approaches, listens and suddenly understands! He grabs hold of \n his gun and goes out onto the air field, only to find the \n fugitives! He tries to shoot at them as he draws closer, but"," The man casts a glance to ask her what he should do next. \n Peppy, with a forced smile, motions that they can leave. As the \n man starts up the motorcar, George is walking away. The car"," George's chauffeur comes into the room and catches them. \n George swiftly moves aside and there is a moment of \n discomfort. The chauffeur unwraps a parcel and takes out a"," 27. \n \n \n George gets up, visibly thinking that he shouldn't have done \n that, that it's wrong. He go gets the keys and a jacket, \n comes back and gives them to the chauffeur."," politely asks them to leave, as though asking for their \n understanding. As they head for the door, some of them drop \n their heads so as not to meet George's eyes, whereas others \n look him right between the eyes but without any love lost. This"," As he comes off stage, George gets soundly told off by \n Constance, but, still grinning, he motions towards the \n audience who are still asking for more. The producer, \n although delighted by the successful reception, makes a weak"," One couple gets to their feet and leaves the theater. As the \n man reaches George, he recognizes him and casts him a glance \n that seems to say \"goodness old chap this one's not up to"," and George respectfully bows, walks away from him still bowing \n then turns and runs. Once out of the decor, he bumps right into \n a worried-looking Zimmer who is followed by his loyal"," guard's line of sight. The guard looks over at the animal. \n Using his fingers, the hero pretends to shoot his dog. The \n dog collapses, plays dead. The guard, increasingly curious,"," The man (the hero, thus) imprisons the guard without harming \n him, then runs over to the guard's desk. His ears are still \n causing him pain, but he opens a drawer and takes out his"]],"string":"[\n [\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \" newspaper. The man leans to take a closer look, unfolds the \\n newspaper, sees the headline, smiles and then folds it back \\n up again and returns it to Peppy text-side-up, highlighting\",\n \" shuts the paper and searches for something in the drawer of his \\n desk. He takes out a piece of paper. It's the telephone number \\n that Peppy had scribbled down for him. He looks at it, moves\",\n \" Inside the full bus is the young woman from the day before. Her \\n name is Peppy Miller. She is proudly holding \\\"The Hollywood \\n Reporter\\\" with her face on the front page, and is more or less\",\n \" among them, sitting next to a man of about sixty who is \\n dressed in a highly stylized fashion. His job is obviously \\n that of a butler. Peppy proudly shows him the picture in the\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \"45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \\n \\n Going down the stairs from the offices, he passes a laughing \\n Peppy who is accompanied by two young and charming men, perfect\",\n \" the headline: Who's that girl ? \\n \\n Peppy is a bit annoyed to have been put in her place, but \\n deep down she knows he's right. Nobody knows who she is. She \\n puts the newspaper away. \\n\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \" the image of a young comedy debut... George looks at her, Peppy \\n seems to be smiling at him. He smiles back. Then his smile \\n becomes strained. He's noticed something. The two theater \\n employees are sticking a banner over the poster that reveals\",\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" The next morning, Peppy brings breakfast into George's room \\n and they eat it together. She laughs, talks, eats, drinks and \\n is as vivacious as he had dreamed she would be all those years\",\n \"21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \\n \\n Later on, in the dressing room corridor, Peppy, holding an\",\n \"Her joyful expression gradually becomes one of abject \\n apology, but George is roaring with laughter. \\n \\n After a short pause, Zimmer makes the connection. He checks \\n the front page of the paper, and recognizes her! \\n\",\n \" newspaper. He knows what's up but tries to laugh it off. She \\n doesn't find it funny, is as cold as stone and barely looks \\n at him. She is obviously extremely annoyed with him. George\",\n \"97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \\n \\n We see Peppy on a shoot, sitting in a chair with her name on\",\n \" reacting to them too. \\n \\n Among the audience is Peppy Miller. She's trying to \\n concentrate fully on the film and is pushing away the handsome \\n young man she's with, who is trying to kiss her. We see her\",\n \" We're in a smart restaurant. George has his back to the room \\n and is eating with his chauffeur. Peppy comes into the \\n restaurant and comes to sit just behind George. They are back\",\n \" She stops because George is not looking at her anymore. He's \\n watching the arrival of the young, smiling, handsome and \\n wholesome man who is with Peppy. George bears a melancholy \\n smile. \\n\",\n \" advertising feature representing the \\\"new faces of Kinograph \\n Studios\\\". Among the medallion framed young portraits, George \\n recognizes that of Peppy Miller. He glances up at Zimmer. \\n \\n Title card: Fresh blood... \\n\"\n ],\n [\n \" newspaper. The man leans to take a closer look, unfolds the \\n newspaper, sees the headline, smiles and then folds it back \\n up again and returns it to Peppy text-side-up, highlighting\",\n \" Inside the full bus is the young woman from the day before. Her \\n name is Peppy Miller. She is proudly holding \\\"The Hollywood \\n Reporter\\\" with her face on the front page, and is more or less\",\n \" the headline: Who's that girl ? \\n \\n Peppy is a bit annoyed to have been put in her place, but \\n deep down she knows he's right. Nobody knows who she is. She \\n puts the newspaper away. \\n\",\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \" them which illustrate Peppy's rising fame. Her name moves \\n higher up the posters and into bigger letters. The films are \\n called \\\"The Rookie\\\", \\\"The Brunette \\\", \\\"The Girl Next Door\\\" and,\",\n \"97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \\n \\n We see Peppy on a shoot, sitting in a chair with her name on\",\n \" the image of a young comedy debut... George looks at her, Peppy \\n seems to be smiling at him. He smiles back. Then his smile \\n becomes strained. He's noticed something. The two theater \\n employees are sticking a banner over the poster that reveals\",\n \" on the front page of \\\"The Hollywood Reporter\\\" newspaper, along \\n with three other pictures of the scene and the headline WHO'S \\n THAT GIRL? \\n \\n\",\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" shuts the paper and searches for something in the drawer of his \\n desk. He takes out a piece of paper. It's the telephone number \\n that Peppy had scribbled down for him. He looks at it, moves\",\n \" magnificent Peppy rising above him. She's playing a scene with \\n a young actor we recognize, it's Humphrey Bogart. He's become a \\n spectator: he laughs, is absorbed and cries along with the \\n others.\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" door\\\", \\\"The girl you'll love to love\\\" \\\"Young and pretty\\\", etc. \\n with a photo of Peppy each time, posters of the film and then, \\n everywhere, the face that it's a talking movie! Talking,\",\n \" hesitation, he walks away without saying a thing. Peppy looks \\n at George gratefully, smiling, but seems a little preoccupied \\n as though she might have made a mistake. \\n \\n Everyone on set gets back to work. \\n \\n\",\n \" appearing one after the other, creating a montage of images \\n with a very 1920's feel. \\\"Get some Peps with Peppy!\\\" and a \\n close up on her smiling, mischievous face. \\\"The girl next\",\n \" Peppy is facing her mirror and putting her make up on. She \\n takes a break, looking a little sad. Someone (some kind of \\n assistant) opens the door to her dressing room and says \\n something like you need to hurry up. She nods and gets back\",\n \" that he smiles admiringly then signals that she's hired. \\n \\n Full of self-assurance that her lucky day has come, Peppy \\n heads off towards wardrobe too; swinging, her hips as she\",\n \" sidewalk, people are cheerfully waiting in line. George walks \\n up the line and comes to a movie house that's playing the \\n \\\"Beauty Spot\\\" talking movie. A huge poster depicts Peppy and\",\n \"21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \\n \\n Later on, in the dressing room corridor, Peppy, holding an\"\n ],\n [\n \" George signs a big contract with Zimmer as photographers take \\n pictures. He smiles broadly, whereas Zimmer looks like his \\n smile is a little forced. \\n \\n The date appears on the screen: 1929\",\n \" It's morning. George opens his front door. His chauffeur is \\n outside. The man's expression announces bad news. He's holding \\n the day's press. The huge headlines talk of a stock market\",\n \" crash, a black Thursday, a catastrophe. \\n \\n Dressed in a robe, George is on the telephone in the living \\n room. He nods. The atmosphere is stifling. He hangs up. His\",\n \" Crossfade to a man's pair of shoes with used heels and uppers. \\n George's dog comes to sit at his feet. The date is superimposed \\n on the screen: 1931. \\n\",\n \"Her joyful expression gradually becomes one of abject \\n apology, but George is roaring with laughter. \\n \\n After a short pause, Zimmer makes the connection. He checks \\n the front page of the paper, and recognizes her! \\n\",\n \" September 14th. There aren't many people in the room, just five \\n or six. George is standing at the back, smoking a cigarette. \\n 28. \\n \\n\",\n \" of the light beams of a film première. Behind is a stylized \\n town. The titles end in a fade to black. On black, the date \\n appears on the screen: 1927 \\n \\n\",\n \"\",\n \" George is in the same position. He still has the pistol in \\n his mouth. Visibly, he's heard a BANG from outside, because \\n he takes the pistol out of his mouth and looks out the \\n window. \\n \\n\",\n \" him. The two men draw close and George asks him what's \\n happening. The man takes the day's newspaper out of his pocket \\n and hands it to George before walking off. George reads: \\n Kinograph Studios stop all silent productions to work\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" She waves, but we can tell that her smile is set between her \\n teeth. She isn't feeling comfortable. George motions firing a \\n gun with his fingers, but she does not fall down, merely\",\n \" are listening in on their conversation and seem to be waiting \\n for his decision. There's an element of déjà-vu to the \\n situation, and Zimmer, who already backed down a few years \\n before, gives in. \\n\",\n \" There's hardly anyone in the theater. The people that are there \\n look bored more than anything. At the back smoking a cigarette, \\n George takes the failure on the chin. \\n 22. \\n \\n\",\n \"24 INT. GEORGE & DORIS' HOUSE - DAY 24 \\n \\n We see several quick sequences which indicate time passing: \\n \\n Breakfasts with George and Doris where the atmosphere is\",\n \" but his voice remains silent. One dancer, seeing his fright, \\n bursts into throaty laughter. George rushes through the \\n milling crowd the sound of which is becoming increasingly \\n loud... \\n \\n\",\n \" talking and laughing vivaciously. George is with her with an \\n expression of love on his face. He's laughing with her when, \\n suddenly, reality bites. He's still sitting opposite Doris,\",\n \" chauffeur looks at him inquisitively. George replies as though \\n lost in thought: \\n 21. \\n \\n \\n Title card: It would seem that we're ruined. \\n\",\n \" casts him a \\\"very funny\\\" glance. George looks at his fingers, \\n not understanding why they don't work anymore then mimes \\n throwing them away behind him, as though they've become \\n useless. Constance stalks back off into the wings in\",\n \" specimens of America's golden youth. She is coming up, he is \\n going down. When she notices him, she stops, already one step \\n above of him. She has a beaming smile and is truly delighted to\"\n ],\n [\n \" We find Peppy and George on a film set, still dancing. The \\n piece of jazz they are dancing to has gone so crazy that now \\n everyone wants to get up and dance! They are dancing a tap\",\n \" them which illustrate Peppy's rising fame. Her name moves \\n higher up the posters and into bigger letters. The films are \\n called \\\"The Rookie\\\", \\\"The Brunette \\\", \\\"The Girl Next Door\\\" and,\",\n \" door\\\", \\\"The girl you'll love to love\\\" \\\"Young and pretty\\\", etc. \\n with a photo of Peppy each time, posters of the film and then, \\n everywhere, the face that it's a talking movie! Talking,\",\n \" magnificent Peppy rising above him. She's playing a scene with \\n a young actor we recognize, it's Humphrey Bogart. He's become a \\n spectator: he laughs, is absorbed and cries along with the \\n others.\",\n \" He does the same with a second girl and she gets hired too. \\n Then it's Peppy's turn. She puts a lot of energy into a few \\n top class tap steps, impressing the guy to such an extent\",\n \" reacting to them too. \\n \\n Among the audience is Peppy Miller. She's trying to \\n concentrate fully on the film and is pushing away the handsome \\n young man she's with, who is trying to kiss her. We see her\",\n \"97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \\n \\n We see Peppy on a shoot, sitting in a chair with her name on\",\n \" a large \\\"Beauty Spot\\\" film poster. The poster shows Peppy close \\n up, wearing a magnificent and jauntily positioned chapka over \\n one eye. She is incredibly stylish but in no way vampish, more\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \"45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \\n \\n Going down the stairs from the offices, he passes a laughing \\n Peppy who is accompanied by two young and charming men, perfect\",\n \"21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \\n \\n Later on, in the dressing room corridor, Peppy, holding an\",\n \" dances with Peppy, and, each time, the nature of their rapport \\n changes. To begin with, they are happy and laughing, but then, \\n with time, less so. Then they become embarrassed, and then\",\n \" Inside the full bus is the young woman from the day before. Her \\n name is Peppy Miller. She is proudly holding \\\"The Hollywood \\n Reporter\\\" with her face on the front page, and is more or less\",\n \" sidewalk, people are cheerfully waiting in line. George walks \\n up the line and comes to a movie house that's playing the \\n \\\"Beauty Spot\\\" talking movie. A huge poster depicts Peppy and\",\n \" Peppy starts again, with a beaming smile, waiting for his \\n response. George does a few tap steps himself, basic ones, \\n without any great enthusiasm. She smiles at him and does a \\n few more complex steps that are a lot livelier. He smiles\",\n \" a little. She hangs up, pensive for a moment. On set,the \\n director gestures to his assistant that the shot is ready and \\n they are good to go. The assistant goes towards Peppy to let\",\n \" appearing one after the other, creating a montage of images \\n with a very 1920's feel. \\\"Get some Peps with Peppy!\\\" and a \\n close up on her smiling, mischievous face. \\\"The girl next\",\n \" advertising feature representing the \\\"new faces of Kinograph \\n Studios\\\". Among the medallion framed young portraits, George \\n recognizes that of Peppy Miller. He glances up at Zimmer. \\n \\n Title card: Fresh blood... \\n\",\n \" the image of a young comedy debut... George looks at her, Peppy \\n seems to be smiling at him. He smiles back. Then his smile \\n becomes strained. He's noticed something. The two theater \\n employees are sticking a banner over the poster that reveals\",\n \" that he smiles admiringly then signals that she's hired. \\n \\n Full of self-assurance that her lucky day has come, Peppy \\n heads off towards wardrobe too; swinging, her hips as she\"\n ],\n [\n \" his name is George Valentin - closely studying the reactions \\n of the audience. He was standing close to his dog, motioning \\n to it not to make a noise. The dog's name is Jack. \\n\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" close ups show his devastating smile to its best advantage. In \\n fact, it's an extract from The Mark of Zorro with Douglas \\n Fairbanks, into which we'll insert close ups of Jean we've shot \\n ourselves. \\n\",\n \"81 INT. AUCTION ROOMS - DAY 81 \\n \\n A sign says that the effects of George Valentin are to be \\n auctioned. Furniture, costumes, objets d'art and paintings on\",\n \" of the light beams of a film première. Behind is a stylized \\n town. The titles end in a fade to black. On black, the date \\n appears on the screen: 1927 \\n \\n\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \" The letters of the titles come up on a title card typical of \\n the 1920s. Elegant motifs around the edge of the frame, and, \\n in the background, there are geometrical shapes reminiscent\",\n \" magnificent Peppy rising above him. She's playing a scene with \\n a young actor we recognize, it's Humphrey Bogart. He's become a \\n spectator: he laughs, is absorbed and cries along with the \\n others.\",\n \" reacting to them too. \\n \\n Among the audience is Peppy Miller. She's trying to \\n concentrate fully on the film and is pushing away the handsome \\n young man she's with, who is trying to kiss her. We see her\",\n \" Title card: George is a silent movie actor. He belongs to the \\n past. Today he's a nobody. \\n \\n As Zimmer's speaking, she removes her accessories and hat. \\n Zimmer is so intrigued he stops talking. \\n\",\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \"45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \\n \\n Going down the stairs from the offices, he passes a laughing \\n Peppy who is accompanied by two young and charming men, perfect\",\n \" exclusively on talkies. \\n \\n \\n 42 INT. KINOGRAPH STUDIOS - SECRETARY'S OFFICE - DAY 42 \\n \\n Despite the secretary's attempts to stop him, a furious George\",\n \" We see her playing some bit parts, maid, dancer, etc. Her roles \\n seem to get a little bigger. We notice that she now wears the \\n beauty spot that she'll keep forever. \\n\",\n \" advertising feature representing the \\\"new faces of Kinograph \\n Studios\\\". Among the medallion framed young portraits, George \\n recognizes that of Peppy Miller. He glances up at Zimmer. \\n \\n Title card: Fresh blood... \\n\",\n \" sidewalk, people are cheerfully waiting in line. George walks \\n up the line and comes to a movie house that's playing the \\n \\\"Beauty Spot\\\" talking movie. A huge poster depicts Peppy and\",\n \" appearing one after the other, creating a montage of images \\n with a very 1920's feel. \\\"Get some Peps with Peppy!\\\" and a \\n close up on her smiling, mischievous face. \\\"The girl next\",\n \"123 INT. KINOGRAPH STUDIOS (1931) - ZIMMER'S OFFICE - DAY 123 \\n \\n Music suddenly begins to play and we see feet dancing in\",\n \" we see George begin making his film, the first clap of the \\n board that shows he's both the film's producer and director. \\n The film is called Tears of love, and it tells the tale of an\"\n ],\n [\n \"81 INT. AUCTION ROOMS - DAY 81 \\n \\n A sign says that the effects of George Valentin are to be \\n auctioned. Furniture, costumes, objets d'art and paintings on\",\n \" George is now with the auctioneer, he's studying the list of \\n items as auction assistants busy themselves around him, \\n carrying and packing the sold lots. The auctioneer, who is \\n putting on his coat, congratulates George. \\n\",\n \" she bought everything he had put up for sale: furniture, \\n paintings, objets d'art, souvenirs, etc. He rips off sheets \\n one after the other and the objects appear, even down to his\",\n \" to them, however, the more his expression tightens. We realize \\n that the butler is none other than the distinguished-looking \\n man who purchased everything at the auction, and that the maid \\n is the woman who was bidding against him to raise the sale\",\n \" He's looking a little unsteady on his feet, probably due to the \\n hip flask he's necking that seems to contain liquor. The \\n objects go under the hammer one by one. We see the three\",\n \" distinguished-looking man who puts on his coat and leaves. \\n \\n \\n 83 EXT. AUCTION ROOM'S STREET - DAY 83 \\n \\n They leave at the same time. The man crosses the street, we\",\n \" being raised, hammer falling, \\\"sold\\\" labels) show us the lots \\n disappearing - every single item is sold. \\n \\n \\n 82 INT. AUCTION ROOMS - CORRIDOR - DAY 82 \\n\",\n \" reveal a piece of furniture. Once again it's a piece that used \\n to belong to him and we recognize it from having seen it at the \\n auction room. \\n \\n After taking off several other sheets, George realizes that\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" In a pawnshop, George, still a little drunk, is selling his \\n tuxedo. The pawnbroker and he are visibly disagreeing on the \\n price, but of course it's George who folds first and hands\",\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" Title card: Well done! It all sold, there's nothing left! \\n \\n George nods but his smile seems a little ironic. He leaves \\n the room. \\n \\n On the stairway, as he's leaving, he is joined by the\",\n \" monkeys go by, notably, hear no evil, speak no evil, see no \\n evil. Two buyers especially are raising the prices by bidding \\n against each other, a distinguished and reserved-looking man,\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" the one we were used to seeing him in. We do however recognize \\n some of the objects, furniture and paintings from his old \\n house, notably the huge portrait of him smiling. He goes into \\n the kitchen which is open onto the rest of the apartment.\",\n \"80 INT. GEORGE'S HOUSE - DAY 80 \\n \\n The next morning, George gets up and goes to look from the \\n window. The chauffeur has gone. George is a little sad, but\",\n \" souvenirs together and get out of the house. \\n \\n Doris \\n P.S.: You should go see Beauty Spot, it's incredible. \\n \\n George takes it on the chin and leaves, revealing behind him\",\n \" George's chauffeur comes into the room and catches them. \\n George swiftly moves aside and there is a moment of \\n discomfort. The chauffeur unwraps a parcel and takes out a\",\n \" his name is George Valentin - closely studying the reactions \\n of the audience. He was standing close to his dog, motioning \\n to it not to make a noise. The dog's name is Jack. \\n\",\n \" so. He does not look at her. She leaves the room. Once he has \\n studied and necklace and is satisfied, George turns back \\n towards Peppy but she is no longer there. The chauffeur exits \\n the room. \\n\"\n ],\n [\n \" the one we were used to seeing him in. We do however recognize \\n some of the objects, furniture and paintings from his old \\n house, notably the huge portrait of him smiling. He goes into \\n the kitchen which is open onto the rest of the apartment.\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" (91) In the room, among the flames and the smoke, George - \\n now breathless - picks one of the reels and tries to turn \\n round. He collapses, still holding on to the can. \\n \\n\",\n \" George goes into his house that has been disfigured by the \\n fire. The flames have changed everything and the atmosphere, \\n here again, seems ghostly and sad. \\n 39. \\n \\n\",\n \" of them. George is delighted at the sight, by the whole scene \\n and, realizing this, the young woman steals a kiss. Flash. The \\n image becomes static, then dissolves into the printed picture\",\n \"122 INT. GEORGE'S BURNT HOUSE - DAY 122 \\n \\n She rushes into the living room and stops for a moment to look \\n at George. George awkwardly tries to hide the pistol behind\",\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" lies an old page from a newspaper that bears a picture of \\n George. A man's feet trample the picture. \\n \\n \\n 66 INT. GEORGE & DORIS' HOUSE - NIGHT 66 \\n\",\n \" not there. She looks for him but can't find him. The maid says \\n that he has left. She drops the flowers. \\n \\n \\n 116 INT. GEORGE'S BURNT HOUSE - DAY 116\",\n \" seem to still be clutching something. She's intrigued. In \\n response, the doctor shows her the reel of film that sits in \\n a corner of the room. \\n \\n Title card: He was holding that. It was real hard to pry it\",\n \" the reels and films that he has not opened are, and begins \\n throwing them frantically over his shoulder as though he's \\n looking for one in particular. The ever-increasing denseness \\n of the smoke, however, is making the task almost impossible.\",\n \" were inside. She takes pleasure from the embrace and, when \\n George comes into the room, she slowly removes her hand without \\n any rush. George sees her, they look at each other. He closes\",\n \" instant and give off lots of smoke. Jack is panicking and \\n barks incessantly. Suddenly, George seems to lose it. He \\n doesn't know what to do anymore and, although the fire is \\n spreading quite spectacularly around him, he runs to where\",\n \" eyes, one with hands clasped to its ears and the third \\n obscuring its mouth. George comes into the room and kisses \\n his wife. She responds with cold indifference. You could cut \\n the atmosphere with a knife. The woman hands George the\",\n \" among them, sitting next to a man of about sixty who is \\n dressed in a highly stylized fashion. His job is obviously \\n that of a butler. Peppy proudly shows him the picture in the\",\n \" There's madness in his eyes as he watches the fire take hold. \\n We can see his pleasure at seeing the flames spread. But he's \\n very quickly overrun. The reels burst into flames in an\",\n \" the sheet. Underneath he finds his former objet d'art, the \\n three monkeys \\\"hear no evil\\\", \\\"speak no evil\\\" and \\\"see no \\n evil\\\". He thinks for a moment, then pulls of another sheet to\"\n ],\n [\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" shakes of his head and his apologetic air as he listens to \\n Peppy. She finally stops talking and gives him a determined \\n look. Zimmer, uncomfortable and sorry, calmly replies. \\n\",\n \" A screenplay lies on a table. Peppy and Zimmer are seated \\n either side of the table and are talking animatedly. We're on \\n the set we saw the previous day, and Peppy seems to be trying\",\n \" Zimmer is convinced by them, and, when they finish their \\n demonstration, he has a broad smile on his face. \\n \\n \\n 124 INT. STUDIO - PEPPY & GEORGE - DAY 124 \\n\",\n \" another decor. Except that from now on we actually hear the \\n sound of the tap steps. We pull back to find Peppy and George \\n in Zimmer's office. They're dancing for him. Little by little,\",\n \" advertising feature representing the \\\"new faces of Kinograph \\n Studios\\\". Among the medallion framed young portraits, George \\n recognizes that of Peppy Miller. He glances up at Zimmer. \\n \\n Title card: Fresh blood... \\n\",\n \" Even when she's blackmailing, she's still pretty, and Zimmer \\n looks at her totally at a loss but at the same time it's \\n obvious that he's going to back down. The people around them\",\n \" hesitation, he walks away without saying a thing. Peppy looks \\n at George gratefully, smiling, but seems a little preoccupied \\n as though she might have made a mistake. \\n \\n Everyone on set gets back to work. \\n \\n\",\n \" Peppy is facing her mirror and putting her make up on. She \\n takes a break, looking a little sad. Someone (some kind of \\n assistant) opens the door to her dressing room and says \\n something like you need to hurry up. She nods and gets back\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \"young woman. She pulls a face meaning 'Here I am!!' And of \\n course it's Peppy, except that she immediately realizes who \\n she is dealing with - visibly she wasn't expecting this at \\n all - and feels completely ridiculous and uncomfortable. \\n\",\n \" (119) As for Peppy, she's speeding along, totally ignoring \\n even the most basic of road safety requirements. \\n \\n (120) George puts down his glass and picks up the pistol.\",\n \" reacting to them too. \\n \\n Among the audience is Peppy Miller. She's trying to \\n concentrate fully on the film and is pushing away the handsome \\n young man she's with, who is trying to kiss her. We see her\",\n \" the image of a young comedy debut... George looks at her, Peppy \\n seems to be smiling at him. He smiles back. Then his smile \\n becomes strained. He's noticed something. The two theater \\n employees are sticking a banner over the poster that reveals\",\n \" Peppy enters. She's anxious but the doctor seems reassuring. \\n \\n Title card: He's not in any danger now. He just needs to \\n rest. \\n \\n Peppy goes up to George. She notices that his burnt hands\",\n \"21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \\n \\n Later on, in the dressing room corridor, Peppy, holding an\",\n \" shuts the paper and searches for something in the drawer of his \\n desk. He takes out a piece of paper. It's the telephone number \\n that Peppy had scribbled down for him. He looks at it, moves\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" nothing to feel bad about. He opens his arms towards her, \\n still holding the pistol and the gun fires itself. \\n Fortunately no one is hurt, but the incident makes Peppy \\n laugh and, between sobs and gasps of laughter she throws\",\n \"halt, talks to George as he shows him the front page. He is \\n visibly upset. George looks a lot more relaxed, he says hello \\n and vaguely tries to reassure him. But Zimmer persists, still \\n pointing at the newspaper. \\n\"\n ],\n [\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" his name is George Valentin - closely studying the reactions \\n of the audience. He was standing close to his dog, motioning \\n to it not to make a noise. The dog's name is Jack. \\n\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" exclusively on talkies. \\n \\n \\n 42 INT. KINOGRAPH STUDIOS - SECRETARY'S OFFICE - DAY 42 \\n \\n Despite the secretary's attempts to stop him, a furious George\",\n \" Title card: I don't need you. Go make your talking movies. \\n I'm going to make them a beautiful film! \\n 17. \\n \\n \\n As George leaves in disgust, his eyes are drawn to an\",\n \" him. The two men draw close and George asks him what's \\n happening. The man takes the day's newspaper out of his pocket \\n and hands it to George before walking off. George reads: \\n Kinograph Studios stop all silent productions to work\",\n \" Title card: George is a silent movie actor. He belongs to the \\n past. Today he's a nobody. \\n \\n As Zimmer's speaking, she removes her accessories and hat. \\n Zimmer is so intrigued he stops talking. \\n\",\n \" audience can hear her. It is however, awful. \\n \\n (31) In the screening room, the audience seems stunned by \\n what they see/hear. They are fascinated. They then begin to\",\n \" talking and laughing vivaciously. George is with her with an \\n expression of love on his face. He's laughing with her when, \\n suddenly, reality bites. He's still sitting opposite Doris,\",\n \" We're back with George in his dressing room. He's removing his \\n make up. He moves some ordinary object and the object, as he \\n moves it, makes a noise. We hear the noise it makes. Really\",\n \" tests it, delighted to be there. Cut. We see her again, the \\n microphone has disappeared and she acts out a scene. It's a \\n monologue. Her acting is terrible, very theatrical, but the\",\n \"45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \\n \\n Going down the stairs from the offices, he passes a laughing \\n Peppy who is accompanied by two young and charming men, perfect\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \"81 INT. AUCTION ROOMS - DAY 81 \\n \\n A sign says that the effects of George Valentin are to be \\n auctioned. Furniture, costumes, objets d'art and paintings on\",\n \" reacting to them too. \\n \\n Among the audience is Peppy Miller. She's trying to \\n concentrate fully on the film and is pushing away the handsome \\n young man she's with, who is trying to kiss her. We see her\",\n \" is finishing putting his make up on. He has a white face and \\n dark lips and eyes. His chauffeur is signing autographs for \\n him on full length photographs of himself (George) with his \\n dog. George says to him: \\n\",\n \" Title card: We belong to another age, you and I, George. \\n Nowadays, the world talks. \\n \\n He talks to him, looks a little embarrassed, while George \\n takes it on the chin, not knowing how to respond. \\n\",\n \" A screenplay lies on a table. Peppy and Zimmer are seated \\n either side of the table and are talking animatedly. We're on \\n the set we saw the previous day, and Peppy seems to be trying\",\n \" door\\\", \\\"The girl you'll love to love\\\" \\\"Young and pretty\\\", etc. \\n with a photo of Peppy each time, posters of the film and then, \\n everywhere, the face that it's a talking movie! Talking,\",\n \"dialogue ensues between the two pairs of legs, until the set \\n hands - the path before them now cleared - pick up their \\n screen of scenery and walk off with it. The screen moves away \\n and as it disappears reveals that the upper body belongs to a\"\n ],\n [\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" We're in a smart restaurant. George has his back to the room \\n and is eating with his chauffeur. Peppy comes into the \\n restaurant and comes to sit just behind George. They are back\",\n \" sidewalk, people are cheerfully waiting in line. George walks \\n up the line and comes to a movie house that's playing the \\n \\\"Beauty Spot\\\" talking movie. A huge poster depicts Peppy and\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" Peppy Miller is \\\"The Guardian Angel\\\". It's a huge poster on the \\n façade of a movie theater. George goes inside. With Jack. \\n \\n\",\n \" his name is George Valentin - closely studying the reactions \\n of the audience. He was standing close to his dog, motioning \\n to it not to make a noise. The dog's name is Jack. \\n\",\n \" The next morning, Peppy brings breakfast into George's room \\n and they eat it together. She laughs, talks, eats, drinks and \\n is as vivacious as he had dreamed she would be all those years\",\n \" We find Peppy and George on a film set, still dancing. The \\n piece of jazz they are dancing to has gone so crazy that now \\n everyone wants to get up and dance! They are dancing a tap\",\n \" reacting to them too. \\n \\n Among the audience is Peppy Miller. She's trying to \\n concentrate fully on the film and is pushing away the handsome \\n young man she's with, who is trying to kiss her. We see her\",\n \" the image of a young comedy debut... George looks at her, Peppy \\n seems to be smiling at him. He smiles back. Then his smile \\n becomes strained. He's noticed something. The two theater \\n employees are sticking a banner over the poster that reveals\",\n \" She stops because George is not looking at her anymore. He's \\n watching the arrival of the young, smiling, handsome and \\n wholesome man who is with Peppy. George bears a melancholy \\n smile. \\n\",\n \" Inside the full bus is the young woman from the day before. Her \\n name is Peppy Miller. She is proudly holding \\\"The Hollywood \\n Reporter\\\" with her face on the front page, and is more or less\",\n \" advertising feature representing the \\\"new faces of Kinograph \\n Studios\\\". Among the medallion framed young portraits, George \\n recognizes that of Peppy Miller. He glances up at Zimmer. \\n \\n Title card: Fresh blood... \\n\",\n \" hesitation, he walks away without saying a thing. Peppy looks \\n at George gratefully, smiling, but seems a little preoccupied \\n as though she might have made a mistake. \\n \\n Everyone on set gets back to work. \\n \\n\",\n \" herself into George's arms. They hug for a long time. Peppy \\n says into his ear, \\n \\n Title card: You've got so much that no one else has... \\n \\n And into her ear, George replies: \\n\",\n \" Peppy starts again, with a beaming smile, waiting for his \\n response. George does a few tap steps himself, basic ones, \\n without any great enthusiasm. She smiles at him and does a \\n few more complex steps that are a lot livelier. He smiles\",\n \"45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \\n \\n Going down the stairs from the offices, he passes a laughing \\n Peppy who is accompanied by two young and charming men, perfect\",\n \" pauses in front of the butler. \\n 8. \\n \\n \\n Title card: The name is Miller. Peppy Miller! \\n \\n She finishes with an exaggerated wink, before walking on,\",\n \" magnificent Peppy rising above him. She's playing a scene with \\n a young actor we recognize, it's Humphrey Bogart. He's become a \\n spectator: he laughs, is absorbed and cries along with the \\n others.\",\n \" The man casts a glance to ask her what he should do next. \\n Peppy, with a forced smile, motions that they can leave. As the \\n man starts up the motorcar, George is walking away. The car\"\n ],\n [\n \" that he smiles admiringly then signals that she's hired. \\n \\n Full of self-assurance that her lucky day has come, Peppy \\n heads off towards wardrobe too; swinging, her hips as she\",\n \" Peppy is facing her mirror and putting her make up on. She \\n takes a break, looking a little sad. Someone (some kind of \\n assistant) opens the door to her dressing room and says \\n something like you need to hurry up. She nods and gets back\",\n \"young woman. She pulls a face meaning 'Here I am!!' And of \\n course it's Peppy, except that she immediately realizes who \\n she is dealing with - visibly she wasn't expecting this at \\n all - and feels completely ridiculous and uncomfortable. \\n\",\n \" The next morning, Peppy brings breakfast into George's room \\n and they eat it together. She laughs, talks, eats, drinks and \\n is as vivacious as he had dreamed she would be all those years\",\n \" He does the same with a second girl and she gets hired too. \\n Then it's Peppy's turn. She puts a lot of energy into a few \\n top class tap steps, impressing the guy to such an extent\",\n \" Peppy starts again, with a beaming smile, waiting for his \\n response. George does a few tap steps himself, basic ones, \\n without any great enthusiasm. She smiles at him and does a \\n few more complex steps that are a lot livelier. He smiles\",\n \" them which illustrate Peppy's rising fame. Her name moves \\n higher up the posters and into bigger letters. The films are \\n called \\\"The Rookie\\\", \\\"The Brunette \\\", \\\"The Girl Next Door\\\" and,\",\n \" directs her with a raised hand that Peppy immediately follows. \\n \\n She bounds up the stairs four at a time and comes into a \\n corridor, \\n \\n\",\n \" Peppy gets home in the evening, arms laden with flowers. She's \\n happy. \\n \\n She quickly goes up the stairs and into George's bedroom. He's\",\n \"97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \\n \\n We see Peppy on a shoot, sitting in a chair with her name on\",\n \" a little. She hangs up, pensive for a moment. On set,the \\n director gestures to his assistant that the shot is ready and \\n they are good to go. The assistant goes towards Peppy to let\",\n \" two make up girls, a hairdresser and a wardrobe assistant. \\n Peppy, fortunately, has stayed completely natural and doesn't \\n seem to take any of it seriously. As the last touch is put in\",\n \" place, Peppy gets to her feet and turns round. \\n 26. \\n \\n \\n At her feet lie a dozen pairs of shoes, each pair as \\n magnificent as the next, and all in their swanky boxes. Peppy\",\n \" appearing one after the other, creating a montage of images \\n with a very 1920's feel. \\\"Get some Peps with Peppy!\\\" and a \\n close up on her smiling, mischievous face. \\\"The girl next\",\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" (119) As for Peppy, she's speeding along, totally ignoring \\n even the most basic of road safety requirements. \\n \\n (120) George puts down his glass and picks up the pistol.\",\n \"72 INT. KINOGRAPH STUDIOS - PEPPY'S DRESSING ROOM - DAY 72 \\n \\n We catch up with her in a close up, applying her make up. The\",\n \" We find Peppy and George on a film set, still dancing. The \\n piece of jazz they are dancing to has gone so crazy that now \\n everyone wants to get up and dance! They are dancing a tap\",\n \" dances with Peppy, and, each time, the nature of their rapport \\n changes. To begin with, they are happy and laughing, but then, \\n with time, less so. Then they become embarrassed, and then\"\n ],\n [\n \" His position and demeanor are exactly like when he was watching \\n the screening of Tears of Love, from the back of the room with \\n the verdict of failure in the air... \\n\",\n \" be loved, but Doris is implacable. She gets up, walks away \\n and does not turn back. Left on his own, George has a closed \\n expression on his face. He seems unhappy to have hurt his\",\n \" It's obvious he's only saying that so that she can forget him \\n and move on with her life, but it doesn't wash and the young \\n woman weeps all the more, terribly moved by this last \\n sacrifice on his part. \\n\",\n \" George goes into his house that has been disfigured by the \\n fire. The flames have changed everything and the atmosphere, \\n here again, seems ghostly and sad. \\n 39. \\n \\n\",\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \" disgusted. Suddenly his shadow separates itself from him and \\n moves independently from him. As he shouts at it, it lowers \\n its head and doesn't reply. \\n \\n Title card: You acted very badly! You were thoughtless!\",\n \" among them, sitting next to a man of about sixty who is \\n dressed in a highly stylized fashion. His job is obviously \\n that of a butler. Peppy proudly shows him the picture in the\",\n \" When he is alone, George looks at himself in the mirror. His \\n expression shows that he things he is the stupidest man in \\n the world. He mimes shooting himself in the temple with his\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" She stops because George is not looking at her anymore. He's \\n watching the arrival of the young, smiling, handsome and \\n wholesome man who is with Peppy. George bears a melancholy \\n smile. \\n\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" He carries on shouting at it, obviously very annoyed with it. \\n \\n Title card: You were very nasty! And stupid! And arrogant! \\n \\n He doesn't even want to look at it anymore. He looks\",\n \" Title card: I don't need you. Go make your talking movies. \\n I'm going to make them a beautiful film! \\n 17. \\n \\n \\n As George leaves in disgust, his eyes are drawn to an\",\n \" the one we were used to seeing him in. We do however recognize \\n some of the objects, furniture and paintings from his old \\n house, notably the huge portrait of him smiling. He goes into \\n the kitchen which is open onto the rest of the apartment.\",\n \" suits and tuxedos. He continues and discovers the painting \\n depicting him in a tux, waving and smiling. George looks \\n stunned at the sight of himself looking so full of life. He's\",\n \" become more \\\"common\\\", less unattainable. He seems to have lost \\n whatever it was that made him so superb. Primarily he's a bit \\n drunk, somewhat hesitant. George gets up and closes his Murphy\",\n \" picks up a photo, looks at it closely and then writes on it. \\n As he leaves the dressing room, we see the photograph. He's \\n written Woof Woof on it, and signed it with the paw print of \\n a dog. \\n \\n\",\n \" There's hardly anyone in the theater. The people that are there \\n look bored more than anything. At the back smoking a cigarette, \\n George takes the failure on the chin. \\n 22. \\n \\n\",\n \" the sheet. Underneath he finds his former objet d'art, the \\n three monkeys \\\"hear no evil\\\", \\\"speak no evil\\\" and \\\"see no \\n evil\\\". He thinks for a moment, then pulls of another sheet to\",\n \" eyes, one with hands clasped to its ears and the third \\n obscuring its mouth. George comes into the room and kisses \\n his wife. She responds with cold indifference. You could cut \\n the atmosphere with a knife. The woman hands George the\"\n ],\n [\n \" His position and demeanor are exactly like when he was watching \\n the screening of Tears of Love, from the back of the room with \\n the verdict of failure in the air... \\n\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" be loved, but Doris is implacable. She gets up, walks away \\n and does not turn back. Left on his own, George has a closed \\n expression on his face. He seems unhappy to have hurt his\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \" (64) The hand has disappeared. The young woman is in a state \\n of shock, rigid with a look of horror on her face. She is no \\n doubt about to be put to certain death. The dog turns round \\n and walks off with head and tail lowered...\",\n \" disgusted. Suddenly his shadow separates itself from him and \\n moves independently from him. As he shouts at it, it lowers \\n its head and doesn't reply. \\n \\n Title card: You acted very badly! You were thoughtless!\",\n \" (91) In the room, among the flames and the smoke, George - \\n now breathless - picks one of the reels and tries to turn \\n round. He collapses, still holding on to the can. \\n \\n\",\n \" casts him a \\\"very funny\\\" glance. George looks at his fingers, \\n not understanding why they don't work anymore then mimes \\n throwing them away behind him, as though they've become \\n useless. Constance stalks back off into the wings in\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" There's hardly anyone in the theater. The people that are there \\n look bored more than anything. At the back smoking a cigarette, \\n George takes the failure on the chin. \\n 22. \\n \\n\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \" George goes into his house that has been disfigured by the \\n fire. The flames have changed everything and the atmosphere, \\n here again, seems ghostly and sad. \\n 39. \\n \\n\",\n \" He carries on shouting at it, obviously very annoyed with it. \\n \\n Title card: You were very nasty! And stupid! And arrogant! \\n \\n He doesn't even want to look at it anymore. He looks\",\n \" there. He begins to holler. \\n \\n Title card: COME BACK! COME BACK HERE RIGHT NOW!!! \\n \\n Totally smashed he starts to violently throw film reels\",\n \" George is in the same position. He still has the pistol in \\n his mouth. Visibly, he's heard a BANG from outside, because \\n he takes the pistol out of his mouth and looks out the \\n window. \\n \\n\",\n \" picks up a photo, looks at it closely and then writes on it. \\n As he leaves the dressing room, we see the photograph. He's \\n written Woof Woof on it, and signed it with the paw print of \\n a dog. \\n \\n\",\n \" of them. George is delighted at the sight, by the whole scene \\n and, realizing this, the young woman steals a kiss. Flash. The \\n image becomes static, then dissolves into the printed picture\",\n \" talking and laughing vivaciously. George is with her with an \\n expression of love on his face. He's laughing with her when, \\n suddenly, reality bites. He's still sitting opposite Doris,\",\n \" among them, sitting next to a man of about sixty who is \\n dressed in a highly stylized fashion. His job is obviously \\n that of a butler. Peppy proudly shows him the picture in the\"\n ],\n [\n \" sees the smoke coming out of the house. He runs into the smoke. \\n \\n \\n 95 INT. GEORGE'S HOUSE - DAY 95 \\n \\n A completely unconscious George, overcome by the fumes, is\",\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" instant and give off lots of smoke. Jack is panicking and \\n barks incessantly. Suddenly, George seems to lose it. He \\n doesn't know what to do anymore and, although the fire is \\n spreading quite spectacularly around him, he runs to where\",\n \" dragged out of the fire by the policeman. \\n \\n \\n 96 EXT. GEORGE'S HOUSE - DAY 96 \\n \\n They come out the house. George is still clutching the reel. A\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" On the floor, below the smoke, Jack flees the room and runs \\n off while George suffocates but continues to struggle with \\n the cans of reels. \\n \\n\",\n \" Peppy enters. She's anxious but the doctor seems reassuring. \\n \\n Title card: He's not in any danger now. He just needs to \\n rest. \\n \\n Peppy goes up to George. She notices that his burnt hands\",\n \" George goes into his house that has been disfigured by the \\n fire. The flames have changed everything and the atmosphere, \\n here again, seems ghostly and sad. \\n 39. \\n \\n\",\n \"122 INT. GEORGE'S BURNT HOUSE - DAY 122 \\n \\n She rushes into the living room and stops for a moment to look \\n at George. George awkwardly tries to hide the pistol behind\",\n \" He composes himself. She casts him an admiring glance. Then, \\n in view of the urgency of their situation, they escape at a \\n run. \\n \\n\",\n \" not there. She looks for him but can't find him. The maid says \\n that he has left. She drops the flowers. \\n \\n \\n 116 INT. GEORGE'S BURNT HOUSE - DAY 116\",\n \" Coming out of the theater several young people bump into him. \\n They don't recognize him. There's a lot of people milling \\n about, so he picks Jack up. A woman exclaims an Oh! of\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" goes over to George. She reassures him, motions to him not to \\n get upset, then slowly leaves the room before running off down \\n the corridor. She knocks at a door then goes back to George's\",\n \" George calms down as he sits in the living room, alone in the \\n darkness. Jack, still sleepy, has just curled into a ball \\n next to him to fall back to sleep. George smiles and gives \\n him a pat. \\n \\n\",\n \" understand it either, he tries to pick up altitude, but quickly \\n notices that the explosions are in fact pretty and \\n inoffensive. He consults a calendar dial on the control panel \\n that shows it is July 14th, immediately understands, and\",\n \" (91) In the room, among the flames and the smoke, George - \\n now breathless - picks one of the reels and tries to turn \\n round. He collapses, still holding on to the can. \\n \\n\",\n \" were inside. She takes pleasure from the embrace and, when \\n George comes into the room, she slowly removes her hand without \\n any rush. George sees her, they look at each other. He closes\",\n \" and George respectfully bows, walks away from him still bowing \\n then turns and runs. Once out of the decor, he bumps right into \\n a worried-looking Zimmer who is followed by his loyal\",\n \" The man (the hero, thus) imprisons the guard without harming \\n him, then runs over to the guard's desk. His ears are still \\n causing him pain, but he opens a drawer and takes out his\"\n ],\n [\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" dragged out of the fire by the policeman. \\n \\n \\n 96 EXT. GEORGE'S HOUSE - DAY 96 \\n \\n They come out the house. George is still clutching the reel. A\",\n \" George goes into his house that has been disfigured by the \\n fire. The flames have changed everything and the atmosphere, \\n here again, seems ghostly and sad. \\n 39. \\n \\n\",\n \" of them. George is delighted at the sight, by the whole scene \\n and, realizing this, the young woman steals a kiss. Flash. The \\n image becomes static, then dissolves into the printed picture\",\n \" instant and give off lots of smoke. Jack is panicking and \\n barks incessantly. Suddenly, George seems to lose it. He \\n doesn't know what to do anymore and, although the fire is \\n spreading quite spectacularly around him, he runs to where\",\n \" the one we were used to seeing him in. We do however recognize \\n some of the objects, furniture and paintings from his old \\n house, notably the huge portrait of him smiling. He goes into \\n the kitchen which is open onto the rest of the apartment.\",\n \" On the floor, below the smoke, Jack flees the room and runs \\n off while George suffocates but continues to struggle with \\n the cans of reels. \\n \\n\",\n \" (91) In the room, among the flames and the smoke, George - \\n now breathless - picks one of the reels and tries to turn \\n round. He collapses, still holding on to the can. \\n \\n\",\n \" she bought everything he had put up for sale: furniture, \\n paintings, objets d'art, souvenirs, etc. He rips off sheets \\n one after the other and the objects appear, even down to his\",\n \" reveal a piece of furniture. Once again it's a piece that used \\n to belong to him and we recognize it from having seen it at the \\n auction room. \\n \\n After taking off several other sheets, George realizes that\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \" (64) The hand has disappeared. The young woman is in a state \\n of shock, rigid with a look of horror on her face. She is no \\n doubt about to be put to certain death. The dog turns round \\n and walks off with head and tail lowered...\",\n \" There's madness in his eyes as he watches the fire take hold. \\n We can see his pleasure at seeing the flames spread. But he's \\n very quickly overrun. The reels burst into flames in an\",\n \" among them, sitting next to a man of about sixty who is \\n dressed in a highly stylized fashion. His job is obviously \\n that of a butler. Peppy proudly shows him the picture in the\",\n \" the sheet. Underneath he finds his former objet d'art, the \\n three monkeys \\\"hear no evil\\\", \\\"speak no evil\\\" and \\\"see no \\n evil\\\". He thinks for a moment, then pulls of another sheet to\",\n \"122 INT. GEORGE'S BURNT HOUSE - DAY 122 \\n \\n She rushes into the living room and stops for a moment to look \\n at George. George awkwardly tries to hide the pistol behind\",\n \" not there. She looks for him but can't find him. The maid says \\n that he has left. She drops the flowers. \\n \\n \\n 116 INT. GEORGE'S BURNT HOUSE - DAY 116\",\n \" (63) Next to Peppy, the young man sits watching her. She sees \\n sad. \\n \\n (64) On screen, George has disappeared into the mire. Only \\n one hand stays in the air for several seconds more in a\",\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \" seem to still be clutching something. She's intrigued. In \\n response, the doctor shows her the reel of film that sits in \\n a corner of the room. \\n \\n Title card: He was holding that. It was real hard to pry it\"\n ],\n [\n \"81 INT. AUCTION ROOMS - DAY 81 \\n \\n A sign says that the effects of George Valentin are to be \\n auctioned. Furniture, costumes, objets d'art and paintings on\",\n \" George is now with the auctioneer, he's studying the list of \\n items as auction assistants busy themselves around him, \\n carrying and packing the sold lots. The auctioneer, who is \\n putting on his coat, congratulates George. \\n\",\n \" she bought everything he had put up for sale: furniture, \\n paintings, objets d'art, souvenirs, etc. He rips off sheets \\n one after the other and the objects appear, even down to his\",\n \" to them, however, the more his expression tightens. We realize \\n that the butler is none other than the distinguished-looking \\n man who purchased everything at the auction, and that the maid \\n is the woman who was bidding against him to raise the sale\",\n \" He's looking a little unsteady on his feet, probably due to the \\n hip flask he's necking that seems to contain liquor. The \\n objects go under the hammer one by one. We see the three\",\n \" being raised, hammer falling, \\\"sold\\\" labels) show us the lots \\n disappearing - every single item is sold. \\n \\n \\n 82 INT. AUCTION ROOMS - CORRIDOR - DAY 82 \\n\",\n \" reveal a piece of furniture. Once again it's a piece that used \\n to belong to him and we recognize it from having seen it at the \\n auction room. \\n \\n After taking off several other sheets, George realizes that\",\n \" distinguished-looking man who puts on his coat and leaves. \\n \\n \\n 83 EXT. AUCTION ROOM'S STREET - DAY 83 \\n \\n They leave at the same time. The man crosses the street, we\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" In a pawnshop, George, still a little drunk, is selling his \\n tuxedo. The pawnbroker and he are visibly disagreeing on the \\n price, but of course it's George who folds first and hands\",\n \" monkeys go by, notably, hear no evil, speak no evil, see no \\n evil. Two buyers especially are raising the prices by bidding \\n against each other, a distinguished and reserved-looking man,\",\n \" Title card: Well done! It all sold, there's nothing left! \\n \\n George nods but his smile seems a little ironic. He leaves \\n the room. \\n \\n On the stairway, as he's leaving, he is joined by the\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" the one we were used to seeing him in. We do however recognize \\n some of the objects, furniture and paintings from his old \\n house, notably the huge portrait of him smiling. He goes into \\n the kitchen which is open onto the rest of the apartment.\",\n \" George's chauffeur comes into the room and catches them. \\n George swiftly moves aside and there is a moment of \\n discomfort. The chauffeur unwraps a parcel and takes out a\",\n \" souvenirs together and get out of the house. \\n \\n Doris \\n P.S.: You should go see Beauty Spot, it's incredible. \\n \\n George takes it on the chin and leaves, revealing behind him\",\n \" his name is George Valentin - closely studying the reactions \\n of the audience. He was standing close to his dog, motioning \\n to it not to make a noise. The dog's name is Jack. \\n\",\n \" and a lady of a certain age who looks a bit severe, to the \\n point of bigotry. They don't seem perfectly comfortable, but \\n they are the only two buying. \\n \\n A few crossfades (the display table emptying, faces, hands\",\n \" among them, sitting next to a man of about sixty who is \\n dressed in a highly stylized fashion. His job is obviously \\n that of a butler. Peppy proudly shows him the picture in the\"\n ],\n [\n \" shuts the paper and searches for something in the drawer of his \\n desk. He takes out a piece of paper. It's the telephone number \\n that Peppy had scribbled down for him. He looks at it, moves\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" Peppy enters. She's anxious but the doctor seems reassuring. \\n \\n Title card: He's not in any danger now. He just needs to \\n rest. \\n \\n Peppy goes up to George. She notices that his burnt hands\",\n \" room. Peppy is close on her heels. She comes into the room in \\n her nightgown. When he sees her, George smiles and she rushes \\n over to the bed and puts her arms tight around him. She is\",\n \" The next morning, Peppy brings breakfast into George's room \\n and they eat it together. She laughs, talks, eats, drinks and \\n is as vivacious as he had dreamed she would be all those years\",\n \"105 INT. PEPPY'S HOUSE - DAY 105 \\n \\n A little later, and alone, he's exploring the house. It's \\n richly and tastefully decorated, highly personal. He goes\",\n \" so. He does not look at her. She leaves the room. Once he has \\n studied and necklace and is satisfied, George turns back \\n towards Peppy but she is no longer there. The chauffeur exits \\n the room. \\n\",\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \" another decor. Except that from now on we actually hear the \\n sound of the tap steps. We pull back to find Peppy and George \\n in Zimmer's office. They're dancing for him. Little by little,\",\n \" follow him. \\n \\n He gets into a car. Peppy is sitting in the back. She's alone \\n and watching George walk off with his unsteady gait. She's sad.\",\n \" Peppy gets home in the evening, arms laden with flowers. She's \\n happy. \\n \\n She quickly goes up the stairs and into George's bedroom. He's\",\n \" nothing to feel bad about. He opens his arms towards her, \\n still holding the pistol and the gun fires itself. \\n Fortunately no one is hurt, but the incident makes Peppy \\n laugh and, between sobs and gasps of laughter she throws\",\n \"112 INT. PEPPY'S HOUSE - GEORGE'S BEDROOM - DAY 112 \\n \\n He finishes putting on his burnt suit in his room, and leaves. \\n \\n\",\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \" Peppy is driving as fast as she can through town, but she's \\n pretty reckless and almost causes an accident. \\n \\n \\n 120 INT. GEORGE'S BURNT HOUSE - DAY 120 \\n\",\n \" hesitation, he walks away without saying a thing. Peppy looks \\n at George gratefully, smiling, but seems a little preoccupied \\n as though she might have made a mistake. \\n \\n Everyone on set gets back to work. \\n \\n\",\n \" walks off. George, totally bewildered by the incident, seems \\n to lose his grip on himself a little more. \\n \\n \\n 115 INT. PEPPY'S HOUSE - DAY 115 \\n\",\n \" her know but, as he gets to where she should be, her seat is \\n empty. He looks everywhere for her, but she has disappeared. \\n \\n \\n 98 INT. PEPPY'S CAR (DRIVING) - DAY 98\",\n \" sets off and overtakes him. Peppy does not turn round. She's \\n crying. \\n \\n \\n 84 INT. CLANDESTINE BAR - NIGHT 84 \\n\",\n \" (63) Next to Peppy, the young man sits watching her. She sees \\n sad. \\n \\n (64) On screen, George has disappeared into the mire. Only \\n one hand stays in the air for several seconds more in a\"\n ],\n [\n \" away from him. \\n \\n Peppy picks up the can. The label is too damaged to be able \\n to read the title of the film. She opens it and unrolls some \\n of the film in front of the window. We see random photograms\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" reacting to them too. \\n \\n Among the audience is Peppy Miller. She's trying to \\n concentrate fully on the film and is pushing away the handsome \\n young man she's with, who is trying to kiss her. We see her\",\n \" his name is George Valentin - closely studying the reactions \\n of the audience. He was standing close to his dog, motioning \\n to it not to make a noise. The dog's name is Jack. \\n\",\n \" Title card: No, I'm nothing but a shadow. No good for \\n anything but silence. \\n \\n Peppy doesn't reply. She just holds him tighter still and \\n closes her eyes. Jack is sitting close by, watching them and\",\n \" dances with Peppy, and, each time, the nature of their rapport \\n changes. To begin with, they are happy and laughing, but then, \\n with time, less so. Then they become embarrassed, and then\",\n \" We find Peppy and George on a film set, still dancing. The \\n piece of jazz they are dancing to has gone so crazy that now \\n everyone wants to get up and dance! They are dancing a tap\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \"45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \\n \\n Going down the stairs from the offices, he passes a laughing \\n Peppy who is accompanied by two young and charming men, perfect\",\n \" (63) In the balcony, Peppy is speechless and her face \\n impassive. \\n \\n (64) On screen, George and the young women exchange a last \\n glance as George's face gradually sinks into the sand. \\n\",\n \" magnificent Peppy rising above him. She's playing a scene with \\n a young actor we recognize, it's Humphrey Bogart. He's become a \\n spectator: he laughs, is absorbed and cries along with the \\n others.\",\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" hesitation, he walks away without saying a thing. Peppy looks \\n at George gratefully, smiling, but seems a little preoccupied \\n as though she might have made a mistake. \\n \\n Everyone on set gets back to work. \\n \\n\",\n \" the image of a young comedy debut... George looks at her, Peppy \\n seems to be smiling at him. He smiles back. Then his smile \\n becomes strained. He's noticed something. The two theater \\n employees are sticking a banner over the poster that reveals\",\n \" Title card: George is a silent movie actor. He belongs to the \\n past. Today he's a nobody. \\n \\n As Zimmer's speaking, she removes her accessories and hat. \\n Zimmer is so intrigued he stops talking. \\n\",\n \" Crash. He looks for something on the inside pages of one paper \\n and reads. Next to a large picture of Peppy there's a review of \\n his own film, beginning \\\"Tears of Love, Old and Boring\\\". He\",\n \" The man casts a glance to ask her what he should do next. \\n Peppy, with a forced smile, motions that they can leave. As the \\n man starts up the motorcar, George is walking away. The car\",\n \" their faces. The music stops on a powerful blast from the \\n brass instruments that leaves everyone bursting with energy. \\n In the ensuing silence, Peppy and George stay exactly where \\n they were, facing the camera, with the smile stuck on their\",\n \" We're in a smart restaurant. George has his back to the room \\n and is eating with his chauffeur. Peppy comes into the \\n restaurant and comes to sit just behind George. They are back\",\n \" herself into George's arms. They hug for a long time. Peppy \\n says into his ear, \\n \\n Title card: You've got so much that no one else has... \\n \\n And into her ear, George replies: \\n\"\n ],\n [\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" his name is George Valentin - closely studying the reactions \\n of the audience. He was standing close to his dog, motioning \\n to it not to make a noise. The dog's name is Jack. \\n\",\n \" We're in a smart restaurant. George has his back to the room \\n and is eating with his chauffeur. Peppy comes into the \\n restaurant and comes to sit just behind George. They are back\",\n \" She stops because George is not looking at her anymore. He's \\n watching the arrival of the young, smiling, handsome and \\n wholesome man who is with Peppy. George bears a melancholy \\n smile. \\n\",\n \" the image of a young comedy debut... George looks at her, Peppy \\n seems to be smiling at him. He smiles back. Then his smile \\n becomes strained. He's noticed something. The two theater \\n employees are sticking a banner over the poster that reveals\",\n \" Title card: George is a silent movie actor. He belongs to the \\n past. Today he's a nobody. \\n \\n As Zimmer's speaking, she removes her accessories and hat. \\n Zimmer is so intrigued he stops talking. \\n\",\n \" sidewalk, people are cheerfully waiting in line. George walks \\n up the line and comes to a movie house that's playing the \\n \\\"Beauty Spot\\\" talking movie. A huge poster depicts Peppy and\",\n \" and George respectfully bows, walks away from him still bowing \\n then turns and runs. Once out of the decor, he bumps right into \\n a worried-looking Zimmer who is followed by his loyal\",\n \" follow him. \\n \\n He gets into a car. Peppy is sitting in the back. She's alone \\n and watching George walk off with his unsteady gait. She's sad.\",\n \" hesitation, he walks away without saying a thing. Peppy looks \\n at George gratefully, smiling, but seems a little preoccupied \\n as though she might have made a mistake. \\n \\n Everyone on set gets back to work. \\n \\n\",\n \" The man casts a glance to ask her what he should do next. \\n Peppy, with a forced smile, motions that they can leave. As the \\n man starts up the motorcar, George is walking away. The car\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" herself into George's arms. They hug for a long time. Peppy \\n says into his ear, \\n \\n Title card: You've got so much that no one else has... \\n \\n And into her ear, George replies: \\n\",\n \"45 INT. KINOGRAPH STUDIOS - STAIRS - DAY 45 \\n \\n Going down the stairs from the offices, he passes a laughing \\n Peppy who is accompanied by two young and charming men, perfect\",\n \" talking and laughing vivaciously. George is with her with an \\n expression of love on his face. He's laughing with her when, \\n suddenly, reality bites. He's still sitting opposite Doris,\",\n \" so. He does not look at her. She leaves the room. Once he has \\n studied and necklace and is satisfied, George turns back \\n towards Peppy but she is no longer there. The chauffeur exits \\n the room. \\n\",\n \" One couple gets to their feet and leaves the theater. As the \\n man reaches George, he recognizes him and casts him a glance \\n that seems to say \\\"goodness old chap this one's not up to\",\n \" Peppy starts again, with a beaming smile, waiting for his \\n response. George does a few tap steps himself, basic ones, \\n without any great enthusiasm. She smiles at him and does a \\n few more complex steps that are a lot livelier. He smiles\",\n \" attempt to calm the actress down. As for George, he returns \\n to the stage, the audience roars. He pretends to want to \\n leave the stage, and mimes bumping into an invisible wall\"\n ],\n [\n \" He does the same with a second girl and she gets hired too. \\n Then it's Peppy's turn. She puts a lot of energy into a few \\n top class tap steps, impressing the guy to such an extent\",\n \" Peppy is facing her mirror and putting her make up on. She \\n takes a break, looking a little sad. Someone (some kind of \\n assistant) opens the door to her dressing room and says \\n something like you need to hurry up. She nods and gets back\",\n \" that he smiles admiringly then signals that she's hired. \\n \\n Full of self-assurance that her lucky day has come, Peppy \\n heads off towards wardrobe too; swinging, her hips as she\",\n \"young woman. She pulls a face meaning 'Here I am!!' And of \\n course it's Peppy, except that she immediately realizes who \\n she is dealing with - visibly she wasn't expecting this at \\n all - and feels completely ridiculous and uncomfortable. \\n\",\n \" reacting to them too. \\n \\n Among the audience is Peppy Miller. She's trying to \\n concentrate fully on the film and is pushing away the handsome \\n young man she's with, who is trying to kiss her. We see her\",\n \" We find Peppy and George on a film set, still dancing. The \\n piece of jazz they are dancing to has gone so crazy that now \\n everyone wants to get up and dance! They are dancing a tap\",\n \" The next morning, Peppy brings breakfast into George's room \\n and they eat it together. She laughs, talks, eats, drinks and \\n is as vivacious as he had dreamed she would be all those years\",\n \"21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \\n \\n Later on, in the dressing room corridor, Peppy, holding an\",\n \" Inside the full bus is the young woman from the day before. Her \\n name is Peppy Miller. She is proudly holding \\\"The Hollywood \\n Reporter\\\" with her face on the front page, and is more or less\",\n \" a little. She hangs up, pensive for a moment. On set,the \\n director gestures to his assistant that the shot is ready and \\n they are good to go. The assistant goes towards Peppy to let\",\n \" magnificent Peppy rising above him. She's playing a scene with \\n a young actor we recognize, it's Humphrey Bogart. He's become a \\n spectator: he laughs, is absorbed and cries along with the \\n others.\",\n \"97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \\n \\n We see Peppy on a shoot, sitting in a chair with her name on\",\n \" Peppy starts again, with a beaming smile, waiting for his \\n response. George does a few tap steps himself, basic ones, \\n without any great enthusiasm. She smiles at him and does a \\n few more complex steps that are a lot livelier. He smiles\",\n \" dances with Peppy, and, each time, the nature of their rapport \\n changes. To begin with, they are happy and laughing, but then, \\n with time, less so. Then they become embarrassed, and then\",\n \"72 INT. KINOGRAPH STUDIOS - PEPPY'S DRESSING ROOM - DAY 72 \\n \\n We catch up with her in a close up, applying her make up. The\",\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" directs her with a raised hand that Peppy immediately follows. \\n \\n She bounds up the stairs four at a time and comes into a \\n corridor, \\n \\n\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" her know but, as he gets to where she should be, her seat is \\n empty. He looks everywhere for her, but she has disappeared. \\n \\n \\n 98 INT. PEPPY'S CAR (DRIVING) - DAY 98\",\n \" them which illustrate Peppy's rising fame. Her name moves \\n higher up the posters and into bigger letters. The films are \\n called \\\"The Rookie\\\", \\\"The Brunette \\\", \\\"The Girl Next Door\\\" and,\"\n ],\n [\n \" that he smiles admiringly then signals that she's hired. \\n \\n Full of self-assurance that her lucky day has come, Peppy \\n heads off towards wardrobe too; swinging, her hips as she\",\n \" Peppy is facing her mirror and putting her make up on. She \\n takes a break, looking a little sad. Someone (some kind of \\n assistant) opens the door to her dressing room and says \\n something like you need to hurry up. She nods and gets back\",\n \"young woman. She pulls a face meaning 'Here I am!!' And of \\n course it's Peppy, except that she immediately realizes who \\n she is dealing with - visibly she wasn't expecting this at \\n all - and feels completely ridiculous and uncomfortable. \\n\",\n \" The next morning, Peppy brings breakfast into George's room \\n and they eat it together. She laughs, talks, eats, drinks and \\n is as vivacious as he had dreamed she would be all those years\",\n \" He does the same with a second girl and she gets hired too. \\n Then it's Peppy's turn. She puts a lot of energy into a few \\n top class tap steps, impressing the guy to such an extent\",\n \" Peppy starts again, with a beaming smile, waiting for his \\n response. George does a few tap steps himself, basic ones, \\n without any great enthusiasm. She smiles at him and does a \\n few more complex steps that are a lot livelier. He smiles\",\n \" them which illustrate Peppy's rising fame. Her name moves \\n higher up the posters and into bigger letters. The films are \\n called \\\"The Rookie\\\", \\\"The Brunette \\\", \\\"The Girl Next Door\\\" and,\",\n \" directs her with a raised hand that Peppy immediately follows. \\n \\n She bounds up the stairs four at a time and comes into a \\n corridor, \\n \\n\",\n \" Peppy gets home in the evening, arms laden with flowers. She's \\n happy. \\n \\n She quickly goes up the stairs and into George's bedroom. He's\",\n \"97 INT. KINOGRAPH STUDIOS - PEPPY SET - 1931 - DAY 97 \\n \\n We see Peppy on a shoot, sitting in a chair with her name on\",\n \" a little. She hangs up, pensive for a moment. On set,the \\n director gestures to his assistant that the shot is ready and \\n they are good to go. The assistant goes towards Peppy to let\",\n \" two make up girls, a hairdresser and a wardrobe assistant. \\n Peppy, fortunately, has stayed completely natural and doesn't \\n seem to take any of it seriously. As the last touch is put in\",\n \" place, Peppy gets to her feet and turns round. \\n 26. \\n \\n \\n At her feet lie a dozen pairs of shoes, each pair as \\n magnificent as the next, and all in their swanky boxes. Peppy\",\n \" appearing one after the other, creating a montage of images \\n with a very 1920's feel. \\\"Get some Peps with Peppy!\\\" and a \\n close up on her smiling, mischievous face. \\\"The girl next\",\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" (119) As for Peppy, she's speeding along, totally ignoring \\n even the most basic of road safety requirements. \\n \\n (120) George puts down his glass and picks up the pistol.\",\n \"72 INT. KINOGRAPH STUDIOS - PEPPY'S DRESSING ROOM - DAY 72 \\n \\n We catch up with her in a close up, applying her make up. The\",\n \" We find Peppy and George on a film set, still dancing. The \\n piece of jazz they are dancing to has gone so crazy that now \\n everyone wants to get up and dance! They are dancing a tap\",\n \" dances with Peppy, and, each time, the nature of their rapport \\n changes. To begin with, they are happy and laughing, but then, \\n with time, less so. Then they become embarrassed, and then\"\n ],\n [\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" the reels and films that he has not opened are, and begins \\n throwing them frantically over his shoulder as though he's \\n looking for one in particular. The ever-increasing denseness \\n of the smoke, however, is making the task almost impossible.\",\n \"81 INT. AUCTION ROOMS - DAY 81 \\n \\n A sign says that the effects of George Valentin are to be \\n auctioned. Furniture, costumes, objets d'art and paintings on\",\n \" she bought everything he had put up for sale: furniture, \\n paintings, objets d'art, souvenirs, etc. He rips off sheets \\n one after the other and the objects appear, even down to his\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" (91) In the room, among the flames and the smoke, George - \\n now breathless - picks one of the reels and tries to turn \\n round. He collapses, still holding on to the can. \\n \\n\",\n \" He's looking a little unsteady on his feet, probably due to the \\n hip flask he's necking that seems to contain liquor. The \\n objects go under the hammer one by one. We see the three\",\n \" There's madness in his eyes as he watches the fire take hold. \\n We can see his pleasure at seeing the flames spread. But he's \\n very quickly overrun. The reels burst into flames in an\",\n \" It's obvious he's only saying that so that she can forget him \\n and move on with her life, but it doesn't wash and the young \\n woman weeps all the more, terribly moved by this last \\n sacrifice on his part. \\n\",\n \" George goes into his house that has been disfigured by the \\n fire. The flames have changed everything and the atmosphere, \\n here again, seems ghostly and sad. \\n 39. \\n \\n\",\n \" there. He begins to holler. \\n \\n Title card: COME BACK! COME BACK HERE RIGHT NOW!!! \\n \\n Totally smashed he starts to violently throw film reels\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" casts him a \\\"very funny\\\" glance. George looks at his fingers, \\n not understanding why they don't work anymore then mimes \\n throwing them away behind him, as though they've become \\n useless. Constance stalks back off into the wings in\",\n \" stops, dripping with sweat. Worriedly, he looks around for a \\n moment. Then he strikes a match, takes a second to consider \\n what he's about to do and throws the match into the middle of \\n the reels. \\n\",\n \" the sheet. Underneath he finds his former objet d'art, the \\n three monkeys \\\"hear no evil\\\", \\\"speak no evil\\\" and \\\"see no \\n evil\\\". He thinks for a moment, then pulls of another sheet to\",\n \" On the floor, below the smoke, Jack flees the room and runs \\n off while George suffocates but continues to struggle with \\n the cans of reels. \\n \\n\",\n \" against the wall as he hollers. The cans split open and the \\n film bursts out all over. George is becoming more and more \\n frenzied. The floor is now covered in cans and film. He\",\n \" In a pawnshop, George, still a little drunk, is selling his \\n tuxedo. The pawnbroker and he are visibly disagreeing on the \\n price, but of course it's George who folds first and hands\",\n \" the one we were used to seeing him in. We do however recognize \\n some of the objects, furniture and paintings from his old \\n house, notably the huge portrait of him smiling. He goes into \\n the kitchen which is open onto the rest of the apartment.\",\n \" instant and give off lots of smoke. Jack is panicking and \\n barks incessantly. Suddenly, George seems to lose it. He \\n doesn't know what to do anymore and, although the fire is \\n spreading quite spectacularly around him, he runs to where\"\n ],\n [\n \" As he comes off stage, George gets soundly told off by \\n Constance, but, still grinning, he motions towards the \\n audience who are still asking for more. The producer, \\n although delighted by the successful reception, makes a weak\",\n \" congratulate each other and slap Zimmer on the back. Zimmer's \\n pride seems to grow by the second. \\n \\n George, who at first seemed very surprised, slowly begins a \\n snigger which gradually has become a belly laugh when the\",\n \" He composes himself. She casts him an admiring glance. Then, \\n in view of the urgency of their situation, they escape at a \\n run. \\n \\n\",\n \" become more \\\"common\\\", less unattainable. He seems to have lost \\n whatever it was that made him so superb. Primarily he's a bit \\n drunk, somewhat hesitant. George gets up and closes his Murphy\",\n \" pulls off in a series of kangaroo hops. It's obvious that she \\n doesn't know how to drive all that well, but still goes at full \\n speed - more or less successfully. Just as she passes through\",\n \" Peppy starts again, with a beaming smile, waiting for his \\n response. George does a few tap steps himself, basic ones, \\n without any great enthusiasm. She smiles at him and does a \\n few more complex steps that are a lot livelier. He smiles\",\n \" dances with Peppy, and, each time, the nature of their rapport \\n changes. To begin with, they are happy and laughing, but then, \\n with time, less so. Then they become embarrassed, and then\",\n \"Her joyful expression gradually becomes one of abject \\n apology, but George is roaring with laughter. \\n \\n After a short pause, Zimmer makes the connection. He checks \\n the front page of the paper, and recognizes her! \\n\",\n \" George is now with the auctioneer, he's studying the list of \\n items as auction assistants busy themselves around him, \\n carrying and packing the sold lots. The auctioneer, who is \\n putting on his coat, congratulates George. \\n\",\n \" She stops because George is not looking at her anymore. He's \\n watching the arrival of the young, smiling, handsome and \\n wholesome man who is with Peppy. George bears a melancholy \\n smile. \\n\",\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" to them, however, the more his expression tightens. We realize \\n that the butler is none other than the distinguished-looking \\n man who purchased everything at the auction, and that the maid \\n is the woman who was bidding against him to raise the sale\",\n \" specimens of America's golden youth. She is coming up, he is \\n going down. When she notices him, she stops, already one step \\n above of him. She has a beaming smile and is truly delighted to\",\n \" George smiles kindly at her. She returns the smile but we can \\n tell that maybe reality has just reminded them that she is \\n working, and he is not. They exchange a last glance before \\n she leaves the room. \\n\",\n \" likes it. She turns towards him and, quite naturally, folds \\n into his arms. The dog watches them curiously with its head \\n leaning to one side. They are probably about to kiss when\",\n \" talking and laughing vivaciously. George is with her with an \\n expression of love on his face. He's laughing with her when, \\n suddenly, reality bites. He's still sitting opposite Doris,\",\n \" are loving it! \\n \\n In the wings, Constance is fuming with rage, but on stage, \\n George is pretending with his fingers to pull at the dog, who \\n fakes death. Thunderous applause again.\",\n \" see him. He is delighted too, although his mood is very \\n different. \\n \\n Title card (him): How are you? \\n \\n Title card (her): Fantastic! I've been given a lead role! \\n Isn't it wonderful?!\",\n \" herself into George's arms. They hug for a long time. Peppy \\n says into his ear, \\n \\n Title card: You've got so much that no one else has... \\n \\n And into her ear, George replies: \\n\",\n \" He nods, we see in his eyes that he's terribly happy for her. \\n They look at each other, she laughs. \\n \\n Then she fumbles in her bag for something with which to note\"\n ],\n [\n \" It's obvious he's only saying that so that she can forget him \\n and move on with her life, but it doesn't wash and the young \\n woman weeps all the more, terribly moved by this last \\n sacrifice on his part. \\n\",\n \" In a pawnshop, George, still a little drunk, is selling his \\n tuxedo. The pawnbroker and he are visibly disagreeing on the \\n price, but of course it's George who folds first and hands\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" When he is alone, George looks at himself in the mirror. His \\n expression shows that he things he is the stupidest man in \\n the world. He mimes shooting himself in the temple with his\",\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" be loved, but Doris is implacable. She gets up, walks away \\n and does not turn back. Left on his own, George has a closed \\n expression on his face. He seems unhappy to have hurt his\",\n \" are listening in on their conversation and seem to be waiting \\n for his decision. There's an element of déjà-vu to the \\n situation, and Zimmer, who already backed down a few years \\n before, gives in. \\n\",\n \" chauffeur looks at him inquisitively. George replies as though \\n lost in thought: \\n 21. \\n \\n \\n Title card: It would seem that we're ruined. \\n\",\n \" On the floor, below the smoke, Jack flees the room and runs \\n off while George suffocates but continues to struggle with \\n the cans of reels. \\n \\n\",\n \" casts him a \\\"very funny\\\" glance. George looks at his fingers, \\n not understanding why they don't work anymore then mimes \\n throwing them away behind him, as though they've become \\n useless. Constance stalks back off into the wings in\",\n \" the beggar motions to him to scram. George continues on his \\n way. For that moment at least, he has become one of them. \\n \\n He buttons up the collar of his suit in an attempt to hide the\",\n \"Then he begins shouting at her and all she can do is lower \\n her head, unable to reply. He gestures that she's fired and \\n for her to get out, and she starts to go, completely \\n distraught. She's just made a couple of steps when George\",\n \" George goes into his house that has been disfigured by the \\n fire. The flames have changed everything and the atmosphere, \\n here again, seems ghostly and sad. \\n 39. \\n \\n\",\n \" follow him. \\n \\n He gets into a car. Peppy is sitting in the back. She's alone \\n and watching George walk off with his unsteady gait. She's sad.\",\n \" He composes himself. She casts him an admiring glance. Then, \\n in view of the urgency of their situation, they escape at a \\n run. \\n \\n\",\n \" (91) In the room, among the flames and the smoke, George - \\n now breathless - picks one of the reels and tries to turn \\n round. He collapses, still holding on to the can. \\n \\n\",\n \" There's nothing in the refrigerator. He looks for something to \\n drink but there's only one bottle left in the rack. He lifts it \\n up. It's empty. \\n\",\n \" 27. \\n \\n \\n George gets up, visibly thinking that he shouldn't have done \\n that, that it's wrong. He go gets the keys and a jacket, \\n comes back and gives them to the chauffeur.\",\n \" The man casts a glance to ask her what he should do next. \\n Peppy, with a forced smile, motions that they can leave. As the \\n man starts up the motorcar, George is walking away. The car\",\n \" As he comes off stage, George gets soundly told off by \\n Constance, but, still grinning, he motions towards the \\n audience who are still asking for more. The producer, \\n although delighted by the successful reception, makes a weak\"\n ],\n [\n \" she bought everything he had put up for sale: furniture, \\n paintings, objets d'art, souvenirs, etc. He rips off sheets \\n one after the other and the objects appear, even down to his\",\n \"81 INT. AUCTION ROOMS - DAY 81 \\n \\n A sign says that the effects of George Valentin are to be \\n auctioned. Furniture, costumes, objets d'art and paintings on\",\n \" George is now with the auctioneer, he's studying the list of \\n items as auction assistants busy themselves around him, \\n carrying and packing the sold lots. The auctioneer, who is \\n putting on his coat, congratulates George. \\n\",\n \" He's looking a little unsteady on his feet, probably due to the \\n hip flask he's necking that seems to contain liquor. The \\n objects go under the hammer one by one. We see the three\",\n \" In a pawnshop, George, still a little drunk, is selling his \\n tuxedo. The pawnbroker and he are visibly disagreeing on the \\n price, but of course it's George who folds first and hands\",\n \" to them, however, the more his expression tightens. We realize \\n that the butler is none other than the distinguished-looking \\n man who purchased everything at the auction, and that the maid \\n is the woman who was bidding against him to raise the sale\",\n \" As he comes off stage, George gets soundly told off by \\n Constance, but, still grinning, he motions towards the \\n audience who are still asking for more. The producer, \\n although delighted by the successful reception, makes a weak\",\n \" (10) The lights come on. George Valentin comes onto the stage \\n and acknowledges the audience, they are cheering for him. He \\n is so happy he dances a few tap steps to express his joy then\",\n \" Title card: Well done! It all sold, there's nothing left! \\n \\n George nods but his smile seems a little ironic. He leaves \\n the room. \\n \\n On the stairway, as he's leaving, he is joined by the\",\n \" addressed to George Valentin on the dresser. Then she \\n attentively looks around the dressing room. She looks at the \\n objects and photos and notices, hanging from a coat stand,\",\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" souvenirs together and get out of the house. \\n \\n Doris \\n P.S.: You should go see Beauty Spot, it's incredible. \\n \\n George takes it on the chin and leaves, revealing behind him\",\n \" George's chauffeur comes into the room and catches them. \\n George swiftly moves aside and there is a moment of \\n discomfort. The chauffeur unwraps a parcel and takes out a\",\n \" casts him a \\\"very funny\\\" glance. George looks at his fingers, \\n not understanding why they don't work anymore then mimes \\n throwing them away behind him, as though they've become \\n useless. Constance stalks back off into the wings in\",\n \" reveal a piece of furniture. Once again it's a piece that used \\n to belong to him and we recognize it from having seen it at the \\n auction room. \\n \\n After taking off several other sheets, George realizes that\",\n \" All the men who had pressed forwards turn on their heels, \\n leaving the assistant surrounded only by women. The man says \\n something to one girl, who begins to dance. He motions to her \\n that it's ok and she heads off towards the wardrobe section.\",\n \" distinguished-looking man who puts on his coat and leaves. \\n \\n \\n 83 EXT. AUCTION ROOM'S STREET - DAY 83 \\n \\n They leave at the same time. The man crosses the street, we\",\n \" One couple gets to their feet and leaves the theater. As the \\n man reaches George, he recognizes him and casts him a glance \\n that seems to say \\\"goodness old chap this one's not up to\",\n \" so. He does not look at her. She leaves the room. Once he has \\n studied and necklace and is satisfied, George turns back \\n towards Peppy but she is no longer there. The chauffeur exits \\n the room. \\n\",\n \" the one we were used to seeing him in. We do however recognize \\n some of the objects, furniture and paintings from his old \\n house, notably the huge portrait of him smiling. He goes into \\n the kitchen which is open onto the rest of the apartment.\"\n ],\n [\n \" He does the same with a second girl and she gets hired too. \\n Then it's Peppy's turn. She puts a lot of energy into a few \\n top class tap steps, impressing the guy to such an extent\",\n \" that he smiles admiringly then signals that she's hired. \\n \\n Full of self-assurance that her lucky day has come, Peppy \\n heads off towards wardrobe too; swinging, her hips as she\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" directs her with a raised hand that Peppy immediately follows. \\n \\n She bounds up the stairs four at a time and comes into a \\n corridor, \\n \\n\",\n \" Peppy is facing her mirror and putting her make up on. She \\n takes a break, looking a little sad. Someone (some kind of \\n assistant) opens the door to her dressing room and says \\n something like you need to hurry up. She nods and gets back\",\n \" shuts the paper and searches for something in the drawer of his \\n desk. He takes out a piece of paper. It's the telephone number \\n that Peppy had scribbled down for him. He looks at it, moves\",\n \" We're in a smart restaurant. George has his back to the room \\n and is eating with his chauffeur. Peppy comes into the \\n restaurant and comes to sit just behind George. They are back\",\n \"21 INT. KINOGRAPH STUDIOS - DRESSING ROOM CORRIDORS - DAY 21 \\n \\n Later on, in the dressing room corridor, Peppy, holding an\",\n \" The next morning, Peppy brings breakfast into George's room \\n and they eat it together. She laughs, talks, eats, drinks and \\n is as vivacious as he had dreamed she would be all those years\",\n \"117 INT. PEPPY'S HOUSE - STOREROOM - DAY 117 \\n \\n In the room with all the sheets, Peppy is with the maid. The\",\n \" a little. She hangs up, pensive for a moment. On set,the \\n director gestures to his assistant that the shot is ready and \\n they are good to go. The assistant goes towards Peppy to let\",\n \" Peppy enters. She's anxious but the doctor seems reassuring. \\n \\n Title card: He's not in any danger now. He just needs to \\n rest. \\n \\n Peppy goes up to George. She notices that his burnt hands\",\n \"young woman. She pulls a face meaning 'Here I am!!' And of \\n course it's Peppy, except that she immediately realizes who \\n she is dealing with - visibly she wasn't expecting this at \\n all - and feels completely ridiculous and uncomfortable. \\n\",\n \" hesitation, he walks away without saying a thing. Peppy looks \\n at George gratefully, smiling, but seems a little preoccupied \\n as though she might have made a mistake. \\n \\n Everyone on set gets back to work. \\n \\n\",\n \" 37. \\n \\n \\n 110 EXT. PEPPY'S HOUSE - DAY 110 \\n \\n From the window, we see the chauffeur get into the car and\",\n \"67 EXT. GEORGE & DORIS' HOUSE - TOP STEP - NIGHT 67 \\n \\n He opens the door. It's Peppy. She immediately notices that\",\n \" sitting next to him, seems ecstatic. The director speaks and \\n we hear what he says. \\n \\n DIRECTOR \\n Cut! Excellent! \\n \\n Zimmer has both his thumbs up. The director says to Peppy and\",\n \" Peppy gets home in the evening, arms laden with flowers. She's \\n happy. \\n \\n She quickly goes up the stairs and into George's bedroom. He's\",\n \" As for Peppy, she's in the theater, watching Tears of love. \\n She's with a handsome young man who seems bored. \\n \\n \\n 64 EXT. JUNGLE - DAY 64 \\n\",\n \" She stops because George is not looking at her anymore. He's \\n watching the arrival of the young, smiling, handsome and \\n wholesome man who is with Peppy. George bears a melancholy \\n smile. \\n\"\n ],\n [\n \" When he is alone, George looks at himself in the mirror. His \\n expression shows that he things he is the stupidest man in \\n the world. He mimes shooting himself in the temple with his\",\n \" It's obvious he's only saying that so that she can forget him \\n and move on with her life, but it doesn't wash and the young \\n woman weeps all the more, terribly moved by this last \\n sacrifice on his part. \\n\",\n \" The next morning, he's having breakfast with his wife. The \\n atmosphere is still dreadful but this time he's not making any \\n effort either. He disdainfully watches Doris eat. She is\",\n \" George is in the same position. He still has the pistol in \\n his mouth. Visibly, he's heard a BANG from outside, because \\n he takes the pistol out of his mouth and looks out the \\n window. \\n \\n\",\n \" (91) In the room, among the flames and the smoke, George - \\n now breathless - picks one of the reels and tries to turn \\n round. He collapses, still holding on to the can. \\n \\n\",\n \" him. She bursts into tears. \\n \\n Title card: I feel so awful. I only wanted to help you. To \\n take care of you... \\n \\n He seems to reply that no, it's not her fault, she's got\",\n \" follow him. \\n \\n He gets into a car. Peppy is sitting in the back. She's alone \\n and watching George walk off with his unsteady gait. She's sad.\",\n \" nothing to feel bad about. He opens his arms towards her, \\n still holding the pistol and the gun fires itself. \\n Fortunately no one is hurt, but the incident makes Peppy \\n laugh and, between sobs and gasps of laughter she throws\",\n \" maid seems to be telling her what happened with George, how he \\n removed all the sheets, etc. Peppy listens with an inscrutable \\n expression on her face. Then, suddenly overcome by a terrible \\n thought, she rushes outside. \\n \\n\",\n \" approaches, listens and suddenly understands! He grabs hold of \\n his gun and goes out onto the air field, only to find the \\n fugitives! He tries to shoot at them as he draws closer, but\",\n \" George, now alone, gets up with some difficulty. He picks up \\n a pile of folded clothes from an armchair. It's his jacket \\n and pants, both half burned. On the floor, his shoes are in \\n exactly the same state of disrepair.\",\n \" sits with his head and ears hanging low as though very \\n disappointed. George watches Peppy walking away, then steps \\n forwards and sits down on the steps leading up to the house. \\n 25. \\n \\n\",\n \" On the floor, below the smoke, Jack flees the room and runs \\n off while George suffocates but continues to struggle with \\n the cans of reels. \\n \\n\",\n \" (120) George puts the pistol into his mouth. Jack is barking \\n like mad. George, still in the same position, closes his \\n eyes. \\n 40. \\n \\n \\n Title card: \\\"BANG!\\\"\",\n \" attempt to calm the actress down. As for George, he returns \\n to the stage, the audience roars. He pretends to want to \\n leave the stage, and mimes bumping into an invisible wall\",\n \" (63) Next to Peppy, the young man sits watching her. She sees \\n sad. \\n \\n (64) On screen, George has disappeared into the mire. Only \\n one hand stays in the air for several seconds more in a\",\n \" casts him a \\\"very funny\\\" glance. George looks at his fingers, \\n not understanding why they don't work anymore then mimes \\n throwing them away behind him, as though they've become \\n useless. Constance stalks back off into the wings in\",\n \" him to call her, and he nods, even though we think that he \\n probably will not do so. She leaves and he watches her go \\n before beginning his decent once more. Once at the top, she\",\n \" terribly moved but, when she releases him from her arms to talk \\n to him, she realizes that he has lost consciousness again and \\n so was not sharing the same special moment as she. She pulls a \\n face, afraid she might have done something wrong, glances over\",\n \"